Tell Me What You You See

Tell Me What You See

Tell Me What You See

One of the great joys of owning a gallery is interacting with the art, artist and viewer—YOU— asking the question: Tell me what you see? While all of us engage with a work individually, the most inspired insights often come from those who say they know nothing about art. These honest observations tumble out unfiltered, and often profound.

As you peruse these pages, imagine you are gazing out a window and seeing something for the first time. Like a window, the artist’s canvas contains ideas and images for the viewer to explore. When we take time to really look, a work of art, whether representational or abstract, is revelatory. The longer we live with a piece, the more it will show itself in new and exciting ways.

Georgia O’Keefe said, “I found I could say things with color and shapes that I couldn’t say any other way –things I had no words for”. Every work of art begs the viewer: What did the artist see or feel? What was his or her story and what is being communicated? What was the context in which the work was created? Part of my job is to share those rich back stories, some of which you will find highlighted throughout the catalogue.

Baker Schorr is a resource for art of exceptional quality in Texas and beyond. BSFA’s inventory features nineteenth century American and European paintings, and twentieth century modern art, with a focus on post-war American abstract painters. Our collection

also includes contemporary art; both twentieth century works and works by current practicing artists. Additionally, we provide art consultation and curatorial assistance for individual clients and designers in both residential and corporate settings.

With compelling group and solo exhibitions throughout the year, BSFA’s 2022-23 program includes receptions, artist lectures, gallery talks, and other special events. The shows and events are accessible on our website for those who are unable to gather in person.

To paraphrase Lady Bird Johnson, art is the window to a person’s soul. Without it, one would not be able to see beyond his or her immediate world nor would the world see the person within. Whether you are an art historian, a seasoned collector, or have never set foot in a gallery, my hope is that Baker Schorr is a place where we can take a wider view together. You can be sure the art will reveal itself.

Come and see.

Kathryn Schorr

Baker Schorr Fine Art, Midland, Texas

October, 2022

“One eye sees, the other feels” –Paul Klee

Modern

The Modern Art movement emerged in 1872 with the emphasis on color, light and blurred brushstrokes of Impressionism. French painters like Monet, Degas and Renoir were at the forefront of this new era when artists were reinterpreting and challenging the rules of realistic academic painting.

The Modern art genre included several major movements including Postimpressionism, Fauvism, Expressionism, Cubism, Surrealism, and by the middle of the twentieth century, Abstract Expressionism. Abstract expressionists abandoned figurative styles in favor of an emphasis on color, form, composition, emotion, and the creative process.

Meet Monet’s daughter. Painted by Theodore Earl Butler, son-in-law of famed painter Claude Monet, this 1908 work pictures Butler’s second wife, Marthe Hoschedé, the daughter of Alice Hoschedé, with whom Monet was living.

Considered one of America’s most innovative post-impressionist painters, Butler began his training at the Art Students League in New York in 1882 with William Merritt Chase. He continued his studies at various academies in Paris before discovering the artist’s colony of Giverny in 1888.

Initially inspired by Monet who had settled in Giverny in 1883, Butler built on Monet’s impressionist aesthetic, developing his own technique using energy charged brushwork, saturated pigment and flattened spatial effects. His style forecasted elements of the Nabis movement, characterized by simplification of form and pronounced contours.

Butler died in Giverny in 1936, a great modern American master.

Opposite page:

Theodore Earl Butler

American, 1876-1937

Femme de l’Artiste (Marthe Hoschedé)

Oil on canvas, 1908 29 x 23 1/2 inches

Framed: 37 x 31 1/2 inches

Signed and dated lower right: “T.E. Butler, ‘08”

Title page: Francois Aubrun

French, 1934-2009

UNTITLED #597

Oil on canvas, 1983

51 1/8 x 38 1/8 inches

Signed lower right

Provenance: The Estate of the Artist

Andre Cottavoz

ST. MARCO

Frederick Arthur Bridgman

American, 1847-1928

ON THE TERRACE

Oil on canvas, 1886 19 x 25 1/2 inches

Provenance: Christie’s New York, 27 September 1990; Christie’s New York, 2 November 1995 (listed as Algiers);

