A Look at Our Galleries: New York & Palm Beach in 2021 by adelsongalleries

In this unique time of COVID, we thought it appropriate to let our clients and friends know our activities. Our gallery in Palm Beach is open at normal hours, and you are welcome to visit our new space in the Fuller Building, New York by appointment. This brochure is meant as an overview, including a sampling of the art and artists we have to offer for sale. We have several exciting projects and exhibitions planned for 2021, and we look forward to sharing them with you throughout the year. Stay well and be safe, The Adelson Family

A Look at Our Galleries: New York & Palm Beach in 2021

New York The Fuller Building • 595 Madison Avenue, 4th Fl • New York, NY 10022 • (212) 439-6800 Palm Beach 318 Worth Avenue • Palm Beach, FL 33480 • (561) 720-2079 info@adelsongalleries.com • www.adelsongalleries.com

19 & 20 c. Artists th

John Leslie Breck

John Leslie Breck left Giverny (where he was one of the first Americans to visit) and traveled brief ly to Boston in 1890, where he became among the first Americans to disseminate Impressionist ideas through his exhibition at the St. Botolph Club. Breck resumed residence in America in 1892, and during the ensuing years, had a solo showing at the Chase Gallery and a second one at the St. Botolph Club. He also exhibited in New York at the Society of American Artists and the National Academy of Design. He died prematurely, the victim of an accident, and in 1899 a memorial exhibition of his work was held at the St. Botolph Club. A similar (but not identical) exhibition was mounted at the National Arts Club in New York. In late 1896 and early 1897, Breck visited Venice, where he produced many small oil sketches and several large finished canvases. Many of these works were included in the memorial exhibitions of Breck’s work, and it is likely that Giudecca Canal, Venice appeared in these showings under a different title. Reviewing the Boston memorial exhibition, a critic remarked favorably upon the artist’s Venetian subjects: In the Venetian pictures, the tender appreciation of the man for subtle phases is most marked... [looking at] the Venetian studies full of light and color, mist and nature unconsciously brought out his subtler work, and his happiest efforts have been in rendering some transient effect [that] ring through the memory like minor music. [The Venice paintings] were the last phases of his fast developing artistic vision. He had just found himself when death took him.* ______ * W.L. Bumpus, “John Breck’s Paintings-His Unconscious Rendering of the Beauty About Him,” Boston Herald, May 17, 1899, p. 6.

John Leslie Breck (1860-1899) Giudecca Canal, Venice, 1897 Oil on canvas 12 x 18 inches Framed: 19 x 25 inches Price upon request

Maurice Prendergast

Painted along France’s Brittany coast, Studies St. Malo, No. 27 explores Prendergast’s signature theme of crowds by the sea using new techniques. The artist had sailed to Paris in 1907, where he was profoundly impacted by the works of French artists including Matisse and Cézanne. When he continued on to the coast that summer, he created a series of works applying the new ideas he had encountered while in Paris to familiar subject matter. As scholar Nancy Mowll Mathews has observed: When [Prendergast] went out to the coast the full impact of the new ideas exploded into the extraordinary oils and watercolors of the Saint-Malo shoreline. Using his innate color sense and his new appreciation of the energy of broken planes arranged in horizontal bands from the top to the bottom of the canvas, Prendergast was able to create a new reality out of his old familiar theme.* ______ * “Prendergast: Change and Sea-Change,” in Joachim Homann, Maurice Prendergast by the Sea (New York and Munich: Prestel Verlag, 2013), pp. 25-26.

Maurice Prendergast (1858-1924) Studies St. Malo, No. 27, c. 1907 Oil on panel 10 1/4 x 13 1/4 inches Framed: 15 1/2 x 18 3/4 inches Price upon request

Maurice Prendergast

Maurice Prendergast began his career as a “painter of modern life,” first depicting fashionable women and children enjoying themselves in Paris and then portraying Americans at leisure in New York City, Boston, and along the Atlantic shore. As the years passed, Prendergast continued to represent American park and seaside scenes, but, moving with the currents of modernism, he increasingly incorporated less realistic elements into his work. He expanded his aesthetic to include compositional and figural types derived from a range of inspirations, including paintings by Gauguin, Cézanne, and Matisse. On the Rocks, North Shore, Ma., with its mix of fully and partially clothed women, exhibits continuity with Prendergast’s earliest images of recreation while demonstrating how complex and even abstract these types of pictures had become by his late career. On the Rocks, North Shore, Ma. sets monumental figures reminiscent of bathers by Renoir within one of Prendergast’s favorite settings, the rocky coast. The women on the right side of the composition are among the most full-bodied Prendergast ever depicted and have been given long and luxurious hair, quite different from the more simplified cap of hair he employed in many other seaside scenes from the same period. The standing woman in a white shift and blue skirt in particular lifts her arms as if to touch her lavish tresses in a gesture that brings to mind a similar pose often seen in Renoir’s bather imagery. The rounded bodies and faces of the figures are placed among the regularized curves of rocks on the shore, creating an undulating rhythm that suggests a timeless idyll rather than any identifiable spot along the Atlantic coast. But while Renoir’s bathers often resemble classical nymphs, the women here embody a more modern goddess type, based in the real with their parasols, dresses, and hats, but at the same time located in the realm of fantasy. The blues of the stylized sky are highlighted by acid green pastel marks, adding to the opalescent sheen characteristic of many of the artist’s pictures. The work belongs to the exceptional group of images combining pastel and watercolor that Prendergast created after 1910. The mixed media allowed him further chromatic range as well as painterly brushwork more akin to gouache than watercolor.

