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ANTIQUES AND THE ARTS WEEKLY 5 CHURCH HILL RD BOX 5503 NEWTOWN, CONNECTICUT, 06470 SUMMER 2009

2 - THE GALLERY July 10, 2009 — Antiques and The Arts Weekly 


R. Scudder Smith, Executive Publisher & Editor 

Carol Sims,Gallery Editor 

Pamela Ashbahian, Production Director 

Tel.203-426-8036 or 426-3141 or Fax. 203-426-1394 

World Wide Web - www.antiquesandthearts.com 

email - carols@thebee.com 

Published by The Bee Publishing Company, Box 5503, Newtown Connecticut 06470 


One Picture is Worth a Thousand Words 

Open Thurs. -- Sun. 11:00 am - 5:00 pm & by Appointment 

173 Main Street (Rte. 28), Andes, NY 

845-676-3420 Email: PopperArtsy2@aol.com 

"Mother with Two Children" by Makusi 

Mukimmuk (Povungnituk), circa 1960, 

grey stone, 15 inches high by 9 inches 

wide by 14 inches deep. 

Women of the Far North 

July 10- September 6 

Since 1983 

Chappaqua, New York 10514 

Open by appointment 

www.arcticartistry.com 

elaine@arcticartistry.com 

914-238-4123 

Sears Gallagher (American, 1869–1955), “Fish Houses and Lobster Traps, Monhegan,” 

watercolor, 14 by 20¼ inches. 

Life On The Coast 

WISCASSET, MAINE — The Wiscasset Bay Gallery will offer a collection of Jay 

Hall Connaway (1893–1970) oil paintings from the estate of the artist, as well as a 

large group of watercolors and etchings by Sears Gallagher (1869–1955). Both artists 

were drawn to the beauty and rugged nature of Monhegan Island, located 12 miles off 

the coast of Maine, and spent many years living and working on the island. Gallagher, 

born in Boston in 1869, began summering on Monhegan in 1890 and spent the next 

50 summer seasons there. Connaway, an Indiana native fascinated by the sea, lived 

year-round with his family on Monhegan from 1931 until 1947. 

Connaway’s oils portray the ever-changing quality of the ocean crashing against the 

island’s dramatic cliffs, as well as the island’s timeless fishing village. Included in the 

group is “Monhegan Dock, Summer,” in which Connaway is looking down on the 

wharf and its fishing shacks, with a view out across the protected harbor to Manana. 

The work is awash in the bright colors of summer — green grasses and shimmering 

blue seas contrast with the earthen grey and tan tones of the rocky island of Manana, 

while hints of red highlight the stack of lobster traps next to the fishing shacks. “Breakers 

at Low Tide” is a classic rendition of the waves crashing to shore on the island’s 

edge. The turquoise sea rises up above the dark rocks, and Connaway’s quick brushstrokes 

underline the power of the waves. 

The diverse group of Gallagher watercolors and etchings demonstrates the artist’s skill 

in both media. His watercolors include a vibrant rendition of Alice Kent Stoddard’s 

home and studio on Monhegan, the foreground filled with the lush garden, blooming 

with yellow, orange and red flowers, almost obscuring the house beyond. Laundry flutters 

on the line, highlighting the domesticity of the scene. In “Fish Houses and Lobster 

Traps,” Gallagher combines both finely rendered architecture and large swathes of brilliant 

color depicting Manana and the tranquil waters beyond. Etchings include “Crashing 

Waves, Monhegan” which captures the crashing waves off the island’s edge, the dark 

rocks a contrast to the frothing surf and “Silver Seas, Burnt Head,” illustrates the richly 

toned trees set against rocky ledges of the headlands. 

The works by Jay Hall Connaway and Sears Gallagher are on display at the Wiscasset 

Bay Gallery in conjunction with the exhibition “Life on the Coast: 19th & 20th Century 

American Paintings.” This exhibition features an important collection of paintings portraying 

locales from Monhegan Island to New York Harbor, including works by Abraham 

Bogdanove, William Zorach, Peter Bela Mayer, Aldro Hibbard, Stephen Etnier, S.P.R. 

Triscott, Walter Farndon, Paul Strisik, Bernard Corey, Reuben Tam and Arthur Clifton 

Goodwin. Works by contemporary New England artists are also on display. 

Established in 1985, the Wiscasset Bay Gallery specializes in fine Nineteenth to Twenty-First 

Century American and European paintings, with an emphasis on Maine and 

Monhegan Island art. Open daily from 10 am to 6 pm, the gallery is located at 67 Main 

Street (Route One) in historic Wiscasset village. To view works on display at the gallery 

or for more information, visit www.wiscassetbaygallery.com or call 207-882-7682. 

"Family of Eight," by Tim Pitisulak (Cape Dorset), 2008, lithograph, 

15 by 22 inches.

Antiques and The Arts Weekly — July 10, 2009 

44 Main Street 

Nantucket, MA 02554 

(508) 228-4430 

www.levisfineartnantucket.com 

Levis Fine Art is pleased to announce the opening of our new gallery on Nantucket. We will be exhibiting paintings and sculptures 

by Pre and Post-War Modern Masters through December 6, 2009. Please visit our website for more information and 

gallery hours. We look forward to having you visit us to view our exhibitions. 

de Kooning 

June 27- July 17, 2009 

Elaine de Kooning, Abstraction, oil on canvas, 60 x 38 inches 

Elaine de Kooning (1918-1989), wife of Willem, was an artist, critic, and 

educator who assisted in bringing Abstract Expressionism to the forefront 

of the art world. While her early training with Willem was the catalyst for 

her exploration of abstract painting, it was her unique artistic sensibility 

that became the foundation for her success. Both paintings and sculpture 

by Elaine will be on exhibit, as well as a never before exhibited drawing by 

Willem from the Woman series. 

Opening Reception June 27 from 6-8pm 

The Fourth Dimension 

August 7-September 4, 2009 

Maurice Golubov, Untitled, 1968, oil on linen, 11 x 40 inches 

Developed by pioneering modernist painter Maurice Golubov in the early 

20th century, the "fourth dimension", represents an infinite energy drawn 

from fixed planar elements that moves beyond the traditional two and 

three-dimensional space. This exhibition will feature works by artists who 

used the formal elements of color and shape to create an infinite energy 

within their compositions and will include works by Golubov, Irene Rice 

Pereira, Rolph Scarlett, and Nassos Daphnis. 

Opening Reception August 7 from 6-8pm 

(changed from originally scheduled date of Aug. 8) 

Summer 2009 Exhibition Schedule 

**Schedule is subject to change** 

Form and Figure 

July 18-August 6, 2009 

Robert Motherwell, Running Elegy II, Blue State, 1983, lift-ground and aquatint 

soft-ground etching on handmade paper, 18 x 35 inches, edition 6 of 10 

While the "figure" has held a prominent position in the imagery of art 

since the prehistoric period, the development of 20th century modern ideologies 

provided the catalyst for the elements of "form" (i.e. color, shape, 

dimension, line, etc.) to take an equally prominent role as the subject. This 

exhibition will explore the relationship between the "figure" and "form" in 

20th century art and will highlight the struggles and successes of mid 20th 

century painters and sculptors who, using abstraction as their foundation, 

were instrumental in changing the course of art. 

Opening Reception July 18 from 6-8pm 

Mid-Century Modernism 

September 5-September 30, 2009 

Walter Plate, Mardi Gras, 1969, oil on canvas, 61 x 63¾ inches 

This exhibition will feature works by Pre and Post-War Modernist painters 

and sculptors who were influential in creating a new vocabulary for 20th 

century visual expression. The works on exhibit are representative of the 

ideologies embedded in 20th century modernist aesthetic: color, form, 

space, and authenticity. 

Opening Reception September 5 from 6-8pm 

Levis Fine Art Nantucket specializes in the identification, acquisition, and sale of 20th century American and European modernist paintings and sculpture and has 

extensive experience in building and divesting collections for individuals, corporations and museums. 

THE GALLERY — 3 

FINE ART DEALERS 

ASSOCIATION 

MEMBER FADA


Summer Happenings At A Fine Thing 

Rockwell Kent, cover of Architec-tonics – The Tales 

of Tom Thumtack Architect, William J. Comstock, 

New York, 1914. 

PORTLAND, MAINE — With the passing of its second 

anniversary, A Fine Thing: Edward T. Pollack Fine 

Arts has moved to a more commodious space in the Portland 

Stage building in the Arts District of Portland. The 

new space affords more room for special exhibitions and 

more interesting options for the display of the gallery’s 

large inventory of fine American and European prints. In 

an effort to enhance the gallery’s rapport with the vibrant 

local art community, owner Ed Pollack has expanded the 

exhibition space devoted to the work of Maine artists. 

Rockwell Kent, “Half-title for Architec-tonics,” circa 1914, ink on paper mounted on board, 2 9/16 by 7 1/4 inches. 

The current exhibition is devoted to portraits, and 

includes work by such well-known printmakers as Max 

Beckmann, John Sloan, Raphael Soyer, Mauricio 

Lasansky, Joseph Hirsch and Anders Zorn, photographs 

by Carl Van Vechten, Tseng Kwong Chi and others. 

The gallery is also displaying work by a number of 

Maine artists, including paintings by Althea Amand, 

Skye Priestley, Casey Reynolds and Noah McCormick, 

drawings by Kimberly Convery, photographs by Brent 

Legere, metal sculpture by Nelson Bruns. There are also 

palette knife paintings by Saleh Tahir, an artist born in 

Sudan, educated in Italy and now living in Lewiston, 

Maine. 

From June 17 to September 2, A Fine Thing is one of 

ten Portland art galleries participating in “The Business 

of Art,” an exhibition at the University of New England 

Gallery of Art 

(www.une.edu/artgallery/business09/asp). University 

gallery director Anne Zill has organized the show to 

explore the reasons why people become art dealers, the 

special background and focus each dealer brings to his 

or her business, and the perspective each dealer has on 

the challenges posed in the present economic environment. 

There are two seminars, featuring a panel discussion 

by a selection of the participating dealers, scheduled for 

July 22 and August 12, at 5 pm. The public is invited 

and there is no admission fee. For further information, 

call the UNE Gallery of Art at 207-221-4499 or consult 

the website above. 

On August 16, A Fine Thing will exhibit at the New 

Hampshire Antiquarian Book Fair in Concord 

(www.nhaba.org/bookshow.htm), on September 20 at 

the Maine Antiquarian Bookseller’s show in Portland, 

and during Labor Day weekend at the Baltimore Summer 

Antiques Show and Book Fair (September 3–6; 

www.baltimoresummerantiques.com). Dates and other 

pertinent information can be found on the website at 

www.afinething.com. 

Among the recent acquisitions exhibited at these 

shows is material from an important collection of original 

art, ephemera and books by Rockwell Kent from 

the estate of a prominent Maine painter. 

A Fine Thing: Edward T. Pollack Fine Arts is located 

at 29 Forest Avenue; hours are Wednesday through Saturday, 

11 am to 6 pm, or by appointment. For information, 

email pollackbks@maine.rr.com or call 207- 

699-2919.


The Gallery at Clarke’s 

161 North Main Street Tropic, UT 84776 

Contemporary American Art 

Representingg establishedd andd 

emergingg artistss off thee Americann Westt 

Brigitte Delthony Nancy Green Bob Hills Brad Holt John Huerta, Jr. 

Carol Johansen Andrew Orlemann Valerie Orlemann Jan Perkins 

Estelle Roberge Anne Weiler-Brown Katharine Wipfler Jeff Wolf 

Delthony Green Holt Huerta, Jr. 

Primitive pottery Earthbound Blue Escalante Autumn’s Last Blush 

Hand built/pit fired o/b 12x14 o/c 20x16 o/c 11x14 

Johansen Orlemann, V. Perkins Roberge 

March Thaw Mesa II, o/c, 24x30 April Snow Melt Bear Mountain Walk 

o/b 6x8 o/linen 30x40 o/panel 48x48 

Weiler-Brown Wipfler 

Navajo Sunset, mixed media, 18x84x2 Southwestern Canyon o/b 8x10 

Hills 

Waves of Stone 

Framed photo, image 30x10 

Wolf 

Lion of the Plains Precast Clay 

ca.. 8-1/2 x 13 

Orlemann, A. 

Powell Point 

Framed B/W, 11x14 

www.thegalleryatclarkes.com isvb2008@thegalleryatclarkes.com 

Inquiries: Irene Schack von Brockdorff - cell: 435-616-1069 

THE GALLERY — 5


Paintings Of Coastal Maine And Its Islands 

On View At Blue Heron Fine Art 

BY SHELLEY BROWN 

COHASSET, MASS. — This summer, 

Blue Heron Fine Art is featuring 

an exhibition of contemporary 

paintings of the spectacular Maine 

coast and its neighboring islands. 

Artists have been captivated by the 

rugged Maine coast and its islands 

since the Nineteenth Century when 

painters such as Fitz Henry Lane and 

Frederick Edwin Church painted 

lofty scenes of Mount Desert Island, 

now Acadia National Park. 

