Summer 2010
William Merritt Chase Still Lifes and Interiors
American Modernism at the National Gallery
Winslow Homer and the Poetics of Place Boston School Paintings A Reflection of their Time
03
56698 28524
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Parrish Art Museum The Art of Maine Embroidered Coat of Arms Colonial Portraiture Discovery
$6.95 US/C AN
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ALSO IN THIS ISSUE:
Dutch Treat: Maastricht & Amsterdam 2010 New England Folk Artist
EDWARD HOLSLAG 1870 ‒ 1925
Gloucester Harbor, oil on canvas, 60 x 72 inches, signed and dated (at lower right): Edward J. Holslag / 1919.
21 East 70th Street New York, NY 10021
212.535.8810 Fax: 212.772.7237 gallery@hirschlandadler.com
www.HirschlAndAdler.com
C. L. PRICKETT Fine Authenticated American Antiques
Our latest thirty-six page full-color brochure is now available upon request
930 Stony Hill Road Yardley, (Bucks Co.), PA 19067 Telephone: (215) 493-4284 Website: www.clprickett.com Email: info@clprickett.com
Clarence, Craig, and Todd Prickett Located just 25 minutes north of Philadelphia and 75 minutes south of NYC at the Newtown Exit, #49, off I-95. Hours: By appointment or by chance.
Peter H. Tillou - Works of Art 17th- and 18th-century American and European Furniture, Antique Carpets, American Folk Art, Arms and Armor, Early African Sculpture, Chinese Han and Tang Dynasty Pottery, Pre-Columbian Art, European Old Master Paintings, American Paintings and Sculpture, Classic Cars 1928 –1934, Rare Coins and Medals, Early American Blown Glass, and Native American Art.
Pair of Standing Buddhas Thailand, Ayulthaya Late 16th century Copper alloy Height: Each 67" Private French collection
109 Prospect Street, Litchfield, CT 06759 ♦ 860.567.5706 Sanibel Island, Florida 33957 www.antiquesandfineart.com/ptillou ♦ Established 1953 ♦ By chance or appointment suggested
Peter H. Tillou - Works of Art 17th- and 18th-century American and European Furniture, Antique Carpets, American Folk Art, Arms and Armor, Early African Sculpture, Chinese Han and Tang Dynasty Pottery, Pre-Columbian Art, European Old Master Paintings, American Paintings and Sculpture, Classic Cars 1928 –1934, Rare Coins and Medals, Early American Blown Glass, and Native American Art.
109 Prospect Street, Litchfield, CT 06759 ♦ 860.567.5706 Sanibel Island, Florida 33957 www.antiquesandfineart.com/ptillou ♦ Established 1953 ♦ By chance or appointment suggested
&KDUOHV %XUFKĂ€HOG A Sea of Queen Anne's Lace, 1962-63 Watercolor on paper, 40 X 30 inches, 101.6 X 76.2 cm
ADELSON
GALLERIES
19 East 82nd Street New York, NY 10028 212.439.6800 adelsongalleries.com
on[the[cover
William Merritt Chase (American, 1849–1916), A Friendly Call (detail), 1894–1895. Oil on canvas, 30⅛ x 48¼ inches. Signed Wm. M. Chase at lower left. Courtesy of National Gallery of Art, Washington, D.C., Chester Dale Collection (1943.1.2). Full image illustrated in William Merritt Chase: The Final Volume, page 122.
Table of Contents Summer 2010 Volume X, Issue 3
158
134
141
68
features 108
Winslow Homer and the Poetics of Place
141
By Thomas Andrew Denenberg
116
Frederic Edwin Church in Jamaica
departments 8
Advertiser Index
11
Editor’s Letter
12
Contributors
14
Noteworthy Sales
20
Museum Focus Parrish Art Museum
40
Highlights TEFAF, Maastricht, page 68
52
Events!
