"Interiors" Spring 2020

INTERIORS Spring 2020

INTERIORS Spring 2020

Aside from the essential workers helping those who are suffering and keeping the rest of us fed, most people reading this introduction have already spent a long time sheltering in place. Many of us are spending entire days and nights without opening our front doors.

While restricted to our interior space, we’re waiting for information to come to us, which compounds a feeling of imprisonment. Those of us who are lucky enough to live in a free country are able to go outside and interact with others; however, there are undeniable strands of fear woven into every interaction. Therefore, whether we are mandated to stay inside or not, we feel safer isolated at home. Confined in our dwellings, the resulting isolation can make our personal worlds feel very small, and the outside world seem terrifying. Admittedly, I am not a psychologist or sociologist… I’m an art historian. So, the question that I naturally ask myself is: What can Art and Artists teach us, and how can that be applied to the current state of the world?

The entire curatorial staff at Adelson Galleries worked together to answer this question by creating an online-only exhibition, “Interiors.” As the title suggests, the exhibit features artists’ interpretations of their interior spaces. Artists are typically more introspective than most people, and have become accustomed to spending a great majority of their time alone or in isolation, translating what they see and feel through their hands. While viewers of this exhibition are stuck inside, we suggest that they take this unique moment in their lives to think like an artist and look at their own space with imagination. In the selection of artworks that follows, you will see examples of interiors by artists spanning over 100 years. We have carefully selected 42 artworks by 21 different artists to give viewers a stimulating view of interior interpretations. In each instance, the artist deliberately chose how to view and depict the light, furniture, space, negative space, color, and figures in the limited frame of their compositions. We challenge the viewers to take elements of what they see in each image and apply it to their current surroundings to broaden the view of their confined quarters.

The overarching intention for this exhibition is to introduce a new perspective to our audience and inspire a feeling of gratitude for their shelters and surroundings. While we cannot see many of our closest friends and family face-to-face, we live in a world that gives us this opportunity to connect virtually and help one another. In light of this intent, we have decided to donate 10% of all sales to Opportunity Inc., which gives a space and serves the children of working families who are particularly affected by COVID-19 in Palm Beach County. During this current health crisis, the Opportunity Early Childhood Education and Family Center has been closed; however, the families need our help now more than ever with food and other essential services. We have dedicated the last page of our e-catalogue to Opportunity Inc.; it contains more information about the foundation and ways that you can help. During this current global crisis, it is the Adelson family’s belief that the best way to solve personal negative feelings is to look beyond the couch and television in our living room, think like an artist to find beauty in the world, then share it with others who need help.

We hope that the artwork in this virtual exhibition inspires some of our viewers.

Adam Adelson Director, Adelson Galleries New York | Palm Beach

GEORGE WESLEY BELLOWS George Bellows, born in Columbus, Ohio, attended Ohio State University in 1901 where he excelled in athletics and in art. In 1904, he dropped out of college and moved to New York where he studied with Robert Henri at the New York School of Art (formerly known as the Chase School of Art). He traveled to Monhegan Island, Maine in 1911, spending the first of many summers there, and was inspired by the powerful landscapes and seascapes that he saw there. In the winter of 1915-1916, Bellows decided to set up a lithographic press in the studio of the top floor of his home.

He found after a decade of working in New York City that studio lighting during the winter months was not adequate for his painting needs. He turned this frustrating season into a highly productive period in front of a lithographic stone. Here depicted is the artist’s daughter Anne. Lithography became a successful medium for Bellows, and his wide range of subjects included intimate portraits such as this.

Babette and Major Dot, 1929 Watercolor on paper 19 x 17 in $2,500 Make An Offer

Anne in a Black Hat, 1923-24 Lithograph on paper 16 1/2 x 12 1/2 in $4,500 Make An Offer

HARRISON CADY Though circuses were a form of urban entertainment in Europe, the traveling circus (which played to rural and small town crowds) became a peculiarly American phenomenon. The sideshow – featuring a collection of classic characters including the thin man, the fat lady, the giant, the midget, the snake charmer and so on – quickly evolved into an integral part of traveling circus culture. In this vividly detailed watercolor, Harrison Cady, a successful illustrator, depicts an appreciative crowd looking over a sideshow, with particular focus upon the 600-pound Babette and her diminutive sidekick, the dapperly dressed Major Dot.

