I N S I D E : 2 0 2 4 AU C T I O N G U I D E • T H E PA L M B E AC H S H OW • AC E Q U I A M A D R E H O U S E • V I S I O N S O F A M E R I C A

ISSUE 73

Jan/Feb 2024

INVITING FINE CONSIGNMENTS

HOWARD NORTON COOK (1901 - 1980)
Prismatic Night #1, 1951
oil on canvas, 24 x 40 1/4 in.
The Gregory Warren Nelson Collection

UPCOMING CALENDAR
February 2024
March 2024
May 2024
July 2024
August 2024
September 2024
November 2024

Native Arts
Prints, Multiples + Works on Paper
Art of the West
New Mexico Now: Spanish Colonial to Spanish Market
American Indian: Classic to Contemporary
Contemporary Art, Design + Photography
Signature Annual Live Sale

932 Railfan Road, Santa Fe NM
505.954.5858 santafeartauction.com

JANUARY 12–14, 2024
PREVIEW NIGHT PARTY: THURSDAY, JAN. 11
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H E R E XCE LLE NC Y DA M E K A RE N PIE RC E
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Tickets available now: washingtonwintershow.org

AUCTIONEERS & APPRAISERS

Est.
1969

55 Years

Grandma (Anna Mary Robertson) Moses (1883-1947) In the Camp, (M. 1424), 1950, Oil on canvas, 15.5” H x 11.5” W, $25,000-35,000

Consign Today
California & American Fine Art

5.7.2024

 
Learn
More

Consignment & Auction Inquiries: fineart@johnmoran.com
A family-owned auction house delivering both world-class service and results for 55 years.

Auctions

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145 East Walnut Avenue, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833

International Artist Publishing

LETTER
FROM THE
PUBLISHERS

January/February 2024 / Bimonthy

Your 2024 Auction
Guide is Here!

W

elcome to the January issue of American Fine Art Magazine and Happy New
Year! We hope your new year’s resolutions include traveling to galleries,
museums, auctions, art shows and to be even more active in the world of historic
American art in the year ahead. This month we bring you our second annual Auction
Guide to collecting historic art. Starting on page 39 you will find over 45 pages
dedicated to helping you find the top auctions sales throughout the country.
Featured in our guide is Santa Fe Art Auction, Leland Little, Hindman, Freeman’s,
Shapiro, John Moran, Selkirk, Grogan, Scottsdale Art Auction, Thomaston Place and
Shannon’s, all hosting some of the most significant auctions this year. These auction
houses have acquired important historic collections that are fresh to market and
available for sale. Register to bid and make room in your collection—it is going to be a
exciting year in the art auction world.
While our focus in this issue is auctions, gallery exhibitions and high-end art shows
are picking up momentum as well. The Palm Beach Show once again is highlighted
in our pages. This is a fun gathering showcasing historic and contemporary art,
jewelry, antiques and more. These genres are all important components of building an
impeccable collection.
Our previews of the Washington Winter Show, the Winter Show, and a new C.M.
Russell show at A.J. Kollar Fine Art provide a first look and chance to purchase works
before anyone else. We hope we have provided some inspiration for you as you plan
your art-related resolutions for the new year—whether it be buying more art or
attending more gallery shows, fairs and museum exhibitions. Our team is busy planning
the 2024 issues to keep you up to date on historic art and its availability across the
country. Happy New Year to you and your family and remember to follow the art!
Best Regards,

Wendie Martin and Adolfo Castillo
Publishers

ADOLFO CASTILLO
Publisher: Editorial/Creative
acastillo@AmericanFineArtMagazine.com
WENDIE MARTIN
Publisher: Business/
Art Community Development
wmartin@AmericanFineArtMagazine.com
VINCENT W. MILLER / Founder

E D I TO R I A L
SARAH GIANELLI
Managing Editor
sgianelli@AmericanFineArtMagazine.com
MICHAEL CLAWSON
Editor
ALYSSA M. TIDWELL
Assistant Editor
CHELSEA KORESSEL
Assistant Editor
JOHN O’HERN
Santa Fe Editor
FRANCIS SMITH
Contributing Photographer
CASEY WOOLLARD
Editorial & Email Traffic Coordinator
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PRODUCTION
TONY NOLAN
Art Director

On the Cover
Daniel Ridgway Knight (1839-1924), Maria by the Well,
ca 1900. Oil on canvas, 31 x 25 in. Available at
Rehs Galleries, New York, NY.

4

DANA LONG
Production Artist
LIZY BRAUTIGAM
Production Artist

Since 1998

What Do You See? The Collection of Sidney Rothberg
February 27 at 12 PM ET

CONTACT

ILLUSTRATED

Alasdair Nichol
267.414.1211
anichol@freemansauction.com

Marsden Hartley (American, 1877-1943)
Hilly Landscape
$40,000-60,000

International Artist Publishing

Since 1998

EDITOR’S LETTER

An Exciting Year Ahead

G

etting the first issue of the year out the door
always feels like something of a feat. When we
begin working on this magazine, many galleries, artists,
museums and auction houses are still solidifying their
2024 schedules, a process slowed by the holidays and the
fact that, in closing out another year, we are all ready for
a well-deserved break!
But here at International Artist Publishing, our small
but mighty company that puts out several magazines
monthly, time just keeps on ticking. Month after month,
we are reminded that no matter what challenges arise,
somehow we always get it done. And the sweet satisfaction of doing so is what keeps
a lot of us in the industry.
But just like a work of art isn’t complete without a viewer to appreciate it, our
magazines would mean little without a readership to share them with. That said,
welcome to the January/February 2024 issue of American Fine Art Magazine, an
edition we hope highlights how passionate we are about all aspects of the historic
American art market and how dedicated we are to bringing you the most important
news from every sector.
For this issue, we’ve taken a deep dive into the country’s auction houses, their
2024 sales, and the market for historic American art past and present. Putting it
together required some heavy lifting but it was worth it for the final result—a meaty
section of 40-plus pages that begins on Page 39. A truly collaborative effort, my
sincerest thanks to everyone, particularly those at the auction houses, who helped
make it a reality. We couldn’t have done it without you!
We also have a lot of other wonderful content for you inside. A preview of the
Palm Beach Show will introduce you to a selection of quality dealers that will be
showing everything from fine art to jewelry, antiques, decorative objects and so
much more. The Palm Beach Show, along with the Washington Winter Show and the
Winter Show, also taking place in early 2024, have exhibitor lists that read like a
who’s who in the fine art world. The shows are not to be missed.
So bundle up and enjoy the winter season and the bounty of art the blustery
winds bring with it! There is only more to come.
Happy New Year!

Sarah Gianelli
Managing Editor
sgianelli@americanfineartmagazine.com

January/February 2024 / Bimonthy
MARKETING
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6

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WILLIAM WORCESTER CHURCHILL
(American 1858-1926)

The Porcelain Jar 1910
Signed and dated upper right: Churchill / 1910

Oil on canvas
27 x 22.5 inches

Four Decades of Art Advisory Services Working with Private Collections and Museums
Specializing in American paintings from 1840-1940
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1421 East Aloha Street

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Seattle, WA 98112

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Contact us to receive our 2023-2024 Catalog of American Paintings

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FEBRUARY 15-20, 2024
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OPENING NIGHT PREVIEW PARTY
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M A R C C H AG A L L | M O D E R N F I N E A R T

JANUARY 24-28 | 2024
PA L M B E AC H C O U N T Y C O N V E N T I O N C E N T E R
A R T PA L M B E AC H .C O M

THE INTERNATIONAL CONTEMPORARY AND MODERN ART FAIR OF THE AMERICAS

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I T I

JANUARY/FEBRUARY 2024

American Fine Art Magazine is unique in its concept and presentation. Divided into four major categories, each
bimonthly issue will show you how to find your way around upcoming fine art shows, auctions and events so you
can stay fully informed about this fascinating market.

F
30 A House of Luminaries
A portfolio of self-portraits at the Acequia Madre House
provides artistic insight into 150 years of Santa Fe history
By John O’Hern

A S P
84 Culture and
Sophistication
The Palm Beach Show exhibits a wide range of historic art
and antiquities from dealers around the world

COLLECTOR’S GUIDE TO 2024 AUCTIONS
39 A Brief History

70 Impeccable Taste
Freeman’s Collection of Sidney Rothberg sale

44 Market Report

72 An Enchanting Array

48 Blockbusters

73 Joint Auction Previews

An examination of auction records in the
historic American fine art market
By Michael Clawson

52 auction house guide
A guide to select auction houses and 2024 sales

AUCTION PREVIEWS

64 Visions of America
Sotheby’s Visions of America sale

68 American Classics

Thomaston Place’s Winter Enchantment sale

AUCTION REPORTS

74 History Made
Sotheby’s Emily Fisher Landau Collection sale

78 All American
Hindman’s American Art sale

80 Strong Sales
Shannon’s October sale

82 Joint Auction Reports

th

Christie’s 19 -Century American and
Western Art sale

12

39

FREDERICK CARL FRIESEKE | Lady Trying On A Hat, 1909 | Sold: $450,000.00

Contact
Sandra Germain
info@shannons.com
203.877.1711 | shannons.com

Personalized Service
Competitive Rates
Proven Results

2024 Auction Calendar

- January 18, 2024
- May 2, 2024
- June 20, 2024
- October 24, 2024

Consignments accepted year-round.

I T I

JANUARY/FEBRUARY 2024

G S

D

Previews of upcoming shows of historic
American art at galleries across the country.

Art Show Calendar

16

Art Market Updates

22

Curator Chat

26

New Acquisition

28

Recent Arrivals

88

90 Western Gems
Drawings, watercolors and illustrated letters fill a
Charles M. Russell show in Seattle

MUSEUM EXHIBITIONS
Important exhibitions of historic American art at key museums from coast to coast.

96 Abstract Wyeth
N.C. Wyeth (18821945), Cleaning Fish,
1933. Oil on canvas,
475/8 x 51¾ in.
Bequest of Betsy James
Wyeth Trust, 2021.

92 Haunted Waters
The ocean is the subject of a new Marsden Hartley
exhibition at the Farnsworth Art Museum in Maine

94 A Region’s Richness

The Brandywine Museum unveils examples of the most
spontaneous and free work that ever produced by an
artist largely celebrated for his realism

98 Supportive Relationship
The Smithsonian American Art Museum highlights the
collaboration between J.P. Ball and Robert S. Duncanson

100 Without Water,
Nothing
The MFA St. Petersburg presents a fascinating
exhibition that traverses the importance of water and
nature as a whole

The Frist Art Museum welcomes the traveling exhibition
dedicated to modern works created in the American South

EVENTS  FAIRS
Coverage of all the major art fairs and events taking place across the country.
Previews

Reports

102 The Joy of It

108 An Intellectual Journey

The Washington Winter Show

104 A Southern Tradition
The Antiques & Garden Show of Nashville

106 Top of the Line
The Winter Show

14

IAC Arts and Crafts Conference

110 Art and Philanthropy
The Art Show

STUART DAVIS
(1892 - 1964)

STUART DAVIS (1892 - 1964)

Three Early Works

Two Men on a Street

8 1/4 x 13 inches
Watercolor on paper. Signed and dated 1911 lower center.

From the estate of a prominent family.
Details available.
Literature: A, Boyajian, M. Rutkowski, Stuart
Davis, A Catalogue Raisonne, Vol. 2, New Haven,
Connecticut, 2007, vol. II, p. 452, illustrated.

STUART DAVIS (1892 - 1964)
Backyards

9 x 10 1/4 inches

HeliclineFineArt.co)

Watercolor on paper. Signed and dated 1911 lower left.

Helicline specializes in American and European artwork
from the first half of the 20th Century.
Located in a private space in midtown Manhattan.
The gallery is open by appointment.

hello@HeliclineFineArt.com
212.204.8833

STUART DAVIS (1892 - 1964)
Answering the Door

8 1/4 x 13 inches
Watercolor on paper. Signed and dated 1911 lower right.

the Best Fairs, exhibitions and Events Coast to Coast
Charles Marion Russell (1864-1926), Long Range Guns were often the White Man’s
Passport, 1922. Watercolor, pen and ink, 8¼ x 11 in. Signed and dated lower left:
C M Russell 1922 with Monogram Buffalo Skull. Inscribed lower right: To Roy Page Jr
on his / first Christmas from/ CM Russell 1922. Inscribed verso: Long Range Guns were
often the white man’s passport (likely in the hand of Nancy Russell).

JANUARY 15-MARCH 1

Charles M. Russell
A.J. Kollar Fine Paintings • Seattle, WA
This significant show consists of 17 Russell works that include full watercolor
pieces, pen and ink drawings and illustrated letters.
www.ajkollar.com

ONGOING
Hockney/Origins: Early Works from
the Roy B. and Edith J. Simpson
Collection
THE BRUCE MUSEUM • GREENWICH, CT
This exhibition examines the early period
of Hockney’s career in depth, from his
time at the Royal College of Art in London
during the early 1960s, to his formative
years in the 1970s.
www.brucemuseum.org

ONGOING
J.P. Ball and Robert S. Duncanson:
An African American Artistic
Collaboration
SMITHSONIAN AMERICAN ART MUSEUM
• WASHINGTON, D.C.
This exhibition examines the collaborative
relationship between photographer James
Presley (J.P.) Ball and landscape painter
Robert Seldon Duncanson.
www.americanart.si.edu

16

ONGOING
The Nature of Art

ONGOING
Marsden Hartley and the Sea

THROUGH JANUARY 7
Estate of Dr. Luther W. Brady, Jr.

MUSEUM OF FINE ARTS ST. PETERSBURG
• ST. PETERSBURG, FL
The MFA St. Petersburg features 32
contemporary and historic works that
highlight the importance of water.
www.mfastpete.org

FARNSWORTH ART MUSEUM •
ROCKLAND, ME
The Farnsworth brings together paintings
inspired by Marsden Hartley’s memory
of Nova Scotia, other works made on
Vinalhaven from the late 1930s and
contextualized with objects from the
Farnsworth’s collection.
www.farnsworthmuseum.org

READING PUBLIC MUSEUM •
READING, PA
The museum exhibits a recent acquisition
of over 120 important 19th- and 20thcentury works from the estate of Dr.
Luther Brady.
www.readingpublicmuseum.org

ONGOING
Art for the People:
WPA-Era Paintings from the
Dijkstra Collection
THE HUNTINGTON LIBRARY,
ART MUSEUM AND BOTANICAL GARDENS
• SAN MARINO, CA
This exhibition and accompanying catalog
explore 19 representational paintings
created in the United States between the
1929 stock market crash and World War II.
www.huntington.org

ONGOING
End of the Range: Charlotte
Skinner in the Eastern Sierra
NEVADA ART MUSEUM • RENO, NV
The exhibition features approximately 40
original paintings and drawings that span
Skinner’s lifelong career as an artist and
educator.
www.nevadaart.org

THROUGH JANUARY 7
The World Outside:
Louise Nevelson at Midcentury
AMON CARTER MUSEUM OF
AMERICAN ART • FORT WORTH, TX
Amon Carter presents a new exhibition
on sculptor Louis Nevelson, whose works
featuring discarded bits of wood furniture
and other material have captivated
audiences for nearly a century.
www.cartermuseum.org

April 26–28, 2024
April 25 Preview Party
East Terrace of the Philadelphia Museum of Art

A La Vieille Russie

Nathan Liverant and Son

Arader Galleries

M. Hanks Gallery

Avery Galleries

Moderne Gallery

Diana H. Bittel Antiques

Lillian Nassau

Jeff R. Bridgman
American Antiques

The Old Print Shop

Marcy Burns
American Indian Art
Ralph M. Chait Galleries
HL Chalfant
Fine Art and Antiques
Dixon-Hall Fine Art
Dolan/Maxwell
European Decorative Arts
Company

Olde Hope
Peter Pap Rugs
Francis J. Purcell
James Robinson
John Keith Russell
Schmidt/Dean
Schwarz Gallery
S. J. Shrubsole
Elle Shushan

Gemini Antiques

Silver Art by D & R

Barbara Israel Garden Antiques

Somerville Manning

Kelly Kinzle Antiques

Thistlethwaite Americana

Betty Krulik Fine Art

Jayne Thompson Antiques

Glen Leroux

Jeffrey Tillou Antiques

Levy Galleries

Walker Decorative Arts

For further information on programming: thephiladelphiashow.com
Dealer List as of November 2023. Images, top to bottom: Daniel Ridgeway Knight, Louise, oil on canvas, 32 x 25 ½ inches.
Courtesy Schwarz Gallery. Robert Blackburn, Miss Unity, 1990, color woodcut, 37 x 25 inches (sheet). Courtesy Dolan Maxwell.
Joseph Stella, Untitled (detail), watercolor and pastel on paper, 20 x 13 inches, courtesy Avery Galleries

ART SHOW CALENDAR
Attendees enjoying
paintings at the 2023
Palm Beach Show.