Maurice Prendergast (1858-1924) On The Rocks, North Shore, Ma., c. 1916-19 Watercolor, pastel and pencil on paper 13 3/4 x 19 3/4 inches (sight) Price upon request

Mary Cassatt

The Philadelphia-born Mary Cassatt studied at the Pennsylvania Academy before setting off for Europe, where she eventually became a friend and colleague of Edgar Degas. Widely recognized on both sides of the Atlantic and considered one of the greatest living artists of her time, Cassatt was viewed as a truly “modern” woman, and she lent her efforts to help American women earn the right to vote. Cassatt produced her characteristic figurative works in oil and pastel, and was also a highly accomplished printmaker and etcher. She owned a collection of Japanese prints, and the harmonious colors and f lattened forms that characterize her style indicate the inf luence of Japonisme upon her work. She frequently employed friends and family members as her subjects, and the ensuing works explore themes of family, femininity, and daily life. Cassatt was an avid printmaker, and began making prints with her friend Degas in 1880. She produced a series of domestic subjects that were finely inscribed on copper plates and printed in limited quantities. A decade later she moved on to color printing in the extraordinary series of ten subjects, again focusing on domestic subjects involving women. At the turn of the century, her dealer Ambroise Vollard, suggested she experiment with counterproofs, as her colleague Degas had done. (The process was an 18th century technique notably used by Francois Boucher.) The artist laid a damped sheet of Japan paper over a pastel and ran it through the press. The Japan paper pulled the image, and the new work was laid on another sheet for stability. What was produced was a mirror image with softer tones and gentler brushwork. The look of the picture was more related to the imagery of current “Nabis” painting, notably the work of Edouard Vullard and Pierre Bonnard, artists also represented by Vollard. Cassatt was fascinated by the counterproof technique, and Vollard’s cutting edge taste encouraged it.

Mary Cassatt (1844-1926) Head of Simone in a Green Bonnet with Wavy Brim (No. 2), c. 1904 Pastel counterproof on Japan paper 21 1/2 x 17 1/2 inches Signed in mirror reverse, lower left Price upon request 13

Mary Cassatt

In the Omnibus is one of Cassatt’s groundbreaking series of ten impressions en couleurs, first exhibited at Galeries Durand-Ruel in April 1891 and again in her retrospective exhibition of 1893. In these prints, she appropriates the Japanese aesthetic and re-creates it in European terms, not on woodblock, but on copper plate. She transforms the theme of ukiyo-e prints, from the daily life of a Japanese courtesan to that of a modern European bourgeois woman. As with all the prints in the series of ten color prints, Cassatt took great care to eliminate anything superf luous or merely anecdotal from the setting. The colors and the structure of the composition emphasize the distinguished calm and ref lective mood of the mother in contrast with the more immediate preoccupations of the maid. Drypoint and aquatint, initialed MC at lower left, Mathews and Shapiro’s sixth state (of seven), a particularly fine proof, printed in colors from three plates, with strong drypoint accents, the nurse’s dress a delicate, airy pink, on sturdy Arches laid paper without watermark, annotated E in lower-left margin.

Mary Cassatt (1844-1926) In the Omnibus (Intérieur d’un tramway passant un pont), 1890-91 Drypoint and aquatint, printed in colors on paper 14 1/4 x 10 1/2 inches (plate size) 17 1/4 x 11 1/2 inches (sheet size) Price upon request 15