The Lamp, 1890-91 Color print with drypoint, soft ground and aquatint Plate: 12 1/2 x 9 7/8 in Sheet: 16 7/8 x 11 1/2 in $200,000 Make An Offer

Tea, c. 1890 Drypoint on paper 7 1/8 x 6 1/8 in $75,000 Make An Offer

MARY CASSATT The Lamp is one of Cassatt’s groundbreaking series of ten impressions en couleurs, first exhibited at Galeries Durand-Ruel in April 1891 and again in her retrospective of exhibition of 1893. In these prints, she appropriates the Japanese aesthetic and re-creates it in European terms, not on woodblock, but on copper plate. She transforms the theme of ukiyo-e prints, from the daily life of a Japanese courtesan to that of a modem European bourgeois woman.

Interiors with women are a frequent theme in Cassatt’s work. The deliberate constraints of the format of the typical Japanese woodblock print inspired this compact composition, which is notable for its implicit reference to the Japanese fascination with the beauty of the line of a woman’s neck. >View Info Sheet

WILLIAM MERRITT CHASE

Among the most valued paintings of William Merritt Chase are those he did at Shinnecock Hil Long Island, between 1891 and 1902, while conducting the first major school of plein air paintin in America. Particularly prized are those paintings that portray the domestic bliss of his fami engaged in leisurely activities, both out-of-doors and inside their elegant summer home designe

by Chase’s friend, the noted architect Stanford White. Since most of Chase’s time during the summ months was spent outdoors teaching landscape painting, views that he painted inside his home a extremely rare. The universal appeal of these interior scenes did not, however, go unnoticed. Qui the contrary, as they were praised by contemporary critics, one of whom observed: “... the charm a Chase interior is immediate ... lt is more than a trick of cool light on reflecting surfaces ... lt is th hint of once familiar moments long forgotten, a sentiment of the quiet dignity of a patrician home The quintessential example of this genre is Chase’s painting A Friendly Call, 1895, which Mrs. Chase seen seated in the studio of the summer home talking with a friend. another major work of this period, For the Little One, ca. 1896, Chase goes a step farther by introducing a bit of landscape to his composition seen through the window in front which Mrs. Chase is posed seated while sewing.

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Alice Dieudonnee Chase utilizes similar compositional elements; only this time, Chase has posed his daughter, Alice Dieudonnee, seated in front of a screen door, and the brilliance of the Shinnecock landscape, seen through the door, bolder and more intense. Yet Chase masterfully unites the bright sunlight of the outside with the subdued tones of his interior in a harmonious ensemble by sensitively rendering reflected light on the edges of the chair and the open book, and most importantly, highlighting his model’s face. In doing so, he has achieved not only a technical tour de force, but a striking image.

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Alice Dieudonnee Chase, Shinnecock Hills (the artist’s daughter), 1902 Oil on canvas 22 x 18 in $375,000 Make An Offer

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as of Evening Interior, 2009 Oil on panel 10 x 8 in $9,500 Make An Offer

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JACOB COLLINS A leading figure in the contemporary revival of classical painting, Jacob Collins was born and received his formal training in New York, and also studied in Paris. He embraces a variety of subject matter and is equally adept at portraiture (his sitters have included J. Paul Getty Jr., President George Herbert Walker Bush, and Supreme Court Chief Justice Warren Burger) as he is at painting landscape, still-life and figural themes. Collins, who has said he aims to “paint with the skills of past masters while still feeling fresh,” relies on meticulous observation, careful draftsmanship, and dramatic use of darkness and illumination to create works that – while set in the present – exude a sense of timelessness.

In addition to his own painting, Collins is also a sought-after teacher who believes in rigorous classical training in disciplines that hark back to the Renaissance. While living and working in New York, Collins has established several painting ateliers in the tradition of the French academy, finding the rich exchange of ideas among like-minded peers to be stimulating and beneficial to his work as well. Collins has been the subject of over 20 solo exhibitions, and his work is represented in numerous prestigious public and private collections including Harvard’s Fogg Art Museum and Amherst’s Mead Art Museum, among others.

