James Reinish & Associates by Ann Phillips

c ov e r

( d e ta i l )

OSCAR BLUEMNER (1867 - 1938) Study for ‘A Situation in Yellow’, 1933 Watercolor on paper 5 x 7 inches see page

November 2014

As private dealers and advisors

, our daily activities primarily involve finding works of art to sell and then placing them in new homes. We learn the story of each work that passes through our hands. Our greatest pleasure is in talking about the works and sharing their history, quality and context with interested collectors, advisors and museum professionals. Every so often, as new works of art arrive at the gallery, we treat ourselves to a display of the just unwrapped pictures which have been entrusted to us. It is, quite literally, like Christmas or Hanukkah in July for art dealers like us. A few weeks ago, as we were enjoying our first look at a number of recent additions, we were inspired to share these wonderful works with you in â&#x20AC;&#x201C; what is for us â&#x20AC;&#x201C; a new way. We hope you share our excitement in exploring this survey of 20th century American art as viewed through the exceptional works gathered here at this moment in time. We feel particularly fortunate to represent numerous private collections in offering these works to the greater collecting community. Please stop by to see these and many other fine works at our gallery on 73rd Street or through our website. James L. Reinish Ann Yaffe Phillips Ann Restak

MAX WEBER (1881 - 1961) Three Nudes in Landscape, 1910 Watercolor and gouache on paper 10 1/4 x 7 1/8 inches Signed and dated lower right: Max Weber ‘10 p rov e n a n c e

(Possible) Collection of Hamilton Easter Field Collection of Robert Laurent Private collection, New York

––––

ELIE NADELMAN (1882 - 1946) Classical Head, c. 1909 - 1910 Cherry wood 8 7/8 x 5 1/2 x 3 3/4 inches p rov e n a n c e

Edwin Hewitt Gallery, New York Private collection, New York Arthur Goldsmith Sale: Sotheby’s, New York, May 24, 1990, Lot 194 Vanderwoude Tananbaum Gallery, New York Solomon Gallery, New York Barbara Annis Fine Arts, New York Private collection

––––

WILLIAM ZORACH (1887 - 1966) Young Girl (DAHLOV), 1921 Bronze 22 3/4 x 5 1/4 x 6 1/2 inches Zorach / 1921 (front of base) Marked: 6 / 6 (rear of self base) Young Boy (TESSIM), 1921 Bronze 22 x 5 1/8 x 5 inches Zorach / 1921 (front face of self base) Marked: Bedi-Rassy / NYC (rear of self base) 355 (underside, twice, in ink) S-WZ-133 (on tape affixed to underside) p rov e n a n c e

Estate of the Artist Zabriskie Gallery, New York Private collection, 1983 – 2012 l i t e r at u r e

Young Girl (Dahlov) Wingert, Paul S. The Sculpture of William Zorach. New York: Pitman Publishing Corporation, 1938, 20, 59, entry 9, pl. 7. (listed as ‘Figure of a Child”) Baur, John I. H. William Zorach. New York: Frederick A. Praeger Publishers, 1959, fig. 23. Sculpture by William Zorach. Exh. cat., Bernard Danenberg Galleries, New York, 1970, 48, 3, illus. Tarbell, Roberta K. Catalogue Raisonne of William Zorach’s Carved Sculpture, Ph.D. diss., University of Delaware, 1976, 68-69, fig. 26, 323-327, no. 57. Tom Armstrong, et. al. 200 Years of American Sculpture. Exh. cat., Whitney Museum of American Art, New York, 1976,illus. pg 122. William Zorach Sculpture and Drawings. Exh. cat., Summit Art Center, Summit, New Jersey, 1983, 9, illus. Zorach, William. Art Is My Life. Cleveland: The World Publishing Co., 1967, 66, fig. 11. l i t e r at u r e

Young Boy (Tessim) Wingert, Paul S. The Sculpture of William Zorach. New York: Pitman Publishing Corporation, 1938, 20, 59 entry 8, pl. 5. Tarbell, Roberta K. Catalogue Raisonné of William Zorach’s Carved Sculpture, Ph.D. diss., University of Delaware, 1976, 67-68, fig. 23, 320-22, no. 56. Zorach, William. Art Is My Life. Cleveland: The World Publishing Co., 1967, 66, fig. 12. MacDougal, Margaret, Jessica Nicoll, and Roberta K. Tarbell. Marguerite and William Zorach Harmonies and Contrasts. Exh. cat., Portland Museum of Art, Maine, 2001, 51, 54, 110. public collections

