INVENTING A REINVENTI O N ABSTRACT AD D ICTIONS:
VI N C ENT VA LL AR I NO , PRINCI PAL, VINCENT@VALLARINOFINEART.COM E THAN VA LL AR I NO , HEAD OF C ONTEM P ORARY, ET H AN@VALLARINOFINEART.COM J ENN I E CAST ILL O , D IRECTOR, JENNIE@VALLARINOFINEART.COM CAR L ENE AVA L ONE , STUDIO M ANAGER, CARLENE@VALLARINOFINEART.COM
Since our last annual fall catalogue was published there have been many new changes occurring at Vallarino Fine Art. We have recently moved into a unique, modern, light- filled 2,800 square foot duplex at 113 east 60th street. Our new space is perfect for exhibiting works of art in-situ , allowing collectors to visualize works in their own apartments, homes and environments. As you will see in the following pages we continue to pursue acquisitions from the post-war period of Abstract American art with great passion. As times change, we continue to keep reinventing ourselves and our growth in both knowledge as well as our desire to learn is paramount in keeping us current.
Taking the current art market into consideration, we feel it is difficult for the average person to gauge the reality as well as the validity of art in and of itself. Five billion dollars, YES B ILLI ONS, was spent in ten days this past spring at the combined auction houses. I t can be assumed that only about twenty percent of the purchasers viewed the actual artwork and the other eighty percent never saw the artworks in person. Out of that eighty percent, about half of the buyers never even viewed the print catalogue and only viewed the reproductions on the I nternet! I personally find this extremely shocking and a very strange phenomenon. I have owned upwards of twenty thousand works of art and have always made the effort to view what we were purchasing. Art has always been about seeing the work in person and one’s own interaction with it. Without that, I ’m inclined to think that someone has skipped too many steps all for the sake of instant gratification. I s that where the art world and its current collectors are headed? I find this terribly frightening and I feel it important to bring back the historical tenets that have been in place since the very beginning, when the world first reacted to artists translating and documenting their everyday lives and emotions on cave walls. I t is important to remember the basis of collecting is about living with art in one’s own environment. How one creates that environment is totally up to the individual and this indeed is an exciting process that can enhance and change one’s life and will continue to do so forever. These wonderful artists have become our teachers and as time goes by their moving statements will continue to be revealed over and over giving the collector a new chapter depending on what mood and day it is.
The art world has become more about money than art, and art is the purist addiction that exists. Art as money has become a fleeting high for a wealthy minority that threatens to kill its true euphoria. L ike drinking and driving, aesthetics and money don’t mix well. The quest for instant gratification ignores the traditional fundamentals of connoisseurship and education leaving a fragile foundation, which will eventually crumble. When I fell into this business forty years ago, it never entered my mind that this was about money and for me, it still isn’t. All of the above questions still intrigue me, spark my enthusiasm and fuel my quest to absorb new ideas as the mystery of the art around me unfolds.
I continue to believe that the future is all about the past.
