A Place at the Table: Living with Art and Each Other

A PLACE AT THE TABLE

LIVING WITH ART AND EACH OTHER

BAKER SCHORR FINE ART MODERN AND CONTEMPORARY

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A PLACE AT THE TABLE

LIVING WITH ART AND EACH OTHER

BAKER SCHORR FINE ART MODERN AND CONTEMPORARY

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A PLACE AT THE TABLE

LIVING WITH ART AND EACH OTHER

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ast year at this time I was anxiously awaiting the

The most common comment Lauren and I receive in the

completion of a carefully planned gallery. Each

gallery is, “It’s so peaceful in here.” I hope so. I suspect

decision, from the color of white on the walls to the

that feeling comes partly from being in the midst of all

finish on the floors, was monumental. The pristine space,

that soul-searching creativity and inspiration and from

though it echoed, empty, was charged with anticipation

the heart of a gallerist doing what she loves. The second

of the explosion of color and movement, shape and form

most frequent comment is, “I can’t believe this is in

that would soon give it life and purpose. I would be living

Midland, Texas.” We are so happy to be a Texas resource

with art, quite literally, and happily, every day forward. The

for art of the highest quality. BSFA features twentieth

pleasure of selecting and curating the art, I envisioned.

century modern art, with a focus on American abstract

What I didn’t foresee was who would be walking through

painters; and contemporary art, including both twentieth

the finished gallery doors.

century works and works by current practicing artists.

It has been a year rich with encounters. First there were the various workers, finishing the last details, or making a repair, whom I would catch standing in front of a painting, spontaneously telling me what they saw in it and how it made them feel.

There was the young couple who had never before set foot in a gallery or taken time to look at art. They found it so engaging, they stayed half the afternoon, learning all they could and in the end making a first-ever purchase.

There have been serious collectors giddy with enthusiasm over the caliber of the works in the gallery and students who didn’t expect such a warm welcome.

Young professionals and curious children, artists and grandmothers, book clubs and neighbors, designers and friends and we’ve all been listening to jazz and soaking art in through our eyes and souls. Seeing art is a more communal pursuit than I knew before. While it is deeply personal, it is shared, as you would a meal, and the table is big enough for everyone.

As I study the lives and stories of the artists whose work I

Our collection also includes nineteenth century American and European paintings. On the pages that follow is a sampling of Baker Schorr’s inventory and a taste of what you will see at our 2019 Fall Catalog Show. Additionally, in case you haven’t visited yet, the catalog is a visual tour of our gallery space and our work.

In addition to group and solo shows and receptions throughout the year, BSFA’s 2019-2020 program includes art appreciation nights, lectures on collecting, gallery talks, artist lectures and other special events. There is something for everyone.

The table has been significant in my life and the life of my family. It’s where we come together and do our living: connecting with others, sharing our views and learning about the world. Gerhardt Richter says, “Picturing things, taking a view, is what makes us human.” I hope Baker Schorr continues to be a place where we celebrate living with art and each other.

Kathryn Schorr Baker Schorr Fine Art, Midland, Texas

carry, I am learning that making art is communal as well.

Friendships and comradery between artists, relationships between artist and gallerist, and gallerist and collector are fundamentally important to the creative process, and historically, to the art world as a whole.

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MODERN The Modern Art movement emerged in 1872 with the emphasis on color, light and blurred brushstrokes of Impressionism. French painters like Monet, Degas and Renoir were at the forefront of this new era when artists were reinterpreting and challenging the rules of realistic academic painting.

The Modern art genre included several major movements including Post-impressionism, Fauvism, Expressionism, Cubism, Surrealism, and by the middle of the twentieth century, Abstract Expressionism. Abstract expressionists abandoned figurative styles in favor of an emphasis on color, form, composition, emotion, and the creative process.

HENRI CHARLES MANGUIN French, 1874-1949 VI EW FROM TH E TERR ACE, 1926-192 7 Oil on canvas Signed lower left: Manguin 21 3/4 x 18 1/4 inches Framed: 30 3/4 x 27 1/4 inches Provenance: Marcel Bernheim, Paris (acquired from the artist in February 1927) Private Collection, Paris

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enri Charles Manguin was a French painter associated with Fauvism, working alongside such artists as Henri Matisse, André Derain, and Raoul Dufy. He most notably employed pastel hues to depict beach scenes and bathers on the French Riviera. Manguin studied under Gustave Moreau at the

École des Beaux-Arts along with Matisse and Charles Camoin. He travelled travelled throughout France with fellow Fauve artist Albert Marquet, and began exhibiting at the Salon des Indépendants. Known for his “joie de vivre”, the artist spent much of his later life living in the south of France, attracted by the light and an enthusiasm for landscapes and seascapes.