JANUARY 18
19th-Century American Art

FEBRUARY 15-20

The Palm Beach Show
Palm Beach Convention Center • West Palm Beach, FL
The 21st annual show will feature exhibitors showcasing
extraordinary collections of fine art, ranging in date from the
antiquities to the 20th century.
www.palmbeachshow.com

THROUGH JANUARY 7
Stories Retold

THROUGH JANUARY 15
Fashioned by Sargent

SPEED ART MUSEUM • LOUISVILLE, KY
The Speed Art Museum is the last of only
three museums to showcase more than
100 works spanning four centuries of
Euro-American, African American and
Native American art.
www.speedmuseum.org

MUSEUM OF FINE ARTS, BOSTON •
BOSTON, MA
Alongside approximately 50 of Sargent’s
paintings, over a dozen period garments
and accessories shed new light on the
relationship between fashion and this
beloved artist’s creative practice.
www.mfa.org

THROUGH JANUARY 7
American Visions
THE ROLLINS MUSEUM OF ART •
WINTER PARK, FL
The museum exhibits 37 newly acquired
American art works, ranging from the late
18th to early 20th century.
www.rollins.edu/rma

JANUARY 12-14
Antiques & Garden Show of
Nashville
MUSIC CITY CENTER • NASHVILLE, TN
A staple of Nashville, the event features
an astounding 150-plus exhibitors,
as well as cocktail parties, important
speakers and stunning gardens.
www.antiquesandgardenshow.com

JANUARY 12-14
The Washington Winter Show
AMERICAN UNIVERSITY: KATZEN ARTS
CENTER • WASHINGTON, D.C.
This year’s 69th show edition will have
more than 40 prominent dealers
displaying fine art and antiques from the
U.S. and Europe.
www.washingtonwintershow.org

Auctions
at a Glance
Christie’s • New York, NY
www.christies.com

JANUARY 18
Online Fine Art Auction
Shannon’s Fine Art Auctioneers •
Milford, CT
www.shannons.com

FEBRUARY 17
Winter Online Auction
Jackson Hole Art Auction • Jackson, WY
www.jacksonholeartauction.com

FEBRUARY 23-24
Winter Sale

Sotheby’s • New York, NY
www.sothebys.com

Copley Fine Art Auctions • Plymouth, MA
www.copleyart.com

JANUARY 21
The Hudson River School in Focus:
Property from the Friedman
Collection

FEBRUARY 23-25
Winter Enchantment

Sotheby’s • Online
www.sothebys.com

JANUARY 26-27
Brian Lebel's Old West Auction

PARK AVENUE ARMORY • NEW YORK, NY
The 70th edition of The Winter Show brings
together more than 65 internationally
renowned dealers exhibiting museumquality works from around the world.
www.thewintershow.org

Westgate Resort & Casino • Las Vegas, NV
www.oldwestevents.com

BRANDYWINE MUSEUM OF ART •
CHADDS FORD, PA
The Brandywine dives into the printed
and painted works of Allan Randall
Freelon, a major influence for other early
20th- century artists as a Black artist,
educator and civil rights activist.
www.brandywine.org

Leland Little Auctions • Hillsborough, NC
www.lelandlittle.com

JANUARY 20
Art of America

JANUARY 19-28
The Winter Show

THROUGH JANUARY 21
Allan Freelon: Painter,
Printmaker, Teacher

FEBRUARY 1
Winter Modern &
Contemporary Auction

Thomaston Place Auction Galleries •
Thomaston, ME
www.thomastonauction.com

FEBRUARY 27
The Collection of Sidney Rothberg
Freeman’s • Philadelphia, PA
www.freemansauction.com

JANUARY 27
Fine & Decorative Art Auctions
Shapiro Auctions • Mamaroneck, NY
www.shapiroauctions.com

JANUARY 26-APRIL 28
Southern/Modern

THROUGH FEBRUARY 18
Abstract Flash: Unseen Andrew

FRIST ART MUSEUM • NASHVILLE, TN
This traveling exhibition includes a
thrilling line-up of 100 paintings and
works on paper created in the American
South from 1913 to 1955.
www.fristartmuseum.org

BRANDYWINE MUSEUM OF ART •
CHADDS FORD, PA
The museum unveils 37 examples of
Andrew Wyeth’s abstract watercolors from
the Andrew and Betsy Wyeth Collection of
the Wyeth Foundation for American Art.
www.brandywine.org

In every issue of American Fine Art Magazine, we publish the only reliable guide to all major upcoming fairs and shows nationwide. Contact our editorial assistant,
Chelsea Koressel, at ckoressel@americanfineartmagazine.com, to find out how your event can be included.

18

Accepting Mid-Century Modern Consignments, Inquire Today

George Nakashima
(American, 1905-1990),
Conoid Bench
~Sold $37,200

LelandLittle.com • 919-644-1243 • Hillsborough, NC

NCFL#7452

GUILLERMO BERT | NEVADA ART MUSEUM

FEBRUARY 14-18 | 2024
LA CONVENTION CENTER | WEST HALL
L A A R T S H OW.C O M

THE MOST COMPREHENSIVE INTERNATIONAL CONTEMPORARY ART SHOW IN AMERICA

Benefiting

LY N N E D R E X L E R
(American, 1928-1999)

Lynne Drexler, Untitled, 1959, gouache on paper, 19 x 24.5 inches

JKFA
J. K E N N E T H

F I N E

A R T

Representing Lynne Drexler since 2015

Scan QR code to learn more

668 N Palm Canyon Drive, Palm Springs, CA 92262 | 802-540-0267 | www.jkennethfineart.com

Karl J. Kuerner:The Continuity of Creativity.
The Brandywine Museum notes: “The
first generation of Kuerners on the
farm, Karl and Anna, were the subjects
of many masterful studies by Wyeth. The
second generation of Kuerners, led by the
philanthropic spirit of Karl Kuerner, Jr.,
ensured the property’s future by allowing
Brandywine to acquire the farm in 1999.”
Since then, the farm has continued to
serve as a place of artistic inspiration and
creativity, largely due to the work of artist
and third generation Kuerner, Karl J.
Kuerner. The exhibition will be on view
January 27 to May 19, 2024.

Maynard Dixon (1875-1946), November in Nevada, 1935. Oil on canvas mounted on hardboard, 30 x 40 in. Fine Arts Museums of
San Francisco, Bequest of E. Dixon Heise, 2006.33. Photo credit: Randy Dodson, Courtesy Fine Arts Museums of San Francisco.

Maynard Dixon
in Nevada
This spring, the Nevada Museum of
Art is exhibiting Sagebrush and Solitude:
Maynard Dixon in Nevada, the first
comprehensive exhibition to document
Dixon’s early wanderings and extended
visits to Nevada and the Eastern Sierra.
From 1901 to 1939, Dixon made several
trips from his California home to paint
and sketch the striking landscapes of the
Great Basin and Sierra Nevada region.
Among his favorite painting subjects
were old homesteads, wild horses and
stands of cottonwood trees—images that
conjure memories of a romanticized
bygone era before modernization
brought change to many of Nevada’s
open and pristine landscapes. The
exhibition runs March 2 to July 28,
2024, and features nearly 150 of Dixon’s
paintings of Nevada and the Eastern
Sierra, many of which have been rarely
or never-before-seen.

22

Norman Rockwell posing for reference images; unused.
ca. 1965. Photo credit: Photos by Louie Lamone. Collection
of Norman Rockwell Museum. Approved by Norman
Rockwell Family Agency. All Rights Reserved.

Karl J. Kuerner (b. 1957), Surge. Acrylic on panel,
40 x 48 in. Collection of the artist.

Karl J. Kuerner at
Brandywine Museum
Kuerner Farm, the early 19th-century
farmhouse and adjacent barn, has been
revered as a site of inspiration for Andrew
Wyeth for more than seven decades. This
year, 2024, marks the 25th anniversary
of the Kuerner Farm as a part of the
Brandywine Conservancy & Museum
of Art. And along with it, the museum is
holding an exhibition called

Studio Sessions: The
Norman Rockwell
Collection
The Norman Rockwell Museum has
announced a new partnership with the
Rockwell family and digital art platform
Iconic to offer NFTs that dive into
Norman Rockwell’s archive of images and
process works created through the mid-20th
century. The launch offers collectors the
chance to obtain a series of limited edition
prints and digital collectibles alongside
accompanying physical prints—all related
to Rockwell’s meticulous and multilayered
artistic process. To explore imagery
and learn more about Studio Sessions:
The Norman Rockwell Collection, visit
iconicmoments.co.

notes Michael Rosenfeld Gallery. Mary
Bauermeister: Fuck The System will run
through January 20, 2024.

2023, including the opening of a new show
titled Gene Hedge:The Pattern of Nature,
which hangs through January 13. Lincoln
Glenn will still retain its Upper East Side
location at 17 East 67th Street as well.

Frick Collection upgrades
Mary Bauermeister (1934-2023), Red China Tinta-Import
Forbidden, 1966. Ink, glass, glass lens and painted fabric
and wood construction, 165⁄8 x 16¾ x 6¼ in., signed.

Mary Bauermeister
solo show
Michael Rosenfeld Gallery is currently
holding an exhibition honoring the late
Mary Bauermeister, who passed away
in early 2023. A multidisciplinary artist
known for her intricate and enigmatic
assemblages, Bauermeister created artwork
that exists beyond the paradigm—reliefs
and sculptures that incorporate “drawing,
text, found objects, natural materials and
fabric, referenc[ing] a plethora of concepts:
from natural phenomena and astronomy
to mathematics and language, as well as her
own ‘spiritual-metaphysical experiences,’”

The storefront at Lincoln Glenn’s new 542 W. 24th Street gallery.

Lincoln Glenn Relocates
to Chelsea
Nineteenth and 20th-century American art
gallery, Lincoln Glenn, has recently moved
from its flagship location in Westchester,
New York, to a vibrant storefront in the
heart of Chelsea’s gallery district. Lincoln
Glenn is now housed at 542 West 24th
Street in Chelsea, allowing the gallery to
expand its programming and place greater
emphasis on solo exhibitions. A grand
opening took place on November 16,

People
The Solomon
R. Guggenheim
Museum in New
York recently named
Mariët Westermann
as the new director
and CEO of its
Mariët Westermann
museum group.
Westermann is the first woman to direct
the museum group, overseeing the
foundation and its flagship institution in
New York, as well as its global outposts
in Venice, Italy; Bilbao, Spain; and the
future Guggenheim Abu Dhabi. Currently,
Westermann is vice chancellor of New York
University Abu Dhabi in the United Arab

This past November, the Frick Collection
in New York City announced the launch
of the public phase of its capital campaign.
The campaign has already raised $242
million during its quiet phase in support
of ongoing renovation and enhancement
of the institution’s historic buildings.
Designed by Selldorf Architects in
collaboration with Beyer Blinder Belle
Architects & Planners, the project is the
first comprehensive upgrade of the Frick’s
facilities in nearly 90 years and will allow
the public to experience more of the
original Frick family residence. A public
opening is expected in late 2024, with a
renovated museum and library including
new spaces for exhibitions, educational
programs and conservation, as well as new
public amenities, increased accessibility
and upgraded infrastructure.

& Places

Emirates. She assumes her new role at
Guggenheim in June.

projects and initiatives during her nearly
three-decade tenure.

Jill Medvedow,
director of the
Institute of
Contemporary
Art in Boston, has
decided to move
on to new pastures
Jill Medvedow
after 25 years in the
role. Medvedow, who gave artists like
Jeffrey Gibson and Amy Sillman their first
major museum exhibitions, established
important educational programs, creative

The Raclin Murphy Museum of Art at the
University of Notre Dame is opening a
new 132,000-square-foot complex, which
will be constructed in two phases. In
phase one, the museum will open with
70,000 square feet devoted to new stateof-the-art galleries, teaching spaces, a
cafe and retail space. Phase two includes a
62,000-square-foot space that will provide
additional galleries as well as a workson-paper study center, allowing greater
access to the museum’s collections.

23

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ANTIQUE FRENCH FINE ARTS
& SILVER ART BY D & R
EXHIBITING AT THE PALM BEACH SHOW • BOOTH 208 & 309
SILVER ART BY D & R
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“The Purple Beech At Yonville”
By Emmanuel de la Villéon
Oil on canvas, France 1943

Antique French Gilt Silver Candelabras
by Demarquet Frères, Paris Circa 1870

CURATOR CHAT

WE ASK LEADING MUSEUM CURATORS ABOUT
WHAT’S GOING ON IN THEIR WORLD
of landscape, and was thrilled to find not
one but two with solo exhibitions at the
Center for Maine Contemporary Art in
Rockland, just across the street from our
Wyeth Study Center on the campus of the
Farnsworth Art Museum. Jeane Cohen’s
sumptuous, painterly evocations of an
unpeopled firescape feel urgent and
essential. Alison Hildreth’s topographic
abstractions overwhelm and immerse a
viewer in the infinite complexity of
land itself.

WILLIAM L. COLEMAN
Ph.D., Wyeth Foundation Curator and Director
of the Andrew & Betsy Wyeth Study Center
BRANDYWINE CONSERVANCY & MUSEUM OF ART
1 Hoffman’s Mill Road, Chadds Ford, PA 19317
www.brandywine.org/museum

What event (gallery show, museum
exhibit, etc.) in the next few months
are you looking forward to, and why?
I can’t wait to see the Art Institute of
Chicago’s Georgia O’Keeffe: “My New
Yorks” opening in June. The response
of painters to architecture has been a
particular focus of mine since grad school
days, most recently manifesting in our
2023 exhibition Andrew Wyeth: Home
Places, so a show dedicated to this aspect
of the practice of a key fellow traveler of
Wyeth, whose work resonates with his in
so many ways, will be a must-see. The cocurators, Sarah Kelly Oehler and Annelise
Madsen, are always inspiring colleagues
and I’m sure they’ll have many new
insights to share.

26

What are you reading?
Philip Conkling’s Islands in Time: A Natural
and Human History of the Islands of Maine.
The author, one of the co-founders of the
Island Institute, gives a vivid perspective
on the various forces that have shaped
the thousands of islands in the Maine
archipelago. Because this landscape is
a lifelong love of mine and its deep and
continuing tradition of creative response
was my gateway to art history, it’s
invigorating to go beneath the surface and
to see it anew through Conkling’s eyes.
Interesting exhibit, gallery opening
or work of art you’ve seen recently.
I’m always on the lookout for interesting
voices who find new possibilities in realm

What are you researching
at the moment?
I’m deep in the topic of Andrew Wyeth’s
decades-long response to the Kuerner
Farm in Chadds Ford, Pennsylvania, the
focus of a 2025 exhibition co-organized
with Reynolda House Museum of
American Art (Winston-Salem, NC). This
place and the people who lived and
worked there became the source of some
of Wyeth’s most important creations in
the media of egg tempera and watercolor
with which he is most associated.
We’re working hard to get beyond the
mythology and received wisdom about
this fascinating creative chapter to
understand why and how this remarkable
practice took shape.
What is your dream exhibit to curate?
Or see someone else curate?
It’d be a dream to dive into the musical
life of the Wyeth family of artists.
Beethoven, Bach and Sibelius are
the most frequently cited musical
fascinations of N.C. and Andrew Wyeth
both. Andrew’s sister Ann Wyeth McCoy
was a composer who wrote some works
in relation to her brother’s paintings.
I have done some writing on Sibelius
and on the representation of paintings
in music in a previous life, so the
connection is irresistible. The goal would
be to commission one or more great
contemporary composers to write new
works in relation to the Wyeths. We’ll
make it happen someday!

Roberto

lFreitas

A me r i c a n uA n t i q u e s u& uD e c o r a t i v e uAr ts

AndrewWyeth(1917-2009)

“On Her Knee””
Helga on Paper, plate 47 / NGA plate 137
signedlowerright,'AndrewWyeth'
watercolorandpencilonpaper
253/8x195/8inches
Executedin1977

196uWateruStreetu•uStoningtonu•uConnecticutu06378u
860-939-1797uphone/textuu•uinfo@robertofreitas.com

www.RobertoFreitas.com

NEW ACQUISITION

Edward Mitchell Bannister
T H E H U N T I N G T O N L I B R A R Y,
A R T M U S E U M A N D B OTA N I C A L G A R D E N S

Edward Mitchell Bannister (1828-1901), Untitled (Walking Through a Field), ca. 1870s. Oil on canvas, 22 x 42¼ in.
Courtesy the Huntington Library, Art Museum, and Botanical Gardens.

I

ncluded in a recent acquisition of several artworks spanning
300 years, is a significant landscape work by African
American artist Edward Mitchell Bannister (1828-1901);
Untitled (Walking Through a Field). This rare oil painting created
circa 1870s, depicts a lush New England landscape scene with
a romantic skyscape to match.
“The scene symbolically links past, present and future as
a solitary figure traverses a wheat field toward a distant lake,”
museum reps continue to describe. “Like many of Bannister’s
paintings of the last quarter of the 19th century, its subject
matter does not present a clear reading.”
The artist, born in Canada, lived as a free man mostly in Boston
and then later in Providence, Rhode Island. It’s been noted that
only a few of Bannister’s works from the 1850s and 1860s have
survived, “preventing a stylistic assessment of his early period in
Boston,” reads the Smithsonian American Art Museum website.
“[However], while Bannister lived in Boston, he must have seen
and been influenced by the Barbizon School-inspired paintings
of William Morris Hunt who had studied in Europe and held

28

numerous public exhibitions in Boston during the 1860s.”
While Bannister was successful in portraying other subjects
like seascapes and still lifes, he is most known for his landscapes,
“portraying nature as a clam and submissive force,” says the
Smithsonian. “…His paintings are reflective of an artist who
loved the quiet beauties of nature and represented them in
a realistic manner. Bannister’s middle-period landscapes of
the 1870s were generally executed in broad masses of heavy
impasto with few details. They also evoke a tranquil mood that
became one of the hallmarks of Bannister’s style.”
Dennis Carr, Virginia Steele Scott chief curator of
American art at the Huntington, shares that, “Adding
Bannister’s Untitled is an important milestone for the collection.
It is a major, previously unpublished work made at the height
of his career. We are delighted that it will join other works by
Black artists in the collection…representing prominent Black
American landscape painters of the 19th century.”
Look for Untitled (Walking Through a Field), in upcoming,
special exhibitions at the Huntington.

