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THE GALLERY THE GALLERY THE GALLERY THE GALLERY<br />

ANTIQUES AND THE ARTS WEEKLY 5 CHURCH HILL RD BOX 5503 NEWTOWN, CONNECTICUT, 06470 SPRING 2012


2 - THE GALLERY April 27, 2012 — <strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly<br />

THE GALLERY THE GALLERY THE GALLERY THE GALLERY<br />

THE GALLERY THE GALLERY THE GALLERY THE GALLERY<br />

Anne Seelbach, “Troubled Waters,” 2010, oil on canvas, 26 by 26 inches.<br />

Photograph by Joe Damone Photography.<br />

MODERNIST IN<br />

THE MOUNTAINS<br />

May 26 & 27, 1-5 PM<br />

The Most Sophisticated Designs ever Created<br />

1930s-1960s<br />

Andes Art <strong>and</strong> <strong>Antiques</strong><br />

This Important Group of Mid-Century Furniture, Objects & Art from<br />

American & International Collections, has been brought toge<strong>the</strong>r for <strong>the</strong> first<br />

time in this Important Modernist Show in <strong>the</strong> Catskill Mountains.<br />

Andes Art <strong>and</strong> <strong>Antiques</strong>, welcomes your calls <strong>and</strong> inquiries<br />

even before <strong>the</strong> opening Memorial Day Weekend.<br />

173 Main Street, Andes, New York 13731<br />

Gallery hours: 11:00AM - 5:00PM<br />

Call: 845-676-3420<br />

Popper<strong>Arts</strong>y2@aol.com | www.AndesArt<strong>and</strong><strong>Antiques</strong>.com<br />

R. Scudder Smith, Executive Publisher & Editor<br />

Carol Sims, Gallery Editor<br />

Pamela Ashbahian, Production Director<br />

Tel.203-426-8036 or 426-3141 or Fax. 203-426-1394<br />

www.<strong>Antiques</strong><strong>and</strong>The<strong>Arts</strong>.com<br />

email - carols@<strong>the</strong>bee.com<br />

Published by The Bee Publishing Company, Box 5503, Newtown Connecticut 06470<br />

‘Troubled Waters’<br />

STAMFORD, CONN. — PMW Gallery will feature <strong>the</strong> work of painter Anne Seelbach from<br />

May 20 to July 1 in an exhibition titled “Troubled Waters.” There will be an artist’s reception on<br />

Sunday, May 20, from noon to 4 pm, at <strong>the</strong> <strong>gallery</strong>, 530 Roxbury Road. There will also be an<br />

artist’s walk <strong>and</strong> talk on June 17 at noon.<br />

Seelbach has long been concerned about <strong>the</strong> toll of industry on <strong>the</strong> environment, <strong>and</strong> <strong>the</strong><br />

abstract paintings in this exhibition explore <strong>the</strong> topic with a sophisticated <strong>and</strong> emotional response.<br />

The artist describes her artistic vision as, “My work addresses <strong>the</strong> pollution that is in many of<br />

our water systems. Toxic chemicals <strong>and</strong> industrial waste contaminate streams, lakes, bays <strong>and</strong><br />

oceans. The “Troubled Waters” paintings reflect this conflict between <strong>the</strong> laws of nature <strong>and</strong> artificial<br />

attempts to control <strong>the</strong> environment. Gaskets <strong>and</strong> o<strong>the</strong>r mechanical shapes are incorporated<br />

into <strong>the</strong> paintings, representing human presence <strong>and</strong> industrial waste. Debris crowds <strong>the</strong> waters.<br />

Fish mutate into imaginary forms. A change is taking place as nature reacts to this disruption.”<br />

A recurring <strong>the</strong>me in Seelbach’s work is water <strong>and</strong> <strong>the</strong> shoreline, along with its wildlife <strong>and</strong> detritus.<br />

The artist says, “Breaking away from <strong>the</strong> four edges of a painting, <strong>the</strong> cutout paper pieces create<br />

shapes <strong>and</strong> spaces that are immediate <strong>and</strong> expressive of this new underwater world.”<br />

The familiar distinctive shape of a horseshoe crab, blue washes symbolic of water or perhaps sky<br />

reflected in water, bold outlines <strong>and</strong> balanced compositions are Seelbach hallmarks. She said, “I<br />

am interested in <strong>the</strong> tension between representation <strong>and</strong> abstraction; perspective drawing versus<br />

free-form washes <strong>and</strong> geometric shapes versus atmospheric color fields. I use <strong>the</strong>se oppositions to<br />

create a tension between three-dimensional illusion <strong>and</strong> a flattening of space. Gestural brushwork<br />

<strong>and</strong> rich colors are dominant. Layered paint creates subtle colors <strong>and</strong> textures.”<br />

Seelbach’s work is included in <strong>the</strong> permanent collections of <strong>the</strong> Newark (N.J.) Museum, <strong>the</strong><br />

Lyman Allyn Museum, New London, Conn. <strong>and</strong> <strong>the</strong> Frauenmuseum, Germany. She is also represented<br />

in many corporate collections including Pfizer Inc, Prudential Insurance, <strong>and</strong> XTO Energy,<br />

as well as many private collections in <strong>the</strong> United States <strong>and</strong> Europe.<br />

Gallery visitation is by appointment. Contact dealer Patsy Whitman for information or for an<br />

appointment at 203-322-5427 or patsystar@pmw<strong>gallery</strong>.com. The <strong>gallery</strong> website is www.pmw<strong>gallery</strong>.com.<br />

CHARLES FREDERICK ULRICH<br />

(American 1858-1908)<br />

The Sculptor’s Studio, circa 1886-1890<br />

Oil on panel, 13 3/4 x 15 1/4 inches, Signed u.r.<br />

111 Old Quarry Road, Guilford, CT 06437 ~ (203) 453-2449<br />

1000 Madison Avenue, New York, NY 10075 ~ (212) 879-9259<br />

www.thomascolville.com<br />

www.thomascolville.com <strong>and</strong><br />

<strong>and</strong> www.artnet.com/tcolville.html<br />

www.artnet.com/tcolville.html<br />

By appointment<br />

By appointment


<strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly — April 27, 2012<br />

THE GALLERY — 3


4 - THE GALLERY April 27, 2012 — <strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly<br />

BOSTON, MASS. — Co-producers<br />

Tony Fusco <strong>and</strong> Robert Four have<br />

announced that <strong>the</strong> 16th Annual<br />

Boston International Fine Art Show<br />

(BIFAS) will take place Thursday<br />

through Sunday, November 15–18,<br />

at <strong>the</strong> Cyclorama at <strong>the</strong> Boston Center<br />

for <strong>the</strong> <strong>Arts</strong>, 539 Tremont Street,<br />

in Boston’s South End. Both traditional<br />

<strong>and</strong> contemporary galleries<br />

from <strong>the</strong> United States <strong>and</strong> Europe<br />

will offer more than 3,000 original<br />

works of art.<br />

The show opens with <strong>the</strong> gala preview<br />

on Thursday, November 15,<br />

from 5:30 to 8:30 pm. Weekend<br />

hours are Friday, 1 to 8 pm; Saturday,<br />

11 am to 8 pm; <strong>and</strong> Sunday, 11<br />

am-5 pm. Tickets are $15, under 12<br />

free. Friday evening November 16<br />

will be “New Collectors’ Night,” <strong>and</strong><br />

guest lectures will take place<br />

throughout <strong>the</strong> weekend.<br />

The only show of its kind in New<br />

Engl<strong>and</strong>, BIFAS has no restrictions<br />

on <strong>the</strong> type of work that may be<br />

shown. Works on offer range from<br />

fine original prints priced at a few<br />

hundred dollars to museum-quality<br />

masterpiece paintings priced in <strong>the</strong><br />

millions. The show enjoys a stunning<br />

mix of both blue chip traditional<br />

works <strong>and</strong> today’s outst<strong>and</strong>ing contemporary<br />

artists. According to show<br />

promoters, close to 3,000 people<br />

attended <strong>the</strong> Boston International<br />

Fine Art Show last year, which also<br />

saw very strong sales.<br />

“We are thrilled to be announcing<br />

our 16th year,” noted Tony Fusco.<br />

“As always we will offer our special<br />

programs throughout <strong>the</strong> weekend,<br />

which encourages many people to<br />

come back to <strong>the</strong> show day after day<br />

<strong>and</strong> discover renewed interests <strong>and</strong><br />

new passions. We will have some very<br />

special announcements to make this<br />

year in terms of our programming<br />

that will enhance our reputation as a<br />

destination show for collectors.”<br />

The gala preview, bolstered by <strong>the</strong><br />

show’s honorary committee, has<br />

blossomed into one of Boston’s pre-<br />

Boston International Fine Art Show<br />

Slated For Nov. 15–18<br />

mier social <strong>and</strong> cultural events. In addition to Governor Deval L. Patrick <strong>and</strong><br />

Boston Mayor Thomas M. Menino, <strong>the</strong> honorary committee has attracted <strong>the</strong><br />

participation of numerous museum directors, including Brian T. Allen, director,<br />

Addison Gallery of American Art; Ka<strong>the</strong>rine French, director, Danforth Museum;<br />

Dennis Kois, director, DeCordova Museum; Thomas Lentz, director, Harvard Art<br />

Museums; Nancy Netzer, director, McMullen Museum of Art; Malcolm Rogers,<br />

director, MFA Boston; Matthias Waschek, Worcester Art Museum; <strong>and</strong> well-<br />

known Boston area museum curators<br />

Dr Elliot Bostwick-Davis, David<br />

Dearinger, Erica Hirshler <strong>and</strong> o<strong>the</strong>rs.<br />

“We couldn’t be more thrilled with<br />

<strong>the</strong> support that <strong>the</strong> show has<br />

received from <strong>the</strong> museum community<br />

in New Engl<strong>and</strong>,” stated Fusco.<br />

“It has meant a lot in attracting collectors<br />

<strong>and</strong> in making <strong>the</strong> show a destination<br />

for art patrons who also<br />

travel here to see <strong>the</strong> new wing at <strong>the</strong><br />

Museum of Fine <strong>Arts</strong>, <strong>the</strong> new addition<br />

at <strong>the</strong> Isabella Stewart Gardner<br />

Museum <strong>and</strong> <strong>the</strong> Institute of Contemporary<br />

Art on <strong>the</strong> waterfront.”<br />

Last year at <strong>the</strong> Cyclorama, Fusco<br />

& Four also relaunched “The Ellis<br />

Boston <strong>Antiques</strong> Show,” which had<br />

been on hiatus since 2008. The company’s<br />

spring show, AD20/21: Art &<br />

Design of <strong>the</strong> Twentieth <strong>and</strong> Twenty-<br />

First Centuries recently celebrated its<br />

fifth anniversary.<br />

The Cyclorama provides <strong>the</strong> ideal<br />

venue for all three shows. A large circular<br />

rotunda <strong>and</strong> adjacent salons<br />

encourage visitors to both linger <strong>and</strong><br />

w<strong>and</strong>er. The historic structure is<br />

located in <strong>the</strong> heart of <strong>the</strong> BCA complex,<br />

which boasts four <strong>the</strong>atres, a<br />

<strong>gallery</strong>, <strong>the</strong> Boston Ballet School, 50<br />

artist studios <strong>and</strong> o<strong>the</strong>r facilities.<br />

There are more than a dozen restaurants<br />

<strong>and</strong> nightspots within a fiveminute<br />

walk, making it a focal point<br />

for cultural life in <strong>the</strong> city.<br />

It is fitting that <strong>the</strong> shows take place<br />

at <strong>the</strong> Cyclorama, which was built in<br />

1884 for <strong>the</strong> express purpose of<br />

housing a huge circular painting —<br />

“The Battle of Gettysburg” — 400<br />

feet in circumference <strong>and</strong> 50 feet<br />

high, executed by French artist Paul<br />

Philippoteaux. Cyclorama paintings<br />

were enormously popular in <strong>the</strong><br />

Nineteenth Century. It is estimated<br />

that from 1884 until it was withdrawn<br />

in 1892, more than 200,000<br />

people viewed Philippoteaux’s huge<br />

canvas. Following a $12 million<br />

restoration started in 2005 by Olin<br />

Conservation of Great Falls, Va., <strong>the</strong><br />

painting was installed in <strong>the</strong> Gettysburg<br />

Museum <strong>and</strong> Visitor Center in Gettysburg, where it reopened in September<br />