Today’s contemporary artists are no 

less inspired by the coastal Maine 

scenery and Blue Heron Fine Art has 

assembled a group of contemporary 

artists’ paintings that truly capture 

Paul Black, “Along the Shore, Orr’s Island, ME,” oil on canvas, 20 by 24 inches. 

Pompeo Girolamo Batoni (1708–1787) 

Antiochus and Stratonice, 1746 

Oiloncanvas,743/8x913/8in. 

Collection Museo de Arte de Ponce. 

Fundación Luis A. Ferré, Inc., 

Ponce, Puerto Rico 

(58.0064) 

Photo John Betancourt 

the beauty of this area. The exhibition 

includes works by Sergio Roffo, 

Joseph McGurl, Paul Black, Jim Puzinas, 

Diane Scott, Bernard Korites, 

Gwen Nagel and Christine Knight 

Coombs. These talented artists offer 

their own unique artistic perspective 

of Maine through their palette brush. 

From the detailed brushstrokes of 

Sergio Roffo’s “The Beehive from 

Sand Beach” (currently on a national 

museum tour sponsored by the 

American Society of Marine Artists) 

to the soft impressionist touch of 

Paul Black’s “Orr’s Island,” these 

paintings are about individual interpretation 

and appreciation of a place 

that has given pleasure to so many 

people. 

Included in this collection is a small 

gem by Joseph McGurl, “Coastal 

Inlet, Acadia”; a vibrant and intimate 

scene at the historic Claremont 

Hotel by Jim Puzinas, (currently on 

exhibition at The Claremont Hotel’s 

120-year anniversary and celebration); 

and two jewel tone oil and pastels 

of Monhegan Island by Minnesota 

native Gwen Nagel. Also featured 

is a dramatic autumn scene of Vinalhaven 

Island, by Duxbury, Mass., 

artist Bernard Korites, a colorful 

plein air painting of Northeast Harbor 

by Diane Scott and a sparkling 

watercolor of Frenchmen’s Bay by 

Masterpieces of European Painting 

from Museo de Arte de Ponce 

June 13—September 6, 2009 

Bruce Museum 

1 Museum Drive, Greenwich, Connecticut 

203 . 869 . 0376 www.brucemuseum.org 

Jim Puzinas, “A Claremont Summer,” 

oil on canvas, 14 by 11 inches. 

Christine Knight Coombs. 

This exhibition can be viewed 

online at www.blueheronfa.com and 

at our gallery in Cohasset. 

Blue Heron Fine Art specializes in 

Nineteenth and Twentieth Century 

American paintings and is located at 

63 Nichols Road. The gallery is open 

daily by appointment. For information, 

call 781-383-3210 or email 

info@blueheronFA.com.


THE GALLERY — 7


These results demonstrate the relative 

strength of the best paintings in various 

categories. Of the five selected Modernists, 

three sold over their high estimate. Avery’s 

“Sketcher at Sea” was the second highest 

price paid for the artist’s work at auction. 

The Hudson River School was represented 

by five remarkable paintings, and three 

sold over their high estimate. A Cole and 

Church both exceeded $1 million, and this 

was about equal to expectations. 

I identified seven quality works by the 

Impressionists, and three exceeded the 

high estimate. The others sold near the 

highest estimate. 

It was difficult to acquire the most 

sought after paintings. Collectors hoping 

to take advantage of any weaknesses were 

disappointed. 

Questroyal’s May auction acquisitions 

were Carlson’s “Forest Peace”; Cropsey’s 

“View of Sugar Loaf Mountain from the 

Artist’s Home”; Hassam’s “Newport”; Redfield’s 

“Christmas Morning”; Richards’s 

“On the Shore”; Whittredge’s “The Glen”; 

and A. Wyeth’s “Rose Hips.” 

June Results: 

Heritage Auction Galleries featured several 

important paintings at their June sale. 

These works provided a serious market 

test, and the results were encouraging. I 

have selected several lots for review as follows: 

Martin Johnson Heade’s small painting 

“Hummingbirds and their Nest” 

($100/150,000) lacking the desired 

orchids, sold for $310,700. This was more 

than twice the high estimate, and collectors 

should be pleased with the result. 

My Thoughts On The May And June 

American Paintings Auctions 

BY LOUIS M. SALERNO; OWNER, QUESTROYAL FINE ART 

My faith in the American paintings market remains strong, and Questroyal was 

perhaps the most active dealer at the recent May sales, spending nearly $2 million. I 

hope that by sharing some of my thoughts you will gain a little more insight into 

the market. 

Collectors have steadfastly refused to sell paintings in this, the most challenging 

economy most of us have ever seen. There was not the surge in supply that adversely 

impacted the equities and real estate markets. In fact, the marked decrease in both 

supply and quality is a positive indicator no less significant than record prices during 

robust times. Art’s status as a “cherished asset” prevails. A marked determination 

not to sell has served to effectively rebalance the ratio of demand to supply, resulting 

in a remarkably resilient market. 

A review of sales totals and unsold lots is relevant only in comparison to similar 

paintings and sale composition. The most meaningful assessment may be gained by 

reviewing the results of the best paintings offered. I have presented several below: 

710 Bantam Road Unit 2 

Bantam, CT 06750 

phone: 860-567-5422 

tracesfineart.com 

Snowy Landscape, Wassaic 

Arthur J. E. Powell Oil on Canvas 

1864-1956 30 x 36 

Although only exceeding the high estimate 

by a small margin, Martin Johnson 

Heade’s “Sunset over the Marsh” 

($300/500,000) sold for $537,750. The 

amount realized was positive because the 

painting did have some condition issues 

that impacted value. 

A fine example by Martin Johnson 

Heade in good condition titled “Cherokee 

Roses on a Purple Velvet Cloth” 

($100/150,000) sold for $507,875. This 

A new gallery specializing in the 

early artists of the Litchfield Hills 

Open: Tuesday - Saturday 10-5, Sunday 11-5 and by appointment 

May Results: 

Modernists: 

Milton Avery, “Sketching at Sea” $2,210,500 ($600/800,000) 

“Sun Worshipper” $290,500 ($200/300,000) 

“Melon Vendor” $350,500 ($250/350,000) 

Charles Burchfield, “Trees in Winter” $74,500 ($40/60,000) 

Marsden Hartley, “New Mexico” $662,000 ($500/700,000) 

Hudson River School: 

Thomas Cole, “View in Kaaterskill Clove” $1,022,500 ($800/1.2 million) 

Sanford R. Gifford, “Lake Sunapee” $266,500 ($100/150,000) 

“Lake Remi” $320,000 ($200/300,000) 

T. Worthington Whittredge, “The Glen” $108,100 ($60/80,000) 

Frederic E. Church, “Twilight Tropics” $1,274,000 ($1.2/1.8 million) 

Impressionists: 

Childe Hassam, “The Bathers” $140,500 ($100/150,000) 

“Newport” $902,500 ($500/700,000) 

“Paris, Winter Day” $2,322,500 ($1.5/2.5 million) 

Edward Redfield, “Christmas Morning” $230,500 ($200/300,000) 

Irving R. Wiles, “Drying Sails” $266,000 ($150/250,000) 

Louis Ritman, “Girl in a Boat” $242,500 ($200/300,000) 

Edward Potthast, “Wading” $386,500 ($200/300,000) 

price, more than three times the high estimate, 

reaffirms that the present economic 

conditions have not substantially diminished 

demand for quality examples. 

William Trost Richards’s “Woodland 

Landscape” ($150/200,000) sold for 

$239,000. This fine example of Richards’s 

desirable Pre-Raphaelite period sold at the 

high end of expectations. Good works 

from this period are always difficult to 

acquire. 

George Inness’s “Near Leeds, New York” 

($200/300,000) sold for $262,900. This 

well-painted example from Inness’s early 

period achieved a satisfactory result. His 

later works are in greater demand and tend 

to sell better at auction. 

Buried Treasure 

A William Hart was presented for sale 

in June, 2009. It was estimated at 

$10/15,000 and was not over-looked by 

collectors. The bidding was intense with 

many bids coming from the room and 

from phones. The painting sold for 

$134,500, establishing a new record for 

the artist. A very convincing indication 

that the market for quality American 

paintings is resisting present economic 

pressures and records can be established at 

lesser venues. 

I think the integrity of the market is 

very much intact. Quality works are finding 

support, and lesser examples are not. 

The astute collector should be prepared to 

seize any opportunity to buy on weakness, 

as this period of cash preservation and 

deflation will not be permanent. It is 

important to clearly distinguish the market 

for paintings from the economy that 

antagonizes us and sets our mood. 

If we are compelled to read headlines, 

why not give as much weight to auction 

records and results that exceed estimates 

as we do to the latest news from Wall 

Street? As collectors, isn’t it wise to 

embrace the market we know best? Perhaps 

we should spend less time with price 

to earnings ratios and more time in museums 

and galleries. We should invest in 

what we have a passion for, as too often 

we pursue other markets because we have 

been conditioned to do so. 

Quality paintings should be a collector’s 

asset of choice and deserve an important 

position in their diversified portfolio. We 

all know collectors who are thankful that 

at least some of their capital was preserved 

by their painting collections and did not 

find its way to the stock market. 

I welcome your calls or emails if you 

would like to discuss any of my acquisitions 

or have other thoughts or questions. 

Editor’s Note: Questroyal Fine Art is located 

at 903 Park Avenue, Suites 3A and 3B 

in New York City. To contact Louis Salerno, 

call 212-744-3586 or email gallery@questroyalfineart.com.


Howard Russell Butler (1856–1934), “Bright Morning on the Rocks, Maine,” 

circa 1919, oil on canvas, 16 by 21 inches; signed H.R. Butler, lower left. 

Summering In Maine At 

Debra Force Fine Art 

BY MOLLY COTTER 

DEBRA FORCE FINE ART 

The coastal towns of York County, Maine, have long been a summer sanctuary for 

artists. White sand beaches, rocky cliffs and scenic coves have been the leisurely settings 

captured by the likes of George Bellows, Robert Henri, Leon Kroll, Rockwell Kent, 

Walt Kuhn, Marsden Hartley, John Marin, and today, Jamie Wyeth, among others. 

Artists who had traveled and worked in Europe were especially drawn to Maine. 

Winslow Homer moved to Prouts Neck because it reminded him of the North Sea 

Coast of England. Hamilton Easter Field settled in Ogunquit because of its resemblance 

to Brittany. Much of the appeal of Ogunquit was its friendly natives. In 1898, 

Charles Woodbury established the Ogunquit Art Colony near Perkins Cove and over 

the years, most residents accepted and enjoyed the artists who summered in the village. 

Howard Russell Butler was one such artist who was so drawn to the Coast, he built a 

studio overlooking the ocean in York Harbor. The former physics professor and patent 

lawyer from New York dedicated summer days and evenings to studying and capturing 

the nuances of the sea. Butler’s works were highly praised by village locals and national 

critics alike for their vibrant colors and innate energy. “Bright Morning on the Rocks” 

depicts a figure enjoying a quiet morning walk along the coast. The clear calm water 

reflects the rising sun before the day’s lively gathering of swimmers and boats appear. 

Similarly, Ohio-born artist Cullen Yates found himself visiting the coast of Maine 

after studying in New York, Paris and Pennsylvania. At a young age, Yates was a star 

student at William Merritt Chase’s Shinnecock Summer School of Art, where his mother 

supported him by preparing meals for fellow students. After continuing his training 

at the École des Beaux-Arts and Académie Julian in Paris, Yates returned to the quiet, 

picturesque life on the East Coast. He often stayed on Monhegan Island and visited the 

beaches of Ogunquit where he met his wife, Mabel Taylor. 

“Dories in an Inlet” captures yet another distinctive feature of the York County 

region, Ogunquit dories. Used by fishermen and lobstermen departing from Perkins 

Cove, the dories are uniquely hand lofted and designed. Yates’ colorful boats floating in 

the sun-kissed inlet capture the romantic small coastal town lore of a little fishing boat 

setting sail each day to bring home the day’s catch. 

These and many other artists depicting leisurely escapes to Maine are featured at 

Debra Force Fine Art. Also available are Andrew Wyeth’s watercolor, “The Outer Most 

Bell” from 1959, a John Marin watercolor of one of his favorite spots, “Deer Isle,” from 

1927, a Rockwell Kent drawing of nearby “Newfoundland Harbor” from 1911, and a 

lively scene of “Goose Rock Beach” by the folk painter Earl Cunningham. 

Debra Force Fine Art is located at 14 East 73rd Street. Summer hours are Monday 

through Friday, 10 am to 6 pm. For information, call 212-734-3636. 

Cullen Yates (1866–1945), “Dories in an Inlet,” oil on canvas, 25 by 30 inches; 

signed Cullen Yates, lower left; signed again and inscribed N.A. and Shawnee-on- 

Delaware, PA on the backing. 

JOANNE DUGAN 


Exhibition: Friday August 7 through Thursday August 13. 

Opening Reception: Friday August 7, 7 - 9 pm. 