172
Back Room
American Modernism: The Shein Collection By Charles Brock and Nancy Anderson, with Harry Cooper
150
By Evelyn D. Trebilcock
“I. Gilbert. Painter” Little Known Folk Portraitist By Arthur Kern
122
William Merritt Chase: The Final Volume By D. Frederick Baker
128
Boston School Painting The Collection of Dr. and Mrs. James R. Taylor
158
By Jessica Skwire Routhier
164
Picasso Looks at Degas By Sarah Lees
Son of Whom? A Collector’s Journey By John A. Herdeg
By Emily Weintraub
134
Making History: Art and Industry in the Saco River Valley
winterthur[primer
169
X-Radiography Examination of an Embroidered Coat of Arms By Angela Duckwall
Antiques & Fine Art (ISSN:1535-5500), Vol. X, Issue 3, is published six times a year (Spring, Early Summer, Summer, Autumn, Autumn/Winter, and Anniversary) by AFA, 125 Walnut Street, Watertown, MA 02472. Material in this publication may not be reproduced in any form without written permission from the publisher. Contents copyright ©2010 AFA. All rights reserved. The advertiser seeking the services of Antiques & Fine Art will indemnify and save harmless Antiques & Fine Art and its agents from any liabilities, claims, lawsuits, damages, or expenses, including attorney’s fees and costs that may arise out of publication of the advertiser’s/agency ads or materials. Every effort has been made to ensure that all information presented in this issue is accurate and neither Antiques & Fine Art nor any of its staff is responsible for omissions or information that has been misrepresented to the magazine. Application to mail at periodical postage rate is pending at Boston, MA, and additional offices. Postmaster, send address changes to Antiques & Fine Art, P.O. Box 9723, Ft. Lauderdale, FL 33310-9922. Subscription price is $24.95 for 1 year or $39.95 for 2 years. Printed in the USA.
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Summer
Milton Avery (1885–1965)
From Ball Mountain, 1943 Watercolor, 22 x 30 inches (55.9 x 76.2 cm), Signed and dated lower right: Milton Avery, 1943
100 Chetwynd Drive, Bryn Mawr, Pennsylvania 19010 Telephone: (610) 896-0680 Fax: (610) 896-8749 Website: www.averygalleries.com Email: info@averygalleries.com
INDEX TO ADVERTISERS
Farrow, Craig . . . . . . . . . . . . . . .100
AddArts LLC. . . . . . . . . . . . . . . .74
Fine Art Dealers Association . . . . . . . . . . . . . . . . . . . . . 34–35
Adelson Galleries, Inc.. . . . . . . .4–5
Manhattan Art and Antique Center . . . . . . . . . . . .42
Vareika Fine Arts, Ltd., William . . . . . . . . . . . . . . 30–31
Mellin’s Antiques . . . . . . . . . . . . .61
Washington Square Gallery, Ltd. . . . . . . . . . . . . . . . . . . . . . . . . .61
Altermann Galleries and Auctioneers . . . . . . . . . . . .88
Finer, Peter . . . . . . . . . . . . . . . . . .11
Michaan’s Auctions . . . . . . . . . . .98
Flather & Perkins, Inc. . . . . . . . .92
Northeast Auctions . . . . 80–81, 83
American Garage. . . . . . . . . . . . .79
Fletcher/Copenhaver Fine Art. . .76
The Old Print Shop, Inc.. . . 38–39
Andersen & Stauffer Furniture Makers, LLC. . . . . .93
Force Fine Art, Inc., Debra . . . . .10
Olde Hope Antiques, Inc. . . . . . .17
Anderson Ltd., Stephen T.. . . . . .92 Arader Galleries . . . . . . . . . . . . . .24 Archibald Portrait Miniatures, Christine . . . . . . . . . . . . . . . . .94
Garth’s Auctions, Inc. . . . . . . . . .97 Gemini Antiques, Ltd.. . . . . . . . .62 Hagan, John G. . . . . . . . . . . . . . .40 Hall Antiques, Victor . . . . . . . . .91
Outsider Folk Art Gallery . . . . . .78 Pantry & Hearth at the 1775 Barn . . . . . . . . . . .94
Artfact, LLC . . . . . . . . . . . . . . . .96