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A
HOUSE
OF
LUMINARIES
A portfolio of self-portraits at the
Acequia Madre House provides artistic insight
into 150 years of Santa Fe history. By John O’Hern

A

cequia Madre House in
Santa Fe, New Mexico,
now home to the
Women’s International Study
Center (WISC), was the home
of three remarkable women. It
was built in 1926 by Eva Scott
Muse Fényes (1849-1930), her
daughter Leonora Scott Muse
Curtin (1879-1972) and her
granddaughter Leonora Frances
Curtin Paloheimo (1903-1999).
Charles Fletcher Lummis,
the California journalist and
preservationist, called it the
“house of three wise women.”
The house is also home
to extraordinary collections
and archives relating to nearly
150 years of Santa Fe history.
The women kept their daily
correspondence and copious
records of their work in cultural
conservation including the
ethnobotany of northern New
Mexico, Native American
languages and songs, Western
and Southwestern architecture,

30

and the arts and folk arts of
the United States and Finland.
They had a remarkable circle
of friends many of whom were
artists and writers.
A painter, herself, Eva Fényes
began portfolios of artists’
self-portraits in 1870, initially
featuring her fellow art students
in France. Frequently traveling
the world, Eva documented the
people she met and places she
visited. The portrait portfolios
also contain clippings about the
drawings’ subjects.
An early drawing in the
portfolio is by James D. Smillie
(1833-1909) dated 1874. Smillie
was the founder the American
Watercolor Society and served
as its president and treasurer.
Eva noted on the mount, “With
whom I studied. E.S.F.”
In their essay, “The House
of the Three Wise Women: A
Family Legacy in the American
Southwest,” published in
the journal of the California

Olive Rush (1873-1966), muralist

31

Gerald Cassidy (1869-1934), muralist

James D. Smillie (1833-1909), founder and president, American Watercolor Society

32

Victor Higgins (18841949), painter, Taos
Society of Artists

History Society,Virginia Scharff and
Carolyn Brucken write, “Eva, who
had supported Native artists since
the 1870s, was in the vanguard of a
generation of late-nineteenth-century
Anglo women who were learning
to admire and champion Native arts,
and who collected and displayed
Indian and Spanish artifacts as both a

symbol of taste and an emblem of their
progressive sympathies.”
Among their friends in the Pueblo
communities, whom they often
supported financially and with art
supplies, were the great pottery artists
Maria and Julian Martinez of San
Ildefonso Pueblo.
Fred Kabotie (Hopi, 1900-1986) had

been sent to the Santa Fe Indian School
where his teacher, Elizabeth DeHuff,
encouraged him to paint images from
his Hopi heritage in direct opposition
to federal guidelines. He wrote, “…I
was supposed to discard all my Hopi
belief, all my Hopi way of life, and
become a white man and become a
Christian. And the government at that
33

34

Paul Horgan (1903-1995), two-time Pulitzer Prize winning author

Kenneth M. Chapman (1875-1968), art historian, anthropologist

Gerald Cassidy (1869-1934), muralist

Fred Kabotie (Hopi, 1900-1986), painter, silversmith, teacher

time looked on the Indian religion, the
Hopi religion, as being the word of the
devil.” He became an accomplished
artist and, in 1945, was awarded a
Guggenheim Fellowship.
In 1920, he painted a self-portrait
“for Mrs. Fényes.”
Martin Schultz, who was a curator
at Acequia Madre House, writes,
“Interest in their environment led
to the development of a substantial
collection of Native American pottery
and drawings and paintings. Some of
these works were given to the three
ladies by their friends, like Olive Rush
and Sheldon Parsons.”
Olive Rush (1873-1966) first visited
Santa Fe in 1914 and was given a
solo exhibition at the Palace of the
Governors—the first woman to have
a one-person show in New Mexico.
She created murals for the original
restaurant of La Fonda on the Plaza as
well as for the Santa Fe Public Library
and the Post Office.
Her 1920 contribution to the
portfolio is titled Rah for New Mexico!
and features her dancing silhouette
pasted on golden paper the ladies had
bought in Japan.
Sheldon Parsons (1866-1943) was
a portrait painter in New York City.
Among his subjects were President
William McKinley and Susan B.
Anthony. He moved to Santa Fe in
1913. Eva lent him money to build his
home there. His traditional watercolor
portrait from 1919 is inscribed “To my
friend, Mrs. Adelbert Fényes.”
Another traditional watercolor from
1919 is by Gerald Cassidy (1869-1934)
who moved to Santa Fe in 1912. He
was commissioned by the Atchison
Topeka & Santa Fe Railway to produce
paintings to be reproduced as posters
to promote the region. The original
paintings now grace the lobby and
hallways of La Fonda. Cassidy is also
represented by a charcoal caricature
which is described on the mount
“Drawn in less than a minute.”
Victor Higgins (1884-1949) joined
the Taos Society of Artists in 1917 and
divided his time between Taos and
Chicago. His approach to painting
was more modern than that of his

Helen Fowler (1902-1975), painter, family friend

fellow Taos painters and in his 1918
self-portrait for Eva’s portfolio, he
drew a humorous caricature of himself
navigating the treacherous route from
Taos to Santa Fe, described on the
mount as “Mr. Higgins in his ‘Ford.’”
Kenneth Chapman (1875-1968)
moved to Santa Fe in 1909. An expert
in Native American art and design, he
drew himself holding stems of flowers
whose blossoms are Native symbols
for clouds and rain. He inscribed the
drawing, “Still at it, 1942!”
Paul Horgan’s ink and watercolor
profile is dated 1928. Horgan (19031995) received the Pulitzer Prize for
history twice for his books Great River:
The Rio Grande in North American History
and Lamy of Santa Fe.
Also among the contributions to the
portfolio is a 1924 painting by Helen

Fowler (1902-1975), a contemporary
and friend of Leonora Paloheimo
inscribed, “For Mrs. Fényes With Love.”
Fowler was a friend from Pasadena,
California, where the ladies also had a
home.
Wise women abounded in northern
New Mexico in the early years of
the 20th century. Mabel Dodge Lujan
brought her New York, Provincetown
and Florence soirées to Taos, inviting
luminaries in the arts to her home.
The sisters Amelia and Martha White
were real estate developers in Santa Fe
and opened the first gallery of Native
American art in New York City. Their
Santa Fe estate was bequeathed to
what is now the School for Advanced
Research which houses one of the
world’s finest collections of Southwest
Native American art.
35

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41

Winter Fine Art Auction
Saturday, February 24, 2024

Birger Sandzen (1871-1954)
Peonies Dated 1924 Oil on Canvas 24 x 30 Inches

Birger Sandzen (1871-1954)
Rocky Mountain View Circa 1930 Oil on Canvas 16 x 20 Inches

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A COLLECTOR’S GUIDE TO 2024 AUCTIONS

A BRIEF HISTORY
OF THE AUCTION

Thomas Rowlandson (1757-1827), Auguste Charles Pugin (1768/69-1832), John Bluck (1791-1832),
Christie’s Auction Rooms, 1808. Hand-colored etching and aquatint; sheet: 9 ¾ x 12 in., plate: 9½ x 111⁄16 in. Series/
Portfolio: Microcosm of London, pl. 6. Published by Rudolph Ackermann (active 1794–1832). Harris Brisbane Dick
Fund, 1917. Accession Number: 17.3.1167-146. Courtesy the Metropolitan Museum of Art.

39

COLLECTOR’S GUIDE TO

2024

AUCTIONS

Peter Wilson, Sotheby’s chairman from 1958 to 1980, selling Cézanne’s Le Garçon au Gilet Rouge at the landmark Jakob Goldschmidt sale in London,
the first evening auction of Impressionist and Modern art, 1958. Image courtesy Sotheby’s.

he word “auction”
comes from the Latin
auctio, stemming from
augére, which means “to
increase.” The earliest reference to the
word in the Oxford English Dictionary
was in 1595, as a noun defined as a
“public sale in which each bidder
offers more than the previous bid.”
The first documented use of auction
as a verb, as in to sell by auction,
wasn’t recorded until 1723, heralding
a new era in auction history.
According to Lacy Scott & Knight
Auction Centre, the first recorded
auction occurred around 500 B.C.
“Ancient Greek historian Herodotus
reported that marriage auctions
of women in Babylon took place

T

40

annually,” they note. “While Roman
soldiers would drive a spear into the
ground around which the spoils of
war were left to be auctioned off.”
Later, Roman soldiers would auction
off spoils of war—including slaves—to
support the war effort.
They postulate that the auction’s
unsavory history may have played a part
in the system falling out of favor after
the fall of the Roman Empire until it
began to show signs of recovery in the
mid-16th century.
In his exhaustive book A History of
the Auction, author Brian Learmount
writes, “The second half of the
eighteenth century saw the rapid
growth of the auction business
continuing, particularly in London

The announcement of Christie’s first
sale, December 5, 1766.

COLLECTOR’S GUIDE TO

2024
AUCTIONS

Impression of a book sale by British caricaturist and printmaker Thomas Rowlandson (1756-1827). Image courtesy Sotheby’s.

and Paris,” where the events took
place primarily in coffee houses.
“Even so, the long and steady climb
towards the monolithic auction
enterprises of the present day had
already begun in more ways than one,
for as early as 1744 Samuel Baker,
the London bookseller destined to
be the founder of the great auction
house which would become known
as Sotheby’s, had his first auction sale
of books.”
Baker kick-started his small bookselling business with the presentation
of the library of a British nobleman,
Sir John Stanley, in London at Exeter
Exchange on the Strand—an auction,
according to Sotheby’s of “several
hundred scarce and valuable Books in
all branches of Polite Literature” that
fetched a grand total of £826.
“Just five years later,” Learmount
continues, “James Christie began the

apprenticeship which would lead
him to the establishment of his own
business in 1766, the beginning of
a line leading directly to the other
great auctioneering institution. It is
reported that by 1766, when James
Christie set up on his own, there were
about 60 auctioneers operating in
London, selling everything it is said
from art to hay.”
According to a history provided
by Christie’s, “On Friday, 20 March,
1767, in the ‘Great Rooms’ of 8384 Pall Mall Street in London’s St
James’s, Mr. James Christie (17301803) rapped his gavel on the rostrum
signaling the sale of a Titian for
two guineas. Donning a grey wig,
spectacles, and his famous wit, Mr.
Christie was conducting his very
first auction made up entirely of
pictures. Works by Rembrandt, del
Sarto, Poussin, and Cuyp—among

others—comprised the collection
of Italian, French and Flemish old
master pictures about to come under
the hammer.”
It wasn’t until 1883, after 140
years of selling only books, Sotheby’s
would broaden its focus to include art.
The account provided by Sotheby’s
notes that “the doorman had been
informed…that he should no longer
send clients who arrived with
paintings or works of art down the
road to Christie’s.”
Since then, the two juggernauts
in the industry have survived
centuries of ups and downs in an
unpredictable market, while managing
to successfully co-exist despite the
competitive nature of the companies
themselves and the business they are
in.
In 1955, Sotheby’s became the
world’s first international auction
41

COLLECTOR’S GUIDE TO

2024

AUCTIONS

In November 2022, Christie’s sale Visionary: The Paul G. Allen Collection became the most valuable auction in history when it achieved $1.5 billion.

house with the opening of a New York
office. Christie’s, on the other hand, focused
on expanding in Europe, first opening
an office in Rome in 1958, and during a
boom in the early 70s to Asia, India and the
Middle East. Christie’s held its first sale in
the United States in 1970 in Houston and
went on to open a saleroom in New York
City in 1977.
Since then, neck and neck, the two
houses have continued to make auction
history but if we were to keep score,
Christie’s is up one after presenting
Visionary: The Paul G. Allen Collection in
November 2022, which achieved $1.5
billion, making it the biggest sale in auction
history.
While the history of art auctions is
inextricable from the history of these two
powerhouses, the market has broadened to
include other major players like Freeman’s,
Bonhams and Hindman as well as smaller
boutique operations that can provide the
kind of highly personalized experience and
unparalleled expertise in niche markets that
some larger house might not..
42

In 1766, James
Christie held
his first sale in
his permanent
saleroom in Pall
Mall, London.
Image courtesy
Christie’s.

COLLECTOR’S GUIDE TO

2024
AUCTIONS

Sotheby’s 2008 Beautiful Inside my Head Forever auction, which brought directly to market 200 new works by Damien Hirst that totaled $200.8 million.

In the following pages we celebrate
the whole spectrum of auction houses,
certain that, whether you are looking
to buy or sell, or seeking the services of
a specialist, you will find the company
that can best cater to your needs and
provide the kind of experience you
desire. In addition to the auction
house guide, which begins on Page
52, this special section includes indepth market insights from industry
experts, previews of the most significant
upcoming auctions, a breakdown of
the top-selling historic American artists
and the 2024 auctions to mark on your
calendars. We hope this is a resource
you will reference all year long.

In 1964 Sotheby’s bought Parke-Bernet,
America’s largest auction house becoming the
first international auction house. Sotheby’s
Parke Bernet, New York, 1980. Photo courtesy
Sotheby’s.

43

MARKET REPORT

WHAT WE’RE HEARING FROM GALLERIES AND
AUCTION HOUSES ACROSS THE COUNTRY.
he historic American Art
market has been impressively
consistent in the years since
the 2008 economic crisis, proving
especially resilient, and it continues
to show significant signs of health.
Despite much-talked about economic
headwinds at home and abroad, I’m
optimistic that it will continue this
way. Part of the reason for this is the
depth and breadth of our collectors.
The historic American art category
is made up of an especially diverse
range of styles, movements and genres
that appeal to a broad audience of
collectors of diverse backgrounds,
interests and economic situations. We’re
also seeing new collectors coming in

T
Tylee Abbott
Head of Department,
American Art
Christie’s

from other areas of collecting.
In looking at this market by
region, I find people often buy things
related to what they know and love,
and that includes where they live.
The West is one area in particular
that has seen significant change over
the last few decades, with growth in
local economies allowing a growing
clientele from that region to pursue
their own cultural heritage, together
with newcomers who have come to
appreciate that part of the country.
In terms of styles and movements,
a modern aesthetic, whether urban,
Western, figurative or still life, is
maintaining its dominance in the overall
market.

Milton Avery (18851965), Woman by
the Sea, 1944. Oil on
canvas, 35¼ x 49¾
in., signed and dated
lower right: ‘Milton
Avery 1944’. Estimate:
$1.5/2.5 million
SOLD: $1,986,000
(Modern American Art,
Christie’s, April 2023)

44

COLLECTOR’S GUIDE TO

2024
AUCTIONS

Christie’s New York

45

Andrew Wyeth (1917-2009), Spring Fed, 1967. Tempera on panel, 27½ x 39½ in., signed lower right: ‘Andrew Wyeth’. Estimate: $4/6 million
SOLD: $4,769, 000 (20th Century Evening Sale, Christie’s, November 2023)

John Marin (1870-1953), Lobster Boat, Cape Split, Maine, 1938. Oil on canvas, 22 x 28 in.,
signed and dated lower right: ‘Marin 38’. Estimate: $600/800,000 SOLD: $1,925,5000
(Modern American Masterworks From The Ted Shen Collection, Christie’s, April 2023)

46

That has slowly but surely taken over from the
more traditional areas of the market, like Hudson
River School painting or American impressionism.
There is of course also great interest in artists
who might previously have been overlooked. It’s a
fantastic development that there is now a greater
appreciation of the value of these voices, and a
widening of what we now understand has been
a fairly narrow vision of America. The market
is, and should always be, seeking out quality, and
there have been really great opportunities to
find quality objects in some of these overlooked
areas. Having said that, as prices continue to
climb for such artists, there may actually begin
to be opportunities in the markets for the more
traditionally mainstream areas.
To conclude, I want to say that 2023 was an
incredible year for American art at Christie’s.
We continued our innovative strategy of separate
sales for 19th-century American art in January
and modern works in the spring. Our 19th-

Agnes Pelton (1881-1961), The Fountains, 1926. Oil on canvas. 361⁄8 x 32 in. Estimate: $1.5/2.5 million SOLD: $3,438, 000
(20th Century Evening Sale, Christie’s May 2023)

century sale, along with the singleowner Pollock Collection sale, showed
the strength of earlier eras of the
American market. The spring brought
similar success, especially with the Shen
Collection sale, which was 100 precent
sold, and a strong performance by our
inaugural Modern American Art auction.
We established new auction records
for female artists including Sarah
Miriam Peale and Virginia Berresford,
yet simultaneously new high marks
for well-established masters like John
George Brown and John Marin.

All the while, we continue to engage the
broader international market, setting a
new record for Agnes Pelton, and seeing
noteworthy results for Georgia O’Keeffe
paintings from Paul Allen’s collection
and Andrew Wyeth’s masterpiece, Spring
Fed. Outside of our public auctions,
the American art team also continued
our remarkable activity in the private
sale market, placing numerous pictures,
including to institutional clients, as well
as mounting successful exhibitions like
Sargent | Hassam, Icons of Impressionism.
I’m optimistic for the years to come, with

the entire historic American art category,
spanning both modern and traditional
aesthetics, continuing to replenish itself
with new collectors taking the place of
the earlier generation, through one of
the largest transitions of wealth across
generations ever, from baby boomers to
millennials, driving long-term growth.
Christie’s New York
20 Rockefeller Plaza,
New York, NY 10020
www.christies.com

MARKET REPORT

47

Andy Warhol (1928-1987), Shot Sage Blue Marilyn, 1964. Acrylic and silkscreen ink on linen, 40 x 40 in.
SOLD: $195,040,000

BLOCKBUSTERS

An examination of auction records in the historic American fine art market.
By Michael Clawson

W

hat’s in a
number? Well,
that depends on

the number.
Consider $195 million,
which is the record amount
paid for Andy Warhol’s Shot
Sage Blue Marilyn, or any
Warhol for that matter.
That record was set in
May of 2022, and it blew
away not only Warhol’s
previous auction record
of $105 million, it also cut
48

right through Jean-Michel
Basquiat’s 2017 record of
$110 million and Francis
Bacon’s 2013 record of $142
million. It did not, sadly, even
get close to Salvatore Mundi,
Leonardo Da Vinci’s muchfretted-over painting that sold
for $450 million in 2017, but
I’ll save that argument for
when we launch European
Fine Art Magazine.
So, again, what’s in a
number? Well, for us here at

American Fine Art Magazine,
quite a bit, which is why
we’re including a table
showing artist world records,
the years those records
were set and the number
of works by that artist that
have sold for $1 million
or more. Our full list was
larger than 150 names and it
was getting a bit unwieldy,
so we’ve chopped it down
to 45 highlights here for
the magazine. As a note,

we looked exclusively at
deceased artists from the 18th,
19th and 20th centuries. They
are primarily all American
artists, or at least created
work in the United States—
Thomas Moran, for instance,
is from England, but lived in
New York and is known for
his American subjects. All of
the data was pulled from the
website AskArt.com, which
is a resource many auction
houses and collectors use to

COLLECTOR’S GUIDE TO

2024
AUCTIONS

follow upcoming auctions
and track results. Although
AskArt’s numbers often
only go back 15 or 20 years
depending on the auction
house, the site has enough
data to give a chunky crosssection once sliced through.
The genesis of this project
comes from the January
2023 issue of our sister
publication, Western Art
Collector. As a fun glimpse
into the art market, I poured
through auction data to
isolate all the Western artists
who had achieved a sales
record of $1 million or
more. Only 26 artists could
be identified, which made it
a very exclusive club.
Porting that idea over
here to this magazine,
though, has been slightly
trickier, primarily because of
modern and contemporary
art prices, which have gone
through the roof in recent
decades. The list started
getting top heavy with
abstract expressionists and

Edward Hopper (1882-1967), Chop Suey, 1929. Oil on canvas, 32 x 38 in. SOLD: $91,875,000

other modern artists—
which, in and of itself, is
an interesting morsel of
information—like Basquiat

($110 million), Robert
Rauschenberg ($88 million),
Mark Rothko ($86 million),
Barnett Newmann ($84

Andrew Wyeth (1917-2009), Day Dream, 1980. Tempera on panel, 19 x 27¼ in. SOLD: $23,290,000

million) and Jackson Pollock
($61 million). Meanwhile, art
movements we tend to focus
on—Hudson River School,
American impressionism,
Golden Age Illustration,
American regionalism,
etc.—were largely buried
under the $10 million mark.
Again, this is interesting data
if you’re looking at where to
start collecting.
There are other interesting
bits of analysis that can be
made gleaned from this
data. For instance, notice
the number of sales over $1
million. For Warhol, he has
759 lots that have exceeded
that number, which shows
his entire market is very
strong. Other artists with
consistently strong sales of
$1 million or more include
pop artist Roy Lichtenstein
with 248 works, metalworker
and mobile maker Alexander
Calder with 360 works and
49

Thomas Moran (1837-1926), Green River of Wyoming, 1878. Oil on canvas, 25 x 48 in. SOLD: $17,737,000

the late Wayne Thiebaud
with 119 works of art. These
numbers occasionally reflect
the same work being offered
and sold multiple times,
but each time it counts as
another sale, whether it’s the
first time the work has been
offered or the 10th.
The quantity of $1
million sales also gives some
insight on the number of
major works that are on the
market. Warhol, for example,
created a lot of art, which
his records show, but notice

Emanuel Leutze, who only
has four works that have sold
over $1 million, and yet his
auction record is $45 million.
This would seem to indicate
Leutze’s market is very small,
either because he didn’t
create very much work or
because not much of it is
in private collections that
turn up at auctions. In this
case, both are true. In these
scenarios, where masterpieces
are rare and demand is high,
an important artwork will
generally go very high, as it

Wayne Thiebaud (1920-2021), Four Pinball Machines, 1962. Oil on
canvas, 68 x 72 in. SOLD: $19,135,000

50

did when Sotheby’s sold one
of Leutze’s Western works
in 2018 for $4.8 million.
Other artists that sell very
high when important works
become available, however
rarely that is, include Jacob
Lawrence, Grant Wood
and James Abbott McNeill
Whistler.
Notice also the years
of the sales records. Many
of them are new, with 33
of the 45 records set after
2008, the pre-recession/
pre-housing crisis historical

marker that many auction
watchers use as a landmark
when looking at past
auction sales.
Finally, another thing to
consider here, is that some
of this isn’t a science at all.
Some of it is pure emotion
during the day of the sale.
What propels one piece of
art to $195 million while
another can barely cross $1
million? It gets down to the
age-old question, “What
is this piece of art truly
worth?” Well, in the auction
world, worth is determined
by how far two bidders are
willing to go to get what
they want. Sure, the lot may
start with a dozen bidders,
but it really only matters at
the end when two are left
and they determine if the
auctioneer is going to go
one more round, or close
the sale with the hammer.
When two bidders want
the same thing, that’s how
records are set.