Whitney Museum of American Art, New York (mahogany) Smithsonian American Art Museum, Washington, D.C. (cast and patinated plaster)

––––

WILLIAM ZORACH (1887 - 1966) Moonrise, 1914 Oil on canvas 18 1/2 x 21 3/4 inches Signed and dated lower right: Wm. Zorach / 1914 p rov e n a n c e

Daniel Gallery, New York Bernard Danenberg Galleries, Inc., New York Martin Diamond Fine Art, New York Private collection, New York, 1981 exhibited

The Brooklyn Museum, Brooklyn, NY, William Zorach Paintings, Watercolors & Drawings, 1911-1922, November 26, 1968 - January 19, 1969, No. 8.

––––

JOHN STORRS (1885 - 1956) Modern Madonna, c. 1918 Polychromed cast stone 23 x 7 1/2 x 5 inches Signed on back of base: STORRS p rov e n a n c e

The artist By gift to Private collection, until 1990 (Hirschl & Adler Galleries, New York) Private collection, Midwest, 1992 to present exhibited

Hirschl & Adler Galleries, New York, Uncommon Spirit: Sculpture in America 1800 - 1940, April 22 - June 9, 1989, p. 87, no. 60, illus. in color Hirschl & Adler Galleries, New York, Counterpoint, Two Centuries of American Masters, April 21 - June 8, 1990, p. 85, no. 54, illus. in color cf. Elvehjem Museum of Art, University of Wisconsin-Madison, Madison, WI, Sept. 30 - Dec. 3, 1995, catalogue p. 186, no. 55.1 (smaller version exhibited and illustrated) l i t e r at u r e

cf. Michael Edward Shapiro, “Twentieth Century American Sculpture,” in The Bulletin of The Saint Louis Art Museum, XVIII, Winter 1986, p. 15, illus. cf. Noel Frackman, John Storrs, Whitney Museum of American Art, New York, 1986, p. 21, fig. 8 n ot e

Modern Madonna was executed in two sizes: the large size (this cast, 23 inches high) and a reduced version which measures 11 inches high and is also polychromed terracotta. The other example in the large size, which is unpainted, is in the collection of The Saint Louis Art Museum, St. Louis, MO. Three of the smaller versions are known, one of which is in the collection of the Crystal Bridges Museum of American Art. .

––––

JOSEPH STELLA (1877 - 1946) Lily and Bird, c. 1919 Silverpoint and colored pencil on prepared paper 29 x 22 1/4 inches Signed lower right: Joseph Stella p rov e n a n c e

Dudensing Gallery, New York Sale: Christie’s, New York, December 7, 1984, Lot 324 Hirschl & Adler Galleries, New York, 1984 - 1986 Private collection, 1986 exhibited

Hirschl & Adler Galleries, New York, American Masterworks on Paper, November 23, 1985 – January 4, 1986 l i t e r at u r e

Hirschl & Adler Galleries, New York, American Masterworks on Paper, November 23, 1985 – January 4, 1986, pp. 6, 46, no. 47, illus.

––––

The Red Maple, Lake George, is one of many paintings O’Keeffe executed which was derived from the landscape and flora around Lake George, where she spent many summers in the company of Alfred Stieglitz. In the 1920s, Lake George provided the subjects for her continued exploration of abstraction as reflected in landscape and natural forms.

