Aaron Payne Fine Art

SUMMER SELECTIONS 2014 aaron payne FINE ART Santa Fe, New Mexico

SUMMER SELECTIONS 2014 aaron payne FINE ART Santa Fe, New Mexico

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This is the second year we’ve done an e-catalogue to start the summer season. It’s a great opportunity to share a selection of works that represent the broad range of art the gallery exhibits. I’m really pleased with the works included. It’s also fascinating to publish these catalogues online (on ISSUU) and get comments from people from across the world that respond to the work. And who in turn send you catalogues on places I’ve never been or on subjects I never knew about.

It has made me realize that the gallery and our efforts have created a community here and away that is connected in ways I do not fully know. And that’s something exhilarating to think about. It’s one of the greatest benefits of having a gallery.

Many of the works featured here have come from private collections where the owners bought them directly from the artists. Many of these artists were building their careers and finding their voices then. Now they are major names and their connections to other artists and the canon of art history are clearly established.

And there have been other surprises, too.

In his statement for the seminal 1952 exhibition, 15 Americans, at the Museum of Modern Art, Edward Corbett wrote simply, “I intend my work as poetry.” A very simple thought for a complex man whose artworks are involved and layered…like the images and memories often conjured by words themselves. We should all have such intention in our labors. We are thrilled to have three artworks by Corbett which were included in 15 Americans and exhibited along with works by Jackson Pollock, Mark Rothko, William Baziotes, Clifford Still and others.

You will also notice that we have included some living, working Contemporary artists like David Hammons, John Outterbridge, Kerry James Marshall, Claes Oldenburg & Heather Hutchison. We continue to work with early American Modernism, but also have enjoyed acquiring paintings by the Dynaton Group such as the Gordon Onslow Ford featured here. And by Postwar artists such as Emerson Woelffer.

All of these artworks tell a story and as we’ve broadened our perspective, the narrative becomes more and more engaging.

I’d like to dedicate this catalogue to one of my favorite writers who passed away recently, Gabriel García Márquez.

Like all great artists, he lives forever through his work. No one has written more beautifully and honestly about the magic and pain of love. As he wrote in One Hundred Years of Solitude, “There is always something left to love.”

I hope you find something here you truly love.

Enjoy Aaron Payne

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Raúl ANGUIANO Ruth ASAWA Gustave BAUMANN Romare BEARDEN Thomas BENRIMO Dorothy BRETT

Artist Index

Edward CORBETT

SUMMER SELECTIONS 2014 aaron payne

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Harold B. COUSINS Stuart DAVIS Beauford DELANEY Werner DREWES Morris GRAVES David HAMMONS Heather HUTCHISON Raymond JONSON Claude LAWRENCE Norman LEWIS John MARIN Kerry James MARSHALL Alfred Henry MAURER Kenneth NOLAND Claes OLDENBURG Gordon ONSLOW FORD John Wilfred OUTTERBRIDGE Mimmo ROTELLA Charles Green SHAW Alma Woodsey THOMAS Max WEBER Cady WELLS William Thomas WILLIAMS, JR. Emerson S. WOELFFER

We have art in order not to die of the truth.

FRIEDRICH NIETZSCHE

GORDON ONSLOW FORD (1912-2003)

Untitled, 1954 Casein on mulberry paper 29.5 x 37.5 inches (74.9 x 95.3 cm) dated lower left: 12.54

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RAYMOND JONSON (1891-1982)

Synthesis Three, 1935 Oil on canvas 20 x 24 inches (50.8 x 61 cm) signed and dated lower left: Jonson/ ‘35

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RAYMOND JONSON (1891-1982)

Oil and Tempera No. 3 / Zig Zag Space, 1940 Oil and casein tempera on panel 25 x 19 inches (63.5 x 73.7 cm) signed and dated lower left: Jonson ‘40

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KENNETH NOLAND (1924-2010)

Songs: Pennies from Heaven, 1984 Acrylic on canvas 87.875 x 61.875 inches (223.2 x 157.2 cm) signed, titled and dated verso: Songs, Pennies From Heaven, Kenneth Noland, 1984, 84.05