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“Beauty is ever present like the light of the sun— even in the most humble object…”

GENNARO BEFANIO Italian, 1866-1937 VUE DU LOUVRE Oil on board Signed lower right: G. Befanio 10 1/2 x 13 3/4 inches Framed: 16 3/4 x 20 1/4 inches Provenance: Greenwich Gallery, Greenwich, Connecticut Private Collection, New Canaan, Connecticut

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—Soren Emil Carlsen

SOREN EMIL CARLSEN American, 1853-1932

Provenance: The Artist, c. 1908 Luella May (Ruby) Carlsen, the artist’s wife, 1932 Estate of Florence B.G.S. Carlsen, the artist’s

L AKESI DE, CI RCA 1908

daughter-in-law, Falls Village, Connecticut, 1966

Oil on canvas

Sotheby’s, New York, November, 1995

38 x 34 inches

Hammer Galleries, New York

Framed: 45 x 41 1/2 inches

Private Collection, Wilton, Connecticut Greenwich Gallery, Greenwich, Connecticut Private Collection, Mr. and Mrs. Howard Coale, Stamford, Connecticut

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ABSTRACT EXPRESSIONISM

describes a movement in American painting

that flourished in New York City after World War II, also known as the New York School.

These artists used abstraction, often on large-scale canvases, to convey emotional content. Emphasizing the physical interaction of artist, paint and canvas, abstract expressionists conveyed meaning through the color, texture and application of the paint itself. Given the cultural climate of the time, the movement centered on unfettered artistic freedom and had resonance in many mediums including drawing and sculpture.

Within Abstract Expressionism were two broad groupings—Action painters, led by artists like Jackson Pollock and Willem de Kooning, who attacked their canvases with expressive gestural marks and brush strokes; and Color Field painters like Mark Rothko and Clyfford Still, whose work was characterized by large areas of flat color, sometimes evoking a meditative response from the viewer.

JACK ROTH American, 1927-2004 UNTITLED Acrylic on canvas, 1976 80 x 69 inches Signed and dated: ‘76 verso

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JACK ROTH American, 1927-2004 UNTITLED Acrylic on canvas 31 x 31 inches Estate stamp on recto

UNTITLED Acrylic on canvas 31 x 31 inches Estate stamp on recto

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J

ack Roth was an artistic peer of Jackson Pollock, Robert Motherwell, Richard Diebenkorn, and Mark Rothko, among

other first and second generation Abstract Expressionists, and exhibited alongside them. In 1954 his work was shown in the Younger American Painters exhibit at the Guggenheim Museum of Art, which was one of the first major museum debuts of the Abstract Expressionist movement. Roth later taught art and simultaneously pursued his Doctorate in Mathematics at Duke University.

Art in America named him the “new talent� of 1963, and MoMA purchased a number of his paintings for their permanent collection.

In 1978 he gained representation by the prestigious Knoedler Gallery that carried Alexander Calder, Franz Kline, and Frank Stella.

Over the decades of his career, Roth spent every spare moment painting, working through unique manifestations of action painting, negative line, and color field painting.

UNTITLED Acrylic on canvas 31 x 31 inches Estate stamp on recto

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GEORGES DANIEL DE MONFREID French, 1856-1929 F L O R A L S T I L L L I F E A N D B R A S S P L AT T E R ,

Opposite page:

EZIO MARTINELLI American, 1913-1980

CI RCA 1905-1909

UNTITLED

Oil on canvas

Oil on canvas, 1949

Signed lower right: Monfreid

60 x 48 inches

21 1/2 x 25 3/4 inches

Signed upper right and verso

Framed: 29 x 33 1/2 inches Provenance: Sotheby’s London, Impressionist & Modern Paintings, May 24, 1989, Lot 24 Hammer Galleries, New York Private Collection Newtown, Connecticut

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HENRY MORET French, 1856-1913 P AY S A G E À L A C H A U M I È R E B R E T O N N E , C I R C A 1 9 1 0 Oil on canvas Signed lower left: Henry Moret 23 3/4 x 29 inches Framed: 32 1/4 x 37 1/2 inches Provenance: Private Collection, Brussels

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GROS TEMPS, 1898 Oil on canvas Signed and dated lower right 25 1/2 x 36 1/4 inches Framed: 34 x 45 inches Provenance: Abels Gemälde-Galerie, Cologne (label verso) Private Collection, Rhineland, since 1961 Accompanied by a photo-certificate of authenticity from Jean-Yves Rolland dated 13 September 2018.