Heller Gallery, Julie . . . . . . . . . . .75
Preservation Society of Newport County. . . . . . . . .56
Avery Galleries . . . . . . . . . . . . . . . .7
Heller Washam Antiques. . . 66–67
Prickett, C.L. . . . . . . . . . . . . . . . . .1
Arader Galleries
24
Bittel, Diana H. . . . . . . . . . . . . . .59 Blum, Mr. & Mrs. Jerome. . . . . .44 Bogart, Joan. . . . . . . . . . . . . . . . .90 Brock & Co. . . . . . . . . . . . . .18–19
De Ru’s Fine Arts
37
Hirschl & Adler Galleries, Inc. . . . . . . . . . . . . . . . . . . . . . . . IFC The Historic New Orleans Collection. . . . . . . . . . . . . . . . .85
Brown Corbin Fine Art . . . . . . . .49
Holland Antiques & Art, Raymond . . . . . . . . . . . . . . . . .71
Bullard, Inc., Alfred. . . . . . . . . . .25
Huber, Stephen & Carol. . . .32–33
H.L. Chalfant Antiques
57
Questroyal Fine Art, LLC . . . . . . 15 Rocky Mountain Quilts . . . . . . .94 Rufus Porter Museum . . . . . . . . .76 Schorsch, David A. – Eileen M. Smiles American Antiques. . . .13 Shay Antiques, Monique . . . . . . .94 Shreve, Crump & Low . . . . 41, BC
Weiss Collection, Stanley . . 28–29 Whalen Fine Art, Joan . . . . . . . .27 Willauer Antiques, Lynda . . . . . .69 THE BACK ROOM
36 Objects Priced-to-Sell . . .172–175 UPCOMING SHOWS
27th Annual Antique Ethnographic Art Show. . . . .104 32nd Annual Antique Indian Art Show . . . . . . . . . .104
Raymond Holland
71
The 53rd Annual New Hampshire Antiques Show . . .84 Art Antiques London. . . . . . . . .103 ArtHamptons. . . . . . . . . . . . . . .102 Baltimore Summer Antiques Show . . . . . . . . . . . IBC Houston Antiques Dealers Assoc. Fall Antiques Show. . .105
Bunch Auctions, William . . . . . .98
Jackson Hole Art Auction . . . . . .89
Chalfant Antiques, H.L. . . . . . . .57
JAGR: Projects. . . . . . . . . . . .50–51
Shushan, Elle . . . . . . . . . . . . . . . .23
Childs Gallery . . . . . . . . . . . 46–47
Jere’s Antiques . . . . . . . . . . . . . . .90
Spanierman Ltd., Gavin . . . . . . .21
Jewett-Berdan Antiques. . . . . . . .63
Sullivan Antiques, Gary . . . . . . .12
Kilvington, James M. . . . . . . . . .53
Thomsen Asian Art, Erik . . . . . .26
Kinzle Antiques, Kelly. . . . . . . . .45
Tillou Antiques, Jeffrey . . . . . . . .55 Tillou Works of Art, Peter. . . . .2–3
Dowling Walsh Gallery. . . . .43, 73
Leland Little Auction & Estate Sales . . . . . . . . . . . . .99
Nantucket Historical Association’s August Antiques Show . . . . . .60
Tree’s Place Gallery . . . . . . . . . . .48
The Newport Antiques Show . . .58
Eldred Co., Inc., Robert C. . . . . .95
Levy, Inc., Bernard & S. Dean . . .9
The Englishman . . . . . . . . . . . . .77
Lloyd, Inc., Robert. . . . . . . . 64–65
Trinity International Auctions & Appraisals, LLC . .88
Fort Lauderdale Art, Antique & Jewelry Show . . . . 176
Coeur d’Alene Art Auction . . . . . . . . . . . . . . . . . . . . . 86–87 De Ru’s Fine Arts. . . . . . . . . . . . .37 Dike Fine Art, David. . . . . . . . . .36
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Litchfield County Antiques Show. . . . . . . . . . . . . . . . . . . .104 The Manchester Pickers Market Antiques Show . . . . . .82 Midweek in Manchester Antiques Show . . . . . . . . . . . . .82
Summer
ONE OF MANY CHESTS OF DRAWERS WE HAVE IN STOCK.
CHIPPENDALE SERPENTINE FRONT CHEST WITH BLOCKED ENDS Attributed to Thomas Jones in the Jonathan Gostolowe workshop. Philadelphia, circa 1770. Primary Wood: Mahogany Secondary Wood: Cedar, Poplar, Yellow Pine Height: 35他 inches Width: 41 inches Depth: 23他 inches
Mary Cassatt
(1844–1926)
Head of a Baby with Finger in Mouth (George Fiske Hammond), circa 1898, pastel on blue paper, 18 ⳯ 14 in.
Debra Force
fine art, inc.
