RICHARD DIEBENKORN P A I N T I N G S A N D W O R K S O N P A P E R , 1 9 4 6 –1 9 5 2
RICHARD DIEBENKORN PAINTINGS AND WORKS ON PAPER, 1946 –1952
RI C H A R D D I E B E N KO R N : B E G I N N I N G S , 1 9 4 2 –1 9 5 5 S C OT T A . SHIELDS, PH.D.
Late in life, Richard Diebenkorn (1922–1993), contemplating his career, remarked, “I think what one is about now has intimately to do with what one did yesterday, ten years ago, thirty years ago. Just as you can continue that progression, what somebody else did, forty years earlier, a hundred years earlier, I think that’s what one as an artist probably is.”1 Focusing on the paintings and drawings that precede his complete shift to figuration in 1955, this essay takes Diebenkorn at his word: that understanding his overall production depends on a broader knowledge of his early work. His representational pieces and early abstractions set the stage for what would follow, as did his nonobjective, Abstract Expressionist paintings. Collectively, these drawings and paintings reveal the forces that shaped Diebenkorn as a young artist: the California landscape; his service in the US Marines; and his teachers, the reviews he read, and the work of other artists he admired (both those he knew personally and those he did not). Audiences today generally know Diebenkorn’s career in terms of three major evolutions: the Sausalito, Albuquerque, Urbana, and “early Berkeley” periods of Abstract Expressionism (1947–1955); the Berkeley figurative/representational period (1955–1966); and the Ocean Park (1967–1987) and Healdsburg (1988–1992) series of abstractions. Moving between realms of exterior and interior experience, he did not believe that art needed to be one or the other; it could ebb and flow amid the imaginative world of the mind and observable reality, with manifestations leaning strongly in a particular direction but with inspiration coming from both. Richard Diebenkorn in front of his home on Edith Street. Albuquerque, New Mexico, 1951.
As an artist, Diebenkorn was precocious, achieving initial success with his fully realized Abstract Expressionist paintings before age thirty. Major recognition came first in 1948 with a solo exhibition at the California Palace of the Legion of Honor, a remarkable accomplishment for an artist of twenty-six who had not yet obtained a college degree. National recognition followed while he pursued a master’s degree at the University of New Mexico in Albuquerque, when 5
Robert Motherwell and Ad Reinhardt included him in their 1951 Modern Artists in America, a text that surveyed upto-the-minute contemporary art. In the spring of 1953, when he was teaching at the University of Illinois, he sold A Day at the Race to the Carnegie Institute, the first important East Coast institution to purchase a painting. A year later, after he returned to California and settled in Berkeley, New York’s Solomon R. Guggenheim Museum featured him in Younger American Painters. By 1955, his work was being shown in important exhibitions in the United States and Europe, and the artist himself was being hailed as California’s leading Abstract Expressionist painter.2 Though he hated being pigeonholed, Diebenkorn nevertheless accepted the label because he felt “a kinship with the honest search of these painters.”3 Though Diebenkorn’s evolution was extraordinarily rapid, his path was as circuitous as it was exceptional, as evidenced by the diversity of his early drawings and paintings. These works showcase the artist’s development and evolution to maturity, countering the prevailing notion that he began his career as an Abstract Expressionist.4 Diebenkorn himself placed his beginnings in representation and acknowledged three major shifts in his work: “into abstraction from representation, back to representation, then back to abstraction.”5
The Honest Search In his early postwar work, Diebenkorn conceptually worked out his compositions in advance, making numerous small drawings on a single sheet, with some of them relating closely to paintings of the same period. He did not become truly improvisational until 1948, after he had garnered the technical skills and personal confidence necessary to start each work afresh, without planning or formula. He came to determine that part of art making was “physical,” another aspect was “intellectual,” and the most important part of all was “intuitive.” “The percentage changes with each painting,” he explained. “There should be a balance.”6 This balance was encapsulated within the bearing and personality of the man himself, his above-average height and athletic physicality at seeming odds with his quiet, introspective, and deliberative nature. It was also inherent in his compositions—which combined expressive linearity with more meditative passages—and to his process, which emended visceral, extemporaneous, and improvisational elements in a cerebral process of correction, reduction, and discipline. Abandoning the security of preliminary planning was an incredibly important step for Diebenkorn, and it was this that made his work Abstract Expressionist. Later, as he looked back on this period, he noted longingly the days when his art “flowed so freely” in its spirit of invention and improvisation.7 It was a process related to action painting of the type that his hero Willem de Kooning pursued, along with that of other artists, most notably Jackson Pollock. Diebenkorn allowed viewers to witness his art’s evolution—almost as if they were painting with him—and he would mix his colors anywhere: “on the palette, on the end of the brush, or on the surface of the canvas.”8 Diebenkorn’s early Abstract Expressionist paintings were about themselves and their maker, not external reality. By the early 1950s, however, he started to question this assumption. “Abstract means literally to draw from or 6