This work will be included in the artist’s catalogue raisonné.

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DOUG ARGUE American, b. 1962 UNTITLED Oil on canvas, 2019 72 x 70 inches Signed verso Provenance: Commission from the Artist

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oug Argue’s paintings are best described as palimpsests-- something reused or altered but still bearing visible traces of its

earlier form. His work is characterized by layers of radiant brushwork and scrims of crisp stenciled letters which envelope the entire canvas. Argue explains, “In any given moment there is a multitude of histories. I’m using atomized letters, taken from various texts, that come from different historical moments…and floating them throughout the paintings like falling leaves.” His paintings suggest the passage of time, light, motion, and how the past informs the present.

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LUIGI LOIR French, 1865-1916 LA SEINE À ASNIÈRES Watercolor on paper Signed lower right: Loir Luigi 7 x 10 1/4 inches Framed: 16 3/4 x 19 inches Provenance: Private Collection, France Sotheby’s Paris, June 27, 2013, Lot 138

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ISMAEL DE LA SERNA Spanish, 1898-1968 H E A D A N D G U I TA R Oil on board, 1927 32 1/8 x 25 5/8 inches Framed: 41 x 35 x 2 inches Signed and dated lower right Provenance: Hammer Galleries, New York Collection of internationally renowned violin expert Jacques Francais and television actress, Broadway, film and cabaret star Lynne Charnay Francais

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ISMAEL DE LA SERNA Spanish, 1898-1968 ST I L L L I F E W I T H G U I TA R Oil on canvas, 1930 31 1/2 x 23 5/8 inches Framed: 40.5 x 33 x 3 inches Signed and dated lower left Provenance: Hammer Galleries, New York (stamp on verso stretcher) Collection of internationally renowned violin expert Jacques Francais and television actress, Broadway, film and cabaret star Lynne Charnay Francais

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ROBERT KELLY American, b. 1956 TREE OF CONSANGUINITY XVI ( O U R L A N D S C A P E ), 1 9 9 7 Oil, ink, crayon and paper collage on canvas 60 1/8 x 45 inches Signed, dated 1997 and titled verso Provenance: Anne Reed Gallery, Ketchum, Idaho Private Collection

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AL HELD American, 1928-2005 65-A17 India ink on paper, 1965 22 1/2 x 35 inches Provenance: Andre Emmerich, NY General Electric Corporate Art Collection

Opposite page:

CLAUDE BENTLEY American, 1915-1990 UNTITLED Oil on canvas, 1961 72 x 43 inches Signed and dated lower left Provenance: Collection of Marlene Baumgarten, Chicago

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HUNT SLONEM American, b. 1951 MYNAHS Oil on canvas, 1988 48 1/4 x 48 1/4 inches Signed, titled and dated verso Provenance: The Artist Private Collection, Montauk, New York

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“A picture lives by companionship, expanding and quickening in the eyes of the sensitive viewer.”

—Mark Rothko

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JEAN POUGNY French, 1894-1956 LA PLAGE Oil paper on board Signed lower right: Pougny 6 x 16 1/4 inches Framed: 12 x 22 inches Provenance: Purchased in the 1950’s by Mark Rosenhaft By descent in the family

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GUSTAVE LOISEAU French, 1865-1935 L’ A V A N T P O R T D E D I E P P E , T E M P S G R I S , 1 9 2 6 Oil on canvas

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rench painter Gustave Loiseau was best known for his luminous Post-Impressionist landscapes

utilizing crosshatched strokes to

Signed lower right: G. Loiseau

describe light and forms. His work is

20 x 24 inches

similar to first generation impressionists

Framed: 26 3/4 x 31 inches

such as Claude Monet and Alfred

Provenance: David Findlay Galleries, New York (label verso)

Sisley. Loiseau joined the Pont-Aven

Private Collection, Greenwich, CT, purchased from the above in 1981 By descent within the family, to present Note: This painting has been reviewed by M. Didier Imbert and will be

artist’s colony in Brittany where he became close friends with Paul Gauguin

included in his forthcoming catalogue raisonné on Loiseau’s work.

and honed his en trellis technique of

A certificate accompanies this work.

crosshatching.

