Here, There, and Everywhere

Here, There, and Everywhere Five Years

Here, There, and Everywhere

Five Years

Five Years

Here, There, and Everywhere

Time is a brisk wind, for each hour it brings something new. – Paracelsus

With faith, great art, tremendous support, and a brisk wind, Baker Schorr Fine Art is celebrating Five Years! Since we opened the gallery doors in Fall 2018, we quite literally have been Here, There and Everywhere planning and presenting exhibitions, advising and curating collections in your homes and corporations, and learning more each day about the business of art. There have been artist talks and style shows, private dinners and events, photoshoots and interviews, art fairs and studio tours. Each hour brings something new.

This has not been a singular journey, but one of companionship. Art is about relationships— between dealer and collector, dealer and artist, and artist and viewer. These interactions, which I’m blessed to enjoy, are as diverse as the art in the gallery!

Baker Schorr’s inventory is eclectic to say the least, featuring nineteenth and twentieth 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.

Art of the highest quality from a range of styles and periods distinguishes our program. Like this catalogue,

many of our exhibitions juxtapose early American and European works with post war modern and contemporary ones. This resonates with the way most of us live with and enjoy art in our homes.

A growing aspect of our services at Baker Schorr is art consultation for collectors and designers in residential and corporate settings.

As this catalogue and Fall show marks our fifth year, thank you! Pictured here is my family (sans baby James Baker Hammond who wasn’t born at the time of this photograph). Their love and support is unwavering. Thank you to my gallery associates for their dedication and insight.

I’m grateful for the faithful support of new and old friends who attend openings and take great interest in the gallery, and for BSFA’s many clients who are passionate about art and collecting. Thank you too, to my colleagues in the art world who have been so generous with their time, wisdom and resources.

Mark Rothko says “a picture lives by companionship, expanding and quickening in the eyes of the sensitive viewer”. In the same way, Baker Schorr lives by your companionship—all of you! I thank you for a wonderful five years and I look forward to many more.

Kathryn Baker Schorr

Baker Schorr Fine Art, Midland, Texas

October, 2023

Known as a painter who spread “joy and light”, the works of Henri LeBasque were intimate in subject matter with a jarringly modernist use of line and color. As a 20-year-old in Paris in 1885, he studied at L’Ecole des Beaux Arts and soon was exhibiting at the Paris Salons and society exhibitions.

He was influenced by his peers Edouard Vuillard and Pierre Bonnard, who were part of Les Nabis, a group who emphasized unprescribed personal expression. Along with his friend Henri Matisse, LeBasque was a founding member in 1903 of the Salon d’Automne, whose exhibiting artists were known as Les Fauves (wild beasts) for their brash use of color and savage presentation of shapes.

In 1924, Lebasque moved to the French Riviera where he and Bonnard painted together, often sharing a model. He died there in 1937. Museum collections include the Petit-Palais, Musée d’Art Moderne, and Musée des Beaux Arts in Paris, and the 1915 PanamaPacific Exposition in San Francisco.

Henri LeBasque

French, 1865-1937

Nu Blond au Repos

c. 1925

Oil on canvas

25 3/4 x 32 inches

Fram ed: 36 1/2 x 43 1/2 inches

Signed lower right

Provenance: Hotel Drouot, Paris, June 22, 1984, lot 48.; Private collection, Paris; Private collection, Paris (acquired from the above); Anderson Galleries, LA (acquired from the above, 1999); Gail Feingarten Oppenheimer Collection, Beverly Hills (acquired from the above in 2000); Thence by descent until 2022

Exhibited: Los Angeles, Anderson Galleries, Fine 19th and 20th Century Art – Summer Reverie, June 15 – August 1, 2000

Literature: D. Bazetoux, Henri Lebasque, catalogue raisonné, vol. I, P

Gail Feingarten - a collector’s story

Sometimes a dealer or collector is as interesting as the art they collect. Such is the case with Gail Feingarten whose Beverly Hills collection included LeBasque’s beautiful Nu Blond au Repos . Feingarten was a dealer in the burgeoning Los Angeles art scene in the 1960s. Her dedication to the arts led her to boldly open her own gallery within her split-level Westwood townhouse as a single working mother of two. With the notoriety of ‘Gail’s Gallery’ she emerged as a prominent Los Angeles dealer, which eventually led to her meeting Charles Feingarten of the eponymous Feingarten Galleries. After marrying Charles, she became an integral part of Feingarten Galleries which she ran for nearly 40 years following his death in 1981.