separate,” he said. “In this sense every artist is abstract for he must create his own work from his visual impressions. A realistic or non-objective approach makes no difference.”9 What was most important to Diebenkorn was that his work be honest, that it exist for its own sake and on its own terms, that it communicate the process of its creation, and that it do so with directness. He relished the search and struggle, making them critical components of his art. He feared ever becoming rote. “A way is just what I don’t want,” he explained. “With each new painting, I find a way all too soon, and that’s when the trouble starts.”10 Once Diebenkorn attained a command of his craft, he intentionally sought to create a struggle for himself in order to mitigate his penchant for color, the natural grace of his line and brushwork, and his easily balanced compositions. He did so by introducing juxtapositions of discordant hues, by cultivating a “deliberate awkwardness,” and by painting over his initial efforts to change direction entirely.11 He would battle against his innate predisposition toward the refined, gracious, and elegant throughout his career, which created a compelling tension in his work that he exploited to maximum advantage. According to artist John Hultberg, he even wanted his paintings to “have a bad effect, to be ugly up close.”12 For Diebenkorn, this meant overpainting some areas while leaving other sections ostensibly unfinished. He also used his brush to scrub on pigment that at times looked messy or retained chunky deposits, and his seemingly random forms and energetically meandering lines kept the whole from being too correct, finished, or resolved, while at the same time making the work feel alive. Regardless of whether they became—or could be considered—beautiful, Diebenkorn’s paintings were the result of hard work and perseverance. The artist wanted it that way: “I want a painting to be difficult to do. The more obstacles, obstructions, problems—if they don’t overwhelm—the better… I respond most to painting that cuts across grain rather than following it.”13 For him, painting was physical and emotional, the process exhausting. He worked with fervor—up and down, side to side—his progress interrupted by a tumult of elations and disappointments.
Miraculously Right Though Diebenkorn’s mature process did not allow for preliminary studies, he did produce numerous drawings, which in sheer numbers make up most of his oeuvre. Many of these “drawings,” in his estimation, were really “fully developed paintings,” and he approached them in much the same way that he did a canvas, though always aiming to be sensitive to the particular medium he was using.14 He worked on paper in traditional black-and-white media like graphite, charcoal, and ink, and he introduced color through watercolor, gouache, crayon, oil, and even elements of collage. Because the drawings were generally smaller and the materials not as expensive, he felt less pressure in making them, granting the luxury of “a kind of tryout or rehearsal of general possibilities.”15 Many have described Diebenkorn’s process as one of trial and error—even the artist himself—but it was not so much that he was creating and correcting “errors” as he was attempting to find a better way, the extended journey relevant to the final result.16 Though his paintings often began with flash and painterly flair, most would go through a methodical process of working over and revising, with the artist’s marks and corrections—visible and invisible—
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recording his progression and struggle like the accretions of time, a process far removed from action painting’s immediacy. He kept working until he believed the painting was not wrong anymore, feeling his way until he was satisfied. “This is an extremely mysterious thing to me,” he explained. “The painting may be all wrong to me at one moment, and then perhaps… it can be almost right, or miraculously almost right to me.”17 Diebenkorn looked at his art almost from the standpoint of an outsider, not its creator, and for him, the process of alteration and subtraction became as critical to his process as the initial application of paint—if not more so. He arrived at his conception at the end, not the beginning, by following his instincts and allowing the painting itself to guide his progress. “When I arrive at the idea,” he stated matter-of-factly, “the picture is done. There seems something a little immoral about touching up an idea.”18 Over the course of his career, Diebenkorn made increasing use of pentimenti, or ghost images of his former corrections or revisions, doing so because they served both a compositional purpose and evidenced his process. It was a manner of working deeply engrained in the artist, as antecedents appear in several of his World War II drawings and watercolors, the outlines of one form overlapping those of another in edifying layers. Visible revisions like these would later become a signature part of his figurative paintings and, especially, his large Ocean Park canvases. For Diebenkorn, the idea of concealing and revealing had much to do with his repeated exposure to the art of Henri Matisse, who would prove an important and enduring source of inspiration. Although Diebenkorn certainly appreciated Matisse’s remarkable abilities as a colorist, he was equally keen on the master’s practice of painting and painting out, which enabled viewers to retrace his steps. In the Frenchman’s words, “A large part of the beauty of a picture arises Richard Diebenkorn with his children in front of their home. Albuquerque, New Mexico, May 1950.
