Whistler and his Influence

Whistler and his Influence
An exhibition organized by Thomas Colville Fine Art
Cover image: Whistler, Mother and Child (plate 5)
Whistler and his Influence
An exhibition organized by Thomas Colville Fine Art
The Art Show
The Park Avenue Armory
New York, New York 10065
March 4-8, 2015
List of Plates
Artist & Title
List of Plates (cont.)
Plate
James Abbott McNeill Whistler
Harmony in Blue and Pearl: The Sands, Dieppe
Green and Silver - The Three Clouds
Penthouse of the Public House in St. Ives, Cornwall
Women and Children outside a Brittany Shop
Mother and Child
The Palace in Rags
La Dormeuse
1
2
3
4
5
6
7
Robert Frederick Blum
Self Portrait
8
Hercules Brabazon Brabazon
Gibraltar
9
Dennis Miller Bunker
The Station
10
Sören Emil Carlsen
Afternoon Landscape
On the Lagoon, Venice
11
12
Eugène Carrière
Portrait of Madame Carrière
13
Maurice Denis
Florence, Piazza San Gallo
14
Frank Duveneck
On the Steps of San Salute
15
Albert Goodwin
A Garden, Naples and Vesuvius
16
Charles Guilloux
Evening
17
Artist & Title
Plate
Alexander Harrison
Beach Tides
18
John La Farge
Dawn. An Allegorical Study in Watercolor
On the Beach. Satapuala. Upolu, Samoa. Moonlight.
19
20
Henri Le Sidaner
Camille Le Sidaner, Epouse de L’Artiste
21
Georges Lemmen
Portrait of a Girl
22
Giorgio Morandi
Paesaggio, Casa Bruciata
23
Georgia O’Keeffe
Untitled (Grey Wash Forms)
24
Walter Sickert
Modes & Lingerie: A Shop in Dieppe
25
Joseph Stella
Painter’s Row: Dark Bedroom
26
Dwight William Tryon
Autumn Sunset
Seascape at Twilight
27
28
John Henry Twachtman
River under the Hills at Arques-la-Bataille
Sailing in the Mist
29
30
Julian Alden Weir
Anna Arranging Flowers
31
Introduction
By the 1880’s, James McNeill Whistler had become the first
American artist to achieve international fame through his evocative
paintings of women, painterly abstract nocturnes, innovative
prints, and intimate pastel vignettes. The artist’s muted palette and
ethereal materiality of form in his Japanese-inspired compositions
continue to influence generations of artists throughout Europe and
the United States.
The examples I have chosen for this exhibition dating from
Whistler’s mature period invite close examination. With their
diminutive scale, muted colors, subtly articulated flat spatial
relationships, and the dissolution of peripheral detail, these “small
beauties,” as Whistler called them, embody his revolutionary
way of seeing. To enhance the experience of these visual jewels,
I have tried to evoke Whistler’s manner of presentation in their
installation.
Displayed alongside this grouping of Whistler’s works in oil,
pastel, watercolor, and graphite, are a sampling from a number of
different artists reflecting the scope of his influence.
Morandi, Paesaggio, Casa Bruciata
6
Whistler, Penthouse of the Public House in St. Ives, Cornwall
Whistler is an artist I have long admired and I have been
fortunate in handling a number of his works. Illustrating various
aspects of his imagination, these examples from my current
inventory are among the best I have owned.