Vincent Vallarino Millbrook, New York 2015I NVENT I NG A RE I NVENT I ON
LOOSE CONTA C T, 1938 OIL ON C ANVAS 42 X 38 1/2 I N C HES SI GNE D AT L OWER L EFT, D ATE D W I TH I NS I GN I A L OWER R I GHT P ROVENANCE : M ERE DI TH LONG & COM PANY, H O U STON , T X (L ABE L VERSO ) EXH I B ITE D: THEME AND IMPROV I SATI ON: KAND I NS K Y AND T HE A MER I CAN AVAN T –GARDE, 1912–1950 , PH ILIP S CO LL E C T I ON , WASH I NGTON , DC ; DAYTON A RT INST I T U TE , O H I O ; T ERRA MU SE U M OF A MER IC AN A RT, CH IC AGO , IL ; A MON CARTER MU SE U M , T E X AS , S E P TEMBER 1992–AU G U ST 1993 (L ABE L VERSO ). WERNER DRE W ES A MER IC AN , 1899–1985 4
CONSTRU C TION A FTER THE E NJOYMENT OF A M U L BERRY T REE, 1951 CONSTR UC TE D STEE L AN D C HROM IU M TONA L S CULP T U RE W I TH BRON Z E PAT I NA AN D HEATE D D ES I GN 29” H I GH X 30 1/2” W ID E INS C R I BE D W I TH MONOGRAM AN D D ATE D 1951 VERSO P ROVENANCE : FA I RWEATHER –H AR DI N G A LL ERY, CH IC AGO , IL RU TH & G EORGE C L EMENTS , HI NS D A L E , IL (PU R C HASE D 1956) B Y D ES C ENT TO PR I VATE CO LL E C T I ON , EL G I N , A Z N OTE : T HE S I STER S CULP T U RE I S I N THE P ERMANENT C O LL E C T I ON OF T HE A RT INST I T U TE OF CH IC AGO ( A CC ESS I ON 1954.272) C ONSTR UC TE D I N 1953, 45 X 53 1/3 X 9 I N C HES HARRY BERTOIA A MER IC AN , 1915–1978 6
U NTIT L ED, 1948 OIL ON C ANVAS 24 X 30 I N C HES SI GNE D AT L OWER R I GHT P ROVENANCE : E STATE OF S TEVE B ANKS FI NE A RTS , S AN F RAN CI S C O , C A CO LL E C T I ON OF DR PETER B. FI S C HER , LOS A NGE L ES , C A PUB LI SH E D: D EF I N I N G T HE E D G E: E ARLY A MER I CAN A B S T RAC TI ON , PU B LI SHE D BY MIC HAE L R OSENFE LD G A LL ERY (N EW Y ORK ) AN D THE LAG U NA A RT MU SE U M , PAGE 14. GIOR G IO CAVALLON A MER IC AN , 1904–1989 9
M UJER R E CL INADA, 1959 B RON Z E S CULP T U RE 37 X 19 X 9 I N C HES INS C R I BE D W I TH I N I T I A L S AT BASE P ROVENANCE : PR I VATE CO LL E C T I ON , M E XIC O C I TY, M E XIC O E LIZA B ET H CATLETT A MER IC AN , 1915–2012 11
H ANS H O FM ANN A MER IC AN , 1880–1966 12
E NHAN C EMENT, 1956 OIL ON BOAR D 11 X 18 1/2 I N C HES SI GNE D AN D D ATE D ‘56 AT L OWER R I GHT, S I GNE D AN D T I T L E D VERSO P ROVENANCE : K OOT Z G A LL ERY, N EW Y ORK CO LL E C T I ON OF M AR C AN D VIC TOR I A M ART I N , N EW Y ORK PR I VATE CO LL E C T I ON , N EW Y ORK L ITERAT U RE : S. VILLI GER , H ANS H OFMANN CATA L OG U E R A I SONNE OF PA I NT I NGS , V O LU ME III : CATA L OG U E E NTR I ES P 847- P W89 (1952-1961), P. 124, NO P 1041 (ILLU STRATE D I N C O L OR ).