from the struggle which an artist wages with his limited medium.”19 Diebenkorn took this to heart, his own drawings and paintings having often been described as autobiographical, because they communicate the history of that particular work, along with the collective history that he brought to bear in creating it. “A successful painting has to have something of you and your experience within it…,” he explained. “I like to sense the search in a painting.”20 8
NOTES Richard Diebenkorn *This essay is based on text from the exhibition catalogue Richard Diebenkorn: Beginnings, 1942–1955, a book written by Scott A. Shields and published by Pomegranate Communications, Inc., in 2017.
1. Richard Diebenkorn, interview by Susan Larsen, May 7, 1985, oral
10. Diebenkorn, quoted in Dan Hofstadter, “Profiles: Almost Free of the Mirror,” The New Yorker, September 7, 1987, 59.
history interview May 1, 1985–December 15, 1987, transcript,
11. Elmer Bischoff, quoted in Nordland, Richard Diebenkorn, 34.
Archives of American Art, Smithsonian Institution, 44. 2. These included the American Federation of Arts’s Museum Fund
12. John Hultberg, quoted in Maurice Tuchman, “Diebenkorn’s Early
Purchase Collection (a seven-year US tour that began in 1955) and
Years,” in Richard Diebenkorn: Paintings and Drawings, 1943–1976
the Museum of Modern Art’s U.S. Representation: International
(Buffalo: Albright-Knox Art Gallery, 1976), 10.
Exhibition of Painters under 35 (circulated by the Congress for
13. Richard Diebenkorn, unpublished studio notes, quoted in Jane Livingston, The Art of Richard Diebenkorn (New York: Whitney
Cultural Freedom, Washington DC, to Rome, Brussels, and Paris in 1955).
Museum of American Art, 1997), 67. 14. Diebenkorn, quoted in Frank Gettings, Drawings, 1974–1984
3. Diebenkorn, quoted in James Schevill, “Richard Diebenkorn,” Frontier 8 (January 1957): 21.
(Washington, DC: Smithsonian Institution Press, 1984), 77. 15. Diebenkorn, quoted in Gettings, Drawings, 77.
4. Curator John Elderfield, for instance, one of Diebenkorn’s most
perceptive biographers, noted that Diebenkorn was “unusual in being 16. See Thomas Albright, Art in the San Francisco Bay Area, 1945– one of the earliest modern artists whose development effectively
1980 (Berkeley: University of California Press, 1985), 67; Livingston,
begins in abstraction,” basing this assessment on what little student
The Art of Richard Diebenkorn, 70; and Nordland, “The Figurative
and formative work was then known. John Elderfield, The Drawings
Works of Richard Diebenkorn,” 34, 35.
of Richard Diebenkorn (New York: The Museum of Modern Art and
17. Diebenkorn, quoted in Frederick Wight, “The Phillips Collection— Diebenkorn, Woelffer, Mullican: A Discussion,” Artforum 1 (April
Houston Fine Art Press, 1988), 33. 5. Diebenkorn, quoted in Jan Butterfield, “Pentimenti: Seeing and
1963): 27.
Then Seeing Again” in Resource/Response/ Reservoir—Richard
18. Diebenkorn, quoted in Nordland, Richard Diebenkorn, 10.
Diebenkorn: Paintings 1948–1983, exhibition brochure (San
19. Henri Matisse, quoted in Henri Matisse and Jack D. Flam, Matisse on Art (New York: Phaidon, 1973), 73.
Francisco: San Francisco Museum of Modern Art, 1983), n.p. 6. Diebenkorn, quoted in Gerald Nordland, Richard Diebenkorn (New
20. Diebenkorn, quoted in Gerald Nordland, “Richard Diebenkorn:
York: Rizzoli, 1987), 225.