Simon Bonython, acquired at above sale Private collection, acquired from the above

Wolf Kahn

German/American, 1927-2020

BARN AND MEADOW

Oil on canvas 20 x 25 inches

Signed lower right

Provenance: Rudolph Galleries

Wolf Kahn

German/American, 1927-2020

MT. PINATUBO (FROM MEXICO)

Pastel on paper, 1992 22 x 30 inches

Signed lower left Provenance: Mangel Gallery, Philadelphia Private collection of Corrine Stone

Opposite page:

Carl Holty

American, 1900-1973

UNTITLED (RED, GRAY) #4

Oil on canvas

60 x 50 inches

Provenance: The Estate of the Artist

Born in 1930, Susan Bright Lautmann Hertel grew up in Highland Park, Illinois and spent her summers in Wisconsin and Arizona, experiences that fostered a life-long attachment to the natural world and Native American life. A lover of nature, Hertel ran a ranch in Glendora California where she raised Arabian horses, Nubian goats, cats, dogs, chickens, and various other animals. Later, in New Mexico, she lived in a small passive solar adobe and raised horses.

Hertel studied art at Scripps College in Claremont California under Millard Sheets for whom she would later work as studio assistant. A twenty-six-year collaboration followed including the production of public murals, sculpture, architectural works, and stained glass. Hertel considered painting to be her primary focus, developing a style that leaned on her skills as a muralist. Hertel exhibited with Elaine Horwitch in Santa Fe, Ankrum Gallery, Los Angeles, and with Barbara Beretich Gallery in Claremont, California.

Susan Hertel

American, 1930-1993

WONDERFUL MORNING (TRIPTYCH)

Oil on canvas, 1986

50 x 109 inches

Signed upper left

Provenance: The Elaine Horwitch Galleries (label verso)

Luigi Loir

Jean F. Monchablon

HAYING FIELD

Abstract Expressionism

describes a movement in American painting that flourished in New York City after World War II, also known as the New York School. These artists used abstraction, often on large-scale canvases, to convey emotional content. Emphasizing the physical interaction of artist, paint and canvas, abstract expressionists conveyed meaning through the color, texture and application of the paint itself. Given the cultural climate of the time, the movement centered on unfettered artistic freedom and had resonance in many mediums including drawing and sculpture.

Within Abstract Expressionism were two broad groupings—Action painters, led by artists like Jackson Pollock and Willem de Kooning, who attacked their canvases with expressive gestural marks and brush strokes; and Color Field painters like Mark Rothko and Clyfford Still, whose work was characterized by large areas of flat color, sometimes evoking a meditative response from the viewer.

John Little

American, 1907-1984

EAST END LEGEND

Oil on canvas, 1961 76 x 30 inches

Signed, dated 1961 and titled verso

Provenance: The Estate of the Artist

Opposite page:

ARAGO

Oil on canvas, 1974

x 46 inches

Signed lower left

Provenance: The Estate of the Artist

Joseph B. O’Sickey

Eugene von Blaas

Italian/American, 1843-1932

THE FLOWER SELLER

Oil on panel, 1886 37 x 22 inches

Signed lower right Provenance: The Estate of a Midland, Texas Family

Opposite page: Dorothy Hood American, 1919-2000

LEAVING PALENQUE

Oil on canvas, c. 1965 70 x 60 inches

Signed upper right Provenance: Meredith Long & Co. (label verso)

Private Collection, Houston, Texas

Leonard Nelson

American, 1912-1993

UNTITLED

Oil on canvas, 1956

14 x 17 inches

Signed and dated lower left Provenance: Gratz Gallery, Doylestown, Pennsylvania

Private Collection, Pennsylvania

Andre Cottavoz

French, 1922-2012

LES POMMES

Oil on canvas, 1953

10 1/2 x 13 3/4 inches

Signed lower right and on verso

Provenance: Artist to Private Collection, Connecticut, then by descent to present owner.