‘A Walk in the Night’, New York City, 

4 x 10 panoramic handmade gelatin silver print in 16 x 20 archival 8 ply matt 

‘Chrysler Building from a Rooftop’, 

New York City, 

8 x 12 handmade gelatin silver print in 

16 x 20 archival 8 ply matt 

‘Aster Cottage at Dusk’, 

North Truro, 



‘22nd and Broadway’, 

New York City, 



‘Afternoon Wind in the Aster Cottage’, 

North Truro, 



‘Days Cottages, Dusk’, North Truro, 

4 x 10 handmade gelatin silver print in 16 x 20 archival 8 ply matt 

ERNDEN FINE 

ART GALLERY 

Modern and Contemporary 

Paintings, Photography and Sculpture 

In the East End Gallery District 

397 Commercial Street · Provincetown · MA 02657 

Phone/Fax: (508) 487-6700 

Toll Free: 1-888-304-ARTS 

erndengallery@att.net www.ernden.com 

Our mission is to bring to the public both new and established artists presented in 

a way that invites the viewer to share the artists' creative process and vision.


BY DENNIS COSTIN 

ERNDEN FINE ART 

Joanne Dugan is the epitome of what a 

fine art photographer should be about. 

At a very young age she was introduced 

to photography by her father, who was a 

photographer in the Korean War. Her 

interest in, and love of photography has 

remained unabated since and with each 

year she hones her skills even more. Her 

atmospheric and uniquely composed 

photographs, which are inspired by her 

connection with both New York City 

and Provincetown, Mass., offer a look 

into two different worlds: the beauty and 

pace of New York City juxtaposed 

against the serenity and peacefulness of 

Provincetown and Cape Cod. 

Dugan is not about creating “pretty” 

pictures but instead creates compositionally 

balanced photographic images which 

invite the viewer in and enable them to 

feel the pulse of the work. For Dugan, 

it’s about the final product — that image 

which will take us to another level; one 

that lets us use our imagination so we 

can be a part of her experience. 

Joanne Dugan — 

The Essence Of Photography 

Joanne Dugan, “Coney Island Cyclone 

Quad,” Brooklyn, New York City, 2007, 

four 5-by-7-inch archival gelatin silver 

prints handmade by the artist and 

mounted in a 16-by-20-inch 8-ply matt; 

signed and numbered on print verso, 

edition of five. 

Dugan does it the old-fashioned way: she shoots the image, develops the negative 

and prints gelatin silver prints in her New York City darkroom in limited editions. 

Dugan feels that her labor-intensive process means more for the viewer’s experience 

and therefore she remains committed to the hands-on process as opposed to digital 

techniques. “Gelatin silver prints are more lyrical and organic to me,” she says. “It’s 

about finding the poetry in the process as each set of prints is unique to the 

moment.” 

Dugan draws information from a range of artists, including the painter Joan 

Miro and the poet Ranier Maria Rilke. She speaks eloquently about Alfred 

Stieglitz and his work and says, “I was…taken…with his dedication to the final 

Berkshire Art Gallery 

Featuring 19th and 20th Century American and European Art 

80 Railroad Street • Great Barrington, MA 01230 

413-528-2690 www.berkshireartgallery.com 

Anemones in a Vase 

O/C, 34 x 24¼ 

Stephane Le Grec (1924 - 1998). Greek/French 

Partial inventory: C. Blish, Carl Burger, Jack Coggins, J. Carsman, C. Chichester, W. Heffernan, 

A. Hollingsworth, A. Konrad, A. Lepere, C.K. Linson, Dominique Lagru, G. Magyar-Mannheimer, 

S. Maniatty, C.G. Marston, L. P. Moretti, Isaac Muse, W.H. Partridge, 

Clara G. Perry, L. Politi, A.J.E. Powell, Yvonne Twining (Humber), G.C. Wiggins, George 

L. Wilson, R.C. Wilson, R.G. Woiceske, etc. 

Hours: Noon - 5pm, Saturday and Sunday, or by appointment or chance. 

Joanne Dugan, “Cosmos, Bluebell, 

Begonia and Marigold Cottages,” North 

Truro, 2005, four 5-by-5-inch archival 

gelatin silver prints handmade by the 

artist and mounted in a 16-by-20-inch 

frame, signed in pencil on print verso, 

edition of five. 

negative and print as an integral part 

of the final image. He was an extreme 

perfectionist and would sometimes 

make 100 prints from a single negative 

before getting the one he wanted. 

I relate!” 

Like Stieglitz, Dugan’s use of handmade 

gelatin silver prints makes her 

job that much more labor intensive. 

She feels that “I’ve found that by 

interpreting the handmade negative 

myself, alone in the dark, surrounded 

by chemicals and a dim red light, I 

can journey back to Stieglitz’s time 

and to a personal interpretation of 

the moment I’ve been unable to 

reproduce any other way. I enjoy the 

fact that each print I make is different 

in subtle ways, depending on the 

paper and chemistry I use and most 

importantly, the mood I’m in that 

day and how I felt when the image 

was made.” 

Dugan’s work has been exhibited in 

New York City, Provincetown, Los 

Angeles, Europe and Japan and is part 

of many private and corporate collec- 

tions. She is the author of ABC NYC: A Book About Seeing New York City, a popular 

photographic children’s book published by Harry Abrams in 2005 and its sequel, 

123 NYC: A Counting Book of New York City (Harry Abrams, 2007). She received a 

BA in Communications from the University of Delaware. She is currently on the 

faculty at the International Center of Photography in New York and the Fine Arts 

Work Center in Provincetown, Mass. 

“Joanne Dugan, Photographs” will be on view from August 7 to 13 at Ernden Fine 

Art Gallery, 397 Commercial Street in Provincetown. There will be an opening 

reception on Friday, August 7, from 7 to 9 pm. For information, call 508-487-6700 

(toll free is 888-304-ARTS), email erndengallery@att.net or visit www.ernden.com. 

C L A R K P O I N T G A L L E R Y 

19TH AND EARLY 20TH CENTURY PAINTINGS 

OF MAINE AND MOUNT DESERT ISLAND 

"Black-backed Gull" by Carroll S. Tyson (1878 - 1956). 

Limited Edition lithograph after the original watercolor. 

In 1918 Carroll Tyson began a series of paintings of “20 Birds of Mount Desert 

Island.” They were exhibited several times as a group, including at the Delaware 

Art Museum (1939) and at the Philadelphia Museum of Art (1947). The watercolors 

were printed in a limited edition set of lithographs between 1934-35. 

46 Clark Point Road, Southwest Harbor, Maine 04679 

207-244-0920 • www.clarkpointgallery.com


HARVARD GALLERY 

Sporting Art, Wildlife Art, Books 

ejrayfield@aol.com 212-831-5302 


Inspiration in Red Rock, Sky And Sandstone 

BY SUSAN BINGHAM 

On any given day between the months of March and 

November, people from all over the world can be found 

roaming the canyons, rafting the rivers, hiking and 

exploring the back roads and camps of Utah’s Red Rock 

country. 

For first-time visitors, the experience of seeing Red 

Rock country is one of awe as they encounter the towering 

cliffs, the huge expanse of sky and clouds, the everchanging 

shadows and the rugged landscape that has 

been carved through millennia by the powerful forces of 

wind, water, volcanoes and earthquakes. 

To the informed geologist, the area is classified as young 

when compared with other parts of the world. 

To the first inhabitants, namely the Anasazi and the 

tribes that followed, legends were born, namely that of 

the Thunderbird. When the giant mythical bird flapped 

his wings he created the wind and thunder. Lightning 

sprang from his eyes sometimes creating fire. He caused 

rain, even floods, and was revered by these ancient people 

as a sacred life-giving force to man, beast and land. 

To no one is the region more inspirational than to the 

artist. Artists have been exploring and painting these 

lands for decades, the first being those sent to record the 

beauty for the purposes of westward expansion. Sent by 

the US government, painters such as Thomas Moran and 

Albert Bierstadt romanticized the landscape for eastern 

eyes. Artists, photographers and surveyors ventured here 

and put the area on the map. Early Utah artists explored 

and painted the area and its people as westward expansion 

took place. 

In 1933, the famed San Francisco artist Maynard 

Dixon brought his sons and wife Dorthea Lange to camp 

in the Zion area for the summer. During that summer, 

he painted more than 40 paintings exploring all of the 

area’s regions, particularly the Long Valley region on the 

east side of Zion, known for its coral and sandstone 

cliffs, cottonwoods and the meandering East Fork of the 

Virgin River. 

Little did he know at the time that in only a few short 

years, this artist paradise would become his home. Not 

long after returning to San Francisco, Maynard and 

Dorthea were divorced. In 1937 Maynard married the 

young San Francisco muralist, Edith Hamlin, 27 years 

his junior. They established a home in Tucson, Ariz., for 

their winter home and for their summer home they 

bought 20 acres in the small hamlet of Mount Carmel, 

which Maynard had fallen in love with years earlier. That 

summer they began building a log house, tucked back off 

the road among the cottonwood trees that inhabited the 

The Maynard Dixon studio today. 

Click Here For Sporting Art 

Maynard Dixon, “Navajo Land,” 1927, oil on canvas, 

40 by 50 inches. 

old irrigation stream. Packing up the “woody” station 

wagon, they spent their time painting the roads to 

nowhere, the deserts, the red rocks and the people who 

came to be their friends. They engaged their son Daniel 

to build a bunkhouse and they began inviting friends, 

artists and photographers to come and enjoy the landscape 

that so inspired them both. 

In November of 1946 Maynard Dixon passed away in 

Tucson. As Maynard had requested, Edith took Maynard’s 

ashes to their home in Mount Carmel, and by herself 

one April day climbed to a high bluff and a large 

boulder where she dug a trench and scattered Maynard’s 

ashes, a spot which looks over all of Long Valley, the cottonwoods 

below and the huge sky above. A bronze 

plaque was placed by the family with Maynard’s logo, the 

Thunderbird, and simply, Maynard Dixon — 

1875–1946. 

Since the time of his death, the little oasis that Maynard 

and Edith established has grown into something of a 

mecca for many western landscape painters. The property 

was purchased in 1964 by the famed watercolorist 

Milford Zornes who regularly lured artists from all over 

the country to attend watercolor workshops on the property. 

In 1998 it was privately purchased, placed on the 

National Register of Historic Places, and the Thunderbird 

Foundation for the Arts, in honor of Dixon, was 

established to provide a venue for artists to come for 

retreats, workshops, special needs art day camps, educational 

tours and the annual invitational artists’ gathering 

and exhibition, Maynard Dixon Country. 

Now celebrating its tenth year, artists and patrons look 

forward to coming to Maynard Dixon Country to paint, 

Maynard and Edith in Tucson, 1939. 

The house today. The bunkhouse today. 

sell or buy art, and drink in the beauty of the region. 

Since the Thunderbird Foundation was established, more 

than 300 artists have taken advantage of the programs 

offered. Hundreds of visitors have come for tours of the 

property and to attend art events. The newly established 

gallery features works by some of Americas finest painters 

both currently painting and deceased. As the patrons 

enjoy the dinner hour at the Saturday night gala of Maynard 

Dixon Country held on the expansive lawn, the setting 

sun illuminates the cliffs and reveals the colors that 

Maynard Dixon spoke of in his poem “Color.” “Tinting 

so tenderly the sunset hills, Veiled in the Valley, Deep in 

blue ravines, I know that here at last I see revealed — 

The wonder-changing colors of the Soul.” 

Editor’s Note: The public is invited to attend Maynard 

Dixon Country special events and exhibitions. This summer, 

Maynard Dixon Country will take place on August 28, 29 

and 30. As always, it will be held in Mount Carmel, Utah. 

For tickets or information on the Maynard Dixon Country 

events, visit www.ThunderbirdFoundation.com or call 435- 

648-2653, 801-533-5330 or 800-992-1066. 

www.harvardgallery.com


CHATTANOOGA, TENN. — 

RoGallery.com announces the recent 

sale of a large outdoor sculpture titled 

“Arriving Home” by Dennis Oppenheim 

to the Hunter Museum of American 

Art in Chattanooga, Tenn. Oppenheim 

created “Arriving Home” in 2007. 

The sculpture has been installed at 

Miller Plaza as a part of the Museum’s 

Art in Public Places project. Oppen- 

Hunter Museum Of American Art 

Acquires Oppenheim Sculpture 

heim’s sculpture won the public’s vote 

by a large margin and the Hunter 

Museum is pleased to own such an 

important work by the artist. 

“Arriving Home” encapsulates the circular 

rhythms of traveling. Both departure 

and arrival are crystallized in this 

metallic spiral made of steel and acrylic. 

The curators thought this sculpture representing 

travel would fittingly refer- 

Dennis Oppenheim, “Arriving Home,” 2007, steel, Lexan, perforated metal, rainbow 

acrylic, 12 feet high by 12 feet wide by 5 feet deep. 

ence its new location, Miller Plaza, 

which serves as a popular spot between 

home and work for many Chattanoogans 

— be it during a lunch hour 

or summer’s Nightfall Concert series. 

The plaza is located on the corner along 

the city’s busiest thoroughfares, Market 

Street and Martin Luther King Boulevard. 

