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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 -

email -

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:

"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


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 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

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.





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

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,


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

( 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

(, 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; Dates and other

pertinent information can be found on the website at

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 or call 207-


Antiques and The Arts Weekly — July 10, 2009

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


Waves of Stone

Framed photo, image 30x10


Lion of the Plains Precast Clay

ca.. 8-1/2 x 13

Orlemann, A.

Powell Point

Framed B/W, 11x14

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


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

Paintings Of Coastal Maine And Its Islands

On View At Blue Heron Fine Art


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


Collection Museo de Arte de Ponce.

Fundación Luis A. Ferré, Inc.,

Ponce, Puerto Rico


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


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

Jim Puzinas, “A Claremont Summer,”

oil on canvas, 14 by 11 inches.

Christine Knight Coombs.

This exhibition can be viewed

online at 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

Antiques and The Arts Weekly — July 10, 2009


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

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


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


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

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:


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)


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


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

Antiques and The Arts Weekly — July 10, 2009

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



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.



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,

4 x 10 handmade gelatin silver print in

16 x 20 archival 8 ply matt

‘22nd and Broadway’,

New York City,

4 x 10 handmade gelatin silver print in

16 x 20 archival 8 ply matt

‘Afternoon Wind in the Aster Cottage’,

North Truro,

8 x 12 handmade gelatin silver print in

16 x 20 archival 8 ply matt

‘Days Cottages, Dusk’, North Truro,

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



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

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.

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



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


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


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 or visit




"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 •

Antiques and The Arts Weekly — July 10, 2009


Sporting Art, Wildlife Art, Books 212-831-5302


Inspiration in Red Rock, Sky And Sandstone


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


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 —


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 or call 435-

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

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

CHATTANOOGA, TENN. — 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,,

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

Barnegat Bay, New Jersey

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

Antiques and The Arts Weekly — July 10, 2009

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


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




Private collection, Connecticut


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):


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

Paintings by Valerie Orlemann; pottery by Brigitte

Delthony; woodblock print by Kathy Wipfler.



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


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


Emil Bisttram

LaVerne Nelson Black

Ernest Blumenschein

Karl Bodmer

Carl Oscar Borg

George de Forest


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


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


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, email 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.


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

Email address:

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

Antiques and The Arts Weekly — July 10, 2009

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 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.


Edward T. Pollack Fine Arts







Hedda Sterne, “Tondo,” 1973, acrylic

on canvas, 36 inches; “Form and Figure”


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.

29 Forest Avenue Portland Maine 04101 207-699-2919

Member Antiquarian Booksellers Association of America


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



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


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 A softcover,

bilingual catalog includes

full-color images from the exhibition

and is available in the museum store

and online.

Antiques and The Arts Weekly — July 10, 2009



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


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


“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


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


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 or visit


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

‘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


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


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

or call 212-831-5302. To

see examples of the collection online, visit




November 12-15, 2009

The Cyclorama

Boston Center for the Arts

539 Tremont Street, in the South End


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

To benefit Handel and Haydn Society


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

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


and refined"

-Antiques & The Arts


" of the most

popular art fairs on

the East Coast."

- American Art


" an annual art

extravaganza, the

only one of its kind

in New England"

- Maine Antiques


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.

Antiques and The Arts Weekly — July 10, 2009



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



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 for additional



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

University Press, 2003) 143.


Rediscovered Painters of Upstate New York: 1700-1875

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

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

One Picture Is Worth A Thousand Words



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


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



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,”


6 and can be viewed at or by appointment.

To set an appointment, email

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 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


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


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.

Antiques and The Arts Weekly — July 10, 2009

‘Ira Moskowitz:

Ceremonial Images Of The Southwest’


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


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


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 and at

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.

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Oil on canvas. 13 x 18



Oil on canvas. 18 x 30



Oil on Canvas. 16 x 22



Oil on canvas. 21 x 20



Watercolor. 11¾ x 28½



Oil on canvas. 20 x 24

508.259.4694 508.753.7332

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

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 For information,

call 617-266-1108 or email

‘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.

Antiques and The Arts Weekly — July 10, 2009

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

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


"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


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.


63 Nichols Road, Cohasset, MA 02025

(781) 383-3210

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

Berkshire Art Gallery Features Paintings

By Stefanos Georgalides, ‘Le Grec’


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


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 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


(1859–1937) and Leon Zak


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

Benton Spruance

American (1904-1967)

Young Lincoln, 1940.

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

Signed in pencil.


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

169 Newbury Street • Boston, Massachusetts 02116

(617) 266-1108 • •

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