The Brillhart Collection

Grogan & Company is pleased to bring to market six works from the collection of the late Mr. & Mrs. Herbert Clair Brillhart, Jr. of Perryton, Texas. These works, all lovingly displayed in the Brillhart's home for the past six decades, reflect the couple’s deep interest in and connection with the top American artists of the mid 20th century.

In the mid 1950s, Lena Mae Brillhart met Dord Fitz (1914-1989), an artist, educator, and gallerist who had founded the Dord Fitz School of Art and the Dord Fitz Gallery in Amarillo, Texas, in 1953. In 1954, he established the Creative Arts Association, a group of art students and patrons from the Texas panhandle, Kansas, and Oklahoma. Fitz and his group (including Brillhart) would travel to New York to exhibit their work, and it was on one of these trips in 1956 that Fitz met the Abstract Expressionist Milton Resnick. Through Resnick he soon met Willem and Elaine deKooning, John Grillo, Mark Rothko, and others. By 1957, the enterprising Fitz arranged to put on an exhibition of his Abstract Expressionist friends’ works in Amarillo, thereby cementing the creative exchange between the contemporary New York art scene and the Texas panhandle. This exchange continued throughout the 1960s, as Fitz maintained close relationships with many of the leading New York artists, inviting them to lecture, teach, and exhibit at his gallery with the support of the Area Arts Foundation.

It is in this rich creative context that Lena Mae Brillhart built her collection, buying the works of artists whom she knew personally. For example, Louise Nevelson’s Moon Garden wall sculpture was the first work the Area Arts Foundation purchased upon its incorporation in 1960, and Nevelson came to Amarillo to personally install the sculpture. Brillhart’s Nevelson, Petite Delight (Lot 21), also dates to this period.

In March 1960, Fitz mounted The Women, an exhibition of “17 of the top women artists of New York City.” Artists represented included Louise Nevelson, Helen Frankenthaler, and Elaine de Kooning. The show was billed as “the world’s first contemporary all-woman art and sculpture show,” and was met with both local and national critical acclaim. Six artists, including de Kooning and Nevelson, as well as Nevelson’s gallerist Martha Jackson, traveled to Amarillo for the opening, speaking on a panel “to discuss womens’ place in the creative development of the world today.” According to Brillhart’s reminiscences, Jackson stayed with Area Arts Foundation Vice President Betty Childers while in Amarillo for the opening. When Brillhart and Childers traveled to New York the following year, Jackson returned the favor, inviting them to stay with her at her apartment above her East 69th Street gallery.

These relationships only strengthened throughout the 1960s. For example, in 1966, Fitz hosted an arts festival at his gallery, the highlight of which was a panel discussion about contemporary art moderated by the critic Harold Rosenberg, with Elaine de Kooning, Louise Nevelson, and Larry Rivers as panelists. Rivers fell ill shortly before the festival, but de Kooning saved the day by recruiting the promising artist Alex Katz to replace Rivers on the panel. Katz brought six small paintings with him to the festival, and all of the works, one of which may have been Brillhart’s Ada (Lot 20), were purchased by Fitz’s students. The ever-savvy de Kooning convinced Fitz to waive his commission on these sales, noting that Katz “had dropped everything and had come out at a day’s notice.”

The legacy of Dord Fitz can be felt in this selection of six works from the Brillhart’s collection, which includes the Nevelson and Katz works alongside paintings by Milton Resnick, John Grillo, and Charles Bunnell. The collection speaks to the progressive world of Dord Fitz, who championed women artists and women collectors, and, most importantly, it represents Lena Mae Brillhart's keen eye for the top Abstract Expressionist artists of her time.

20

Alex Katz

(American, b. 1927) Ada 1964, oil on board signed and dated Alex Katz 64 lower right inscribed "Ada" Alex Katz–No. 1–Fischback [sic] 29 West 51st St NYC verso 10 x 12 in., frame: 10 3/4 x 12 3/4 in. $50,000–80,000

21

LOUISE

Nevelson

(American, 1899–1988)

Petite Delight 1959, black painted wood construction signed and dated Nevelson 1959 along top edge 17 3/4 x 13 x 6 1/2 in.

$30,000–50,000

Exhibitions: Scottsdale Fine Arts Commission, Scottsdale, AZ, Nevelson Festival Exhibition, November 11 - December 10, 1973, cat. no. 16.