7
Plate 1
JAMES ABBOTT MCNEILL WHISTLER
(American 1834-1903)
Harmony in Blue and Pearl: The Sands, Dieppe, circa 1885
Oil on panel
9 x 5 1/2 inches
Signed with butterfly lower right
Provenance
The Artist | Dowdeswell, London, 1886 | Purchased from the above by Sir Henry Irving, London, 1886 for 30 pounds | Gifted
from the above to Ellen Terry, London | Purchased from the above by Scott & Fowles, New York | Purchased from the above by
the Cincinnati Art Museum, 1921 | Sale: Parke-Bernet, 18 October 1945, lot 37 | Purchased at the above sale by Macbeth Galleries,
New York | Purchased from the above by Mrs. Caroline R. Hotchkiss (Mrs. C.R. Foulke) | Sale: Sotheby’s, New York, 29 November
1990, lot 77 | The Westerevelt Company, Tuscaloosa, Alabama | Private collection, 2013
Literature
Art in May in Chronicle of Art, IX, 1886, pg. xxxi | Saturday Review, 22 May 1886 | 29th Annual Exhibition of American Art,
Cincinnati Art Museum, 27 May-31 July 1922, no 23, illustrated | Whistlers at the Cincinnati Museum, II, Fine Arts Review, October
1922, p. 9, illustrated | Pousette-Dart, N., James McNeill Whistler, New York, 1924, plate 44 | Andrew McLaren Young, Margaret
F. MacDonald, Robin Spencer, The Paintings of James McNeill Whistler, New Haven and London, Yale University Press, 1980, p. 159,
no. 327 and plate 203 | Tom Artstrong, An American Odyssey: The Warner Collection of Fine and Decorative Arts, Gulf States Paper
Corporation, Tuscaloosa, Alabama, New York, The Monacelli Press, 2001, p. 130, illustrated
Exhibited
London, Messrs Dowdeswell, catalogue designed by Whistler, ‘Notes’ - ‘Harmonies’ - ‘Nocturnes’, second series, May 1886, as
Harmony in blue and pearl-The Sands, Dieppe
8
9
Plate 2
JAMES ABBOTT MCNEILL WHISTLER
(American 1834-1903)
Green and Silver - The Three Clouds, 1888
Watercolor on linen
5 1/3 x 8 2/3 inches
Signed with butterfly lower right center
Inscribed Former collection of Comtesse Greffulhe, Drouot 1955/Gift of Walter Gay
on the reverse
Provenance
Comtesse Greffulhe | Drouot, 1955
Literature
Margaret F. MacDonald, James McNeill Whistler: Drawings, Pastels, and Watercolours: A Catalogue Raisonné, New Haven and
London, 1995, p. 428, no. 1174
Exhibited
Munich, Royal Palace of Munich, Third International Art Exhibition (Dritte Internationale Kunstausstellung) - Munich Anniversary
Exhibition, June 1888, p. 171 in exhibition catalogue, no. 2729 as Grau and Silber: Die drei Wolken | New York, H. Wunderlich &
Co., Notes - Harmonies - Nocturnes, March, 1889, no. 18
Catalogue Note
This recently rediscovered work was a gift from the American expatriate painter Walter Gay to the Comtesse Greffulhe, a celebrated
patron of the arts and admirer of Whistler.
Whistler’s minimal marine views owe their genesis to his association with Gustave Courbet, who introduced Whistler to his
own spare treatment of the subject in Trouville in the autumn of 1865. Twenty-three years later, Whistler created this sensitive
interpretation of a rainy day on the same beach at Trouville, employing a narrow vertical format, a muted silver-green tonal
harmony, a distant disposition of figures, and the considered placement of his faux seal to evoke his personal sense of a Japanese
aesthetic.
10
11
Plate 3
JAMES ABBOTT MCNEILL WHISTLER
(American 1834-1903)
Penthouse of the Public House in St. Ives, Cornwall, circa 1883-84
Watercolor on paper
6 1/2 x 4 1/2 inches
Provenance
The Artist | Acquired from the above by Walter Sickert | Acquired from the above by Hesslein, 1905 | Private collection, Portland,
Oregon, by 1984 | Private collection, Nevada | Roger Abbott, Cottage Grove, Oregon | Acquired from the above by a private
collection, Eugene, Oregon, 1986
Literature
Walter R. Sickert, letter to the editor, The Works of Whistler, New Age, Vol. X, February 29, 1912, p. 431, no. 18 | Margaret F.
MacDonald, James McNeill Whistler: Drawings, Pastels, and Watercolours: A Catalogue Raisonné, New Haven and London, 1995, p.
350-51, no. 921, illustrated
12
13
Plate 4
JAMES ABBOTT MCNEILL WHISTLER
(American 1834-1903)
Women and Children outside a Brittany Shop, circa 1888
Watercolor on linen
5 x 8 1/2 inches
Provenance
In the artist’s studio at his death | Miss R. Birnie Philip (sister-in-law of the artist), 1903 | Acquired from the above by Colnaghi &
Co., London, March 1943 | Acquired from the above by Villiers Davis, London, April 30, 1943 - 1985 | Sale Christie’s, New York,
December 6, 1985, lot 182, illustrated in color | Acquired by a private collection from the above sale, 1985-2012
Literature
Margaret F. MacDonald, James McNeill Whistler: Drawings, Pastels, and Watercolours: A Catalogue Raisonné, New Haven and
London, 1995, p. 432, no. 1187, illustrated
Catalogue Note
In Chelsea in 1884, Whistler began his celebrated close-up views of shop fronts focusing on the qualities of color, line and form – a
motif that occupied him throughout his career. Within the arrangements of rectangular shapes, which emphasized the flatness of
the picture plane, the details of the centrally focused image are reduced to subtle patterns of soft color and value. These concerns,
associated today with modernism, are the essential tenets of Whistler’s style.