13 East 69th Street Suite 4f New York 10021 Tel 212 734 3636 www.debraforce.com Mon.–Fri. 10–6, Sat. by appt.
from the editor
T
he Parrish Art Museum in Southampton, New York, is the subject of this issue’s Museum Focus (pages 20, 22). Founded in 1898, the collection features American art of the nineteenth century to the present, with an emphasis on the work of artists who have been drawn to the coastal landscape of Long Island’s historic East End. Home to the largest public collection of works by artist William Merritt Chase, the Parrish is in the same town where Chase founded the Shinnecock Hills Summer School of Art in 1891. He taught there through 1902, instructing students in the art of plein air painting. Fittingly, in this issue we also celebrate the publication of the fourth and final volume of The Complete Catalogue of Known and Documented Work by William Merritt Chase. The Catalogue, which represents thirty years of research by the late Ronald G. Pisano, who was director of the Parrish from 1978 to 1982, was finished by D. Frederick Baker and Carolyn K. Lane. In his article (pages 122–127), Baker, the director of the Pisano/Chase Catalogue Raisonné project, the foundation established to complete this project, gives us an overview of the rich contents of the Catalogue’s final volume. As with so many American artists, Chase spent time abroad, including a number of visits to Paris. Artist Max Weber, whose work is also included in this issue (pages 141–149), resided in the cosmopolitan city from 1905 to 1909. While there, Weber befriended Pablo Picasso, whose interest in cubism proved an important influence on the younger artist. When Weber returned home, he brought the first Picasso paintings to enter the United States. One of Picasso’s early influences was Edgar Degas. Surprisingly, although the two artists resided for several years in the same Parisian neighborhood, they never met. In Picasso Looks at Degas (pages 134–140), Sarah Lees, associate curator of European Art at the Clark Institute, explores the influence of Degas on Picasso through pairings of both painters’ works. The connections continue in this issue with Winslow Homer and the Poetics of Place (pages 108–115). Like Chase, Homer had a studio at the Tenth Street Studio Building in New York City, was also member of the Tile Club, and traveled to Paris. These parallels, however, are not the focus of Thomas A. Denenberg’s article, which is rather about Homer’s connections with the Portland Museum of Art in Maine. The artist exhibited at the museum during his lifetime, and in 2006, the institution acquired Homer’s studio at Prout’s Neck, Maine, where he painted from 1883 until his death there in 1910. The museum is currently hosting an exhibition commemorating the centennial of Homer’s passing, in which its entire collection of Homer’s works will be on view.
Peter Finer SPECIALISTS IN ANTIQUE ARMS, ARMOUR AND RELATED OBJECTS
A FINELY ETCHED NORTH ITALIAN HALF-ARMOUR BY POMPEO DELLA CHIESA OF MILAN, circa 1590
We are always interested in purchasing single items or complete collections of antique guns, pistols, swords, armour and cannon in any quantity. We travel the world in our search for fine examples.
Enjoy
Johanna McBrien Johanna@AntiquesAndFineArt.com
2010
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contributors Nancy Anderson, Curator and head of American and British Paintings, National Gallery of Art, Washington, D.C. Page 141. D. Frederick Baker, Director of the Pisano/Chase Catalogue Raisonné Project. Page 122. Charles Brock, Associate curator of American and British Paintings, National Gallery of Art, Washington, D.C. Page 141. Harry Cooper, Curator and head of Modern and Contemporary Art, National Gallery of Art, Washington, D.C. Page 141. Thomas Andrew Denenberg, Deputy director and chief curator, Portland Museum of Art, Portland, Maine. Page 108. Angela Duckwall, Fellow, Winterthur/University of Delaware Program in Art Conservation (WUDPAC), Wilmington, Del. Page 169. John A. Herdeg, Collector and writer. Page 164. Arthur Kern, Independent researcher, author, and lecturer. Page 158. Sarah Lees, Associate curator, European art, Clark Art Institute, Williamstown, MA. Page 134. Jessica Skwire Routhier, Director, Saco Museum, Saco, Maine. Page 158. Evelyn D. Trebilcock, Curator, Olana, Hudson, New York. Page 116. Emily Weintraub, Appraiser, freelance art writer, and researcher based in MA. Page 128.