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CHARLES GREEN SHAW ( 1 8 9 2 - 1 9 74 )

Untitled (Portrait), 1941 Oil on board 20 x 16 inches (50.8 x 40.6 cm) signed and inscribed verso: Charles G Shaw, New York

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EDWARD CORBETT (1919-1971)

Number 10, 1951 Chalk and casein on paper 34.75 x 22.625 inches (88.3 x 57.5 cm) signed and dated lower left: Corbett Taos 1951

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EDWARD CORBETT (1919-1971)

Number 13, 1951 Chalk on paper 22.875 x 18 inches (58.1 x 45.7 cm)

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EDWARD CORBETT (1919-1971)

Number 9, 1951 Chalk on paper 33 x 22.875 inches (83.8 x 58.1 cm) signed and dated upper left: Corbett Taos 1951

Each of the Edward Corbett paintings featured in this catalogue were included in the 1952 seminal exhibition, “15 Americans,� curated by Dorothy Miller.

HAROLD B. COUSINS (1916-1992)

Untitled, circa 1960 Steel (large sculpture) 12 x 12 inches (30.5 x 30.5 cm) signed with artist’s foundry stamp: H. Cousins Bronze (small sculpture) 3 x 3 inches (7.6 x 7.6 cm) incised with signature: H. Cousins 24

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EMERSON S. WOELFFER (1914-2003)

Bar Maria Internationale, 1959 Oil and collage on canvas 31.75 x 27.5 inches (80.6 x 69.9 cm) signed, dated, titled and inscribed verso: Forio Night

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EMERSON S. WOELFFER (1914-2003)

Isola Nero, 1959 Oil on paper, laid down on masonite 27 x 20.375 inches (68.6 x 51.8 cm) signed and dated lower left: Woeffler ‘59; also signed verso: Woeffler 1959; also titled verso and inscribed verso: Forio d’Ischia Napoli, Italia

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JOHN WILFRED OUTTERBRIDGE (b.1933)

Sculpted Form, 1962 Mixed media on wood panel 33.5 x 11.5 inches (85.1 x 29.2 cm) signed lower right: J. Outterbridge

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NORMAN LEWIS (1909-1979)

Untitled Abstraction, April 4, 1960 Watercolor on paper 20 x 26 inches (50.8 x 66 cm) signed and dated lower right: Norman Lewis / 4-4-60

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If you could say it in words, there would be no reason to paint.

EDWARD HOPPER

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THOMAS BENRIMO (1887-1958)

Untitled, circa 1950 Oil on masonite 12 x 18 inches (30.5 x 45.7 cm) signed lower right: Tom Benrimo

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GUSTAVE BAUMANN (1881-1971)

Green Gate Orchard, 1923 Color woodcut on paper 9.25 x 10.75 inches (23.5 x 27.3 cm) Edition 28/100 signed lower right: Gustave Baumann; in middle: 28; also titled lower left: Green Gate Orchard

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GUSTAVE BAUMANN (1881-1971)

Ranchos de Taos, 1930 Color woodcut on paper 9.25 x 11 inches (23.5 x 27.9 cm) Edition 47/125 signed and numbered lower right: Gustave Baumann 47/125; titled lower left: Ranchos de Taos

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DOROTHY BRETT (1883-1976)

Jet and Moon, 1959 Oil, seashell and crystal on masonite 36 x 12.5 inches (91.4 x 31.8 cm) signed and dated lower right: D E Brett 1959

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CADY WELLS (1904-1954)

Penitente Procession, 1939 Mixed media on paper 21.875 x 29.625 inches (55.6 x 75.2 cm) signed and dated lower left: Cady Wells ‘39

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STUART DAVIS (1892-1964)

Bass Rocks #1, 1939 Gouache on paper 8.75 x 12.25 inches (22.5 x 31.1 cm) signed and dated lower center: Stuart Davis ‘39

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STUART DAVIS (1892-1964)

Revolver, 1925 Ink on paper 9.75 x 15 inches (24.8 x 38.1 cm) signed and dated lower right: Stuart Davis 1925

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Improvisation, to me, is the channeling of subconscious influences.

