__MAIN_TEXT__

Page 1

ART & SPIRITUALITY

• A M U LT I - C U LT U R A L S E L E C T I O N •


ART & SPIRITUALITY • A M U LT I - C U LT U R A L S E L E C T I O N •

OCTOBER 9TH NOVEMBER 13TH, 2020

FRONT COVER: ELIJAH PIERCE (1892-1984) 1) ANGEL (WITH RUBY BROWN'S FAMILY), 1966


PATROCINO BARELA GUSTAVE BAUMANN ROMARE BEARDEN JAMES CASTLE LAURA GILPIN REBECCA JAMES GENE KLOSS ELIJAH PIERCE QUAH-AH JOSE D. ROYBAL ALICE SCHILLE AWA TSIREH LAURA GILPIN (1891 - 1979) 2) THE LITTLE MEDICINE MAN, 1932

PO-QUI-TSIREH


GUSTAVE BAUMANN (1881-1971)

3. EL VELORIO 1927

4


INTRODUCTION Keny Galleries’ exhibition entitled, Art and Spirituality: A Multi-Cultural Selection includes work by exceptional artists created from the 1820’s through 1992. The work has been chosen from diverse cultures including African-American, Hispanic-American, Native American and Euro-American artists. These nationally recognized artists have created artistic expressions of enduring resonance in their works related to specific religious beliefs, rituals and unique expressions of non-denominational spirituality. Our exhibition is in honor of the one person exhibition, Elijah Pierce’s America, at the prestigious Barnes Foundation in Philadelphia which opened September 27, 2020 and is on view through January 10, 2021. We assisted in the selection of numerous carvings for this exhibition. Our exhibition will also be a celebration of the 100th anniversary of the passage of the 19th Amendment of the United States Constitution, which allowed women to vote which was finalized on August 26, 1920. Five of the twelve artists included in our exhibition are women. At a challenging time for our country, spirituality in diverse forms will bolster our strength and hope for a prosperous, egalitarian future for all Americans. Hopefully, these extraordinary works of art will be inspirational to those who view them. Timothy C. Keny

5


AMISH

4. VARIABLE STAR CRIB QUILT HOLMES COUNTY, OHIO C. 1890

6


AMISH

5. DIAMOND IN THE SQUARE QUILT LANCASTER COUNTY C. 1930

7


JOSÉ RAFAEL ARAGÓN (1795-1862)

6. NUESTRA SENORA DE SAN JUAN LOS LAGOS CIRCA 1820-30’s

8


ELIJAH PIERCE (1892-1984)

7. ANGEL WITH MOTHER AND CHILD IN THE GARDEN 1966

9


ROMARE BEARDEN (1912- 1988)

8. FAMILY (MOTHER AND CHILD) 1980

10


PATROCINO BARELA (1908 - 1964)

9. UNTITLED (2 FIGURES) C. 1950’s

11


GUSTAVE BAUMANN (1881-1971)

10. SAN GERONIMO, TAOS 1924

12


GUSTAVE BAUMANN (1881-1971)

11. CORN DANCE-SANTA CLARA 1920

13


JAMES CASTLE (1899-1977)

12. SIDE 1 UNTITLED (FRIENDS) SIDE 2 UNTITLED (HOUSE WITH TREES) N.D.

14


JAMES CASTLE (1899-1977)

13. UNTITLED (INTERIOR WITH STOVE) N.D.

15


GUSTAVE BAUMANN (1881-1971)

14. HOPI CORN 1927

16


GENE KLOSS (1903-1996)

15. INDIAN MOONLIGHT SONG 1948

17


REBECCA JAMES (1891-1968)

16. PEACOCK C. 1940

18


JAMES CASTLE (1899-1977)

17. UNTITLED (PULP DRAWING WITH FIVE FIGURES) N.D.

19


GENE KLOSS (1903-1996)

18. PENITENTE PRAYER 1937

20


GENE KLOSS (1903-1996)

19. PROCESSIONAL NEW MEXICAN CHURCH 1937

21


ELIJAH PIERCE (1892-1984)

20. ADAM AND EVE 1971

22


PATROCINO BARELA (1908 - 1964)

21. THE OXEN C. 1940’s

23


ELIJAH PIERCE (1892-1984)

22. UNTITLED (EAGLE AND JESUS) C. 1930's

24


ALICE SCHILLE (1869-1955)