Jacob Lawrence (1917-2000), The Businessmen, 1947. Egg Tempera on
board, 20 x 24 in. SOLD: $6,169,800

HIGHLIGHTS OF HISTORIC AMERICAN AUCTION RECORDS*
ARTIST
Andy Warhol
Roy Lichtenstein
Edward Hopper
Jackson Pollock
Richard Diebenkorn
Norman Rockwell
Emanuel Leutze
Georgia O’Keeffe
George Bellows
Alexander Calder
John Singer Sargent
Andrew Wyeth
Wayne Thiebaud
Thomas Moran
Childe Hassam
Frederic Remington
Frederic Church
Maxfield Parrish
Mary Cassatt
Albert Bierstadt
Grant Wood
Marsden Hartley
William Merritt Chase
Jacob Lawrence
Milton Avery
N.C. Wyeth
Martin Johnson Heade
Charles M. Russell
Thomas Hart Benton
Winslow Homer
J.C. Leyendecker
Maurice Prendergast
Alice Neel
Sanford Robinson Gifford
James Abbott McNeill Whistler
Norman Lewis
Charles Sheeler
Augustus Saint-Gaudens
George Inness
Charles White
William Trost Richards
Paul Manship
Thomas Cole
Daniel Garber
Jasper Francis Cropsey

TITLE

SALE PRICE

YEAR SOLD

# of $1M+ Sales

Shot Sage Blue Marilyn
Nurse
Chop Suey
Number 17, 1951
Recollections of a Visit to Leningrad
Saying Grace
Washington Cross the Delaware
Jimson Weed / White Flower No. 1
Polo Crowd
Poisson Volant (Flying Fish)
Group with Parasols (A Siesta)
Day Dream
Four Pinball Machines
Green River Wyoming
Flags on 57th Street, Winter 1918
Coming Through the Rye
Home by the Lake
Daybreak
Young Lady in a Loge Gazing to Right
Indians Spear Fishing
Spring Plowing
Abstraction
I Think I Am Ready Now (The Mirror, The Pink Dress)
The Businessmen
The Letter
Portrait of a Farmer
The Great Florida Sunset
Piegans
Nashaquitsa
The Red Canoe
Football Hero
The Stony Beach
Dr. Finger’s Waiting Room
A Lake Twilight
Harmony in Grey: Chelsea in Ice
Ritual
White Sentinels
Victory
Sunset on the River
Ye Shall Inherit the Earth
Mackerel Cove, Jamestown, Rhode Island
Indian Hunter and His Dog
Catskill Mountain House
Byram Hills, Springtime
Lake George, Sunrise

$195,040,000
$95,365,000
$91,875,000
$61,161,000
$46,410,000
$46,085,000
$45,045,000
$44,405,000
$27,702,500
$25,925,000
$23,528,000
$23,290,000
$19,135,000
$17,737,000
$12,328,500
$11,223,500
$8,250,010
$7,632,000
$7,489,000
$7,321,000
$6,960,000
$6,744,500
$6,649,000
$6,169,800
$6,069,500
$5,985,900
$5,850,000
$5,600,000
$5,580,000
$4,842,500
$4,121,250
$3,526,000
$3,030,000
$2,900,000
$2,866,000
$2,780,000
$2,232,500
$2,047,500
$1,945,000
$1,760,000
$1,650,500
$1,565,000
$1,463,500
$1,128,000
$1,003,500

2022
2015
2018
2021
2023
2013
2022
2014
1999
2014
2004
2022
2020
2008
2021
2017
1989
2006
2022
2008
2005
2019
2008
2018
2022
2018
2015
2005
2022
1999
2021
2001
2021
2019
2000
2019
2018
2017
2008
2019
2011
2013
2003
2003
1995

759
248
33
52
72
70
4
88
16
360
36
20
119
33
46
33
10
27
38
26
3
22
10
4
36
12
18
32
21
39
1
14
11
3
3
4
4
3
1
4
1
3
4
1
1

*Auction data compiled from AskArt.com.

51

COLLECTOR’S GUIDE TO

2024

AUCTIONS

A view of Santa Fe Art Auction’s interior. Photo courtesy SFAA.

SANTA FE ART AUCTION

932 Railfan Road, Santa Fe, NM 87505 • (505) 954-5858 • info@santafeartauction.com,
consign@santafeartauction.com • www.santafeartauction.com

S

anta Fe Art Auction
has long been the
pre-eminent auction
house in the Southwest and
a nationwide leader in classic
Southwestern, Western
and Native American
arts, as well as American
contemporary art. The
auction house, founded in
1994, will celebrate its 30th
anniversary this year, and
is today renowned for its
state-of-the-art operation
based in a 13,000-squarefoot facility in the heart of
Santa Fe’s Baca Railyard
Arts District. A celebrated
leader in the Western art
circuit, SFAA has routinely
set record hammer prices for
prominent artists including
Charles Loloma, Gustave
Baumann and Edward S.
Curtis. The auction house

52

has further presented many
important single-owner
collections, including the
Christopher Cardozo
collection of Edward S.
Curtis and the Joseph Pytka
Collection.
The 2024 Signature Live
Sale will be presented in
early November, the region’s
highly anticipated annual
live event that features the
Best of the West, the finest
of the various and diverse
categories that the Santa
Fe Art Auction brings to
market throughout the year.
A special 2024 highlight
will be the presentation of
the Collection of renowned
Taos Arts patron Gregory W.
Nelson, featuring many early
20th-century New Mexico
artists including Dorothy
Brett, W. P. Henderson, Gene

Santa Fe Art Auction, Goat Herd. Oil on canvas, 25 x 34 in.,
by Barbara Latham (1896-1989).

Kloss, Howard Cook and
Ward Lockwood.

Upcoming Auctions
Native Arts
February 7-8, 2024

Christopher Cardozo
Collection
April 2024
Art of the West
May 2024
New Mexico Now
July 2024

COLLECTOR’S GUIDE TO

2024
AUCTIONS

Leland Little Auctions, Pool Hall Sharpie. Acrylic on canvas, 19½ x 37½ in., by Ernie Barnes (1938-2009). Estimate: $60/90,000 SOLD: $145,000

LELAND LITTLE AUCTIONS

620 Cornerstone Court • Hillsborough, NC 27278 • t: (919) 644-1243
info@lelandlittle.com • www.lelandlittle.com
eland Little Auctions
has specialized in the
sale of fine high-end
collectible objects for more
than 20 years, with sales
achieving over $17 million
per year and growing. The
auction house prides itself on
providing collectors, estates
and institutions with worldclass auction services.
The gallery space is
elegantly designed with
glass walls, high ceilings and
sophisticated spaces where
collectors can meaningfully
engage with department
specialists and their carefully
curated offerings, whether in
person or online.

L

The strength of Leland
Little Auctions is a team of
experienced professionals
dedicated to their fields.
Producing a successful
auction is a complex
operation, requiring
expertise in departments as
varied as fine jewelry and
information technology. For
every job, for each logistic,
the team brings exceptional
talent, experience and grace.

Upcoming Auctions
Winter Modern &
Contemporary Auction
February 1, 2024
Spring Sporting Auction
February 29, 2024

Leland Little Auctions, Breakers (Red Ball). Acrylic on canvas, 62 x 74 in.,
by Maud Gatewood (1934-2004). Estimate: $30/40,000 SOLD: $41,000

53

COLLECTOR’S GUIDE TO

2024

AUCTIONS

Freeman’s Auctions, Jetty Tree (Port Clyde, Maine). Oil on canvas,
48¼ x 40 in. by N. C. Wyeth (1882-1945). SOLD: $2,450,000

Freeman’s Auctions, December Afternoon (Carversville). Oil on canvas, 30 x 30 in.
by Fern Isabel Coppedge (1883-1951). SOLD: $226,800

FREEMAN’S AUCTIONS

2400 Market Street • Philadelphia, PA 19103 • t: (215) 563-9275 • www.freemansauction.com

A

s one of the only
houses with
marquee auctions
devoted to American art,
Freeman’s sells high-quality
works by renowned artists
and sets world records
for them, including three
generations of the famous
Wyeth family (grandfather
N.C. Wyeth, son and
daughter Andrew and
Henriette Wyeth, and
grandson Jamie Wyeth);
icons of illustration art
like Norman Rockwell
and Frank E. Schoonover;

54

graduates of the Pennsylvania
Academy of the Fine Arts,
such as Cecilia Beaux,
William Glackens and
Arthur B. Carles; celebrated
Pennsylvania Impressionists,
including Daniel Garber,
Edward Willis Redfield
and George Sotter; as
well as members of the
Philadelphia Ten Collective,
which counted Fern Isabel
Coppedge, Mary Elizabeth
Price and Emma Fordyce
MacRae among its ranks.
In addition to their
biannual auctions held

in December and June,
respectively, Freeman’s
has recently sold several
major American art and
Pennsylvania Impressionist
private collections, including
the George D. Horst Collection
of Fine Art ($4.4 million), the
Collection of Dorrance “Dodo”
H. Hamilton ($6.1 million),
the Virginia and Stuart Peltz
Collection ($1.4 million) and
Works from the Collection of
Heidi Bingham Stott ($1.3
million). In February 2024,
Freeman’s will present the
Collection of Sidney Rothberg,

which includes several
American art highlights
among other European
impressionist and modern
gems.

Upcoming Auctions
The Collection of Sidney
Rothberg
February 27-28, 2024
American Art and
Pennsylvania Impressionists
June 3, 2024
Collect: American Art
June 5, 2024

COLLECTOR’S GUIDE TO

2024
AUCTIONS

Grogan & Company, Slaughterhouse, 1937. Oil on canvas, 28¾ x 40 in, by Gertrude Abercrombie (1909-1977). Estimate: $15/25,000 SOLD: $100,000

GROGAN & COMPANY
20 Charles Street, Boston, MA 02114 • t: (617) 720-2020 • info@groganco.com • www.groganco.com
ocated in Boston’s
historic Beacon Hill
neighborhood, Grogan
& Company, Fine Art and
Jewelry Auctioneers, is a highend, full-service boutique
auction house.The firm
routinely achieves top prices
at auction across all collecting
categories of American
artwork and holds the
record auction sales price for
numerous New England artists.
The Grogan & Company
team makes a commitment
to provide personalized
attention to consignors and
buyers, and each item they
handle makes them leaders
in the fine art and jewelry
auction industries.Whether
you live around the corner

L

Grogan & Company, Flower Market, France, ca. 1910-1911. Oil on board,
12½ x 15½ in., by Marguerite Thompson Zorach (1887-1968).
Estimate: $20/30,000 SOLD: $62,500

from their gallery or across
the country, and whether
you have a single object or
an entire collection, they will
treat you like a neighbor while
commanding their global reach
to maximize the value of your
items. Call or email to receive
a complimentary auction
estimate for your American
fine art.

Upcoming Auctions
Fine Art
May 4, 2024
Jewelry
May 5, 2024
Fine Art
November 2, 2024
Jewelry
November 3, 2024

55

COLLECTOR’S GUIDE TO

2024

AUCTIONS

Scottsdale Art Auction,
A Bronc Twister. Bronze,
17¾ in., by Charles M.
Russell (1864-1926).
Estimate:
$200/300,000

Scottsdale Art Auction, Cottonwood Gazette. Oil, 40 x 30 in., by
Tom Lovell (1909-1997). Estimate: $200/300,000

SCOTTSDALE ART AUCTION

7176 E. Main Street, Scottsdale, AZ 85251 • t: (480) 945-0225 • info@scottsdaleartauction.com
www.scottsdaleartauction.com

A

consortium of
leading American art
dealers has organized
a Western art auction to be
held in Scottsdale, Arizona,
in the spring of each year.
Under the banner Scottsdale
Art Auction, dealers Mike
Frost (Bartfield Galleries of
New York City) and Brad
Richardson (Legacy Galleries
of Scottsdale and Santa
Fe, New Mexico) joined
together and presented their
first sale on April 2, 2005, at
Richardson’s Legacy Gallery
on Main Street in Scottsdale.
Frost has been instrumental

56

in building significant public
and private collections of
historically important Western
art throughout the country.
Richardson’s Legacy Galleries
have become a national leader
representing several members
of the Cowboy Artists of
America, National Academy
of Western Art, and a number
of exhibiting artists from
the annual Prix de West in
Oklahoma City and Masters
of the American West exhibition
and sale at the Autry Museum
in Los Angeles.
“Combining our various
fields of expertise and

taking advantage of our
geographic diversity, we
should be able to provide
a valuable service to
collectors and artists
throughout the United
States,” says Richardson.
Highly regarded for his
knowledge of significant
Western American masters,”
Frost says, “Art auctions
are fundamental to the
art market. They are
the trading floor for
the secondary market
and, in most cases, help
to establish collector
confidence and set the

market for an artist’s
work.”
In recent years,
Richardson has noted that
“premium works from
major collections and
artists’ studios have tended
to gravitate to the auctions,
and we believe that we are
ideally situated to serve
that process.”

Upcoming Auctions
Annual Live Auction
April 12-13, 2024
Online Auction
August 3, 2024

COLLECTOR’S GUIDE TO

2024
AUCTIONS

Thomaston Place Auction Galleries, Banks of Tin Brook, 1854. Mixed media, 17½ x29 in., signed and date, by George Inness (1825-1894).
Estimate: $40/60,000 SOLD: $72,000

THOMASTON PLACE AUCTION GALLERIES

51 Atlantic Highway, Thomaston, ME 04861 • t: (207) 354-8141 • info@thomastonauction.com • www.thomastonauction.com
aine’s rugged scenery and
self-sufficient, straightforward
people have inspired artists
for centuries. These characteristics have
also attracted many urban dwellers
(and their impressive art collections) to
the state. As a result, Thomaston Place
Auction Galleries is perfectly situated to
discover important art and present it to
the world marketplace.
For over 50 years, Thomaston Place
Auction Galleries’ owner and auctioneer
Kaja Veilleux has uncovered many
remarkable American art treasures.
“Finding a rare piece is exhilarating, but
I equally enjoy helping people appreciate
the history and assist in the preservation
of their items. Our emphasis on personal
service and providing knowledge builds
trust and helps clients make informed

M

Thomaston Place Auction Galleries, New York
City, 1931. Oil on panel, 11¾ x 9¼ in., by Childe
Hassam (1859-1935).

decisions,” says Veilleux.
Thomaston Place Auction Galleries
is Maine’s premier auction and appraisal
resource, and an internationally known
purveyor of art and antiques. In 2024,
they will conduct four major three-day
cataloged auctions (in February, June,
August and November); and frequent
online-only sales.

Upcoming Auctions
Winter Enchantment
February 23-25, 2024
Summer Splendor
June 28-30, 2024
Summer Grandeur
August 23-25, 2024
Autumn Majestic
November 8-10, 2024

57

COLLECTOR’S GUIDE TO

2024

AUCTIONS

John Moran Auctioneers, Wild Lilac - Santa Barbara. Oil on canvas, 20 x 30 in., by John Marshall Gamble (1863-1957). SOLD: $34,375

JOHN MORAN AUCTIONEERS

145 E. Walnut Avenue, Monrovia, CA 91016 • t: (626) 793-1833 • fineart@johnmoran.com • www.johnmoran.com
ohn Moran Auctioneers brings
together buyers and sellers of
decorative and fine art, jewelry,
fine furnishings and more. The auction
house offers a customizable, boutique
approach toward consignment, estate
liquidation and valuation services.
John Moran’s biannual California &
American Fine Art auctions feature works
by artists such as Guy Rose, Edgar
Payne, Granville Redmond, William
Ritschel, Paul de Longpré, Armin
Hansen, Maynard Dixon, Thomas Hill,
Maurice Braun, Eyvind Earle, Sydney
Laurence, John Marshall Gamble,
Marion Kavanaugh Wachtel, Carl Krafft,
Millard Sheets and many more.
From their humble beginnings 50
years ago, John Moran Auctioneers
has grown into a trusted, full-service

J

58

auction house with an international
reach. Their experienced team of
knowledgeable specialists can offer
collectors or their clients the highest
level of service, whether you are
seeking a free auction valuation, a
formal appraisal, or a customized
estate liquidation plan.