Waiting to Start, 2019 Linden wood, acrylic paint, LED light 45 1/4 x 39 1/2 x 11 3/4 in $60,000 Make An Offer

PETER DEMETZ (Italian, b. 1969) Born in Bolanzo, Italy, Peter Demetz has reached international acclaim for his intricate wood carvings. After studying at the Ortisei Art Institute, Demetz acquired an apprenticeship under master sculptor Heinrich Demetz, whose focus in creating “sacred art� had a profound impact on Peter and his work. Demetz went on to study educational and developmental psychology so as to begin teaching lectures and seminars. Since 2001, Demetz has taught wood-carving, drawing, design, anatomy, and other courses for the Academy of Fine Arts in Carrara, Daetz-Centrum in Lichtenstein, Germany, the design center of Swarovski in Austria, and the LKJ-Sachsen in Leipzig.

Morning Light, 2019 Linden wood, acrylic paint, LED light 27 1/2 x 23 1/2 x 8 in $25,000 Make An Offer

The Perception, 2017 Linden wood, acrylic paint, LED light 90 1/2 x 124 x 25 1/2 in $180,000 Make An Offer

CHILDE HASSAM Nocturne is a perfect word to describe both the appearance and the feeling of Childe Hassam’s brilliant pastel, On the Balcony. There is a Whistlerian evocation in its elongated and asymmetrical composition. The subtle treatment of the figure and costume, illuminated by a blend of soft interior and moonlit exterior light contrasts with the hazy density of a still early evening sky while enhancing the dynamic balance of the overall composition.

The pastel provides an extraordinary balance between flat pattern, reflecting the contemporary enthusiasm for Japanese prints, and three-dimensional space that extends, almost literally, into infinity. It is Whistlerian as well, in the juxtaposition of the large field of subtly colored sky that counterpoints the equally subtle color harmonies of the sheer gown worn by the woman peering out into the evening sky. The mood is perfect for the subject and reveals an emotional character of Hassam’s work that often lies hidden under the surface energies of his Impressionist vocabulary.

On the Balcony, 1888 Pastel on paper laid down on canvas 29 5/8 x 17 3/4 in $450,000 Make An Offer

This pastel, executed by the artist in France on his extended honeymoon residence in the French capital, undoubtedly depicts his wife Maude, caught in an intimate moment of private thought. Maude is indelibly linked to the landscape, whose still freshness and perfume are underscored by the pot of geraniums balanced on the window ledge. The picture was probably painted at Villiers-le-Bel, the country estate of famed painter and teacher Thomas Couture. His daughter and her husband Monsieur Blumenthal were Maude’s friends, and through them Hassam and Maude became regular guests. Couture had an impact on contemporary French painting and its dissemination through his own painterly style and his role as the teacher of both Edouard Manet and William Morris Hunt, who became a major proponent of French art in America. And Manet, in turn, was one of the earliest of the modern painters to embrace and excel in the production of pastels. >View Info Sheet

LILIAN WESTCOTT HALE Lilian Westcott Hale came to Boston after William Merritt Chase encouraged her to further pursue her studies in fine arts. She had attended Chase’s Summer School in Shinnecock, Long Island, while a student of the Hartford Art School in 1899, and then followed his suggestion to enter the School of the Museum of Fine Arts in Boston. She enrolled in an advanced painting class with Edmund Tarbell and in 1901 was first introduced to faculty member Philip Hale, whom she married just a year later. Philip was fifteen years her senior and already a well-established professional artist and teacher in the Boston area. Acting as her mentor, Philip encouraged and supported Lilian’s considerable talent, and in 1905 they moved into two adjacent studios at the Fenway Studios on Ipswich Street, numbers 210 and 211.

In 1908, Hale would give birth to the couple’s only child, Nancy, who naturally became one of her parents’ favorite muses and posed for a number of drawings and paintings throughout her childhood.

