Detail of “Mystic Seaport” by Carl Evers - Antiques and the Arts Online

Detail of untitled (BY10611) by Ernie Bynum, oil on canvas, 40 by 20 inches. Ernden
Fine Art Gallery, Provincetown, Mass.
Detail of “Lake In The Rockies” by Birger Sandzén, 1927, oil on canvas, 36 by 48
inches. Estimated at $200/300,000. Auction In Santa Fe, Santa Fe, N.M.
THE GALLERY THE GALLERY THE GALLERY THE GALLERY
Detail of “Robinhood, Bath, Maine” by William Zorach (American, 1887–1966),
watercolor, 15 by 21 3/8 inches. Wiscasset Bay Gallery, Wiscasset Bay, Maine
Detail of “Mystic Seaport” by Carl Evers (American, 1907–2000), circa 1965, watercolor,
12½ by 24 inches. RoGallery, Long Island City, N.Y.
Detail of “Haystacks” by George M. Bruestle, oil on panel, 6 by 8 inches. Cooley
Gallery, Old Lyme, Conn.
Detail of “New York Street Scene” by Jerome Myers (1867–1940), 1907, oil on
board, 9 3/16 by 7 13/16 inches. Questroyal Fine Art, New York City
ANTIQUES AND THE ARTS WEEKLY 5 CHURCH HILL RD BOX 5503 NEWTOWN, CONNECTICUT, 06470 SUMMER 2011

2 - THE GALLERY July 15, 2011 — Antiques and The Arts Weekly
WORCESTER, MASS. — “If you are
fair with a collector and honest, you will
have that collector for life. I have had customers
for 20 to 30 years. I have filled
their houses up with paintings,” said art
dealer Bill Union, owner of Art and
Antique Gallery.
Union offers a “buy-back” guarantee. If a
collector is not happy with an art purchase
for any reason, Union will buy it back for
the same price. If the painting comes back
to him more than a year after he sold it,
Union pays a ten percent increase over the
initial sales price. “That is a ten percent
increase for life, not per year,” he quipped.
Also, a professional dealer is expected to
know what they are looking at when they
are inspecting a painting for purchase, so
the buy-back guarantee does not apply to
dealer purchases.
Art and Antique Gallery also has a 24hour
evaluation period for works of art that
are shipped. This is especially important if a
collector is purchasing a painting based on
an image sent through email or seen on a
website (Art and Antique Gallery is listed
on AskArt.com). Once a painting is
received, if the customer does not like the
work for any reason, they can ship it back.
Although Union declares that he is not in
the “finance business,” he will extend terms
for paying over a three-month time period
in certain cases. “Any longer than that and
you probably should not be buying art, you
BY DENNIS COSTIN
OWNER, ERNDEN FINE ART GALLERY
Ernie Bynum speaks with the voice of a colorist concentrating
not on painting pretty pictures but on
painting images that relate to his past, but in a manner
that creates mystery and intrigue. He applies layer
upon layer of paint, reductive in imagery, yet expansive
and dynamic in its depth of color. A whole dream-like
world resonates with inner life and inner light, drawing
the viewer through the plane into this deep, mysterious
essence.
Over time Bynum’s work has become much less figurative.
A passing suggestion of image becomes an
expression of color and light. His shapes seem to dissolve
into space; and whereas in the past, one could
more clearly see the skiff, cottage and wharf and water
tower, and now the eye catches only a furtive glimpse
of these images, receding in the expanding field of
color. There are no horizon lines in Bynum’s pieces
because he continues to reach for the ultimate in a
painting; creating what could be a landscape, a still life
or images of animals that beckon to the viewer’s imagination.
While Bynum continues to work on less and less figuration
in his work, with some of his newly completed
work he has drawn on imagery he started working on
19 years ago; a cow, a rooster, a horse, flowers, all more
abstract than figurative but which continue to speak to
the diversity of his creative genius.
Bynum states, “Painting is a process that begins with
no preconceived notions of what I will paint. I let my
subconscious take over and begin working on my compositions
as ideas begin to flow. I do not rely on tech-
My Kind Of Art
Art dealer Bill Union of Antique and Art Gallery, Worcester, Mass., next to an oil
painting by Constantine Kluge titled “A Beautiful Day.”
should be buying food,” said Union. “Art is
a luxury. Paintings are not a necessity.”
Necessity or not, Union does think of
paintings as a good investment, with one
important word of advice: “Never buy anything
you don’t like.” For him, that means
paintings from the Nineteenth and early
Twentieth Centuries, which he considers
to be the “sweet spot” of the art market. “If
you’ve noticed, it is getting harder to find.
Demand is up. It’s that wonderful oldfashioned
school of art that I see holding
up over time. My kind of art.”