Created on his honeymoon trip in Brittany in the fall of 1888, this astute observation of daily life is conveyed through the most
subtle means of artistic expression. Using evanescent sand-colored washes to imply façade and pavement, Whistler provides a hint of
context to the central setting, described in precisely conceived touches of delicate hues. Here, the weight and essence of the women,
children, and dog are felt rather than detailed, creating a balance between narrative and decorative effect.
14
15
Plate 5
JAMES ABBOTT MCNEILL WHISTLER
(American 1834-1903)
Mother and Child, circa 1890
Pastel on brown paper
9 1/2 x 7 inches
Provenance
John H. Wrenn, by 1904 | By family descent to a lady | Sale: New York, Sotheby’s, 2 December 1982, lot 14, illustrated | Private
Collection, Washington, D.C. | Sally Engelhard Pingree, Washington, D.C.
Literature
Margaret F. MacDonald, James McNeill Whistler: Drawings, Pastels and Watercolours: A Catalogue Raisonné, London/New Haven,
Yale University Press, 1995, pg. 464-465, no. 1282, illustrated
Exhibited
Boston, Copley Society of Boston, The Works of Whistler, The Memorial Exhibition, February 1904, p. 15, no. 115 | New York, M.
Knoedler & Company, Notes, Harmonies and Nocturnes: Small Works by James McNeill Whistler, 30 November – 27 December 1984,
no. 45 | London, The Tate Gallery, James McNeill Whistler: A Retrospective Exhibition, 12 October 1994 – 8 January 1995, no. 176;
Paris, Museé d’Orsay, 6 February – 30 April 1995; Washington, DC, National Gallery of Art, 28 May – 20 August 1995 | Chicago,
The Art Institute of Chicago, Songs on Stone: James McNeill Whistler and the Art of Lithography, 6 June – 30 August 1998, cat. no. 98
Catalogue Note
Whistler’s ethereal mother-and-child pastels of the 1890s are distanced, classicized portrayals of idealized domesticity, inspired
by similar sensual themes of the eighteenth-century Rococo, as well as the attenuated Tanagra figurines of ancient Greece with
their wispy remnants of pigment. In this work Whistler applies his aesthetics of subtle line and color to create a dreamy object of
contemplation. The tracery of his suggestive lines is combined with delicate touches of color to evoke the tenderness of a young
child’s vulnerability and a mother’s kiss.
16
17
Plate 6
JAMES ABBOTT MCNEILL WHISTLER
(American 1834-1903)
The Palace in Rags, 1879-80
Chalk and pastel on brown paper
11 x 6 1/2 inches
Provenance
Said to have been ‘selected by the master for a relative’ | The artists’ cousin, Ross Winans, Baltimore, Maryland | Albert Rouillier
Art Galleries, Chicago | Purchased from the above by Marshall Field, Chicago, 23 November 1915 | Passed to his widow, later Mrs.