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ADOLF RICHARD FLEISCHMANN German / American, 1892-1968 UNTITLED Oil on canvas, 1962 24 x 20 inches Signed and dated lower right Provenance: Private Collection, Prague

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LOUIS ABEL-TRUCHET French, 1857-1918 A L’ O P E R A Oil on canvas Signed lower right 21 1/2 x 25 3/4 inches Framed: 26 x 30 1/2 inches Provenance: Private Collection, Paris, France

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“I’ve finally gotten to the point where I let the painting take me away.”

—Cleve Gray

CLEVE GRAY American, 1918-2004 RAQIA Acrylic on canvas, 1994 45 x 72 inches Signed and dated verso Provenance: Private Collection, CT

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RALPH DELLA-VOLPE American, 1923-2017 ISLAND REFLECTIONS ON THE LAKE Matte varnish on canvas, 1966 42 1/4 x 48 1/4 inches Signed lower left

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CHET RENESON American, b. 1934 COMING ASHORE IN THE RAIN Watercolor on paper, 1983 22 x 29 1/2 inches Signed lower left Provenance: Painted by the artist during a salmon fishing trip in 1983, hosted by L.L. Bean executives

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MARCH AVERY American, b. 1932 NICE PLAGE Oil on canvas, 1995 24 x 36 inches Signed and dated lower right Provenance: Marin-Price Galleries, Bethesda, MD Opposite page:

NICE Oil on canvas, 2005 60 x 38 inches Signed and dated lower right Provenance: Marin-Price Galleries, Bethesda, MD

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orn into a family of artists, Milton Avery, her father, and Sally Michel Avery, her mother, March Avery began making her own work daily by age two. As she recalls, “My father did not teach me.

He was a very non-verbal painter. I would show him one of my paintings and all he would say was, ‘paint another’.”

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ANDRÉ BRASILIER French, b. 1929 L E PAV I L L O N R OYA L ( B O I S D E B O U L O G N E ), 1 9 6 5 - 6 6 Oil on canvas Signed lower right 23 1/2 x 28 5/8 inches Framed: 33 3/4 x 39 inches Provenance: Collection of David Barrett, New York Note: Alexis Brasilier has confirmed the authenticity of this work.

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is work typified by breezy lyricism, Andre Brasilier’s real-life subjects are transformed by dream-like settings. His canvasses are a blend of abstraction, expressionism, and something distinctly his own. Born in Saumur France to an

artistic family, Brasilier attended the École des Beaux-Arts at age 20. He takes inspiration from Japanese prints, with his paintings often featuring pastoral scenes, the sea, women, musician, and horses. Brasilier’s paintings portray a peaceful word, with delicate compositional and color harmonies and soft light.

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JOHN STEPHAN American, 1906-1995 D I S C # 9, 1 9 7 1 Acrylic on canvas 62 x 60 inches Signed, titled, dated ’71 and estate stamped verso Provenance: The Estate of the Artist

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JANE PETERSON American, 1876-1965 PA N S I E S I N A Y E L L O W VA S E Oil on canvas, c. 1920 24 x 24 inches Signed lower right Provenance: Private Collection Western Massachusetts

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CARL HOLTY American, 1900-1973 STILL LIFE WITH HOUSEPLANTS Oil on masonite 36 x 48 inches Signed lower right Provenance: Property from the estate of Francis M. Bator, Massachusetts.

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FERDINAND DU PUIGAUDEAU French, 1864-1930 B E R G E R ET S E S M O UTO N S AU S O L E I L C O U C H A NT Oil on canvas Signed lower left: F. du Puigaudeau 25 1/2 x 36 inches Framed: 33 x 42 1/2 inches Provenance: Private Collection, Nantes, France

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JAMES HIROSHI SUZUKI American, b. 1932 S P R I N G G L O R Y, 1 9 5 7 Oil on canvas Signed and dated verso 32 x 30 inches Framed: 37 1/2 x 35 1/2 inches Provenance: Private Collection, Boca Raton, FL

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VICTOR JEAN BAPTISTE BARTHELEMY BINET French, 1849-1924 VUE DE LA SEINE, VILLAGE DUCLAIR Oil on panel 28 1/2 x 45 1/2 inches Framed: 36 1/2 x 53 1/2 inches Provenance: Private Collection, Stamford, Connecticut

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JOHN LITTLE American, 1907-1984 Opposite page:

LONGACRE, 1961 Collage on board

RYAN JOHNSON

22 x 30 inches

American, b. 1993

Signed, dated lower left

GOOSE CREEK TRAIL

& signed, dated verso

OR ‘PICNIC’ Oil and acrylic on gessoed paper 42 x 29 3/4 inches

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TINA FUENTES American, b. 1949 M A R C A N D O E L R E L Ă M PA G O I I , 2 0 16 Acrylic and oil on board 48 x 48 inches

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CONTEMPORARY Contemporary Art refers to art— painting, sculpture, photography, installation, performance, and video art—produced in current day. Many art historians consider the late 1960s (the end of Modern Art or Modernism) to be the starting point of the Contemporary Art genre. In reaction to the preceeding Modern Art movement, Pop Art emerged.