2008.<br />

“Our shows have grown up with <strong>the</strong> evolution of <strong>the</strong> Boston Center for <strong>the</strong> <strong>Arts</strong>,<br />

<strong>the</strong> art market in Boston <strong>and</strong> <strong>the</strong> changing demographics of <strong>the</strong> South End, Back<br />

Bay, Downtown <strong>and</strong> o<strong>the</strong>r neighborhoods of Boston,” Fusco commented.<br />

For additional information <strong>and</strong> exhibitor registration for all three Boston shows,<br />

visit www.BostonArtFairs.com or call 617-363-0405.<br />

View of <strong>the</strong> 15th Annual Boston International Fine Art Show 2011. Image courtesy of<br />

Joni Lohr.<br />

William Vareika Fine <strong>Arts</strong> of Newport, R.I., featured two panels by John La Farge<br />

(1835–1910) at <strong>the</strong> 2011 BIFAS. Image courtesy of Robert Four.<br />

Marine <strong>Arts</strong> Gallery, Salem, Mass., at <strong>the</strong> 2011 BIFAS. Image Courtesy of Robert<br />

Four.


<strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly — April 27, 2012<br />

WANTED PAINTINGS<br />

OF OLD FLORIDA<br />

THE GALLERY — 5<br />

Purchasing paintings by: BEN AUSTRIAN, BEANIE BACKUS, REYNOLDS BEAL, FRANK WESTON BENSON, John Bunyan<br />

Bristol, GEORGE CATLIN, James Wells Champney, Eliot Clark, GEORGE COPE, WILLIAM STAPLES DROWN, CHRISTIAN<br />

EISELE, FREDERICK CARL FRIESEKE, Emmett Fritz, WILLIAM GLACKENS, Emile A. Gruppe, MARTIN JOHNSON HEADE, HER-<br />

MANN HERZOG, William Henry Hilliard, WILLIAM MORRIS HUNT, WINSLOW HOMER, GEORGE INNESS, ERNEST H. LAW-<br />

SON, George Herbert McCord, Benson Bond Moore, LOUIS MIGNOT, EDWARD MORAN, THOMAS MORAN, Stephen J.<br />

Parrish, JANE PETERSON, William Lamb Picknell, JOHN S. SARGENT, FRANK SHAPLEIGH, ADOLPH ROBERT SHULZ, XAN-<br />

THUS R. SMITH, ANTHONY THIEME, LOUIS C. TIFFANY, John Rogers Vinton, Louis Charles Vogt, WILLIAM AIKEN WALKER,<br />

MARTHA WALTER, LAURA WOODWARD, MABEL MAY WOODWARD, ALEXANDER HELVIG WYANT<br />

ONLY OUTSTANDING<br />

EXAMPLES<br />

WANTED<br />

Special interest any painting of<br />

WILLIAM AIKEN WALKER<br />

(does not have to be Florida)<br />

MICHAEL A. LATRAGNA FINE ART<br />

8229 Southwind Bay Circle, Fort Myers, Florida 33908<br />

Telephone & Fax 239-590-0210 • Mobile 585-230-4522<br />

Email: artman@netacc.net


6 - THE GALLERY April 27, 2012 — <strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly<br />

‘White on White’ Opens At<br />

The Bruce Museum June 30<br />

GREENWICH, CONN. — “White on White: Churches<br />

of Rural New Engl<strong>and</strong>” is a visual journey through <strong>the</strong><br />

New Engl<strong>and</strong> l<strong>and</strong>scape of <strong>the</strong> Eighteenth <strong>and</strong> Nineteenth<br />

Centuries as viewed through <strong>the</strong> lens of architectural design<br />

<strong>and</strong> historic preservation. The show opens June 30 at <strong>the</strong><br />

Bruce Museum, One Museum Drive, <strong>and</strong> will continue<br />

<strong>the</strong>re through September 23.<br />

Organized by Historic New Engl<strong>and</strong> of Boston, Mass.,<br />

this exhibition presents 40 photographs of iconic New Engl<strong>and</strong><br />

churches taken by renowned architectural photographer<br />

Steve Rosenthal.<br />

These remarkable small-town, white country structures<br />

were erected by local builders, joiners <strong>and</strong> occasionally by<br />

itinerant master carpenters. With no trained architects or<br />

schools of architecture in <strong>the</strong> country at <strong>the</strong> time, inspiration<br />

came from traditional designs <strong>and</strong> pattern books.<br />

Steve Rosenthal began photographing <strong>the</strong> churches in <strong>the</strong><br />

1960s <strong>and</strong> <strong>the</strong> project gradually became a personal quest.<br />

His affinity for <strong>the</strong> subject is apparent in <strong>the</strong> luminous black<br />

<strong>and</strong> white photographs that capture <strong>the</strong> effect of light on<br />

three-dimensional forms <strong>and</strong> <strong>the</strong> abstract patterns of shingles<br />

<strong>and</strong> shutters. His work, which displays <strong>the</strong> intrinsic<br />

beauty of <strong>the</strong> architecture while creating a world of rich<br />

order <strong>and</strong> rational light, allows <strong>the</strong> viewer to follow <strong>the</strong> evolution<br />

of church styles from <strong>the</strong> early meetinghouse through<br />

<strong>the</strong> changing patterns of Greek <strong>and</strong> Gothic revivals.<br />

“These are <strong>the</strong> buildings which give New Engl<strong>and</strong> towns<br />

<strong>and</strong> villages a unique sense of place <strong>and</strong> define, in many<br />

minds, <strong>the</strong> New Engl<strong>and</strong> character,” Rosenthal explains.<br />

“Collectively, <strong>the</strong>y are as important to <strong>the</strong> cultural <strong>and</strong><br />

architectural history of <strong>the</strong>se villages as are <strong>the</strong> great ca<strong>the</strong>drals<br />

to <strong>the</strong> cities of Europe.”<br />

Revered for <strong>the</strong>ir physical beauty, simplicity <strong>and</strong> elegance<br />

— <strong>and</strong> for <strong>the</strong>ir role in <strong>the</strong> early history of this country, <strong>the</strong><br />

early churches of New Engl<strong>and</strong> hold a special place in <strong>the</strong><br />

American consciousness. Rosenthal, who trained as an<br />

architect <strong>and</strong> is an accomplished architectural photographer,<br />

has traveled throughout <strong>the</strong> Nor<strong>the</strong>ast capturing what<br />

remains of <strong>the</strong>se architectural gems. The photographs in<br />

“White on White: Churches of Rural New Engl<strong>and</strong>” are<br />

personally selected by Rosenthal from his book of <strong>the</strong> same<br />

name.<br />

According to Anne Von Stuelpnagel, director of exhibitions<br />

at <strong>the</strong> Bruce Museum, <strong>the</strong> exhibition is likely to appeal<br />

to a broad audience. “There is <strong>the</strong> artistry of <strong>the</strong> photographs.<br />

And <strong>the</strong> subject matter will connect with many peo-<br />

Exhibition Features Steve Rosenthal’s Photographs<br />

Of Historic New Engl<strong>and</strong> Churches<br />

Steve Rosenthal, “Old First Church, Old Bennington, Vermont, 1805,” photograph. ©2005 Steve Rosenthal.<br />

Steve Rosenthal, “South Ferry Church, Narragansett, Rhode Isl<strong>and</strong>, 1850,” photograph.<br />

©2005 Steve Rosenthal.<br />

Steve Rosenthal, “Washington Congregational Church,<br />

1840, Schoolhouse, 1843, <strong>and</strong> Town Hall, 1787, Washington,<br />

New Hampshire,” photograph. ©2002 Steve<br />

Rosenthal.<br />

ple who live in this area, which may also inspire a bit of<br />

exploration throughout New Engl<strong>and</strong> for a first-h<strong>and</strong> look<br />

at <strong>the</strong>se historic structures.”<br />

Steve Rosenthal began to photograph architecture while<br />

working as an architect in Cambridge, Mass., in <strong>the</strong> late<br />

1960s. Not long afterward, he turned to architectural photography<br />

as a full-time career <strong>and</strong> very quickly established<br />

himself at <strong>the</strong> top of his field in New Engl<strong>and</strong>. He has won<br />

numerous awards including a medal given by <strong>the</strong> American<br />

Institute of Architects for “distinguished achievements that<br />

enhance or influence <strong>the</strong> environment <strong>and</strong> <strong>the</strong> architectural<br />

profession.” His book White on White: Churches of Rural<br />

New Engl<strong>and</strong>, photographs by Steve Rosenthal with an essay<br />

by Verlyn Klinkenborg <strong>and</strong> an afterword by Robert Campbell,<br />

is available through Historic New Engl<strong>and</strong>. [Hard<br />

cover, 14 by 12 inches, 136 pages, 80 large black <strong>and</strong> white<br />

photographs, $85.] For more information or to order, call<br />

617-227-3956 or visit www.HistoricNewEngl<strong>and</strong>.org.<br />

“White on White” is one of Historic New Engl<strong>and</strong>’s traveling<br />

exhibitions. Historic New Engl<strong>and</strong> is <strong>the</strong> oldest,<br />

regional heritage organization in <strong>the</strong> nation. They bring history<br />

to life while preserving <strong>the</strong> past for everyone interested<br />

in exploring New Engl<strong>and</strong> from <strong>the</strong> Seventeenth Century<br />

to today. Historic New Engl<strong>and</strong> owns <strong>and</strong> operates 36 historic<br />

homes <strong>and</strong> l<strong>and</strong>scapes spanning five states. They share<br />

<strong>the</strong> region’s history through vast collections, publications,<br />

public programs, museum properties, archives, <strong>and</strong> family<br />

stories that document more than 400 years of life in New<br />

Engl<strong>and</strong>.<br />

The Bruce Museum is open Tuesday through Saturday<br />

from 10 am to 5 pm <strong>and</strong> Sunday from 1 pm to 5 pm;<br />

closed Mondays <strong>and</strong> major holidays. Admission is $7 for<br />

adults, $6 for seniors <strong>and</strong> students up to 22 years <strong>and</strong> free<br />

for members <strong>and</strong> children under 5 years old. Individual<br />

admission is free on Tuesday. Free on-site parking is available<br />

<strong>and</strong> <strong>the</strong> museum is accessible to individuals with disabilities.<br />

For additional museum information, call 203-869-<br />

0376 or visit www.brucemuseum.org.<br />

Steve Rosenthal, “Old Trinity Episcopal Church, Brooklyn, Connecticut, 1771,”<br />

photograph. ©2004 Steve Rosenthal.


<strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly — April 27, 2012<br />

BY SANFORD LEVY<br />

OWNER OF JENKINSTOWN ANTIQUES<br />

Thomas Benjamin Pope was born in New York City in<br />

1834. He studied <strong>and</strong> exhibited at <strong>the</strong> American Institute<br />

in New York as early as 1849. Prior to <strong>the</strong> Civil War he<br />

established a wholesale “stationer’s” store in Newburgh,<br />

N.Y. He enlisted in <strong>the</strong> Union Army <strong>and</strong> returned a<br />

wounded veteran.<br />

After <strong>the</strong> war Pope again settled in Newburgh where<br />

he painted, taught, maintained a <strong>gallery</strong>, wrote for many<br />

newspapers <strong>and</strong> became widely known for his public<br />

readings <strong>and</strong> dramatizations. In 1891, at <strong>the</strong> age of 57,<br />

Pope was hit by a train <strong>and</strong> killed in Fishkill, N.Y.<br />

Pope’s paintings vary in quality <strong>and</strong> style. He did produce<br />

many works that still surface in <strong>the</strong> Mid-Hudson<br />

Valley. L<strong>and</strong>scapes of <strong>the</strong> area were done in oil, <strong>and</strong><br />

sometimes watercolor <strong>and</strong> crayon. He also produced a<br />

small number of still lifes, from which color advertise-<br />

ments were made. When he put forth his best talents he<br />

showed his skill as a master interpreter of his subject.<br />

In our ad in this issue of The Gallery of <strong>Antiques</strong> <strong>and</strong><br />

Sponsored<br />

by:<br />

The <strong>Arts</strong> Weekly we are offering what is perhaps one of <strong>the</strong><br />

finest works done by Pope. Here he pays attention to <strong>the</strong><br />

details of <strong>the</strong> boats, reflections in <strong>the</strong> water, <strong>and</strong> <strong>the</strong> light on<br />

<strong>the</strong> mountains of <strong>the</strong> Hudson Highl<strong>and</strong>s, demonstrating<br />

SIXTEENTH ANNUAL<br />

BOSTON INTERNATIONAL<br />

FINE ART SHOW<br />

Previewing Upcoming Events, Sales <strong>and</strong> Auctions of Historic Fine Art<br />

November 15-18, 2012<br />

The Cyclorama<br />

Boston Center for <strong>the</strong> <strong>Arts</strong><br />

539 Tremont Street, in <strong>the</strong> South End<br />

GALA PREVIEW<br />

Thursday, November 15, 5:30-8:30pm<br />

Enjoy fine food, delicious wine, festive<br />

music, <strong>and</strong> of course <strong>the</strong> first choice of a<br />

dazzling array of fine art.<br />

WEEKEND SHOW & SALE<br />

Friday 1-8, Saturday 11-8, Sunday, 11-5<br />

Admission $15, under 12 free. Café at <strong>the</strong><br />

show. Valet <strong>and</strong> discount parking available.<br />

Friday Evening "New Collectors Night"<br />

Saturday <strong>and</strong> Sunday Special Guest Lectures.<br />

For information: 617-363-0405<br />

www.FineArtBoston.com<br />

Fusco & Four/Ventures, LLC presents<br />

<strong>the</strong> three premier fine art, antique<br />

<strong>and</strong> design shows in New Engl<strong>and</strong>.<br />

Visit: BostonArtFairs.com<br />

THE GALLERY — 7<br />

Thomas Benjamin Pope: He Had His Good Days<br />

Thomas Benjamin Pope, “Winter Scene,” oil on canvas, 12 by 20<br />

inches; signed T.B. Pope 1877.<br />

<strong>the</strong> highest level of <strong>the</strong> art form he pursued.<br />

In Pope’s “Winter L<strong>and</strong>scape,” <strong>the</strong> illustration accompanying<br />

this article, we can see one of his broader brush<br />

work paintings with a somewhat primitive approach to<br />

luminescence <strong>and</strong> much less defined detail. These are<br />

<strong>the</strong> types of pictures that are most often found bearing<br />

<strong>the</strong> signature of T.B. Pope <strong>and</strong> although <strong>the</strong>y are<br />

interesting, <strong>the</strong>y lack <strong>the</strong> fine quality of his developed<br />

works.<br />

His faster studies <strong>and</strong> repetitive compositions must<br />

have been done for commercial consumption, or perhaps<br />

were <strong>the</strong> works of students who signed his name.<br />

Having bought <strong>and</strong> sold Pope’s paintings for 30 years,<br />

I do hope to assist in bringing <strong>the</strong> best works of this<br />

talented <strong>and</strong> diverse artist to recognition. Some of his<br />

paintings can be viewed at <strong>the</strong> Crawford House<br />

Museum, <strong>the</strong> Historical Society of Newburgh <strong>and</strong> <strong>the</strong><br />

Highl<strong>and</strong>s in Newburgh, N.Y.<br />

Jenkinstown <strong>Antiques</strong> is located at 520 Route 32 South<br />

in New Paltz, N.Y. For additional information, email<br />

info@jenkinstownantiques.com or call 845-255-4876.<br />

40 Outst<strong>and</strong>ing Galleries<br />

from <strong>the</strong> U.S. & Europe<br />

offering Traditional <strong>and</strong><br />

Contemporary Fine Art<br />

" For most collectors a destination<br />

needs to offer multiple reasons for<br />

a visit. Thanks to what has happened<br />

in Boston over <strong>the</strong> last few years,<br />

<strong>the</strong> city now has exactly that. "<br />

- Maine Antique Digest<br />

" At 15 years <strong>and</strong> now a fixture on<br />

<strong>the</strong> Boston calendar, <strong>the</strong> Boston<br />

International Fine Art Show (BIFAS)<br />

brings 40 select dealers to town each<br />

fall. This year's event delivered an<br />

especially focused group of attendees<br />

— along with a group of museum<br />

curators <strong>and</strong> o<strong>the</strong>r officers. The<br />

preview party, which benefited <strong>the</strong><br />

Greater Boston Food Bank, was<br />

festive,<strong>and</strong>anumberofdealers<br />

observed <strong>the</strong> presence of unusually<br />

knowledgeable visitors. The show<br />

was well-tailored <strong>and</strong> advertised in all<br />

<strong>the</strong> right places. Lectures <strong>and</strong> a new<br />

collector's night rounded out<br />

<strong>the</strong> activity.<br />

- <strong>Antiques</strong> & The <strong>Arts</strong> Weekly


8 - THE GALLERY April 27, 2012 — <strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly<br />

Elihu Vedder (1836–1923), “A Little Knowledge is a Dangerous Thing,” before 1880, oil on panel, 5 3 /8 by 13 3 /8 inches; signed on<br />

verso: “Vedder.”<br />

‘Myth And Reality: Elihu Vedder<br />

And American Painters In Italy’<br />

NEW YORK CITY — An exciting new<br />

exhibition will open Thursday, May 10, at<br />

Questroyal Fine Art, 903 Park Avenue,<br />

Suites 3A <strong>and</strong> 3B. “Myth <strong>and</strong> Reality:<br />

Elihu Vedder <strong>and</strong> American Painters in<br />

Italy” will feature more than 25 works by<br />

American artist Elihu Vedder<br />

(1836–1923). The majority of <strong>the</strong> pieces in<br />

<strong>the</strong> exhibition will be on loan from <strong>the</strong><br />

personal collection of Simon Parkes, a<br />

renowned painting restorer <strong>and</strong> conservator<br />

in New York City, who has passionately<br />

collected Vedder <strong>and</strong> related artists for<br />

many years.<br />

Best known as <strong>the</strong> illustrator of <strong>the</strong> 1884<br />

English translation of The Rubaiyat of<br />

Omar Khayyam, Vedder spent most of his<br />

life abroad <strong>and</strong> eventually made Italy his<br />

permanent home, dividing his time<br />

between Rome <strong>and</strong> <strong>the</strong> isl<strong>and</strong> of Capri. He<br />

Elihu Vedder (1836–1923), “St George <strong>and</strong> <strong>the</strong> Dragon,” 1866, oil on canvas, 7 9 /16<br />

by 9 5 /8 inches; dated <strong>and</strong> signed on verso: “Paris Feb. 1866 / Elihu Vedder.”<br />

brought a mystical sensibility to much of<br />

his art. Vedder’s paintings will be on view<br />

alongside works by his contemporaries —<br />

including Robert Scott Duncanson,<br />

Charles Caryl Coleman, William Stanley<br />

Haseltine, George Inness, Walter Launt<br />

Palmer <strong>and</strong> John Henry Twachtman — all<br />

of whom were similarly inspired during<br />

travel to <strong>the</strong> country.<br />

Vedder was greatly influenced by an Italian<br />

group of artists known as <strong>the</strong> Macchiaioli,<br />

whom he associated with while<br />

studying in Florence in <strong>the</strong> late 1850s.<br />

Vedder, with <strong>the</strong> Macchiaioli artists,<br />

rebelled against <strong>the</strong> academic Beaux <strong>Arts</strong><br />

style being taught at <strong>the</strong> time in favor of<br />

plein air painting.<br />

In <strong>the</strong> 1860s, <strong>the</strong> artist frequented Pfaff’s<br />

Coffee Shop in New York City where he<br />

met bohemian writers <strong>and</strong> poets, <strong>and</strong> his<br />

art began to be influenced by literature.<br />

The 1884 publication of The Rubaiyat was<br />

<strong>the</strong> culmination of Vedder’s fusion of fantastical<br />

stories with his artwork. His works<br />

can now be found in <strong>the</strong> permanent collections<br />

of <strong>the</strong> Brooklyn Museum; <strong>the</strong> Metropolitan<br />

Museum of Art; <strong>the</strong> Museum of<br />

Fine <strong>Arts</strong>, Boston; <strong>and</strong> <strong>the</strong> Smithsonian<br />

American Art Museum.<br />

Vedder’s narrative <strong>and</strong> imaginative compositions<br />

distinguish him from his many<br />

talented contemporaries. For example, “A<br />

Little Knowledge is a Dangerous Thing,”<br />

painted before 1880, depicts two mice,<br />

both of whom have died after nibbling <strong>the</strong><br />

lea<strong>the</strong>r-bound book behind <strong>the</strong>m; <strong>the</strong> title<br />

On View May 10–May 31 At Questroyal Fine Art<br />

William Stanley Haseltine (1835–1900), “Coast of Sori,” 1893, oil on canvas, 25 3 /16 by 45 5 /16 inches; signed <strong>and</strong> dated lower<br />

right: “W.S. Haseltine ’93.”<br />

Elihu Vedder (1836–1923) “Campagna<br />

Romana,” circa 1870, oil on canvas,<br />

11 7 /8 by 6 11 /16 inches (sight size); signed<br />

lower right: “Vedder.”<br />

reveals <strong>the</strong> cause of <strong>the</strong>ir tragic fate. Representative<br />

of his unique vision, values <strong>and</strong><br />

aes<strong>the</strong>tic pursuits, Vedder kept this study,<br />

an ironic moral tale of his own creation, in<br />

his studio for <strong>the</strong> remainder of his life.<br />

The artist’s imagination similarly dominates<br />

in o<strong>the</strong>r works such as “St George<br />

<strong>and</strong> <strong>the</strong> Dragon,” 1866. In this highly<br />

romanticized scene, Vedder portrayed St<br />

George as a literal knight in shining armor,<br />

swooping in on a Pegasus to slay a sli<strong>the</strong>ring<br />

dragon ready to devour <strong>the</strong> princess.<br />

Painted just one year after Vedder settled in<br />

Italy, “St George <strong>and</strong> <strong>the</strong> Dragon” reveals<br />

his fixation on <strong>the</strong> religious <strong>and</strong> superstitious<br />

aspects of Italian culture.<br />

Despite <strong>the</strong>se fantastical <strong>and</strong> mythical<br />

compositions — which foreshadow <strong>the</strong><br />

works he would create for The Rubaiyat —<br />

Vedder was also significantly inspired by<br />

<strong>the</strong> everyday beauty of <strong>the</strong> Italian l<strong>and</strong>scape.<br />

“Campagna Romana,” circa 1870,<br />

shows a vista down a winding path, leading<br />

into <strong>the</strong> Roman countryside, with o<strong>the</strong>r<br />

classic touches of Italian scenery such as<br />

<strong>the</strong> edge of a villa wall, cypress <strong>and</strong> umbrella<br />

trees <strong>and</strong> ruins at <strong>the</strong> foot of <strong>the</strong> mountains.<br />