23. AN OLD CHURCH IN BRITTANY C. 1907-08

25


ALICE SCHILLE (1869-1955)

24. SUNLIGHT ON A MEXICAN CHURCH C. 1923

26


Joyous Color of the East Side

Circa 1915

ALICE SCHILLE (1869-1955)

25. RANCHOS DE TAOS ADOBE HOUSE IN THE DISTANCE C. 1919-20


JAMES CASTLE (1899-1977)

26. UNTITLED (RED CONSTRUCTION WITH WINDOW) N.D.

28


PATROCINO BARELA (1908 - 1964)

27. UNTITLED (FIGURE) C. 1940’s-1950’s

29


PATROCINO BARELA (1908 - 1964)

28. INDIAN PORTRAIT C. 1950’s

30


GUSTAVE BAUMANN (1881-1971)

29. HOPI KATZINAS C. 1940

31


ELIJAH PIERCE (1892-1984)

30. CHRIST WITH ZACCHAEUS 1967

32


ELIJAH PIERCE (1892-1984)

31. PICKING COTTON C. 1970

33


AWA TSIREH (1898-1955)

32. DEER DANCER C. 1920-1926

34


REBECCA JAMES (1891 - 1968)

33. COLCHA STITCH SAMPLER C. 1940

35


LAURA GILPIN (1891 - 1979)

34. A NAVAJO FAMILY 1950

36


PO-QUI-TSIREH (C. 1923- )

35. SWALLOW DANCER C. 1936-37

37


ALICE SCHILLE (1869-1955)

36. DUSK, OAXACO C. 1934

38


GENE KLOSS (1903-1996)

37. PENITENTE FIRES 1939

39


JOSE D. ROYBAL (1922-1978)

38. KOOSA CLOWNS AND AVANYU ON RAINBOW C.1950’s


JAMES CASTLE (1899-1977)

39. UNTITLED (LUCKY STRIKE BOOK) N.D.

41


JAMES CASTLE (1899-1977)

40. PAGE FROM INSIDE: UNTITLED (LUCKY STRIKE BOOK) N.D.

42


QUAH AH (1893-1949)

41. UNTITLED CIRCA 1920-1926

43


ROMARE BEARDEN (1912 - 1988)

42. CARNIVAL REVELER c. 1984

44


ROMARE BEARDEN (1912- 1988)

43. OBEAH WOMAN 1984-86

45


Amish Quilts (1890’s- c. 1920’s) American Folk Art Museum, New York Columbus Museum of Art, Ohio International Quilt Museum, Lincoln, Nebraska Lancaster Quilt & Textile Museum, Pennsylvania San Jose Museum of Art, California Shelburne Museum, Vermont Whitney Museum of American Art, New York

“…In their complexity, visual intensity and quality of craftsmanship, such works simply dispel the idea that folk art is innocent birdsong. They are as much a part of the story of high aesthetic effort in America as any painting or sculpture. Most of the finest works of art made by women in the late Nineteenth Century came from people who had no idea at all about a career as a professional artist- including the wives and daughters of Amish farmers.” Robert Hughes The Art of the Quilt San Francisco Museum of Art, 1990, p. 19

José Rafael Aragón (c. 1796-1862) Barnes Foundation Collection, Philadelphia, PA Brooklyn Museum, New York Colorado Springs Fine Arts Center at Colorado College Denver Art Museum, Colorado Harwood Museum of Art, Taos, University of New Mexico McNay Art Museum, San Antonio, Texas Millicent Rogers Museum, Taos, New Mexico The Museum of New Mexico | Palace of the Governors Museum of International Folk Art, Santa Fe, New Mexico New Mexico History Museum, Santa Fe

“Rafael Aragon- his first name, Jose, is often omitted to distinguish him more clearly from the other Aragon- worked slightly later and has many similar characteristics, he does not so often sign or letter his paintings, and he seems to use parallel lines more than cross-hatching, thus suggesting woodcut rather than engraving. Like Jose Aragon and the A. J. Santero, Rafael Aragon works almost entirely in two dimensions, rarely becoming serious about attempting to round his figures or provide the illusion of a background. The decorative devices that fill out the panel are highly stylized, as are most of the attributes of the saints, and all in all he conveys the meaning of the saint to the devout mind rather than the saint’s earthly appearance to the physical eye.” Thomas J. Steele, S. J. Santos and Saints: The Religious Folk Art of Hispanic New Mexico Ancient City Press, Santa Fe, New Mexico: 1974. P. 15-16