Childe Hassam

Nocturne is a perfect word to describe both the appearance and the feeling of Childe Hassam’s brilliant pastel, On the Balcony. There is a Whistlerian evocation in its elongated and asymmetrical composition. The subtle treatment of the figure and costume, illuminated by a blend of soft interior and moonlit exterior light contrasts with the hazy density of a still early evening sky while enhancing the dynamic balance of the overall composition. The pastel provides an extraordinary balance between f lat pattern, ref lecting the contemporary enthusiasm for Japanese prints, and three-dimensional space that extends, almost literally, into infinity. It is Whistlerian as well, in the juxtaposition of the large field of subtly colored sky that counterpoints the equally subtle color harmonies of the sheer gown worn by the woman peering out into the evening sky. The mood is perfect for the subject and reveals an emotional character of Hassam’s work that often lies hidden under the surface energies of his Impressionist vocabulary. This pastel, executed by the artist in France on his extended honeymoon residence in the French capital, undoubtedly depicts his wife Maude, caught in an intimate moment of private thought. Maude is indelibly linked to the landscape, whose still freshness and perfume are underscored by the pot of geraniums balanced on the window ledge. The picture was probably painted at Villiers-le-Bel, the country estate of famed painter and teacher Thomas Couture. His daughter and her husband Monsieur Blumenthal were Maude’s friends, and through them Hassam and Maude became regular guests. Couture had an impact on contemporary French painting and its dissemination through his own painterly style and his role as the teacher of both Edouard Manet and William Morris Hunt, who became a major proponent of French art in America. And Manet, in turn, was one of the earliest of the modern painters to embrace and excel in the production of pastels.

Childe Hassam (1859 -1935) On The Balcony, 1888 Pastel on paper laid down on canvas 29 5/8 x 17 3/4 inches Price upon request 17

John Singer Sargent

Henri-Emil Lefort (b. 1852) was a French etcher who became acquainted with Sargent when they were both working in Paris. He had studied under Léopold Flameng, whose son, François, Sargent had painted two years earlier. Lefort published a folio of etchings after paintings by Tintoretto and engraved works by Holbein and Rembrandt. He exhibited at the Salon and was awarded several medals. In 1881, when Sargent was awarded a second class medal for his portrait of Madame Ramon Subercaseaux, Lefort won the gravure award for his engraved portrait of George Washington. He was a member of the jury of engravers and was created a Chevalier of the Légion d’honneur. This is a quieter and more finished study of a fellow artist than a number of bravura sketches, which Sargent painted in the early 1880s. The suggestion of an interior is indicated by the inclusion of the corner of a mirror and a fireplace. Sargent continued the theme of capturing a friend or friends in an intimate interior well to the end of the 1880s. Two other notable examples that followed Lefort are Madame Gautreau Drinking a Toast, 1882-3 (Gardner Museum, Boston) and The Breakfast Table, 1883-4 with his sister Violet reading alone in the morning (The Harvard Museums, Cambridge). These were personal expressions by Sargent, very much in the spirit of the artist as “f laneur,” the unseen observer of everyday life, which was the watchword of the “new painting,” called Impressionism.

John Singer Sargent (1856-1925) Portrait of Henri Lefort, 1882 Oil on canvas 23 1/2 x 17 1/4 inches Framed: 31 x 24 1/2 inches Price upon request 19

John Singer Sargent

Rome, with its vast classical heritage, was a magnetic draw and Sargent made several trips there (notably in 1906-07) where he painted this ambitious oil, Villa Papa Giulio. The architectural history of the building has been discussed in detail in the John Singer Sargent Catalogue Raisonné (Volume VII, p. 220221, no. 1352, p. 222-223). The Villa Papa Giulio (commonly known as the Villa Giulia), was built for Pope Julius III (1487-1555). It sits on the edge of the city, a short distance from the Villa Borghese and the Villa Medici. The architectural design is attributed to Giacomo Barrozzi da Vignola (1507-1573) and his contemporaries, Giorgio Vasari, Bartolomeo Ammanati and Michelangelo Buonarotti who contributed to landscaping, gardens and fountains. It is considered one of the most elegant examples of Mannerist architecture and, understandably, why Sargent was attracted to it. The striking image of the façade is exemplary of Sargent’s idiosyncratic style. The building is pushed close to the frame thereby creating an intimacy in spite of the obvious magnitude of the architecture. As a result of this unusually close perspective, we are compelled to focus with Sargent’s eyes and, therefore, experience an immediate and personal connection between the artist and his subject. Soft golden light spills across the upper courtyard, defining and illuminating the stone walls and columns and further inviting the viewer to explore the picture’s deep perspective. The nuances of light, shade and color are complex and a hallmark of Sargent’s mature style. Sargent exhibited Villa Papa Giulio at the New English Art Club in 1908, but it was the only time he offered it for public view and it remained with him until his death in 1925 and passed to his family. That the work is unsigned is not unusual. He signed work that was gifted or sold but rarely anything he kept for himself. It is an exceptional example of Sargent doing what he most enjoyed, painting on his own terms for his own pleasure.