Dennis Oppenheim (b 1938, Electric 

City, Wash.) has delved into many artistic 

movements during his 50-year 

career, including conceptual art, earth 

art and performance art. These varied 

interests have seeped into the large-scale 

sculptures the artist has been constructing 

since the 1990s. His public sculptures 

often incorporate architectural 

structures and reference one’s tether to 

home and family, as seen in such works 

as “Engagement,” a giant solitaire ring 

topped with a dwelling instead of a diamond. 

“Rising and Setting Neighborhood” 

references the daily commute of 

most Americans by depicting the light 

and shadow cast across a row of houses 

between sunrise and sunset. Coated in 

primary colors and frequently infused 

with electric lights, Oppenheim’s sculptures 

are part fun house, part subversive 

allusion to human relationships and 

societal constructs. 

RoGallery is one of the representatives 

for Dennis Oppenheim and holds many 

of his graphics within its collection. The 

gallery is located in Long Island City, 

N.Y., and has important holdings of 

many modern and contemporary artworks 

including, countless paintings, 

prints, photographs and sculpture, and 

also represents the Picasso estate collec- 

Granville Perkins (1830–1895) Barnegat Bay, New Jersey, signed Granville Perkins and dated 1880, lower left, oil on canvas, 12 20 in. 

Dennis Oppenheim, “Ghost Trip,” 

1978, lithograph, signed and numbered 

in pencil, edition of 100, paper 

size 39 by 27 inches. 

tion of lithographs from Marina Picasso. 

The gallery’s website, www.rogallery.com, 

features more than 5,000 artists. 

The gallery is always interested in 

acquiring new artworks from estates or 

other collections. This fall, the gallery 

will launch a new online auction platform 

featuring a new, fast and simple 

method for buying art online. 

For more information, call 718-937- 

0901 or email art@rogallery.com. 

Barnegat Bay, New Jersey 

Debra Force FINE ART, INC. 14 East 73rd Street Suite 4b New York, NY 10021 (212) 734 3636 debraforce.com


Thomas Moran’s status as an American master is supported 

by Museum acquisitions, scholarly opinion and a recent 

$17,737,000 auction record. 

Here is the finest example of Moran’s use of black ink to achieve 

extreme dramatic effect. Owning the best is always wise. 

Priced to be an intelligent investment. 

Thomas Moran (1837–1926) 

The Cyclone, 1893 

Ink and brush on paper 

11 3 ⁄4 x 8 11 ⁄16 inches 

Signed, inscribed lower right: 

TM (artist’s monogram) 1893 

Q UESTROYAL F INE A RT, LLC 

903 Park Avenue (at 79th Street), Suite 3A & B, New York, NY 10075 T: (212) 744-3586 F: (212) 585-3828 

Hours: Monday–Friday 10–6, Saturday 10–5 and by appointment 

EMAIL: gallery@questroyalfineart.com www.questroyalfineart.com 


provenance 

Private collection, Connecticut 

literature 

John M. Steele, “A Kansas Cyclone,” 

The Aldine, the Art Journal of America 

(March 1894). 

John M. Steele, “A Kansas Cyclone,” 

St. Nicholas; an Illustrated Magazine 

for Young Folks 21, no.5 (March 1894): 

440–5.


Paintings by Valerie Orlemann; pottery by Brigitte 

Delthony; woodblock print by Kathy Wipfler. 

BY IRENE SHACK VON BROCKDORFF 

DIRECTOR, THE GALLERY AT CLARKE’S 

TROPIC, UTAH — The spectacular scenery in Southern 

Utah is without question an artist’s mecca, whether that artist 

is a painter, photographer, potter… — color, form, light — 

every bend in the road calls out to the creative spirit. One 

cannot ignore the voice. 

Scenic Byway 12, beginning at the junction of Highway 

89, winds its way through the Grand Staircase Escalante 

National monument, including the small towns of Tropic, 

located at the east foot of Bryce Canyon National Park, Cannonville 

(near Kodachrome State Park), Henrieville, 

Escalante, Boulder, ending in Torrey at Highway 23, near 

Capitol Reef National Park. 

It’s no wonder this area, part of the Grand Circle, attracts 

thousands of domestic and foreign tourists annually. Tropic is 

a stopover for many visitors heading in either direction on 

Scenic Byway 12. The complex comprises Bryce Valley Inn, 

Clarke’s Country Market and Restaurant, True Valu Hardware, 

and now boasting a fine art gallery owned by Wes and 

Ellen Clarke. The Gallery at Clarke’s features established and 

emerging abstract and plein air artists from Utah, Wyoming 

and New Mexico. Two professional photographers round out 

the offering of landscape art. 

Kathy Wipfler, Jackson Hole, Wyo., is an established artist 

participating in numerous shows, including the Maynard 

Dixon Country event in Mount Carmel, Utah. She was profiled 

in Southwest Art (December 1993), Latitude and Western 

Art & Architecture (Spring/Summer 2008). “The new 

Gallery at Clarke’s is a wonderful addition to this rural town, 

bringing high-quality art and photography to the area. It fills 

a need for the many international tourists traveling through 

to gather up some remembrances of the spectacular scenery 

in this unique corner of the globe. The artists represented by 

The Gallery are people who live and work in the American 

West, and have intimate knowledge of the landscape, as well 

as unique interpretations through their work. The Gallery 

itself is a small oasis of diversity and quality. It’s a ‘must see’ 

when you visit the area.” 

Nancy Green of Torrey, Utah, states that her geometric 

paintings “reflect the landscape in which I live, and I especially 

welcome regional opportunities to share my work. I continue 

to explore the expression of my relationship to the 

earth and sky in this land of mesa, valley and canyon, and 

hope to provide insights about them to people who view my 

pieces.” 

Bob Hills, Sandy, Utah, is an award-winning photographer 

with 40 years experience. He has devoted the past few years 

almost entirely to fine art photography and, as a college level 

Kenneth Adams 

Frank Applegate 

J.J. Audubon 

Jozef Bakos 

Gustave Baumann 

George Bellows 

Oscar Berninghaus 

Albert Bierstadt 

George Caleb 

Bingham 

Emil Bisttram 

LaVerne Nelson Black 

Ernest Blumenschein 

Karl Bodmer 

Carl Oscar Borg 

George de Forest 

Brush 

George Elbert Burr 

T.C. Cannon 

Gerald Cassidy 

George Catlin 

Howard Cook 

E.I. Couse 

Edward S. Curtis 

Andrew Dasburg 

Jeff Wolf , “Circle of Life,” 2009, precast clay model, 

34 inches high by 64 inches long (quarter life size). 

Gallery Opens In Tropic, Utah 

Wes Clarke, gallery owner, on a photo expedition in a 

local slot canyon. —Bob Hills photo 

instructor, has always taught his students — and anyone else 

who would listen — that “photography is indeed a legitimate 

art form when the right person is pushing the shutter 

release.” His amazing photographs attest to that stance. 

Brad Holt, Cedar City, Utah, took an interest in art at a 

very early age. Hating arithmetic in second grade, he was 

continually banished to the hallway for refusing to do his 

sums. Out there, he occupied himself with sketching. A family 

friend and painter, recognizing latent talent, took Brad 

under his wing and began to teach him proper oil painting 

techniques, beginning with underpainting. Brad was just 8 

years old when he began studying art in earnest. 

The style of John Huerta, Jr, Ogden, Utah, evolved from 

methodical and deliberate to a more intuitive approach, 

reacting quickly to the changing light and weather conditions. 

His work brings to mind some of the French Impressionistic 

painters. 

Jeff Wolf, Cedar City, is a highly successful and well-known 

sculptor of Western themes. He recently completed a precast 

Santa Fe gallery seeks works by: 

Randall Davey 

Charles Deas 

Maynard Dixon 

W.H. Dunton 

Seth Eastman 

Fremont Ellis 

Henry Farny 

Nicolai Fechin 

Joseph Fleck 

Leon Gaspard 

Gilbert Gaul 

Marsden Hartley 

William P. Henderson 

E.M. Hennings 

Robert Henri 

Victor Higgins 

Thomas Hill 

Grace Hudson 

Peter Hurd 

Henry Inman 

Raymond Jonson 

Gene Kloss 

Cornelius Krieghoff 

W.R. Leigh 

John Ward Lockwood 

John Marin 

North Room, featuring paintings by Brad Holt and 

pottery by Brigitte Delthony. 

clay model, “Circle of Life,” which depicts a cougar bringing 

down a mule deer buck. The one-quarter life size, 32-by-64inch 

model will be on display at The Gallery at Clarke’s. 

Jan Perkins of Oakley, Utah, recently had a painting accepted 

into the Springville Museum’s Spring Salon. She participates 

regularly in plein air competitions and exhibitions, and 

is particularly adept at painting the beautiful, green, rural 

landscape and historical buildings that comprise some of her 

favorite subject matter. 

Valerie Orlemann, painter, and Andrew Orlemann, photographer, 

of Parowan, Utah, are a highly talented couple 

who bring unique perspectives to their craft. Valerie Orlemann’s 

oil paintings capture the stunning light and geology 

of locations often found near her home. Andrew Orlemann’s 

dramatic black and white photographs leave no doubt as to 

the powerful art that Mother Nature created. His approach is 

direct, honest and draws the viewer fully into each magnificent 

scene. 

Estelle Roberge, Magdalena, N.M., finds inspiration on her 

frequent walks through the hills and desert of New Mexico. 

Her abstract paintings were recently exhibited at the Macey 

Center in Socorro, N.M. She has participated in numerous 

group exhibitions and solo shows, teaches art to elementary 

and high school students and has been Artist-in-Residence in 

several venues. 

Carol Johansen, Mount Pleasant, Utah, took up painting 

during recuperation from injuries suffered during horseback 

riding. A high school art teacher, she eagerly awaits summer 

vacation when she can paint en plein air. She also captures 

the crisp cold days of winter in her canvases. 

Brigitte Delthony, Escalante, Utah, creates hand-built 

primitive pottery. Her pottery and archaic clay sculptures are 

pit fired, the designs inspired by prehistoric Fremont and 

Anasazi Indian cultures. Delthony received the Utah 

Humanities Council Award in 1999 and again in 2005. 

Anne Weiler-Brown, Rockville, Utah, creates imposing 

abstract expressionist paintings in mixed media, including 

double-sided pieces suitable for outside display. Her early 

inspiration began at a young age with many museum visits to 

view the works of Picasso, O’Keeffe, Pollock and deKooning. 

The Gallery at Clarke’s provides a venue for emerging and 

established artists to showcase high-quality works to a diverse 

audience that might otherwise never have the opportunity to 

see them. In addition, workshops will be offered through the 

off-season. Jane Jones, author of Classical Still Life Painting, 

will present a workshop, “Luminous Color with Underpainting 

& Glazing” from October 12 to 16. 

For information, visit www.thegalleryatclarkes.com, email 

isvb2009@thegalleryatclarkes.com or call 435-616-1069. 

Alfred Jacob Miller 

Thomas Moran 

Lloyd Moylan 

Willard Nash 

B.J.O. Nordfelt 

Georgia O’Keeffe 

Sheldon Parsons 

Edgar Payne 

Agnes Pelton 

Bert Phillips 

William Ranney 

Doel Reed 

Or any American Western subject matter prior to 1945. 

Photos Kept Confidential. 

— TOP PRICES PAID — 

Zaplin-Lampert Gallery – 651 Canyon Road, Santa Fe, NM 87501 (505) 982-6100 FAX 505-988-2142 

Email address: gallery@zaplinlampert.com 

Frederic Remington 

Carl Rungius 

Charles Russell 

Howard Schleeter 

J.H. Sharp 

Will Shuster 

Eric Sloane 

John Sloan 

John Mix Stanley 

Walter Ufer 

Cady Wells 

Gunnar Widforss 

Carl Wimar


NANTUCKET, MASS. — The exhibition “de Kooning” will be 

on view through July 17 at Levis Fine Art Nantucket, 44 Main 

Street. It is the second exhibition for the brand new retail location of 

Levis Fine Art, owned by Jim Levis, a private art dealer from Westchester 

County, New York. Levis is a member of the Fine Art Dealers 

Association and specializes in the identification, acquisition and sale 

of Twentieth Century modernist paintings and sculpture. He is also 

the exclusive representative for heirs of Elaine de Kooning, making 

the “de Kooning” exhibition, which has works from both Elaine and 

Willem de Kooning a logical choice. The gallery is open seven days a 

week during the summer season. 

It was a chance encounter with some enthusiastic collectors at the 

L.A. Art Show that planted the seed for opening a gallery in Nantucket. 

“They said there was room for a gallery on Nantucket dedicated 

to pre- and postwar Modernism,” said Levis. “I thought, why 

not? We have a number of clients who summer on Nantucket. It 

made sense. I know these clients from Art20 and Modernism and the 

L.A. Art Show. They come from Germany, France, Canada, even two 

from Australia. Nantucket is a very unique destination and many of 

them summer there.” 

Response to the art has been positive. “It is a very powerful experience 

to walk in and see this art. ‘Oh my God. That is so fresh.’ Those 

are things we are hearing every day now. The work is very emotionally 

powerful — soul-stirring,” said Levis. 