By her teens, Nancy continued to serve as a model but asked to be shown reading, allowing her to pursue a favorite pastime over the long hours these sessions required. While the young lady in A Book of Verses is not clearly identified, it could show a sixteenyear-old Nancy seated in a wicker chair in front of the hearth of the Dedham residence. The carefully arranged composition offers a pleasing balance of curved and straight lines while the sparse use of knickknacks reflects the simplicity of the Hales’ décor and the artist’s own New England roots. These elements, along with the figure’s dress and faraway gaze, instill the scene with a sense of nostalgia for the past. >View Info Sheet

A Book of Verses, 1924 Charcoal on paper 29 x 23 in $175,000 Make An Offer

PATRICK HUGHES (British, b. 1939) Patrick Hughes had an impressive first solo show in 1961 at the Portal Gallery, London, on the day of his graduation from the Leeds Day Training College. A few years after this major exhibition, Hughes showcased his first signature reverse perspective or reverspective pieces that would later represent the majority of his works. In these pieces, Hughes explores the science of perception and the illusory sense of a painting coming to life.

These reverspective optical reliefs are created with pyramid or wedge-shaped blocks of wood. Sculpting these three-dimensional blocks into panoramic proportions, Hughes then paints cityscapes, interior spaces and city views where the protruding blocks appear to recede and the gaps in between them appear to come forward. This creates an optical illusion where the painting moves with the viewer. Click VIEWER to see the illusion in motion.

The mind-bending experience of viewing these sculpted paintings has caught the attention of private and public collectors around the world. His paintings have been featured in many institutions such as the Museum of Fine Arts in Boston, the Victoria and Albert Museum in London, and the Tate gallery to name a few.

VIEWER A Cardboard Box, 2019 Oil on board construction 22 1/2 x 53 3/4 x 5 3/4 in $150,000 Make An Offer

VIEWER Maeght, 2019 Hand painted multiple with archival inkjet 17 3/4 x 35 1/2 x 7 in ed. of 75 $10,000 Make An Offer

VIEWER Pretend Palazzo, 2019 Collage and oil on board construction 27 1/2 x 69 1/4 x 10 3/4 in ed. 3 of 5 $60,000 Make An Offer

Bubba Dukes and Feet’s Pool Hall (Winfred Dancing), 2002 Dye on carved and tooled leather 24 1/2 x 29 1/2 in $25,000 Make An Offer

WINFRED REMBERT A native of Cuthbert, Georgia, Winfred Rembert spent his childhood as a fieldworker in the pre-civil rights South. Brought up by his great-aunt (“Mama”), Rembert paints stories that look back to his youth in the days of segregation. Despite the often grim working conditions he encountered (not to mention a near-lynching and years spent on a prison chain gang), Rembert’s works focus on the joyous aspects of black life in the 1950s South — the strong family and community bonds, the cultural vibrancy, and the many colorful characters that lifted the spirits of those who had little choice but to labor in the region’s cotton and peanut fields.

Miss Prather’s Class, 2014 Color Reduction woodcut from 4 blocks with 4 silk screen colors and embossing on white Rives BFK paper 15 4/5 x 12 in ed. 18 of 30 $3,500 Make An Offer Jeff’s Pool Room, 2003 Dye on carved and tooled leather 23 1/2 x 25 in $25,000 Make An Offer

JOHN SINGER SARGENT John Singer Sargent’s fascination with exotic subjects was evident from the outset of his career. His interest in cloaked figures, and Arab costume in particular, was first explored in his celebrated Salon entry of 1880, Fumée d’Ambre Gris (Sterling and Francine Clark Institute, Williamstown, MA).

Having been awarded the prestigious commission for a mural project at the Boston Public Library depicting the history of religion, which spanned the world religions and included a section on Judaism, Sargent had great incentive to search for visual inspiration in a part of the world he had not previously visited. His first trip to Egypt in 1891 was a family voyage that included his mother and two sisters and, consequently, limited his ability to venture beyond urban centers. More than a decade later, the murals were still in progress, and Sargent was eager to return to explore the Arab world.

In November of 1905, after his customary painting holiday in the Alps with family and friends, Sargent and his valet journeyed on alone to Palestine. Still fresh in his mind were the complex compositions he had orchestrated in the Alps with his friends intertwined in afternoon siestas on a hillside (i.e., Group with Parasols and Siesta, both in private collections).