John Singer Sargent (1856-1925) Villa Papa Giulio, 1904 Oil on canvas 22 x 27 inches Price upon request

Joseph Stella

In 1915, American Modernism centered around two movements: Alfred Steiglitz, whose artists emphasized the transcendental spirituality of nature, and Walter and Louise Arensberg, whose European expatriate friends, notably Marcel Duchamp and Francis Picabia, gathered in their salon and focused on the subject of the city as the highest expression of modernism. New York became the emblem of new art to many painters, e.g., Charles Demuth, Charles Sheeler, Man Ray, and Marsden Hartley. The subject of ‘The City’ mixed with a playful outlook or surreal sensibility became known as New York Dada. Joseph Stella was among the proponents of this new artistic strategy. He served on the Board of the 1917 Society of Independent Artists, and along with Duchamp and Arensberg, purchased “Fountain,” the urinal submitted by Duchamp, that has become one of the most iconic objects in 20th century art. It defined Duchamp’s proclamation that art is what the artist says it is, and that concept is as vital and alive today as it was when he pronounced it. Stella’s interest in the new art is evidenced by a group of works produced between 1917-22 declaring the mission of art was the expression of imagined visions. Swans (Night), 1917 (private collection) and Song of the Nightingale, 1918 (MoMA) are pastels set in an enigmatic aura to nurture reverie and spiritual ref lection. The mystery of night, undulating lines, and dense pastel colors create suggestive associations. The scene is set in the context of a modern architectural miracle: the Williamsburg entrance of the Brooklyn Bridge. Originally titled Night in 1917 (as evidenced in its newspaper reproduction of 1918), the artist retitled it Swans, bowing to the shapes and natural grace of the birds and referencing the inf luence of Modigliani, whose undulating forms he admired. These two pastels are the artist’s declaration of the highest expression of modern art at the dawn of the 20th century. Swans (Night), 1917 seems to have been acquired by John Quinn, a lawyer and seminal collector of Modernist work who helped to fund the 1913 Armory Show. It was later sold to another New York collector, in whose family it descended. It had remained unlocated until now.

Joseph Stella (1877-1946) Swans (Night), 1917 Pastel on paper 18 3/4 x 24 1/2 inches Price upon request

Jacob Lawrence

Jacob Armstead Lawrence was born in Harlem and studied painting in New York, sponsored by the WPA at the Harlem Art Workshop. His first trip south produced the “Migration Series” (1940-41). This landmark series was first shown in 1941 by Edith Halpert at her Downtown Gallery in New York. After parts of it were reproduced in Fortune magazine, Lawrence rose instantly to prominence. MoMA and the collector Duncan Phillips each bought half the panels in 1942, and Lawrence was the first African American to enter the collection of the Museum of Modern Art. The Plowman combines a variety of simple patterns depicting a man and his mule-drawn plow working the land. Painted on the artist’s initial visit to the South, this work was created immediately following the publication of Lawrence’s sixty-panel Migration series in Fortune magazine and his successful first solo exhibition at New York’s Downtown Gallery. The Plowman is separate and not part of an extended narrative scheme. As Lawrence and his new wife made their way from New Orleans back home to New York in early 1942, they stayed for two months with family in Lanexa, Virginia, where the present work was painted. This was the artist’s first actual exposure to life in the rural South (where his parents had come from), and it turned out to be an eye-opening experience for him. American art historian and scholar Milton Brown noted that the handful of works Lawrence created in Lanexa “have another f lavor [from the narrative works], moody, dark, and nostalgic.”* Here, both plowman and mule seem caught in the immensity of the land to be worked, expressing the bleakness of the sharecropper’s existence during this era in the rural South. ______ * Milton W. Brown, Jacob Lawrence (1974), p. 12.

Jacob Lawrence The Plowman, 1942 Tempera on board 19 1/2 x 23 3/4 inches Price upon request

John Marin

Late in his career, Marin began to focus on the oil medium, which became the basis of further artistic experimentation for him. “Using paint as paint is different from using paint to paint a picture. I’m calling my pictures this year ‘Movements in Paint’ and not Movements of Boat, Sea, or Sky, because in these new paintings – although I use objects – I am representing paint first of all, and not the motif primarily.” 1 At about the same time, Marin began to experiment with the idea of overlaying lines – which depicted the forces of movement he believed to be inherent in a given theme – atop the sketched-in representation of that subject. Both of these techniques are evident in Movement VI, as is the artist’s masterful and inventive use of color, much commented upon by his contemporaries, and by the artist himself: Sometimes I like to paint a red ocean with light red – maybe between Venetian and Indian red or maybe spectrum red – red is more exciting than gray – it is not the color that makes a painted ocean look like a real ocean – What makes the painted ocean look real is a suggestion of the motion of the water – a red ocean with motion will look more like the sea than a patch of gray paint without movement. 2 ______ 1 Cleve Gray, ed., John Marin by John Marin (New York: Holt, Rinehart & Winston, 1977), p. 96. 2 Gray, ed., p. 120.