As with <strong>the</strong> realm of <strong>the</strong> unreal, Vedder’s<br />

poetic mind <strong>and</strong> creative spirit were<br />

equally captured by such picturesque l<strong>and</strong>scapes,<br />

rich in ancient history <strong>and</strong> tradition.<br />

While Vedder can be considered a visionary<br />

artist, independent of established artistic<br />

schools, he was associated with o<strong>the</strong>r<br />

American artists who also ventured to Italy<br />

seeking inspiration in its l<strong>and</strong>scape. One<br />

such contemporary was William Stanley<br />

Haseltine (1835–1900), who, like Vedder,<br />

was drawn to settle in Rome. Haseltine’s<br />

“Coast of Sori,” 1893, reflects his own dramatic<br />

reaction to Italy’s splendor. In this<br />

dynamic composition, <strong>the</strong> rough sea crashes<br />

against <strong>the</strong> cliffs where a scraggly tree<br />

grips <strong>the</strong> ground tightly as it leans over <strong>the</strong><br />

steep edge. Diffused sunlight seeping<br />

through <strong>the</strong> branches offers romantic<br />

warmth, while <strong>the</strong> medieval tower in <strong>the</strong><br />

background, as in many of Vedder’s works,<br />

alludes to <strong>the</strong> prevalent force of history<br />

within this foreign l<strong>and</strong>scape.<br />

Questroyal is pleased to include in this<br />

project Dr Graham C. Boettcher, <strong>the</strong><br />

William Cary Hulsey Curator of American<br />

Art at <strong>the</strong> Birmingham Museum of Art. Dr<br />

Boettcher will lend his expertise on <strong>the</strong><br />

subject of an essay in <strong>the</strong> <strong>gallery</strong>’s accompanying<br />

exhibition catalog, which will be<br />

available by request <strong>and</strong> is complimentary.<br />

Gallery hours are Monday through Friday,<br />

10 am to 6 pm; Saturday, 10 am to 5 pm;<br />

<strong>and</strong> by appointment. For information or to<br />

request an exhibition catalog, call 212-744-<br />

3586 or visit www.questroyalfineart.com.


<strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly — April 27, 2012<br />

Peter Max Auction To Be Held In July<br />

At RoGallery.com<br />

Peter Max, “Love,” 1969, poster, 36 by 24 inches.<br />

THE GALLERY — 9<br />

BY JESSIE GILLAN<br />

WEBMASTER AT ROGALLERY.COM<br />

Modern <strong>and</strong> contemporary art<br />

auction house <strong>and</strong> <strong>gallery</strong><br />

RoGallery.com will devote its<br />

entire June 28 sale (<strong>the</strong> week<br />

before <strong>the</strong> Fourth of July) to <strong>the</strong><br />

artworks of Peter Max. The online<br />

live auction will feature paintings,<br />

drawings, collectibles, prints, <strong>and</strong><br />

posters by <strong>the</strong> famous psychedelic<br />

pop artist. Peter Max became well<br />

known in <strong>the</strong> late 1960s for his<br />

posters, which featured some of<br />

<strong>the</strong> political ideals of <strong>the</strong> late<br />

1960s movements: Love, peace<br />

<strong>and</strong> happiness.<br />

As Don McNeil put it in <strong>the</strong> Village<br />

Voice on August 31, 1967<br />

“…his [Peter Max’s] mastery<br />

reflects <strong>the</strong> zeitgeist of our times,<br />

more importantly, it gives us a<br />

vision into how bright <strong>the</strong> future<br />

can be.” Soon after Peter Max<br />

exp<strong>and</strong>ed his art well beyond<br />

posters, developing a style that<br />

incorporated psychedelic illustrations<br />

<strong>and</strong> graphic design that<br />

exp<strong>and</strong>ed into an entire world of Peter Max, “Liberty,” 1986, acrylic on canvas, 18 by 16 inches.<br />

characters <strong>and</strong> <strong>the</strong>mes. Today <strong>the</strong>re<br />

are Peter Max stores <strong>and</strong> an enormous continued interest in his art.<br />

The auction will feature paintings, prints <strong>and</strong> posters from <strong>the</strong> early 1970s to today, as well as collectible<br />

housewares, clocks, textiles, watches <strong>and</strong> more.<br />

RoGallery.com is currently seeking consignments for <strong>the</strong> Peter Max sale this spring; contact <strong>the</strong><br />

<strong>gallery</strong> directly at art@ro<strong>gallery</strong>.com or 718-937-0901 with any Peter Max artworks or collectibles<br />

that you may have interest in including in <strong>the</strong> sale. Preview any items in <strong>the</strong> sale at RoGallery.com or<br />

make an appointment to preview <strong>the</strong> Peter Max auction in person at <strong>the</strong> <strong>gallery</strong>, which is located in<br />

Long Isl<strong>and</strong> City, N.Y., at 47-15 36th Street.


10 - THE GALLERY April 27, 2012 — <strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly<br />

George L. Wilson (American, 1930–2003), “Reverie,” 1978, oil on canvas, 14 by 11<br />

inches.<br />

Berkshire Art Gallery<br />

Features<br />

William H. Hyde &<br />

George L. Wilson<br />

GREAT BARRINGTON, MASS.<br />

— The Berkshire Art Gallery, located<br />

at 80 Railroad Street, features a wide<br />

variety of paintings from <strong>the</strong> Nineteenth<br />

<strong>and</strong> Twentieth Centuries by<br />

artists who achieved success in <strong>the</strong>ir<br />

lifetime, but are often undervalued<br />

considering <strong>the</strong> quality of <strong>the</strong>ir work<br />

<strong>and</strong> past reputations. Good examples<br />

include William Henry Hyde<br />

(1858–1943) <strong>and</strong> George Lewis Wilson<br />

(1930–2003).<br />

Artist, portraitist <strong>and</strong> illustrator,<br />

William H. Hyde studied at <strong>the</strong><br />

National Academy while a student at<br />

Columbia University. Encouraged by<br />

artist friend Albert Pinkham Ryder,<br />

Hyde went to Paris in 1883 <strong>and</strong><br />

studied with Gustav Boulanger <strong>and</strong><br />

J.J. Lefebvre at <strong>the</strong> Academie Julian,<br />

<strong>and</strong> with expatriate American artist,<br />

Alex<strong>and</strong>er Harrison. Hyde received<br />

honors for his entries in <strong>the</strong> Paris<br />

Exposition, 1900, <strong>the</strong> Buffalo Pan-<br />

American Exposition, 1901, <strong>and</strong> <strong>the</strong><br />

San Francisco Pan-Pacific Exposition,<br />

1915. O<strong>the</strong>r important exhibitions<br />

included <strong>the</strong> Boston Art Club,<br />

Brooklyn Art Association, Pennsylvania<br />

Academy of <strong>the</strong> Fine <strong>Arts</strong>, Art<br />

Institute of Chicago <strong>and</strong> <strong>the</strong> National<br />

Academy of Design. “Summer<br />

Woods,” painted circa 1910, likely<br />

was painted near Hyde’s home in<br />

Cornish, N.H., where he was a member<br />

of <strong>the</strong> art colony close by Cornish.<br />

Born in North Carolina, George L.<br />

Wilson studied at Pittsburgh’s Art<br />

Institute before moving to New York<br />

<strong>and</strong> finishing studies at <strong>the</strong> National<br />

Academy of Design School <strong>and</strong><br />

School of Visual <strong>Arts</strong>. He had a pivotal<br />

exhibition in 1964 at Fisk University,<br />

“Depicting Our Children,”<br />

which defined his career <strong>and</strong> showcased<br />

an ability to capture <strong>the</strong><br />

moods, liveliness <strong>and</strong> spontaneity of<br />

young people in his figurative paintings.<br />

Museum exhibitions included <strong>the</strong><br />

Metropolitan Museum of Art, Brooklyn<br />

Museum, High Museum, Oakl<strong>and</strong><br />

Museum, Studio Museum of<br />

Harlem <strong>and</strong> o<strong>the</strong>rs. He was a soughtafter<br />

portraitist who received many<br />

awards for his post-Impressionist<br />

paintings. “Reverie” displays Wilson’s<br />

insight <strong>and</strong> talent. Public collections<br />

with Wilson’s works include <strong>the</strong><br />

Schomburg Center, New Muse<br />

Museum <strong>and</strong> Howard University.<br />

For information, call 413-528-2690<br />

or visit www.berkshireart<strong>gallery</strong>.com.


<strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly — April 27, 2012<br />

An example of <strong>the</strong> fine representational work to be found at Geary Gallery is Peter<br />

Arguimbau’s 20-by-24-inch oil painting “Cross Tacks – Columbia & Endeavor –<br />

America’s Cup.”<br />

‘Pre-Auction Wall’<br />

Is A New Service<br />

At Geary Gallery<br />

DARIEN, CONN. — Sometimes<br />

collectors have <strong>the</strong> desire to sell privately,<br />

but do not want to rule out<br />

selling at auction. Nor do <strong>the</strong>y want<br />

to tie up valuable works with long<br />

consignments that may or may not<br />

yield positive results. A new business<br />

model established by Tom Geary at<br />

<strong>the</strong> Geary Gallery solves this dilemma<br />

h<strong>and</strong>ily. Collectors wishing to sell<br />

one or more works of art in a private,<br />

silent auction will have <strong>the</strong>ir art displayed<br />

on a special wall devoted to<br />

works that are headed to auction.<br />

The wall is aptly named <strong>the</strong> Pre-<br />

Auction Wall. Geary Gallery, known<br />

for fine representational artworks,<br />

offers <strong>the</strong> perfect showcase for <strong>the</strong>se<br />

artworks — right in <strong>the</strong> heart of Fairfield<br />

County. The buying public also<br />

benefits — art enthusiasts can bid on<br />

high-quality artworks in <strong>the</strong> calm setting<br />

of a <strong>gallery</strong> ra<strong>the</strong>r than in <strong>the</strong><br />

pressure-cooker atmosphere of a<br />

high-profile art auction.<br />

Several works have already sold<br />

from <strong>the</strong> Pre-Auction Wall, which is<br />

up year-round. Artworks are turned<br />

over to <strong>the</strong> spring <strong>and</strong> fall auctions at<br />

Shannon’s Fine Art Auctioneers (or<br />

any number of o<strong>the</strong>r auctions).<br />

“This past winter, <strong>the</strong> Geary<br />

Gallery opened <strong>the</strong> Pre-Auction Wall,<br />

which is dedicated to showcasing artwork<br />

previously owned by its local<br />

Fairfield County clientele, many of<br />

whom have had <strong>the</strong> pieces in <strong>the</strong>ir<br />

families for generations. We provide<br />

a service that makes <strong>the</strong> process of<br />

selling private, easy <strong>and</strong> convenient,”<br />

said Geary.<br />

Founded in 1984 by Tom <strong>and</strong><br />

Anne Geary, Geary Gallery features<br />

an extensive collection of original<br />

artwork by Connecticut-based artists<br />

with national reputations as well as<br />

well-known artists from along <strong>the</strong><br />

Eastern seaboard. Every month, <strong>the</strong>re<br />

are new exhibitions featuring <strong>the</strong> artwork<br />

of acclaimed artists such as Eric<br />

Sloane, John Stobart, William Muller<br />

<strong>and</strong> Peter Max (who will make<br />

ano<strong>the</strong>r appearance at <strong>the</strong> opening<br />

reception scheduled for September 8<br />

<strong>and</strong> 9). Most recently, exhibitions<br />

have included works by Hans Fischer,<br />

Judith Carbine, Marlene Wiedenbaum,<br />

Barbara Lussier, Diane<br />

Aeschliman, Robert Waltsak <strong>and</strong><br />

Edith McClean.<br />

In addition to being art dealers, <strong>the</strong><br />

Gearys are consummate retailers —<br />

providing specialized services that<br />

meet <strong>the</strong> needs of <strong>the</strong> professional<br />

arts community, consumers <strong>and</strong> collectors.<br />

For example, Accent Picture<br />

Framing & Restoration provides<br />

quality framing with an extensive<br />

inventory of more than 2,000 corner<br />

frames <strong>and</strong> <strong>the</strong>ir oil painting <strong>and</strong><br />

frame restoration services have<br />

helped leading museums, auction<br />

houses <strong>and</strong> historical societies.<br />

“For a spectacular <strong>and</strong> unique gift,<br />

nothing compares to <strong>the</strong> lasting gift<br />

of a custom portrait of someone you<br />

love, your family, pet or even your<br />

home,” said Geary. Ano<strong>the</strong>r new<br />

service from <strong>the</strong> Geary Gallery makes<br />

it easy <strong>and</strong> affordable to commission<br />

an original portrait, which can be<br />

provided in a variety of media: Portraits<br />

are available in oil <strong>and</strong><br />

graphite, houses in pen <strong>and</strong> ink or<br />

acrylic, <strong>and</strong> pets in oils.<br />

The <strong>gallery</strong> is open to <strong>the</strong> public<br />

Wednesday through Saturday, 9:30<br />

am to 5 pm. It is located at 576<br />

Boston Post Road. For additional<br />

information, visit<br />

www.geary<strong>gallery</strong>.com or call 203-<br />

655-6633.<br />

THE GALLERY — 11


12 - THE GALLERY April 27, 2012 — <strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly<br />