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Summer
THE DELUXE MODEL
Comb-back Windsor writing armchair with original drawers and pull-out slide Attributed to Colonel Ebenezer B. Tracy, Sr. (1744-1803) Lisbon, Connecticut, circa 1780 Height 45 inches, Width 36 ½ inches, Depth 16 inches Recognized as icons of American seating furniture, examples of this type are found in the collections of The Metropolitan Museum of Art, Historic Deerfield, Yale University Art Gallery, Bayou Bend, Winterthur and The Henry Ford Museum. This armchair came from the personal collection of William L.Warren, a noted scholar of Connecticut antiques, whose long and distinguished career in the museum field included curatorial positions at The Connecticut Historical Society, Old Sturbridge Village and The Litchfield Historical Society. It was twice owned by the firm of Nathan Liverant and Son, first in 1973 and again in 1986, when it was sold to a distinguished Midwestern private collection assembled under the guidance of David A. Schorsch. It is illustrated in Liverant’s advertisement in the The Magazine Antiques, September 1973, p. 364, and David A. Schorsch , “Living with antiques, A collection of American folk art in the Midwest,” The Magazine Antiques, October 1990, plate IX, p. 781.
David A. Schorsch~Eileen M. Smiles
American Antiques
ANTIQUARIAN EQUITIES, INC 358 MAIN STREET SOUTH, WOODBURY, CT 06798 TELEPHONE: 203-263-3131 TELEFAX: 203-263-2622
Woodbury, Connecticut
Appointment Recommended
New York City
noteworthy sales Pair of Six-Panel Screens Scenes from the Tôkaidô Road, Japan Kano School, circa 1800 Purchased by a museum Courtesy Erik Thomsen, LLC Asian Art, New York, NY
From the seventeenth century onwards, Japanese artists created woodblock prints, hand scroll paintings, screens, and books on the topic of travel along the Tôkaidô Road, which connected the old and new capital cities of Japan. In the images depicted on the panels of this screen, one of a pair, the artists placed great emphasis not only on providing information on the sites, but placing the road in the contexts of the famous views of Japan (or meisho) that could be seen along the way in breathtakingly beautiful detail. Valuable information is provided about the towns and castles, which relay how people traveled and entertained at the time. There are only a few examples of this subject in the West; one other known pair is in the collection of the University of California, Berkeley. The Midwest museum that bought this rare pair of screens did so because it complements its collection of woodblock prints of the same subject, The Tôkaidô Prints by Hiroshige, which later inspired the French Impressionists.
discovery F. Luis Mora (1874–1940) Picnic on the Hill, Litchfield Hills, CT, 1913 Oil on canvas, 25 x 30⅜ inches Signed and dated lower right: F. Luis Mora 1913 Courtesy Gavin Spanierman, LTD, New York, NY
F. (Francis) Luis Mora was born in Montevideo, Uruguay. In 1889, at the age of fifteen, he entered the Boston Museum School of Fine Art; his teachers were Frank Benson and Edmund Tarbell. In 1893, Mora relocated to New York to work as an illustrator and study composition with H. Siddons Mowbray at the Art Students League, where he would later be an instructor. In 1904, Mora was elected an Associate at the National Academy of Design and became a full member in 1906. He was the first Hispanic to be elected. Holding memberships in a number of the leading art societies, Mora was also a popular teacher of figural drawing and painting classes at William Merritt Chase’s Chase School of Art and other prominent art schools. Mora was drawn to the Litchfield Hills after spending several years searching for a country property. He initially spent time with his friends and fellow artists at Old Lyme and then in Westport, Connecticut. Neither suited him: he felt there was “too much gossip, too little work,” at the former, and at the latter, “too much illustration, too little easel painting.” In 1912 he went to the Litchfield Hills and was drawn to the colors as well as the convenient direct train to Manhattan. The area attracted other artists including Mowbray, friend Lillian Genth, Carlsen, and Metcalf. In 1912, Mora and his wife, Sonia, bought a parcel of twenty-seven acres in Gaylordsville, eventually building a summer home and studio by 1923. 14
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Summer
noteworthy sales
Continued from page 14
St. Tammany Indian Weathervane Possibly Massachusetts or New York, circa 1890 Molded copper and iron, chain necklace, old yellow paint with traces of gilding 30 x 31 inches Sold to a private collector at the Winter Antiques Show Courtesy David A. Schorsch and Eileen M. Smiles, Woodbury, Conn.