Union believes strongly in the affinity of
the antiques market and the art market. “I
was the first paintings dealer to set up at
antiques shows. There were guys who sold
antiques with a few pictures mixed in, but
Ernie Bynum: Layers of Mystery
Ernie Bynum, “ID” (BY11211), oil on canvas, 36 by
24 inches.
nique but rather on my ideas and sense of composition.
Using both brush and palette knife, I build up
colors, so that in the process images emerge, unique to
in the early days, I was the only guy at
antiques shows who sold only artwork —
starting with the old New Haven Coliseum
show in the 1970s. At the time, that show
was the oldest antiques show in the country.
Now, more and more paintings dealers
are flocking to antiques shows. Miami
Beach is now 60 percent art dealers. It’s
known for art.”
Union buys and sells paintings every day.
“I have a lot of things happening all the
time,” he said. This constant activity, coupled
with his willingness to let things go at
reasonable prices, means that a good piece
in his hands generally will not last long
before it is sold. He has a full schedule of
antiques shows lined up, including the Baltimore
Antiques Show; Madison Bouckville,
in Bouckville, N.Y.; New Hampshire Week
in Manchester; Birchwood Manor Antiques
Show in Whippany, N.J.; the Farmington
Antiques Show (now at the Harwinton,
Conn. Fairgrounds); The Pier Antiques
Show in New York City; and the Connecticut
Fall Antiques Show in Hartford.
Art shoppers do not have to wait for an
antiques show to meet Union and see the
vast number of paintings he has at a given
time. “People should know that they can
come to me directly,” said Union.
Art and Antique Gallery is at 4 Old English
Road in Worcester, Mass. To reach Bill Union,
call 508-259-4694 or email
wmunion@charter.net.
each painting, imagery that resonates with warmth,
sensitivity, peacefulness and tranquility. For me, my
palette is merely for experimentation. I would never be
able to mix the same color twice. Each new day, I am
challenged to mix new colors.”
These paintings originate at the intersection of psychological
and literal landscapes. Through his unique
vocabulary, Bynum creates work that is a compelling
union of luminous color and profound affect.
He draws inspiration from his experience of nature
and place, from his youth in the pine forests of North
Carolina, his exposure as a teenager to coastal Connecticut
and Cape Cod, his adult years spent in New
Mexico, the Caribbean and West Africa, and now in
Provincetown, New York City and Connecticut. The
separation of nature and spirit is not a reality for
Bynum. For Bynum, it cannot be discussed; it must be
painted.
Bynum received his BS degree from Fordham University
in New York City. He concluded his graduate
studies at the University of Chicago, graduating Cum
Laude with an MA. Prior to painting full time, Bynum
was a psychotherapist.
Bynum’s work has been exhibited in both solo and
group exhibitions in Provincetown; New York City;
Arroyo Seco, New Mexico; San Juan, Puerto Rico; and
Saba, Netherlands Antilles. His paintings are in private
and corporate collections throughout the United States,
in the Caribbean, Europe and Australia.
Ernden Fine Art Gallery is at 397 Commercial Street in
Provincetown, Mass. For information on Ernie Bynum’s
work, call 508-487-6700 or email erndengallery@att.net.
The gallery’s website is www.erndengallery.com.

Antiques and The Arts Weekly — July 15, 2011
THE WIN/WIN PROPOSITION
QUESTROYAL TO SELL 60 PAINTINGS BELOW COST
Visit www.questroyalfineart.com/special
You might think that a gallery willing to sell 60 paintings at a loss is either experiencing financial difficulty
(this is our best year of the last ten) or simply selling its mistakes (60 would be a lot of “mistakes”).
This is our reasoning: Questroyal owns the paintings it sells—few dealers do. We have over 400 American
paintings and no intention to stop buying; however, our inventory would benefit from greater diversity and we
want to augment our Modernist and Impressionist selections. It’s best to buy in the summer because it’s the
slowest part of the year and we will use our proceeds to immediately acquire new paintings. Our losses will be
offset by the tax deductions they produce and you will have an opportunity to buy paintings below our cost. It is
a win/win proposition.
We believe in these paintings. They were selected after careful consideration and, without reservation, we can
say that each is an excellent value in its respective price range.
You may return any of the paintings offered on special within one year of your purchase for a full refund.