Maxfield Parrish (1870–1966), “Morning,” 1922, oil on panel, 19 5 /8 by 15 inches.<br />

Geary Gallery<br />

Accent Picture Framing & Restoration<br />

Peter Layne Arguimbau<br />

Four Gallery Showrooms, Fine Art & Prints,<br />

Oil Painting Restoration, Custom Framing,<br />

Over 2000 Corner Samples<br />

Voted “Best Gallery in Fairfield County”<br />

576 Boston Post Road, Darien, CT • (203) 655-6633<br />

www.geary<strong>gallery</strong>.com<br />

Important Maxfield<br />

NEWPORT, R.I. — The National Museum<br />

of American Illustration (NMAI) will<br />

present a milestone exhibition for <strong>the</strong> summer<br />

season — “Maxfield Parrish: The Retrospective,”<br />

debuting Friday, May 25, <strong>and</strong> on<br />

display through September 2. During <strong>the</strong><br />

season, NMAI is open for general admissions<br />

Friday through Sunday between 11 am<br />

<strong>and</strong> 5 pm, with a guided tour year-round on<br />

Fridays at 3 pm. NMAI is o<strong>the</strong>rwise open<br />

year-round for group tours by reservation.<br />

The NMAI holds <strong>the</strong> world’s largest collection<br />

of Maxfield Parrish (1870–1966)<br />

original artworks, including his magnum<br />

opus “A Florentine Fete,” consisting of 18<br />

murals, each measuring 10 feet 8 inches tall,<br />

to his smallest work, a 1½-inch mo<strong>the</strong>r-of-<br />

pearl piece titled “Tallwood Pearl.” Parrish is<br />

one of <strong>the</strong> most represented artists in <strong>the</strong><br />

NMAI’s globally renowned American Imagist<br />

Collection, featuring works by Norman<br />

Rockwell, J.C. Leyendecker, N.C. Wyeth,<br />

<strong>the</strong> Red Rose Girls <strong>and</strong> 150 o<strong>the</strong>r luminaries.<br />

Parrish’s career spanned nearly eight<br />

decades, with commissions from early book<br />

<strong>and</strong> poster illustrations, to magazine covers<br />

(“Morning,” 1922, Life cover), art prints<br />

<strong>and</strong> commercial advertisements such as<br />

Hires Root Beer (“Ask for Hires <strong>and</strong> Get <strong>the</strong><br />

Genuine,” 1921), <strong>and</strong> General Electric<br />

(“Venetian Lamplighters,” 1924). His widely<br />

collected calendar art was published by<br />

Brown & Bigelow during <strong>the</strong> 1930s through<br />

Show Debuts May 25<br />

Maxfield Parrish (1870–1966), Villa Isola Bella, Lake Maggiore,” 1904, oil on<br />

paper mounted on board, 18 by 28 inches; initialed lower center.<br />

A FINE THING:<br />

EDWARD T. POLLACK FINE ARTS<br />

Will Barnet - Woman Reading - Serigraph 1970 - Edition of 300<br />

SPRING-SUMMER 2012:<br />

HIGHLIGHTS FROM OUR COLLECTION<br />

On view at our Galleries<br />

29 FOREST AVENUE - PORTLAND, ME.<br />

77 MAINE STREET- DAMARISCOTTA, ME.<br />

Tel 207-699-2919 - Cell 617-610-7173<br />

ed@edpollackfinearts.com www.edpollackfinearts.com


<strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly — April 27, 2012<br />

Parrish Exhibition Opens At NMAI<br />

<strong>the</strong> 1950s. This exhibition shows all aspects<br />

of this multi-talented illustrator’s career<br />

including a rare three-dimensional mixedmedia<br />

mailbox, titled “Belles Lettres,” its<br />

inaugural exhibition.<br />

Maxfield Parrish’s astonishing Florentine<br />

Fete murals (1910–1916) were painted for<br />

<strong>the</strong> girls’ dining room at <strong>the</strong> Curtis Publishing<br />

Company in Philadelphia. A monumental<br />

part of NMAI’s permanent collection,<br />

<strong>the</strong>y appear as if created for Vernon Court. A<br />

keen-eyed viewer easily notices Parrish’s<br />

favorite model, his mistress Susan Lewin, for<br />

she appears 166 times in <strong>the</strong> murals. Parrish<br />

himself appears ten times, while an aunt <strong>and</strong><br />

neighbor each appear once. Lewin is shown<br />

as male <strong>and</strong> female, albeit with different<br />

stances, hairstyles <strong>and</strong> costumes.<br />

Parrish was best known for romantic images<br />

with an unmatched richness, captured by his<br />

uncanny use of color incorporating ultra-saturated<br />

hues <strong>and</strong> often times an intense cobalt<br />

blue. Windsor & Newton Paint Company<br />

honored <strong>the</strong> artist by renaming <strong>the</strong>ir radiant<br />

cobalt Parrish Blue.<br />

His paintings were created in alternating<br />

layers of single colors with transparent varnish<br />

in between, applied over a monochromatic<br />

underpainting. While this technique<br />

was superb for period reproductions using<br />

early four-color printing (which his technique<br />

closely resembled), <strong>the</strong> resulting luminosity<br />

of <strong>the</strong> originals must be seen in person<br />

to be fully appreciated. Everyone marvels at<br />

his actual paintings while recognizing that his<br />

works are <strong>the</strong> most reproduced art images in<br />

history. In 1922, it was said that one in four<br />

American households had a Parrish art print<br />

hanging.<br />

Due to popular dem<strong>and</strong>, NMAI will continue<br />

to exhibit highlights from <strong>the</strong> incredibly<br />

successful Norman Rockwell: American<br />

Imagist traveling exhibition, recently<br />

acclaimed in Engl<strong>and</strong> by Paul Johnson as “<strong>the</strong><br />

best art exhibition in London for 2011.”<br />

That exhibition will fur<strong>the</strong>r tour in September<br />

to Alabama’s Birmingham Museum of<br />

Art. NMAI will also continue to highlight<br />

works from <strong>the</strong> first museum exhibition of<br />

illustrations by author Tom Wolfe, “In Our<br />

Time,” comprising works from his book of<br />

THE GALLERY — 13<br />

<strong>the</strong> same title satirizing 1970s American culture.<br />

For more information, call 401-851-8949<br />

ext 18 or email art@americanillustration.org.<br />

Spring Break Specials!<br />

Give Yourself A Break From High Auction Prices.<br />

William N. Bartholomew (1822-1898)<br />

Oil on Canvas, 18” x 30”<br />

John Whorf (1903-1959)<br />

Watercolor on Paper, 14” x 21”<br />

Stanislas Lepine (1835-1892)<br />

Oil on Canvas, 21.5” x 35”<br />

We Offer<br />

Prices That<br />

O<strong>the</strong>rs Fear!<br />

Call Us Today <strong>and</strong><br />

Find Out Just How<br />

Much We Can Save You<br />

on Your Next Art<br />

Acquisition!<br />

Aldro T. Hibbard (1886-1972)<br />

Oil on Board, 20” x 16”<br />

Maxfield Parrish (1870–1966), “Venetian Lamplighters,”1922,<br />

oil on panel, 28¾ by 18¾ inches; initialed<br />

lower right.<br />

This is <strong>the</strong> inaugural exhibition for Parrish’s 1934<br />

“Belle Lettres,” an oil on panel with wooden box assemblage<br />

that measures 19 by 13 1 /8 inches.<br />

Paul Sample (1896-1974)<br />

Oil on Canvas, 20” x 30”<br />

Constantine Kluge (1912-2003)<br />

Oil on Canvas, 32” x 32”<br />

Art &Antique Gallery, Inc.<br />

508.259.4694 508.753.7332<br />

wmunion@charter.net www.artantique<strong>gallery</strong>.net www.askart.com/ArtAntiqueGallery


14 - THE GALLERY April 27, 2012 — <strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly<br />

WORCESTER, MASS. — Bill Union, owner of Art<br />

& Antique Gallery, is a familiar face at antiques<br />

shows up <strong>and</strong> down <strong>the</strong> Eastern Seaboard. Collectors<br />

<strong>and</strong> dealers can next find Union at Mays Antique<br />

Market May 10–12, Brimfield, Mass., <strong>and</strong> Arlington,<br />

Va., in June, where he will be displaying a wide-range<br />

of American <strong>and</strong> European paintings from <strong>the</strong> Eighteenth,<br />

Nineteenth <strong>and</strong> Twentieth Centuries.<br />

Founded in 1970, Art & Antique Gallery has long<br />

specialized in <strong>the</strong> works of Cape Cod artist Charles<br />

Webster Hawthorne (American, 1872–1930), who<br />

established <strong>the</strong> Cape Cod School of Art in Provincetown,<br />

Mass., in 1899.<br />

Hawthorne’s “Lady in Purple” is a good example of<br />

his straight-forward <strong>and</strong> yet subtle portraits of<br />

women. The young woman’s face is framed with softly<br />

rendered auburn hair <strong>and</strong> her gentle gaze is both<br />

refreshing <strong>and</strong> welcoming. The stylized positioning of<br />

<strong>the</strong> sitter’s arms <strong>and</strong> h<strong>and</strong>s seemed designed to show<br />

off her delicate, slender fingers as well as <strong>the</strong> flower<br />

<strong>and</strong> wedding rings she displays with such femininity.<br />

“This is <strong>the</strong> finest Hawthorne available today. It has<br />

its original frame <strong>and</strong> was exhibited in <strong>the</strong> Chrysler<br />

Museum in Norfolk as well as many o<strong>the</strong>r museums.<br />

Charles Harold Davis (1856–1933), oil on canvas, 1884, 12 by 18 inches.<br />

Charles W. Hawthorne (1872–1930), “Lady in Purple,” oil on canvas laid on board, 38 by 32<br />

inches.<br />

Art & Antique Gallery Offers<br />

A Wealth Of Fine Art<br />

It still has exhibition labels on <strong>the</strong> back, <strong>and</strong> it was<br />

featured with a full page in <strong>the</strong> Hawthorne book in<br />

color. I believe that this is <strong>the</strong> finest painting in <strong>the</strong><br />

family collection that is left,” said Union.<br />

During his lifetime, Hawthorne received important<br />

recognition for his contributions to teaching <strong>and</strong><br />

painting, including <strong>the</strong> Hallgarten Prize from <strong>the</strong><br />