Upcoming Auctions
Art of the American West
March 12, 2024
California & American Fine Art
May, 7, 2024
Art of the American West
June 4, 2024
California & American Fine Art
November 12, 2024

John Moran Auctioneers, Mount McKinley.
Oil on canvas, 20 x 16 in., by Sydney Mortimer
Laurence (1865-1940). SOLD: $43,750,000

COLLECTOR’S GUIDE TO

2024
AUCTIONS

Shannon’s Fine Art Auctioneers, Lady Trying on a Hat, 1909. Oil
on canvas, signed and dated lower right: ‘F.C. Frieseke – 1909’,
63¾ x 51 in., by Frederick Carl Frieseke (1874-1939). Estimate:
$250/$350,000 SOLD: $450,000

Shannon’s Fine Art Auctioneers, Untitled, 1963. Oil on canvas, 33½
x 29 in., by Lynne Mapp Drexler (1928-1999). Estimate: $50/$75,000
SOLD: $450,000

SHANNON’S FINE ART AUCTIONEERS
49 Research Drive • Milford, CT 06460 • t: (203) 977-1711 • www.shannons.com

stablished in 1997,
Shannon’s specializes
in American art,
European art, modern and
contemporary art, fine prints
and sculpture. Shannon’s
attributes maintaining its
nearly 90 percent sellthrough rate to exceptional
customer service, expertise
and targeted marketing. Each
year, Shannon’s produces two
full-color fine art auction
catalogs for sales in the
spring and fall. The auctions
feature approximately 200
lots of paintings, drawings,
prints and sculpture from the
19th century through today.
Shannon’s Online Fine
Art Auction, scheduled for
Thursday, January 18 at 2
p.m., will feature 100-plus
lots of paintings, drawings,

E

prints and sculpture. The sale
will feature several original
paintings at affordable price
points for collectors at every
level, including the piece by
Gabor Peterdi featured here.
Highlights include paintings
by Priscilla Roberts (19162001), for whom Shannon’s
just set a world auction
in October, and paintings
by abstract expressionist
Lynne Drexler. A full gallery
preview will be open one
week prior to the sale.
Bidding will take place live
on shannons.com.
From the Hudson
River School to abstract
expressionism, Shannon’s sets
new records for American
artists every year. Their
expertise in American art is
unparalleled, reflected in the

Shannon’s Fine Art Auctioneers, Dunes and Dark Sea, 1983. Oil on canvas,
signed and dated, 50 x 80 in., by Gabor Peterdi (1915-2001).
Estimate: $2,500/3,500

quality consignments and
strong results.

Upcoming Auctions
Online Fine Art Auction
January 18, 2024

Fine Art Auction
May 2, 2024
Online Fine Art Auction
June 20, 2024
Fine Art Auction
October 24, 2024
59

COLLECTOR’S GUIDE TO

2024

AUCTIONS

Selkirk Auctioneers & Appraisers, Making a Good Spring, 1984. Oil on canvas, 24 x 40 in., by Gerald Harvey Jones (G. Harvey) (1933-2017). SOLD: $100,000

SELKIRK AUCTIONEERS & APPRAISERS
555 Washington Avenue, St. Louis, MO 63101 • t: (314) 696-9041 • info@selkirkauctions.com • www.selkirkauctions.com

S

elkirk Auctioneers &
Appraisers is a full-service
fine art and antiques
auction firm led by a respected
team of experienced industry
professionals and certified
appraisers. Be it a single
luxury item or an entire estate
collection, Selkirk’s trained
specialists provide clients with
first-class property evaluations
and an international stage for
marketing and salability. As
Missouri’s leading firm of fine
and decorative art auctions and
appraisals, Selkirk captivates
the regional and global markets
by raising industry standards
through the aspirational powers
of art and object.
From Selkirk’s downtown St.
Louis beginnings in 1830 until
now, location has played a vital
role in the legacy of the firm.

60

The Selkirk Gallery is housed
in the venerable and rare
1876 Victorian facade of cast
iron, originally known as the
Finney Building. The combined
atmosphere and presentation
allows Selkirk to cater to the
luxury markets’ emotions,
understand taste levels and
engage desires. The Selkirk team
invites you to the experience.

Upcoming Auctions
Premier Gallery
January 13, 2024
Fine Porcelain:
The Zorensky Collection
January 19, 2024
Creative Interiors
January 26, 2024
Eclectic Collections
February 2024
Selkirk Auctioneers & Appraisers, Orange Slice. Acrylic and
aluminum dust on molded canvas, 42 x 32 in., by Sam Gilliam
(1933-2022). SOLD: $208,000

COLLECTOR’S GUIDE TO

2024
AUCTIONS

Hindman
Auctions, Study
St. Malo No. 13, ca.
1907. oil on panel,
10½ x 13¾ in., by
Maurice Brazil
Prendergast
(1858-1924).
Estimate:
$70/90,000
SOLD: $100,800

HINDMAN AUCTIONS
1550 W. Carroll Avenue • Chicago, IL 60607
t: (312) 280-1212 • support@hindmanauctions.com
www.hindmanauctions.com

indman is a
leading fine art
auction house
connecting cities nationwide
to the global art market.
With offices and salerooms
throughout the country,
the auction house conducts
more than 140 auctions
annually.
Hindman’s American art
auctions feature paintings,
sculptures, works on paper
and more from the 16th
through 20th centuries
with an emphasis on the
impressionists, regionalists,
surrealists and early
modernists. Works by some
of the most important
artists of the last 200 years,
including Charles Burchfield,

H

Hindman Auctions, One More Week of School and Then..., 1919. Oil on
canvas laid to board, 20¾ x 21 in., by Norman Rockwell (1894-1978).
Estimate: $300/$500,000 SOLD: $529,200

Fern Isabel Coppedge, Jasper
Francis Cropsey, Grant
Wood, Andrew Wyeth and
N.C. Wyeth are often offered
in these sales.
Hindman also provides
private collectors, estate
professionals, institutions,
and corporations
comprehensive art services
including auction, private
treaty sales, collection
management, disposition and
acquisition advice, as well as
valuations and appraisals.

Upcoming Auctions
American Art
May 16, 2024
American Art
October 2024

61

2024

AUCTIONS

Shapiro Auctions, A Prehistoric Bowl (excavated Near the Pueblo of
Zuni, New Mexico, ca. 1935. Oil on canvas, 39¾ x 36¼ in., by Joseph
Henry Sharp (1859-1953). Sold together with the pictured chest, as per
Sharp’s inscription formerly belonging to Governor Charles Bent of
New Mexico. SOLD: $335,000

SHAPIRO AUCTIONS
566 E Boston Post Road • Mamaroneck, NY 10543
t: (212) 717-7500 • info@shapiroauctions.com
www.shapiroauctions.com
hapiro Auctions is delighted to present the winter
2024 installment of its Fine & Decorative Art Auctions,
featuring more than 300 lots of American and European
artwork and jewelry from the 19th century to the present.
One of the most exciting offerings of the sale is a 1905
painting by John La Farge, titled The Source. Available at
auction for the first time in more than 30 years with an
estimate of $15,000 to $20,000, this enigmatic composition
is a rare example from the artist’s mature period. Another
fresh-to-market piece of art history is an El Greco-inspired
portrait by Bradley Walker Tomlin with an estimated
value of $4,000 to $6,000, sold by Frank K. M. Rehn
Gallery, storied purveyors of American art. Among the
contemporary selections are highly collectable paintings,
drawings, and prints by the likes of Wolf Kahn, Robert
Cottingham, Claes Oldenburg and Robert Loughlin.
Mark your calendars for the reveal of the catalog on
January 5 and tune in to the live auction on January 27 at
10 a.m. Eastern Standard Time.

S

Upcoming Auctions
Winter Auction January 27, 2024
62

ADDITIONAL 2024 AMERICAN ART AUCTIONS

COLLECTOR’S GUIDE TO

Bonhams
www.bonhams.com
California Art
April 23, 2024
August 7, 2024
November 11, 2024
American Art
May 1, 2024
August 12, 2024
November 20, 2024

Bonhams Skinner
skinner.bonhams.com
American Art
March 2024
September 4, 2024

Coeur d’Alene Art Auction
www.cdaartauction.com
Coeur d’Alene Art Auction
July 27, 2023

Copley Fine Art Auctions
www.copleyart.com
The Winter Sale
February 23-24, 2024

Eldred’s
www.eldreds.com
Winter Paintings
January 26, 2024
The Marine Sale
February 27-28, 2024
Women in the Arts
March 13, 2024
The Spring Sale
April 4-5, 2024
The Summer Sale
July 25-26, 2024

Jackson Hole Art Auction
www.jacksonholeartauction.com
Winter Online Auction
February 17, 2024
Spring Online Auction
May 2024
18th Annual Live Auction
September 14, 2024

Heritage Auctions
www.ha.com
American Art Within Reach
March 22, 2024
American Art Signature Auction
May 15, 2024
November 2024

Swann Auction Galleries
www.swanngalleries.com
The Artists of the WPA
January 25, 2024
19th & 20th Century Art
March 14, 2024
African American Art
April 4, 2024

PHOTOGRAPHY: BLAKE/DONELLAN

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New York, New York 10021
212.582.3355

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AUCTION PREVIEW: NEW YORK, NY

VISIONS OF AMERICA

Sotheby’s celecbrates American art with a sale of significant historic works
January 20, 2024
Sotheby’s
1334 York Avenue
New York, NY 10021
t: (212) 606-7000
www.sothebys.com

or three days in January,
Sotheby’s will host several
auctions, events and experiences
under the umbrella Visions of America.
One significant sale is Art of America,
taking place on January 20, featuring
the “nation’s most historically
celebrated artists” in over 60 paintings,
drawings and sculpture.
“From late 18th-century presidential
portraiture to 19th-century Hudson
River School paintings and 20thcentury American illustration art,
this various owner sale highlights the
iconic figures and striking landscapes
that have shaped the country,” notes
Sotheby’s. “This sale will be offered
alongside two distinguished single
owner collections—the first featuring
Hudson River School and traditional
19th-century paintings, and a second
which showcases Western American
masterpieces…”
Kayla Carlsen, Sotheby’s head of
American Art, adds, “Art of America
is the primary forum for historic
American art and buyers look to
it and Visions of America (formerly
Americana Week) as a whole as the major
event of the year. Collectors travel
to New York to inspect the works
in person and visit other purveyors
of antiques during the singular time
dedicated to art of the Americas.”

F

64

Winslow Homer (1836-1910), Looking Over the Cliff, 1882. Watercolor and graphite on paper,
21 x 14 in. Estimate: $1 million

COLLECTOR’S GUIDE TO

2024
AUCTIONS

Charles Willson Peale (1741-1827), George Washington, ca. 1795. Oil on canvas, 29 x 23¾ in. Estimate: $2/3 million

65

John F. Clymer (1907–1989), Heading for Rendezvous, 1978. Oil on Masonite, 10 x 20 in., signed ‘John Clymer’, inscribed ‘CAA’ and dated ‘© 1978’ lower
right; signed and titled on the reverse. Estimate: $70/100,000

Thomas Worthington Whittredge (1820-1910), Indian Encampment Under Trees, ca. 1870. Oil on board, 187/8 x 27½ in., signed lower left: ‘W Whittredge’.
Estimate: $350/500,000

66

Thomas Moran (1837-1926), Green River, Wyoming, 1883. Oil on canvas, 13¼ x 20 in., signed and daled lower right: ‘TMoran 1883’.
Estimate: $1/1.5 million

The anticipated top lot in Art of
America, with an estimated value of $2
to $3 million, is Charles Willson Peale’s
(1741-1827) portrait of America’s
first president. “This exceptionally
rare portrait stems from [Peale’s] 1795
sitting with George Washington, which
was the artist’s final session from life
with the President and the only time
that Washington sat for Peale during his
presidency,” explain Sotheby’s
representatives. “The original version
from this sitting resides in the New
York Historical Society’s permanent
collection. The present work is one
of three confirmed replicas in private
hands, and it marks the first appearance
at auction for a work from this group
since 1954.”
Also expected to achieve high
numbers at the sale is the beautiful
watercolor and graphite work Looking
Over the Cliff, 1882, by Winslow Homer
(1836-1910). With an estimate in the
range of $1 million, the painting of two
women standing on a cliff together,

arms linked, is a grand example of the
artist’s mastery of watercolor—his most
famous of works from his time living in
a seaside town in Maine.
With an estimate in the vicinity of
$500,000, is a Fitz Henry Lane (18041865) painting titled Northwesterly
View of Mount Desert Rocks, followed
by the significant Thomas Worthington
Whittredge’s (1820-1910) Indian
Encampment Under Trees, circa 1870,
with an estimate between $350,000 to
$500,000. Some of the more Western
lots include John F. Clymer’s (19071989) painting Heading for Rendezvous
(est. $70/100,000).
Also held on the same day, is the
Western Art and Design from Bar Cross
Ranch, Wyoming sale. One of the
highlights is an awe-inspiring Thomas
Moran (1837-1926) titled Green River,
Wyoming, 1883, expected to fetch a
whopping $1 to $1.5 million.
Continuing the celebration on
January 20, is the sale Americana:
Furniture, Folk Art, Silver, Chinese

Export Art, and Prints Part I. Erik
Gronning, Sotheby’s head of Americana
comments, “Visions of America at
Sotheby’s New York is redefining how
American furniture, decorative arts,
folk art and outsider art is presented to
auction, spanning the pilgrim century
through to the 21st century. Sotheby’s is
proud to highlight a unique collection
of paintings from the outsider artist,
Winfred Rembert (1945-2021), folk art
sculpture from the Guennol Collection,
formal Queen Anne, Chippendale
and Federal furniture, Chinese export
ceramics and colonial silver.”
Don’t miss out on this rare
opportunity to add to your collection
of historic American art and objects
during Sotheby’s Visions of America,
running January 20 through 23 at thier
New York headquarters. The pre-sale
exhibition runs from January 12 to 19,
prior to all live and online sales.

AUCTION PREVIEW: NEW YORK, NY

67

AUCTION PREVIEW: NEW YORK, NY

AMERICAN CLASSICS

19th-century American art takes center stage at Christie’s January sale in New York City
January 18, 2024
Christie’s
20 Rockefeller Plaza
New York, NY 10020
t: (212) 636-2000
www.christies.com

Martin Johnson Heade (1819-1904), Cattleya Orchid with Two Brazilian Hummingbirds, 1871.
Oil on panel, 13¾ x 18 in. Estimate: $1.2/1.8 million

Albert Bierstadt (1830-1902), Woodland Pool,
ca. 1870. Oil on canvas, 36 x 26 in.
Estimate: $500/700,000

xamples from the 19th and early
20th century are up for grabs at
Christie’s 19th-Century American
and Western Art sale on January 18 in
New York City. Categories represented
in the sale include the Hudson River
School, Taos Society of Artists and a
major focus on Western artwork, which
will include a magnificent Thomas
Moran painting.
The Moran piece, 1918 oil painting
Afterglow, Green River, Wyoming, shows
one of the painter’s most iconic

E

68

subject matters. “This is as good
as it gets with Moran and Green
River,” says Caroline Seabolt, who is
leading the sale. “Alongside the Grand
Canyon, this is his signature subject.
This can go into a collection that has
other Morans or it can be your sole
Moran if you wanted it to be.” The
work is estimated at $1.2 million to
$1.8 million.
Other Western lots in the sale
include William R. Leigh’s The Grand
Canyon (est. est. $70/100,000), Frank
Tenney Johnson’s Two Moons (est.
$40/60,000), Thomas Worthington
Whittredge’s A Wagon Trail on the
Plains, Platte River, Colorado (est.
$300/500,000), two Charles M.
Russell bronzes estimated at $150,000
to $250,000 each, and two works
from Taos Society of Artist members,

Eanger Irving Couse’s Thunder Birds
(est. $600/800,000) and E. Martin
Hennings’ Along the Greasewood Trail
(est. $600/800,000).
In the early lead-up to Christie’s
sale, the original title was simply
19th-Century American Art. But as the
spectacular Western material piled
up, it quickly became obvious that a
change was in order, which is how the
amended title, 19th-Century American
and Western Art, came to be. “We are
the house with the highest-quality
Western art, and that is what we are
speciliazing in this season. This sale
won’t have the quantity of some of
our recent single-owner sales, but the
quality is quite high,” says Seabolt.
“When it comes to this high-end
Western material, we have been doing
very well. Historically, Western art has

COLLECTOR’S GUIDE TO

2024
AUCTIONS

Thomas Moran (1837-1926), Afterglow, Green River, Wyoming, 1918. Oil on canvas, 20 x 30 in. Estimate: $1.2/1.8 million

Eastman Johnson (1824-1906), Cardplay at the Camp, ca. 1861-65. Oil on
canvas, 187/8 x 29 in. Estimate: $400/600,000

been one of the most consistent submarkets in American art…It’s a very
good market and a steady market.”
Another major work in the sale
is Martin Johnson Heade’s 1871 oil
on panel Cattleya Orchid with Two
Brazilian Hummingbirds, estimated at
$1.2 million to $1.8 million. Heade’s
landscapes with floral elements and
hummingbirds are some of his most

Thomas Cole (1801-1848), View Near Catskill, 1828-29. Oil on panel,
24¾ x 35 in. Estimate: $500/700,000

sought-after works, and important
examples such as this one rarely come
to market.
Three other landscape painters
will be featured in the sale: Thomas
Cole’s painting View Near Catskill
(est. $500/700,000) will be available
to bidders, as will Albert Bierstadt’s
Woodland Pool (est. $500/700,000) and
a smaller version of Frederic Church’s

Cotopaxi (est. $500/700,000).
The sale will feature around 90
lots. Most of the works come from
different sellers, but five of the
works—including the Moran, Couse,
Hennings and Bierstadt—all come
from a single distinguished Western
collection. The sale will take place
January 18, with a preview available
from January 12 to 17.
69

AUCTION PREVIEW: PHILADELPHIA, PA

IMPECCABLE TASTE

Freeman’s offers superb 19th- and 20th-century art from the collection of Sidney Rothberg
February 27, 2024
Freeman’s
2400 Market Street
Philadelphia, PA 19103
t: (215) 563-9275
www.freemansauction.com

his February, Freeman’s will
host the sale What Do You
See? The Collection of Sidney
Rothberg, a single-owner sale that
brings many works to the public for
the first time in more than 40 years.
The sale comprises an exceptional
collection of 19th- and 20th-century
fine art from artists across the world,
with many prominent Americans
like Milton Avery, Marsden Hartley,
Maurice Prendergast and William
Glackens.
“Sid Rothberg was known for
his expert eye and impeccable taste,”
says Alasdair Nichol, Freeman’s
chairman and director of fine art.
“He was a familiar presence in the
auction world over several decades. A
lifelong Philadelphian, Sid regularly
attended Freeman’s auctions, and we
are incredibly honored, after all these
years, to present his extraordinary
collection.”
Major upcoming lots in the sale
include Marsden Hartley’s oil and
pencil on board titled Rolling Hills,

T

Right: Maurice Prendergast (1858-1924), At the
Café. Watercolor on paper, 9 x 12 in., initialed
vertically bottom right. Estimate: $8/12,000
Top right: Marsden Hartley (1877-1943), Rolling
Hills. Oil and pencil on board, 7¾ x 9¾ in.,
initialed (in a circle) bottom right, also signed
bottom right. Estimate: $40/60,000

70

COLLECTOR’S GUIDE TO

2024
AUCTIONS

Milton Avery (1885-1965), Figurines. Oil on canvas laid down to board,
237/8 x 18 in., signed bottom left, titled verso. Previously in the private
collection of Joseph Hirshhorn. Estimate: $25/40,000

estimated at $40,000 to $60,000;
Avery’s teal-colored oil Figurines
(est. $25/40,000); and Glackens’ oil
Anemones (est. $25/40,000), a still life
depicting a vase of flowers. In addition,
an untitled watercolor by Romare
Bearden is expected to fetch $8,000
to $12,000, and Landscape by Alfred
Henry Maurer has a presale estimate of
$20,000 to $30,000.
“A longtime Philadelphian,
Rothberg also had deep French roots:
he first explored his passion for art
during his WWII deployment in
France, later attending classes at the
University of Burgundy in Dijon,”
the auction house notes. Highlights
from Rothberg’s collection first
traveled to Paris this past October
2023 in homage to Rothberg’s French
influences. A second highlights
exhibition is set to be held in New
York City in early 2024 before the
live sale takes place in Philadelphia on
February 27.