OFFER ENDS AUGUST 31, 2011
Clockwise from top left: Henry Rittenberg (1879-1969) The Red Lacquer Box Cost: $19,500 Your Price: $16,500; John Williamson (1826–
1885) Indian Summer Cost: $35,000 Your Price: $27,500; Birge Harrison (1854–1929) Sunset from Quebec Cost: $52,000 Your Price: $45,000;
Jonas Lie (1880–1940) The Chapel, Kamp Kill Kare, 1930 Cost: $35,000 Your Price: $30,000; Frank Anderson (1844–1891) Two Trees in Autumn
Cost: $16,000 Your Price: $14,000; Alexander Wyant (1836–1892) Passing Storm Cost: $10,000 Your Price: $7,500
Questroyal Fine Art, llc
Important American Paintings
903 Park Avenue (at 79th Street), Suite 3A&B, New York, NY 10075 T:(212) 744-3586 F:(212) 585-3828
Hours: Monday–Friday 10–6, Saturday 10–5 and by appointment
Email: gallery@questroyalfineart.com www.questroyalfineart.com
THE GALLERY — 3

4 - THE GALLERY July 15, 2011 — Antiques and The Arts Weekly
Paul Sawyier (1865–1917), “Lower New York from Grace &
Co.’s Pier,” oil on artist’s board, 9 1 /8 by 12 1 /8 inches. Signed
lower right: Paul Sawyier; inscribed on verso: Lower New York
from Grace & Co. Pier.
Famed Impressionist, Mary Cassat, once said to fellow
painter, J. Alden Weir, “At some future time I shall see New
York as the artist’s ground. I think you will create an American
school.” 1 It is precisely this focus on the city of New
York that helped a select few late Nineteenth and early
Twentieth Century artists define their Impressionist style as
uniquely American. While many American Impressionists
attempted to imitate their European contemporaries, both
in terms of style and subject matter, this group of painters
elected not to simply recreate Degas’s ballerinas or Renoir’s
party scenes, instead, they firmly grounded themselves as
masters in the canon of American art through their subject
matter — the incomparable cityscape of New York.
Questroyal Fine Art is proud to have in our collection
four hidden gems by some of the premiere innovators of
American Impressionism, all of whom chose New York
City as their inspiration: Ernest Lawson’s “Inwood,” Paul
Sawyier’s “Lower New York from Grace & Co’s Pier,” Guy
Carleton Wiggins’s “Empire State Building, Winter” and
Jerome Myers’s “New York Street Scene,” all illustrating a
movement towards an exclusively American form of expression.
Rather than align with the focus of The Ashcan
School, which, in its depictions of New York, strove to
expose an element of social realism, these four artists painted
New York to celebrate their delight in the generally overlooked
beauty of the city.
One such painting is “Inwood” by Ernest Lawson, a former
student of J. Alden Weir and an American Impressionist,
as well as an original member of The Eight. The Cathedral
at Rouen may have inspired Monet to experiment with
paint technique and color, but an equally deep study in
impasto and abstraction can be found in Lawson’s
“Inwood.” In this painting, Lawson transforms the busy
city into a peaceful and serene, almost organic space. Calm
as the scene may be, however, there is a sense of anticipation
— as if the solitary man guiding his horse and carriage
must finish his morning routine before the city comes alive
Ernest Lawson (1873–1939), “Inwood, Upper Washington
Heights,” oil on canvas 17 5 /8 by 21 1 /8 inches.
New York, New York
BY ALEXANDRA GINIGER, MARKETING & RESEARCH ASSOCIATE, QUESTROYAL FINE ART, LLC
SANTA FE, N.M. — All eyes will be upon Santa Fe on
August 13–14 when 11 important works by Birger Sandzén
(1871–1954) make their way across the auction block during
the 7th annual Auction In Santa Fe (AISF). The Sandzén
pieces were selected by the Bethany College Art Committee,
then deaccessioned to be sold to support the general scholarship
fund; student scholarships total more than $6 million
per year. The sale will feature one of the largest Sandzén oils
ever to be offered at auction, a 60-by-80-inch painting titled
“Summertime in the Mountains.”
AISF is a subsidiary of Manitou Galleries which has locations
in Cheyenne, Wyo., and Santa Fe, N.M. The auction
will take place in the Mesa Ballroom of the Hilton Hotel,
100 Sandoval Street, just blocks from the historic Plaza in
Santa Fe. AISF specializes in fine art and sculpture by past
and contemporary artists; Native American collectibles,
including pottery, basketry, beadwork, weaponry and ethnographic
items; cowboy collectibles, including saddles, chaps,
spurs and antique firearms; and vintage photography and
other antiques.
The selection of 11 of Sandzén’s works (from 1910s to
1940s) strongly exhibits the artist’s distinctive style evolving
on canvas, beginning with a fairly simple landscape painted
in 1910 to a rare pointillist piece also painted in 1910, to the
mature and master work of “Summertime in the Mountains,”
1923, and “Lake In the Rockies,” 1927. Seven of the
Sandzén artworks are paintings and the rest are woodblock
prints.