National Academy <strong>and</strong> awards from <strong>the</strong> Art Institute<br />

of Chicago, <strong>the</strong> Pennsylvania Academy <strong>and</strong> <strong>the</strong> Corcoran<br />

Gallery of Art. He was a member of <strong>the</strong> Salmagundi<br />

Club, <strong>the</strong> American Watercolor Society <strong>and</strong><br />

<strong>the</strong> French Societe’ Nationale de Beaux-<strong>Arts</strong>. His<br />

Cape Cod School lured such artists as George Ault,<br />

Gifford Beal, Reynolds Beal, C.H. Demuth, Childe<br />

Hassam, Ernest Lawson <strong>and</strong> William Zorach.<br />

Hawthorne’s work can be found in <strong>the</strong> collections of<br />

such institutions as <strong>the</strong> Metropolitan Museum of Art,<br />

<strong>the</strong> Corcoran Gallery of Art, Huston Museum of Fine<br />

Art, <strong>the</strong> High Museum of Art, <strong>the</strong> Wooster Museum<br />

of Art <strong>and</strong> two dozen more.<br />

Charles Harold Davis is ano<strong>the</strong>r artist who called<br />

New Engl<strong>and</strong> home. Born in Massachusetts in 1856,<br />

Davis studied in France at <strong>the</strong> Academie Julian <strong>and</strong><br />

adopted a Barbizon style for his l<strong>and</strong>scapes. He set-<br />

tled in Mystic, Conn., where he was instrumental in<br />

forming an art colony. His work is in prestigious collections,<br />

including <strong>the</strong> Metropolitan Museum of Art,<br />

<strong>the</strong> Corcoran Gallery of Art, <strong>the</strong> Pennsylvania Academy<br />

of <strong>the</strong> Fine <strong>Arts</strong> <strong>and</strong> <strong>the</strong> MFA Boston.<br />

The <strong>gallery</strong> has a 24-hour evaluation period for<br />

works of art that are shipped. This is especially<br />

important if a collector is purchasing a painting<br />

based on an image sent through email or seen on a<br />

website (Art & Antique Gallery is listed on<br />

AskArt.com). Once a painting is received, if <strong>the</strong> customer<br />

does not like <strong>the</strong> work for any reason, <strong>the</strong>y can<br />

ship it back.<br />

Art & Antique Gallery is by appointment only.<br />

Their inventory includes White Mountain artists,<br />

marine art, Impressionism <strong>and</strong> post-Impressionism,<br />

including European paintings. The <strong>gallery</strong> is always<br />

seeking estates of artists, sporting art <strong>and</strong> Hudson<br />

River art. Union is a member of <strong>the</strong> International<br />

Society of Fine <strong>Arts</strong> Appraisers, Ltd, <strong>and</strong> <strong>the</strong> New<br />

Engl<strong>and</strong> Society of Fine <strong>Arts</strong> Appraisers.<br />

Art & Antique Gallery is at 4 Old English Road in<br />

Worcester, Mass. To reach Bill Union, call 508-259-<br />

4694 or email wmunion@charter.net.<br />

Thomas Benjamin Pope<br />

1834—1891<br />

Newburgh, NY artist, teacher,<br />

writer, <strong>and</strong> performer.<br />

A fine example of his work,<br />

inscribed on reverse<br />

“...Bear Mountain <strong>and</strong><br />

Storm King from Crow’s Nest...”<br />

Hudson Highl<strong>and</strong>s, oil on board, 16” x 22”<br />

Signed <strong>and</strong> dated T.B.Pope 1889<br />

Jenkinstown <strong>Antiques</strong><br />

Sanford Levy 520 Route 32 South New Paltz NY 12561<br />

www.Jenkinstown<strong>Antiques</strong>.com info@Jenkinstown<strong>Antiques</strong>.com 845-255-4876<br />

Our shop is open weekends or anytime by chance/appointment Find us on Facebook


<strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly — April 27, 2012<br />

Taking A New Leap Into<br />

The Twentieth Century<br />

BY MERNA POPPER<br />

OWNER OF ANDES ANTIQUES & ART<br />

Midcentury? And which century might that be? The term midcentury<br />

is b<strong>and</strong>ied about as if <strong>the</strong> entire universe knows <strong>and</strong> underst<strong>and</strong>s <strong>the</strong><br />

excitement spinning around <strong>the</strong> great artists <strong>and</strong> designers who produced<br />

home <strong>and</strong> office furniture <strong>and</strong> arts during <strong>the</strong> center cut of <strong>the</strong><br />

Twentieth Century. Depending on who tells it, Mid-Twentieth Century<br />

can be 1916–1950, or 1930–1960, but regardless of dates, it’s all about<br />

clean lines <strong>and</strong> basic design elements suited for life in modern times.<br />

To some, <strong>the</strong> Modernist period began at <strong>the</strong> start of <strong>the</strong> Twentieth<br />

Century, blossoming around 1916, reaching its full swing with <strong>the</strong><br />

clean designs <strong>and</strong> lines of <strong>the</strong> Bauhaus, which changed <strong>the</strong> definition of<br />

art <strong>and</strong> design forever. To o<strong>the</strong>rs, Twentieth Century design is embodied<br />

by <strong>the</strong> pared-down sleek lines from Sc<strong>and</strong>inavia, Sweden <strong>and</strong> Denmark<br />

during <strong>the</strong> 1950s <strong>and</strong> 1960s. However you look at it, <strong>the</strong> bold<br />

movements of <strong>the</strong> mid-Twentieth Century liberated architecture as well<br />

as home <strong>and</strong> office furnishings from <strong>the</strong> history of serious-looking,<br />

ornate tastes culminating in <strong>the</strong> heavy <strong>and</strong> elaborate look of <strong>the</strong> Victorian<br />

era.<br />

Twentieth Century home arts <strong>and</strong> furnishings have survived at least<br />

three quarters of a century, bursting forth again with a surge of collecting<br />

madness. Buyers have rediscovered <strong>the</strong> period with gusto, taking a<br />

fresh look at designs from both European <strong>and</strong> American visionaries.<br />

Like all quality collectibles, great Twentieth Century is scarce <strong>and</strong><br />

when it shows up on <strong>the</strong> marketplace, it gets snapped up quickly,<br />

prized for its continued modern shock value even after all <strong>the</strong>se years.<br />

Many of <strong>the</strong> early designs are still avant garde <strong>and</strong> seem new <strong>and</strong> unfamiliar<br />

to all but <strong>the</strong> initiated who recognize its sophistication. After all,<br />

Modernism was once <strong>the</strong> domain of artsy intellectuals, <strong>and</strong> it takes<br />

time for advanced trends to catch on <strong>and</strong> become widely accepted. One<br />

thing is certain, in 2012, midcentury <strong>and</strong> Modernist designs are definitely<br />

H-O-T.<br />

The buzz among collectors, antique dealers <strong>and</strong> auctioneers is midcentury,<br />

<strong>and</strong> <strong>the</strong> craze is escalating at a frenetic pace. “Brown furniture” —<br />

even prized-quality furniture of yesteryear — is out of fashion, having<br />

been replaced by a new insatiable thirst for Modernism.<br />

When my own parents “went modern” <strong>and</strong> tossed out <strong>the</strong>ir lea<strong>the</strong>rtop<br />

dark English furniture to make way for low, sleek designs with<br />

bright, new vitality <strong>and</strong> a life of <strong>the</strong>ir own, <strong>the</strong>y were part of <strong>the</strong> leap<br />

into <strong>the</strong> new <strong>and</strong> modern age. The artistic realism of <strong>the</strong> Industrial<br />

Revolution — representation of things as <strong>the</strong>y had always been recognized<br />

— was being replaced by impressions, <strong>the</strong> spirit of an object<br />

ra<strong>the</strong>r than literal reproductions.<br />

Remarkably, mid-Twentieth Century designs are as fresh <strong>and</strong> exciting<br />

as <strong>the</strong>y were <strong>the</strong> day <strong>the</strong>y first appeared. Abstract art, sleek low lines in<br />

home design, horizontal <strong>and</strong> vertical planes thrown toge<strong>the</strong>r in a style<br />

of visual music, define <strong>the</strong> Twentieth Century.<br />

The rush is on. As lasting <strong>and</strong> viable as Chippendale was in its day,<br />

collectors of midcentury are looking for value <strong>and</strong> beauty to occupy a<br />

permanent place in <strong>the</strong> art <strong>and</strong> antique marketplace as well as an<br />

inspired environment in which to live.<br />

Andes <strong>Antiques</strong> & Art is located at 173 Main Street, Andes NY 13731.<br />

The <strong>gallery</strong> will open “Art <strong>and</strong> Design of <strong>the</strong> 20th Century,” on May 26.<br />

For information, 845-676-3420.<br />

Lacquered cabinet by Robert Slezak.<br />

THE GALLERY — 15<br />

ANNOUNCING…<br />

<strong>the</strong> launching of our new web page<br />

devoted to vintage…<br />

ARTS & CRAFTS ARTWORK<br />

ARTHUR WESLEY DOW, “Sunset, Ipswich Meadows,”<br />

watercolor, c. 1890, 9 ¾ x 12 ½” (sight).<br />

One of <strong>the</strong> largest selections of period <strong>Arts</strong> & Crafts artwork anywhere!<br />

Over 100 beautifully-framed items including works by<br />

Margaret Jordan Patterson, Oscar Droege, Arthur Wesley Dow,<br />

Gustave Baumann, Englebert Lap, Jane Berry Judson, George<br />

Senseney, Tod Lindemuth… known <strong>and</strong> unknown artists in all price<br />

ranges…<br />

OSCAR DROEGE,<br />

“Spring in <strong>the</strong><br />

Mountains,”<br />

color woodcut,<br />

c. 1925-30,<br />

14 1/8 x 9 3/8.”<br />

Also on our<br />

website,<br />

see our o<strong>the</strong>r<br />

offerings under<br />

“Fine Prints”<br />

(nearly 400 American<br />

& European fine prints<br />

from c. 1880-1950’s,)<br />

<strong>and</strong><br />

“Paintings.”<br />

Sign up for our yearly catalog of all new offerings<br />

on our website or by calling or emailing us.<br />

We are also actively buying <strong>Arts</strong> & Crafts artwork by <strong>the</strong> artists<br />

we list (Gustave Baumann, Arthur Wesley Dow, Margaret<br />

Patterson, etc. etc.) as well as o<strong>the</strong>r known <strong>and</strong> even unknown<br />

artists that are of <strong>the</strong> period <strong>and</strong> exhibit that <strong>Arts</strong> & Crafts “look.”<br />

Please request our free 4 page illustrated want list or check our<br />

website “Buying” pages for more details on what we’re looking<br />

to purchase in all mediums.<br />

STEVEN THOMAS, INC.<br />

Fine <strong>Arts</strong> & <strong>Antiques</strong><br />

BOX 41, WOODSTOCK, VT 05091<br />

Phone / Fax 1-800-781-8028<br />

www.woodblock-prints.com


16 - THE GALLERY April 27, 2012 — <strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly<br />

Diego Rivera, “Clasped H<strong>and</strong>s,” drawing.<br />

A Fine Thing Displays Some Gems<br />

BY EDWARD POLLOCK, OWNER,<br />

A FINE THING: EDWARD T. POLLACK FINE ARTS<br />

PORTLAND, MAINE — After some months of indecision, A Fine<br />

Thing: Edward T. Pollack Fine <strong>Arts</strong> has decided to renew its lease in <strong>the</strong><br />