The delineation of form through reflections of sunlight were essential in his approach to landscape paintings. The most intense and artistically rewarding experiences followed as Sargent spent several days camping with a Bedouin tribe, painting informal portraits and scenes of daily life.

Sargent executed a group of watercolors of these exotic robed figures composed in various configurations (figures 1-11), some of which were part of the large acquisition by the Brooklyn Museum in 1909 of Sargent’s watercolors. A culmination of these watercolor studies is the oil painting, Bedouin Encampment, with its complex space, varied figure positions, and multiplicity of light effects. This painting is among Sargent’s most “modernist” works and is one of a limited number of oils he was able to complete during this trip. In January of 1906 the unexpected death of his mother caused his return to England, and terminated the artist’s final visit to the Holy Land. >View Info Sheet

Bedouin Encampment, 1906 Oil on canvas 22 1/4 x 28 1/4 in Price Upon Request

AITHAN SHAPIRA

Aithan Shapira’s paintings and prints are the result of taking the natural world apart and putti perspectives. His works are characterized by his attention to light as a solid often blocking other palette of yellows ranging from desert to golden sun, honey, urine and bile that he makes symbolic soil from Israel and olive branch ashes. Shapira’s subject matter tackles conflicting fields of view, two sides of a wall or matters of migration or of false hope. Just as the tone in which something i assembles contradictions inverting depths of field, juxtaposing velvety inflections against grittier to ask us to consider the malleability in which the same object can take on vastly different meaning serve to condense his perceptual attentiveness into poetic representations with tight composition

Museum Oil on ca 81 1/2 x 7 $30,000 on cover

ing it back together confronting all objects from view and an expansive cally from mixing oils and waxes with , whether simultaneously addressing is said can alter its meaning, Shapira passages, and shifting fields of view s. His simplified shapes and patterns ns.

of Fine Arts, Boston, 2015 nvas 72 1/2 in Make An Offer

Isabella Stewart Gardener Museum (Courtyard), 2019 Oil on canvas 60 x 48 in $16,000 Make An Offer

Preserving Shelf, 2015 Hydrostone 33 x 25 in $6,000 Make An Offer

Martini at Oil on line 15 x 24 in $30,000 M

Mr. Epps, 2014 Oil on linen 16 x 12 in $18,000 Make An Offer

Lola’s, 2015 en

ANDREW STEVOVICH A noted contemporary figurative painter, Stevovich grew up in Washington, D.C., and as a young child spent time roaming the halls of the National Gallery of Art, where he was particularly drawn to the Renaissance paintings that would come to inform his work.

Stevovich’s images depict ordinary men and women in everyday situations and locations – in restaurants and bars, at the beach, on public transportation – but they convey a sense of mystery, creating more questions than they answer.

Although Stevovich’s paintings are set in the contemporary world, their crisp design, brilliant color and meticulous surface finishes recall the Renaissance works he loved as a child. He works in oil and pastel, and is also an accomplished printmaker and etcher. Stevovich holds degrees from the Rhode Island School of Design and the Massachusetts College of Art, and is represented in many important public and private collections. His work has been the subject of numerous solo exhibitions across the United States as well as abroad.

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Sleeping Woman with Dog, 2016 Oil on linen 20 x 36 in $35,000 Make An Offer

Twins, 2019 Oil on canvas 30 x 38 in $85,000 Make An Offer

Anne at the Window, 2013 Oil on linen 5 1/4 x 3 in $5,500 Make An Offer

Subway Interior, 2020 Oil on linen on panel 26 x 15 in $30,000 Make An Offer

MARK ROTHKO Scholar David Anfam has suggested that Rothko’s work of the late 1930s was informed not only by surrealism and other developments in modern art and literature, but also by his encounters with actual people and places in New York. The present work relates closely to a smaller oil, now in the collection of the National Gallery of Art, Washington, D.C., Untitled (Two Women at the Window), c. 1937. >View Info Sheet Two Women at a Window, 1937 Oil on canvas 40 x 30 in $475,000 Make An Offer

My Sister’s Picture, 2019 Oil on wood 30 x 40 in $7,000 Make An Offer

FARZANEH & BAHAREH SAFARANI Born in 1990, twin Iranian sisters Bahareh and Farzaneh began painting at the age of thirteen.