Diego Suarez | Purchased from the above by Knoedler Galleries, New York, 15 June 1960 | Purchased from the above by Norman
B. Woolworth, May 1961 | Purchased through R. M. Light, California by Agnew, London, 1974 | Purchased by a Private Collector,
London, 1974-2014
Literature
Country Gentlemen, 5 February 1881 | Daily Telegraph, 5 February 1881 | T.R. Way, Memories of James McNeill Whistler, the
Artist, London and New York, 1912, pg. 52, no. 33, illustrated | Margaret F. MacDonald, Whistler, The Graphic Work: Amsterdam,
Liverpool, London, Venice, Liverpool, Walker Art Gallery, 1976, pg. 26 & 44, no. 99, plate 6, illustrated | R. Dorment and Margaret
F. MacDonald, James McNeill Whistler, New York, Harry N. Abrams, Inc., 1995, pg. 184-185, no. 105, illustrated | Alastair Grieve
and Margaret F. MacDonald, Whistler in Venice, 1994 | Margaret F. MacDonald, James McNeill Whistler: Drawings, Pastels, and
Watercolours: A Catalogue Raisonné, New Haven and London, 1995, p. 283, no. 770, illustrated | Alastair Grieve, Whistler’s Venice,
New Haven, Yale University Press, 2000, pg. 72-74, illustrated no. 75 | Margaret F. MacDonald, Palaces in the Night: Whistler in
Venice, Berkeley and Los Angeles, University of California Press, 2001, pg. 19, 21, 99 | Eric Denker, Whistler and his Circle in Venice,
London, Merrell Publishers Limited, 2003, pg. 26-27, fig. 6
Exhibited
London, Fine Arts Society, Venice Pastels, opened 29 January 1881, no. 33, lent by a private collector, Great Britain | New York,
Kennedy & Co., Pastels, Etchings and Lithographs by Whistler, November 1914, no. 5 | New York, Carroll Carstairs, Whistler Pastels
and Water Colours, 12 January – 5 February 1938 | New York and London, James McNeill Whistler, Arts Council Gallery, 1-24
September 1960; Knoedler Galleries, 2-30 November 1960, pg. 77-78, no. 80, lent by Mrs. Diego Suarez | New York, Coe Kerr
Galleries, Drawings and Watercolours, 17th – 20th Centuries, January-February 1972 | London, Liverpool, and Glasgow, Whistler,
The Graphic Work: Amsterdam, Liverpool, London, Venice, T. Agnew & Sons, Ltd., 6-30 July 1976; Walker Art Gallery, 20 August-26
September 1976; Glasgow Art Gallery and Museum, 7 October-11 November 1976 | New York, Knoedler & Co., Notes, Harmonies,
Nocturnes, 30 November-18 December 1984, no 88 | London, Paris, and Washington D.C., James McNeill Whistler, Tate Gallery, 13
October 1994-8 January 1995; Musee d’Orsay, 6 February-30 April 1995; National Gallery of Art, 28 May-20 August 1995
18
19
Plate 7
JAMES ABBOTT MCNEILL WHISTLER
(American 1834-1903)
La Dormeuse, circa 1882-85
Pencil on laid paper
3 5/16 x 4 3/16 inches
Signed with butterfly left center
Collector’s mark of Alfred Beurdeley (Lugt 421) lower right
Provenance
Mr. Tom McNay, London | Estate of Alfred Beurdeley, Petit’s, Paris, 2-4 June 1920, cat. no. 377 | Estate of Samuel Henry Nazeby
Harrington | Scott & Fowles, New York
Literature
Margaret F. MacDonald, James McNeill Whistler: Drawings, Pastels, and Watercolours: A Catalogue Raisonné, New Haven and
London, 1995, p. 327, no. 869, illustrated
20
21
Plate 8
ROBERT FREDERICK BLUM
(American 1857-1903)
Self Portrait, circa 1890
Oil on board
9 1/2 x 6 3/4 inches
Provenance
The artist | Gifted to Otto Henry Bacher by the artist | The estate of Otto Henry Bacher | Christophe Reynal, St. Ouen, France
| Berry-Hill Gallery, New York | R. H. Love, Chicago, Illinois | Collection of Graham Williford, Texas | The Jean and Graham
Devoe Williford Charitable Trust, until 2012
22
23
Plate 9
HERCULES BRABAZON BRABAZON
(British 1821-1906)
Gibraltar, circa 1880
Watercolor on paper
8 1/4 x 11 5/8 inches
Initialed H B B lower right
24
25
Plate 10
DENNIS MILLER BUNKER
(American 1861-1890)
The Station, circa 1886-89
Oil on canvas
14 1/4 x 18 1/4 inches
Signed To Tarbell/D.M. Bunker lower right
Provenance
Edmund C. Tarbell, gift from the artist | To his daughter, Mary Tarbell Schaffer, New Castle, New Hampshire | Acquired from the
above by Giovanni Castano, Boston, Massachusetts | Ira Spanierman, New York | Acquired from the above by Rita & Daniel Fraad,
1964-2004
Exhibited
New Britain, Connecticut, The New Britain Museum of American Art; New York, Davis & Long Company, Dennis Miller Bunker
Rediscovered, April-June 1978, no. 14 | Fort Worth, Texas, Amon Carter Museum, American Paintings, Watercolors, and Drawings
from the Collection of Rita and Daniel Fraad, May-July 1985, no. 16, p. 36-37, illustrated | Boston, Massachusetts, Museum of Fine
Arts; Denver, Colorado, Denver Art Museum, Dennis Miller Bunker: American Impressionist, January-June 1995, October-December
1995, no. 35, p. 17, 62, 111, 174, 182, illustrated in color p. 153.