Frederick Judd Waugh

American, 1861-1940

Sylvan Seas

Oil on canvas

30 x 40 inches

Signed lower right

Provenance: Grand Central Art Galleries, New York; Christie’s New York, 22 August 2017, lot 27; Acquired from the above by the present owner; Private Collection, Southern California

Nell Walden Blaine

American, 1922-1996

Spring Landscape

1951

Oil on canvas 26 x 36 inches

Signed and dated lower right

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 Post-impressionism, 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.

Wolf Kahn

German/American, 1927-2020

Near Vernon, Vermont

1982

Oil on canvas

53 x 66 inches

Framed: 62 x 74 1/2 inches

Signed lower right

Provenance: The Artist; Meredith Long & Company, Houston, Texas; Private collection, Houston, Texas, acquired from the above, c. 1982

Frederick Milton Grant

American, 1886-1959

Sylvan Lake

Oil on canvas

30 x 30 inches

Framed: 36 3/4 x 36 3/4 inches

Signed lower right

Provenance: The Beard Galleries, Minneapolis, Minnesota; Private Collector, Texas

Ferdinand Heilbuth

French, 1826-1889

Convalescence

Watercolor heightened with white on paperboard

11 3/8 x 15 1/4 inches

Signed lower left

Provenance: Private Collection, New York

French painter Maurice Brianchon’s principle influences included Matisse, Vuillard and Bonnard, as well as older masters, notably Manet. He was a highly regarded member of the Peintres de la Réalité Poétique group, and exhibited with them in 1956.

Born on January 11, 1889 in Fresnay-surSarthe, France, Brianchon studied at the École des Arts Décoratifs in Paris. At age 23 he became a member of the committee of the Salon d’Automne and in 1934, represented France at the Venice Biennale and won the Carnegie Prize. He was also the subject of a major retrospective at the Louvre in 1951, and the following year was selected as one of the official artists of the coronation of Queen Elizabeth II of England. He died on March 1, 1979, in Paris, France.

Brianchon’s early work is characterized by dynamic images of horse races, theater stages, and street scenes. His work transitioned into relaxed, contemplative landscapes, beach scenes and still lifes. His paintings can be found in many public collections, including Musée d’Art Moderne in Paris.

Maurice Brianchon

French, 1899-1979

La Plage

Oil on canvas

26 x 36 1/2 inches

Signed lower left

Provenance: David Findlay Gallery (label verso)

Gustave Claude Etienne Courtois

French, 1852-1923

Red Kimono

Oil on canvas

44 x 32 inches

Framed: 51 1/2 x 39 1/2 inches

Signed lower right

Provenance: Private Collection, Greenwich, Connecticut

Dorothy Hood

American, 1919-2000

Leaving Palenque

c. 1965

Oil on canvas

70 x 60 inches

Signed upper right

Provenance: Meredith Long & Co.

(label verso); Private Collection, Houston, Texas

Andre Cottavoz

French, 1922-2012

Simone et Les Fleurs

1957 Oil on canvas

10 3/4 x 16 inches

Signed lower left

Provenance: Artist to Private Collection; by descent to the present owner

Donald Sultan

American, b. 1951

Mimosa January 22, 2004

Conte crayon on paper

19 1/2 x 27 1/2 inches

Initialed, titled, and dated at left

Provenance: The Drawing Room, East Hampton, New York; Ameriger Yohe

Fine Art, New York

George Vranesh

American, 1926 - 2014

Lady in the Forest

1957

Oil on canvas

40 x 30 inches

Signed upper right

Provenance:

The Estate of the Artist

Blue Blouse

1957-58

Oil on canvas

28 x 44 inches

Signed lower right

Provenance:

The Estate of the Artist

Ludwig Sander

American, 1906-1975

Seneca V 1970

Oil on canvas 60 x 54 inches

Signed, titled, and dated verso

Provenance: Greenberg Collection LLC, St. Louis, Missouri; Property from the Collection of Webster University, St. Louis, Missouri, Sold to Benefit the Student Experience at Webster University

Karl Knaths

American, 1891-1978

One Tulip 1958

Oil on canvas 24 x 30 inches

Signed lower left

Provenance: A Private Collection: 33 East 70th Street, New York; Paul Rosenberg & Co., New York, 1958

Texas Modernism

Robert O. Preusser is considered the first Texas Modernist. Born in Houston in 1919, he studied at the New Bauhaus in Chicago with László Moholy-Nagy. He exhibited at the Art Institute of Chicago, the Institute of Contemporary Art, Boston, the Houston Museum of Fine Arts, the Dallas Museum of Fine Arts and the Carnegie Institute, Pittsburgh. Preusser taught at the Houston Museum Fine Arts School, University of Houston, and Harvard University Graduate School of Design, but the bulk of his teaching career was at MIT where he remained for 31 years.