AISF was selected to auction these museum-quality
Sandzén paintings for Bethany College, which is nestled in
with the bustle of Upper Manhattan. The motivation that
the artist found in his New York surroundings, and his
decision to make the city the predominant subject matter of
his oeuvre, set Lawson apart from his European counterparts.
This move away from contemporary expectations
might be regarded as an act of bravery on Lawson’s part,
and one that helped the artist to paint in an inherently
American style. Lawson solidified his place as one of America’s
great painters by choosing to represent New York City.
Paul Sawyier’s “Lower New York from Grace & Co.’s Pier”
is another beautiful example of the genius of American
Impressionism. Sawyier gently draws his audience in from
nature to cityscape with the calm, richly colored waters in
the foreground that lead our eyes to the developed and
industrial city, deeper in the picture plane. The unblended
and almost rigid brushstrokes of the steamboats’ reflections
seem to mirror the artist’s depiction of the powerfully vertical
architecture of New York City. Sawyier’s choice to paint,
with such a noticeable degree of delicacy, the hazy atmosphere
of clouds and steam from the boats and buildings,
symbolizes his admiration of the industry rising from the
skyline. With this painting, Sawyier declares himself a highly
skilled Impressionist painter, but also makes sure to alert
his audience that his work is inextricably linked to his
locale. He is an American Impressionist, separate from his
European colleagues.
With its impasto and unmixed colors, Guy Carleton Wiggins’s
“Empire State Building, Winter” is also steeped in the
tradition of Impressionism. The mood of the city captured
by the artist, however, is distinctly American. Pedestrians
flutter about and cars rush by as the city is enveloped in
snow. Large white snowflakes, enmeshed with bright yellow
city lights, glow from within the New York architecture and
highlight the cityscape as it exists within nature. Emerging
from the snow is the dominant, but not dominating,
Empire State Building — a symbol of the industry, power
and modern beauty of New York City. To emphasize, fur-
Birger Sandzén, “Summer In The Mountains,” 1923, oil
on canvas, 60 by 80 inches. Estimated at $300/400,000.
the heart of Lindsborg, Kan. The school was established by
Swedish Lutheran immigrants in 1881. Sandzén taught art
there for 52 years until his retirement at age 75 in 1946.
A small, private college of the Evangelical Lutheran
Church in America (ELCA), the mission of Bethany College
is “to educate, develop and challenge individuals to reach for
truth and excellence as they lead lives of faith, learning and
service.” Bethany College may be found on the web at
www.bethanylb.edu.
“These are the most important pieces of Sandzén’s work to
ever be offered in one place at one time,” states Bob Nelson,
founder of Manitou Galleries. “The college has entrusted us
Guy Carleton Wiggins (1883–1962),
“Empire State Building, Winter,” oil on
canvas board, 12 1 /16 by 9 inches. Signed
lower left: Guy Wiggins.
ther, that his work is rooted in American tradition, Wiggins
includes rows of American flags, reminding viewers that he
belongs to the school of American Impressionists, who are
making a name for themselves in New York.
Finally, we can admire New York Street Scene by fellow
American Impressionist, Jerome Myers. While Lawson,
Sawyier and Wiggins all portray their cityscapes within
nature, Myers feels no need for this. Though Wiggins does
include the people of New York in his work, Myers takes
this concept one step further by cropping his composition
in order to invite his audience directly into the scene — the
middle of a busy and commercial New York City street.
Myers’s thick and vigorous brushstrokes reflect the chaos of
the city; yet there is a gentleness to his application of the
paint that conveys a comfort and a sense of pride in this
scene of daily commerce. The city is no longer embedded
within nature, but stands alone as a reminder of the specific
location of the painter’s inspiration — the streets of New
York City. Myers, too, made the daring decision to stake a
claim for himself as part of the independent genre of American
Impressionism in his use of the city as subject matter.
Ernest Lawson, Paul Sawyier, Guy Carleton Wiggins and
Jerome Myers all had significant roles in defining American
Impressionism as a unique entity. The incentive for these
artists derived from the magnificent architecture and
vibrant energy of New York City life; and for them, New
York became, in the words of Cassat, their “artist’s ground.”
Questroyal Fine Art is pleased to have in our collection
these four artists who boldly demonstrated their American
sensibility. We invite you to join us at Questroyal for further
reflection on these magnificent works of art!
Questroyal Fine Art, LLC, is located at 903 Park Avenue
(at 79th Street), Suite 3A & B, New York City. To contact the
gallery, call 212-744-3586, fax 212-585-3828 or email
gallery@questroyalfineart.com. The gallery’s website is
www.questroyalfineart.com.