This diminutive example of a St. Tammany weathervane, standing just thirty inches tall, adorned the Canastota, New York, home of Ernest Barott (1881–1966) until about 1940. It was then brought to the family’s country house near Montreal, where it remained in the family until 2009. Born in Canastota, near Syracuse, Ernest Barott was a renowned architect and a founder of the firm Barott, Blackader & Webster. This is one of a small number of closely related St. Tammany Indian weathervanes known, the most famous being the unique 102-inch-tall Indian in the collection of The American Folk Art Museum. The museum example came from a building in East branch, New York, which housed a lodge, or tribe, of the Improved Order of Red Men, a fraternal organization that based its ceremonial regalia and rituals on Indian lore and legend. The Improved Order of Red Men was founded in Baltimore in 1834, although it claims descent from several earlier groups.
William A. Bouguereau (1825–1905) Marchande de grenades (Pomegranate Vendor) Oil on canvas, 45½ x 35⅛ inches Signed and dated 1875, upper left Exhibited: The Buffalo Fine Arts Academy (Albright Art Gallery), Catalogue of a Loan Collection of Paintings Owned by Citizens of Buffalo, October 10–24, 1907. Courtesy of Rehs Galleries, Inc., New York, NY.
William A. Bouguereau was one of the most important nineteenth-century French academic artists and his paintings and teachings did, and continue to, influence artists throughout the world. Marchande de grenades (Pomegranate Vendor) is a long lost masterpiece that surfaced in an upstate New York collection. The painting was executed in 1875, and by 1876 it had already made its way to New York. Its provenance is a bit uncertain until 1907, when it appeared in an exhibition at The Buffalo Fine Arts Academy (from the collection of Frank Goodyear, a Buffalo resident). What makes the work so unusual for Bouguereau is its Orientalist theme, a subject matter he rarely painted; less than ten are said to exist. 16
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Continues on page 95
Summer
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Frank Duveneck (1848 ‒ 1919)
Basilica di San Marco, Venice, 1882 Oil on panel 11⅜ x 9⅛ inches Unsigned Inscribed on reverse: To my friend Ralph Curtis / FDuveneck Venice 1882 Period frame with aesthetic frieze
www.brockandco.com Please contact us for a complimentary copy of our latest catalogue.
Roy Hilton (1891 ‒ 1963)
Steel Workers, c. 1935 Oil on masonite 10⅜ x 12⅜ inches Signed at lower right: ROY / HILTON American Modernist frame
BROCK & CO.
Specializing in 19th and 20th centur y Works of Ar t 84A Commonwealth Avenue, Concord, Massachusetts 01742 Tel: 978.369.1358
Fax: 978.369.1359
Email: mark@brockandco.com
Tuesday through Saturday 10am to 6pm or by appointment
museum focus
Parrish Art Museum by Brittany Good
N
estled in the Hamptons, one of New York’s elite summer destinations, the Parrish Art Museum houses an impressively focused collection (Fig. 1). Devoted to American art from the nineteenth century to the present, the Parrish hones in on the art and artists of the Hamptons and Long Island’s other East End communities that have lured and inspired artists for decades. The museum’s founder, Samuel Longstreth Parrish (1849–1932), first took an interest in the art of the Italian Renaissance while a student at Harvard, and began
collecting art seriously in the early 1880s after relocating his successful law practice from Philadelphia to New York City. Soon after, Parrish began taking trips to a family home in Southampton, a popular resort even then, and was quickly enamored with the area. A museum in Southampton, he thought, would be the ideal place to house his Italian Renaissance art and reproduction classical Greek and Roman statuary.
Parrish subsequently purchased a small plot of land and commissioned Southampton resident and architect Grosvenor Atterbury (1869–1956) to design the structure. Trained at the Ecole des Beaux-Arts in Paris, Atterbury took nearly twenty years to complete the museum. When Southampton’s first art museum was finally finished in 1898, it was a small wooden exhibition hall (today’s Transept Gallery), which in the coming years expanded
THIS PAGE, CLOCKWISE FROM TOP LEFT:
Fig. 1: The Parrish Museum façade in summer. Fig. 3: Gallery view during the 2007 exhibition All the More Real, with two works by Chuck Close in background. Fig. 4: Fairfield Porter (1907–1975), Self-Portrait in the Studio, ca. 1950. Oil on canvas, 45 x 30 inches. Parrish Art Museum; gift of the estate of Fairfield Porter. 1980.10.40. John Henry Twachtman (1853–1902), Horseshoe Falls, Niagara, ca. 1894. Oil on canvas, 30¼ x 25⅜ inches. Parrish Art Museum; gift of Mrs. Robert Malcolm Littlejohn, Littlejohn Collection. 1959.5.15.