The islanders have been encouraging too. “We’ve had a wonderful 

and enthusiastic welcome from locals, artists, the Chamber, the Historical 

Association and museum directors — the Coffin House, the 

Life Saving Museum, the Whaling Museum, the Atheneum. This is a 

very vital community,” said Levis. 

Levis will give two lectures, July 25 and August 8 at 10:30 am in the 

gallery, about Twentieth Century Modernism and the importance 

and excitement of collecting this period. “The desire to be an educator 

is the responsibility and mission of a dealer. Pre- and postwar 

Modernism is one of the least understood periods of American art, 

and with it comes the under-appreciated part,” said Levis. 

At the time of this article, Nantucket was still expecting its big summer 

influx. “While most collectors will arrive later in the summer, we 

are already encouraged by the response we have received. We know 

the process. To sell art you have to have a passion. You have to start 

with great paintings and be passionate and knowledgeable about the 

artists’ work and the historical context in which it fits. And patience. 

People need to develop a comfort with the dealer and it takes time.” 

Levis is loving Nantucket. “We are having a good time. The beaches 

are gorgeous and it is a beautiful place to spend time. The restaurants 

are world class. Nantucket has a sparse, natural setting and it’s a great 

environment for biking and walking. The bike paths on this island 

are extraordinary. They have taken care to preserve it. This is a place 

for people who want the best.” 

Levis has done his best to provide a knock-out line up of exhibitions 

for his first season. “People don’t have a mission when it comes 

to Nantucket other than having a nice time. They don’t come to 

Nantucket to buy art, but if we’re here, I believe they will indulge,” 

said Levis. 

The first exhibition, “de Kooning” features paintings and sculpture 

by Elaine, as well as a never before exhibited drawing by Willem 

from the Woman series. Elaine de Kooning (1918–1989), wife of 

Willem, was an artist, critic and educator who assisted in bringing 

Abstract Expressionism to the forefront of the art world. While her 

early training with Willem was the catalyst for her exploration of 

abstract painting, it was her unique artistic sensibility that became 

the foundation for her success as an artist in her own right. She 

exhibited at influential galleries such as Stable Gallery and the Graham 

Gallery and her work was included in the landmark “Ninth 

Street Show” in 1951, the “Young American Painters” exhibition at 

MoMA, New York City in 1956, and the “Artists of the New York 

School: Second Generation” at the Jewish Museum in 1957. She 

mastered action painting and had the ability to depict the greatest 

moment of tension within her subjects (i.e. the moment of “release” 

in her Basketball series). Elaine often painted portraits of faceless 

subjects and had the ability to successfully depict her subject’s likeness 

without relying on the minutiae of details traditionally expected 

in portraiture. 

“Form and Figure” will open on July 18 with a reception from 6 to 

8 pm and run through August 7. The development of Twentieth 

Century modern ideologies provided the catalyst for the elements of 

“form” (i.e. color, shape, dimension, line, etc) to take an equally 

prominent role as the subject. Twentieth Century painters and 

sculptors who used abstraction as their foundation were instrumental 

in changing the course of art. Included in this exhibition are 

works by Hedda Sterne, an Abstract Expressionist painter and one of 

the iconic “Irascibles,” who sought to “paint out” her identity as an 

artist, reducing the role of the figure in her oeuvre all together. 

Also included are sculptures by Albert Wein, N.A., an artist who 

sought to modernize the classical figure and traditions of figurative 

sculpting and who was recently awarded a retrospective at the Boston 

Athenaeum in October 2008. Other artists featured include Alice 

Neel, Vaclav Vytlacil, Milton Resnick, Robert Motherwell, Budd 

Hopkins, John Sennhauser, Nassos Daphnis and Irene Rice Pereira. 

“The Fourth Dimension” will open with a reception on August 7, 

6 to 8 pm and run through September 4. Developed by pioneering 

modernist painter Maurice Golubov in the early Twentieth Century, 

the “fourth dimension” represents an infinite energy drawn from 

fixed planar elements that moves beyond the traditional two- and 

three-dimensional space. In other words, a point becomes a line 

which becomes a shape which becomes a plane which then develops 

into a three-dimensional form, allowing for movement. In a similar 

capacity, Nassos Daphnis and Irene Rice Pereira used color and 

shape to achieve an infinite expansion –– beyond that of just color 

and shape. Other artists who created “an infinite energy within their 

compositions” include Budd Hopkins and Rolph Scarlett. 

“Mid-Century Modernism” will open on September 5 with a reception 

from 6 to 8 pm and run through September 30, featuring works 

by pre- and postwar modernist painters and sculptors who were 

influential in creating a new vocabulary for Twentieth Century visual 

expression. Artists include Robert Motherwell, Vaclav Vytlacil, Marguerite 

Zorach, Rockwell Kent, Francisco Zuniga, Grace Hartigan, 

Hedda Sterne and Elaine de Kooning. The works represent ideologies 

embedded in the Twentieth Century modernist aesthetic. 

In addition to representing heirs of Elaine de Kooning, Levis 

Fine Art represents the estates of Walter Plate and Maurice Golubov. 

For more information, visit www.levisfineartnantucket.com or 

call 508-228-4430. 


Levis Fine Art Nantucket Opens Its First 

Season With A Fine Schedule Of Exhibitions 

Maurice Golubov, untitled, 1978, oil on linen, 20 by 36 inches; 

“Fourth Dimension” exhibition. 

Joan Miró, L’Oiseau du Paradis, 1973, etching and aquatint. 

A FINE THING: 

Edward T. Pollack Fine Arts 

AMERICAN & EUROPEAN FINE PRINTS, 

PHOTOGRAPHS, SCULPTURE, 

& DECORATIVE ART 

ART, PHOTOGRAPHY, CHILDREN’S, FINE PRESS, 

& ILLUSTRATED RARE BOOKS 

WWW.AFINETHING.COM 

Hedda Sterne, “Tondo,” 1973, acrylic 

on canvas, 36 inches; “Form and Figure” 

exhibition. 

Walter Plate, “Mardi Gras,” 1969, oil 

on canvas, 61 by 63¾ inches; “Mid- 

Century Modernism” exhibition. 

Elaine de Kooning, “Bacchus,” 1982, 

acrylic on canvas, 84 by 66 inches; “de 

Kooning” exhibition. 

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16 - THE GALLERY 

Pompeo Batoni (1708–1787), “Antiochus and Stratonice,” 

1746, oil on canvas, 74 3/8 by 91 3/8 inches. Collection Museo 

de Arte de Ponce. Fundación Luis A. Ferré, Inc Ponce, Puerto 

Rico. —John Betancourt photo 

BY CAROL SIMS 

GREENWICH, CONN. — This 

summer, one can see a traveling exhibition 

titled “Masterpieces of European 

Painting from Museo de Arte de Ponce” 

with art from the Fourteenth to the 

Nineteenth Century from several European 

schools — Italian, French, Flemish, 

Dutch, Spanish and others. The 

Bruce Museum, One Museum Drive in 

Greenwich, will be its only Northeastern 

venue. You have until September 6 

to go and see it. 

So, what is it about this exhibition 

that should set you in motion towards 

Greenwich? If you are a connoisseur of 

Old Master paintings, chances are you 

have already been to see the show, at 

least once. But what if you think that 

Old Master paintings, which predominate 

the exhibition, aren’t your cup of 

tea? The moderate scale of the exhibition, 

and how it is displayed at the 

Bruce Museum, make it a good foray 

into understanding and appreciating 

the masterfulness of Old Masters. There 

are also a few paintings by Nineteenth 

Century artists, including Sorolla Bastida 

and James Tissot. 

Luis A. Ferré, who later became governor 

of Puerto Rico, wanted to bring 

fine examples of European art to Ponce, 

where he grew up. As early as 1953, 

Ferré had the idea of creating a Puerto 

Rican museum of international stature. 

He founded Museo de Arte de Ponce in 

1959. It was not an easy task to search 

out and acquire the quality paintings he 

wanted to amass. The 35 pieces in the 

exhibition were mostly acquired in the 

auction houses of New York in the 

1950s, decades after Henry Clay Frick 

formed his collection. Working in 

Ferré’s favor, was the taste of the mid- 

Twentieth Century collector. Old Masters 

weren’t necessarily in fashion. 

At one auction, Ferré was able to buy 

25 paintings for $7,000 in one fell 

swoop. He ended up keeping eight of 

those works for the museum. A wonderful 

Flemish painting in the exhibition 

by Abraham Janssen painted circa 

1608 of “Virgin and Child with St 

John the Baptist” sold for just $600, 

according to Peter Sutton, director of 

the Bruce Museum. 

Ferré, a graduate of MIT and a pianist 

trained at the New England Conservatory, 

enlisted the help of Julius Held, a 

Rembrandt and Rubens scholar who was 

a professor at Barnard College. With 

Held’s assistance, Ferré located and 

bought marvelous examples of European 

art. In 1962, the Samuel H. Kress Foundation 

gifted more than a dozen works 

to the museum. Over the years, various 

works from Museo de Arte de Ponce 

have been exhibited at more than 80 

museums worldwide, including the Metropolitan 

Museum of Art, the Tate and 

the Louvre. “Masterpieces of European 

Painting from Museo de Arte de Ponce” 

is the largest single group of paintings to 

travel from Puerto Rico at one time. 

Along with a separate traveling exhibition 

of the British works from the collection, 

this show results from a temporary 

closure the Museo de Arte de Ponce 

for renovation. 

Organized chronologically rather than 

by country of origin, the exhibition is 

not an exhaustive survey, but rather a 

“hopscotch” through various periods 

and schools, as Sutton explained. The 

olive green walls and the careful lighting 

encourage the viewer to part from 

Jacopo di Cione (1320/30-circa 1398), “Annunciation with 

Donor,” circa 1375–1380, tempera on wood panel, 51¾ by 

52 inches. Collection Museo de Arte de Ponce. Fundación 

Luis A. Ferré, Inc Ponce, Puerto Rico; Gift of Samuel H. 

Kress Foundation, New York. —John Betancourt photo 

Jean-Leon Gerome (1824–1904), “Queen Rodope Observed by Gyges,” 1859, oil 

on canvas, 26 3/8 by 39 3/8 inches. Collection Museo de Arte de Ponce. Fundación 

Luis A. Ferré, Inc Ponce, Puerto Rico. —John Betancourt photo 

the noise and brightness of modern life 

and take in the paintings one by one in 

all their splendor, drama and beauty. 

Old Masters almost always have a 

story to tell, symbolism to reveal and 

emotion to share. They are best sipped 

rather than guzzled. The wall notes 

reveal to uninitiated modern viewers 

details that would have been generally 

known by viewers of past centuries — 

biblical references, Greek or Roman 

history or classical mythology. 

Artists frequently chose the most 

poignant moment in a narrative to 

arrest and keep the attention of the 

viewer. For example, Pompeo Batoni 

(1708–1787) captures the moment 

when King Seleucus discovers that his 

son Antiochus is in love with young 

Queen Stratonice, the boy’s beautiful 

stepmother. A doctor notices that Antiochus’s 

pulse accelerates when the 

queen enters the room. As the story 

goes, the generous and loving father, 

King Seleucus, gives his kingdom and 

his wife to his son in order to keep him 

from dying of heartbreak. 

Nudity, gore and raw emotion — in 

various proportions and mixtures — 

are frequently employed to empower 

July 10, 2009 — Antiques and The Arts Weekly 

James Tissot (1836–1902), “In the Louvre 

(L’Esthetique),” 1883–1885, oil on 

canvas, 58 by 39 3/8 inches. Collection 

Museo de Arte de Ponce. Fundación 

Luis A. Ferré, Inc Ponce, Puerto Rico. 

—John Betancourt photo 

Destination Greenwich 

The Museo de Arte de Ponce 

Sends Its Masterpieces Of European Art To The Bruce Museum 

Old Master paintings. If modern viewers 

are sometimes emotionally fatigued 

by a cavernous museum hall crammed 

with Old Masters, it’s probably the high 

voltage of the works that has overcome 

them. That is not likely to happen at 

this exhibition, where there are fewer 

than 40 paintings, all carefully grouped 

and displayed in small alcoves. 

Among the artists represented are 

Luca di Tommè (1330–1389), Lucas 

Cranach the Elder (1472–1553), Peter 

Paul Rubens (1577–1640), Francisco 

de Zurbarán (1598–1664), Anthony 

van Dyck (1599–1641), Philippe de 

Champaigne (1602–1674), David 

Teniers the Younger (1610–1690), Bartolomé 

Esteban Murillo (1618–1682), 

Charles Le Brun (1619–1690), Francisco 

de Goya (1746–1828) and Jean- 

Léon Gérôme (1824–1904). 

One enters at the Fourteenth Century 

with the early Renaissance works by 

Luca di Tommè, “Madonna and Child 

Enthroned,” and Jacopo di Cione, 

“Annunciation with Donor.” Painted in 

tempera on wood panels enhanced with 

tooling and gold leaf, these paintings 

call to mind the quietude of a church 

in the Middle Ages. Not meant to be 

taken in too quickly, but rather to be 

contemplated, communicating the 

piety of a Latin mass if not the direct 

translation. 