A N E YE, 1952 G O U A C HE , I NK AN D PASTE L ON PA P ER 10 1/2 X 7 3/8 I N C HES SI GNE D AN D D ATE D 1952 AT L OWER L EFT, S I GNE D, T I T L E D AN D D ATE D VERSO P ROVENANCE : PR I VATE CO LL E C T I ON , N EW Y ORK Y AYOI KUSA M A J A PANESE , B . 1929 14
LEFT: R I C AR D O MARTÍNEZ D E HOYOS CENTER : HER B ERT BAYER RIG H T: V IVIAN S PRIN GF OR D 16
LA PAREJA D ORMIDA, 1965 OIL ON C ANVAS , 69 X 84 I N C HES SI GNE D AT L OWER R I GHT, D ATE D VERSO P ROVENANCE : PR I VATE CO LL E C T I ON , LOS A NGE L ES , C A R I C AR D O MARTÍNEZ D E HOYOS M E XIC AN , 1918–2009 19
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LEFT: E LIZA B ET H CATLETT RIG H T: C H ARLES HENRY A LSTON
C H ARLES HENRY A LSTON A MER IC AN , 1907–1977 A B OVE U NTIT L ED ( S EVEN F IGURES), 1949 OIL ON C ANVAS 20 X 36 I N C HES SI GNE D AN D D ATE D 1949 AT L OWER R I GHT P ROVENANCE : PR I VATE CO LL E C T I ON , CO L ORA D O P REVIOU S PAGE RIG H T M UJER S ENTADA B RON Z E , C. 2003 17 1/2 X 6 X 9 I N C HES SI GNE D W I TH MONOGRAM P ROVENANCE : PR I VATE CO LL E C T I ON , M E XIC O C I TY RIG H T S TAR G AZER, 1997 BL A C K MARB L E S CULP T U RE 14 1/2 X 32 X 11 I N C HES 16 X 38 X 38 I N C HES ( STAN D) INS C R I BE D W I TH MONOGRAM : E C P ROVENANCE : JU NE K E LLY G A LL ERY, N EW Y ORK , NY RIC HAR D AN D J ANE M ANOOG I AN , M I , A CQUI RE D FROM THE ABOVE I N 1998 EXH I B ITE D: DETRO I T INST I T U TE OF A RTS MU SE U M , DETRO I T, M I E LIZA B ET H CATLETT A MER IC AN , 1915–2012 22
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B ENNY AN D RE W S A MER IC AN , 1930-2006 T HE POOR H OUSE, 1962 OIL ON C ANVAS 20 X 26 I N C HES ; 28 1/2 X 34 1/2 I N C HES FRAME D SI GNE D L OWER L EFT, T I T L E D AN D D ATE D 1962 VERSO P ROVENANCE : F OR U M G A LL ERY, N EW Y ORK , NY (L ABE L VERSO ) 25
U NTIT L ED, c. 1950 OIL ON C ANVAS 26 1/2 X 57 I N C HES SI GNE D AT L OWER R I GHT P ROVENANCE : PR I VATE CO LL E C T I ON , CH IC AGO HALE WOO D RU FF A MER IC AN , 1900–1980 26
U NTIT L ED, 1953 OIL ON C ANVAS 32 X 42 I N C HES SI GNE D AN D D ATE D ‘53 AT L OWER R I GHT P ROVENANCE : H O LLI S TAGGART G A LL ER I ES , N EW Y ORK (L ABE L VERSO ) PR I VATE CO LL E C T I ON , B E D FOR D, NY O PP O S ITE PAGE S TI LL LIFE, 1939 OIL ON C ANVAS 27 X 16 I N C HES SI GNE D AT L OWER R I GHT, S I GNE D AN D D ATE D 1939 VERSO P ROVENANCE : GI FT OF THE ART I ST TO P R I VATE C O LL E C T I ON , LOS A NGE L ES , C A (C A . 1950) HANS BUR KH AR D T S W I SS / A MER IC AN , 1904–1994 29
U NTIT L ED, 1949 T EM P ERA ON WOO D 9 1/2 X 7 1/2 I N C HES SI GNE D AN D D ATE D ‘49 AT L OWER R I GHT P ROVENANCE : GI FT FROM A RT I ST PR I VATE CO LL E C T I ON , N EW Y ORK O . L OUIS GU G LIEL M I E GY P T I AN /A MER IC AN , 1906–1956 30