1 Boyle, Richard J. American Impressionism. Boston, Massachusetts:
New York Graphic Society, 1974. pg. 105
Eleven Important Birger Sandzén Artworks Are Coming To Market
with this responsibility, and we do not take it lightly. Together,
we will help keep Bethany’s Mission Statement a reality
— far and well into the future.”
Nelson opened Manitou Galleries in Cheyenne in 1975
and expanded to Santa Fe in 2000. He and his wife Charla’s
personal collection includes 60 works by Sandzén, including
oils, watercolors, woodcuts, lino cuts, block prints and even
a crayon drawing. Besides their collection of Sandzén material,
“we are very eclectic,” said Nelson.
Hundreds of other pieces of art and sculpture to be offered
include a silver gelatin print by Ansel Adams and works by
artists such as Procter, Kenneth Adams, Reed, Cassidy,
deDecker, Stobie, Crumbo, Milan, Payne, Halbach, Ramon
Kelley, Greer, Hazak, Abbrescia, McCann, Gary Johnson,
Dunton, Williford, Kloss, Kerswill, John Hilton, Dave Powell,
Albert Schmidt, Ribak, Bill Owen, Acheff, Clark Kelley
Price, Moyers, Eggenhofer, Becker, Wieghorst, Shipshee,
Wood, Heikka, Reynolds, Mason, Harding, Payne, Mittag,
Kauba, Lillywhite, Damrow, Schwiering, Schreyvogel,
Miller, Lougheed, Hurley and many more.
Another highlight will be an ensemble of more than 100
Pueblo pottery pieces, also deaccessioned from Bethany College.
Pre-1905 pieces from the Acoma, Isleta, Zia, Zuni,
Santo Domingo, San Ildefonso, Taos, Laguna, Cochiti,
Tesuque and Santa Clara Pueblos will be sold.
Live, absentee and telephone bidding will be available.
There will be Internet bidding through www.iCollector.com.
For general information and/or to order a full-color catalog
for $25, visit www.auctioninsantafe.com, call 307-635-0019
or email cha rlajmg@aol.com.

Antiques and The Arts Weekly — July 15, 2011
Watercolors And Drawings From
The Estate Of William Zorach
WISCASSET, MAINE —The Wiscasset Bay Gallery
offers a group of watercolors and drawings by modernist
William Zorach (American, 1887–1966) from the estate
of the artist. Zorach, born in Lithuania in 1889, immigrated
to the United States with his family in 1893 and
settled in Cleveland. Zorach stayed in Ohio for almost
15 years pursuing his artistic endeavors, working as a
lithographer as a teenager and studying painting with
Henry G. Keller at the Cleveland School of Art from
1905 to 1907. Zorach continued his artistic training at
the Art Students League in New York City and at La
Palette in Paris. While in Paris, Zorach met artist Marguerite
Thompson, who would soon become his wife.
After their marriage in 1912, the couple settled in
New York City, exhibiting Fauvist works with a group
of New England artists at the Armory Show in 1913 as
well as at the Forum Exhibition in New York in 1916,
but agreed to spend their summers in more rural locations.
In his autobiography, Art Is My Life, Zorach
wrote, “The country was a new world to me, every
flower and every weed was a revelation of color and
design. The richness of invention in nature was unbelievable.”
1 To this end, during 1912, Zorach rendered a
William Zorach (American,
1887–1966), “Wood Lily,” 1912,
watercolor, 10½ by 8¼ inches.
number of minimalist floral studies, such as “Wood Lily,” 1912, which depicts a lone lily,
its deep orange flower depicted with graceful strokes; “Apple Tree,” 1912, a simple yet
stunning watercolor sketch of an apple tree in full bloom; and “Luna Moth,” 1912, a delicate
rendition of the large lime green moth, whose wingspan can reach over 4 inches long.
Zorach spent the year 1920 in Yosemite Valley which resulted in many works depicting
the beauty of the area, including “Nevada Fall, Yosemite,” 1920, an abstracted and colorful
portrayal of the renowned waterfall along the Merced River. Several years later, in 1923,
the Zorachs purchased a home in Georgetown, Maine, beginning their long connection to
Maine, which was a source of inspiration for both artists. A number of drawings by Zorach
of coastal Maine lighthouses and fishermen are part of the exhibition, as are several watercolors
done in the area, such as “Robinhood, Bath, Maine,” an atmospheric depiction of
the sun rising over the shoreline and reflecting in the brilliant blue waters.