John Marin (1870-1953) Movement VI, 1946 Oil on canvas 22 x 28 inches Price upon request

Charles Burchfield

According to Charles Burchfield’s friend and colleague Edward Hopper, “The work of Charles Burchfield is most decidedly founded, not on art, but on life, and the life that he knows and loves best.” Burchfield has been further described as “the mystic, cryptic painter of transcendental landscapes, trees with telekinetic halos, and haunted houses emanating ectoplasmic auras.” Nearby his home in upstate New York is a public preserve, Zoar Valley. It is described as 3,000 acres of the most scenic and ecologically diverse environmental areas in Western New York. Zoar Valley is known for the spectacular scenery created by its deep gorges, sheer cliffs, f lowing waterfalls, and dense forests. In the late 1960s I hiked this place with the artist’s daughter and her son, Tom Richter, who was about my age. I trudged through twisted shrubs, gnarled roots, odd and steep rock formations, tangled trees, and veins of narrow streams. The sun filtered through the trees and the air seemed like gauze. It was as though I had stepped back in time, and I almost expected some prehistoric beast to burst out of the forest. I realized that the landscape Burchfield painted was not fantasy or even exaggerated, but the world he pointedly chose to see in his own backyard. The experience forever altered my understanding of this unique American painter. ______ Warren Adelson

Charles Burchfield (1893-1967) Sunf lowers, 1916-1922 Watercolor on paper 26 1/4 x 19 1/8 inches Price upon request 29

Man Ray

Born Emmanuel Radnitzky, Man Ray adopted his pseudonym in 1909 and would become a key figure of Dada and Surrealism. One of the few American artists associated with these movements, Man Ray was exposed to European avant-garde artists like Pablo Picasso and Georges Braque at Alfred Stieglitz’s New York gallery and at the 1913 Armory Show. Man Ray’s photographic works are considered his most profound achievement, particularly his portraits, fashion photographs, and technical experiments with the medium, such as solarization and rayographs (an eponym for his photograms), which were celebrated by the Surrealists. “I do not photograph nature,” he once said. “I photograph my visions.” In 1915, he was introduced to Marcel Duchamp, who would become a lifelong friend and inf luence; he subsequently moved to Paris, practicing there for over 20 years. Man Ray met Juliet Browner in Hollywood, California in 1940 on a blind date, the same year he painted this portrait. Juliet was the former girlfriend of Willem de Kooning, and she was an aspiring dancer and model. She became Man Ray’s muse, and six years later they had a joint wedding with artists Max Ernst and Dorothea Tanning. Juliet was Man Ray’s last lover and closest friend. They remained married for thirty years until his passing in 1976. The portrait is only one of two known paintings of Juliet. It depicts her wearing a blue tunic, with her head of short, curly brown hair thrown back. He was enchanted with her beauty, but this portrait distills her features into a few key characteristics – emphasizing her posture. The portrait shows Juliet from the shoulders up with her eyes closed, which ref lects the artist’s early fascination with her mind and spirit. The painting represents a pivotal moment for the artist: when he met the love of his life; the beginning of a bond that would shape Man Ray’s career and legacy.

Man Ray (1980 - 1976) Juliet, 1940 Oil on canvas 19 1/4 x 15 1/2 inches Framed: 27 x 23 inches Price upon request 31

Contemporary Artists

Federico Uribe

Born in Bogotá, Colombia in 1962, Federico Uribe currently lives and works in Miami. His artwork resists classification, and emerges from intertwining everyday objects in surprising ways that maintain a formal reference to art history. Uribe studied art at the University of Los Andes in Bogotá, and by 1988 he arrived in New York to pursue an MFA degree under the supervision of Luis Camnitzer. In 1996, Uribe abandoned his paintbrushes and canvases in favor of household objects (plastic cutlery, colored pencils, and so on). He began to carefully observe, collect, juxtapose, and combine this alternative media. They have become unusual instruments of a new aesthetic, full of color, irony, and lively playfulness. When observed closely, his works reveal various kinds of interpretations; they tempt us to touch them, to discover the detail and connection between one element and another. When viewed from further away, they offer volumes, forms, textures, and color. His creations elicit excitement and intrigue from all walks of life, and the novelty of the media often belies the compelling aesthetic merit of each work of art.

Clockwise: Federico Uribe Horizonte (Horizontal), 2013 Colored pencils and erasers 48 x 48 x 14 inches $45,000 Federico Uribe The Veteran (Man), 2020 Medical instruments 90 x 36 x 16 inches Price upon request Federico Uribe Silenced, 2020 Bullet shells 32 x 60 x 22 inches $35,000 35

Federico Uribe

Clockwise: Federico Uribe Bombast, 2020 Bullet shells 35 x 43 x 25 inches Price upon request Federico Uribe The Nap, 2020 Colored pencil collage 24 x 72 inches Framed: 27 1/2 x 74 1/2 inches $45,000 Federico Uribe Jumping Dog, 2020 Electrical wires 48 x 36 x 12 inches $45,000 Federico Uribe Cub with Sweater, 2020 Colored pencils 12 1/2 x 11 x 11 inches SOLD

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Federico Uribe Fox (Scratching), 2020 Bullet shells 15 x 16 x 14 inches $15,000 37