Carl Holty

STILL LIFE WITH HOUSEPLANTS

Pierre André

THE HARVEST

Jean F. Monchablon

French, 1854-1904

SOLEIL A ROSÉE SUR LA VALLON DE L’APANCE

Oil on Cradled Panel

17 x 12 1/2 inches

Signed lower right

Provenance: By descent in the collection of a prominent Maine family

Georges Noël

French,

UNTITLED

Mixed media

Framed:

Signed and dated on verso: Georges

Provenance: The Pace Gallery Private Collection,

Andre Brasilier

FEMME AUX BOUQUETS

Ansel Adams

American, 1902-1984

WINTER SUNRISE, SIERRA NEVADA FROM LONE PINE, 1944 Silver Gelatin Print

18 4/5 x 22 4/5 inches

Ansel Adams Studio Stamp inscribed in ink on verso by Rod Dresser

Publications: Ansel Adams and Nancy Newhall, This is the American Earth (San Francisco, 1960), pp. ii-iii; Nancy Newhall, Ansel Adams: The Eloquent Light , Photographs 1923-1963 (San Francisco: M. H. de Young Memorial Museum and Washington, D.C.: Smithsonian Institution, 1963), unpaginated; Liliana de Cock Morgan, ed., Ansel Adams (Hastingson-Hudson, 1972), pl. 77; Ansel Adams, Ansel Adams: Yosemite and the Range of Light (Boston, 1979), pl. 99 Ansel Adams, Examples: The Making of 40 Photographs (Boston, 1983), p. 162; Ansel Adams, Ansel Adams: An Autobiography (Boston, 1985), p. 262

Ward Lockwood

American, 1894-1963

IMPROVISATION

Polymer on canvas, 1959 36 x 48 inches

Signed lower right

Provenance: The Estate of the Artist Kansas University, Lockwood Collection Private Collection

Exhibited: University of Texas Art Museum, Austin, Texas, Ward Lockwood: A Retrospective Exhibition of Paintings, Prints and Drawings, October 1 – November 12, 1967, continuing on to five other venues.; Amon Carter Museum, Fort Worth, Texas

Lawrence Calcagno

American, 1916-1993

WHITE NIGHT

Oil on canvas, 1954-56 39 1/2 x 32 inches

Signed verso

Provenance: Martha Jackson Gallery, New York

From the Private Collection of Joesph Rondina

Opposite page:

Milton Avery American, 1885-1965

PINK AND MUSTARD ROCKS

Watercolor, gouache and pencil on paper, 1945 22 1/2 x 31 1/4 inches 35 x 43 inches

Signed and dated lower right Provenance: Grace Borgenicht Gallery, Inc., New York William McWillie Chambers III, New York (acquired from the above)

Known as a colorist focused on serene mood, harmony, and rounded shapes, Milton Avery was primarily a self-taught painter whose work combines abstraction and realism. Although never associated with a particular movement, Avery was a key modernist who influenced succeeding generations of artists including Color Field painters Mark Rothko and Adolph Gottlieb. Avery studied art in Hartford at the Connecticut League of Art Students before settling in New York City in 1925.

1944 was a watershed year for Avery because of a new gallery association with Paul Rosenberg in New York. Rosenberg had fled to New York from Europe with both a strong interest and inventory of avant-garde paintings. He agreed to buy twenty-five of Avery’s paintings twice a year, which meant that Avery did not have to worry about money and could focus on being creative. With this new freedom Avery became prolific, and his style changed from a brushy, painterly application to denser areas of flattened color within delineated forms. He perfected the technique of applying thin washes of paint to create veiled fields of color.

Milton is the husband of Sally Michel Avery and father to March Avery, both of whom are noteworthy artists whose works are pictured in this catalogue and bear the unmistakable marks of the Avery family style.