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I RVIN G P ENN A MER IC AN , 1917–2009 T HREE A SARO M UDMEN ( N EW G UINEA), 1974 P L AT I N U M –PA LL A DIU M P R I NT, F LU SH MO U NTE D ON A LU M I N U M 20 1/8 X 19 1/2 I N C HES SI GNE D, T I T L E D AN D N U MBERE D 15/35, E DI T I ON STAM P AN D C O P YR I GHT C RE DI T RE P RO DUC T I ON LI M I TAT I ON P ROVENANCE : R OBERT K O C H G A LL ERY, S AN F RAN CI S C O , C A PR I VATE CO LL E C T I ON , N EW Y ORK 33
A L F RE D L ESLIE A MER IC AN B . 1927 #44, 1959 OIL ON C ANVAS 60 X 66 I N C HES SI GNE D, I NS C R I BE D AN D D ATE D 1959 VERSO P ROVENANCE : B ARBARA GU GGENHE I M A SSO CI ATES IN C., N EW Y ORK ACQUI RE D BY THE P REV I O U S OWNER FROM THE ABOVE I N AU G U ST 1985 34
XL–20–70, 1970 CO LL AGE ON C ANVAS 69 X 57 I N C HES SI GNE D AT L OWER R I GHT P ROVENANCE : M AR L BORO U GH G A LL ERY, N EW Y ORK M AR I SA D E L R EY G A LL ERY, N EW Y ORK (L ABE L VERSO ) CONRA D MAR C A– R ELLI A MER IC AN , 1913–2000 36
39 E ASE L & PA L ETTE, 1987 MIX E D ME DI A ON WOO D 21 X 16 X 2 I N C HES IN I T I A L E D AN D D ATE D 87 AT L OWER C ENTER P ROVENANCE : J OHN B ERGGR U EN G A LL ERY, S AN F RAN CI S C O , C A T HE PA C E G A LL ERY, N EW Y ORK (L ABE L VERSO ) PR I VATE CO LL E C T I ON , R OME , ITA LY S AUL S TEIN B ER G R OMAN I AN / A MER IC AN , 1914–1999
U NTIT L ED, 1955 OIL ON BOAR D 10 1/2 X 8 1/2 I N C HES SI GNE D AN D D ATE D ‘55 AT L OWER L EFT P ROVENANCE : E STATE OF R AYMON D SPILL ENGER MILTON R ESNI CK A MER IC AN , 1917–2004 40
U NTIT L ED, 1955 OIL ON PA P ER L A ID ON MASON I TE 16 X 15 1/8 I N C HES P ROVENANCE : E STATE OF R AYMON D SPILL ENGER 41
U NTIT L ED, 1957 WATER C O L OR ON PA P ER 29 3/4 X 36 3/4 I N C HES P ROVENANCE : M ANNY SILVERMAN , LOS A NGE L ES (L ABE L VERSO ) N OR M AN BLU HM A MER IC AN , 1921–1999 42
U NTIT L ED, 1956 WATER C O L OR ON PA P ER 30 X 42 I N C HES SI GNE D AN D D ATE D ‘56 AT L OWER L EFT P ROVENANCE : PR I VATE CO LL E C T I ON , B O C A R ATON , F L 43
R I CH AR D P OUSETTE–DART A MER IC AN , 1916–1992 E YE OF THE S QUARE, 1967 OIL ON BOAR D 22 1/2 X 30 I N C HES SI GNE D, D ATE D ‘67 AN D T I T L E D VERSO P ROVENANCE : H O LLI S TAGGART G A LL ER I ES , N EW Y ORK (L ABE L VERSO ) R AN D A LL B E C K G A LL ERY, B OSTON , MA 44