William Glackens (1870-1938), Anemones. Oil on canvasboard, 15¼ x 12 in.
Estimate: $25/40,000

John Kane (1860-1934), Interior (7 o’clock). Oil on canvas, 8 x 10 in., signed bottom right.
Estimate: $10/15,000

71

AUCTION PREVIEW: THOMASTON, ME

AN ENCHANTING ARRAY

Thomaston Place’s winter sale features extensive offerings of significant American art
February 23-25, 2024, 11 a.m.
Thomaston Place
Auction Galleries
51 Atlantic Highway
Thomaston, ME 04861
t: (207) 354-8141
www.thomastonauction.com

A

monumental oil painting by
Alfred Thompson Bricher
(1837-1908) is one of many
highlights in Thomaston Place’s Winter
Enchantment sale, a three-day event
beginning at 11 a.m. on February 23,
24 and 25. The piece is of particular
interest because rather than the deserted
rocky shorelines he often painted, The
Old Mill depicts a bucolic summer
scene with a young girl and boy seated
by a mill pond. In recent years, Bricher’s
works have consistently exceeded their
estimated value at auction.
Other works of note include a
striking coastal painting by Maine

Andrew George
Winter (18931958), Captain
Upton’s House,
Cape Elizabeth,
Maine. Oil on
canvas, 22 x 28
in., signed and
dated lower left:
‘A. Winter – 40’.

72

Alfred Thompson Bricher (1837-1908), The Old Mill Pond. Oil on canvas, 29½ x 39½ in., signed lower right.

artist Andrew George Winter (18931958) of “Captain Upton’s House,” a
Cape Elizabeth lighthouse in winter.
Additionally, the auction will offer an
elegantly carved marble sculpture titled

The Greek Slave by neoclassical sculptor
Hiram Powers (1805-1873).
Works by many other prominent
American artists will also be included
in the sale, including William Pierce
Stubbs (1842-1909), Carroll Thayer
Berry (1886-1978), W.H.D. Koerner
(1878-1938), Aldro Hibbard (18861972) and Reginald Eugene Nickerson
(1915-1999).
Contemporary artists, such as Stan
Stokes, Shepard Fairey, Grant Drumheller,
Jerome Howes and Eric Hopkins will
also be represented in the sale.
Thomaston Place owner Kaja Veilleux
notes, “The February Enchantment
auction will contain many rare and
unusual items from the beginning of
time to the 21st century, plus our usual
array of fine art, jewelry, silver, Chinese
objects and more, coming from fine
homes in Maine and the U.S.”

LAS VEGAS, NV

BRIAN LEBEL’S OLD
WEST EVENTS

2024
AUCTIONS

JANUARY 26
Old West Auction
This year, Brian Lebel’s
Old West Events has
teamed up with Morphy
Auctions to move the 34th
annual January event to
run alongside the Las Vegas
Antiques Arms Show at the
Westgate Resort & Casino
in Nevada. The Old West
Auction will be held on
January 26 and features an
array of historic American
artwork within the realm
of Western art, as well as
Native American artifacts.
Historic names whose work
will be included in the
upcoming auction include
Harry Jackson, Edward
Borein and Edgar Paxson.

COLLECTOR’S GUIDE TO

JOINT AUCTION PREVIEWS: LAS VEGAS, PLYMOUTH

Harry Jackson (1924-2011), Pony Express-Painted, bronze.
Brian Lebel’s Old West Events. Estimate: $15/20,000

PLYMOUTH, MA

COPLEY FINE ART
AUCTIONS
FEBRUARY 23-24
Winter Sale
Copley Fine Art Auctions
holds its annual Winter Sale
this February, offering more
than 450 lots in sporting
art, antique decoys, bird
carvings, fishing collectables
and folk art from important
curated collections and
estates. Shaping up to be
one of the top lots in the
realm of painting is Frank
W. Benson’s 1942 oil Eagles
Over Seas, which has a
presale estimate of $100,000
to $200,000. Another work
by the artist, who was one
of the leading influences

in the Boston School of
American Impressionism, is
an atmospheric watercolor
titled Souvenir of Florida (est.
$30/50,000). Both pieces
come from the Collection of
Katherine Shaw Kripke and
Samuel Benson Shaw, the
great-great-grandchildren of
Frank Benson.
The live-streamed Winter
Sale, which offers phone,
absentee and internet
bidding, will begin at 10
a.m. on Friday and Saturday,
February 23 to 24.

Frank W. Benson (1862-1951), Eagles Over Seas. Oil on canvas, 40 x 32 in.
Copley Fine Art Auctions. Estimate: $100/200,000

73

AUCTION REPORT: NEW YORK, NY

HISTORY MADE

The Emily Fisher Landau Collection achieves staggering $425 million
across two record-setting sales at Sotheby’s

A

Jasper Johns (b. 1930), Flags,
1986. Oil encaustic wax on
canvas, 255/8 x 331/8 in.,
signed, dated and variously
inscribed on the reverse.
Estimate: $35/45 million
SOLD: $41,000,000

Agnes Martin (1912-2004),
Grey Stone II, 1961. Oil, gold
leaf and pencil on canvas,
72 x 72 in., signed, titled
and dated on the reverse.
Estimate: $6/8 million
SOLD: $18,718,500

74

cross two auctions
held by Sotheby’s
on November
8 and 9, 2023, Emily
Fisher Landau’s dynamic
collection of modern and
contemporary art achieved
$424.7 million, making
history and bolstering
confidence in the market
along the way.
Pablo Picasso’s 1932
Femme à la Montre led
the 31-lot white-glove
evening sale, achieving
$139 million, a hefty
34 percent of the sale’s
$406.4 million, a total that
established it as the most
valuable collection devoted
to a woman collector in
auction history. The Picasso,
a portrait of Marie-Thérèse
Walter, often referred to as
the artist’s “golden muse”
and with whom the artist
had a daughter, became
the second-highest price
ever achieved for the artist
at auction and the most
valuable work of art sold at
auction that year.
The following afternoon,
an additional 80 lots
achieved another $18.3
million, bringing the
collection’s value up to
$424.7 million.
While no other lot
achieved such great heights
as the Picasso, it paved the
way for many other records
including for Jasper Johns,
whose 1986 Flags took the

COLLECTOR’S GUIDE TO

2024
AUCTIONS

Pablo Picasso (1881-1973), Femme à la Montre, 1932. Oil on canvas, 511/8 x 381/8 in., signed upper left: ‘Picasso’; inscribed ‘Boisgeloup’ and dated ‘17
Août XXXII’ on the stretcher. Estimate: $120 million SOLD: $139,363,500

75

Andy Warhol (1928-1987), Self Portrait, 1986. Acrylic and silkscreen on
canvas, 80 x 80 in., signed and dated ‘86’ on the overlap.
Estimate: $15/20 million SOLD: $18,144,000

second-highest lot at
$41 million—the most
ever achieved for one
of his iconic American
flag paintings. Not far
behind was Securing the
Last Letter (Boss) by Ed
Ruscha, which sold for an
impressive $39.4 million,
the second-highest price
the artist has realized at
auction.
In total, five works sold
for more than $20 million
and nine for more than
$10 million, establishing
the average lot value of
$13 million, one of the
highest ever at auction.
After seven minutes of
heated bidding between
eight collectors, Agnes
Martin established a

new benchmark for her
minimalistic Grey Stone II.
The massive gray canvas
from 1961 fetched $18.7
million, more than doubling
its high estimate. Mark
Tansey’s Triumph Over
Mastery II, 1987, was also
a hot commodity, finally
leaving the block at $11.8
million. Both sales marked
auction records for the
artists, as did Robert
Rauschenberg’s Vitamin
when it sold for $3.5
million, setting a new
record for a work on paper
by the artist.
International interest
was noted when works
by Cy Twombly, Mark
Rothko, Robert Indiana,
Andy Warhol and Georgia

Georgia O’Keeffe (1887-1986), Pink Tulip (Abstraction - #77 Tulip), 1925.
Oil on canvas, 32 x 12 in., signed with the initials ‘OK’ in the artist’s star
device, titled and dated on the original backing board.
Estimate: $3/5 million SOLD: $5,734,800

76

O’Keeffe sold to collectors
in Asia. Additional
pieces were acquired by
institutions.
“Emily Fisher Landau’s
prescient and unerring
eye allowed us to shine a
spotlight tonight onto the
great artists who now form
the bedrock of 20th-century
art history,” says Brooke
Lampley, Sotheby’s chairman
and head of global fine art,
after the evening auction.
“As every single lot found
a new home, we saw the
enduring appeal of these
masters affirmed once again.”
The 111 works in
Sotheby’s fall 2023 sales
represented only a portion
of the Emily Fisher Landau
Collection. Additional works
of art and design objects in
the estate will be offered at
Sotheby’s this year.
Ed Ruscha (b. 1937), Securing the Last Letter (Boss), 1964. Oil on canvas, 59 x 551/8 in., signed, titled and dated on
the stretcher. Estimate: $35/45 million SOLD: $39,400,500

TOP 10 LOTS

THE EMILY FISHER LANDAU COLLECTION: AN ERA DEFINED, EVENING AUCTION,
NOVEMBER 8, 2023 (INCLUDING BUYER’S PREMIUMS)
ARTIST

TITLE

LOW/HIGH EST.

PABLO PICASSO

FEMME À LA MONTRE

$120,000,000

SOLD
$139,363,500

JASPER JOHNS

FLAGS

$35/45,000,000

$41,000,000

ED RUSCHA

SECURING THE LAST LETTER (BOSS)

$35/45,000,000

$39,400,500

CY TWOMBLY

UNTITLED, 1968

$20/30,000,000

$26,761,500

MARK ROTHKO

UNTITLED, 1958

$30/40,000,000

$22,165,500

AGNES MARTIN

GREY STONE II

$6/8,000,000

$18,718,500

ANDY WARHOL

SELF-PORTRAIT

$15/20,000,000

$18,144,000

ED RUSCHA

MINT

$10/15,000,000

$12,973,500

MARK TANSEY

TRIUMPH OVER MASTERY II

$8/12,000,000

$11,824,500

PIET MONDRIAN

COMPOSITION (UNFINISHED), 1938

$8/12,000,000

$9,116,500

AUCTION REPORT: NEW YORK, NY

77

AUCTION REPORT: NEW YORK, NY

ALL AMERICAN

An early Rockwell steals the show in Hindman’s $1.6 million fall sale

A

piece from Norman
Rockwell’s popular narrative
series about “the know-it-all
city boy and his country cousins” took
the top lot in Hindman’s American Art
auction on October 17, 2023.
The 1919 work, Only One More
Week of School and Then… sold to the
highest bidder for $529,000, surpassing
its high estimated value of half a
million dollars. Made for the June
14, 1919, cover of Country Gentleman
when Rockwell was only 25, the oil
painting is the second to last piece
chronicling the antics of his beloved
characters Cousin Reginald Claude
Fitzhugh and his country-bumpkin
kin. In the piece we see the chipper
Reginald, carrying his schoolbooks in
one hand and clutching a bouquet for
his teacher, while his sulking cousins
trail behind miserable at the thought
of suffering through another week of
school before summer vacation.
“Only One More Week of School and
Then… is representative of Rockwell’s
lighthearted, charming narratives that
feature children,” notes a Hindman
representative. “Completed early in the
artist’s career, it also demonstrates the
more expressive and painterly execution
that characterizes Rockwell’s work
from the late 1910s to early 1930s,
before he adopted photography into
his technical process. Even without
the aid of a camera, the naturalistic
detail with which the three boys are
carefully rendered—from Reginald’s
immaculate suit to the tattered straw
hats of the other two boys—reveals
the artist’s ability to capture the varied
glory of America’s youth. It is through
these keen observations that Rockwell
was able to create scenes that resonated

78

Maurice Brazil Prendergast (1858–1924), Rocky Beach Cove, Marblehead, ca. 1920-1923. Watercolor,
graphite, gouache and pastel on paper, 11¼ x 15½ in., signed lower left: ‘Prendergast’ with a beach
scene sketch on verso. Property from a Private Collection, Phoenix Arizona. Estimate: $50/70,000
SOLD: $56,700

John Wilde (1919-2006), To Shoot a Beetle, 1964.
Oil on board, 7 x 8 in., signed upper left with
initial ‘J’, dated upper right, signed and dated
on the reverse. Estimate: $7/9,000
SOLD: $34,650

LeRoy Neiman (1921-2012), Paddock at
Deauville, 1965. Oil on board, 44 x 34 in., signed
and dated lower right: ‘LeRoy Neiman’ and date
titled on the reverse. Estimate: $20/40,000
SOLD: $69,000

COLLECTOR’S GUIDE TO

2024
AUCTIONS

Norman Rockwell (1894-1978), One More Week of School and Then..., 1919. Oil on canvas laid to board, 20¾ x 21 in. , signed lower
center: ‘Norman Rockwell’. From the Collection of Joseph S. and Miriam T. Sample. Estimate: $300/500,000 SOLD: $529,000

with his audience, and what ultimately
made him one of the most commercially
successful artists of the 20th century.”
Also among the top lots were a pair of
quintessential beach scenes by Maurice
Brazil Prendergast (1858-1924) both of
which exceeded presale estimates. Study
St. Malo No. 13 achieved $100,800 while
Rocky Cove Beach, Marblehead sold for
$56,700. Prendergast was known for his
depictions of urban leisure-class people
enjoying themselves in idyll public
spaces, that spoke to the lifestyle of his
sophisticated patrons. “The crowd was
his signature theme, with anonymous
figures enjoying themselves in parks,
plazas and on beaches,” notes an auction
house spokesperson. “This subject

matter allowed him to develop his own
distinct style that embraced spontaneous
moments…Prendergast captured
movement and texture through loosely
applied color arranged in a complex
patchwork of free brushstrokes, vivid
dots and bold tonalities.”
Other highlights of the sale included
Paddock at Deauville, a lively 1965 painting
by LeRoy Neiman (1921-2012) depicting
horse jockeys and spectators in a parklike setting. The piece, which achieved
$69,300, far exceeding its $40,000 high
estimate, is exemplary of the artist’s
vibrant, impressionistic sketches of
sporting events. A series of four portraits
of United States Presidents by Neiman
achieved roughly $40,000 each.

“The suite of presidential portraits by
Leroy Neiman yielded a thrilling bidding
battle during the auction, resulting in
prices soaring largely past their presale estimate,” says Hindman fine art
specialist, Pauline Archambault. “Along
with the Wolf Kahn and Orville Bulman
works, which all sold well or slightly
above estimates, it confirmed the trend
we’ve observed for the past couple of
years that the more modern and colorful
palettes, veering into abstraction, have
really started to excite buyers.”
These works, along with others by
Augustus Saint-Gaudens, John Wilde
and Joseph Paul Vorst were significant
in achieving Hindman’s $1.6 million
fall sale.
79

AUCTION REPORT: MILFORD, CT

STRONG SALES

Fresh-to-market consignments and sought-after 19th-century American
paintings add up to $3 million in Shannon’s October sale

A

merican paintings
drove strong results
at Shannon’s sale on
October 26, 2023. The 153lot auction had a sell-through
rate close to 90 percent and
grossed $3 million.
The top lot was a
64-by-51-inch painting
by American impressionist
Frederick Carl Frieseke
(1874-1939). Created in
1909, Lady Trying on a Hat
was consigned by the Art
Institute of Chicago and
sold to a private Florida
collection for $450,000,
$100,000 more than its high
estimated value. The life-size
painting was executed in
soft pastel tones, reminiscent
of French Impressionism
and is among the artist’s
masterpieces from the early
20th century. Frieseke spent
every summer after 1905
in Giverny, France, where
he became known for his
impressionist palette and

Thomas Cole (1801-1848), Mount Chocorua, White Mountains, ca. 1827. Oil on panel, unsigned, 9¾ x 14¾ in.
Estimate: $100/150,000 SOLD: $150,000

his portraits of women.
Although influenced by
Renoir and Monet, Frieseke
developed his own unique

Alice Baber (1928-1982), The Blue Bow of the Jaguar, 1981. Oil on canvas,
signed and dated, 30¼ x 50¼ in. Estimate: $15/25,000 SOLD: $68,750

80

style that echoed postimpressionist masters as well.
The auction also included
a rare painting by Thomas
Cole, a founder of the
Hudson River School.
Mount Chocorua, White
Mountains, created in 1927,
sold at the high estimate
of $150,000 to a private
collector. The small-scale,
jewel-like painting features
pink-hued clouds dancing
above a glowing mountain
scene and the lush lake scene
at its base.
A piece by one of the
foremost luminist artists,
Alfred Thompson Bricher,

(1837-1908) sold for
$68,750, soaring past its
upper estimate of $30,000.
A New England seascape of
mystical, shimmering depth,
Morning at Narragansett from
1872, had been in a private
collection for 20 years.
Another bucolic painting
by Bricher of Lake George
in Upstate New York sold
for $27,500, surpassing the
high estimate. Examples
of these rare-to-market,
early landscapes by Bricher
are highly sought after by
seasoned collectors.
Illustration art saw strong
results in the sale led by

COLLECTOR’S GUIDE TO

2024

a Norman Rockwell oil
painting of a couple headed
out for a night on the town
that sold for $125,000.
Another Rockwell oil,
Study of Will Rogers left
the block for $20,000,
while Jessie Wilcox Smith’s
Madonna and Child, created
for the cover of the 1927
issue of Good Housekeeping,
sold for $22,500.
Shannon’s noted that,
in line with market trends,
many of the top lots in the
auction were in the modern
and contemporary category.
Leading this was a group of
paintings by New Yorkbased contemporary artist
Scott Kahn, whose pieces
have seen an exponential
rise in prices over the past
two years. The top lot of
the eight paintings, Circular
Driveway, sold for $175,000,
while Full Moon Over the
Channel, sold for $93,750.
With a growing interest in
female artists also trending,
a rare painting by mid-

AUCTIONS

Frederick Carl Frieseke (1874-1939), Lady Trying on Hat, 1909. oil on canvas, signed and dated, 63¾ x 51 in.
Estimate: $250/350,000 SOLD: $450,000

Norman Rockwell (1894-1978),
When Youth is Beautiful. Oil on
canvas, initialed, 32 x 25 in.
Estimate: $100/150,000
SOLD: $125,000

century modernist and
abstract expressionist Alice
Baber (1928-1982) sold
for $68,750 against lively
bidding both online and
via phones. Two works by
magical realist artist Priscilla
W. Roberts (1916-2001)
sold during the auction,
one of which, Memory Quilt,
soared past its estimate,
achieving $32,500 and
setting a new world record

price for the artist.
“We had more people
than ever participating live
online,” says Shannon’s
managing partner, Sandra
Germain. “It was exciting
to watch our viewer
count during the sale and
encouraging to see how
many new registrations we
had ahead of the auction.”
There were many other
highlights of the sale:

Winfred Rembert’s Reading
Stories sold to an institutional
collection; Wolf Kahn’s Near
Deer Isle Village tripled the
high estimate selling for
$38,100; Aldro T. Hibbard’s
Winter in the Hills sold for
$32,020; Edward Barnard’s
Mid-Day from 1892 sold for
$30,000; and a rare and early
New York City painting by
Guy C. Wiggins sold for
$30,000.
81

AUCTION REPORTS: NEW YORK, THOMASTON

NEW YORK, NY

SWANN AUCTION
GALLERIES
OCTOBER 19
African American Art
$2.8 million
Swann Galleries’ October
19 sale of African American

art proved consistent among
new contemporary artists
and auction house favorites.
Leading the sale was a 1979
draped canvas painting by
Sam Gilliam, which sold for
$197,000. The work came
to auction with a strong

provenance, having once been
in the ex-collection of noted
printmaker Lou Stovall after
being acquired directly from
the artist.