Portl<strong>and</strong> Stage Theater Building <strong>and</strong> remain on Forest Avenue. Our focus<br />

during <strong>the</strong> spring will be to accomplish some much needed refurbishing of<br />

<strong>the</strong> space, while continuing to display as many of <strong>the</strong> best works from our<br />

extensive collection of fine prints, drawings <strong>and</strong> photos as possible. At <strong>the</strong><br />

same time, in our space at Oyster House Studio & Frame in Damariscotta,<br />

a selection from <strong>the</strong>se works will be augmented by an assortment of interesting<br />

<strong>and</strong> beautiful objects of all types, <strong>and</strong> by an extensive, <strong>and</strong> regularly<br />

changing display of books relating to <strong>the</strong> arts.<br />

During April, in conjunction with <strong>the</strong> appearance of an article about <strong>the</strong>m<br />

in Art New Engl<strong>and</strong>, we held a successful exhibition of <strong>the</strong> woodblock prints<br />

of Don Gorvatt <strong>and</strong> <strong>the</strong> etchings of Sean Hurley. Earlier in <strong>the</strong> winter, we<br />

exhibited at two major shows, <strong>the</strong> Lighthouse Works on Paper Show in<br />

New York City, <strong>and</strong> <strong>the</strong> Capitol <strong>Arts</strong> Print Fair in Washington, D.C. Going<br />

forward, we have shows planned in New York <strong>and</strong> Boston in November<br />

2012. Details about <strong>the</strong>se shows will be posted under <strong>the</strong> “Shows” tab on<br />

our website.<br />

As always, we invite people to visit our website <strong>and</strong> view our large inventory.<br />

Items are described <strong>and</strong> priced, <strong>and</strong> most are accompanied by images.<br />

As it is so hard to keep up with posting images, we are grateful <strong>and</strong> accommodating<br />

when someone asks us to put up an image of a work <strong>the</strong>y are<br />

interested in.<br />

We continue to be enthusiastic about American prints from early <strong>and</strong><br />

mid-Twentieth Century, with significant holdings of works by Reginald<br />

Marsh, John Sloan, Raphael Soyer, Joseph Hirsch, Isabel Bishop <strong>and</strong> Rockwell<br />

Kent, to which we have added works by Antonio Frasconi, Mauricio<br />

Lasansky, Misch Kohn, Louise Nevelson, Anne Ryan <strong>and</strong> o<strong>the</strong>rs.<br />

Later in <strong>the</strong> year we expect to mount a small exhibition of German Expressionist<br />

prints, which will include work by Dix, Campendonck, Kollwitz,<br />

Mueller, Marc <strong>and</strong> Beckmann.<br />

We welcome visitors to <strong>the</strong> <strong>gallery</strong>, <strong>and</strong> recommend a call ahead, as our<br />

hours may sometimes be erratic.<br />

A Fine Thing: Edward T. Pollack Fine Art is at 29 Forest Avenue. For information,<br />

visit www.edpollackfinearts.com, call 207-699-2919, 617-610-7173<br />

or email ed@edpollackfinearts.com.<br />

Berkshire ART GALLERY<br />

80 Railroad Street, Great Barrington, MA 01230<br />

Hours: Noon to 5 PM, Saturday & Sunday<br />

(413) 528-2690 | www.berkshireart<strong>gallery</strong>.com<br />

Summer Woods, O/C, 20 x 26. William Henry Hyde, 1858-1943, American.<br />

Partial Inventory: C. Apt, March Avery, James Carlin, C. Chichester,<br />

Jack Coggins, Lee Court, James Cranstoun, Arthur V. Diehl, J.J.<br />

Enwright, Jose Maria Jardines, Alice Judson, S. Le Grec, A. Lepere,<br />

Arthur Lloy, S. Maniatty, P. Bela Mayer, Lucien Moretti, Harry W.<br />

Newman, Edmund Niemann, Leo Politi, Arthur J.E. Powell, G.<br />

Reckard, Marian P. Sloane, Guy C. Wiggins, Hunter Wood <strong>and</strong> o<strong>the</strong>rs.


<strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly — April 27, 2012<br />

BY MADELYN JORDON<br />

As Madelyn Jordon Fine Art has settled<br />

into its new exhibition space in<br />

Scarsdale, our inaugural show is “Looking<br />

Back, Looking Ahead: Modern <strong>and</strong><br />

Contemporary Selections” As <strong>the</strong> title<br />

suggests, <strong>the</strong> exhibition is a dialogue<br />

between Twentieth Century artists <strong>and</strong><br />

<strong>the</strong>ir contemporary peers.<br />

The modern art selections came from<br />

a private collection <strong>and</strong> featured major<br />

works by William Gropper<br />

(1897–1977) <strong>and</strong> Jack Levine<br />

(1915–2010), including a painting<br />

from Gropper’s renowned Senate Series.<br />

Created in 1962, <strong>the</strong> intricate, powerful<br />

composition includes a distillation<br />

of nine interacting, suited figures. A<br />

st<strong>and</strong>ing, gesticulating figure dominates<br />

<strong>the</strong> action, surrounded by o<strong>the</strong>r<br />

characters in a range of expressive<br />

poses, from sitting, reading <strong>and</strong> sleeping.<br />

Gropper applies a cubist approach<br />

to <strong>the</strong> surface plane in vivid color juxtapositions<br />

<strong>and</strong> interlocking geometric<br />

blocks integrating <strong>the</strong> overall painting.<br />

Gropper, a social realist painter <strong>and</strong><br />

muralist from <strong>the</strong> Lower East Side of<br />

Manhattan, was a neighbor <strong>and</strong> personal<br />

friend of <strong>the</strong> collector. The families<br />

lived steps away from each o<strong>the</strong>r in<br />

Great Neck, N.Y., during Gropper’s<br />

later years.<br />

In <strong>the</strong> early part of his career, Gropper<br />

worked as an illustrator for regional<br />

<strong>and</strong> national publications. Vanity Fair<br />

commissioned him in <strong>the</strong> 1930s to create<br />

cartoons about <strong>the</strong> Senate — thus<br />

Gropper & Levine Paintings Talk<br />

Politics At Madelyn Jordon Fine Art<br />

William Gropper, painting from The Senate Series, 1963, oil on canvas, 29½ by 59½ inches; signed lower left.<br />

beginning his satirical paintings of<br />

politicians <strong>and</strong> <strong>the</strong>ir processes. His<br />

political paintings are held in <strong>the</strong><br />

prominent permanent collections of<br />

<strong>the</strong> Museum of Modern Art, <strong>the</strong> Metropolitan<br />

Museum <strong>and</strong> <strong>the</strong> Whitney<br />

Museum, among o<strong>the</strong>rs.<br />

He received critical acclaim <strong>and</strong> professional<br />

recognition throughout his<br />

life, The New Yorker calling him “one<br />

of <strong>the</strong> most accomplished, as well as<br />

one of <strong>the</strong> most significant artists of<br />

our generation.” His later work moved<br />

towards a more European aes<strong>the</strong>tic,<br />

stylistically different than his earlier<br />

work, but containing <strong>the</strong> same subject<br />

matter that focused on <strong>the</strong> human condition.<br />

Ano<strong>the</strong>r important American social<br />

realist artist featured in <strong>the</strong> exhibition<br />

is Jack Levine — whose painting “The<br />

Boardroom” came from <strong>the</strong> same private<br />

collection. Levine, a realist artist<br />

best known for his satire <strong>and</strong> social<br />

commentary of big business, political<br />

corruption, militarism <strong>and</strong> racism,<br />

alienated himself from his contemporaries<br />

<strong>and</strong> explored <strong>the</strong> works of Old<br />

Masters. His works are in numerous<br />

museum collections, including <strong>the</strong> Art<br />

Institute of Chicago, <strong>the</strong> Fine <strong>Arts</strong><br />

Museum in San Francisco, <strong>the</strong> Smithsonian<br />

Institute in Washington, D.C.,<br />

<strong>the</strong> Metropolitan Museum of Art <strong>and</strong><br />

<strong>the</strong> National Gallery of Art.<br />

Both Gropper <strong>and</strong> Levine took a critical<br />

approach in <strong>the</strong>ir commentary of<br />

<strong>the</strong>ir country, but <strong>the</strong>y were also<br />

Ture Bengtz: Life Lessons<br />

Four Decades of a Boston Expressionist Painter, Draftsman <strong>and</strong> Storyteller<br />

April 2 - May 26, 2012<br />

CHILDS GALLERY<br />

Established 1937<br />

FINE AMERICAN AND EUROPEAN PAINTINGS<br />

PRINTS, DRAWINGS, WATERCOLORS AND SCULPTURE<br />

169 Newbury Street, Boston, Massachusetts 02116<br />

617-266-1108 info@childs<strong>gallery</strong>.com childs<strong>gallery</strong>.com<br />

THE GALLERY — 17<br />

incredible draughtsmen who had complete<br />

control of <strong>the</strong>ir medium. The<br />

current political <strong>and</strong> economic climate<br />

in this country has given Gropper <strong>and</strong><br />

Levine new relevancy, as <strong>the</strong> concerns<br />

of <strong>the</strong>se artists for public awareness <strong>and</strong><br />

activism still ring true today.<br />

The contemporary portion of <strong>the</strong><br />

exhibition includes works by Kenneth<br />

Nol<strong>and</strong>, Ted Larsen <strong>and</strong> Yangyang Pan,<br />

among o<strong>the</strong>rs. These artists work primarily<br />

in a color-rich, abstract way, in<br />

a variety of mediums from salvage steel<br />

to oil on canvas.<br />

The William Gropper painting featured<br />

here may be viewed at Madelyn Jordon<br />

Fine Art, 37 Popham Road, Scarsdale,<br />

N.Y. For information, 914-723-8738 or<br />

info@madelynjordonfineart.com.


18 - THE GALLERY April 27, 2012 — <strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly<br />

Revisiting Boston Expressionism<br />

Anne Lyman Powers (American, b 1922), “The Big Wind,” 1961, oil on canvas, 40 by 48<br />

inches; signed <strong>and</strong> dated lower left.<br />

Childs Gallery Offers Insights On This<br />

Regional Midcentury Art Movement<br />

Karl Zerbe (American 1903–1972), “Angel <strong>and</strong> Rooster,” 1948, encaustic on board, 24 by 32<br />

inches; signed lower right.<br />

BOSTON, MASS. — On March 17, Boston’s AD 20/21 Art & Design show<br />

presented a panel discussion titled “Boston Expressionism: Modernist Art at Midcentury<br />

<strong>and</strong> Today.” The speakers were Ka<strong>the</strong>rine French, executive director of<br />

<strong>the</strong> Danforth Museum; Judith Bookbinder, professor of Art History at Boston<br />

College <strong>and</strong> author of Boston Modern: Figurative Expressionism as Alternative Modernism;<br />

<strong>and</strong> Richard Baiano, president of Childs Gallery, which specializes in mid-<br />

Twentieth Century figurative modernism, including Boston Expressionists <strong>and</strong><br />

<strong>the</strong>ir descendants.<br />

An overflow crowd attended <strong>the</strong> event, attesting to <strong>the</strong> renewed interest in this<br />

regional art movement, a trend Baiano sees reflected in requests from his own<br />

clientele. Why now? Baiano suggests three major reasons:<br />

“First, <strong>the</strong>re is <strong>the</strong> national trend of museums exhibiting <strong>and</strong> educating <strong>the</strong> public<br />

about midcentury American modernism — both figurative <strong>and</strong> abstract —<br />

leading to a heightened enthusiasm for collecting those works, as evidenced by<br />

widespread representation at New York’s prestigious Armory Show earlier this<br />

month. Closer to home, Danforth’s illustrative focus on Boston Expressionism has<br />

certainly popularized that movement <strong>and</strong> its artists locally.<br />