R I CH AR D P OUSETTE–DART A MER IC AN , 1916–1992 U NTIT L ED, 1977 G RA P H I TE ON HEAVY A R C HES 22 1/2 X 30 3/8 I N C HES SI GNE D AN D D ATE D “AP R IL 29 ‘77” VERSO EXH I B ITE D: RI CHARD P OUSE TT E– D AR T: D RAW I N G S , A N D REW CR I S P O G A LL ERY, N EW Y ORK , M AR C H 30–AP R IL 22, 1978, EX H I B I T I ON CATA L OG U E NO . 26 (ILLU STRATE D). O PP O S ITE PAGE U NTIT L ED ( E QUINO X ), 1976 G RA P H I TE ON PA P ER 29 3/4 X 22 1/2 I N C HES SI GNE D AN D D ATE D ‘76 VERSO P ROVENANCE : M. K NOE DL ER & CO ., N EW Y ORK , NY LEONAR D HU TTON , NY A MER IC AN CONTEM P ORARY A RT G A LL ERY, MU N IC H INVENTORY N U MBER NOTE D: 77–R P –01 EXH I B ITE D : MU SE U M OF FI NE A RTS , THE LI V I N G E D G E , 2002 47
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A L F RE D JENSEN GU ATEMA L AN , 1903–1981 O PP O S ITE PAGE S ATURN O IL ON C ANVAS , 1968 42 X 38 I N C HES P ROVENANCE : ED WAR D DOWNE J R ., N EW Y ORK M ARS, 1968 OIL ON C ANVAS 39 X 39 I N C HES P ROVENANCE : ED WAR D DOWNE J R ., N EW Y ORK 49
M ARY A BB OTT A MER IC AN , B . 1921 50
O PP O S ITE PAGE M ARY A BBOTT PR I VATE RES ID EN C E © O RS I N I DES I GN A SSO CI ATES B IRD D IAMONDS, C . 1956-57 OIL ON LI NEN 48 X 60 I N C HES SI GNE D L OWER L EFT, S I GNE D AN D T I T L E D VERSO P ROVENANCE : T HE A RT I ST 51
HARRY BERTOIA A MER IC AN , 1915–1978 LEFT S ONAMBIENT, C .1960S CO PP ER ON BRON Z E , 36 3/4 X 7 3/4 X 7 3/4 I N C HES P ROVENANCE : PR I VATE CO LL E C T I ON , B A LLY, PA PR I VATE CO LL E C T I ON , PA ( BY D ES C ENT ) RIG H T S ONAMBIENT ( EL EVEN R OWS) B ERY LLIU M C O PP ER AN D BRASS , 16 X 2 X 5 I N C HES P ROVENANCE : MID WESTERN PR I VATE CO LL E C T I ON 52
U NTIT L ED, 1962 AC RY LIC ON C ANVAS 41 X 53 I N C HES SI G NE D AN D D ATE D ‘63 VERSO PROVENAN C E : K OOT Z G A LL ERY, N EW Y ORK , NY MI CH AEL GOL DB ER G A MER IC AN , 1924–2007 54
MI CH AEL GOL DB ER G A MER IC AN , 1924–2007 U NTIT L ED, c.1960 OIL AN D ENAME L ON PA P ER L A ID D OWN ON WOO D EN PANE L 11 X 15 I N C HES SI GNE D AT L OWER L EFT P ROVENANCE : PR I VATE CO LL E C T I ON , BI NG I NGTON , NY 57
R AY P AR K ER A MER IC AN , 1922–1990 U NTIT L ED, 1965 AC RY LIC ON C ANVAS 21 3/4 X 24 I N C HES SI GNE D AN D D ATE D VERSO , I N I T I A L E D L OWER L EFT PROVENAN C E : GI FT OF THE ART I ST TO DO U G O H L SON AN D J ANE K A U FMAN , 1965 E STATE OF DO U G O H L SON 58
U NTIT L ED, 1963 AC RY LIC ON C ANVAS 41 X 53 I N C HES SI GNE D AN D D ATE D ‘63 VERSO P ROVENANCE : K OOT Z G A LL ERY, N EW Y ORK , NY R AY P AR K ER A MER IC AN , 1922–1990 61
U NTIT L ED, 1953 OIL ON C ANVAS 28 X 41 I N C HES SI GNE D AN D D ATE D 1953 VERSO P ROVENANCE : PR I VATE CO LL E C T I ON , VI RG I N I A R AY P AR K ER A MER IC AN , 1922–1990 62
U NTIT L ED, 1951 INK AN D GO U A C HE ON PA P ER 28 X 41 I N C HES SI GNE D AT L OWER C ENTER , S I GNE D AN D D ATE D 3–51 AT UPP ER R I GHT P ROVENANCE : WASHB U RN G A LL ERY, N EW Y ORK PR I VATE CO LL E C T I ON , CONNE C T ICU T 63