GEORGIA O’KEEFFE (1887 - 1986) The Red Maple, Lake George, c. 1920 Oil on canvas 19 3/4 x 15 3/4 inches Signed on backing board in black ink: Georgia O’Keeffe; inscriptions on stretcher; signed and titled on the artist’s Abiquiu studio label fixed to backing board. p rov e n a n c e

Collection of the artist, Abiquiu, New Mexico Jacqueline Paley Greber, Colorado (purchased directly from the artist, 1964) (Spanierman Gallery, New York) (Vanderwoude Tananbaum Gallery, New York) Private collection, New York (purchased from the above, 1997) exhibited

New York, The Anderson Galleries, 1923, no. 53. l i t e r at u r e

Bry, Doris and Callaway, Nicholas, Georgia O’Keeffe: The New York Years, Alfred A. Knopf, New York, 1991. Illustrated in color, plate 32. Lynes, Barbara Buhler, Georgia O’Keeffe: Catalogue Raisonne Volumes I & II, Yale University Press, New Haven in association with the National Gallery of Art, Washington, D.C., and the Georgia O’Keeffe Foundation, Abiquiu, New Mexico, 1999, Volume I, Catalogue no. 310, illustrated in color, p. 168. Also, Vol II, Appendix III, O’Keeffe Exhibition, The Anderson Galleries, 1923 installation photo, figure 12, pg. 1112.

––––

BLANCHE LAZZELL (1878 - 1956) Abstract Composition, 1924 Mixed media 9 x 8 inches Signed and dated lower right: Blanche Lazzell 1924 p rov e n a n c e

Estate of the artist Private collection, New York n ot e

This work is accompanied by 4 preparatory drawings.

––––

PRESTON DICKINSON (1891 - 1930) Still Life, c. 1924 Oil on canvas 12 x 9 inches Signed lower left: Preston Dickinson p rov e n a n c e

Daniel Gallery, New York Private collection, Pennsylvania Private collection, Florida exhibited

Museum of Fine Arts, Florida, November 12, 2000 – January 14, 2001, An American Palette: Works from the Collection of John and Dolores Beck, traveled to Orlando Museum of Art, Florida, March 16 - May 26, 2002, and Greenville County Museum of Art, South Carolina, July 10, 2002 - September 8, 2002 l i t e r at u r e

Leeds, Valerie Ann, An American Palette: Works from the Collection of John and Dolores Beck, pgs 48 - 49. American Art Review, Col. XII, No. 6, November – December 2000, pg. 148 - 165 in color

––––

ALFRED HENRY MAURER (1868 - 1932) Flower Still Life, c. 1926 - 1928 Oil on canvas 30 x 20 inches p rov e n a n c e

Babcock Galleries, New York Private collection, New York Vanderwoude Tananbaum Gallery, New York Private collection, California (by 1992)

––––

ALFRED HENRY MAURER (1868 - 1932) Still Life with Roses in a Vase, c. 1926 Watercolor and gouache on paper 21 1/2 x 18 inches Signed upper left: A. H. Maurer p rov e n a n c e

Sale: Christie’s New York, March 27, 1981, Lot 582. Private collection, New York ––––

ALFRED HENRY MAURER (1868 - 1932) Still Life, c. 1928-31 Oil and gold leaf on gessoed panel 8 5/8 x 10 5/8 inches p rov e n a n c e

Hudson D. Walker, New York Private collection, New York exhibited

Salander-O’Reilly Galleries, New York, 1983, Alfred Maurer: Modernist Paintings. Hirschl & Adler Galleries, Inc., New York, November 1 - December 6, 1986, Modern Times: Aspects of American Art, 1907 - 1956. l i t e r at u r e

Salander-O’Reilly Galleries, New York, 1983, Alfred Maurer: Modernist Paintings, no 50a. Hirschl & Adler Galleries, Inc., New York, November 1 - December 6, 1986, Modern Times: Aspects of American Art, 1907 - 1956, pg 81, no. 72.

––––

JOHN MARIN (1870 - 1953) Off Deer Isle, Maine, 1928 Watercolor on paper 16 1/4 x 21 3/4 inches Signed and dated lower right: Marin ‘28 p rov e n a n c e

John Marin, Jr. Kennedy Galleries, New York Private collection, Texas, 1982 Barbara Mathes Gallery, New York Corporate collection, Texas, 1989 Private collection, New York, 2005 exhibited