Patrocino Barela (1908-1964) Baltimore Museum of Art, Maryland Colorado Springs Fine Arts Center at Colorado College Harwood Museum of Art, Taos, University of New Mexico Millicent Rogers Museum, Taos, New Mexico Museum of Modern Art, New York Museum of International Folk Art, Santa Fe, New Mexico New Mexico Museum of Modern Art, Santa Fe San Francisco Museum of Modern Art, California Smithsonian American Art Museum, Washington, D.C. University of Arizona Museum of Art, Tucson

‘He has been described as a ‘primitive, a santero, an ‘outsider artist,’ his carvings compared to Meso-American, South Pacific, 11th century Romanesque, Byzantine, renaissance, even German Expressionist.” But no one questions the beauty and power of their lines and mass, or the aesthetic pleasure they evoke. Differing from santero tradition from which it evolved, his work is secular in its expressions of universal aspects of humanity- grief, love, jealously, etc. The style is unmistakable and not easily copied. They are often described as undulating.” Mildred Tolbert Patrocino Barela Owings-Dewey Fine Art Santa Fe, New Mexico, 2006, p.5-6

Gustave Baumann (1881-1971) San Francisco Museums of Art, California Amon Carter Museum, Fort Worth, Texas Art Institute of Chicago, Illinois Brooklyn Museum, New York Cincinnati Art Museum, Ohio Cleveland Museum of Art, Ohio Denver Art Museum, Colorado Detroit Institute of Arts, Michigan Indianapolis Museum of Art, Indiana Library of Congress, Washington, D.C. Los Angeles County Museum of Art, California Metropolitan Museum of Art, New York National Museum of American Art, Smithsonian Institute New Mexico Museum of Art, Santa Fe New York Public Library

“…Beginning in 1918, Baumann was in Santa Fe for most of four years, during which his “talent and skill came to full flower: the brilliant simplicity and subtlety of color in the surrounding landscape inspired him to become an innovator and an acknowledged master of his art… The fluid contours and massed forms of San Geronimo- Taos, one in a series of richly complex color woodcuts Baumann made between 1918 and 1922, reflects his study in Munich and his encounter with Jugendstil: simultaneously, the luminous color proclaims his joyous response to a new environment. “ Clinton Adams Printmaking in New Mexico, 1880-1990 p.16-17.


GUSTAVE BAUMANN (1881-1971)

44. STRANGERS FROM HOPI LAND 1921


Romare Bearden (1912-1988) Canton Museum of Art, Ohio Metropolitan Museum of Art, New York The Mint Museum, Charlotte, North Carolina Museum of Modern Art, New York Nasher Museum of Art at Duke University, North Carolina The Newark Museum of Art, New Jersey Smithsonian American Art Museum, Washington, D. C. Studio Museum in Harlem, New York

“Paris doesn’t have the old enchantment for me. I suppose I need another kind of reality. …Art will go where energy is. I find a great deal of energy in the Caribbean. …It’s like a volcano there; there’s something underneath there that smolders.” (Romare Bearden) Sally Price & Richard Price Romare Bearden “The Caribbean Dimension”, p.45 University of Pennsylvania Press, 2006

“Ruth Fine states, pertaining to this New York series: “Midtown Sunset, (Midtown) exemplifies works that essentially are watercolors with collage. City Lites takes that one step further. Entirely in watercolor and inks, it highlights Bearden’s bleaching techniques; the most brilliant light areas appear to have been made this way (rather than a more traditional method with water).” (Ruth Fine, p.110) Ruth Fine The Art of Romare Bearden National Gallery of Art Washington, D.C., 2004-2005

James Castle (1899-1977) Berkeley Art Museum and Pacific Film Archive, California Boise Art Museum, Idaho High Museum of Art, Atlanta, Georgia Milwaukee Art Museum, Wisconsin Museum of Modern Art, New York The New York Public Library Philadelphia Museum of Art, Pennsylvania Springfield Museum of Art, Ohio Whitney Museum of American Art, New York