64 CENTER PAGE U NTIT L ED, 1971 OIL ON C ANVAS 80 X 54 I N C HES P ROVENANCE : RU TH B RA U NSTE I N , S AN F RAN CI S C O , C A R AY P AR K ER A MER IC AN , 1922–1990
S TEP H EN P A C E A MER IC AN , 1918–2010 S ENTINE L S, 1955 OIL ON C ANVAS 60 X 69 1/2 I N C HES SI GNE D AN D D ATE D ‘55 AT L OWER R I GHT P ROVENANCE : VAN D ERWO UD E TANANBA U M G A LL ERY, NY PR I VATE CO LL E C T I ON , N EW Y ORK (PU R C HASE D FROM THE ABOVE I N 1987) O PP O S ITE PAGE 56–16, 1956 OIL ON C ANVAS 79 1/2 X 66 I N C HES SI GNE D AN D D ATE D ‘56 AT L OWER R I GHT SI GNE D AN D I NS C R I BE D AS T I T L E D VERSO P ROVENANCE : H OWAR D WI SE G A LL ERY, N EW Y ORK 66
U NTIT L ED ( T OTEM) , 1960 OIL ON C ANVAS 50 X 60 I N C HES SI GNE D AN D D ATE D 1960 AT UPP ER L EFT P ROVENANCE : T HE E STATE OF THE A RT I ST © M ATT MU R P HY S T UDI O , S AN F RAN CI S C O DE C ORATOR S HOW C ASE PHOTOGRA P H BY: J OHN B E D E LL PHOTOGRA P HY P AUL BURLIN A MER IC AN , 1886–1969 69
P AUL BURLIN A MER IC AN , 1886–1969 PAYSAGE A NIMÉ, 1957 OIL ON C ANVAS 48 X 56 I N C HES SI GNE D AT L OWER R I GHT P ROVENANCE : T HE E STATE OF THE A RT I ST O PP O S ITE PAGE S AID COU L DN’T B E D ONE, 1959 OIL ON C ANVAS 84 X 66 SI GNE D AN D D ATE D ‘59 AT L OWER R I GHT P ROVENANCE : T HE E STATE OF THE A RT I ST 70
JO H N FERREN A MER IC AN , 1905–1970 M OJAVE #1, 1954 OIL ON C ANVAS 50 X 82 I N C HES SI GNE D, D ATE D AN D T I T L E D VERSO P ROVENANCE : S TAB L E G A LL ERY, N EW Y ORK AM S A C HS G A LL ERY, N EW Y ORK M ARV I N K OEN I G CARNEG I E INST I T U TE , P I TTSB U RGH , PA (1955) 72
#8 G RIDIRON OIL ON C ANVAS 40 X 40 I N C HES SI GNE D AN D T I T L E D VERSO P ROVENANCE : G RAHAM G A LL ERY, N EW Y ORK H ARO LD R OSENBERG , N EW Y ORK PR I VATE CO LL E C T I ON , N EW Y ORK P ERLE FINE A MER IC AN , 1905–1988 74
F IGURE D ES C ENDING A LADDER, 1960 OIL ON C ANVAS 43 X 48 I N C HES SI GNE D, T I T L E D AN D D ATE D 1960 VERSO P ROVENANCE : PR I VATE CO LL E C T I ON , N EW Y ORK , NY 75
TH EO D OROS S TA M OS G REEK /A MER IC AN , 1922–1997 S UN G AMES #3, 1959–78 OIL ON C ANVAS 64 X 70 I N C HES SI GNE D AT L OWER L EFT SI GNE D, T I T L E D AN D D ATE D VERSO P ROVENANCE : E STATE OF THE A RT I ST A C A G A LL ER I ES , N EW Y ORK , NY 76
78 LEFT: J A M ES B ROO K S RIG H T: GIOR G IO CAVALLON
JA M ES BROO K S A MER IC AN , 1906–1992 80