In 1952 LIFE Magazine asked Edith Halpert, owner and director of the prestigious Downtown Gallery in New York, to name ten “Stars of Tomorrow” in the art world. Along with such luminaries as Stuart Davis, Jacob Lawrence, and Charles Sheeler, Halpert named Robert Preusser.

Seymour Fogel, whose work is pictured on pages 24,25, and 71, was also one of the founding artists of the Texas Modernist movement. He taught for many years at the University of Texas and executed what is considered the first abstract mural in the state of Texas.

Robert Preusser

American, 1919-1992

Abstract 1946

Oil on Masonite

12 x 9 inches

Signed and dated lower left

Provenance: Private Collection, New Hampshire

Seymour Fogel

American, 1911-1984

Elements

c. 1947

Oil on Masonite

30 x 40 inches

Estate stamp verso

Seymour Fogel

American, 1911-1984

Untitled (Homage to Mondrian)

c. 1945

Oil on canvas

34 1/8 x 50 inches

Estate stamp verso

Werner Drewes

German/American, 1921-1999

Growning Instability

1974

Oil on canvas

30 x 34 inches

Signed lower left

Provenance: The Artist; Private Collection, New York

Larry Zox

American, 1937-2006

P.A. 1964

Acrylic on canvas

66 x 72 inches

Signed, dated, and titled in pen on stretcher bar

Provenance: Private Collection, New York

Installation view of Paul Reed

American, 1919-2015

Interchange X

1966

Oil on canvas

62 1/2 x 106 1/2 inches

OGX Resources

Midland, Texas

Gershon Benjamin

American, 1899-1985

Reading the Paper

c. 1945

Watercolor and gouache on paperboard

9 1/8 x 6 1/8 inches

Signed upper left

Provenance:

Spanierman Gallery, New York; Private Collection

Sir Terry Frost

British, 1915-2003

Untitled

1968

Watercolor on Paper

16 7/8 x 11 3/8 inches

Framed: 28 1/2 x 23 inches

Signed and dated lower right

Provenance: Waddington Galleries, London; Private Collection until 2022; Rago Auction, Lambertville, New Jersey, March 2022

Over the course of a fifty year career that spanned continents, George Biddle’s art gave expression to his own experiences and to the changing face of twentieth-century life. At first glance you might mistake this elegant 1921 oil on canvas for a work by Paul Gauguin. In 1919, when Biddle’s marriage failed, he traveled to Tahiti for isolation and inspiration. With its distinctive outlining, colorful palette and island imagery, ‘Tahitian Beauty’ is a gem.

Biddle was born to a prominent Philadelphia family and educated at Harvard, and Harvard Law School. In spite of his family’s social expectations, Biddle left a law career in 1911 to study art at Académie Julian in Paris and at the Pennsylvania Academy of the Fine Arts. He never looked back, traveling the world creating art and developing relationships with artists whose work shaped his own, including Fred Frieseke, Mary Cassatt, and Diego Rivera.

His work is represented in the collections of such prestigious institutions as the Metropolitan Museum of Art, Museum of Fine Art, Boston, and the Museum of Modern Art, and the Whitney, in New York.

George Biddle

American, 1885-1973

Tahitian Beauty

1921

Oil on canvas

20 x 24 1/4 inches

Framed: 28 3/4 x 32 5/8 inches

Signed and dated lower right

Provenance: Arts Council of the City of New York, New York; Property from the Collection of Helen Sonnenberg

Wolf Kahn

American, 1927-2020

Valley

Pastel on Paper

22 x 30 inches

Signed: Lower Right

Wolf Kahn

American, 1927-2020

Mt. Pinatubo (from Mexico)

1992

Pastel on Paper

22 x 30 inches

Signed: Lower Left

Provenance: Mangel Gallery, Philadelphia; Private collection of Corrine Stone

Vivian Springford, an artist best known for her vivid stained color field paintings, is having a resurgence. The reclusive painter began as a portraitist, but then evolved under the influence of the New York School. She was a close friend and studio-mate to Asian artist Walasse Ting. Through Ting, Springford became close friends with artists such as Pierre Alechinsky, Sam Francis, and Karel Appel. The confluence of these various inspirations is apparent in her work.