Eventually, the show crosses out of 

Old Master territory into the Nineteenth 

Century with the loose brush 

strokes of Bastida and the realism of 

Tissot. Jean-Leon Gérôme 

(1824–1924) is a fitting bridge. His 

“Queen Rodope Observed by Gyges” of 

1859 captures the moment when 

Rodope discovers Gyges spying on her 

as she undresses for bed. The recumbent 

King Candaules had arranged for 

his friend Gyges to see his wife disrobe. 

The modest Rodope offers Gyges a 

choice: Either be killed, or kill the king 

and become king himself. 

For information, call the Bruce Museum 

at 203-869-0376 or visit the website 

at www.brucemuseum.org. A softcover, 

bilingual catalog includes 

full-color images from the exhibition 

and is available in the museum store 

and online.


BY CAROL SIMS 

SOUTHWEST HARBOR, 

MAINE—Named for the quaint street 

that overlooks Southwest Harbor of 

Mount Desert Island, Clark Point 

Gallery pays homage to the dozens of 

Nineteenth and Twentieth Century 

American painters who have found 

inspiration in the state of Maine, especially 

Mount Desert Island, which is 

about two thirds of the way up the 

coast. 

The beauty of this rugged island was 

made famous by artists Thomas Cole 

and Frederic Church. Other artists 

soon followed, and it is still a phenomenal 

place to paint. Word of its pink 

granite boulders with crashing waves, 

quiet sandy inlets and breathtaking vistas 

spread quickly. It wasn’t long before 

the wealthiest families of America were 

summering on the island and building 

summer “cottages.” Acadia National 

Park, just minutes away from Clark 

Point Gallery, owes its existence to 

wealthy summer visitors and land owners 

who wished to forever safeguard this 

national treasure. Many of the views 

captured in oil paint long ago are still 

there in all of their splendor to be seen, 

enjoyed and painted by the artists of 

today. 

“This is a natural paradise of sorts and 

artists have been coming here for 200 

years,” said Peter Rudolph, director and 

owner of Clark Point Gallery, as well as 

25 Lyme Street 

Old Lyme, CT 06371 

Art Of Mount Desert Island Featured 

At Clark Point Gallery 

Harold B. Warren Exhibition Opens July 15 

Harold B. Warren, “Bunker’s Cove from Treetop,” circa 1919, watercolor on 

paper, 10½ by 14½ inches. Private collection. 

McClees Galleries in Haverford, Penn. 

“The gallery strives to show the paintings 

of visitors to Mount Desert Island. 

We just published a book on Harold 

Warren,” said Rudolph. The fully illustrated 

color catalog written by Warren 

scholar Royal W. Leith will accompany 

the exhibition of the artist’s watercolors, 

which will open on July 15 at 

Clark Point Gallery. 

Harold B. Warren (1859–1934) first 

visited Mount Desert Island in 1879 

and was a second generation American 

Pre-Raphaelite painter, painting with 

great fidelity the landscapes of Vermont, 

New Hampshire and Maine. 

While he taught freehand drawing at 

Harvard University for 26 years, he 

THE COOLEY GALLERY 

Thomas Kirby Van Zandt (1814-1886), Gentleman’s Ride, Outside Albany, oil on canvas, 39” x 55 1/2” 

www.cooleygallery.com 


rarely exhibited his Mount Desert 

scenes in Boston, selling most of his 

Maine watercolors in Maine, often to 

summer cottagers. This significant 

body of work captures the area’s magnificent 

light during different times of 

day and in varying weather conditions. 

Pronounced by regulars and locals 

“Mount Dessert” with a bit of the 

French influence still lingering (Isle de 

Monts-deserts with the emphasis on 

the last syllable of desert), the island is 

on the migratory path for many species 

of birds. In 1918, Carroll S. Tyson 

(1878–1956) began painting a series he 

called “20 Birds of Mount Desert 

Island.” Clark Point Gallery has sold all 

20 varieties from the edition of lithographs 

printed in 1934 and 1935. 

Tyson painted hawks and swifts, gulls 

and owls — as well as songbirds like 

the American goldfinch and American 

redstart. Perhaps one of the most animated 

bird portraits is his “Great 

Black-backed Gull.” Displaying outstretched 

wings with his neck lowered, 

head tilted up and beak opened, one 

can almost hear the gull’s territorial 

screech and caw. 

Clark Point Gallery, 45 Clark Point 

Street, is open Tuesday through Saturday 

from noon to 5 pm through Labor 

Day. For information, call 207-244- 

0920, email 

info@clarkpointgallery.com or visit 

www.clarkpointgallery.com. 

860.434.8807 

info@cooleygallery.com


‘Marsh Gunner,’ A Classic 

Frank Benson Etching 

NEW YORK CITY — Harvard Gallery 

is a private gallery, specializing in fine 

wildlife, sporting and natural history art 

and books. The gallery has worked with 

private collectors, libraries, other galleries 

and museums to provide choice acquisitions. 

Dr Elliot Rayfied, owner of Harvard 

Gallery, is offering “Marsh Gunner” to 

collectors this summer. 

Frank W. Benson, (American, 

1862–1951) was one of The Ten, a 

group of American Impressionists who 

began to exhibit works together towards 

the end of the Nineteenth Century. 

In “Marsh Gunner” the horizon line sits 

below the midway point of the etching, 

and yet one still seems to look up upon 

the triumphant, youthful hunter, who 

balances his gun on one shoulder and a 

brace of geese over the other. Lyrical lines 

fill the sky and give form to majestic billowy 

clouds and the marsh grass bends 

with the wind. The hunter is balanced 

and steady in his stance, looking out over 

the marsh towards the shore, likely on his 

way home. Using only the dark lines of 

the etching process, Benson miraculously 

captures a sense of great space in this 

10 7/8-by-8 7/8-inch print. The airiness of 

the sky, the fluctuating ripples and currents 

of the water, and the sense of hours 

spent out on the marsh, are brilliantly 

captured. 

In addition to Frank Benson, Harvard 

Gallery has works by the following 

artists now available: Gordon Allen, 

John J. Audubon, Ralph E. Boyer, Paul 

Bransom, Allan Brooks, S.F. Denton, 

H.A. Driscole, Donald Eckleberry, 

Churchill Ettinger, Louis Agassiz 

SAVE THE DATE! 

Fuertes, Arthur Fuller, Jablensky, 

Samuel A. Kilbourne, Marguerite 

Kirmse, J.F. Lansdowne, John Latham, 

Don Malick, Francois Nicolas, Martinet, 

Henry McDaniel, Stanley Meltzoff, 

Edmond Osthaus, R.T. Peterson, 

Ogden Pleissner, Alexander Proctor, 

Louis Rhead, A. Lassell Ripley, Carl 

Rungius, William Schaldach, Peter 

Scott, Prideaux John Selby, Arthur 

Singer, Herbert Stoddard, George M. 

Sutton, Emerson Tuttle, Norman 

Wilkinson and Alexander Wilson. 

To arrange an appointment, email ejrayfield@aol.com 

or call 212-831-5302. To 

see examples of the collection online, visit 

www.harvardgallery.com 

THIRTEENTH ANNUAL 

BOSTON INTERNATIONAL 

FINE ART SHOW 

November 12-15, 2009 

The Cyclorama 

Boston Center for the Arts 

539 Tremont Street, in the South End 

GALA PREVIEW 

Thursday, November 12, 5:30-9:30pm 

To benefit Handel and Haydn Society 

WEEKEND SHOW 

Friday 1-9, Saturday 11-8, Sunday, 11-5 

Friday Evening: “New Collectors Night” 

Saturday & Sunday: Special Guest Lectures 

Café at the show. Valet and discount parking available. 

Information: 617.363.0405 FineArtBoston.com 

Produced by Fusco & Four/Ventures LLC 

Frank W. Benson, (American, 1862 

–1951), “Marsh Gunner,” etching, 

1918, 10 7/8 by 8 7/8 inches. 

40 Outstanding 

Galleries from 

the U.S., Europe 

and Canada 

offering Traditional 

and Contemporary 

Fine Art 

"..polished 

and refined" 

-Antiques & The Arts 

Weekly 

"..one of the most 

popular art fairs on 

the East Coast." 

- American Art 

Collector 

" an annual art 

extravaganza, the 

only one of its kind 

in New England" 

- Maine Antiques 

Digest 

Photos (clockwise) courtesy of 

Marine Arts Gallery, Avery 

Galleries, Guild of Boston Arttists, 

Martha Richardson Fine Art 

Traces Fine Art 

Highlights The Artists 

Of Litchfield Hills 

BANTAM, CONN. — Traces Fine Art has a long history in the art business. 

In 1973, Henry Eckert and his wife founded Eckert Fine Art in Indiana, 

specializing in Nineteenth and early Twentieth Century regional artists. 

After moving to Florida in 1996, a gallery was opened in Old Naples featuring 

the finest Impressionist, Modern and Contemporary art with an 

emphasis on work from the 1950s to the present. In Florida, the gallery 

mounted important shows, including “Robert Rauschenberg/Beamer Paintings,” 

the “BMW Art Car,” “Christo and Jeanne-Claude/Gates,” “Over The 

River” and “Pierre-Auguste Renoir/His Art and Archives.” 

Henry Eckert earned a BFA from Indiana University, where he won the 

prestigious Wolcott Award, awarding him study in Europe. Upon his return 

to America, he served as preparator at the Indianapolis Museum of Art. He 

and his wife Jane lectured on art, published books including The Hoosier 

Group, Five American Painters by Judith Vale Newton and Dr William H. 

Gerdts and curated shows for museums such as the Evansville Museum of 

Art, the Butler Institute of American Art and the Naples Philharmonic 

Museum of Art. 

Traces Fine Art in Bantam, Conn., was created to highlight the importance 

of the late Nineteenth and early Twentieth Century artists who 

worked in the Litchfield Hills of Connecticut and the close communities of 

eastern New York and southwestern Massachusetts. Many National Academicians 

and Associates of the Academy summered in the Litchfield Hills, a 

few making it their permanent residence. The beauty of this area was alluring 

to these artists; its streams, rivers, hills and farms provided ample subject 

matter and a pleasant change from New York City. 

The gallery hopes that by tracing the art history of this area it will bring 

attention to a period and place not yet discovered by many collectors. 

George Glenn Newell (1870–1947) lived in the eastern New York town of 

Dover Plains and exhibited at the Kent Art Association in Connecticut. The 

artist Robert Nisbet had met Newell when both were in Old Lyme in 1906. 

When Nisbit moved to Kent, Newell began spending time in nearby Dover 

Plains. Newell was born in Michigan and trained at the National Academy 

of Design. He maintained a studio in New York but called Dutchess County 

his home. He was a National Academician, president of the American 

Art Association, member of the Kent Art Association, Lyme Rock Art Association 

and the Dutchess County Art Association. Newell raised his own 

cattle on his farm providing much of his subject matter. 

The artist featured in the gallery’s ad in this issue is Arthur James E. Powell 

(1864–1956). He also lived in Dover Plains and exhibited in the Kent Art 

Association. Powell was born in Vanwert, Ohio. He studied at the San Francisco 

School of Design and the Academie Julian. Upon his return in 1906 

he took a studio in New York City. Powell was a National Academician as 

well as a member of numerous associations. 

Traces Fine Art extends a special thanks to the Mattatuck Museum for its 

efforts in exhibiting these artists, as well as Robert Michael Austin for his 

book Artists of the Litchfield Hills, a pioneering book on the subject published 

in association with the Mattatuck Historical Society, Waterbury, 

Conn., in 2003. 

George Glenn Newell (1870–1947), “Considering,” oil on canvas, 

25 by 30 inches.


BY JOSEPH NEWMAN 

DIRECTOR, THE COOLEY GALLERY 

In 1876, the experimental photographer 

Eadweard Muybridge captured on film 

Leland Stanford’s prized horse, Abe Edgington, 

at full gallop in an attempt to prove 

Stanford’s theory of “unsupported transit,” 

the idea that all four hooves of a horse at 

speed leave the ground. The plate itself was 

fuzzy and unsuitable for publication, so it 

was left to a little-known painter of horses to 

strengthen the image. Thomas Kirby Van 

Zandt reproduced the image twice, first as a 

drawing of “crayon and ink wash” dated September 

16, 1876, and again as the finished 

canvas, “Abe Edgington” (Iris & B. Gerald 

Cantor Center for Visual Arts, Stanford University), 

dated February 1877. 1 Despite Van 

Zandt’s efforts, it was a later, more distinct 

photograph by Muybridge, taken in 1877 

and clearly showing another Stanford horse, 

Occident, all four hooves tucked beneath the 

animal in mid-stride, that proved the theory. 

Van Zandt’s role in the matter is generally 

unmentioned by the few works that discuss 

the artist and his participation demonstrates 

that his career was of greater consequence 

than is commonly thought. 