San Antonio Museum of Art, Texas, Southwestern Bell Corporation: Selections of American Art, Sept. 2 - Nov. 7, 1993 The Museum of Fine Arts, Houston, Texas, American Images: The SBC Collection of Twentieth-Century American Art - Texas Tour , Nov. 9, 1997 - Jan. 25, 1998; traveled to Austin Museum of Art, Texas, Feb. 14, 1998 - May 10, 1990; Museum of South Texas, Corpus Christi, Texas, June 13 - Sept. 5, 1998; El Paso Museum of Art, Texas, Sept. 25 - Dec. 31, 1998 Nevada Museum of Art, Nevada, Communicating Nevada’s Vision: The Nevada Bell Collection, July 1 - Sept. 3, 2000; traveled to University of Nevada Las Vegas, Sept. 18 - Nov. 10, 2000 San Antonio Public Library, Texas, American Visions: The SBC Collection, June 8, 2003 - Aug. 12, 2004 l i t e r at u r e

American Images: The SBC Collection of Twentieth - Century Art. New York, Harry N. Abrams, Inc., 1996, p. 83, no. 26, illus. in color Reich, Sheldon. John Marin: Catalogue Raisonné. The University of Arizona Press, 1970, Part II, no. 28.13, page 590.

––––

JOHN MARIN (1870 - 1953) Region of Haverstraw on the Hudson, NY, 1925 Watercolor on paper 16 3/4 x 20 inches Signed lower right: Marin 25 On back of mount in pencil: title, date, circled no. 54 p rov e n a n c e

Estate of the artist Kennedy Galleries, New York Owings-Dewey Fine Art, New Mexico Nardin Gallery, New York Private collection exhibited

The Cleveland Museum of Art, Modern American Masters: Highlights from the Gill and Tommy LiPuma Collection, March 28, 2004 - July 18, 2004. l i t e r at u r e

Reich, Sheldon. John Marin: Catalogue Raisonné. The University of Arizona Press, 1970, Part II, no 25.80, page 558.

––––

ARTHUR DOVE (1880 - 1946) Sanding Machine, 1931 Oil on cradled panel 16 x 21 inches Signed lower right: Dove p rov e n a n c e

Downtown Gallery, New York Private collection, California, purchased from the above in 1964 l i t e r at u r e

Morgan, Ann Lee. Arthur Dove Life and Work, With a Catalogue Raisonné. Newark: University of Delaware Press, 1984, No. 31.16, pg. 196. n ot e

On the back of the frame is a label that reads: “Sanding Machine/ by Arthur G. Dove/ care of Alfred Stieglitz/ 509 Madison Avenue”

––––

OSCAR BLUEMNER (1867 - 1938) Blizzard, 1931 Watercolor and gouache on paper 4 3/4 x 6 3/8 inches Signed lower left: BLUMB

OSCAR BLUEMNER (1867 - 1938) South Braintree, Massachusetts, 1932 Watercolor on paper 4 1/2 x 5 5/8 inches p rov e n a n c e

p rov e n a n c e

Irma Rudin Fine Art, New York Simon Parkes, New York Hirschl & Adler Galleries, Inc., New York Private collection, Washington, DC Private collection, Florida, 1999

The artist J.B. Neumann, New York Mrs. J.B. Neumann Private collection, New York, 1968 - 1998 Private collection, Florida 1998 exhibited

exhibited

Fogg Art Museum, Harvard University, Massachusetts, Oscar Bluemner: American Colorist, October 11 - November 15, 1967, cat. no. 53 The Corcoran Gallery of Art, Washington, DC, Oscar Bluemner: Landscapes of Sorrow and Joy, December 10, 1988 - February 19, 1989, cat. no. 98, illus. in b&w, p. 67, traveled to The Amon Carter Museum, Texas, March 18 - May 14, 1989 and New Jersey State Museum, New Jersey, June 17 - September 3, 1989. Museum of Fine Arts, Florida, November 12, 2000 - January 14, 2001, An American Palette: Works from the Collection of John and Dolores Beck, traveled to Orlando Museum of Art, Florida, March 16 - May 26, 2002, and Greenville County Museum of Art, South Carolina, July 10, 2002 September 8, 2002.