The William Zorach watercolors and drawings are on display at the Wiscasset Bay Gallery
in conjunction with its summer exhibition of “Maine in the Twentieth Century.” This exhibition
features an important collection of paintings portraying locales from Monhegan
Island to Basin Pond at the base of Mount Katahdin and beyond, including works by Abraham
Bogdanove, Jay Hall Connaway, S.P.R. Triscott, Sears Gallagher, Walter Reinsel, Paul
Strisik, Laurence Sisson and Bernard Corey. Works by contemporary New England artists
are also on display. “Maine in the Twentieth Century” runs through Friday, August 5.
Wiscasset Bay Gallery is located at 67 Main Street (Route One) in historic Wiscasset village.
To view works on display at the gallery or for more information, visit www.wiscassetbaygallery.com
or call 207-882-7682.
1 William Zorach, Art Is My Life (New York and Cleveland: The World Publishing Company, 1967), p. 36.
THE GALLERY — 5
Ernie Bynum: Layers of Mystery
Ernie Bynum, untitled (BY10311), oil on canvas, 36 x 35 inches.
ERNDEN FINE ART GALLERY
Modern and Contemporary Paintings, Photography
In the East End Gallery District
397 Commercial Street · Provincetown · MA 02657
Phone/Fax: (508) 487-6700 ~ Toll Free: 1-888-304-ARTS
erndengallery@att.net • www.ernden.com
Our mission is to bring to the public both new and established artists presented
in a way that invites the viewer to share the artists' creative process and vision.

6 - THE GALLERY July 15, 2011 — Antiques and The Arts Weekly
Margaret Wendell Huntington (American, 1867–1958), “Beach Scene,” circa 1950,
watercolor, 22 by 28 inches.
Endless Summer
BY JESSIE GILLAN WEBMASTER AT ROGALLERY.COM
Summer themes have been popular with artists throughout the ages. Beach scenes, soft
summer landscapes, the freshness of the sea… Warm summer months have a certain lazy
charm that allows artists free reign with their creativity. After all, it is easier for an artist to
work en plein air when their paints are not freezing on the palette. Summer paintings bask
us in warmth and encourage a marvelous state of relaxation, no matter what the weather
might be doing outside.
To accommodate collectors’ thirst for the endless summer, RoGallery.com has grouped
summer-themed paintings into categories titled “Ships and Sailing,” “Seascape Art,”
“Beach Art,” “Island,” and “Tropical Art.” All it takes to bring a slice of summer into your
home is some casual browsing on our easy-to-navigate website. Dozens of colorful, vibrant,
summer-themed artworks are on display, just like bathers parading on the beach. Choose
the perfect summer-themed artwork to add to your collection, and in the winter the art
will add a sunny glow to your walls and remind you of warmer days.
While you are perusing our offerings, be sure to linger on the paintings of Vincent Manago
(French, 1880–1936). Suffused with the glorious light of the coast, the paintings of
Manago are Impressionistic, and represent both Moroccan life and French fishing scenes
from the late 1920s.
Also available from RoGallery.com are two works by Carl Evers (American,
1907–2000), the watercolor “Mystic Seaport” and the pencil sketch “Study for Mystic
Seaport.” These meticulous artworks were both completed circa 1965 and capture the
beauty and essence of tall ships in the harbor of the quaint coastal town of Mystic, Conn.
Carl Evers is well known for his detailed paintings and illustrations of US naval ships and
vessels for many books and magazines. Many collectors have discovered the satisfaction of
looking at Evers’s work on their home or office walls.
Finally, to celebrate the beach, a few artists to check out are Kiki Kogelnik (Austrian,
1935–1997), Red Grooms (American, b 1937), Jessica Rice (Belgian, b 1941) and Margaret
Wendell Huntington (American, 1867–1958). The lively beach scene by Huntington
is an incredibly fun, circa-1950s piece. You can practically hear the laughter and the
splashing of the crowd as they make the most of a gorgeous summer day, complete with
sandcastles, sunbathing, dogs and kids. A variety of boats in the background adds to
delightful effect of this midsummer melee. A few of Huntington’s artworks and sculptures
were featured at the 1939 World’s Fair in New York City, and RoGallery is pleased to
offer her work.
These examples are only a smattering of all the works available at RoGallery.com. The
website features more than 5,000 artists’ paintings, prints, photographs and sculpture. All
artworks can be viewed at the gallery by appointment, located in Long Island City, N.Y., at
47-15 36th Street. The director, Robert Rogal, is an avid buyer of artworks and if you have
an artwork you are interested in selling, call 718-937-0901 or email art@rogallery.com.
RoGallery.com holds regular online art auctions. The gallery also offers important graphics
of the Picasso Estate collection from Marina Picasso, Picasso’s granddaughter.
Vincent Manago (French, 1880–1936), “Fisherman,” circa 1926, oil on board, 18
by 25½ inches.