26
27
Plate 11
SÖREN EMIL CARLSEN
(American 1853-1932)
Afternoon Landscape, circa 1907
Oil on canvas
24 1/2 x 29 1/2 inches
Signed Emil Carlsen lower left
Provenance
Collection of Duncan Phillips | Macbeth Gallery, New York | Edwin C. Shaw, Akron, Ohio, September, 1922 | The Estates James
A. & Dorothy C. Vaughn, Sea Island, Georgia
Literature
David A. Cleveland with foreword by John Wilmerding, A History of American Tonalism: 1880-1920, Manchester and New York,
Hudson Hills Press, 2010, p. 524-525, fig. 8.106, color illustrated
Catalogue Note
While Emil Carlsen had developed a reputation early in his career as one of late-nineteenth-century America’s preeminent still life
painters, by the turn of the next century he was renowned for the many landscapes he chose to represent his work at exhibitions
throughout the country.
Afternoon Landscape, painted at the Windham, Connecticut home of his close friend J. Alden Weir, reflects Carlsen’s unique
approach to landscape painting. As in his still life compositions, in which the considered placement of evocative articles and the
close values of their jewel-like surfaces elevate these works into objects of beauty and contemplation, this nestled sprawl of ancient
buildings is unified into a total harmony through the artist’s masterful touch and subtle coloration.
28
29
Plate 12
SÖREN EMIL CARLSEN
(American 1853-1932)
On the Lagoon, Venice, circa 1910
Oil on canvas laid down on wood
8 x 10 inches
Initialed E C lower left
Provenance
Estate of the artist
30
31
Plate 13
EUGÈNE ANATOLE CARRIÈRE
(French 1849-1906)
Portrait of Madame Carrière
Oil on canvas
21 3/4 x 18 inches
Signed Eugene Carriere lower left
Provenance
Collection of George Viau, Paris
Literature
Paris, Galeries Durand-Ruel, Catalogue des Tableaux Modernes: Pastels et Aquarelles, Composant la Collection de M. Georges Viau, 2
-3 March 1907, no. 6, illustrated | Barcelona, Exposition D’Art Francais, 1917
32
33
Plate 14
MAURICE DENIS
(French 1870-1943)
Florence, Piazza San Gallo, 1898
Oil on board
10 1/4 x 11 inches
Initialed and dated MD 98 lower right
Provenance
Count Harry Kessler | The Revlon Collection | Sale: Sotheby’s, New York, Impressionist and Modern Art, 10/9/1996, lot 30 |
Private Collection, Maine
Exhibited
Galerie Druet, Maurice Denis, Paris, France, 1904, no. 63
Note
This picture is to be included in the forthcoming catalogue raisonné being compiled by Claire Denis and Fabienne Stahl at no.
898.0216.
Catalogue Note
Maurice Denis was a leading member of Les Nabis, a group of late nineteenth-century Parisian painters who rejected the
Impressionist’s realistic observations of nature in favor of symbolic and decorative works. Denis’ style reflects many sources of
inspiration, including the color and design of Italian fifteenth century Primitives, the cropped imagery of Japanese prints, the sinuous
line of Art Nouveau, and the symbolism of Paul Gauguin and The Pont-Aven School.
In this work Denis has employed condensed elements, a frieze-like spatial organization, airless perspective, and opalescent color to
transform the sights and atmosphere of an early evening in one of Florence’s monumental piazzas into a dreamy twilight tableau.