Barbara Mathes Galley, New York, Oscar Bluemner, 1997. Museum of Fine Arts, Florida, November 12, 2000-January 14, 2001, An American Palette: Works from the Collection of John and Dolores Beck, traveled to Orlando Museum of Art, Florida, March 16-May 26, 2002, and Greenville County Museum of Art, South Carolina, July 10, 2002-September 8, 2002. l i t e r at u r e

Leeds, Valerie Ann, An American Palette: Works from the Collection of John and Dolores Beck pgs 34-35. American Art Review, Col. XII, No. 6, November – December 2000, pg. 148 - 165 in color.

l i t e r at u r e

Fogg Art Museum, Harvard University, Massachusetts, Oscar Bluemner: American Colorist, October 11 - November 15, 1967, cat. no. 53 Hayes, Jeffrey R. Oscar Bluemner: Landscapes of Sorrow and Joy. The Corcoran Gallery of Art, plate 98 pg 67. Leeds, Valerie Ann, An American Palette: Works from the Collection of John and Dolores Beck, pgs 34 - 35. American Art Review, Col. XII, No. 6, November December 2000, pg. 148 - 165 in color.

––––

OSCAR BLUEMNER (1867 - 1938) A House in the Night, 1929 Oil on panel 10 x 8 inches Signed with the artist’s monogrammed signature “O Bluemner” lower left. Also signed “Oscar Bluemner”, dated 1929, titled “A House in the Night” and numbered “11” twice on the reverse and on the frame p rov e n a n c e

Mr. and Mrs. John F. Goldsmith Sale: Sotheby’s, New York, Wednesday, May 23, 2007, pg. 74 Lot 43. Private collection, New York exhibited

Whitney Studio Galleries, New York, “Exhibition of Twenty New Oil Paintings on Panels by Oscar Bluemner”, Nov. 4 - Nov. 23, 1929, no. 11. Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York, Cornell Collections: A Celebration of American Art from the Collections of Alumni and Friends, Aug. – Nov. 1994, no. 67.

––––

OSCAR BLUEMNER (1867 - 1938) Study for ‘A Situation in Yellow’, 1933 Watercolor on paper 5 x 7 inches p rov e n a n c e

Estate of the artist Irma Rudin, New York Private collection, New York, c. 1999

This watercolor is a study for the painting of the same title in the collection of the Whitney Museum of American Art, New York.

––––

These drawings are studies for the painting Blue Day, 1930, in the collection of the Amon Carter Museum, Fort Worth, Texas.

OSCAR BLUEMNER (1867 - 1938) Untitled (study for ‘Blue Day’), 1918 Gouache on paper 4 x 5 3/4 inches p rov e n a n c e

Irma Rudin, New York Private collection, Florida, 1998

––––

OSCAR BLUEMNER (1867 - 1938) Untitled drawing (study for ‘Blue Day’), 1918 Pencil on paper 3 1/4 x 5 1/4 inches Initials on left edge: OB Date on right edge: 1918 p rov e n a n c e

Irma Rudin, New York Private collection, Florida, 1998 ––––

STUART DAVIS (1892 - 1964) Untitled (Nautical Forms), 1932 Gouache and traces of pencil on paper 23 1/2 x 20 3/4 inches p rov e n a n c e

The artist Estate of the artist (Grace Borgenicht Gallery, Inc., New York) Mrs. Brooke Blake, Texas, 1979 (Mary Lublin, New York) (Snyder Fine Art, New York, 1997) J. Donald Nichols, Tennessee, 1997 (Gary Snyder Fine Art, New York and Martha Parrish & James Reinish, Inc., New York) Private collection, Florida, 2000 exhibited