Consciously, I’m satisfied when I have gone beyond the obvious; for example, the visual and intellectual, to the sensual, which I believe is energy, lyricism and balance.

CLAUDE LAWRENCE

CLAUDE LAWRENCE Claude Lawrence did not begin his career as a visual artist but as a musician. Between 1960-1980 he played the saxophone in various shows around the country. It wasn’t until 1987 that Claude became a fulltime painter.

He is a self-taught artist, having learned everything he knows from experimentation and attending museums and galleries. Asked about artists who influenced him he said he studied painters in books, from Picasso to Basquiat, and learned about painting by looking at art.

Claude lived and worked in Harlem from 1987-90. During those years he met artists Fred Brown, Lorenzo Pace, Jack Whitten and Joe Overstreet. He worked the artist circuits, going to gallery openings and networking.

Through word-of-mouth and diligence, he landed many exhibition opportunities. He met Bob Blackburn at an opening in New York who recruited him to study printmaking at the Printmakers Workshop from 1992-93.

Claude left New York and moved to Stockbridge, Massachusetts from 1990-91. He moved to Los Angeles from 1991-94, Sag Harbor from 1994-2005, then San Miguel, Cuernavaca and Mexico City from 2005-2010. He now resides in Chicago.

His visual style is confident, gestural, abstract, mysterious and bold. Areas of the paper have thick opaque paint with watercolor-like washes. Some include charcoal drawings of faces and figures. What they all have in common are modernistic forms, lyrical brushwork, strong colors, energy and confidence. He says his paintings “are based on harmony and come straight from the self conscious.”

Lawrence’s work is in the permanent collection of the Parrish Art Museum, Southampton, the California AfricanAmerican Museum, Los Angeles, and as this catalogue is published, several artworks are before the acquisition committee of a major New York City museum.

We are pleased to have a strong selection of Claude’s work for your consideration.

– excerpted from October 2013 interview with Madeline Murphy Rabb.

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CLAUDE LAWRENCE (b.1944)

The New Savoy, March 2001 Acrylic on paper 22.75 x 30 inches (57.8 x 76.2 cm) signed and dated lower right: C. Lawrence 3-01

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CLAUDE LAWRENCE (b.1944)

Future Lyricism, 2004 Acrylic on paper 22.5 x 30 inches (57.2 x 76.2 cm) signed and dated lower right: C. Lawrence ‘04

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BEAUFORD DELANEY (1901-1979)

Portrait of Joseph Delaney, 1933 Pastel on paper 17 x 16 inches (43.2 x 40.6 cm) signed and dated middle right: B. Delaney ‘33

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BEAUFORD DELANEY (1901-1979)

Untitled (Paris Street), circa 1966 Oil on canvas 25 x 21.5 inches (63.5 x 54.6 cm)

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RUTH ASAWA (1926-2013)

Plane Tree #15, 1960 Green ink on coated paper 19 x 24.75 inches (48.3 x 62.9 cm) signed lower right: Asawa; also signed with artist’s chop lower right

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RUTH ASAWA (1926-2013)

Plane Tree #16, 1960 Green ink on coated paper 19 x 25 inches (48.3 x 63.5 cm) signed lower right: Asawa; also signed with artist’s chop lower right

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Art is the lie that enables us to realize the truth.

PABLO PICASSO

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ALFRED HENRY MAURER (1868-1932)

Still Life, circa 1920 Oil and mixed media on paper 20.5 x 17.5 inches (52.1 x 44.5 cm) signed upper right: A.H. Maurer

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JOHN MARIN (1870-1953)

No. 2, Fall of 1930, 1930 Oil on canvas on cardboard 18 x 14.25 inches (45.7 x 36.2 cm) signed lower left: Marin / ‘30

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WILLIAM THOMAS WILLIAMS, JR. (b.1942)

Untitled, 1971 Watercolor and ink on paper 20.5 x 45.5 inches (52.1 x 115.6 cm) signed and dated lower right: W Williams 1971

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ROMARE BEARDEN (1911-1988)

Calm Sea, 1987 Collage and watercolor on paper 10.25 x 14.5 inches (26 x 36.8 cm) signed lower right: rom/are bear/den