Springford’s stain paintings are expansive, and often seem to blossom out from one central point on the canvas, radiating into translucence. Their scale is ambiguous; they feel both cosmic and microscopic. The varying densities of color make them feel as if they are pushing outward and evolving even as you stand in front of them. There is a quiet dynamism in Springford’s work that is undeniable.

Art critic Harold Rosenberg helped Springford get her first show in 1960 at the Great Jones Gallery in New York. Despite her successes, after the 1960s Springford became private with her work, and only participated in a few group exhibitions. Later she suffered from macular degeneration, which left her legally blind by the mid 1980s. Living in a small midtown New York hotel, she was rediscovered when a social worker introduced her body of work to a New York art gallery owner, who began exhibiting her paintings in 1998.

Vivian Springford

American, 1914-2003

Burst Blue and Purple (VSF 550)

c. 1972

Acrylic on canvas

52 x 50 inches

Estate stamp verso

Provenance: The Estate of the Artist

Jane Piper

American, 1916-1991

Still Life

1957

Oil on canvas

24 x 30 inches

Signed and dated verso

Provenance:

The Estate of the Artist

Jack Roth

American, 1927-2004

Dance to the Music of Spring, Montclair #61

1981

Acrylic on canvas

52 x 70 inches

Provenance: The Estate of the Artist

Carl Holty

American, 1900-1973

Blue, Green, Purple

c. 1968

Oil on canvas 76 x 62 inches

Framed: 78 1/4 x 64 1/8 inches

Provenance: The Estate of the Artist

Myron G. Barlow

American, 1873-1937

Peasant Sewing

Oil on canvas 40 1/4 x 39 1/8 inches

Signed lower right

Provenance: With R.H. Love Galleries, Chicago; Anonymous sale; Sotheby’s, New York, 6

October 2017, lot 62

Fred Troller

Swiss/American, 1930-2002

Untitled (Subway Series)

1980

Colored Pencil on paper 22 1/4 x 30 inches

Provenance: The Estate of the Artist

Woody Gwyn

American, b. 1944

Railroad Crossing

c. 1960s

Gouache on Board

12 1/4 x 27 1/4 inches

Signed lower left

Provenance: Private Collection, Pennsylvania

Born in San Antonio in 1944, and residing now in Galisteo, New Mexico, Woody Gwyn grew up In Midland, Texas where his passion for painting began. By the time he was 11 or 12 he was painting every day. Midland nurtured Gwyn’s artistic gifts as did his teacher and mentor Peter Hurd who encouraged him at 18 to attend the Pennsylvania Academy of Art. It was in Pennsylvania that Gwyn fell in with Andrew Wyeth and his family, taking lessons from Caroline Wyeth and profoundly influenced by the family’s painting style and methods.

Pictured here are two early 1960s works from this period in Gwyn’s young career. Both painted in gouache on board, ‘Old Homestead’ and ‘Railroad Crossing’ are rendered with the precision and subtlety of Wyeth. True to Gwyn’s style, even today, he gives equal weight to foreground and background, natural setting and man-made constructs.

The humble Woody Gwyn talks of ‘finding beauty in the way things are’. He is considered one of America’s foremost contemporary landscape painters and Midland is proud to call him a native son.

Woody Gwyn

American, b. 1944

Old Homestead

c. 1960s Gouache on Board

21 3/4 x 27 1/2 inches

Signed lower right

Provenance:

Private Collection, Pennsylvania

Dorothea

M. Litzinger

American, 1889-1925

Water Lilies

c. 1915

Oil on canvas

40 x 42 inches

Signed lower right

Provenance: Private Collection, Maryland

Francois Aubrun

French, 1934-2009

Untitled #597

1983

Oil on canvas

51 1/8 x 38 1/8 inches

Signed lower right

Provenance: The Estate of the Artist

Vincent Vallarino

American, b. 1953

Luxembourg

Woods #2, 1974, Fishbach, Luxembourg

Archival pigment print

24 x 34 inches

Signed verso

Edition 5/25

American, 1911-1993

White Sands

1947

Silver gelatin print from the White Sands Portfolio, printed in 1949

9 1/2 x 7 1/2 inches

Signed and dated 1947 at lower right

Provenance: Gift from the Artist to Dr. Peters Strykers, California

Brett Weston

Edward Sheriff Curtis

American, 1868-1952

Puget Sound Baskets

1912

Photogravure

17 x 22 inches

Nespilim Girl

1905

Photogravure

22 x 17 inches

Vanishing Race

1904

Vintage toned silver photograph

Signed lower right

15 1/4 x 20 3/4 inches, (oversized)