They earned a B.A. in painting from Tehran University and, upon graduating, came to the U.S. to further their art education at Northeastern University. Currently working and residing in Massachusetts, the Safarani sisters further collaborated on incorporating video and performance art into their passion for painting. They garnered attention from their performances and videopaintings that weave together loose but striking narratives.

EDMUND CHARLES TARBELL The present work depicts Tarbell’s eldest daughter, Josephine (b. 1890), who, along with her mother and sisters, ranked among his favorite models. Critics and scholars have long remarked upon the grace and ease that emanates from Tarbell’s paintings of his family members, most of which were completed at the artist’s summer residence in New Castle, New Hampshire.

My Daughter, Josephine, 1915 Oil on canvas 48 x 36 in $450,000 Make An Offer

My Daughter Josephine was one of Tarbell’s two submissions to The Ten’s annual exhibition in 1915, suggesting his high regard for the work. Scholars including Susan Strickler have concurred, citing My Daughter Josephine among Tarbell’s finest canvases: As women were generally his preferred subjects, Tarbell painted his daughters more frequently than his son. Though he painted them more often in groups, Tarbell produced a group of stunning depictions of each daughter alone .... Among Tarbell’s most exquisite portraits from his midcareer is My Daughter Josephine, remarkably stark in its composition, yet equally sophisticated in its refined palette and draftsmanship.

The simplicity of the composition sharpens the viewer’s focus on the face and hands of the sitter in what is one of Tarbell’s most personal and sensitive portraits. >View Info Sheet

FEDERICO URIBE

Born in Bogotรก, Colombia in 1962, Federico Uribe currently lives and works in Miami. His artw resists classification, and emerges from intertwining everyday objects in surprising ways that maint a formal reference to art history. Uribe studied art at the University of Los Andes in Bogotรก, and 1988 he arrived in New York to pursue an MFA degree under the supervision of Luis Camnitzer.

In 1996, Uribe abandoned his paintbrushes and canvases in favor of household objects (pla cutlery, colored pencils, and so on). He began to carefully observe, collect, juxtapose, and comb this alternative media. They have become unusual instruments of a new aesthetic, full of color, iro and lively playfulness. When observed closely, his works reveal various kinds of interpretatio they tempt us to touch them, to discover the detail and connection between one element a another. When viewed from further away, they offer volumes, forms, textures, and color. His creatio elicit excitement and intrigue from all walks of life, and the novelty of the media often belies compelling aesthetic merit of each work of art.

Monkey Business, 2016 Colored pencil collage 51 x 43 x 8 in $35,000 Make An Offer Birds in the Window, 2017 Colored pencil collage 64 x 33 x 7 in $35,000 Make An Offer

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Cat and Fish, 2017 Colored pencil collage 74 x 52 x 7 in $45,000 Make An Offer

Dog’s Painting, 2017 Colored pencil collage 72 x 50 x 5 in $45,000 Make An Offer

Out, 2017 Colored pencil collage 30 x 48 in $30,000 Make An Offer

Homeward, 2017 Colored pencil collage and drawing 36 x 60 x 10 in $30,000 Make An Offer

ANDREW WYETH (American, 1917-2009) In the 1980s the collection of “Helga paintings“ created a media sensation. The artist had painted over 200 works over a fifteen year span, using his neighbor Helga Testorf as a model. He did this without letting anyone know of their existence. With much ado they were later exhibited at the National Gallery in Washington, D.C.; it was that museum’s first show of the work of a living artist. Subsequently the show traveled to key museums throughout America and Asia. Helga paintings became iconic in the body of Wyeth’s oeuvre. Here are two examples from that collection.

Housebound Study (Helga), 1986 Pencil on paper 16 1/8 x 13 3/8 in Price Upon Request

On Her Knees, 1975 Watercolor on paper 24 3/8 x 19 7/8 in Price Upon Request

Gulls of Monhegan, #1, 1992 Combined mediums on paper 22 x 22 1/4 in $250,000 Make An Offer

JAMIE WYETH

Jamie Wyeth (b. 1946) Although Jamie Wyeth claims he does not have a favorite breed of dog, he owns several Jack Russell terriers such as the one depicted in the present work. “I just happen to have a lot of Jack Russells. I always hated small dogs and then somebody gave me a Jack Russell, my first. They are well described as big dogs with short legs. They do not have small dog mentality, and so I have them around a lot. So they are models.” Here, Wyeth depicts the dog sitting – as a human would – in an elaborate wicker chair that allows the artist to display his mastery of texture, pattern, and the effects of outdoor light.