Other abstract highlights
include Romare Bearden’s
1954 oil The River

Merchant’s Wife, which
brought in $118,750,
besting its $100,000 low
estimate. Alma Thomas’
1968 acrylic on paper
Etude sold for $161,000,
and her 1965 watercolor
Transcendental achieved
$149,000. An acrylic
on canvas by Alvin D.
Loving, titled Janice,
earned $149,000. Early
works that saw significant
success include Edward
M. Bannister’s At “Smiths
Palace,” Narragansett Bay,
painted around 1881, which
achieved $137,000 and
Henry Ossawa Tanner’s
study Untitled (Flight Into
Egypt), circa 1923, that sold
for $112,500.
NEW YORK, NY

BONHAMS
NOVEMBER 6
Barbara Walters:
American Icon
$5 million

Bonhams’ sale of the estate
of national broadcaster
Barbara Walters achieved an
astounding $5 million across
two sales—a live auction on
November 6 and an online
version from October 29 to
November 7. Both sales saw
competitive bidding and net
proceeds of the sale benefit
charities that were important
to the late Walters, who was
a committed philanthropist.
The two top lots in the
sale were The Peony Girl,
an oil by Childe Hassam
that sold for $622,800, and
William Merritt Chase’s oil
Romare Bearden (1911-1988), The River
Merchant’s Wife, 1954. Oil on canvas.
Courtesy Swann Auction Galleries.
Estimate: $100/150,000
SOLD: $118,750

82

COLLECTOR’S GUIDE TO

2024
AUCTIONS

John Frederick
Kensett
(1816-1872),
View of Mount
Monadnock from
Hillsborough, NH,
stone arch bridge
over foreground
Contoocook
River. Courtesy
Thomaston Place
Auction Galleries.
Estimate:
$20/30,000
SOLD: $38,400

The Tenth Street Studio that
achieved $508,500.
The 135-lot live sale
ended up at 99 percent sold
and achieved the highest
number of registrations for
a United States sale in 2023.
The 238-lot online sale was
100 percent sold.
THOMASTON, ME

THOMASTON PLACE
AUCTION GALLERIES

Childe Hassam (1859-1935), The Peony Girl, 1888-89. Oil on canvas, 12¾ x 9¾ in.
Courtesy Bonhams. SOLD: $622,800

NOVEMBER 10-12
Autumn Majestic
$1.3 million
Thomaston Place Auction
Galleries hosted its Autumn
Majestic sale on November
10 to 12, bringing in just
over $1.3 million in total
sales. The auction was led
by an impressionist painting
by Pierre Auguste Renoir,
which achieved $78,000
against a presale estimate
of $40,000 to $60,000.
Top American highlights

in the sale included a view
of Mount Monadnock
(New Hampshire) by John
Frederick Kensett that beat
its $30,000 high estimate
when it fetched $38,400,
as well as George Inness’
depiction of a sunset over a
riverbank, which sold right at
its high estimate of $30,000.

The eclectic November
sales also offered a
menagerie of antiquities
from across the world,
including a Chinese Qing
Dynasty jade cup, a 19thcentury Russian silver-gilt
and cloisonne enamel kovsh,
and several game bird decoys
by Massachusetts carver
Joseph Whiting Lincoln
(1859-1938).
Thomaston Place Auction
Galleries’ next major fine art
and antique sale will be held
February 23 to 25.

83

ART SHOW PREVIEW

THE PALM BEACH SHOW
February 15-20, 2024
Palm Beach County Convention Center
650 Okeechobee Boulevard, West Palm
Beach, FL 33401 • (561) 822-5440
www.palmbeachshow.com

Culture and Sophistication
The Palm Beach Show exhibits a wide range of historic art and antiquities from dealers
around the world

T

Johann Berthelsen (1883-1972), Little Church Around the Corner. Oil on canvas, 16 x 12 in.
Courtesy Rehs Galleries.

84

he most luxurious
showcase of its kind in the
country, the 21st annual
Palm Beach Show returns to the
Palm Beach County Convention
Center for six days of superb and
sophisticated collections of historic
fine art, jewelry, silver, Asian art and
more. With works ranging from
antiquities to 20th-century pieces—
presented by dealers from across
the globe—visitors will have no
trouble finding something unique
and intriguing.
“The Palm Beach Show is
more than an event, it’s a cultural
phenomenon, a timeless and longstanding presentation of the most
important globally recognized
exhibitors,” says Scott Diament,
president and CEO of Palm
Beach Show Group. “Its enduring
significance lies in the meticulous
curation, bringing together an array
of art, history and opulence. In the
heart of Palm Beach, this show is
a beacon for those who appreciate
the finer things, attracting not just
visitors but enthusiasts, collectors
and connoisseurs. It’s not merely a
showcase, it’s a celebration of art’s
enduring legacy, making Palm Beach
Show an indispensable fixture in the
global art world.”
Antique French Fine Arts
and Silver Art By D & R will
be bringing an oil on panel by
Emmanuel de la Villéon titled The
Poplars In Autumn, painted circa
1890, as well as the oil on canvas
The Purple Beech At Yonville. De la

Daniel Ridgway Knight (1839-1924), Maria by the Well, ca. 1900. Oil on canvas, 31 x 25 in. Courtesy Rehs Galleries.

85

Villéon’s work is inspired by the places
he lived, from his youth in Brittany,
France, to Paris and especially Chatou,
where he sought out nature and the
water of the Seine.
Also exhibiting at the 2024 Palm
Beach Show is Toulouse Antique
Gallery, based in Los Angeles. The

E. Henry, very important and large gilt
bronze mounted champlevé time piece
garniture comprising a clock and pair of
urns, Paris, ca. 1870. 35 x 15 in., giltbronze dial signed: ‘E. Henry/Paris’;
movement cast by Vincenti and
stamped ‘Dufaud/Paris’ and ‘Henry/
Paris’; all the clock and the urns
are stamped with the seal: ‘E.H.’.
Courtesy Toulouse Antique
Gallery.

gallery brings a monumental clock
set by E. Henry, comprising an ornate
clock and a pair of urns. Since the
founding of Toulouse Antique Gallery
in 1975, owners John and Aurora
Dugan have been presenting the
world’s finest art and antiques on an
international stage, holding exhibitions
across the United States as well as in
Europe, the Middle East and the
Pacific Rim. They have developed
a reputation among the world’s
top collectors as an important
source for 19th-century art and
antiques. Their inventory is vetted
for only 100 percent original pieces,
with many signed by the masters.

Emmanuel de la Villéon (1858-1944), The Poplars In Autumn, ca. 1890. Oil on
panel, 19¾ x 26 in. Courtesy Antique French Fine Arts and Silver Art By D & R.

86

Pat Saling Collection, exhibiting in
the 2024 show, is a source for some of
the most daring and original fine jewelry
of the past, including pieces from the
great houses such as Cartier,Van Cleef,
Boucheron, Bulgari, Chaumet, LaCloche
and Tiffany. The collection offers a
broad selection of magnificent, oneof-a-kind pieces from the 19th and 20th
centuries, including Georgian,Victorian,
Edwardian, Art Nouveau, Art Deco,
Retro and mid-century periods.
The company is especially devoted
to the French Art Deco and Retro era,
and features many original masterworks
by the incomparable Rene Boivin and
Suzanne Belperron.
While the Palm Beach Show is known
as a destination for historic art and
antiquities, the 2024 event will showcase
a selection of contemporary works as
well. Among these is an oil by Janina
Leigue from Janina Fine Art, depicting
a street scene in Madrid with two glasses
of wine on a table in the foreground.
Leigue paints luminous scenes of
everyday life and is deeply influenced
by the paintings of the Old Masters. She
spent three years in Madrid studying
composition and painting from life, and
now lives in the United States.
“The February show promises
an exciting lineup of both new and
returning exhibitors, each poised
to showcase their unique treasures,”
Diament adds. “Established participants

Emmanuel de la Villéon (1858-1944), The Purple Beech At Yonville. Oil on
canvas, 15 x 21½ in. Courtesy Antique French Fine Arts and Silver Art By D & R.

Janina Leigue, Un Vino en Madrid. Oil on linen, 30 x 40 in. Courtesy Janina Fine Art.

are returning with their sought-after
collections...[and] the addition of new
exhibitors injects a fresh energy into the
event, introducing novel perspectives and
exclusive finds. Some exciting new and
returning exhibitors to be presenting
in 2024 include Peter Finer, Arader
Galleries, Smith-Davidson Gallery [and]
CICADA.” New York City-based Rehs
Galleries will be in attendance as well.
The 21st annual Palm Beach Show
kicks off with an Opening Night
Preview Party on Thursday, February
15, from 5 to 10 p.m. General admission
show dates are February 16 to 20, from
11 a.m. to 6 p.m. each day.

Exquisite diamond bangle bracelet
in platinum by Cartier, Paris, ca.
1940. The two diamond motifs may
be removed and worn separately
as dress clips. Courtesy Pat Saling
Collection.

ART SHOW PREVIEW

87

Insights into historic American artwork newly available
from galleries and dealers around the country

Debra Force Fine Art, Portrait of Anna Pierce (Mrs. Joseph Barrell, 1744-1771),
ca. 1762-1764. Pastel on paper laid down on linen, 23 x 17 in., by John
Singleton Copley (1738-1815).

Helicline Fine Art, Bathers, ca 1930. Watercolor and pencil on paper, 12 x 10 in.,
signed lower left, by Charles Demuth (1883-1935).

John Singleton Copley
(1738-1815)
Portrait of Anna Pierce
(Mrs. Joseph Barrell, 1744-1771)

Charles Demuth
(1883-1935)
Bathers

John Singleton Copley’s reputation as the finest artist to
emerge from Colonial America derives from the portraits he
created of Boston’s social elite between the mid-1750s and
1774. The current example depicting Anna Pierce Barrell
(1744-1771) was commissioned by her husband, the wealthy
Boston merchant Joseph Barrell (1739-1804). She comes across
as a real person, both pensive and self-aware, while Copley
portrayed her as stylish, fashionably dressed and coiffed. This
pastel descended in the Barrell family until recently and has an
extensive early exhibition history.

Debra Force Fine Art
13 E. 69th Street, Suite 4F • New York, NY 10021
(212) 734-3636 • www.debraforce.com

88

A larger-than-life figure who is remembered nearly as often for
his wit as he is for his paintings, the bold and insatiably curious
Charles Demuth wasn’t just a product of America’s transformative
early-20th century—he was one of its icons. One of America’s
prominent modernists, he challenged the boundaries of race,
class, sexuality and artistic tradition; he digested the shifting social
landscape around him, and left behind an astonishing body of
work that defies categorization.
In Bathers, created in the 1930s, Demuth demonstrates his
adapted stylistic practice—shape, color and line. The central figure
is clearly male, and the three figures in the background are also
likely men. It is a dynamic work that instantly reads “Demuth”.

Helicline Fine Art
By Appointment • New York, NY • (212) 204-8833
www.heliclinefineart.com

Thomas Colville Fine
Art, Indian Summer
on the Hudson (View
near Peekskill), 1896.
Watercolor on paper,
signed and dated lower
center, 177/8 x 27 in., by
Jasper Francis Cropsey
(1823-1900).

Jasper Francis
Cropsey (1823-1900)
Indian Summer on the Hudson
(View near Peekskill)
Born on Staten Island in New York,
Jasper Francis Cropsey became a
nationally known luminist landscape
painter whose work reflects his interest
in architecture, which he almost chose
as his profession, and the seasonal
progression. He was especially known
for his autumnal scene awash with the
warm glow and ethereal hues of fall.
Toward the end of his career, beginning
in the 1880s, Cropsey turned his focus
to watercolors. Although the Hudson
River style was out of fashion and
Tonalism was popular he completed
and exhibited some of his most highly
finished works in this medium, this
example being perhaps his most
ambitious watercolor composition both
in size and detail.
Indian Summer on the Hudson (View
near Peekskill) will be presented by
Thomas Colville Fine Art at The Winter
Show, taking place in New York from
January 19 though January 28.

Thomas Colville Fine Art
111 Old Quarry Road • Guilford,
CT 06437 • (203) 453-2449
tlc@thomascolville.com
www.thomascolville.com

Hawthorne Fine Art, Terns Diving along the Sea Shore. Watercolor on paper, 17 x 291/8 in.,
by Fidelia Bridges (1834-1923).

Fidelia Bridges
(1834-1923)
Terns Diving along the
Sea Shore
Fidelia Bridges became known for her
detailed, lyrical watercolors of the flora
and avifauna of her natural surroundings
during an era when watercolor was
becoming increasingly respected.
Sriking in scale, as well as in its
discovery, Terns Diving along the Sea
Shore was found underneath Blossoming
Beach-Plum (another work recently
acquired at auction by Hawthorne Fine
Art) during conservation to remove

the work from a canvas adhered to the
original stretcher. Bridges may have
intended to exhibit Terns Diving along
the Sea Shore at the National Academy
but upon completing Blossoming
Beach-Plum found it to be the worthier
painting. She then reused the stretcher
and covered up Terns Diving along the
Sea Shore in the process. Together, the
works provide fascinating insight into
Bridges’ artistic practice.

Hawthorne Fine Art
By Appointment • New York, NY •
(212) 731-0550
www.hawthornefineart.com

89

GALLERY PREVIEW: SEATTLE, WA

Western Gems
Drawings, watercolors and illustrated letters fill a Charles M. Russell show in Seattle

January 15-March 1, 2024
A.J. Kollar Fine Paintings
By Appointment
Seattle, WA
(206) 323-2156
www.ajkollar.com

D

uring a 35-year period,
Seattle-based gallery A.J.
Kollar Fine Paintings
acquired works by Charles M. Russell
(1864-1926) for a prominent client
who was interested in Russell’s
authentic depictions of the West.
After many years enjoying the works,
the collector is now parting with the
pieces, which will be featured in a
show starting January 15.
“We started this collection more
than 35 years ago, and as each piece
came in it was amazing to see again and
again how good of a draughtsperson
Russell was,” gallery owner Allan

Kollar says. “The collection is made up
of pen-and-ink drawings, some with
watercolor, and the detail he was able
to capture is incredible. He was an
insightful and perceptive artist.”
Russell’s works, even simple
drawings and illustrated letters,
are collected at very high levels
due to the artist’s place within the
canon of Western art, where he’s
paired alongside many of the greats,
including Frederic Remington. A
common refrain among Western
collectors is “Russell and Remington,”
which is shorthand for Western art’s
foundational history.
“What made Russell great was he
was so interested in history and he used
that to record the myth of the West,”
Kollar says. “You can see that in his
works about the [Native American]
people who lived in the territories
Russell was familiar with. He used
to get in trouble with some of the
ranchers because he was showing that

the land they were on was stolen. He
just had a way of showing the West as
it was.”
The collection consists of 17
works that include full watercolor
pieces, pen-and-ink drawings (some
with watercolor) and also illustrated
letters, which Russell was fond of
sending to friends and acquaintances.
One of the more complete works is
the 1900 watercolor Scouting Party,
a 20-inch-wide work on paper that
shows six Native American riders on
horses. Russell focuses on the center
of the picture where the main figure
is shown with detailed accoutrements,
including a war shield, a beaded bag
around his torso and an elaborate fur
hat with a feather.
In Mounted Police Patrol Captures
American Whiskey Runners, Russell’s
drawing ability is on full display as short
pen marks create a story filled with
tension and drama as a pair of mounted
officers hold two smugglers in custody.

Charles M. Russell (1864-1926), Mounted Police Patrol Captures American Whiskey Runners, ca. 1920. Pen and ink, 9¾ x 19¾ in.,
signed lower left: ‘C M Russell’.

90

Charles M. Russell (1864-1926), Scouting Party, 1900. Watercolor with China White, 12 x 19 ½ in., signed lower left with buffalo skull: ‘CM Russell’.

The work also shows Russell’s horse
subjects, which he was an expert at
drawing and painting—Russell himself
was a cowboy and an expert horseman.
In Cowboy Initiating Tenderfoot,
Russell draws a subject that appeared
in a work about four years earlier—the
young and inexperienced city slicker

visiting the Old West. The cowboy
casually takes aim at the boy’s feet and
fires off a round. The oil that would
inspire the drawing, simply called The
Tenderfoot, is now in the collection at
the Sid Richardson Museum in Fort
Worth, Texas. Russell used “tenderfoot”
in several titles, many of them at the

Charles M. Russell (1864-1926), Lazy E.L. Cowboy, ca.
1910. Sepia ink on paper, 10 x 10 in., signed lower left with
monogram buffalo skull: ‘C.M. Russell’.

tenderfoot’s expense, who was often on
the receiving end of a cowboy prank,
whether it was a smoking .45-caliber
revolver or a bucking horse.
“This is a special grouping of Russell
works,” Kollar says. “We’re excited to
see them again and to offer them to
new collectors.”

Charles M. Russell (1864-1926), Mounted Indian. Watercolor, pen and ink, 63/8 x 8½
in., monogrammed in lower left with buffalo skull.