Van Zandt’s relationship with Stanford 

reached back to their shared antebellum days 

in Albany, N.Y., where Stanford was working 

as an ambitious young lawyer. Active since 

the mid-1840s, by about 1850 Van Zandt 

had established himself as a reasonably successful 

horse-and-carriage painter catering to 

Albany’s wealthier citizens. Van Zandt’s bestknown 

painting, “Judge Van Arnam in His 

Sleigh” (Albany Institute of History and Art) 

is dated February 1855 and shows a rather 

dyspeptic middle-aged man being whisked 

over the snow by a chestnut horse, while 

Thomas Kirby Van Zandt (1814–1886) 

New Details And A Masterpiece 

William Van Zandt (Nineteenth–Twentieth 

Century), “Gentleman’s Ride, Outside 

Albany,” 1858, oil on canvas, 39 by 

55½ inches; signed and dated. 

other rigs run over a frozen river in the background. 

Van Zandt’s modern reputation has 

cornered him as something of a mid-century 

limner, but the folk elements of his work 

aside, in “Judge Van Arnam,” and again in 

“Gentleman’s Ride, Outside Albany” (illustrated 

here), Van Zandt demonstrates an 

accomplished sensitivity to the figure and a 

farrier’s knowledge of a horse in motion. 

The artist’s whereabouts during the 

1870s offers a small mystery. Van Zandt’s 

work from Muybridge’s slide suggests that 

he might have been in California 2 in 

Detail of “Gentleman’s Ride, Outside 

Albany.” 


1876, though his February 1877 finished 

canvas, "Abe Edgington," is clearly 

marked as having been painted in Albany. 

In addition to employing the artist to 

assist Muybridge, Stanford continued to 

commission works by Van Zandt, including 

a portrait of his son, Leland Stanford, 

Jr., done in Albany in 1880. Van Zandt’s 

association with Muybridge’s famous 

experiment and the Stanford family 

should amplify his reputation. In Stanford’s 

opinion, at least, Van Zandt was 

among the leading painters of his day. 

Given this history, “Gentleman’s Ride, 

Outside Albany” is almost certainly Van 

Zandt’s masterpiece. The largest known picture 

by the artist, Van Zandt displays anew 

his facility with the human figure and ability 

to create lively profiles of stately horses, rich 

with character and animation. While Van 

Zandt regularly included backgrounds that 

featured scenes of leisure within a detailed 

landscape, here that tendency is magnified 

dramatically. The small boat negotiating the 

great sweep of the river and the industrious 

husbandry both suggest the ambition and 

optimism of the prewar nation. The subject 

himself must have been a man of great 

wealth, to commission a work physically 

large enough to adequately illustrate his 

dashing phaeton, his driver, and his pair of 

dapple grays. 

Editor’s Note: Cooley Gallery is located at 25 

Lyme Street, Old Lyme, Conn. Call 860-434- 

8807 or visit www.cooleygallery.com for additional 

information. 

1 

Phillip Prodger, et al, Time Stands Still (Oxford: Oxford 

University Press, 2003) 143. 

2 

Rediscovered Painters of Upstate New York: 1700-1875 

(Utica: Munson-Williams-Proctor Institute, 1958) 71.


One Picture Is Worth A Thousand Words 

BY MERNA POPPER 

ANDES FINE ART 

ANDES, N.Y. — Just why anybody 

would want somebody else’s old photographs 

is difficult to understand, yet the 

interest in places and people caught in a 

single moment, then lost forever, has never 

been greater, and it doesn’t seem to matter 

whose life was caught in the flick of a shutter. 

The fascination may be partially due to 

man’s natural curiosity, partially a concrete 

connection with history, the past, ancestors 

— real or imagined, bygone eras and just 

plain nostalgia is a connection during a 

time when everything around us seems so 

ephemeral. 

In the business of antique collecting, 

photographs have been considered 

ephemera. Now, in the time of high tech, 

the definition of ephemeral may have 

changed. While computer and communications 

images are transmitted and deleted 

in a blink, photographs are a permanent, 

tangible record of human existence. 

After having been tossed out casually by 

busy forefathers, entire albums from early Daguerreotypes to albums filled with 

unidentified baby pictures, to pinups of Marilyn Monroe, celebrities leaning on vintage 

guitars, and buildings long ago lost to the wrecker’s ball, the natural human 

BY ELAINE BLECHMAN 

OWNER, ARCTIC ARTISTRY 

Beginning Friday, July 10, Arctic Artistry 

will feature “Women of the Far North.” 

The exhibition features stone sculpture, 

drawings, lithographs, stonecuts, etchings 

and engravings that depict Inuit (Eskimo) 

women who live in Arctic Canada. The 

show will run through Sunday, September 

Robert Doisneau, “Le Baiser de l’Hotel de Ville,” or “Kiss at City Hall,” 

photograph. 

6 and can be viewed at 

www.arcticartistry.com or by appointment. 

To set an appointment, email elaine@arcticartistry.com 

or call 914-238-4123. 

Inuit women who live in Arctic Canada 

have adapted from a nomadic 

lifestyle to the modern world during the 

last 50 years. Inuit artists have portrayed 

women in sculpture and prints as they 

instinct is recover the past and preserve 

what had nearly been lost forever. 

It is unearthing those mysteries of lost 

time and life that inspired us to put together 

1,000-plus American images and perhaps 

help people find roots and comfort and 

pure art in the collection that represents 60 

years of collecting. The exhibition, “Celebrating 

American Life” opened appropriately 

on the 4th of July when the public 

came in search of “Real live nephews of 

your Uncle Sam” as George M. Cohan 

wrote. Some of the photographs, including 

stereopticon slides, are painted images of 

the American landscape; there are some 

European and Asian photographs as well. 

Included in the show is the famous 

posed photograph that became an international 

sensation by photographer Robert 

Doisneau titled “Le Baiser de l’Hotel de 

Ville,” or “Kiss at City Hall.” While Doisneau 

used models to create the seemingly 

spontaneous kiss photograph, he was later 

sued by couples claiming to be the two 

people he photographed. 

The exhibition continues at Andes Antiques & Art, 173 Main Street, 13731. For 

information, call 845-676-3420 or email PopperArtsy2@aol.com. Gallery hours are 

Thursday through Sunday, 11 am to 4 pm, and by appointment. 

‘Women Of The Far North’ 

were then and as they are now. Also 

included in the exhibit are mythological 

creatures associated with women. 

Inuit women from the 1950s and 

1960s were brought up in a traditional 

way. They lived “on the land” in outpost 

camps and traveled on dog sleds. 

The woman’s role was to fish, prepare 

all the food for the family, raise the 

children and make clothes from seal 

and caribou skins. Her job was to support 

the hunter. Today, arctic families 

live in small communities in wooden 

prefab houses which are brought up 

north on ships during the summer, and 

they travel on snowmobiles and offroaders. 

They enjoy television, computers 

and prepared food. Mother’s Day 

will find red roses flown into these arctic 

regions. 

Obviously, the role of indigenous 

women of the north has evolved. 

Women now have new opportunities 

for independence. They are educated 

and many have excelled as artists working 

in stone sculpture and limited edition 

prints. Elements of their modernized 

lifestyle are depicted in their art. 

The Inuit people have made small 

stone sculptures from indigenous stone 

for thousands of years. Often these 

pieces were used as amulets, depicting 

animals carved in hopes of a good hunt. 

In the late 1950s, art advisors started 

buying these small carvings and thus 

began the art industry in the arctic. 

People began to carve what they knew 

best — family life, animals they lived 

among and hunted and mythological 

beings. Women and children were a 

favorite subject from the beginning. 

Inuit carvings have been sought after 

by collectors and noncollectors alike 

looking for something lovely for their 

homes. They are found in important 

corporate art collections and have been 

collected by many museums. The 

Smithsonian’s new National Museum of 

the American Indian on the Mall in 

Washington, D.C., owns a large and 

diversified collection of Inuit art. 

Looking at other art genres going as 

far back as the Greeks, we see changes 

in style, materials and techniques over 

the years. Inuit art in the past 50 years 

has changed as well. Earlier work was 

more primitive, full of mythological 

Germaine Arnaktauyok (Igloolik, 

Nunavut, Canada), “My Baby,” 1998, 

original drawing with black ink and 

colored pencil, 12 by 8 inches. 

creatures and less colorful. Recent work 

employs more realism and brighter colors 

in both the stone and prints. Sweeping 

changes within the Inuit culture 

have produced a different look from the 

early years. Different, but still as 

enchanting. 

In the original drawing “My Baby” by 

Germaine Arnaktauyok in 1998, the 

traditional theme of motherhood is 

approached with a masterful composition 

and a remarkable ability to reflect 

the love between mother and child. The 

pink-toned background might easily be 

chalked up to the rosy light of the short 

days of an arctic winter, however, in the 

context of the subject matter it becomes 

a conduit of emotion. This drawing was 

in a solo exhibition for Arnaktauyok’s 

work at the Winnnepeg Art Gallery in 

1998 and was purchased for the gallery 

from the museum. 

The communities represented in 

“Women of the Far North” are in Arctic 

Quebec, Baffin Island and the Keewatin 

area of Canada. The limited edition 

prints have been done in editions of 

only 50.


‘Ira Moskowitz: 

Ceremonial Images Of The Southwest’ 

TAOS and SANTA FE, N.M. — 

The enduring Southwestern images 

of artist Ira Moskowitz (1912–2001) 

are represented at Zaplin Lampert 

Gallery on Canyon Road in Santa Fe. 

In the 1940s, as a young New York 

artist, Moskowitz set out for the 

American Southwest. He settled in 

Taos, N.M. Particularly interested in 

exploring the common human need 

for ritual expression, the artist 

immersed himself in Native American 

culture and ceremony from 1944 to 

1955. 

One of his lithographs from this 

period, “Storm, Taos Valley,” was 

awarded the First Purchase Prize by 

the Library of Congress in 1945 and 

his drawings were exhibited at the 

Los Angeles County Museum. Over 

the course of a two-year period he 

completed more than 300 drawings 

of the Pueblo, Navajo and Apache 

people. These drawings were subsequently 

published to accompany text 

written by John Collier (then Commissioner 

of Indian Affairs) titled, 

Patterns and Ceremonials of the Indians 

of the Southwest. 

The Zaplin Lampert Gallery is 

pleased to be involved with the Taos 

Museum of Art as the museum highlights 

works by Ira Moskowitz during 

its special summer exhibition. “Ira 

Moskowitz: Ceremonies of the 

Ira Moskowitz (1912–2001), “Zuni Dance,” 1946, lithograph, 11 7/8 by 15½ inches. 

Southwest” features artwork the artist 

created over several decades, beginning 

in the 1940s. Running through 

August 30, the exhibit comprises 32 

works in oil, lithography and both 

hand-colored and black and white 

etchings. 

Themes that most interested 

Moskowitz deal with community and 

ritual — timeless ideas that have 

invigorated human cultures around 

the world, whether Native American, 

Asian or Jewish. 

Born in Galicia, Poland, Moskowitz, 

at the age of 15, immigrated to New 

York with his family. He was raised in 

rabbinic ritual — the son and grandson 

of rabbis. Through his artwork, 

Moskowitz was drawn to capture 

something of the spiritual essence 


within the activity of each scene. In 

the Southwest, he befriended his 

Native American subjects. Sensing his 

earnest respect and humility, they 

reciprocated, welcoming his presence 

among them and at their ceremonies. 

Artist John Sloan observed that 

“…the drawings and lithographs by 

Ira Moskowitz are notable for an 

emotional response to the Indian life. 

He may be called a representational 

or realistic draftsman, but in my estimation 

this quality places his work in 

line with the great tradition of the 

past which produced the masters…” 

In conjunction with the exhibition, 

the Taos Art Museum will hold an 

evening reception featuring a discussion 

and personal reminiscences with 

the artist’s daughter and two other 

guests, Roy C. Coffee (from whose 

collection much of the exhibit 

derives) and Richard Lampert of the 

Zaplin Lampert Gallery. Held on Friday, 

July 31, at 5:30 pm in the 

Fechin Studio of the Museum, the 

evening will commemorate the artist 

and his artwork. 

For more information on the exhibit 

and evening reception, call the Taos 

Museum of Art at 505-758-2690. 

The works of Ira Moskowitz can be 

seen online at 

www.zaplinlampert.com and at 

taosartmuseum.org. 

Art &Antique Gallery, Inc. 

Art & Antique Gallery’s Stimulus Plan 

We have been in business for 40 years through good times and bad times. 

We are going to help the stimulus plan go through by selling paintings that everyone can afford. Just ask and we will give a good and fair price. 

Many people think that auction prices are high, especially since the premiums are up to 25-30%. In Germany, the premium is 30% above the price. 

We have something for everybody. Investment quality is guaranteed. We stock a large supply of American and European paintings. 

GRAFTON TYLER BROWN 

1841-1918 

Oil on canvas. 13 x 18 

ARTHUR PARTON 

1842-1914 


CHARLES HAROLD DAVIS 

1856-1933 

Oil on Canvas. 16 x 22 

CHARLES YARDLEY TURNER 

1850-1919 


ANDREW WYETH 

1917-2009 

Watercolor. 11¾ x 28½ 

MAX KUEHNE 

1880-1968 


508.259.4694 508.753.7332 

wmunion@charter.net www.artantiquegallery.net www.askart.com/ArtAntiqueGallery


Henry Rodman Kenyon (1861-1926), “Sheep and Windmills,” circa 1895, oil on 

canvasboard, 12 by 16 inches. 