Antiques and The Arts Weekly — July 15, 2011
Summer At A Fine Thing
As summer begins, A Fine Thing:
Edward T. Pollack Fine Arts will mount
its exhibition “At The Shore,” comprising
artwork which depicts the seashore
and the many activities that people do
there. Consisting mostly of prints, the
show will feature work by Reginald
Marsh, Antonio Frasconi, Frank Benson,
Carroll Thayer Berry, Raoul Dufy,
Jacques Villon, Anders Zorn and
numerous other artists and photographers.
The primary show will be in the
Portland, Maine, gallery, but satellite
shows will be hung in both the
Damariscotta and Ogunquit gallery
locations as well. The show will run
during July and August.
Also during July and August the
gallery will feature an exhibition titled
“Men” in the Ogunquit gallery. Paintings
by Robert Bliss and prints by
Rockwell Kent will be among the features
of this show.
David Hockney, “Christopher Isherwood and
Don Bachardy,” 1976, lithograph in grey and
black, 28½ by 37 3/8 inches. Edition of 96 (plus
36 proofs), signed, dated and numbered in pencil.
Worked on two aluminum plates with crayon.
Printed on Barker handmade paper by Mark
Stock in Los Angeles, published Gemini GEL.
A Fine Thing: Edward T. Pollack Fine Arts continues to acquire important work for its
inventory. Recent acquisitions, which can also be seen on the gallery’s website at
www.edpollackfinearts.com, include three prints by Yvonne Jacquette; David Hockney’s
lithographed portrait of Christopher Isherwood and Don Bachardy, and his limited edition
illustrated book Fourteen Poems of C. P. Cavafy; Winter; one of Clare Leighton’s most
sought-after wood engravings; and a group of rare lithographs of farm and country scenes
in Connecticut by Lois Lenski, loved and respected for her children’s book illustrations.
Also included is a group of prints by Karl Schrag; prints by Leonard Baskin, including
Indian portraits and portraits of artists; a large complex print by Alex Katz; an etching by
John Marin; and a lithograph by the recently deceased PaJaMa artist George Tooker.
Although their successful show, “The Things We Carry: New Work by Kyle Bryant,”
ended on June 25, examples of Bryant’s work can be still be seen and are available for purchase
in all three of the gallery’s locations. Bryant’s woodcuts, some of them monumental
in size, received public and critical praise, and sales were strong.
Summer hours in Portland may be erratic, so it is advisable to call ahead, but the
Damariscotta and Ogunquit locations will maintain their regular scheduled hours. A Fine
Thing: Edward T. Pollack Fine Arts is located in Portland at 29 Forest Avenue, phone
207-699-2919 or 617-610-7173. In Damariscotta they are at Oyster House Studio and
Frame, 77 Main Street, Newcastle, phone 207-563-7788; and in Ogunquit, at Black Bear
Fine Art, 309 Shore Rd., Ogunquit, phone 207-646-7278. Owner Ed Pollack may be
reached by email at ed@pollackfinearts.com.
Jay Hall Connaway (American, 1893-1970), “Monhegan Dock, Summer”
Actively Buying Maine &
Monhegan Island Art
Including works by: George Bellows, Abraham Bogdanove,
Jay Hall Connaway, Charles Ebert, Stephen Etnier, James Fitzgerald,
John Folinsbee, Rockwell Kent, SPR Triscott, Andrew Winter,
Charles Woodbury and Marguerite and William Zorach
WISCASSET BAY GALLERY
67 Main Street, PO Box 309, Wiscasset, ME 04578
(207) 882-7682, (888) 622-9445
info@wiscassetbaygallery.com
www.wiscassetbaygallery.com
THE GALLERY — 7

8 - THE GALLERY July 15, 2011 — Antiques and The Arts Weekly
Pastoral Paintings By George M. Bruestle
BY JERRY N. WEISS
Sometimes intimate in scale and mood and at other
times sweeping in their breadth, the always-vibrant
paintings of George M. Bruestle have long been associated
with the pastoral landscape scenery of Lyme,
Conn. Born to German immigrants in New York City
in 1871, Bruestle studied art first in New York and then
in Paris. His initial sojourn to Connecticut brought
him to Essex in 1886, and he was in Hadlyme by 1900,
thus establishing him as an early member of the Old
Lyme Art Colony.
In 1905 he bought a summer home in the Hamburg
section of Lyme. Although he continued to maintain a
residence in Manhattan, and was an active member of
numerous New York City art associations — the Society
of American Artists, the National Arts Club, Allied
Artists of America, the Salmagundi Club and the Lotos
Club — his signature work was inspired by the rural
topography of the Connecticut River Valley.