“Second, <strong>the</strong>re is a higher appreciation for figurative art <strong>the</strong>se days <strong>and</strong> <strong>the</strong><br />

acknowledgement that abstraction <strong>and</strong> minimalism weren’t <strong>the</strong> only movements<br />

important at mid-Twentieth Century.<br />

“And third,” says Baiano, “we are a changed society since 9/11 <strong>and</strong> its horrific<br />

aftermath. Issues of violence, political unrest, prejudice, spirituality <strong>and</strong> <strong>the</strong> struggle<br />

to maintain humanity in a threatening modern world — <strong>the</strong> very lifeblood of<br />

<strong>the</strong> Boston Expressionists — resonate as strongly today as in <strong>the</strong> period surrounding<br />

World War II.”<br />

Meridith Cutler, artscope contributor, explains, “The Boston School grew out of<br />

a deep respect for <strong>the</strong> work of Oskar Kokoschka, Max Beckmann <strong>and</strong> o<strong>the</strong>r<br />

Expressionist painters caught up in Europe’s perilous political l<strong>and</strong>scape,” in her<br />

review of director Ka<strong>the</strong>rine French’s recent exhibit The Expressive Voice at <strong>the</strong><br />

Danforth Museum. “Karl Zerbe, a German refugee painter who brought European<br />

Expressionism to Boston, hit a nerve with his protégées at <strong>the</strong> Museum<br />

School, many of <strong>the</strong>m immigrants of <strong>the</strong> Jewish Baltic diaspora struggling to contextualize<br />

<strong>the</strong>ir secular identities in a modern America.”<br />

And at <strong>the</strong> same time Zerbe was painting <strong>and</strong> teaching students such as David<br />

Aronson, Jason Berger <strong>and</strong> Arthur Polonsky (from 1937 to 1955), Harvard art<br />

school classmates <strong>and</strong> friends Jack Levine <strong>and</strong> Hyman Bloom were also developing<br />

highly individualistic figurative painting styles: Levine focusing on politically<br />

charged polemics; Bloom exploring spiritually <strong>and</strong> death. These artists communicated<br />

<strong>the</strong> evils <strong>and</strong> angst of <strong>the</strong>ir times through richly saturated colors, frenzied<br />

brushstrokes <strong>and</strong> inventive figurative compositions that would soon become outof-step<br />

with <strong>the</strong> tidal wave of abstraction.<br />

But every Boston painter who favored figuratism over abstraction during <strong>the</strong><br />

1940s was not necessarily a Boston Expressionist, <strong>and</strong> that is where <strong>the</strong> various<br />

experts diverge. Most agree that attending Boston’s Museum School under Zerbe<br />

<strong>and</strong> focusing on societal issues in <strong>the</strong>ir works are important criteria.<br />

Childs Gallery represents <strong>the</strong> Boston artist Anne Lyman Powers, who was a firsth<strong>and</strong><br />

witness to <strong>the</strong> “Degenerate” art show in Nazi Germany <strong>and</strong> later studied<br />

with Zerbe at <strong>the</strong> Museum School. Her masterful paintings convey biting social<br />

<strong>and</strong> political commentary in vividly colorful scenes that dominate every inch of<br />

<strong>the</strong> canvas. A former sculptor, Powers gave her figures more dimensionality than<br />

many of her Boston Expressionist peers, but she also shared Zerbe’s amorphous<br />

blending of expressionism, surrealism <strong>and</strong> magic realism.<br />

Baiano finds Ture Bengtz, ano<strong>the</strong>r formative teacher at <strong>the</strong> Museum School,<br />

particularly intriguing as his painterly figurative style so clearly mirror his contemporaries,<br />

while his lack of “angst” set him apart. An immigrant from Finl<strong>and</strong> <strong>and</strong><br />

happily married, Bengtz chose to focus on amusing everyday life experiences<br />

ra<strong>the</strong>r than <strong>the</strong> social injustices of <strong>the</strong> world.<br />

New to <strong>the</strong> <strong>gallery</strong> is Boston artist Giovanni DeCunto, who studied under<br />

David Aronson. DeCunto describes his philosophy as having “been shaped by<br />

two essential <strong>the</strong>mes — an early fascination with religious icons, <strong>and</strong> a concern<br />

for contemporary social issues which simultaneously threaten <strong>and</strong> define our culture.”<br />

Given <strong>the</strong> striking way he moves paint around <strong>the</strong> canvas (applying colors<br />

directly from <strong>the</strong> tube) his emboldened color palette, <strong>and</strong> <strong>the</strong> monumentality of<br />

his figurative works, is he not a true descendant of <strong>the</strong> Boston Expressionists?<br />

Viewers can decide for <strong>the</strong>mselves.<br />

Childs Gallery is located at 169 Newbury Street in Boston. To contact <strong>the</strong> <strong>gallery</strong>, call<br />

617-266-1108 or email info@childs<strong>gallery</strong>.com.


<strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly — April 27, 2012<br />

BY STEVEN THOMAS,<br />

OWNER STEVEN THOMAS, INC<br />

During <strong>the</strong> <strong>Arts</strong> & Crafts era (roughly<br />

1890–1930), woodblock prints were<br />

seen commonly in <strong>the</strong> Keramic Studio<br />

<strong>and</strong> on <strong>the</strong> cover of Gustav Stickley’s<br />

Craftsman magazine. Many practitioners<br />

of <strong>the</strong> art were members of The<br />

Society of <strong>Arts</strong> <strong>and</strong> Crafts Boston <strong>and</strong><br />

exhibited with o<strong>the</strong>r craftspeople of <strong>the</strong><br />

times.<br />

Peyton Boswell, in reviewing a contemporary<br />

(1918) exhibit of woodblock<br />

artists in New York, writing in<br />

Art World noted that <strong>the</strong>y “…add just<br />

<strong>the</strong> artistic touch needed to <strong>the</strong> walls of<br />

a bungalow or to <strong>the</strong>...rooms of a<br />

country home...” [<strong>and</strong> are a good way]<br />

“…to wean people away from <strong>the</strong>ir too<br />

manifest hankering for machine-made<br />

art.” Yet as recently as 20 years ago, <strong>the</strong><br />

block print was nearly an unknown<br />

commodity within <strong>the</strong> <strong>Arts</strong> & Crafts<br />

market (that was <strong>the</strong> time to buy<br />

<strong>the</strong>m).<br />

Until this month, <strong>the</strong> only way anyone<br />

— myself included — could see<br />

our extensive collection of <strong>Arts</strong> &<br />

Crafts artwork was to come to <strong>the</strong><br />

show at <strong>the</strong> Grove Park Inn in<br />

Asheville, N.C., held every February.<br />

After <strong>the</strong> show, most of our art was<br />

archived in storage bins out of <strong>the</strong><br />

sight of <strong>the</strong> world. I had my website<br />

redesigned this year, <strong>and</strong> now you can<br />

“shop” what we offer at <strong>the</strong> <strong>Arts</strong> &<br />

Crafts Conference <strong>and</strong> <strong>Antiques</strong> Show<br />

virtually, all year long. (You should still<br />

attend <strong>the</strong> show in February — it is<br />

great <strong>and</strong> all my new purchases will be<br />

Artwork Of The <strong>Arts</strong> & Crafts Period<br />

<strong>the</strong>re).<br />

Our online presentation of <strong>Arts</strong> &<br />

Craft artwork is at www.woodblockprints.com,<br />

<strong>the</strong>n to “Selling” <strong>and</strong> select<br />

“<strong>Arts</strong> & Crafts.” You’re <strong>the</strong>re! We<br />

believe this to be one of <strong>the</strong> largest (if<br />

not <strong>the</strong> largest) offering of period <strong>Arts</strong><br />

& Crafts artwork available anywhere.<br />

All works are offered framed (see framing<br />

notes at <strong>the</strong> top of <strong>the</strong> A&C page).<br />

We also offer, on our website “Publications”<br />

page, a full-color reprint of an<br />

article we wrote on <strong>Arts</strong> & Crafts<br />

prints in America that was published in<br />

Style 1900 a few years back.<br />

Don’t forget our usual fine offerings<br />

under our “Fine Prints” <strong>and</strong> “Paint-<br />

ings” pages on our website. We issue a<br />

yearly catalog by email each September<br />

highlighting all fresh material we have<br />

purchased throughout <strong>the</strong> year. You<br />

can sign up for <strong>the</strong> catalog on our website<br />

or simply email us.<br />

We have been dealing in paintings<br />

<strong>and</strong> prints for more than 30 years, issuing<br />

yearly catalogs as well as a few specialty<br />

catalogs along <strong>the</strong> way. In 1986<br />

we held <strong>the</strong> first retrospective of Margaret<br />

Patterson’s woodblock prints; in<br />

1988 we curated a show at <strong>the</strong><br />

Provincetown Art Association <strong>and</strong><br />

Museum titled “Provincetown Printing<br />

Blocks,” <strong>the</strong> first museum show dedicated<br />

to printing matrices. (Both of<br />

Margaret Jordan Patterson, “Windblown Trees,” color woodcut, circa 1922, 7 1 /8<br />

by 10¼ inches.<br />

Franklin Riehlman Fine Art<br />

THE GALLERY — 19<br />

<strong>the</strong>se catalogs are available on <strong>the</strong> publications<br />

page on our website).<br />

We are also actively buying <strong>Arts</strong> &<br />

Crafts artwork by <strong>the</strong> artists we list<br />

(Gustave Baumann, Arthur Wesley<br />

Dow, Margaret Patterson, etc), as well<br />

as o<strong>the</strong>r known <strong>and</strong> even unknown<br />

artists that are of <strong>the</strong> period <strong>and</strong> exhibit<br />

that <strong>Arts</strong> & Crafts “look.” Please<br />

request our free, four-page illustrated<br />

want list or check our website “Buying”<br />

pages for more details on what we<br />

are looking to purchase in all mediums.<br />

Steven Thomas can be contacted by<br />

email at stinc@sover.net or by calling<br />

802-291-3764. To browse his website, go<br />

to www.woodblock-prints.com.<br />

Engelbert Lap, “Near Seefeldt, Austria,” color<br />

woodcut, circa 1925, 10 by 8 1 /8 inches.<br />

GEORGE<br />

BELLOWS<br />

(1882-1925)<br />

Cliffs at Eddyville<br />

Oil on canvas<br />

16 ¾ x 24 inches<br />

Signed at lower right:<br />

GEO BELLOWS<br />

Titled on <strong>the</strong> reverse:<br />

CLIFFS AT EDDYVILLE<br />

Painted in<br />

October 1920<br />

CURRENTLY<br />

AVAILABLE<br />

John Leslie Breck<br />

Clarence Carter<br />

Albert Lorey Groll<br />

Robert Kipniss<br />

Edward Potthast<br />

Harold Shapisnky<br />

Everett Shinn<br />

John Sloan<br />

24 EAST 73RD STREET, #4F | NEW YORK, NY 10021 | 212-879-2545 | www.nycpaintings.com


20 - THE GALLERY April 27, 2012 — <strong>Antiques</strong> <strong>and</strong> The <strong>Arts</strong> Weekly<br />

Martin Johnson Heade (American, 1819–1904), Sunlight on Newbury Marshes, c. 1865–1875, Oil on canvas, Collection of Alice Pack Melly <strong>and</strong> L. Thomas Melly<br />

Marking a Century:<br />

Recent <strong>and</strong> Promised Gifts to <strong>the</strong> Bruce Museum<br />

April 14—July 8, 2012<br />

BRUCE MUSEUM<br />

Greenwich, CT<br />

brucemuseum.org<br />

The exhibition is generously underwritten by

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