Routes to New Mexico,” in Gerald Nordland, Mark Lavatelli, and
7. Diebenkorn, interview by Larsen, December 15, 1987, transcript, 62.
Charles Strong, Richard Diebenkorn in New Mexico, foreword by
8. Herschel B. Chipp, “Diebenkorn Paints a Picture,” Art News 56 (May
Charles M. Lovell (Santa Fe and Taos: Museum of New Mexico Press
1957): 46.
and Harwood Museum of Art of the University of New Mexico,
9. Diebenkorn, quoted in Schevill, “Richard Diebenkorn,” 21.
2007), 19.
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UNTITLED (CR NO. 498) 1946 Oil on hardboard 25 5/8 x 19 inches (65.1 x 48.3 cm) 10
UNTITLED (CR NO. 547) C.1947 Oil on canvas 30 1/8 x 24 inches (76.5 x 61 cm) 11
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UNTITLED (CR NO. 550) C. 1947-48 Oil on canvas 16 1/8 x 24 inches (41 x 61 cm) 13
UNTITLED (CR NO. 505) C.1946 Oil on canvas board 24 x 20 inches (61 x 50.8 cm) 15
UNTITLED (CR NO. 566) C.1948 Watercolor, graphite, ink, and colored pencil on paper 19 7/8 x 14 7/8 inches (50.5 x 37.8 cm) 16
UNTITLED UNTITLED (CR (CR NO. NO. 562) 562) C.1948 C.1948 Gouache, Gouache, graphite, graphite, and and ink ink on on paper paper 19 7/8 7/8 xx 14 14 7/8 7/8 inches inches (50.5 (50.5 xx 37.8 37.8 cm) cm) 1 17 7
DRY REEF AND LAND FORMS (CR NO. 497) 1946 Oil and ink on cardboard 13 3/4 x 21 1/4 inches (34.9 x 54 cm)
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UNTITLED (CR NO. 530) C.1946-47 Gouache and graphite on paper 15 1/4 x 10 1/4 inches (38.7 x 26 cm) 20
UNTITLED UNTITLED (CR (CR NO. NO. 484) 484) C.1946 C.1946 Pasted Pasted paper, paper, construction construction paper, paper, crayon, crayon, gouache, gouache, graphite, graphite, charcoal, charcoal, and and pasted pasted cardboard cardboard on on paper paper 17 17 xx 14 14 inches inches (43.2 (43.2 xx 35.6 35.6 cm) cm) 2211
UNTITLED (CR NO. 526) C.1946-47 Pasted construction paper, pasted tracing paper, crayon, gouache, and graphite on poster board (Pennzoil) 13 3/4 x 11 inches (34.9 x 27.9 cm) 23
UNTITLED (CR NO. 579) C.1948 Oil on canvas 40 1/2 x 27 7/8 inches (102.9 x 70.8 cm) 24
UNTITLED (CR NO. 581) C.1948 Oil on canvas 35 1/4 x 30 inches (89.5 x 76.2 cm) 25
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UNTITLED (ALBUQUERQUE) (CR NO. 1165) 1951 Oil on canvas 41 1/2 x 77 inches (105.4 x 195.6 cm) 27
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#2 (SAUSALITO) (CR NO. 665) 1949 Oil on canvas 45 1/8 x 37 3/8 inches (114.6 x 94.9 cm) 29
UNTITLED (SAUSALITO) (CR NO. 680) 1949 Oil on canvas 28 7/8 x 24 inches (73.3 x 61 cm) 30
Untitled (CR no. 580) C.1948 Oil on canvas 45 x 34 3/4 inches (114.3 x 88.3 cm) 31
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UNTITLED (ALBUQUERQUE) (CR NO. 1093) 1951 Oil on canvas 56 1/2 x 41 1/2 inches (143.5 x 105.4 cm) 33
Richard Diebenkorn with his children. Albuquerque, New Mexico, 1951.
