The Lightness of Being
19th & 20th Century American and European Selections
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The Lightness of Being
19th & 20th Century American and European Selections
Cover:
M. Jean McLane Girls Against Blue Mountain (The Race), 1924 See page 13 Left:
See next page 2
ALLY VILLAGE 200 SPRING PARK DRIVE, SUITE 105 MIDLAND, TEXAS 79705 INFO@BAKERSCHORRFINEART.COM BAKERSCHORRFINEART.COM 432.687.1268 3
Hovsep Pushman American, 1877-1966
Le Reveil (The Awakening), No. 825 Oil on canvas 21 x 25 inches Framed: 32 x 36 inches Signed lower right
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Inside cover:
Soren Emil Carlsen American, 1853-1932
Lakeside Oil on canvas, circa 1908 38 x 34 inches, framed: 45 x 41 1/2 inches Provenance: The Artist, c. 1908; Luella May (Ruby) Carlsen, the artist’s wife, 1932; Estate of Florence B.G.S. Carlsen, the artist’s daughter-in-law, Falls Village, CT, 1966; Sotheby’s, New York, NY, November, 1995; Hammer Galleries, NY; Private Collection, Wilton, CT; Greenwich Gallery, Greenwich, CT; Private Collection, Mr. and Mrs. Howard Coale, Stamford, CT
The Lightness of Being
19th & 20th Century American and European Selections
“Come forth into the light of things. Let nature be your teacher.”
We are always moved by the works we have the
– William Wordsworth
Post-Impressionism, American portraiture and
privilege of showing and selling at Baker Schorr Fine
even Texas landscape painting. Yet, the artists are
Art. But recently, when a group of newly acquired
commonly focused on the effect of light on subjects
works arrived, I have to say, we were spellbound.
and the use of color to create light. Part two of the
Perhaps it was the subject matter, maybe the beauty
show and catalogue features French artist François
of the brushwork and the framing, but mostly, the
Aubrun, whose ethereal canvases evoke the silence,
paintings glowed with light. Light diffused through
“liquidity”, and light of the ever-changing sky and
sheer fabric, light emanating from oriental figurines,
atmosphere.
light through leaves and branches in a landscape, the light of the atmosphere at a certain time of day.
French post-impressionist painter Andre Derain stated that the substance of all painting is
Our exhibition, and the accompanying
light. When you absorb the works in this collection,
catalogue, is in two-parts with two covers. The first
we think you will agree. In a world that can be dark
part features recent acquisitions of 19th and 20th
and heavy at times, we hope you will enjoy stepping
century American and European painting. The works
into The Lightness of Being.
are diverse in style and genre ranging from Luminism to Barbizon, Realism to Orientalism, Impressionism,
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Son-in-law of the famed painter Claude Monet, Theodore Earl Butler is considered one of America’s most innovative post-impressionist painters. Butler married Suzanne Hoschedé, the daughter of Alice Hoschedé, with whom Monet lived. Later, after the death of Suzanne, he married her sister Martha Hoschedé, whose portrait is pictured here. Born in 1861, Butler studied at the Art Students League in New York and in various art academies in Paris, already receiving recognition in the Salon of 1888. That summer, Butler discovered Giverny, the village that was to become the foremost impressionist artists’ colony. Initially inspired by Monet, who had settled there in 1883, Butler built on the impressionist aesthetic of Monet. He developed his own technique, and a style that forecast elements of the Nabis movement, such as the simplification of forms, use of pronounced contours, and flattened spatial effects.
Theodore Earl Butler American, 1876-1937
Femme de L’Artiste (Martin 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”
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Butler sent his paintings regularly to American exhibitions including those of the Pennsylvania Academy, the National Academy of Design and the Society of American Artists. Still tied to impressionist subject matter, Butler applied his own vivid, energycharged brushwork, striking color, highly saturated pigment, and boldly executed compositions. Butler died in Giverny in May of 1936, a great modern American master.
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Hovsep Pushman American, 1877-1966
Dancing Girl, No. 532 Oil on cradled panel, 17 1/2 x 14 1/2 inches Framed: 22 1/2 x 19 1/2 inches Signed lower right Provenance: Private collection, IL; Sold John Toomey Gallery, 2014 8
Hovsep Pushman American, 1877-1966
Solitude, No. 616 Oil on panel, backed by canvas, c. 1950 26 x 23 1/2 inches Framed: 34 x 31 1/2 inches Signed lower right
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George Oberteuffer American, 1878-1940
Spring Landscape Oil on canvas, 1910 Signed and dated lower right 25 1/2 x 31 3/4 inches Framed: 37 1/4 x 43 3/4 inches Provenance: Collection of Vicki Lesser
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Peter Hohnstedt American, 1871-1957
Texas Bluebonnets Oil on canvas 20 x 24 inches Signed lower right
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William Slaughter American, 1923-2003
Bluebonnets in the Texas Hill Country Oil on canvas 24 x 36 inches Signed lower right Provenance: Private collection, Southern California 13
Laura Coombs Hills American, 1859-1952
Vanfleet Roses Pastel on artist board Signed upper left and titled verso 20 x 18 inches Framed: 27 x 24 1/2 inches Provenance: Private Collection, NY
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Henri Charles Manguin French, 1874-1949
View from the Terrace Oil on canvas, 1926-1927 Signed lower left: Manguin 21 3⁄4 x 18 1⁄4 inches Framed: 30 3⁄4 x 27 1⁄4 inches
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M. Jean McLane American, 1878-1964
Girls Against Blue Mountain (The Race) Oil on canvas, 1924 35 x 40 inches Framed: 44 x 49 inches Signed and titled on verso Provenance: The artists niece, Williamstown, MA
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Andrew Newell Wyeth American, 1917-2009
The Dormer Window, Cushing, Maine Watercolor on paper, 1949 15 x 22 inches Signed lower right Provenance: Private Collection, CA M. Knoedler & Co., NY, 1949
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Hugh Bolton Jones American, 1848-1927
South Egremont, Massachusetts (Landscape with Cattle) Oil on canvas 22 x 32 inches Framed: 35 1/2 x 45 1/2 inches Signed lower left: H Bolton Jones
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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
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Walter Launt Palmer American, 1854-1932
Cedars at Twilight Watercolor on board 17 1/4 x 13 inches Framed: 25 x 20 3/4 inches Signed lower right: W.L. Palmer Provenance: Private Collection, CT (since circa 1935) Acquired by the present owner from the above
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Jules Charles Rozier French, 1821-1882
Prends la Vache a Paitre Oil on panel, 1872 11 1/2 x 9 1/2 inches Framed: 20 x 18 inches Signed and dated lower left
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