Rosa Esman Gallery, New York, Modern Master Drawings: Avery, Stuart Davis, Hofmann, de Kooning, Motherwell, Sept. 25-Oct. 25, 1973 as Composition, Gloucester. Minnesota Museum of Art, St. Paul, Minnesota, American Drawing 1927-1977, Sept. 6-Oct. 29, 1977, traveled to Henry Art Gallery, University of Washington, Seattle; Santa Barbara Museum of Art, Santa Barbara, California; National Gallery of Iceland, Reykjavik; Fine Arts Museum, Bordeaux, France; Spanish Museum of Contemporary Art, Complutense University, Madrid; Museo de Bellas Artes, Caracas, Venezuela; Museo Municipal de Artes Graficas, Maracaibo, Venezuela; Galerie de Arte Moderno, Santo Domingo, Dominican Republic; Museum of Arts and Sciences, National Autonomous University, Mexico City; Municipal Museum, Ciudad Juarez, Mexico. Wake Forest University, North Carolina, American Abstract Art of the 1930s and 1940s: The J. Donald Nichols Collection, Aug. 28-Oct. 11, 1998 Museum of Fine Art St. Petersburg, Florida, An American Palette: Works from the Collection of John and Dolores Beck, Nov. 12, 2000-Jan. 14, 2001 as Composition: Gloucester 12 (Nautical Shapes, Forms) traveled to Orlando Museum of Art, Orlando, Florida; Greenville County Museum of Art, South Carolina. l i t e r at u r e

Cummings, Paul. American Drawings: The Twentieth Century. New York: Viking Press, 1976, p. 91, illus. p. 91, as Composition: Gloucester 12 Cummings, Paul. American Drawing, 1927-1977. St. Paul: Minnesota Museum of Art, 1977, pp. 7, 16, cat. no. 17, as Untitled (Nautical Shapes). American Abstract Art of the 1930s and 1940s: The J. Donald Nichols Collection. Essays by J. Donald Nichols and Robert Knott. New York: Harry N. Abrams, in association with Wake Forest University, Winston-Salem, N.C., 1998, color illus. p. 42. American Art Review, Vol. XII, no. 6, Nov. - Dec. 2000, pg. 148-165. Leeds, Valerie Ann. An American Palette: Works from the Collection of John and Dolores Beck, pp. 16, 46, illus. p. 47, as Composition: Gloucester 12 (Nautical Shapes, Forms). Boyajian, Ani and Mark Rutkoski ed. Stuart Davis: A Catalogue Raisonné. New Haven: Yale University Press, 2007, Vol II, pp. 259, no. 546. n ot e

Other known titles: Composition, Gloucester; Composition: Gloucester 12; Composition: Gloucester 12 (Nautical Shapes, Forms); Untitled (Nautical Shapes)

––––

GEORGE AULT (1891 - 1948) Mantelpiece Composition, 1929 Oil on canvas 16 x 14 inches Signed and dated lower left: G.C. Ault ‘29 p rov e n a n c e

Vanderwoude Tananbaum Gallery, New York Françoise and Harvey Rambach, New Jersey, 1988 Private collection, Florida, 1999 exhibited

Vanderwoude Tananbaum Gallery, New York, George Ault, Paintings and Works on Paper, April 14 - June 4, 1988. The Montclair Art Museum, New Jersey, Precisionism in America 1915-1941: Reordering Reality, Nov. 20, 1994- Jan 22, 1995, no. 99, traveled to Norton Gallery of Art, Florida, 1995; Columbus Museum of Art, Ohio, 1995; Sheldon Memorial Art Gallery, Nebraska, 1995. The Butler Institute of American Art, Ohio, Masterpieces of American Modernism: The Rambach Collection, 1998, illus. Museum of Fine Arts, Florida, November 12, 2000 - January 14, 2001, An American Palette: Works from the Collection of John and Dolores Beck, traveled to Orlando Museum of Art, Florida, March 16-May 26, 2002, and Greenville County Museum of Art, South Carolina, July 10, 2002-September 8, 2002. l i t e r at u r e

Precisionism in America: Reordering Reality, New York: Harry N. Abrams Inc. for the Montclair Art Museum, 1994, p. 128, no. 99 Dr. Louis A. Zona and Professor Sam Hunter, Masterpieces of American Modernism: The Rambach Collection, Youngstown, Ohio: Butler Institute of American Art, 1998, illus. American Modernism: The Françoise & Harvey Rambach Collection, Gerald Peters Gallery, 1999, listed pg 258. American Art Review, Vol. XII, No. 6, November - December 2000, pg. 160 in color Leeds, Valerie Ann, An American Palette: Works from the Collection of John and Dolores Beck, pgs 20-21.