We are pleased to present this exhibition of the work of Richard Diebenkorn. The works in this exhibition were executed between 1946 and 1952. During this time Diebenkorn lived and worked in the Bay Area where he taught at California School of Fine Arts prior to moving in 1950 to Albuquerque to pursue his graduate work at the University of New Mexico. We are indebted to the directors and staff of the Richard Diebenkorn Foundation without whose generosity and collaboration this show would not be possible. We extend our gratitude to them and the family of the artist. Thanks also to Scott A. Shields for his perceptive essay about this body of work.
John Van Doren Dorsey Waxter
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RICHARD DIEBENKORN 19 2 2 – 19 9 3
Richard Diebenkorn, singular and distinguished American painter, draftsman, and printmaker who successfully explored both abstract and figurative painting, was born in Portland, Oregon in 1922. He attended Stanford University from 1940 to 1943 and was awarded his Bachelor of Arts in 1949. He studied at the University of California, Berkeley in 1943 and attended California School of Fine Arts in 1946. He received his Master of Arts from the University of New Mexico, Albuquerque in 1951. Diebenkorn’s earliest abstractions were made while the artist lived in Sausalito, California (1946–1949), Albuquerque (1950–1952) and Urbana, Illinois (1952–1953). In 1953 he moved to Berkeley, continuing his work in abstraction. The year 1955 marks the beginning of a period of eleven years when the artist worked from direct observation making figurative works from a model, along with still lifes, landscapes, and interiors. From 1966 to 1988 he lived in Santa Monica, taught at the University of California, Los Angeles from 1966 to 1973, and began his epic Ocean Park cycle in 1967. He moved to Healdsburg, California in 1988 where he worked exclusively on works on paper until his death in 1993. Recent and significant exhibitions have included Richard Diebenkorn: The Sketchbooks Revealed (2015–2016), Cantor Arts Center, Stanford University; Matisse/Diebenkorn (2016–2017), organized by the Baltimore Museum of Art and San Francisco Museum of Modern Art; and Richard Diebenkorn: Beginnings, 1942–1955 (2017–2019), organized by the Richard Diebenkorn Foundation in Berkeley in conjunction with the Crocker Art Museum in Sacramento; traveled to David Owsley Museum of Art, Ball State University, Muncie, Indiana; Portland Art Museum, Oregon; Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California; and Academy Art Museum, Easton, Maryland.
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PUBLIC COLLECTIONS
Akron Art Museum, Akron, OH Albright-Knox Art Gallery, Buffalo, NY Allen Memorial Art Museum, Oberlin College, Oberlin, OH Anderson Collection at Stanford University, Stanford, CA Arkansas Arts Center, Little Rock, AR Art Institute of Chicago, Chicago, IL Baltimore Museum of Art, Baltimore, MD Brooklyn Museum, Brooklyn, NY Chrysler Museum of Art, Norfolk, VA Carnegie Museum of Art, Pittsburgh, PA Cincinnati Art Museum, Cincinnati, OH City and County of San Francisco, San Francisco, CA Cleveland Museum of Art, Cleveland, OH Colorado Springs Fine Arts Center, Colorado Springs, CO Cranbrook Art Museum, Bloomfield Hills, MI Crocker Art Museum, Sacramento, CA CU Art Museum, University of Colorado, Boulder, CO Dallas Museum of Art, Dallas, TX Davis Museum and Cultural Center, Wellesley College, Wellesley, MA Denver Art Museum, Denver, CO Department of the Interior, Bureau of Reclamation Des Moines Art Center, Des Moines, IA Fine Arts Collection, University of California, Davis, CA Fine Arts Museums of San Francisco, San Francisco, CA Fogg Museum, Harvard Art Museums, Cambridge, MA Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY Georgia Museum of Art, University of Georgia, Athens, GA Grand Rapids Art Museum, Grand Rapids, MI Grunwald Center for the Graphic Arts, Hammer Museum, University of California, Los Angeles, CA Henry Art Gallery, University of Washington, Seattle, WA High Museum of Art, Atlanta, GA Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Honolulu Museum of Art, Honolulu, HI Indiana University Art Museum, Bloomington, IN Iris and B. Gerald Cantor Center for Visual Arts at Stanford University, Stanford, CA Kalamazoo Institute of Arts, Kalamazoo, MI Kemper Museum of Contemporary Art and Design, Kansas City, MO Los Angeles County Museum of Art, Los Angeles, CA Mildred Lane Kemper Art Museum, Washington University, St. Louis, MO Metropolitan Museum of Art, New York, NY Mills College Art Museum, Oakland, CA Milwaukee Art Museum, Milwaukee, WI Modern Art Museum of Fort Worth, Fort Worth, TX Montana Historical Society, Helena, MT Montclair Art Museum, Montclair, NJ Morgan Library and Museum, New York, NY Museum of Contemporary Art, Los Angeles, CA Museum of Fine Arts, Boston, MA Museum of Fine Arts, Houston, TX Museum of Modern Art, New York, NY National Academy Museum and School of Fine Arts, New York, NY National Gallery of Art, Washington, D.C.