Pioneered by artists like Andy Warhol and Roy Lichtenstein, pop artists were interested in portraying mass culture. Other contemporary art movements include Photo Realism, Conceptualism, Minimalism, Performance Art, Installation Art, Earth Art, and Street Art.

VUELO DEL HALCÓN: NARANJA, 2015 Mixed media acrylic on paper 24 x 24 inches

VUELO DEL HALCÓN: AZUL, 2015 Mixed media acrylic on paper 24 x 24 inches

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ELLEN HECK American, b. 1983 TWO Aquatint and drypoint 22 x 15 inches Signed lower right and titled lower left

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GIRL WEARING A MOBIUS STRIP A S A H AT ( A S T R A W H AT ) Woodcut, drypoint and hand painting 29 1/2 x 22 1/2 inches Signed lower right and titled lower left

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HELEN LUNDEBERG American, 1908-1999 WI N DBLOWN, 1964 Oil on canvas, 40 x 60 inches Signed and dated Jan. 1964 verso Titled on label Provenance: Ankrum Gallery, Los Angeles, CA (label verso)

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ALEXANDER LIBERMAN Ukrainian, 1912-1999 UNTITLED Aluminum on steel base, 1964 37 x 24 x 6 inches Provenance: Private Collection, Beverly Hills, California

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“Curves are so emotional.”

HAROLD KRISEL American, 1920-1995 UNTITLED Oil on wood, 1956 26 1/2 x 51 1/2 inches Signed and dated lower right

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—Piet Mondrian

JOSEF ONGENAE Belgian, 1921-1993 VI NA I, 1963 Oil on masonite 39 x 39 inches Signed and dated 1963 verso Provenance: Private Collection, Brussels, Belgium

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FRED TROLLER Swiss/American, 1930-2002 UNTITLED Pastel on paper, 2000

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red Troller was an artist and designer who helped popularize a minimalist typographic style known as Swiss New Typography in the United States in the

1960s. Troller’s personal interpretation of the style was

40 x 26 inches

characterized by manipulated geometric forms, juxtapositions

Signed and dated recto

of large and small lettering, and visual puns formed by the

Provenance: The Estate of the Artist

fonts themselves.

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Born in Zurich, Switzerland in 1930, Troller graduated from the Zurich School of

UNTITLED

Design and eventually moved to New York as a graphic designer. He enjoyed

Pastel on paper, 2002

a long career as an educator, lecturing and teaching at major design schools including Cooper Union, School of Visual Arts and Rhode Island School of Design.

In addition to his prolific professional career, Troller was also a talented painter

40 x 26 inches Signed and dated recto Provenance: The Estate of the Artist

and a sculptor. Among his most important works, are mask drawings inspired by the gift of an antique African mask.

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“I’ve handled colour as a [person] should behave.

You may conclude that I consider ethics and aesthetics as one.”

JOSEF ALBERS American/German, 1888-1976 T E N VA R I A N T S Screen prints in colors (10), 1966 17 3/4 x 17 3/4 inches (framed, each) Each print titled Variant I-X and numbered 198-200 in lower left margin in pencil Each monogrammed A and dated ‘66 in lower right margin in pencil Printed at Sirocco Screenprints, New York Published by Ives-Sillman, Inc., New Haven Provenance: Private Institution’s Collection, Ohio

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—Joseph Albers

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ERNIE BARNES American, 1938-2009 F O O T B A L L P L AY E R S Oil on canvas, 1966

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rnie Barnes was an American painter, actor, and professional football player best known for his depictions of figures in motion.

His compositions, often filled with crowds of people, were intended

to promote racial harmony by showing people from different backgrounds

32 x 38 inches

standing side-by-side. “I am bound by the strongest ties with the organic

Signed lower right

life of all people,” the artist has said. “Being an artist has created in me

Provenance:

the desire to continually affirm beauty.”