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Summer
F. Louis Mora (1874–1940) Picnic on the Hill, Litchfield Hills, CT, 1913, oil on canvas, 25 x 30⅜ inches, signed and dated lower right: F. Luis Mora 1913
Specializing in Fine American Art Albert Bierstadt John Leslie Breck Alfred Thompson Bricher Thomas Wilmer Dewing
22 east 82nd street
new york 10028
Childe Hassam Eastman Johnson Willard L. Metcalf Edward Henry Potthast
(212) 249 0619
Louis Ritman John Singer Sargent Louis Comfort Tiffany John Twachtman
info@gspanierman.com
gspanierman.com
museum focus Continued from page 20
THIS PAGE, TOP AND BOTTOM: Fig. 2: William Merritt Chase (1849–1916), Bayberry Bush (Chase Homestead in Shinnecock Hills), ca. 1895. Oil on canvas, 25½ x 33⅛ inches. Parrish Art Museum; gift of Mrs. Robert Malcolm Littlejohn, Littlejohn Collection. 1961.5.5.
Fig. 5: Rackstraw Downes (b. 1939), At the Confluence of Two Ditches Bordering a Field with Four Radio Towers, 1995. Oil on canvas, 46 x 48 inches. Private collection.
PARRISH ART MUSEUM 25 Jobs Lane, Southampton, New York 11968 Monday, Thursday, Friday, Saturday, 11am–5pm; Sunday, 1–5pm Open 7 days, June 1–September 13: Monday through Saturday, 11am–5pm; Sunday, 1–5pm Call 631.283.2118 or visit www.parrishart.org
to include a concert hall, additional galleries, and an arboretum. The museum’s development slowed after Parrish’s death in 1932 coupled with the Great Depression and the war years that followed. In 1941, the Village of Southampton accepted the building, grounds, and the founding collection as a gift from Parrish’s estate. Improvements made in the 1950s by Robert Malcolm Littlejohn, then president of the Parrish’s board, included installing a heating system so that the museum could stay open year-round and obtaining a charter that deemed the Parrish Art Museum an educational institution. But it was Littlejohn’s wife who is credited with making the collection what it is today. Intent on focusing the collection on American artists, she donated her personal 22
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holdings to the museum, so that works by East End artists William Merritt Chase (1849– 1916), Thomas Moran (1837–1926), and Childe Hassam (1859–1935) are the core of today’s collection. Currently, the Parrish owns the largest public collection of works by American Impressionist and teacher William Merritt Chase (Fig. 2). Chase, who founded the Shinnecock Hills Summer School of Art in Southampton in 1891, also founded the Chase School of Art, which is now Parsons The New School for design, in New York City in 1896. Besides over forty paintings and works on paper, the museum holds over one thousand photographs relating to Chase’s life and work. Other important artists in the museum’s permanent collection include Jackson Pollack
(1912–1956), Lee Krasner (1908–1984), Willem de Kooning (1904–1997), Eric Fischl (b. 1848), and Chuck Close (b. 1940) (Fig. 3). The Parrish curates ever-changing exhibitions from its holdings. On view through June 20, 2010, Fairfield Porter: Raw —The Creative Process of an American Master includes major paintings and works on paper by Southampton realist painter Fairfield Porter (1907—1975), whose widow donated nearly 250 of his works to the museum in 1979 (Fig. 4). The exhibition also includes a number of unfinished works and accompanying sketches along with ephemera, providing the viewer with a unique glimpse into Porter’s creative process. Rawstraw Downes: Onsite Paintings, 1972– 2008 (June 20–August 8, 2010) is the first major survey of the work of this British-born painter (Fig. 5). Trained at Yale as an abstract painter and influenced by seventeenth-century Dutch panoramic landscape paintings, Downes (b. 1939) paints exclusively from direct observation. The exhibition of approximately thirty-two works starts with Downes’ early works and weaves through three decades of his lively urban depictions and barren Southern landscapes. Summer
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