Bruestle’s work suggests myriad influences, from the
art of Jean-Baptiste-Camille Corot (1796–1875), to the
gestural and graphically dramatic painting of early
Twentieth Century American realism. What unifies
these various strains is Bruestle’s consistent fascination
George M. Bruestle, “Late Spring, A Rocky Hill,” oil on
canvas, 26 by 30 inches.
Some of America's and Europe's
Finest Paintings At Excellent Prices
If you like the Hudson River School, we have it.
If you like Marine art, we have it. If you like Sporting art, we have it.
George Inness, Jr. (1825-1894)
Oil on canvas, 22 x 27 inches
John Frederick Herring, Sr. (1795-1865)
Oil on canvas, 14 x 22 inches
with farms, roads, hillsides, rocky croppings and weathered
architecture, and the sensuous and richly expressive
paint application he employed to sculpt the lightstruck
forms of his favorite bucolic settings.
Over time the artist’s sensitive naturalism, reminiscent
of the French Barbizon school, evolved into a broader
and more dynamic compositional manner. The later
paintings feature a freshness of color suggestive of work
done en plein air, while demonstrating a selection of
motifs that may well have been perfected in the studio.
In this show each of these strains can be fully appreciated.
A plein air portrait of a magnificent tree, “Meadow
Oak” is an accomplished study in the style of Corot.
Painted in Essex, Conn., and dated 1886, when Bruestle
would have been only 15, it is remarkable for its naturalistic
observation and confidence of execution. A
further essay on the Barbizon theme is the more complex
and finely drawn composition “An Old Mill,” a
canvas from 1892 which sets the serpentine rhythms of
a tree against geometric architecture. An opening
between buildings allows for a glimpse of distant landscape.
“In the Village” and “Summer by the Barns” are no
less carefully observed than the earlier paintings. Beautiful
works composed primarily of earth tones, “In the
Village” reveals a winter landscape gently warmed by
sunlight, while the mood of “Summer by the Barns” is
established by a dusky sky. Both pictures depict country
roads with processions of farm buildings and rustic
homes. In their banked coloring and subtle atmosphere,
they correspond to Tonalism.
“Haystacks” is a prime example of Bruestle’s small
works on panel; the paint energetically applied to land
and sky, luscious strokes of white pigment describing a
rapidly moving cloudscape. It also heralds one of the
defining aspects of his later paintings, the use of strong
sunlight to amplify color and create dramatic effects of
illumination and shadow.
The largest work in the exhibition, “Late Spring, A
Rocky Hill” is a summation of Bruestle’s intentions.
Here the generalized tree forms and pastoral setting
hearken to Barbizon archetypes of the landscape as a
contemplative setting, yet one is taken as much by the
Edouard Dantan (1846-1897)
Oil on canvas, 29 x 36 inches
George Smillie (1840-1921)
Oil on canvas, 20x30, Dated 1906
Come See Us This Summer!
Art & Antique Gallery will be exhibiting at these shows:
One day Pickers Market
– August 8 –
Madison Bouckville Antique Festival
– August 18-21 –
Baltimore Summer Antiques
– August 25-28 –
George M. Bruestle, “Meadow Oak” 1886, oil on canvas,
12 by 16 inches.
robustness of execution as reverie. With its swirling passages
of thick paint, the canvas joins intimacy of place
to an exultant sense of movement. It also reveals Bruestle’s
distinctiveness within the Old Lyme Art Colony:
while the impressionist painters employed a broken
color technique to record specific phenomena, Breustle
utilized his familiarity with the landscape’s key elements
to create images that are true to the essence of his
beloved countryside.
Bruestle exhibited at the Art Institute of Chicago;
Carnegie Institute, Pittsburgh; Corcoran Gallery; Lyme
Art Association; National Academy of Design; Paris
Salon of 1895; and the Pennsylvania Academy of the
Fine Arts. His works are represented in the permanent
collections of the Smithsonian Museum of American
Art, the Butler Institute of American Art, the Florence
Griswold Museum and the San Diego Museum of Art.
He died in 1939 in New Haven, Conn.
Editor’s Note: Jerry Weiss is an artist, teacher and contributing
editor to The Artist’s Magazine. His website is
www.jerrynweiss.com. The works by George Bruestle featured
in this article can be seen at The Cooley Gallery, 25
Lyme Street, Old Lyme, Conn.; 860-434-8807; www.cooleygallery.com.
Gallery hours are Tuesday through Saturday,
10 am to 5 pm.
Aldro Hibbard (1886-1972)
Oil on canvas, 22 x 30 inches
Samuel Griggs (1847-1898)
Oil on canvas, 20 x 30 inches
Art &Antique Gallery, Inc.
508.259.4694 508.753.7332
wmunion@charter.net www.artantiquegallery.net www.askart.com/ArtAntiqueGallery