Winfred Rembert

A native of Cuthbert, Georgia, Winfred Rembert spent his childhood as a fieldworker in the pre-civil rights South. Brought up by his great-aunt (“Mama”), Rembert paints stories that look back to his youth in the days of segregation. Despite the often grim working conditions he encountered (not to mention a near-lynching and years spent on a prison chain gang), Rembert’s works focus on the joyous aspects of black life in the 1950s South – the strong family and community bonds, the cultural vibrancy, and the many colorful characters that lifted the spirits of those who had little choice but to labor in the region’s cotton and peanut fields. Marked by tactile surfaces, saturated colors, and lively, rhythmic patterning, Rembert’s works are painted on leather sheets that he hand-tools and then dyes. These energetic compositions – with their engaging narratives of life in the rural South – have brought Rembert comparisons to noted African-American artists Hale Woodruff, Jacob Lawrence, Horace Pippin, and Romare Bearden. Rembert, who is self-taught, lives and works in New Haven, Connecticut. His paintings are represented in a number of important public and private collections, and were the subject of a major exhibition at the Yale University Art Gallery in 2000.

Clockwise: Winfred Rembert John Deere Tractor, 2014 Dye on carved and tooled leather 21 1/2 x 25 5/8 inches $30,000 Winfred Rembert Another View, 2013 Dye on carved and tooled leather 16 1/2 x 22 1/2 inches $15,000 Winfred Rembert Blue Jacket Jazz Band, 2011 Dye on carved and tooled leather 23 1/2 x 34 inches $45,000

Peter Demetz

(Italian, b. 1969) Born in Bolanzo, Italy, Peter Demetz has reached international acclaim for his intricate wood carvings. After studying at the Ortisei Art Institute, Demetz acquired an apprenticeship under master sculptor Heinrich Demetz, whose focus in creating “sacred art” had a profound impact on Peter and his work. Demetz went on to study educational and developmental psychology so as to begin teaching lectures and seminars. Since 2001, Demetz has taught wood carving, drawing, design, anatomy, and other courses for the Academy of Fine Arts in Carrara, Daetz-Centrum in Lichtenstein, Germany, the design center of Swarovski in Austria, and the LKJ-Sachsen in Leipzig.

Clockwise: Peter Demetz Aura II (detail), 2019 Linden wood, acrylic paint, gold leaf, LED light 27 1/2 x 23 1/2 x 7 3/4 inches $25,000 Peter Demetz Morning Light (detail), 2019 Linden wood, acrylic paint, LED light 27 1/2 x 23 1/2 x 7 3/4 inches SOLD

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Peter Demetz Waiting to Start (detail), 2019 Linden wood, acrylic paint, LED light 45 1/4 x 39 1/2 x 11 3/4 inches $60,000 41

Andrew Stevovich

A noted contemporary figurative painter, Andrew Stevovich grew up in Washington, D.C., and as a young child spent time roaming the halls of the National Gallery of Art, where he was particularly drawn to the Renaissance paintings that would come to inform his work. Stevovich’s images depict ordinary men and women in everyday situations and locations – in restaurants and bars, at the beach, on public transportation – but they convey a sense of mystery, creating more questions than they answer. Although Stevovich’s paintings are set in the contemporary world, their crisp design, brilliant color and meticulous surface finishes recall the Renaissance works he loved as a child. He works in oil and pastel, and is also an accomplished printmaker and etcher. Stevovich holds degrees from the Rhode Island School of Design and the Massachusetts College of Art, and is represented in many important public and private collections. His work has been the subject of numerous solo exhibitions across the United States as well as abroad.

Clockwise: Andrew Stevovich Internet Café, 2006 Oil on linen 28 x 32 inches $45,000 Andrew Stevovich Subway Interior, 2020 Oil on linen 26 x 15 inches $30,000 Andrew Stevovich Flying Torpedo, 2019 Oil on linen 36 x 48 inches Price upon request 43

Jim Ritchie

Jim Ritchie (1929-2017), born in Montreal, Canada, is known for his pastel drawings and bronze sculptures. He is stylistically linked with cubism, abstract figurative work, and modernism, and the human figure is the subject of much of his work. Ritchie had several exhibitions in Montreal before moving to the small town of Vence in Provence, where he lived and worked for more than fifty years. Adelson Galleries in New York began representing Ritchie in 1980, where he had two solo exhibitions. Over the next forty years, Warren Adelson arranged exhibitions of his work in Boston, Los Angeles, and art fairs across the country. Ritchied had a sixty-year career in sculpting. His son, Paul Leander-Engström, and Adelson Galleries now represent the estate.