34
35
Plate 15
FRANK DUVENECK
(American 1848-1919)
On the Steps of San Salute, 1884
Oil on canvas
10 x 14 inches
Monogrammed and dated FD 1884 lower left
Provenance
The collection of Lou Armentrout and Michael Welch, Columbus, Ohio
Catalogue Note
Famous for the dark Old Master derived portraits he developed in Munich, Frank Duveneck attracted there a following of young
American students whom he then led for study in Florence and Venice. The scenic beauty of Italy and the quality of its sunlight
inspired him to focus on outdoor scenes and to lighten and brighten his palette.
In this view from the steps of Santa Maria della Salute the artist has avoided the picturesque details beloved by tourists to create
this strikingly modern perspective. From the undulating surface above the submerged steps to the glint of sunlight silhouetting the
figures, Duveneck has narrowed his vision to express through delicate transitions of values and pigment the most subtle effects of
light within the humid envelope of gleaming overcast.
36
37
Plate 16
ALBERT GOODWIN
(British 1845-1932)
A Garden, Naples and Vesuvius, 1926
Pencil, pen & brown ink, watercolor & bodycolor
10 1/4 x 14 1/4 inches
Signed & dated Albert Goodwin 1926 lower right
Inscribed A Garden/ Naples & Vesuvius lower left
Provenance
Lyndon Goodwin Harris until 2006 | Estate of Lyndon Goodwin Harris until 2007
38
39
Plate 17
CHARLES GUILLOUX
(French 1866-1946)
Evening, 1895
Oil on canvas
16 7/8 x 21 inches
Signed and dated C. Guilloux 95 lower right
Provenance
Private collection, Paris
40
41
Plate 18
ALEXANDER HARRISON
(American 1853-1930)
Beach Tides, circa 1895
Oil on canvas
12 x 39 inches
Signed A. Harrison lower left
Provenance
Private Collection, New York
Literature
Cleveland, David, A History of American Tonalism: 1880-1920, Manchester, Vermont: Hudson Hills Press, 2010, pg. 112, illustrated
42
43
Plate 19
JOHN LA FARGE
(American 1835-1910)
Dawn.-Allegorical Study in Water Color, circa 1883
Watercolor and gouache on heavy buff paper
12 1/8 x 4 3/4 inches
Literature
Moore’s Art Gallery, Catalogue of a Collection of Oil and Water Color Paintings by John La Farge, New York, 26-27 March 1885, no. 87
Note
This painting is to be included in the Henry A. La Farge, James L. Yarnall and Mary A. La Farge catalogue raisonné of the artist’s
work.
Catalogue Note
“An exact study for a figure in one of a pair of windows made around 1883 for Arabella Worsham of New York (later Mrs. Collis
Potter Huntington). The windows are now in the American Academy for Arts & Letters on 155th Street in New York where they were
donated anonymously in 1925 by her son, Archer Milton Huntington (who took his step-father’s name).” -Letter from James Yarnall
to Thomas Colville on April 24th, 1998.
44
45
Plate 20
JOHN LA FARGE
(American 1835-1910)
On the beach. Satapuala. Upolu, Samoa. Moonlight., circa 1891
Watercolor on paper
7 x 9 1/2 inches
Provenance
Mrs. John Briggs Potter, 1954 | William Vareika Fine Arts, Newport, Rhode Island | Private Collection, Rhode Island, until 2011
Exhibited
New York, Durand-Ruel Galleries, Paintings, Studies, Sketches and Drawings, Mostly Records of Travel 1886 and 1890-91 by John La
Farge, 25 February – 25 March 1895, no. 81 | Paris, Societe Nationale des Beaux-Arts, Études, esquisses, dessins, Souvenirs et notes
de voyage (1886 et 1890-91) par John La Farge, 24 April – May 1895, no. 80 as Sur la plage – Satapuala, Upolu, Samoa (clair de lune) |
Newport, Rhode Island, William Vareika Fine Arts Ltd., John La Farge: American Artistic Genius and Renaissance Man (1835-1910),
28 August – 30 November 2009, as Samoa, Sail by Moonlight, no. W46
46
47
Plate 21
HENRI LE SIDANER
(French 1862-1939)
Camille Le Sidaner, Epouse de L’Artiste, circa 1907
Graphite pencil, color pencil and conte crayon on paper
5 3/4 x 6 7/8 inches
Signed Le Sidaner lower left
Provenance
Galleries Maurice Sternberg, Chicago, Illinois
Exhibited
Camille Mauclair, Le Sidaner, G. Petit, Paris, 1928, illustrated pg. 58 | Yann Farinaux, preface by Rémy La Sidaner, Le Sidaner:
L’Oeuvre peint et gravé, Paris, André Sauret, 1989, p. 325, no. 968, illustrated
Note
A postcard from Henri Le Sidaner to Monsieur Louis Le Sidaner, the artist’s grandson, accompanies this work.