“It is a rare occurrence when you come upon a body of art that engages us in such a fresh, unencumbered way that it pins our eyes to the deeper nature of art. Sometimes one discovers such work in the unlikeliest of places, made under the unlikeliest of conditions by the unlikeliest of people, an art forged out of self-reliance and a personal vision rather than history and the dictates of a discipline. The body of work Castle left behind when he died in 1977 is remarkable in its stark, guileless beauty and inventiveness. His output included atmospheric, often haunting interior and outdoor scenes, exquisitely clever constructions of found materials, and a playful yet deliberate abstract art based on geometric patterning. Chris Schnoor James Castle: Art and Existence J, Crist Gallery, 2004


Laura Gilpin (1891-1979) Amon Carter Museum of American Art, Fort Worth, Texas Center for Creative Photography, University of Arizona, Tucson Metropolitan Museum of Art, New York Museum of Modern Art, New York New Mexico Museum of Art, Santa Fe New Orleans Museum of Art, Louisiana Oakland Museum of California Princeton University Art Museum, New Jersey

“Into this religious tradition and physical setting (Laura places the Navajo people): “Moving about in loneliness, though never lonely, in dignity and happiness, with song in their hearts and on their lips, in harmony with the great forces of nature, are the Dinéh- People of the Earth.” Lee D. Witkin and Barbara London The Photograph Collector’s Guide

Gene Kloss (1903-1996) Cooper Hewitt Smithsonian Design Museum, New York Library of Congress, Washington D.C. Metropolitan Museum of Art, New York National Gallery of Art, Washington, D.C. New Mexico Museum of Art, Santa Fe Pennsylvania Academy of Fine Art, Philadelphia Sangre de Cristo Arts Center, Pueblo, Colorado Smithsonian American Art Museum, Washington, D.C.

“It is through Kloss’ depiction of Indian ceremonies and Penitente rituals that she has most indelibly established her identity as an artist. When in such subjects she avoids stepping over the fine line that separates romantic myth from touristic, Kloss achieves arresting images that fasten themselves in our memory. Penitente Fires (1939) is among the finest of such prints. Through emphatic contrasts of black and white, she evokes a sense of the deep, black night; through astute elimination of extraneous detail and the compelling perspective of long shadows, she centers the viewer’s eye upon the radiant light of hidden fires, thus creating a sense of mystery about the unseen events that take place beyond the dark, adobe walls.” Clinton Adams Gene Kloss, Print Retrospective The Harwood Foundation Museum of the University of New Mexico 7/29 – 9/24, 1994, p.7


Quah Ah (1895-1949) Cincinnati Art Museum, Ohio Columbus Museum of Art, Ohio Denver Art Museum, Colorado McNay Art Museum, San Antonio, Texas Millicent Rogers Museum, Taos, New Mexico Philbrook Museum of Art, Tulsa, Oklahoma Saint Louis Art Museum, Missouri Southwest Museum, Los Angeles

“Quah Ah’s art is an art of radiance and tranquility. It is possessed of delicacy and grace, and much music. It is unequalled at conveying the dignity, the serenity, the great earnestness and wholehearted sincerity of the Pueblo ceremonial and the Pueblo people. Quah Ah’s work is not ever spectacular or striking, but is completely unpretentious and authentic.” Dorothy Dunn, American Indian Painting of the Southwest and Plains Areas, p.210

Elijah Pierce (1892-1984) Akron Art Museum, Ohio American Folk Art Museum, New York Cincinnati Art Museum, Ohio Columbus Museum of Art, Ohio High Museum of Art, Atlanta, Georgia Milwaukee Art Museum, Wisconsin Philadelphia Museum of Art Schumacher Gallery, Capital University, Ohio Southern Ohio Museum and Cultural Center Springfield Museum of Art, Ohio

“Elijah Pierce is one of the most significant African American folk artists of our time. In 1992 on the occasion of the one-hundredth anniversary of his birth, it is important to recognize his role in African American Art, culture, and history. During his lifetime Pierce played a central role in his community; he was an articulate and thoughtful interpreter of his surroundings, and his art reflected and told the story of his times.“ John F. Moe “Your Life Is a Book”: The Artistic Legacy of Elijah Pierce Elijah Pierce: Woodcarver Columbus Museum of Art, 1992

“Elijah Pierce’s art engaged with human experience in all its variety, encompassing life’s trials and triumphs, the worst and best of our behaviors...Rich in detail, loaded with meaning, his renditions offered solace and challenged viewers to do better. They continue to invite reflection and urge us- as individuals and as a society- to work toward the common good.” Zoe Whitley and Nancy Ireson Elijah Pierce’s America The Barnes Foundation, 2020