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ROMARE BEARDEN (1911-1988)

Madeline Jones’ Wonderful Garden, 1977 Collage of various papers with ink, graphite and surface abrasion on fiberboard 13.5 x 16 inches (34.3 x 40.6 cm) signed upper right: rom/are bear/den

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MIMMO ROTELLA (1918-2006)

Tempo di Guerra, 1959 Collage on paper mounted on canvas 9.75 x 10.5 inches (24.8 x 26.7 cm) signed and dated lower left: Rotella / 59

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RAĂšL ANGUIANO (1915-2006)

The Photographer, 1939 Oil on canvas laid down on wood panel 18.25 x 29.5 inches (46.4 x 74.9 cm) signed and dated lower right: R Anguiano 1939

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WERNER DREWES (1899-1985)

Composition A286, 1942 Crayon, watercolor and gouache on paper 19.5 x 25.75 inches (49.5 x 65.4 cm) signed, titled and artist’s mark with date lower left: Drewes, A286, 42

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WERNER DREWES (1899-1985)

Composition A54, 1935 Ink and watercolor on paper 5.375 x 8.25 inches (13.7 x 21 cm) signed and titled lower left: Drewes, A-54; artist’s mark and date lower right: 35

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MAX WEBER (1881-1961)

Women in Garden, 1912 Watercolor and gouache on paper 16.25 x 10.75 inches (41.3 x 27.3 cm) signed and dated lower right: Max Weber 1912

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I intend my work as poetry.

EDWARD CORBETT

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ALMA WOODSEY THOMAS (1891-1978)

Untitled, 1972 Watercolor on paper 9.5 x 11.75 inches (24.1 x 29.8 cm) signed lower right: AW Thomas

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ALMA WOODSEY THOMAS (1891-1978)

Snoopy Sees a Day Break on Earth, 1970 Acrylic on canvas 50 x 48 inches (127 x 121.9 cm) signed and dated lower right: AW Thomas / ‘70

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KERRY JAMES MARSHALL (b.1955)

Untitled, Ballerina, 2003 Lambda digital photograph on translucent plexiglass 8.5 x 6.5 inches (21.6 x 16.5 cm) Edition: 3/3 signed and dated verso: K.J. Marshall 2003

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KERRY JAMES MARSHALL (b.1955)

Untitled (Memento), 1998 Photograph 23.875 x 19.875 inches (60.6 x 50.5 cm) Edition: 4/6 signed and dated lower right: Kerry James Marshall 1998; titled lower center: Untitled (Memento); numbered lower left: 4/6

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HEATHER HUTCHISON (b.1964)

Sleepy Golden Storm, 1997 Wax, plexiglass, pigment and birch 11.5 x 23 x 2.5 inches (29.2 x 58.4 x 6.4 cm) signed, dated verso: Heather Hutchison 1997

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HEATHER HUTCHISON (b.1964)

Purple Haze, 1997 Wax, plexiglass, pigment and birch 11.5 x 23 x 2.5 inches (29.2 x 58.4 x 6.4 cm) signed, dated verso: Heather Hutchison 1997

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HEATHER HUTCHISON (b.1964)

Sun Rose, 1993 Beeswax, plexiglass, pigment and birch (triptych) 30 x 21.5 x 3 inches (76.2 x 54.6 x 7.6 cm) signed, dated verso: Heather Hutchison 1993

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CLAES OLDENBURG (b.1929)

Untitled (Hand Saw), circa 1966 Spray enamel, paper collage and tape on paper 7 x 32 inches (17.8 x 81.3 cm)

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DAVID HAMMONS (b.1943)

Nipples, circa 1968 Body Print (pigment on paper) 26.75 x 20.75 inches (67.9 x 52.7 cm) signed lower right: Hammons

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MORRIS GRAVES (1910-2001)

Flower, 1954 Tempera on Japanese paper 9.5 x 36.5 inches (24.1 x 92.7 cm) signed and dated lower right: Graves / ‘54

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For inquiries on paintings featured in Summer Selections 2014 or inventory from our gallery, please call: 505• 995• 9779

aaron payne

FI NE AR T

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