Framed: 29 1/2 x 35 1/2 inches

Provenance: Robert Klein Gallery, Boston, Massachusetts Private Collection, New Hampshire

Howard Logan Hildebrandt

American, 1872-1958

Summer Morning

Oil on canvas

26 x 32 1/2 inches

Signed lower left

Provenance: Private Collection, Los Angeles, California

Jasper Francis Cropsey

American, 1823-1900

Hook Mountain, From Ossining Cove on the Hudson River

Oil on canvas

12 1/4 x 20 inches

Signed: Lower Left

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

American, 1914-2003

Untitled 1953

Enamel on composition board

44 x 33 inches

Signed and dated lower left

Provenance: The Estate of the Artist; Manny Silverman Gallery, Los Angeles

Exhibited: Otis College of Art and Design

Emmerson Woelffer

Henri Edmond Rudaux

American, 1865-1927

French Battleships at Sea

1891

Oil on canvas 21 3/4 x 32 inches

Provenance: Private Collection, Europe

Robert Natkin

American, 1930-2010

Bath-Apollo Series (For J. & W.R.)

1976

Acrylic on canvas

65 x 108 inches

Signed lower left

Provenance: Andre Emmerich Gallery, New York; Acquired directly from the above by the present owner; Exhibited: New York, Andre Emmerich Gallery

Laura Coombs Hills

American, 1859-1952

Zinnias and Stock

c. 1935

Pastel on Paper laid down on board

28 3/4 x 23 5/8 inches

Signed lower right

Provenance: Doll & Richards, Inc., Boston, Massachusetts; Childs Gallery,

Boston, Massachusetts; Byron Radacker, Portsmouth, New Hampshire; Hirschl & Adler Galleries, Inc., New York, February 1992; Private collection, acquired from the above, April 1994

Georges d’Espagnat

French, 1870-1950

Vase de Roses

Oil on canvas

28 3/4 x 23 3/4 inches

Initialed upper left

Provenance: Greenwich Gallery, Greenwich, Connecticut; Private collection, acquired from the above circa 1998

Jay Rosenblum

American, 1933-1989

Upstream

1970

Acrylic on canvas

Signed, titled and dated on the canvas overlap

60 x 60 inches

Provenance: Private Collection, Newark, New Jersey

Fred Troller

Swiss/American, 1930-2002

Untitled 1980

Colored pencil on paper 30 x 22 1/2 inches

Provenance: The Estate of the Artist

Cleve Gray

American, 1918-2004

Considering All Possible Worlds

Acrylic on canvas

50 x 70 inches

Provenance: The Estate of the Artist

Works by John Little in situ at Baker Schorr John Little, Color Form Exhibition, October, 2020

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.

Jack Roth

American, 1927-2004

Rope Dancer #11

1980

Acrylic on canvas

50 x 67 inches

Signed lower right

Provenance: The Estate of the Artist

John Little

American, 1907-1984

Blue Image

1973

Acrylic on canvas

76 x 68 inches

Signed and dated lower left

Provenance: The Estate of the Artist

Carlos Ciussi

Italian, 1930-2012

LXX, 1973

Oil on shaped canvas

54 3/8 x 54 3/8 inches

Framed: 55 1/2 x 55 1/2

Signed, titled and dated verso

Seymour Fogel

American, 1911-1984

Totemic Structure IV

Painted Wood Construction

84 x 26 x 15.5 inches

Donald Hamilton Fraser

British/American, 1929-2009

Still Life with Flowers

1957

Oil on canvas

36 x 27 inches

Framed: 42 x 32 1/4 inches

Signed lower right

Provenance: Paul Rosenberg & Co., New York; Property from the Collection of Susan Lasker Brody

John Levee

American, 1924-2017

August V, 1957

Oil on canvas

39 x 39 inches

Signed lower right, titled and dated verso

Provenance: Private Collection, New York; Andre Emmerich Gallery, New York

Francis Luis Mora

Uruguayan/American, 1874-1940

In the Shadows

Watercolor on Paper 5 1/2 x 4 inches

Framed: 16 x 14 1/2 inches

Signed lower left

Provenance: The Estate of the Artist

Ellen Heck

American, b. 1983

Either Confetti or Snow

2022

Drypoint, etching, aquatint 13 x 19 1/2 inches

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.