Other Notes: Pace Gallery (New York) exhibition label verso; Scottsdale Fine Arts Commission exhibition label verso.

22

MILTON RESNICK (American, 1917–2004)

Untitled 1957, oil on canvas signed and dated Resnick 57 lower left signed and dated Resnick 1957 verso 25 x 24 in., frame: 27 x 26 in.

$15,000–25,000

JOHN GRILLO (American, 1917–2014)

Untitled 1959, oil on board signed and dated Grillo 59 lower left 10 1/4 x 17 1/2 in., frame: 15 1/4 x 22 3/4 in. $4,000–8,000

24

CHARLES BUNNELL

(American, 1897–1968)

Untitled 1955, oil on board signed and dated Bunnell 55 lower right

16 x 20 in. frame: 21 1/2 x 24 1/2 in.

$2,000–3,000

25

CHARLES BUNNELL

(American, 1897–1968)

Untitled 1957, oil on masonite signed and dated Bunnell 57 lower left

16 x 20 in. frame: 23 1/2 x 27 1/2 in.

$1,500–2,500

26

JOHN HELIKER (American, 1909–2000) Glen oil on canvas 26 x 26 in. frame: 27 x 27 in. $1,500–2,500

Other Notes: Kraushaar Galleries (New York) label verso.

27

JOHN MARIN (American, 1870–1953) Landscape 1914, watercolor signed and dated Marin 14 lower left sheet: 16 1/4 x 19 1/4 in., frame: 21 3/8 x 24 5/8 in.

$30,000–50,000

Provenance: Katherine Urquhart Warren (1897–1976); by descent to the current owner. Katherine Warren, of New York City and Newport, RI, was an avid art collector who was elected a trustee of the Museum of Modern Art (New York) in 1943.

Exhibition: Museum of Fine Art, Rhode Island School of Design, Providence, RI, 1900 to Now: Modern Art from RI Collections, January 22 to May 1, 1988 (exhibition label verso).

RICHARD ESTES (American, b. 1932) Mount Desert VII 1996, oil on wood signed and dated Richard Estes 96 lower right 19 7/8 x 15 7/8 in., frame: 22 5/8 x 18 5/8 in. $40,000–60,000

Provenance:

29

STEPHEN MORGAN ETNIER

(American, 1903–1984)

Harbor View 1962, oil on canvas signed and dated Stephen Etnier 62 lower left 20 x 30 in., frame: 29 1/2 x 39 1/2 in.

$3,000–5,000

30

STEPHEN MORGAN ETNIER (American, 1903–1984)

The Cradle 1964, oil on canvas signed and dated Stephen Etnier 64 lower left; titled verso 16 x 26 in. frame: 26 1/4 x 36 1/2 in.

$2,000–3,000

JAMES EDWARD FITZGERALD (American, 1899–1971) Fisherman watercolor, double sided 20 x 26 in., frame: 28 3/4 x 34 3/4 in. $12,000–18,000

Provenance: The Estate of the Artist; Property of a Private Maine Collection.

Literature: James Fitzgerald Catalogue Raisonné nos. 1029 and 1028.

33 PAUL DOUGHERTY (American, 1877–1947) The Harbor, Monhegan oil on board signed Paul Dougherty lower left 12 x 16 in. frame: 17 3/4 x 21 3/4 in.

$3,000–5,000

Provenance: The Estate of a Gloucester, Massachusetts Couple.

34 MARGARET

Jordan

PATTERSON (American, 1867–1950) Monhegan woodcut in colors signed Margaret J. Patterson lower right titled lower center sight: 7 3/4 x 10 3/4 in. frame: 19 1/4 x 23 1/4 in.

$1,000–1,500

35

CHARLES HENRY EBERT (American, 1873–1959) Horns Hill Road, Monhegan 1918, oil on canvas 20 1/8 x 25 1/8 in. frame: 25 1/2 x 30 1/2 in.

$1,500–2,500

36

ANDREW WINTER (American, 1892–1958) Monhegan Island oil on board signed A. Winter lower right titled Monhegan Island verso 12 x 13 in. frame: 16 1/2 x 17 1/2 in.

$1,500–2,500

Provenance: Property of a Private Maine Collection.

37

WILLIAM THON (American, 1906–2000)

The Waterfall oil on masonite signed Thon lower right 22 x 36 in., frame: 27 x 41 in.