––––

GEORGE AULT (1891 - 1948) The Harbor of New York, 1940 Watercolor on paper 19 5/8 x 14 3/4 inches p rov e n a n c e

Dr. Louis Becker, New York by descent in the family Richard York Gallery, New York Private collection, 1981 exhibited

New York, Whitney Museum of American Art, Downtown Branch at Federal National Memorial: Lower Manhattan from Street to Sky, February 23 - April 30, 1982, no. 2. l i t e r at u r e

New York, Whitney Museum of American Art, Downtown Branch at Federal National Memorial: Lower Manhattan from Street to Sky, February 23 - April 30, 1982, catalogue no. 2.

––––

WERNER DREWES (1899 -1985) Winterlich, 1935 Oil on canvas 33 x 43 3/4 inches Inscribed on the verso: Drewes Composition No (Winterlich)/ 1935 - 36/ 35 p rov e n a n c e

Private collection, New York Martin Diamond Fine Arts, New York Private collection, 1989

––––

A.E. GALLATIN (1881 - 1952) N o . 125, 1938 Oil on canvas 20 x 30 inches Signed and dated on verso: a.e. Gallatin/1938/Dec. 1949 p rov e n a n c e

Estate of the artist Zabriskie Gallery, New York Ahmet Ertegun, New York Hirschl & Adler Galleries, New York Bryce Bannatyne Gallery, California (Martha Parrish & James Reinish, Inc., New York) Private collection, New York exhibited

Berkshire Museum, Pittsfield, MA, 1939 Jacques Seligmann & Co., New York, Recent Paintings by Gallatin, Morris, Shaw, n.p., n.n., 1939. The Arts Club of Chicago, Illinois, Recent Paintings by Gallatin, Morris, Shaw traveled to San Francisco Museum of Art, California; Honolulu Academy of Arts, Hawaii; Seattle Art Museum, Washington, 1940-41, No. 6, 7, or 8 as Composition. Hirschl & Adler Galleries, New York, New York Cubists: Works by A.E. Gallatin, George L.K. Morris, and Charles G. Shaw from the Thirties and Forties, January 16-February 27, 1988, No. 8. l i t e r at u r e

Hirschl & Adler Galleries, New York, New York Cubists: Works by A.E. Gallatin, George L.K. Morris, and Charles G. Shaw from the Thirties and Forties, January 16-February 27, 1988, No. 8, pg. 12.

––––

On the Beach belongs to a group of figurative paintings that Hartley produced late in his life. With the German paintings, they are among his boldest and most daring works and are considered the culmination of his career. The inspiration for many of these paintings was the sunbathers Hartley observed at Old Orchard Beach, near Saco and Prouts Neck, Maine. MARSDEN HARTLEY (1877-1943) On the Beach, 1940 Oil on masonite 22 x 28 inches p rov e n a n c e

Estate of the artist (Paul Rosenberg & Co., New York) Wright Ludington, Santa Barbara, California, 1946-1976 (Sotheby Parke-Bernet, New York, April 29, 1976, no. 183) Suzanne Vanderwoude, Great Neck, New York Hirschl & Adler Galleries, New York Barbara & Jon Landau, New York, December 1984- July 1999 Salander O’Reilly Galleries, New York (Michael Altman Fine Art & Advisory Services, LLC., New York) Private collection, New York exhibited

Post Art Gallery, Long Island University, Greenvale, New York, Marsden Hartley 1877-1943, 1977, p. 27, no. 40, illus. Whitney Museum of American Art, New York, Marsden Hartley, 1980-1981, pp. 128, pl. 60, 220, no. 94; traveled to Art Institute of Chicago, Chicago, Illinois; Amon Carter Museum of Western Art, Fort Worth, Texas; University Art Museum, University of California, Berkeley, California Hirschl & Adler Galleries, New York, The Art of Collecting, March 23 - April 21, 1984, p. 61, illus. Salander-O’Reilly Galleries, Inc., New York, Marsden Hartley: The Late Figure Works, June 4-30, 1990, no. 13, illus. Wadsworth Atheneum Museum of Art, Hartford, Connecticut, Marsden Hartley, January 17 April 20, 2003, no. 82, p. 319, illus. p. 231; traveled to The Phillips Collection, Washington, D.C., June 7 - September 7, 2003; The Nelson-Atkins Museum of Art, Kansas City, Missouri, October 11, 2003 - January 11, 2004 Whitney Museum of American Art, New York, American Legends: From Calder to O’Keeffe, 2013 - 2014. l i t e r at u r e

Scholz, Dieter, ed. Marsden Hartley the German Paintings, 1913-1915, Nationalgalerie Staatliche Museen, Berlin, 2014, illus. pg.16.