Private Collection, Los Angeles

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FRED TROLLER Swiss/American, 1930-2002 UNTITLED Gouache on paper, 1979 31 x 22 3/4 inches

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PAUL BURLIN American, 1886-1969 B - 2 ( J OY ) Oil on canvas, 1957 40 x 50 inches Signed upper left

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ROUTE 66 TO NOWHERE Oil on canvas, 1957 72 x 78 inches Signed and dated lower left

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LEONARD EDMONDSON American, 1916-2002 UNTITLED Oil on board, 1947 23 x 28 3/8 inches Signed and dated lower right Opposite page:

CARL HOLTY

Provenance: Original label to San Francisco Museum of Art, 1950

American, 1900-1973 U N T I T L E D ( B L U E , G R AY, G R E E N ), 1 9 6 4 Oil on canvas 70 x 60 inches Framed: 70 3⁄4 x 60 3⁄4 inches

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FRANÇOIS AUBRUN French, 1934-2009 UNTITLED #466, 1987 Signed and dated lower right 23 5/8 x 23 5/8 inches

U N T I T L E D # 4 9 0, 1 9 8 2 Signed verso 25 1⁄2 x 25 1⁄2 inches Framed: 27 1⁄2 x 27 1⁄2 inches

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UNTITLED #692, 2005 Signed verso 51 x 38 inches Framed: 53 x 40 inches

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“One ought, every day at least, to hear a little song, read a good poem, see a fine picture, and, if it were possible, to speak a few reasonable words.”

— Johann Wolfgang von Goethe

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“The whole world, as we experience it visually, comes to us in the mystic realm of color.”

—Hans Hofmann

JOHN LITTLE American, 1907-1984 KAI L AS, 1983 Oil on paper laid down on canvas 23 x 31 inches

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ALLEN TUCKER American, 1866-1939 FAU V I S T L A N D S C A P E , 1 9 16 Oil on canvas Signed and dated lower right 25 x 30 inches Framed: 33 x 38 inches Provenance: The Art Students League Allen Tucker Memorial Private Collection, Ridgefield, CT

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JACK ROTH American, 1927-2004 N EW SYNTH ESIS #26 Acrylic on canvas, 1981 40 x 31 inches Signed and dated ‘81 verso

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ROBERT BERLIND American, 1938–2016 I NTERSECTION, 1981 Oil on canvas 60 x 60 inches

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ALFRED EMILE LEOPOLD STEVENS Belgian, 1823-1906 L’ É T É À D E A U V I L L E Oil on cradled panel Signed lower left 17 1/8 x 14 inches Framed: 23 1/2 x 20 1/4 inches

GEORGES STEIN French, 1870-1955 LONDON, WESTMINSTER BRIDGE Oil on canvas Signed lower center 10 3/4 x 16 1/4 inches Framed: 17 3/8 x 22 7/8 inches Provenance: Private collection, Jacksonville, Florida

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JOHANN BERTHLESEN American, 1883-1972 U N T I T L E D, 19 5 0 S Oil on canvas 16 x 20 inches Signed lower right Provenance: Private Collection, Indiana

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“Develop your senses— especially learn how to see.

Realize that everything connects to everything else.”

—Leonardo da Vinci

JOHN WHITE ALEXANDER American, 1856-1915 U N T I T L E D ( STA N D I N G WOMAN READING A LETTER, ONTEORA S T U D I O ), C . 1 9 1 2 Oil on canvas 40 x 21 1/2 inches

Opposite page:

VALERIE JAUDON American, 1907–1984 P O RT G I B S O N , 19 74 Oil on canvas, 72 x 72 inches Signed, dated 1974 and titled verso Provenance: Private Collection, New York

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Cover image: Andre Brasilier, Le Pavillon Royal (Bois de Bologne), 1965-66, see pg 38-39 Page 1: Francois Aubrun, Untitled #466, 1987, see pg 68-69 Page 2: Kathryn Baker Schorr at Baker Schorr Fine Art Above: Kathryn Schorr and Lauren Roybal Gallery photographs by Melissa Grimes Design by Lilla Hangay, San Diego, CA Printing: One Touch Printing, Austin TX Copyright 2019 All rights reserved. No portion of this catalog may be reproduced, stored in any form, of transmitted by any means, without written permission from Baker Schorr Fine Art.

Kathryn Schorr, owner/director Lauren Roybal, gallery associate Special thanks to Melissa Grimes for curatorial assistance and photography

Ally Village 200 Spring Park Drive, Suite 105 Midland, Texas 79705 432.687.1268 info@bakerschorrfineart.com bakerschorrfineart.com

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