Clockwise: Jim Ritchie Les Trois Graces, 1995 Natural bronze 21 1/2 x 17 3/4 x 6 inches ed. 3 of 8 $30,000 Jim Ritchie Madonnina, 2003-07 Patinated bronze 48h x 10 x 10 inches ed. 2 of 8 Price upon request Jim Ritchie Virginie, 1995 Rose marble 32 x 7 x 7 inches $45,000 Jim Ritchie At the Beach, 2011 Natural bronze 5 x 10 x 5 inches ed. 3 of 8 $6,000 45

Robert Freeman

The African American community is as complex as any other. It has no single voice, no single way of seeing the world, and no single way of producing art, music, literature or theater. My paintings explore and celebrate the beauty, elegance and grace of the black middle class through my personal experience. ______ Robert Freeman

L to R: Robert Freeman Greeters, 2016 Oil on canvas 62 x 38 inches $18,000 Robert Freeman Upon Arrival, 2016 Oil on canvas 62 x 38 inches $18,000 47

Patrick Hughes

(British, b. 1939) Patrick Hughes had an impressive first solo show in 1961 at the Portal Gallery, London on the day of his graduation from the Leeds Day Training College. A few years after this major exhibition, Hughes showcased his first signature reverse perspective or “reverspective” pieces that would later represent the majority of his works. In these pieces, Hughes explores the science of perception and the illusory sense of a painting coming to life. These reverspective optical reliefs are created with pyramid or wedge-shaped blocks of wood. Sculpting these three-dimensional blocks into panoramic proportions, Hughes then paints cityscapes, interior spaces and city views where the protruding blocks appear to recede and the gaps in between them appear to come forward. This creates an optical illusion where the painting moves with the viewer. The mind-bending experience of viewing these sculpted works has caught the attention of private and public collectors around the world. His pieces have been featured in many institutions, includingr the Museum of Fine Arts in Boston, the Victoria and Albert Museum in London, and the Tate gallery to name a few.

Clockwise: Patrick Hughes Aesthetic, 2020 Oil on board construction 26 x 57 1/2 x 8 inches Price upon request Patrick Hughes House of Cards, 2020 Oil on board construction 28 x 31 1/2 x 8 1/2 inches Price upon request Patrick Hughes Luggage, 2020 Oil on board construction 26 x 32 x 8 1/4 inches Price upon request Patrick Hughes A Throw of the Dice, 2020 Oil on board construction 26 x 31 3/4 x 8 inches Price upon request Patrick Hughes Pop Pair, 2005 Oil on board construction 25 1/2 x 86 x 10 inches Price upon request Patrick Hughes Close-up and Long Shot, 2001 Oil on board construction 24 x 68 x 12 inches Price upon request 49

Jamie Wyeth

Jamie Wyeth (b. 1946) is a third-generation artist – son of Andrew Wyeth, and grandson of N.C. Wyeth, and he is distinguished in his own right as a contemporary realist painter. He was raised in Chadds Ford Township, Pennsylvania, and is artistic heir to the Brandywine School tradition – painters who worked in the rural Brandywine River area of Delaware and Pennsylvania, portraying its people, animals, and landscape. Many of his works ref lect the innate beauty of the Maine and Pennsylvania landscape and wildlife or depict important individuals and cultural events in the late 20th and early 21st centuries. However, others are more dramatically avant-garde, transmitting the artist’s raw response to humanity through cropped and contorted multimedia compositions.

Clockwise: Jamie Wyeth Gourd Tree, 1988 Mixed media on Strathmore paper 22 1/2 x 28 1/2 inches Framed: 36 x 42 inches Price upon request Jamie Wyeth Haymow, 1986 Mixed media 28 1/4 x 22 1/4 inches Framed: 41 1/4 x 35 1/4 inches Price upon request Jamie Wyeth Kleberg: Squirreling, 2018 Acrylic, enamel, and oil on wood panel 36 x 48 inches Framed: 42 x 54 inches Price upon request 51

Trailer McQuilkin

(American) For the past 35 years, Trailer McQuilkin, who is largely self-taught, has mastered the art of imitation. McQuilkin, who works out of his studio in Mississippi, handcrafts jaw-droppingly detailed microhabitats of endangered plants and wildf lowers. Each piece, taking a total of two to six months to create, is a meticulous study of nature using sheet copper, copper wire, metal primer, and oil paints. Upon closer inspection, each piece is delicately assembled and hand-painted to mimic nature down to the discoloration of fallen petals, insect-bitten leaves, and even the specific fauna that exist around the plants he’s recreating. McQuilkin dedicates his time to creating only a few, unique pieces each year as a result. Each are time capsules, capturing and immortalizing rare and endangered plants for all to see and enjoy.

L to R: Trailer McQuilkin Yellow Pitcher Plant, 2020 Oil and copper 18 x 10 x 11 inches $25,000 Trailer McQuilkin Meadow Beauty, 2018 Oil and copper 19 x 9 x 8 inches $15,000 53

Magdalena Murua

(Argentinian, b. 1975) Magdalena Murua was born in Buenos Aires, Argentina, where she lives and works. She studied at the Argentina School of Photography and has worked with painters like Roberto Scafidi, Roberto Fernández and Paula Socolovsky. Murua works in a collage style, using pop-culture media, often comic books, to create stunning op-art that appears like an abstract, geometric or patterned image from afar. Murua’s work conveys molecular vibration – it’s building blocks are perforated or deconstructed cultural elements derived from comic books (Hulk, Batman, Archie, etc.), which are altered and given a new meaning. The collages are characterized by dematerialization, and their essence is simultaneously playful and spiritual.