Offered in association with Meredith Ward Fine Art

––––

THOMAS HART BENTON (1889 - 1975) Threshing Rice, c. 1926 Watercolor and ink on paper 12 1/4 x 20 inches Sheet 15 x 22 1/4 inches Signed lower right: Benton p rov e n a n c e

Bernard Danenberg Galleries, Inc., New York Private collection, California Private collection, California

––––

THOMAS HART BENTON (1889 - 1975) Buffalo River (Canoe with Three Men), 1973 Watercolor on paper 10 x 13 1/2 inches Signed and dated lower right: Benton 73 p rov e n a n c e

Thomas Hart Benton and Rita P. Benton Testamentary Trust, Missouri exhibited

Morris Museum of Art, Augusta, Georgia, On The Road with Thomas Hart Benton: Images of a Changing America, February 12 - May 10, 1998.

––––

MILTON AVERY (1885 - 1965) Still Life, 1949 Oil on canvas board 17 15/16 x 23 15/16 inches Signed and dated lower left: Milton Avery 1949 p rov e n a n c e

The artist’s estate Theo Waddington Gallery, Canada, acquired from the above Sale: Christie’s, New York, March 16, 1990, lot 396 Private collection, New York Private collection, California

––––

MILTON AVERY (1885 - 1965) Untitled (Still Life), c. 1940s - 1950s Watercolor 21 x 14 inches Signed lower right: Milton Avery p rov e n a n c e

Loring Gallery, New York Martin and Lorraine Beck, New York, 1980s by descent in the family

––––

LEE MULLICAN (1919 - 1998) Weather Theory, 1951 Oil on canvas 40 x 17 inches Signed and dated on verso: L. Mullican 1951 p rov e n a n c e

Willard Gallery, New York Mr. and Mrs. Sigmund Kunstadter, Illinois Private collection, Maryland exhibited

Whitney Museum of American Art, 1952 Annual of Contemporary American Paintings, November 6,1952 - January 4, 1953.

After graduating from art school, Lee Mullican was drafted into the army and assigned to a topographical battalion; his duty was to make maps based on aerial photographs. In Weather Theory, Mullican conflates his interest in the aerial views with navigational references. Like his other works from this time period, Weather Theory is scored with vortexes of toothpick-sized, palette knife-produced rays, creating a sense of spirituality and abstraction.

RICHARD STANKIEWICZ (1922 - 1983) Bouquet, late 1950s Welded scrap metal 29 1/4 x 11 1/2 x 12 inches p rov e n a n c e

(Zabriskie Gallery, New York) Private collection, New York

––––

RICHARD STANKIEWICZ (1922 - 1983) Untitled (1970-4), 1970 Welded steel 33 1/2 x 21 x 21 inches Signed and dated underside of base RS/70-4 p rov e n a n c e

The artist (Zabriskie Gallery, New York) Private collection, New England, 1984

––––

INDEX OF ARTISTS

Ault, George, 42-43, 44-45 Avery, Milton, 54, 55 Benton, Thomas Hart, 52, 53 Bluemner, Oscar, Cover; 32, 33, 34-35, 36-37, 38-39 Davis, Stuart, 40-41 Dickinson, Preston, 20-21 Dove, Arthur, 30-31 Drewes, Werner, 46-47 Gallatin, A. E., 48-49 Hartley, Marsden, 50-51 Lazzell, Blanche, 18, 19 Marin, John, 26-27, 28-29 Maurer, Alfred, 22-23, 24, 25 Mullican, Lee, 55-56 Nadelman, Elie, 6-7 O’Keeffe, Georgia, 16-17 Stankiewicz, Richard, 56, 57 Stella, Joseph, 14-15 Storrs, John, 12-13 Weber, Max, 4-5 Zorach, William, 8-9, 10-11

––––

Design: ericbakerdesign.net