Ryan Painter Johnson

American, b. 1993

The Arrival of Spring

2023

Oil on panel 9 x 12 inches

A Walk in the Park (after Hockney)

2023

Acrylic and oil on canvas 34 x 80 inches

Elisabeth Sussman, a curator at the Whitney Museum of American Art, describes Jane Wilson as “a very important American painter because she captures this sense of being in touch with a real place.”

Wilson’s works are rare and convey a modernist sensibility which hovers between abstraction and representation. She is seen as a bridge between the realistic and figurative painters of the late 1950s and the Abstract Expressionists.

Although she was raised on a farm in Iowa, the elegant Wilson spent her rich artistic career living and painting in New York City. In the early 1950s she co-founded the legendary Hansa Gallery and showed her work at both Tanager and Stable galleries alongside artists such as Jackson Pollock, Willem de Kooning and Helen Frankenthaler. Her career began to take off in the 60s when the Museum of Modern Art acquired her large landscape, ‘The Open Scene’ and Andy Warhol commissioned her to paint his portrait, ‘Andy and Lilacs’, now in the collection of the Whitney Museum in New York City. Known for her landscapes as well as Manhattan street scenes, Wilson has work in many museum collections including those of the Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum, Smithsonian, and the Art Institute of Chicago.

Jane Wilson

American, 1924-2015

Bay and Hills

1956

Oil on canvas

Signed upper right

36 x 42 inches

41 x 47 framed

Provenance:

Private Collection, New Jersey

John Grillo

American, 1917-2004

Untitled

1953

Oil on canvas

12 x 24 inches

Signed lower right

Signed and dated 1953 verso

Provenance : The Artist

Paul Saint-Jean

French, 1842-1875

Young Girl with Strawberries

1871

Oil on canvas

39 1/4 x 32 1/4 inches

Framed: 54 1/4 x 46 inches

Signed and dated lower right

Provenance: Greenwich Gallery, Greenwich, Connecticut; Private Collection, Mr. and Mrs. Tony Mayer, Greenwich, Connecticut

Paul Kallos

Hungarian, 1928-2001

Abstraction

1955

Oil on canvas

28 x 45 inches

Framed: 30 1/4 x 47 1/4

Signed and dated lower right

Provenance: Collection of the Mildred Lane Kemper Art Museum, Washington University, St. Louis

Formento & Formento

American, b. 1964, b. 1975

Hysteria I, Vancouver

2015

Archival pigment print

40 x 60 inches

Framed: 41 1/2 x 61 1/2 inches

Jane Piper

American, 1916-1991

What’s Left of Flowers

1970

Acrylic on canvas

48 x 52 inches

Signed lower left

Provenance: The Estate of the Artist

Hunt Slonem

American, 1916-1991

Silver Migration (Butterflies)

2008

Oil on Masonite

36 1/2 x 26 inches

Signed and titled verso

Provenance: Jean Albano Gallery, Chicago | Private Collection

March Avery

American, b. 1932

Farm Friends 2008 Oil on canvas 40 x 60 inches

Signed and dated lower right

Provenance: Yares Art, Santa Fe, New Mexico

John Stephan

American, 1906-1995

Disc #9

1971

Acrylic on canvas

62 x 60 inches

Signed: Verso: Signed Titled, Dated ‘71 and estate stamped verso

Provenance: The Estate of the Artist

Gene Davis

American, 1920-1985

Tarzan

1969

From Portfolio Series I

Screen print on canvas mounted on paper board 24 x 30 inches

Fabricator: Rudolf Reiser

Printer: Haas

The legendary Irving Penn photographed at Vogue for six decades creating an unprecedented 165 covers. Black and White Vogue Cover (Jean Patchett) graced the first cover of American Vogue in April 1950. It was not only his first cover in black and white but also the magazine’s first non-color cover since May 1932. Unquestionably, this is one of the two most important fashion photographs ever taken along with Richard Avedon’s Dovima and the Elephants , taken in 1955.

Irving Penn American, 1917 -2009 Black and White Vogue Cover (Jean Patchett)

1950 – printed in November 1974

Platinum Palladium print on Rives paper

Signed, numbered and dated in pencil on verso

Hand-coated by the photographer

Image size 16 ½ x 13 ½ inches

Sheet size 22 ¼ x 18 ½ inches

Edition 8/34

Copyright and edition stamps on verso