Milton Avery

American, 1885-1965

QUIET COVE

Watercolor on paper mounted on board, 1945 22 1/2 x 30 1/2 inches

Signed and dated lower right

Provenance: The Waddington Galleries, London Private Collection, Dublin

By descent to the present owner

Gene Davis

American, 1920-1985

QUEEN BEE

Acrylic on canvas, 1975

68 1/2 x 89 1/2 inches

Signed, titled, and dated verso

Provenance: Private collection, Great Falls

Charles Cowles Gallery, New York

Marie Marevna

FLORAL

Jane Piper

American, 1916-1991

THE PLACE OF SOLITUDE

Acrylic on canvas

Signed lower right

Provenance:

Exhibited:

Gallery, Philadelphia

Private Collection

William Sommer

American, 1867-1949

PSYCHE

Oil on board, c. 1916 21 x 12 1/2 inches

Signed lower right

Provenance: The Estate of the Artist Joseph M. Erdelac, Lakewood, Ohio;

Constance Erdelac, Cleveland, Ohio, by descent; Dod and Annie Wainwright, Fort Myers, Florida, acquired from the above, 2005 (Psyche), and circa 2007 (Moonlight Sonata). Exhibited: Riffe Gallery, Columbus, Ohio, William Sommer: The Modernist Muse in Ohio , May 5-July 2

Georges d’Espagnat

VASE

James Francis Day

American, 1863-1942

TANGLES

Oil on canvas 52 1/2 x 46 1/2 inches

Framed in period Stanford White frame

Signed lower right Provenance: Pennsylvania Academy of the Fine Arts (label verso)

James Francis Day is prized as an artist who elevated genre subjects beyond that of tranquil domestic scenes and sentimental vignettes. He imbued his pictures with an other-worldly quality and a hazy atmospheric presence.

Born in Le Roy, New York, Day first studied at the Art Students’ League in New York. Between 1892 and 1894, Day studied in Paris at Ecole des Beaux Arts under the French Academic painter and illustrator of books by Victor Hugo, Luc-Olivier Merson, and the British Academic painter, John Rogers Herbert.

Upon his return from Europe he won early recognition as an accomplished painter of intimate family scenes, Belle Epoque genre and portraits.

He exhibited extensively at the National Academy of Design where he won the Third Hallgarten Prize in 1895. In 1912, he moved to Stockbridge, Massachusetts and then to Lanesboro, Massachusetts where he died in 1942.

Karl Knaths

American, 1891-1971

ONE TULIP

Oil on canvas, 1958 24 x 30 inches

Signed lower left

Provenance: A Private Collection: 33 East 70th Street, New York

Paul Rosenberg & Co., New York, 1958

Opposite page:

Theodore Appleby

American, 1923-1985

COMPOSITION

ABSTRAITE

Oil on canvas, 1958

62 x 44 inches

Framed:

45 1/4 x 63 1/4 inches

Signed: Appleby (lower right)

Appleby / 1958 (verso)

Provenance: Estate of Gaston de Havenon, 1993

By descent to Sarah de Havenon Fowler

By inheritance to Joseph Fowler, New York, New York

Carl Holty

Hans Van de Bovenkamp

Dutch/American, b. 1938

CONFLUENCE MODEL (NEBRASKA), 2011

Stainless steel

37 inches high

Contemporary

Contemporary Art refers to art— painting, sculpture, photography, installation, performance, and video art—produced in current day. Many art historians consider the late 1960s (the end of Modern Art or Modernism) to be the starting point of the Contemporary Art genre. In reaction to the preceeding Modern Art movement, Pop Art emerged. Pioneered by artists like Andy Warhol and Roy Lichtenstein, pop artists were interested in portraying mass culture. Other contemporary art movements include Photo Realism, Conceptualism, Minimalism, Performance Art, Installation Art, Earth Art, and Street Art.