Clockwise: Magdalena Murua Cubic Isolation (detail) 2020 Comic book pages 40 x 60 inches $15,000 Magdalena Murua Broken Dragon Ball (detail), 2020 Comic book pages 35 1/2 x 47 1/4 inches $12,500 Magdalena Murua Encontrarás mil tesoro / You Will Find a Thousand Treasures, 2020 Comic book pages 35 1/2 x 60 inches $15,000

François Bel

François Bel was born in Lyon in 1977 and now lives and works in Toulouse, France. Bel is a multidisciplinary artist, equally at ease with painting, sculpture and installations. His work is as eclectic as his inspirations, inf luenced by street art, from which he borrows its system of repetition and variation, “New Realism” movements, which particularly appeal to him, and Dada and Pop Art, for the way they subvert daily objects in order to criticize today’s consumer society, like Duchamp’s ready-mades. Bel reappropriates each material, working in turn with nylon cord for his suspensions and wire for his sculptures. In a society where everything happens increasingly quickly, Bel stops time for an instant in his works. Bel is exhibited and collected in France, Monaco, Belgium, Spain, Germany, Korea and the United States.

Clockwise: François Bel Trigonomètrie, 2021 Pocket watch parts in acrylic glass 11 3/4 x 13 3/4 x 4 inches $15,000 François Bel Van Gogh Tube, Blue, 2021 Paint tube and painted, hand made clay bubbles in acrylic glass 11 3/4 x 4 x 4 inches $7,500 François Bel Van Gogh Tube, Red, 2021 Paint tube and painted, hand made clay bubbles in acrylic glass 13 3/4 x 4 x 4 inches $8,000 François Bel NY Metro, 2021 Subway maps, colored paper and tin can in acrylic glass 15 3/4 x 4 x 4 inches $8,500 François Bel Break the Wall, 2021 Drywall and paint in acrylic glass 11 3/4 x 11 3/4 x 4 inches $12,000 57

Steven Spazuk

(French-Canadian, b. 1960) Steven Spazuk paints with fire in a technique he refers to as “fumage,” reinventing traditional artistic approaches. Since 2001, Spazuk has refined this skill – creating exquisitely vivid figures and animals from the residue of his candle’s brushstrokes. To achieve his painterly depictions, Spazuk gently and deliberately directs a candle’s f lame to the surface of his panels. The fire scorches and kisses wisps of black carbon residue, which shapes the silhouettes of his figures. He then carefully scratches away and removes the soot to reveal each composition. In order to achieve color in his artworks, the artist often begins his pieces by applying acrylic paint before “smoking” them with fire. As he scratches away, he reveals the colors underneath, which help define the subjects of his works. Adelson Galleries presents Spazuk’s F!RE F!RE F!RE: a storytelling and virtual experience (found on our website). Working with fire as his primary creation tool, Spazuk’s fumage embodies the polarity of creation and destruction. The artist’s work explores human’s ambivalent relationship with the natural world through the lens of the climate crisis. Bridging the illusive gap between human beings and nature through his choice of elemental media, carbon from soot, Spazuk exemplifies that there is potential to create beauty, contemplation and possibility when working with nature, rather than against it.

Clockwise: Steven Spazuk 50 Endangered Species (detail), 2020 Fumage and gold leaf on panel Varying sizes Intended to be sold as a group Price upon request Steven Spazuk Tiger, 2020 Fumage and gold leaf on panel 16 x 20 inches $3,500

For inquiries, please contact:

Warren Adelson, President warren@adelsongalleries.com Adam Adelson, Executive Director, New York & Palm Beach adam@adelsongalleries.com Alan Adelson, Director, New York alan@adelsongalleries.com Alexa Adelson, Director, Palm Beach alexa@adelsongalleries.com General Inquiries info@adelsongalleries.com

www.adelsongalleries.com

New York

Palm Beach

The Fuller Building 595 Madison Avenue, 4th Floor New York, NY 10022 (212) 439-6800

318 Worth Avenue Palm Beach, FL 33480 (561) 720-2079

Temporarily by appointment

Monday – Saturday, 10:00 am – 6:00 pm

New York gallery entrance on the 4th f loor of The Fuller Building

New York The Fuller Building • 595 Madison Avenue, 4th Fl • New York, NY 10022 • (212) 439-6800 Palm Beach 318 Worth Avenue • Palm Beach, FL 33480 • (561) 720-2079 62 info@adelsongalleries.com • www.adelsongalleries.com