P REVIOU S PAGE LEFT G UDRUN, 1971 OIL ON C ANVAS 72 X 72 I N C HES SI GNE D AT L OWER R I GHT: “J B ROOKS ” SI GNE D, D ATE D 1971 AN D T I T L E D VERSO P ROVENANCE : M ARTHA J A C KSON G A LL ERY, N EW Y ORK , NY G R U ENEBA U M G A LL ERY, N EW Y ORK , NY PR I VATE CO LL E C T I ON , N EW Y ORK O PP O S ITE PAGE R ENEE L , 1967 AC RY LIC ON C ANVAS 60 X 72 I N C HES SI GNE D AT L OWER R I GHT; S I GNE D AN D T I T L E D VERSO P ROVENANCE : G R U ENEBA U M G A LL ERY, N EW Y ORK (L ABE L VERSO ) PR I VATE CO LL E C T I ON , LOS A NGE L ES , C A U NTIT L ED AC RY LIC ON PA P ER ON BOAR D 21 1/2 X 29 1/2 I N C HES SI GNE D AT L OWER R I GHT P ROVENANCE : PR I VATE CO LL E C T I ON , WASH I NGTON , DC 81
C H ARLES HO W AR D A MER IC AN , 1899–1978 PAINTING 1962 ( I X) OIL ON C ANVAS 9 1/2 X 13 I N C HES 17 1/2 X 21 I N C HES FRAME D SI GNE D, D ATE D 1962 AN D T I T L E D VERSO P ROVENANCE : MCR OBERTS & TU NNAR D LT D, LON D ON PA UL H ARR I S , DA LL AS , T X EX H I B I TE D: MCR OBERTS & TU NNAR D, LT D., CHAR L ES H OWAR D, AP R IL - M AY, 1963, C ATA L OG U E NO . 12 (L ABE L VERSO ) 82
GEOR G E R I CK EY A MER IC AN , 1907–2002 T WO T RA P EZOIDS ECC ENTRI C , O NE UP , O NE D OWN, 1978 S TA I N L ESS STEE L 68 X 58 1/2 X 12 1/2 I N C HES IN CI SE D W I TH S I GNAT U RE , D ATE AN D N U MBERE D ON BASE : RIC KEY 1978 1/3 P ROVENANCE : WA LTER AN D DAWN C L ARK N ETS C H , CH IC AGO , IL EXH I B ITE D: LI V I N G W IT H A R T, TWO: THE C OLLEC TI N G OF WAL T ER AND D AWN C LAR K N E T SCH , MI AM I UN I VERS I TY A RT MU SE U M , OX FOR D, O H I O ; T HE S N I TE MU SE U M OF A RT, UN I VERS I TY OF N OTRE DAME , N OTRE DAME , I N, S E P TEMBER 1983 – M AR C H 1984. 83
AD OL F R I CH AR D FLEIS CHM ANN G ERMAN / A MER IC AN , 1892–1968 COM P OSITION #510 B ROWN, W HITE, Y E LL OW, 1961 OIL ON C ANVAS 40 X 35 I N C HES SI GNE D, D ATE D 1961 AN D T I T L E D VERSO P ROVENANCE : T HE E STATE OF THE A RT I ST 84
L YNNE MAPP DREXLER A MER IC AN , 1928– 1999 GL OU C HESTER Y E LL OW, 1960 OIL ON C ANVAS 44 X 48 I N C HES SI GNE D, T I T L E D AN D D ATE D 1960 VERSO P ROVENANCE : T HE E STATE OF THE A RT I ST 86
KE LL ER F AIR II , 1959–1962 OIL ON C ANVAS 57 3/4 X 56 1/2 I N C HES SI GNE D, T I T L E D AN D D ATE D 1959–1962 VERSO P ROVENANCE : T HE E STATE OF THE A RT I ST NEXT PAGE S U NTIT L ED, 1959 OIL ON C ANVAS 57 X 83 I N C HES SI GNE D AN D D ATE D VERSO P ROVENANCE : T HE E STATE OF THE A RT I ST 87
O PP O S ITE PAGE U NTIT L ED, 1960 OIL ON C ANVAS 62 1/2 X 48 I N C HES SI GNE D AN D D ATE D “K Y L E M ORR I S ‘60” L OWER L EFT, S I GNE D AN D D ATE D “20.JULY.’60/K Y L E M ORR I S /6” VERSO P ROVENANCE : K OOT Z G A LL ERY, N EW Y ORK N UMBER 10, 1956 OIL ON C ANVAS 52 X 67 I N C HES P ROVENANCE : S TAB L E G A LL ERY, N EW Y ORK T O L E D O MU SE U M OF A RT, T O L E D O , O H I O EXH I B ITE D: COR C ORAN MU SE U M , WASH I NGTON , DC , 25 TH BI ENN I A L 1957, S E P TEMBER 1957–1958 (L ABE L VERSO ) KYLE MORRIS A MER IC AN , 1918–1979 91