$5,000–10,000

Provenance: Property of a Private Maine Collection.

Exhibitions: The Ogunquit Museum of American Art (Ogunquit, Maine), Creatives Lives, July 1–September 30,1996 (exhibition label verso).

Other Notes: Midtown Payson Galleries (New York) label verso; Frost Gully Gallery (Portland, Maine) label verso.

WILLIAM THON (American, 1906–2000)

Sardine Boat in Fog gouache on paper signed Thon lower right titled and signed verso sight: 20 x 27 in. frame: 28 1/2 x 35 in.

$1,500–2,500

Provenance: The Estate of a Massachusetts Lady.

Other Notes: Midtown Galleries (New York) label verso.

39

WILLIAM THON (American, 1906–2000) frame: 21 1/2 x 25 1/2 in.

The Boatyard 1935, oil on canvas board signed William Thon lower right titled and dated verso, with Thon Estate no. 2699 16 x 20 in.

$5,000–10,000

Provenance: Property of a Private Maine Collection.

Other Notes: Caldbeck Gallery (Rockland, Maine) label verso; Portland Museum of Art (Portland, Maine) exhibition label verso.

40

ROBERT VICKREY (American, 1926–2011)

Snow and Rocks gouache on paper signed Robert Vickrey lower right sight: 21 x 28 1/4 in. frame: 31 x 38 1/2 in.

$3,000–5,000

Provenance: The Collection of an Ohio Gentleman.

Other Notes: Midtown Galleries (New York) label verso.

41

THOMAS CROTTY (American, 1923–2014)

First Snow, Freeport, Maine watercolor on paper signed Thomas Crotty lower right 27 1/4 x 40 1/2 in. frame: 34 x 47 1/2 in.

$3,000–5,000

Provenance: Property of a Private Maine Collection.

42

JAY HALL CONNAWAY (American, 1893–1970) Rain and Sea, Maine oil on board signed Connaway lower right 16 x 20 in., frame: 21 1/4 x 25 1/4 in.

$2,000–4,000

Provenance: Property of a Private Maine Collection.

Exhibitions: Portland Museum of Art (Portland, Maine), Moods of Nature: Jay Connaway and the Landscape of New England, September 19–December 6, 2009.

43

CHARLES

Jay Taylor

(American, 1855–1929)

After the Rain, Spruce Point, Maine 1923, oil on board signed C. J. Taylor lower right signed, titled, and dated verso 11 x 14 1/4 in. frame: 16 1/2 x 19 1/2 in.

$2,000–3,000

44

WALDO PIERCE

(American, 1884–1970)

Floral Still Life in Ceramic Jug 1963, oil on canvas dedicated and signed For Annie. WP. 63 lower left 18 x 28 in., frame: 35 x 25 in.

$2,000–4,000

Provenance: Property of a Private Maine Collection.

45

WALDO PIERCE

(American, 1884–1970)

Floral Still Life in a White Pitcher 1958, oil on canvas signed and dated WP '58 lower left 28 x 18 in., frame: 35 x 25 in.

$2,000–4,000

Provenance: Property of a Private Maine Collection.

ERNEST LEE MAJOR

(American, 1864–1950)

Still Life with Sunflowers oil on canvas signed Ernest L. Major upper left 36 x 29 in. frame: 40 1/2 x 33 1/2 in.

$1,000–2,000

Provenance: The Collection of a Brookline, Massachusetts Couple.

47

MATILDA BROWNE

(American, 1869–1947)

Still Life with Flowers oil on canvas signed Matilda Browne lower right 36 x 30 in. frame: 40 1/2 x 34 1/2 in.

$5,000–7,000

48

WALT FRANCIS KUHN (American, 1877–1949)

Still Life 1936, oil on canvas board signed and dated Walt Kuhn 1936 lower left 14 x 10 in., frame: 17 1/2 x 13 1/2 in. $4,000–6,000

Provenance: Property of a Private Maine Collection.

Laura Coombs Hills

(American, 1859–1952)

Floral Still Life pastel on paper signed Laura Hills lower right sight: 21 x 16 3/4 in., frame: 30 x 26 1/2 in. $3,000–5,000

50

LOUIS OSCAR GRIFFITH (American, 1875–1956) Landscape oil on board signed L.O. Griffith lower left 12 1/2 x 14 1/2 in. frame: 16 1/2 x 18 1/2 in.