Alice Schille (1869-1955) Canton Museum of Art, Ohio “One of the foremost American watercolorists of the early Columbus Museum of Art, Ohio twentieth century… Schille developed her own highly original, El Paso Museum of Art, Texas personal style that is at once lyrical and powerful, sophisticated Fine Arts Museums of San Francisco, California in technique and formal design, sparse yet richly orchestrated.” High Museum of Art, Atlanta, Georgia McNay Art Museum, San Antonio, Texas Dr. William H. Robinson, Associate Curator, Metropolitan Museum of Art, New York Cleveland Museum of Art Pennsylvania Academy of Fine Art, Philadelphia American Art Review Philadelphia Museum of Art, Pennsylvania March/ April 2001 Schumacher Gallery, Capital University, Ohio Smith College Museum of Art, Northampton, Massachusetts Springfield Museum of Art, Ohio

Rebecca James (1891-1968) Baltimore Museum of Art, Maryland Harvard Art Museums, Cambridge, Massachusetts Harwood Museum of Art, University of New Mexico, Taos High Museum of Art, Atlanta, Georgia Millicent Rogers Museum, Taos, New Mexico Philbrook Museum of Art, Tulsa, Arizona The University of New Mexico, Albuquerque

“After she learned the technique of the stitch she explored the traditional repertoire of patterns and colors, she went on to employ the stitch in a series of original embroidered pictures. With a needle and various yarns and threads, Mrs. James demonstrates the range of imaginative composition, color and texture, which can be achieved with stitches. It may be noted that the intangibles of patience, skill and faultless taste are her ingredients for picture-making with the needle. Through the colcha stitch Rebecca James lets us see her deep affection for the people, scenes and skies of New Mexico. E. Boyd The Colcha Stitch: Embroideries by Rebecca James Museum of International Folk Art Santa Fe, New Mexico 5/19 – 9/8/1913, p3


Rosie Lee Tompkins (1936-2006) Berkeley Art Museum and Pacific Film Archive, California Fine Arts Museums of San Francisco, California Los Angeles County Museum of Art, California Oakland Museum of California Smithsonian American Art Museum | Smithsonian Institute Springfield Museum of Art, Ohio

“Ms. Tompkins’s ravishing quilts connect to several traditions, including African bark cloth paintings, American textiles and not least of all, modernist painting. But look, don’t think. These pictorial powerhouses are like multifaceted jewels spread flat before the eye yet turning in the light, their sparkling shards of color and mutating geometries full of mystery and life. “ Roberta Smith New York Times 11/29/2002

Awa Tsireh (1898-1955) Brooklyn Museum of Art, New Yoek Cincinnati Art Museum, Ohio Columbus Museum of Art, Ohio Cleveland Museum of Art, Ohio Denver Art Museum, Colorado Metropolitan Museum of Art, New York National Museum of the American Indian, New York

“Awa Tsireh’s drawings are in their field, as precise and sophisticated as aPersian miniature. The technique that has produced pottery designs as perfect as those of an Etrucsan vase has gone into his training.” New York Times 9/6/1925

Po-qui-Tsireh (c. 1923- ) “There is no mention of (Tomacito Vigil) Po-qui-Tsireh of San Ildefonso Pueble in any of the published books on Native artists that we have consulted, however, his name appears in a PhD Dissertation for the University of Texas, Austin, in 2011. It is simply a line entry with his name and that he spent two years at the Santa Fe Indian School in 1936-37. It is doubtful that this student pursued art as a career following his two years at the Santa Fe Indian School. Had he done so, he would be documented in several publications. The only example of his work was certainly one of his early paintings, having been completed when he was only 13 years old.” Alexander E. Anthony Jr. Santa Fe, New Mexico


ELIJAH PIERCE (1892-1984)

45. SERMON ON THE MOUNT 1965


CHECKLIST

1) ELIJAH PIERCE (1892-1984) Angel (with Ruby Brown's Family), 1966 Painted bas relief woodcarving 27 3/4 x 17 inches Signed and dated verso: 8-9-66 / E. Pierce Private Collection

12) JAMES CASTLE (1899-1977) Side 1 Untitled (Friends) Side 2 Untitled (House with Trees) Found paper, soot 3 1/8 x 5 5/8 inches Private Collection

23) ALICE SCHILLE (1869-1955) An Old Church in Brittany, circa 1907-08 Watercolor 18 x 21 inches Signed lower right: A. Schille Private Collection