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Nelson-Atkins Museum of Art, Kansas City, MO Neuberger Museum of Art, Purchase College, State University of New York, Purchase, NY New Mexico Museum of Art, Santa Fe, NM New Orleans Museum of Art, New Orleans, LA Nora Eccles Harrison Museum of Art, Utah State University, Logan, UT North Carolina Museum of Art, Raleigh, NC Norton Museum of Art, West Palm Beach, FL Norton Simon Museum, Pasadena, CA Oakland Museum of California, Oakland, CA Oklahoma City Museum of Art, Oklahoma City, OK Orange County Museum of Art, Newport Beach, CA Orlando Museum of Art, Orlando, FL Palmer Museum of Art, Pennsylvania State University, University Park, PA Pennsylvania Academy of the Fine Arts, Philadelphia, PA Philadelphia Museum of Art, Philadelphia, PA Phillips Collection, Washington, D.C. Phoenix Art Museum, Phoenix, AZ Picker Art Gallery, Colgate University, Hamilton, NY Princeton University Art Museum, Princeton, NJ Raymond Jonson Gallery Collection, University Art Museum, Albuquerque, NM Robert Hull Fleming Museum of Art, University of Vermont, Burlington, VT Saint Louis Art Museum, Saint Louis, MO San Antonio Museum of Art, San Antonio, TX San Francisco Museum of Modern Art, San Francisco, CA San Jose Museum of Art, San Jose, CA Santa Barbara Museum of Art, Santa Barbara, CA Santa Cruz Island Foundation, Carpinteria, CA Sheldon Museum of Art, University of Nebraska, Lincoln, NE Smith College Museum of Art, Northampton, MA Smithsonian American Art Museum, Washington, D.C. Solomon R. Guggenheim Foundation Solomon R. Guggenheim Museum, New York, NY UC Berkeley Art Museum and Pacific Film Archive, CA University of Arizona Museum of Art, Tucson, AZ University Art Museum, State University of New York at Albany, NY University of Iowa Museum of Art, Iowa City, IA University of Michigan Museum of Art, Ann Arbor, MI University of New Mexico Art Museum, Albuquerque, NM Virginia Museum of Fine Arts, Richmond, VA Walker Art Center, Minneapolis, MI Washington Art Consortium, WA Whitney Museum of American Art, New York, NY Wichita Art Museum, Wichita, KS William Benton Museum of Art, University of Connecticut, Storrs, CT Williams College Museum of Art, Williamstown, MA Yale University Art Gallery, New Haven, CT CANADA Art Gallery of Ontario, Toronto SOUTH KOREA Leeum, Samsung Museum of Art, Seoul, South Korea
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Published on the occasion of the exhibition Richard Diebenkorn: Paintings and Works on Paper 1946 -1952 March 19, 2020 – May 9, 2020 Design by Doyle Partners Edited by John Van Doren, Dorsey Waxter, and Nick Naber Essay ©2020 by Scott A. Shields Artwork photography by Richard Grant and Carl Schmitz ©2020 Richard Diebenkorn Foundation Additional photography ©Richard Diebenkorn Foundation (pp. 2, 6, & 32) We would like to thank the following people for their unwavering support in the production of this exhibition: Richard Grant, Gretchen Grant, Andrea Liguori, Angela Doctor, Rakia Faber, Katharine Fulton-Peebles, Daisy Murray Holman, and Michael Walker. ISBN: 978-1-7325933-1-2 Printed and bound in Boston by Grossman Marketing Group © VAN DOREN WAXTER, New York, NY. All rights reserved. No part of the contents of this catalogue may be reproduced without permission of the publisher. Cover: CR NO. 547, p. 9 Frontispiece: CR NO. 581, p. 23
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