48
49
Plate 22
GEORGES LEMMEN
(Belgian 1865-1916)
Portrait of a Girl
Charcoal on paper
12 1/4 x 11 inches
Stamped with estate stamp and numbered lower left
50
51
Plate 23
GIORGIO MORANDI
(Italian 1890-1964)
Paesaggio, Casa Bruciata, 1959
Watercolor and graphite on paper
13 1/4 x 9 3/4 inches
Provenance
Alitalia Collection, Rome | Sale: Finarte, Rome, December 8, 2009, lot 134
Catalogue Note
Although Morandi began working in watercolor in 1915, it was not until the last eight years of his life, when he retired from teaching,
that he produced the majority of his works in this medium. As with his still lifes, Morandi often created a series of variations on a single
subject in his landscapes.
In Paesaggio, Casa Bruciata, one of at least four variants on the subject of a nearby house, the artist was concerned with the formal
elements rather than the pictorial aspects of the scene. Morandi’s admiration for Cézanne, expressed here in pale liquid passages
and the negative space suggested with the bare sheet, is informed by his own exquisite sense of balance between abstraction and
representation to create this glowing image.
52
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Plate 24
GEORGIA O’KEEFFE
(American 1887-1986)
Untitled (Grey Wash Forms), 1936
Pencil on paper
6 x 9 inches
Signed and inscribed For Mary-I love you/-Georgia on verso
Provenance
The artist | Gift from the above to Mary Callery, New York, 1943 | By descent to the later owner from the above, 1978-2008 | The
estate of Baroness Marcella Korff, until 2009
Literature
B.B. Lynes, Georgia O’Keeffe: Catalogue Raisonné, vol. 1, New Haven, Connecticut, 1999, p. 560, no. 896, illustrated
54
55
Plate 25
WALTER SICKERT
(British 1860-1942)
Modes & Lingerie: A Shop in Dieppe, circa 1885
Oil on panel
9 3/8 x 5 5/8 inches
Signed Sickert lower left
Provenance
Terence Rattigan, London | To William Forsyth, London, circa 1950 | By descent to his daughter, London
56
57
Plate 26
JOSEPH STELLA
(American 1877-1946)
Painter’s Row: Dark Bedroom
Charcoal on paper
12 1/2 x 16 inches
Signed J. Stella lower right
Provenance
Richard York Gallery, New York, 1993 | The collection of Dodie Rosekrans, San Francisco
Literature
Elizabeth Crowell, Painter’s Row, The Survery, vol. xxi, January 6, 1909, p. 910, p. 910 | Irma B. Jaffee, Joseph Stella, 1970, p. 21, 176,
217, no. 16, illustrated | John I.H. Bsur, Joseph Stella, 1971, p. 26, no. 9, illustrated | Joann Moser, Visual Poetry: The Drawings of
Joseph Stella, 1990, p. 40, 43, 50, no. 48, illustrated
Exhibited
New York, Whitney Museum of Art, Joseph Stella, 1963, no. 67 | Fort Worth, Amon Carter Museum, Visual Poetry: The Drawings of
Joseph Stella, February 23– April 22, 1990
58
59
Plate 27
DWIGHT WILLIAM TRYON
(American 1849-1925)
Autumn Sunset, 1898-99
Oil on panel
17 1/2 x 25 1/4 inches
Signed and dated D W Tryon 1898-9 lower left
Provenance
Private collection, California
60
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Plate 28
DWIGHT WILLIAM TRYON
(American 1849-1925)
Seascape at Twilight, 1915
Pastel on paper
9 x 13 1/2 inches
Signed and dated D.W. Tryon 1915 lower left
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Plate 29
JOHN HENRY TWACHTMAN
(American 1853-1902)
River under the Hills at Arques-la-Bataille, circa 1884
Oil on canvas
15 x 22 inches
Inscribed J.H. Twachtman / signed by / T.W. Dewing lower left
Provenance
Estate of the artist | N.E. Montross, New York | American Art Association, American Art Galleries, New York, February 27,
1919 | Milch Galleries, New York, by 1921 | American Art Association, New York, January 28-29, 1926, lot 149 | American Art
Association, New York, January 19, 1933, lot 77 | Babcock Gallery, New York | To Reverend Van Hess, 1936 | Amory Goddard,
Sharon, Massachusetts | By descent to his granddaughters, until 2013
Literature
American Art Association, New York, The Notable Collection of American Paintings belonging to Mr. N.E. Montross, sale catalogue,
lot 40, illustrated | John Douglas Hale, The Life and Creative Development of John H. Twachtman, Ohio State University, 1957,
vol. 2, catalogue G, p. 464-465, no. 330A & 330B, both as Lake Under the Hills | Lisa N. Peters, John Twachtman (1853-1902) and
the American Scene in the Late Nineteenth Century: The Frontier within the Terrain of the Familiar, 2 vols., Ph.D. Dissertation, City
University of New York, 1955
Exhibited
Dallas Art Association, Adolphus Hotel, Texas, Second Annual Exhibition: American and European Art, April 7-21, 1921, no. 272, as
The Lake Under the Hill
Note
This painting is to be included in the forthcoming catalogue raisonné of the artist’s work being compiled by Lisa N. Peters, Ph.D. and
Ira Spanierman.