2) LAURA GILPIN (1891-1979) The Little Medicine Man, 1932, printed 1970s Platinum print Image/Paper: 9 3/4 x 7 3/4" inches Signed and dated

13) JAMES CASTLE (1899-1977) Untitled , n.d. 3 x 5 1/2 inches (Interior with stove, framed pictures) 4 3/4 x 8 3/4 inches / Signed

24) ALICE SCHILLE (1869-1955) Sunlight On A Mexican Church, circa 1923 Watercolor 6 1/4 x 5 1/4 inches Private Collection

3) GUSTAVE BAUMANN (1881-1971) El Velorio, 1927 Color woodcut 14 3/8 x 13 1/4 inches Signed, titled and numbered Acton 46, BAUMANN 86. 4) AMISH Variable Star crib quilt, Holmes Co., Ohio, c.1890s Pieced cotton chambray quilt 41 x 33 1/2 inches Private Collection 5) AMISH Diamond in the Square Quilt, Lancaster Co. c. 1930 , Pieced wools 77 x 77 inches Private Collection 6) JOSE RAFAEL ARAGON (1796-1862) Nuestra Senora de San Juan, Los Lagos, c. 1820-1830’s Gesso and natural pigments on wood panel 16 x 13 1/2 inches 7) ELIJAH PIERCE (1892-1984) Angel with Mother and Child in the Garden, 1966 Painted bas relief woodcarving with glitter 25 x 15 inches Signed and dated on reverse Private Collection 8) ROMARE BEARDEN (1912-1988) Family (Mother and Child), 1980 Serigraph (156 of 180) 18 x 13 3/4 inches 9) PATROCINO BARELA (1908-1964) Untitled (2 Figures), c. 1950s Freestanding woodcarving 18 x 5 x 5 inches Signed on bottom 10) GUSTAVE BAUMANN (1881-1971) San Geronimo, Taos, 1924 Color woodcut 7 1/8 x 5 1/8 inches Signed, numbered and titled Ed: 72/125 Baumann Numbered lower right: 72/125 Private Collection 11) GUSTAVE BAUMANN (1881-1971) Corn Dance-Santa Clara, 1920 Color woodblock print 5 x 7 inches Signed lower right: Gustave Baumann Numbered lower right: 44/125

14) GUSTAVE BAUMANN (1881-1971) Hopi Corn, 1927 Color woodcut 8 1/8 x 8 1/4 inches Titled lower left: Hopi Corn Numbered lower right: II 44/125 Signed lower right Edition: II 44/125 Private Collection 15) GENE KLOSS (1903-1996) Indian Moonlight Song, 1948 Drypoint and aquatint 13 3/4 x 9 7/8 inches Annotated and titled lower left: Artist's Proof / Indian Moonlight Song Signed ; (edition of 35) Private Collection

25) ALICE SCHILLE (1869-1955) Ranchos de Taos, Adobe House in the Distance c. 1919-20 / Watercolor 18 x 21 inches Estate stamped lower left: A. Schille

27) PATROCINO BARELA (1908-1964) Untitled (Figure), c. 1940’s-1950’s Woodcarvimng 9 1/2 x 3 x 31/2 inches

39) JAMES CASTLE (1899-1977) Untitled (Lucky Strike Book), Graphite, soot on paper 3 3/8 x 3 1/8 inches Springfield Museum of Art, Ohio

17) JAMES CASTLE (1899-1977) Untitled (Pulp drawing with five figures), n.d. Color of unknown origin on found paper 5 1/2 x 11 inches

29) GUSTAVE BAUMANN (1881-1971) Hopi Katzinas, c.1940 Color woodblock print lll - #76 of 125 12 x 13 inches

20) ELIJAH PIERCE(1892-1984) Adam and Eve, 1971 Painted bas relief woodcarving with glitter Signed, dated Private Collection 21) PATROCINO BARELA (1908-1964) Untilted (The Oxen), c. 1940 Woodcarving 11 x 3 x 2 1/2 inches 22) ELIJAH PIERCE(1892-1984) Untitled (Eagle and Jesus), c. 1930's Painted bas relief woodcarving 6 x 6 inches/ Signed verso Private Collection