Will Clift

American, b. 1978

FOUR GROUPS OF FOUR Wood, carbon fiber composite, automotive paint, 2016 37 x 20 x 2 inches

Formento & Formento

Hayman

Ellen Heck

Waldo Peirce

VIEW FROM MY ROOM, SPAIN

Son of a lumber baron from Bangor, Maine, Waldo Peirce almost didn’t graduate from Harvard. After considering his options, he studied painting in Spain with Ignacio Zuloaga and in France at the Academie Julian. He launched his career as a moderately successful impressionist; by 1915, his works were displayed in New York City alongside George Bellows and Edward Hopper.

Also in 1915 he volunteered for the American Field Service. Living and painting in Paris in the 1920s, Peirce became friends with many of the notables of the period including Gertrude Stein, James Joyce, and Ernest Hemingway. He and Hemingway stayed friends for life, both tall, bearded and with formidable gusto.

A prolific painter, Peirce achieved considerable success in his career. He often painted local scenes in the flat bright manner of Henri Matisse. Peirce was married four times and fathered five children with the third and fourth wives. His painting changed with the growing family, becoming warmer and filled with the action of his children. Waldo Peirce enjoyed life. It is said that Hemingway once asked his young son Jack, “Who is the greatest man you know?”—expecting to hear “Papa.” Jack quickly responded, “It’s Waldo.”

John Stephan

John

UNTITLED

Charles Green Shaw

American, 1892-1974

CYCLOPS

Oil and collage on canvas board, 1965 16 x 12 inches

Signed and dated verso Provenance: The estate of the artist to Charles H. Carpenter

Karel Appel

Dutch, 1921-2006

CAT

Acrylic on paper laid to canvas, 1972

x 33 inches

lower right

Gallery Urban, New York

Charles Evans

American, 1907-1992

FIGURE COMPOSITION

Egg tempera on board, 1941

18 x 14 3/4 inches

26 x 22 1/2 inches framed

Signed and dated lower right

Provenance: From the Collection of Vincent Smith-Durham, Hav-A-Mil House Sale: Freeman’s, Philadelphia, Holiday Sale, Dec. 17, 2013, lot 81

Exhibited: Modernism, Feb. 9 – Apr. 28, 1991, James A. Michener Arts Center, Doylestown, Pennsylvania

Opposite page:

Thomas Brownell Eldred

American, 1903-1993

BLUE DOOR

Oil on canvas, 1942

50 x 40 inches

Signed and dated lower right

Provenance: Hollis Taggart Galleries, New York | Private Collection

Exhibited: Artists for Victory, Inc., New York

John Skolle

Raised in Harlem, Barbara Johnson Zuber developed a love for art at an early age while attending the Little Red School House in New York City. Upon graduating from the Walden School, she attended Yale University’s School of Fine Arts and is recognized as their first woman graduate. In 1970, with her husband Paul Zuber and her children, the family settled in Troy, New York where Paul would become the first tenured African-American professor at Rensselear Polytechnic Institute.

Zuber’s art developed from three very distinct experiences in her life. As a young child and adult during the Harlem Renaissance, she was influenced by leading figures in the arts, business, sports and politics. As her husband gained notoriety for his work as a leading civil rights attorney, the subject matter of her paintings was influenced by the causes she supported. Finally, childhood trips to Mississippi where her uncle, Addison Branch, was the vice-provost of Tougaloo College in Jackson, Mississippi, were formative in her artistic development.

Barbara Johnson Zuber

American, 1926-2019

HIGH CHAIR

Oil on cotton canvas, 1974

x 25 inches

Signed lower right

Provenance:

Family of the Artist

Jack Roth

American, 1927-2004

DANCE TO THE MUSIC OF SPRING,

#25

on canvas, 1981

x 70 inches

verso

The Estate of the Artist

Burlin

Carl Holty

American, 1900-1973

FEMALE BATHER BY THE SEA Oil on Masonite, 1935 11 x 14 inches

Initialed and dated upper left Provenance: Private Collection, Louisiana

Wolf Kahn

American, 1927-2020

FROM THE DECK OF THE DRINY BROW Oil on canvas, 2002 18 x 25 inches

Signed lower center Provenance: Private Collection, Palm Beach, Florida

Jasper Francis Cropsey

HOOK MOUNTAIN, FROM OSSINING COVE ON THE HUDSON RIVER

Oil on canvas

12 1/4 x 20 inches

Provenance: The Collection of David and Connie Clapp, Millbrook, New York

Henry Summer Watson

American, 1868-1933

CASTING INTO THE MONTAUK

Oil on canvas

29 7/8 x 21 1/4 inches

Signed lower left

Provenance: Bill’s Inn, Montauk, New York;

Private collection, Florida, before November 29, 2007;

By descent to the present owner

Wolf Kahn

American, 1927-2020

THREE TREES

Oil on canvas, 1964-65 29 1⁄2 x 55 inches

Signed lower right

Provenance: Private collection, Boston, Massachusetts

Sale: Grogan & Company, Boston, Massachusetts, June 3, 2018, lot 39

Private collection, Venice, Florida, acquired from the above

Exhibited: Thomas Segal Gallery, Boston, Massachusetts

Susan Hertel

March Avery

American, b. 1932

FARM FRIENDS

Oil on canvas, 2008 40 x 60 inches

Signed and dated lower right Provenance: Yares Art, Sante Fe, New Mexico

Opposite page:

Theodoros Stamos

Greek/American, 1922-1997

INFINITY FIELD, (LEFKADA SERIES)

Acrylic on canvas, 1979 76 x 58 inches

Framed: 78 1⁄2 x 60 3/8 inches

Signed, titled, and dated verso

Provenance: Dorsky Galleries Ltd., New York Christie’s, New York, 22 February 1996, Lot 7 Private Collection Christie’s, New York, 15 March 2005, Lot 147

Acquired at the above sale by the previous owner

Louis Schanker

Louis Schanker

American, 1903-1981

American, 1903-1981

FOOTBALL

FOOTBALL

Oil on canvas, 1939 30 x 24 inches

Oil on canvas, 1939 30 x 24 inches

34 1/2 x 28 1/2 inches framed

34 1/2 x 28 1/2 inches framed

Signed and dated lower left, (label verso)

Signed and dated lower left, (label verso)

Provenance: Meredith Long & Company, Houston, Texas

Provenance: Meredith Long & Company, Houston, Texas

The Estate of Nancy R. Morrison, Houston, Texas

The Estate of Nancy R. Morrison, Houston, Texas

Alexander Corazzo

French/American, 1908-1971

THREE RELATED STRUCTURES

Oil on canvas, c. late 1930s

30 x 40 inches

Signed on side

Provenance: Private Collection, Minnesota

Douglas Denniston

American, 1921-2004

COMPOSITION NO. 34

Oil on canvas, 1948-49 20 x 23 inches

Signed and dated lower left Provenance: Estate of Russell McAdoo, Murfreesboro, Tennessee Eric Firestone Gallery (label verso)

Larry Zox

YELLOWS

Sally Michel Avery

Sally Michel Avery

UNTITLED (HAMMOCK)

Henri Charles Manguin

VIEW FROM THE TERRACE,

Cover and back cover image: Wolf Kahn, Barn and Meadow , see pg 8-9

Inside cover: Carl Holty, Female Bather By The Sea, detail, 1935, see pg 63 Title page: François Aubrun, Untitled #597 , see description pg 4 Page 2: Kathryn Baker Schorr at Baker Schorr Fine Art, photograph by Heather Rowland Inside back cover: Karl Knaths, One Tulip , 1958, detail see page 42

Design by Lilla Hangay, Santa Fe, New Mexico Printing: Capital Printing, Austin, Texas

© Copyright 2022 All rights reserved. No portion of this catalog may be reproduced, stored in any form, of transmitted by any means, without written permission from Baker Schorr Fine Art.

Kathryn Schorr, owner/director Wesley Ellis, gallery associate

Ally Village

Spring Park Drive, Suite

Texas 79705