Catalogue Note
Although Twachtman’s earliest work reflected the dark palette of his Munich training, he had adopted lighter colors by the time he
painted this panoramic river view of the Normandy countryside. One of only six known examples of this subject, the most famous
of which is in the Metropolitan Museum, this recently rediscovered work was originally chosen for his own private collection by the
artist’s dealer, Newman Montross, where it remained until his death.
Bathed in the hazy atmosphere of summer, the quiet stillness of this tranquil scene is suggested through Twachtman’s softly rendered
linear forms, thin veils of bluish hues, and the mirrored reflection, gently punctuated by the ragged outline of the wild flowers in the
foreground.
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Plate 30
JOHN HENRY TWACHTMAN
(American 1853-1902)
Sailing in the Mist, circa 1895
Oil on canvas
30 x 21 inches
Provenance
Estate of the artist | By descent to the artist’s granddaughter, Phyllis Twachtman, Brooklyn, New York | Ira Spanierman, Inc.,
New York | Jacqueline Getty, Los Angeles | Geneva Marie Washburn Trust, Newport Beach, CA, after 1974 | Sale: Butterfield &
Butterfield, Los Angeles, CA, 12 November 1987, lot 2263 | Private Collection, Santa Barbara, CA |Property of the Barnard Estate
Literature
Stephen May, Visual Poetry: The Landscapes of John Henry Twachtman, Art & Antiques, Feb. 2000, p. 87 | Lisa N. Peters, John
Twachtman: A Painter’s Painter, New York, Spanierman Gallery, LLC, p. 39, 172-173, no. 47, illustrated
Exhibited
Los Angeles, CA, Los Angeles County Museum of Art, American Painting in Los Angeles Collections, May 7-Jun. 30, 1974, lent
by Mrs. Jacqueline Getty (Mrs. George F. Getty II) | New York, Spanierman Gallery, LLC, John Twachtman: A Painter’s Painter:
Perceptions of Realism and Impressionism (1878-1902), 4 May – 24 June 2006
Note
This painting is to be included in the forthcoming catalogue raisonné of the artist’s work being compiled by Lisa N. Peters, Ph.D. and
Ira Spanierman.
Catalogue Note
Whistler’s minimalist aesthetic and Monet’s painterly brushwork, the seminal influences on John Henry Twachtman’s style, are
immediately recognizable in Sailing in the Mist, one in a series of four versions of what is perhaps his most memorable image.
Much as Whistler ethereally floated his pastels across a toned paper, Twachtman rhythmically scattered feathery scumbles of delicate
hues across his tannish ground to create depth and atmosphere in this magical evocation of a small boat dissolving into an infinite
expanse of water and air.
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Plate 31
JULIAN ALDEN WEIR
(American 1852-1919)
Anna Arranging Flowers, circa 1890
Oil on canvas
33 3/4 x 24 inches
Provenance
The artist | Mrs. Gregory Smith, granddaughter of the artist, Old Lyme, CT, until 1998 | Caroline Bick, her daughter, until 2005 |
Julian Bick, her son, until present
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