37) GENE KLOSS (1903-1996) Penitente Fires, 1939 Drypoint and aquatint 10 7/8 x 11 7/8 inches Inscribed and signed lower left/right: Penitente Fires/Gene Kloss Edition of 50 Private Collection 38) JOSE D. ROYBAL (1922-1978) Koosa Clowns and Avanyu on Rainbow, c.1950’s Watercolor on paper 13 1/2" x 21 1/2" inches/ Signed

28) PATROCINO BARELA (1908-1964) Indian Portrait, c. 1950’s Carved and fashioned wood 14 x 3 x 3 inches

19) GENE KLOSS (1903-1996) Processional - New Mexican Church, 1937 Drypoint and soft ground on wove paper 11 x 13 13/16 inches Titled lower left Signed lower right/ Edition: 50 Private Collection

36) ALICE SCHILLE (1869-1955) Dusk, Oaxaco, C. 1934 Watercolor on paper 5 1/8 x 6 1/8 inches/ Signed

26) JAMES CASTLE (1899-1977) Untitled, n.d. (Red construction with window) Soot, spit & colored pulp on found paper, double-sided 6 7/8 X 3 3/4 inches

16) REBECCA JAMES (1891-1968) Peacock, c. 1940 Colcha Wool Embroidery 7 x 11 1/2 inches Private Collection

18) GENE KLOSS (1903-1996) Penitente Prayer, 1937 Drypoint and aquatint 11 x 14 inches Titled lower left: Penitente Prayer Signed lower right/ Edition: 25 Private Collection

35) PO-QUI-TSIREH (C.1923- ) Swallow Dancer, c. 1936-37 Casein on paper 7 1/2 x 5 5/8 inches Private Collection

30) ELIJAH PIERCE (1892-1984) Christ with Zacchaeus, 1967 Painted bas relief woodcarving 18 x 13 3/8 inches Signed and dated verso: 11-14-67 / E.P Incised verso lower right: EP Private Collection 31) ELIJAH PIERCE (1892-1984) Picking Cotton, c. 1970 Painted bas relief woodcarving 22 1/2 x 27 1/2 inches Private Collection 32) AWA TSIREH (1898-1955) Deer Dancer, c. 1920-1926 Watercolor and graphite 10 5/16 x 5 1/2 inches Private Collection 33) REBECCA JAMES (1891-1968) Colcha Stitch Sampler, c.1940 Wool embroidery stitches on cotton 24 1/2 x 18 1/2 x 1 3/8 inches 34) LAURA GILPIN (1891-1979) A Navajo Family, 1950 Gelatin silver print 13 3/4 x 10 3/4 inches Signed and dated

40) JAMES CASTLE (1899-1977) Page from inside: Untitled (Lucky Strike Book) Graphite, soot on paper 3 3/8 x 3 1/8 inches Springfield Museum of Art, Ohio 41) QUAH AH (1893-1949) Untitled, Circa 1920-1926 Watercolor 11 x 13 3/8 inches Private Collection 42) ROMARE BEARDEN (1912-1988) Carnival Reveler, c.1984 Watercolor on paper 12 1/2 x 8 1/2 inches/ Signed 43) ROMARE BEARDEN (1912-1988) Obeah Woman, 1984-86 Watercolor on paper 29 1/4 x 21 5/8 inches 44) GUSTAVE BAUMANN (1881-1971) Strangers From Hopi Land, 1921 Color Woodblock print 11 1/2 x 9 7/8 inches Edition: 7/125 Private Collection 45) ELIJAH PIERCE(1892-1984) Sermon on the Mount, 1965 Painted bas relief woodcarving 15 3/4 x 15 inches Initialed and dated verso: 7-29-65 EP 46) ROSIE LEE TOMPKINS (1936-2006) Half Squares, 1992 Pieced and embroidered velvet and mixed fabric quilt. 46 x 30 inches Springfield Museum of Art, Ohio


ROSIE LEE TOMPKINS (1936-2006)

46. HALF SQUARES 1992

300 EAST BECK STREET COLUMBUS, OH, 43206 (614) 464.1228 INFO@ KENYGALLERIES.COM

Profile for Keny Galleries

Art and Spirituality •A Multi- Cultural Selection•  

Keny Galleries’ exhibition entitled, Art and Spirituality: A Multi-Cultural Selection includes work by exceptional artists created from the...

Art and Spirituality •A Multi- Cultural Selection•  

Keny Galleries’ exhibition entitled, Art and Spirituality: A Multi-Cultural Selection includes work by exceptional artists created from the...

Profile for timkeny