BOSTON, MASS. — “Henry Rodman 

Kenyon and the American Impressionist 

Landscape” will be on view at 

Childs Gallery, 169 Newbury Street, 

from July 20 through September 12. 

Henry Rodman Kenyon, (American, 

1861–1926), was born in Rhode Island 

and studied at the Rhode Island School 

of Design. In 1882 he moved to Paris 

to study at the Académie Julian, where 

he met fellow student Arthur Wesley 

Dow. Kenyon has been linked to the 

better-known Dow, but Dow is known 

as a Modernist and Tonalist, whereas 

Kenyon was a committed Impressionist. 

Kenyon happily settled in for long 

stretches in Brittany at Pont-Aven and 

Concarneau with Dow, both painting 

the landscape. 

It is said that Kenyon found large 

paintings to be pretentious, and so 

crafted little gems of Impressionism in 

Brittany, Normandy, and along the 

coast of Holland. In 1889 Kenyon 

returned (with Dow and his fianceé) 

and set up a studio in Ipswich, Mass. 

Until his death in 1926, Kenyon would 

continue painting small gems of landscape 

with broken color and light 

effects that captured the seasons. It is 

these small paintings from later in his 

life which truly epitomize Impressionism. 

These works reveal the artist’s fascination 

with the play of light, the 

desire to capture a fleeting moment on 

canvas, and a particular use of quick, 

painterly brush strokes of brilliant color. 

A friend once remarked about Kenyon, 

“His only desire is to paint nice bits 

of color.” (Frederick Moffatt: Arthur 

Wesley Dow (1857-1922), Smithsonian, 

1979, page 36.) One of Kenyon’s 

Henry Rodman Kenyon (1861–1926), “Ocean,” oil on board, 10 by 12 inches, 

signed lower right. 

‘Henry Rodman Kenyon And The 

American Impressionist Landscape’ 

On Exhibit At Childs Gallery July 20–September 12 

favorite subjects was the haystacks 

found on the Ipswich marshes, a motif 

frequently employed by his contemporary 

in France, Claude Monet. 

Before his death, Kenyon had exhibited 

numerous works at the National 

Academy of Design; the Museum of 

Fine Arts, Boston; the St Botolph Club, 

Boston; the Dayton Institute of Art, 

Ohio; and many private galleries. He is 

represented in the permanent collections 

of the Rhode Island School of 

Design, The Dayton Art Institute and 

Ball State University Art Gallery. The 

Florence Griswold Museum in Old 

Lyme, Conn., and the Westmoreland 

Museum of Art, Greensburg, Penn., 

have also shared retrospective exhibitions 

of Kenyon’s paintings. 

Kenyon’s body of work makes a good 

anchor in which to set other New Eng- 

land and American Impressionist landscape 

painters of the 1880s to the 

1910s. This exhibition will pose Kenyon 

against George Smillie, J. Appleton 

Brown, Bruce Crane, George W. Harvey, 

William Partridge Burpee, C.E.L. 

Green, Charles Woodbury, and other 

Lynn Beach Painters, William Trost 

Richards, Olive Parker Black, A.T. 

Bricher, William M. Paxton, G.W. Picknell 

and Frederick Waugh. Kenyon 

began as an Impressionist in the early 

1880s before very many other Americans 

had adopted the style and then 

died in 1926, when American Impressionism 

was changing into something 

new, less French, and more Modern. 

The exhibition can be viewed online 

at www.childsgallery.com. For information, 

call 617-266-1108 or email 

info@childsgallery.com. 

‘Gary T. Erbe: 40-Year Retrospective’ 

Opens July 13 At The Salmagundi Club 

NEW YORK CITY — The Butler Institute of American Art in Youngstown, Ohio, has organized 

a major traveling exhibition, “Gary T. Erbe: 40-Year Retrospective,” featuring more than 60 

paintings from public and private collections throughout America. The Erbe retrospective opens 

at the Salmagundi Club, 47 Fifth Avenue, July 13 through August 7, with a reception on July 

16, from 6 to 9 pm. For information about the exhibition or the reception, call the Salmagundi 

Club at 212-255-7740. 

Gary T. Erbe was born in Union City, N.J., in 1944 and began painting in 1965. He has had 

many solo exhibitions in museums throughout America and has participated in invitational 

exhibitions throughout the world. He has also garnered many awards for his work including an 

unprecedented five gold medals at The Allied Artists of America, Inc exhibitions held at The 

National Arts Club in New York City. In 2003, he was honored by The Butler Institute of 

American Art with the Medal for Lifetime Achievement in American Art, and in 2007 the 

Salmagundi Club in New York City presented the Medal of Honor to Erbe. Additionally, Erbe 

curated many exhibitions over the years, including the work of John R. Grabach and Henry 

Gasser for which he is credited for a renewed interest in the work of these New Jersey artists. 

The Erbe retrospective began last December 21 through February 15 at New Mexico’s Albuquerque 

Museum. It then traveled to The Butler Institute of American Art (Youngstown, Ohio), 

March 15 through June 7. Following the Salmagundi Club Exhibition, the show’s concluding 

venue will be The Boca Raton Museum of Art (Florida), where it can be seen from September 8 

to November 8. 

Gary T. Erbe, “Double Image,” oil on canvas, 34 by 38 inches. The 40-year retrospective of 

the artist’s work will have an opening reception on July 16 at the Salmagundi Club in New 

York City from 6 to 9 pm.


Boston International Fine Art Show 

To Be Nov. 12–15 At The Cyclorama 

Gala Preview Will Benefit Boston’s Handel And Haydn Society 

BOSTON, MASS. — The Thirteenth 

Annual Boston International Fine Art 

Show (BIFAS) will take place Thursday 

through Sunday, November 12–15, at 

The Cyclorama at The Boston Center for 

The Arts (BCA). 

The show will open with a gala preview 

on Thursday, November 12, from 5:30 to 

9:30 pm to benefit Boston’s Handel and 

Haydn Society. Weekend show hours will 

be Friday, 1 to 9 pm; Saturday, 11 am to 

8 pm; and Sunday, 11 am to 5 pm. Tickets 

are $15 online or at the door. Friday 

evening, November 13, will be “New 

Collector’s Night,” and special guest lectures 

will take place throughout the weekend. 

For more information, call 617-363- 

0405 or visit www.FineArtBoston.com. 

Handel and Haydn Society is the country’s 

oldest continuously performing arts 

organization; founded in 1815. Under the 

leadership of artistic director Harry 

Christophers, the society is widely known 

for its concerts at Boston’s Symphony 

Hall, and especially well-known for its 

presentations of Handel’s “Messiah,” a 

Boston holiday tradition. The society is 

also known for its tours, concert broadcasts 

on National Public Radio and 

recordings. Winner of a 2002 Grammy 

Award, its two most recent CDs appeared 

simultaneously in the top ten on Billboard 

Magazine’s classical music chart. 

The only show of its kind in New England, 

BIFAS features 40 galleries from the 

United States, Europe and Canada, with 

no restrictions on the type of work that 

A view of the 2008 Boston International Fine Art Show. 

may be shown. 

Following the success of last year’s show, 

co-producers Tony Fusco and Robert 

Four are anticipating yet another outstanding 

event. Returning to the show 

this year are a number of prestigious gal- 

leries from the United States and Europe, 

including at the time of this article: Vose 

Galleries, Avery Galleries, Martha 

Richardson Fine Art, Gladwell & Company 

of London, Barbizon specialist Heinley 

Fine Arts, Marine Arts Gallery, McClees 

SERGIO ROFFO 

"The Beehive from Sand Beach, Mt. Desert Island, ME" oil on canvas 24" x 36" 


Galleries, Jason Samuel Fine Art, The 

Guild of Boston Artists, Joy Kant Fine 

Art, AddisonArtGallery and others. The 

show also welcomes new exhibitors, 

including William Vareika Fine Arts of 

Rhode Island, Eckert Fine Art of Connecticut, 

Fraser Gallery of Maryland and 

J.M. Stringer Gallery of Fine Art of New 

Jersey. 

The gala preview, bolstered by the 

show’s honorary committee, has blossomed 

in to one of Boston’s premier social 

and art-collecting events. The honorary 

committee includes numerous New England 

museum directors and curators, such 

as Malcolm Rogers of the MFA Boston, 

Thomas Lentz of the Harvard Art Museums 

and James Welu of the Worcester Art 

Museum. An impressive roster of media 

sponsors includes Art & Antiques, American 

Art Collector, American Art Review, 

Antiques & Fine Art, Art New England, 

Boston Spirit, Design New England, Fine 

Art Connoisseur and Boston’s Panorama 

and Playbill magazines. 

The Cyclorama provides the ideal venue: 

a large circular rotunda and adjacent 

salons encourage visitors to both linger 

and wander. The historic structure is 

located in the heart of the Boston Center 

for the Arts complex, which boasts four 

theaters, a gallery, Boston Ballet school, 

50 artist studios and other facilities. There 

are more than a dozen “hot” restaurants 

and nightspots within a five-minute walk, 

making it a focal point for cultural life in 

the city. 

BLUE HERON FINE ART 

63 Nichols Road, Cohasset, MA 02025 

(781) 383-3210 www.blueheronFA.com.


Berkshire Art Gallery Features Paintings 

By Stefanos Georgalides, ‘Le Grec’ 

GREAT BARRINGTON, 

MASS. — The Berkshire Art 

Gallery, located at 80 Railroad 

Street, 01230, specializes in 

works by artists whose accomplishments 

may not be fully 

reflected in today’s marketplace, 

although their works often are in 

important public collections. 

Among many artists from 

around the world who worked in 

Paris in the mid-Twentieth Century 

was an exceptional group of 

Impressionists from Greece that 

included Sophia Laskaridi 

(1883–1965), Vassily Photiades 

(1900–1975) and Stefanos Georgalides 

(1924–1998) who was 

known as Stephane Le Grec. 

Whether Le Grec favored this 

shorthand name is conjecture, 

but that’s how he signed his 

paintings, using his full Greek 

name, Stefanos Panayotis Georgalides, 

on the back. Being 

dubbed Le Grec (El Greco) by art-worldly 

Parisians presumably did not hurt his artistic reputation. 

Although born in Greece, Le Grec spent 

most of his career in France where he had a studio 

in Paris. 

The gallery has oils by Le Grec, paintings with a 

distinctive impressionist style, ethereal quality and 

a highly varnished luminosity that make each one 

memorable. The colors and architecture in 

Donald De Lue 

American (1897-1988) 

Joy of Life, 1981. 

Bronze, 30 1/2 inches. 

Stephane Le Grec (Greek/French, 1924-1998), “Landscape in Provence,” oil on canvas, 

23½ by 28¾ inches. 

“Provincial Landscape” leave little doubt it was 

painted in Provence. Le Grec’s “Woodland Scene,” 

a moody forest interior, is a compositional tour de 

force. Quite simply, “Anemones in a Vase” is a 

beautiful work of art. The previous owners 

acquired the paintings from Le Grec in the late 

1960s. 

The gallery also has a jewel-like impressionist 

view of “Le Palais du Luxembourg” painted by 

Daniel Orme 

British (1766-1802) 

Portrait of British Naval Lieutenant, c.1805. 

Oil on tin, 14 x 11 inches. 

. 

Visit childsgallery.com to view our current exhibitions: 

Figures and Portraits: The Human Equation 

Gertrude Beals Bourne 

The Watercolors of Albert Swinden 

Laskaridi, the first woman admitted 

to study at the National 

School of Fine Arts in Athens, a 

trail-blazing role that is commemorated 

by the many Greek 

museums named after her that 

hold her paintings. 

Also in the gallery’s inventory of 

Continental works from estates 

are a large oil on canvas of a family 

by Vietnamese/French figurative 

painter, Vu Cao Dam 

(1908–2000), painted in Paris in 

1963; a bright Jean Jansem 

(1920–1990) portrait of a pensive 

young woman; a vivid oil of a 

woman arranging a bouquet by 

French master Paul Collomb (b 

1921); and other works by Louis 

C. Verwee (–1882), Gustave 

Magyar-Mannheimer 

(1859–1937) and Leon Zak 

(1892–1980). 

American paintings in stock 

include examples by March Avery, 

James Carlin, Jon Carsman, Jack Coggins, Richard 

De Treville, Edward Garbely, Henry Gasser, Esther 

Hunt, Alfred Jansson, Corwin Linson, Stephen 

Maniatty, Leo Politi, Dan Smith, Guy C. Wiggins 

and others. 

Gallery hours are noon to 5 pm, Saturday and 

Sunday, year round, or by appointment or chance. 

For information, call 413-528-2690 or visit berkshireartgallery.com. 

Benton Spruance 

American (1904-1967) 

Young Lincoln, 1940. 

Lithograph, 18 1/4 x 11 3/8 inches. 

Signed in pencil. 

CHILDS GALLERY 

Fine American and European paintings, prints, drawings, watercolors, and sculpture. Established 1937. 

169 Newbury Street • Boston, Massachusetts 02116 

(617) 266-1108 • www.childsgallery.com • info@childsgallery.com

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