In one of Jamie Wyeth’s signature interminglings of the human and animal worlds, the above work depicts two gulls in the living room of the artist’s house on Monhegan Island. Maine. Wyeth has lived much of his life on the Maine coast and has spent countless hours observing bird habits and behavior, developing what curator Victoria Woodhall has called a “kinship and keen understanding” with these creatures. >View Info Sheet

Yolk and the Wicker Chair, 1987 Combined mediums on paper 28 x 22 1/4 in $275,000 Make An Offer

LOUIS VALTAT Louis Valtat (1869-1952) is considered one of the luminaries of the Post-Impressionist period and the artistic precursor of Fauvism. Born in Dieppe, he was among the few fortunate artists of his generation not only born to a family of mes but whose father encouraged his artistic pursuits. Valtat moved to Paris in 1887 and enrolled at the École des Beaus-Arts where he worked under Gustave Boulanger, Jules Lefebre and Benjamin Constant. He continued his studies at Académie Julian where he met the “Nabis,” Maurice Denis, Pierre Bonnard and Edouard Vuillard. His Parisian school years brought him together with numerous artists who would ultimately make their mark in art history including Maillol, Signac, Toulouae-Latrac, Bonnard, Matisse, Renoir, and his close friend, Albert André. >View Info Sheet La Couturiere en robe rouge dans fauteuil, 1925 Oil on panel 10 5/8 x 7 5/8 in $75,000 Make An Offer

Miss Ruby’s Flowers, 2005/2010 Drybrush watercolor on Twinrocker handmade paper 17 x 22 in $60,000 Make An Offer

STEPHEN SCOTT YOUNG The artist’s inscription on the verso side of this work reads: What amazed me about being on Daufuskie at Miss Ruby’s farm was the feeling of organized clutter. So many objects that I looked at, and I did 6[?] subjects on my brief visit, trying to eliminate all that was unnecessary to my purpose. Not enough time, but I was struck by the colour of those wildflowers growing in an old enamel pot. Ruby Red, as if they were welcoming me. Ruby could not pose, but her wildflowers did. Daufuskie Island is a five-mile long island off the coast of South Carolina, accessible from the mainland only by ferry. >View Info Sheet

OPPORTUNIT Y EARLY CHILDHOOD EDUCATION AND FAMILY CENTER OUR HISTORY Opportunity is Palm Beach’s oldest children’s charity. In 1939, several prominent citizens started the organization to help unemployed women earn an income from their straw and shell crafts. Our founders quickly learned that dependable childcare played an integral role in helping parents and their children succeed, leading to the slogan, “Help others to help themselves.” Over eighty years later, Opportunity continues to provide a loving environment and educational programs for our preschool students, along with support for their families.

OUR DEVELOPMENT PROGRAMS At Opportunity, we know that changing young lives requires a commitment that goes way beyond the classroom. The curriculum is specific to each child’s needs to help them meet their development goals. We provide balanced meals every day so that hunger is never an excuse for a child’s inability to learn. We provide enrichment programs that expose our children to the bigger world, spark curiosity, encourage exploration, and promote critical thinking skills that allow children to reach not only their highest potential, but also their dreams.

OUR FAMILY DEVELOPMENT A child’s greatest influence is his/her parents, which is why Opportunity also provides support and development services for families including case management with a social worker, emergency food and clothing pantry, free diapers, resource center access, and soon-to-be-added ESOL and GED courses.

For more information, please visit OpportunityPBC.org.

Inquiries? Contact us at: info@adelsongalleries.com New York The Fuller Building 595 Madison Avenue, 4th Floor New York, NY 10022 (212) 439-6800 www.adelsongalleries.com Palm Beach 318 Worth Avenue Palm Beach, FL 33480 (561) 720-2079 www.adelsoncavalier.com

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