$1,500–2,000

Provenance: By descent to a Massachusetts Couple.

51

HERMAN DUDLEY MURPHY (American, 1867–1945) Landscape oil on board signed H. Dudley Murphy lower right 12 x 15 3/4 in. frame: 17 5/8 x 21 5/8 in.

$2,000–3,000

52

WILLIAM LESTER STEVENS (American, 1888–1969)

Westfield River in Winter oil on canvas signed W Lester Stevens lower right, titled verso 30 x 36 in. frame: 34 1/2 x 40 1/2 in.

$4,000–6,000

Provenance: The Collection of a Brookline, Massachusetts Couple.

53

ANTONIO CIRINO

(American, 1889–1983)

The Town Church oil on board signed A. Cirino lower right 8 x 10 in. frame: 14 7/8 x 16 7/8 in.

$1,000–2,000

FELICIE WALDO

Howell

(American, 1877–1968) Day at the Beach, Gloucester 1916, gouache on paper signed and dated Felicie Waldo Howell 1916 lower right sight: 19 x 24 3/4 in., frame: 28 1/2 x 34 1/4 in. $3,000–5,000

55

CARL WILLIAM PETERS (American, 1897–1980) View of the Town Church oil on canvas estate stamped verso 20 x 24 in. frame: 25 1/4 x 29 1/2 in.

$3,000–5,000

56

CARL WILLIAM PETERS (American, 1897–1980) frame: 21 5/8 x 25 1/2 in.

Boats in the Harbor oil on canvas board estate stamped; titled verso 16 x 20 in.

$2,000–3,000

57

WALTER FARNDON

(American, 1876–1964)

Harbor View oil on canvas signed Walter R. Farndon lower right 18 x 13 in. frame: 22 1/2 x 17 1/2 in.

$2,000–3,000

Other Notes: Partial Doll & Richards (Boston) label verso.

58

PAUL STRISIK

(American, 1918–1998)

Gloucester Harbor 1963, oil on canvas board signed Strisik lower right; titled, dated, and signed verso 12 x 16 in., frame: 18 1/2 x 22 1/2 in.

$2,000–4,000

Provenance: Property of a Private Maine Collection.

59

PAUL STRISIK (American, 1918–1998)

The Wharf watercolor on paper signed P. Strisik lower right 11 x 17 in., frame: 18 x 24 in.

$1,000–2,000

Provenance: Property of a Private Maine Collection.

Other Notes: Paul Strisik Gallery (Rockport, MA) label verso.

60

JACOB GREENLEAF (American, 1887–1968)

Lobster Market, Rockport oil on canvas board signed J. Greenleaf lower right 9 x 12 in. frame: 13 1/2 x 16 1/2 in.

$800–1,200

61

ALSON SKINNER CLARK

(American, 1876–1949)

The Red Buttes 1936, oil on board signed and dated Alson Skinner 36 lower left titled verso 18 1/2 x 22 in., frame: 25 3/4 x 28 1/8 in. $3,000–5,000

Provenance: The Estate of a Gloucester, Massachusetts Couple.

62

JOHN FRANCIS MURPHY (American, 1853–1921) Landscape oil on panel signed J. Francis Murphy lower left 12 1/2 x 15 3/4 in. frame: 17 5/8 x 21 in.

$2,000–3,000

63

BERNARD COREY (American, 1914–2000) Fall and Winter oil on canvasboard, double sided signed Bernard Corey verso 9 x 13 in. housed in a 14 3/4 x 18 3/4 in. Goodnow frame

$800–1,200

64

JOHN WHORF

(American, 1903–1959) Bridge, Toledo 1931, watercolor signed and dated John Whorf '31 lower left sight: 20 1/2 x 28 7/8 in. frame: 29 x 37 1/2 in.

$3,000–5,000

65

JOHN WHORF

(American, 1903–1959) Rolling from the East watercolor signed John Whorf lower right sight: 14 1/2 x 21 1/2 in., frame: 23 1/2 x 29 1/2 in.

$2,000–4,000

66

ROSS STERLING TURNER (American, 1847–1915)

Isles of Shoals 1881, watercolor titled, signed, and dated The Shoals. Ross Turner. Aug 81. lower left sight: 12 1/2 x 18 1/2 in., frame: 22 1/2 x 28 in. $1,000–1,500