91

MUSEUM PREVIEW: ROCKLAND, ME

Haunted Waters
The ocean is the subject of a new Marsden Hartley exhibition at the
Farnsworth Art Museum in Maine
Through October 7, 2024
Farnsworth Art Museum
16 Museum Street
Rockland, ME 04841
t: (207) 596-6457
www.farnsworthmuseum.org

I

n September of 1936, Marsden
Hartley was present during a storm
that caused the drowning of Alty and
Donny Mason, as well as their cousin,
off Eastern Points Island, Nova Scotia.
Hartley, who was then 59 years old, had
spent time with the Masons during a
period of illness and depression. Their
company, along with that of Francis
Mason, had provided a spark of joy and
happiness in the later part of his life,
which made their tragic deaths more
devastating to the artist.
For the next three years, through
1939, Hartley would return to images
of the sea and the Masons as he tried to
sort out the emotional toll their deaths
had taken on him. Some of those works,
as well as others about the ocean, are
the subject of a new exhibition, Marsden
Hartley and the Sea, now open at the
Farnsworth Art Museum in Rockland,
Maine.
“For centuries, the sea has sparked
fascination and fear. The works in the
exhibition examine that,” says curator
Jane Bianco. “Here we ask the question,
‘How is the sea a catalyst for the
imagination?’ And we are in a great
place to ask that question. We are right
on the coast, on the edge of the world,
in a fishing community on Maine’s
peninsulas. Life has been hard here over
the centuries. Some of the images from
the show suggest part of that, and some
idealize the region.”

92

N.C. Wyeth (1882-1945), Cleaning Fish, 1933. Oil on canvas, 475/8 x 51¾ in. Bequest of Betsy James
Wyeth Trust, 2021.

While the exhibition will feature
several key works by other artists,
including N.C. Wyeth’s 1933 work
Cleaning Fish, the show will largely
focus on Hartley and his work created
in that three-year window after the
tragic accident involving the Mason
family. Works in the show include the
1938 painting Give Us This Day, which
shows a group of seagulls with three
dead fish. The work has a funeral-like
quality, which is not lost on many art
experts and even casual viewers.
“It has been often thought that the
fish are those who died and the seagulls
are there to mourn their passing, but
many experts have indicated that Hartley
didn’t go into too much symbolism, so

it is unlikely the painting and the event
are linked in that way,” Bianco says.
“Still, though, the painting has a very
mournful quality. It’s partly because of
the muted colors, but also because of
the simplified forms in the paintings.
As a curator, I like to tell visitors to
bring their own life experiences into
the gallery. Art has a way of expressing
meaning to each one of us differently.”
Marsden Hartley and the Sea is one
third of a trio of unique exhibitions
part of the fall lineup at the Farnsworth
Art Museum. Andrew Wyeth and
performance artist Pope.L are the
subjects of the other two. Marsden
Hartley and the Sea runs through
October 7.

Marsden Hartley
(1877-1943), Give Us
This Day, 1938. Oil on
canvas, 30 x 40 in. Art
Bridges, AB.2018.6.

Marsden Hartley
(1877-1943), Stormy
Sea No. 2, 1936. Oil on
Academy Board,
121/8 x 16 in. Museum
purchase made
possible in part by
gifts from Mr. Edwin L.
Beckwith and Dr. Peter
Sheldon, 1983.2.

93

MUSEUM PREVIEW: NASHVILLE, TN

A Region’s Richness
The Frist Art Museum welcomes the traveling exhibition dedicated to modern works
created in the American South
January 26-April 28, 2024
Frist Art Museum
919 Broadway
Nashville, TN 37203
(615) 244-3340
www.fristartmuseum.org

T

he traveling exhibition
Southern/Modern, opening
at the Frist Art Museum on
January 26, includes a stimulating line
up of 100 paintings and works on paper

created in the American South from
1913 to 1955. The museum notes that
this is the first comprehensive survey
of its kind and includes thematic
groupings, weaving together the
“region’s rich cultures, telling stories of
agriculture and industry, class division
and racial injustice, natural beauty and
stylistic innovation.”
“The exhibition explores the history
of socially and stylistically progressive
art in the American South,” continues
Mark Scala, chief curator at the Frist.
“Treating a subject long neglected by
art historians and museums outside the

region, Southern/Modern shows how
in the South, as elsewhere, the goal of
modernism was to lead the way toward
a more equitable society that embraced
change.”
Scala notes that to explore this idea,
the exhibition curators Dr. Jonathan
Stuhlman, senior curator of American
art at the Mint Museum; and Dr.
Martha R. Severens, an independent
scholar, included important works
by women and people of color, with
styles ranging from American scene
painting and regionalism to cubism and
abstraction.
Elaine de Kooning
(1918-1989), Black
Mountain #6, 1948.
Enamel on paper
mounted on canvas;
26 x 32 in. The
Heckscher Museum
of Art, Huntington,
NY. Museum
purchase, 1991.20.

94

In addition, works are included by
artists who created outside of the
South, like Josef Albers and Elaine de
Kooning, but reflected on “Southern
experiences from a distance,” reads the
exhibition press release. Featured is the
abstract expressionist Black Mountain
#6, 1948, by de Kooning (1918-1989).
In the exhibition’s themed section
titled “Southerners,” we find works like
Bourbon Street, New Orleans, 1934, by
Caroline Durieux (1896-1989). The
themed groupings “start with images of
southerners at leisure, living their lives
as people do everywhere,” Scala shares.
“The idea is to challenge the frequently
held stereotypes of Southerners as
being intrinsically different.”
Bourbon Street shows two female
singers of African descent performing
in a club for what appears to be white
sailors on shore leave. “The work
illustrates that, while much of the South
was not integrated, in New Orleans
there has always been significant racial
interaction,” Scala says.
Placed in a section devoted to
images of labor, we see Where the
Shrimp Pickers Live, 1940. “Dusti Bongé
Caroline Durieux (1896-1989), Bourbon Street,
New Orleans, 1934. Black lithograph on paper;
10½ x 10½ in. Louisiana State Univeristy
Museum of Art, Baton Rouge, LA. Gift of the
artist, 63.9.18.

Dusti Bongé (1903-1993), Where the Shrimp Pickers Live, 1940. Oil on canvas; 16 x 20 in. Mississippi
Museum of Art, Jackson, MS. Gift of Dusti Bongé Art Foundation, Inc., 1999.012. © Dusti Bongé Art
Foundation.

(1903-1993) is an important but
overlooked modernist who, while being
active as an artist and arts advocate in
Mississippi, had been an actress and
exhibiting artist in New York,” Scala
explains. “She took various jobs to
make a living in Mississippi, among
them collecting rent from shrimp
pickers. Her depiction of their quarters
is subtly abstracted and geometrical, but
it gives a sense of their impoverished
living conditions.
Overall, Scala hopes the exhibition
audience will see a premonition of the
South that was to come and is today.
The exhibition will be on view
through April 28, when it will then
travel to the Dixon Gallery and
Gardens in Memphis, Tennessee.
95

MUSEUM PREVIEW: CHADDS FORD, PA

Abstract Wyeth
The Brandywine Museum unveils examples of the most spontaneous,
free work ever produced by an artist largely celebrated for his realism
Through February 18, 2024
Brandywine Museum of Art
1 Hoffmans Mill Road
Chadds Ford, PA 19317
t: (610) 388-2700
www.brandywine.org

T

he Andrew and Betsy Wyeth
Collection of the Wyeth
Foundation for American Art is
a treasure trove of work that will reveal
more of Wyeth’s thought processes and
working methods for years to come.
Managed by the Brandywine Museum
in Chadds Ford, Pennsylvania, the
collection has recently revealed his lifelong excursions into abstraction.
Thirty-seven abstract watercolors
from the 7,000-work collection are in
the exhibition Abstract Flash: Unseen
Andrew Wyeth at the Brandywine
through February 18. The exhibition
will be shown at the Farnsworth
Museum in Rockland, Maine,
beginning in the summer of this year.
Known for his minutely detailed
naturalistic egg tempera paintings and
drybrush watercolors, Wyeth often
painted more freely in watercolor. He
said, “With watercolor, you can pick
up the atmosphere, the temperature,
the sound of snow shifting through the
trees or over the ice of a small pond
or against a windowpane. Watercolor
perfectly expresses the free side of my
nature…The brain must not interfere.
You’re painting so constantly that your
brain disappears, and your subconscious
goes into your fingers and it just flows.”
His abstract watercolors were
produced when he was also painting
his more familiar egg tempera

96

Andrew Wyeth (1917-2009), Untitled, 1951, watercolor on paper. Collection of the Wyeth Foundation
for American Art, B0265. © 2023 Wyeth Foundation for American Art/Artists Rights Society (ARS)
New York.

Andrew Wyeth (1917-2009), Untitled, 1961, watercolor on paper. Collection of the Wyeth Foundation
for American Art, B0920. © 2023 Wyeth Foundation for American Art/Artists Rights Society (ARS)
New York.

Left: Andrew
Wyeth (1917-2009),
Untitled, 1948,
watercolor on paper.
Collection of the
Wyeth Foundation
for American Art,
B0198. © 2023 Wyeth
Foundation for
American Art/Artists
Rights Society (ARS)
New York.

Below: Andrew
Wyeth (1917-2009),
Ice Pool Study, 1969,
watercolor on paper.
Collection of the
Wyeth Foundation
for American Art,
B1837. © 2023 Wyeth
Foundation for
American Art/Artists
Rights Society (ARS)
New York.

paintings. Untitled, 1948, a painting of
geometrically abstract branches above
a stream was painted the same year as
iconic Christina’s World.
He echoed, in his thoughts,
Magritte’s painting of a pipe, The
Treachery of Images, below which was
painted “Ceci n’est pas une pipe,”
recognizing that a painting is already
an abstraction, not the actual subject.
Wyath wrote, “I think you have to use
your eyes as well as your emotion, and
one without the other just doesn’t
work.” These abstract watercolors
capture his emotional response to a
scene with a raw immediacy.
The exhibition’s curator, Karen
Baumgartner, associate collection
manager in the Wyeth Study Center
at the Brandywine, says, “These works
represent some of the most spontaneous
and free work that Andrew Wyeth ever
produced. If his temperas are the most
formal expression of an idea, his studies
show the artist thinking, and feeling, on
paper.” She notes that the exhibition’s
title comes from Wyeth, who wrote,
“My struggle is to preserve that abstract
flash—like something you caught out
of the corner of your eye, but in the

picture you can look at it directly.”
William L. Coleman, the
Brandywine’s Wyeth Foundation
Curator and Director of the Wyeth
Study Center notes, “The Andrew
Wyeth we see in the works in Abstract
Flash was fascinated, not threatened, by
challenging new ideas coming out of
the New York art world in his lifetime.”
These gestural paintings reflect the
concepts of abstract expressionism

while remaining rooted in keen
observation.
Wyeth wrote, “I love to study the
many things that grow below the corn
stalks and bring them back to the
studio to study the color. If one could
only catch that true color of nature—
the very thought of it drives me mad.”
Paintings such as Untitled, 1951, and
Untitled, 1961, capture the subtleties of
the colors below the cornstalks.
97

MUSEUM PREVIEW: WASHINGTON, D.C.

Supportive Relationship
The Smithsonian American Art Museum highlights the collaboration between J.P. Ball and
Robert S. Duncanson
Through March 2024
Smithsonian American
Art Museum
8th and G Streets, NW
Washington, D.C. 20004
t: (202) 633-7970
www.americanart.si.edu

A

n important exhibition at
the Smithsonian American
Art Museum examines the
collaborative relationship between
photographer James Presley (J.P.) Ball
and landscape painter Robert Seldon
Duncanson, two free, Black artists living
in Cincinnati during the antebellum
period. Titled J.P. Ball and Robert S.
Duncanson: An African American Artistic
Collaboration, the exhibition features
three paintings by Duncanson from
the museum’s collection alongside nine
works by Ball roughly between 1845
and 1855. The Smithsonian notes that
eight of the photographic works are on
view for the first time.
“During that time, Ball employed
Duncanson as a colorist to handtint photographs, and Ball’s ‘Great
Daguerrean Gallery of the West’
included an exhibition space
that displayed Ball’s portraits and
Duncanson’s landscape paintings to
the public,” says John Jacob, McEvoy
Family Curator of Photography at
SAAM. “Ball and Duncanson did not so
much influence one another as much as
they supported each other. Both were
ambitious and entrepreneurial, and
each supported the other’s ambitions
and entrepreneurship. Duncanson
also likely participated in painting a
600-yard-long panorama (now lost)

98

James Presley (J. P.) Ball (1825-1904), Unidentified sitter, ca. 1858. Albumen silver print with applied
color, cased. Smithsonian American Art Museum, Museum purchase through the Smithsonian
Institution Collections Acquisition Program.

Robert S. Duncanson (1821/22-1872), Waterfall on Mont-Morency, 1864. Oil on canvas. Smithsonian
American Art Museum, Gift of Dr. Norbert Fleisig, 1983.95.161.

that illustrated the episodes described
in Ball’s 1855 abolitionist pamphlet,
Splendid Mammoth Pictorial Tour
of the United States...In addition

to their own antislavery efforts, Ball
and Duncanson received significant
support from abolitionist patrons.”
Among the exhibition highlights is

Robert S. Duncanson (1821/22-1872), Landscape with Rainbow, 1859. Oil on canvas. Smithsonian American Art Museum, Gift of Leonard and Paula
Granoff, 1983.95.160.

Ball’s Unidentified sitters, a half plate daguerreotype, the earliest
form of photography. “The refined nature of this family’s selfpresentation, especially the silk dress and the jewelry worn by the
mother, shows the wealth of James Presley Ball’s early clientele.,”
note the curatorial team. “Although Ball photographed Black
clients, including the famous abolitionist Frederick Douglass, the
photographs in this installation reflect how often white families
and individuals in Cincinnati patronized Ball.”
Duncanson’s 1859 oil on canvas Landscape with Rainbow is also
of note according to the curators. “Duncanson included several
abolitionist references in this pastoral landscape painted on the
eve of the Civil War…The rainbow overhead falls directly onto
the roof, possibly a reference to safe houses to which enslaved
people fled while seeking freedom. The stream reminds us of
the division between free states and slave states, but waterways
also helped escapees on their path to freedom, as water erased
footprints and masked human scent…This scene is filled with
hope. Landscape with Rainbow is an example of the power of
landscape painting to convey America’s aspirations. It is a vision
of future peace and prosperity.”
The painting was on display at the U.S. Capitol as part of the
inaugural events of January 2021 to reflect the ceremony’s theme,
“Our Determined Democracy: Forging a More Perfect Union.”
J.P. Ball and Robert S. Duncanson: An African American
Artistic Collaboration will be on view through March 2024.

James Presley (J. P.) Ball (1825-1904), Unidentified sitters, 1853-58. Half plate
daguerreotype, cased. Smithsonian American Art Museum, The L. J. West
Collection of Early African American Photography, Museum purchase through
the Luisita L. and Franz H. Denghausen Endowment.

99

MUSEUM PREVIEW: ST. PETERSBURG, FL

Without Water, Nothing
The MFA St. Petersburg presents a fascinating exhibition that examines
the importance of water
Through April 14, 2024
Museum of Fine Arts,
St. Petersburg
255 Beach Drive, NE
St. Petersburg, FL 33701
(727) 896-2667
www.mfastpete.org

C

urrently on view at the
Museum of Fine Arts, St.
Petersburg is a quite profound
exhibition highlighting humanity’s
relationship to nature—or the human
attempt to understand it. Titled The
Nature of Art, the exhibition features
32 paintings, prints, photographs and
works of decorative art across both a
contemporary and historic time frame.

Pieces communicate through themed
sections displayed throughout the
museum’s campus.
The museum’s chief curator, Stanton
Thomas, explains that the “exhibition
evolved from looking at the MFA’s
encyclopedic collection with an eye for
works of art that reflect humankind’s
interactions with, perceptions of and
communication with nature. This

George Bellows (1882–1925), Silver Day, 1912. Oil On Canvas. Museum Purchase. Museum of Fine Arts, St. Petersburg, Florida.

100

overarching theme gave that larger
project its title, The Nature of Art. Within
that grand, museum-wide project, there
are several component exhibitions,
including Without Water, Nothing. Because
I could draw from the entire collection,
I was able to pull objects from a number
of genres and time periods, all of which
were related to water—whether as
vessels to hold it, as evocations of its
spiritual power or depictions of it. As I
looked at all these water-related images,
I was struck by the crucial importance
of water to human existence, and the
extraordinary range of associated artistic
expressions. I also loved the project as it
gave me a chance to show off works such
as cabinet pictures which are often lost in
larger galleries.”
Because he was looking very
widely at the museum collection,
and pulling works from a number of
different cultures, Thomas organized the
exhibition in a few very broad themes,
with water at the forefront of the
discussion. “… Water as powerful, natural
force; water as related to spirituality; and
water as an essential element for human
existence, that is not only something
for consumption, but also as related
to farming, industry and transit,” says

Alfred Thompson Bricher (1837–1908), Along the Coast, c. 1880. Oil On Canvas. Gift of Ann and
Charles Sahlman. Museum of Fine Arts, St. Petersburg, Florida.

Thomas. “When I installed the works, I
tried to keep these thematic groupings
together.”
Significant historic works greatly
contribute to these topical themes
involving nature, climate and human
interaction, like George Bellows’ (18821925) Silver Day, 1912. “Ostensibly, I
chose this painting because it showed
a shipping vessel at harbor, suggesting
the importance of marine trade,” says
Thomas. “However, just as important
was its depiction of snow and cold,
captured with extraordinary skill by

Bellows through loose passages of
cool blues and whites. In our era, the
Anthropocene—where the world is
always warming—the reminder of
bitterly cold winters is both poignant
and alarming.”
Viewers will also find Asher B.
Durand’s (1796-1886) breathtaking
landscape View of the Catskills Near
Shandaken, 1853. “Although the work’s
title includes ‘Shandaken’—a small New
York town—Durand doesn’t show any
indication of the settlement or even a
human figure,” says Thomas. “Instead, the
painting focuses upon a fallen tree by a
brook. The tree is of course his symbol
for the divine presence, suggesting that
the United States as an untamed, virginal
land which is ripe for exploitation.
This attitude of course helped foster
the westward movement of Manifest
Destiny. I chose the work because the
small brook suggests the importance
of waterways in westward expansion.
Also, the brook, running down from the
forested Catskills to join rivers flowing
to the sea, suggested to me the crucial
importance of healthy watersheds and
the great natural cycle of moisture
throughout the environment.”
The exhibition, on view through
April 14, also provides an opportunity
to appreciate prominent historic
works, all the while “[enriching]
our understanding of the collection,
especially through unexpected
juxtapositions,” says Thomas.

Asher B. Durand (1796-1886), View of the Catskills Near Shandaken, 1853. Oil on canvas. Gift of
Charles and Ann Sahlman. Museum of Fine Arts, St. Petersburg, Florida.

101

EVENT PREVIEW: WASHINGTON, D.C.

The Joy of It
The Washington Winter Show celebrates its 69th year as the second oldest
charitable antique show
January 12-14, 2024
Washington Winter Show
American University:
Katzen Arts Center
4400 Massachusetts Avenue, NW
Washington, D.C. 20016
t: (202) 248-7159
www.washingtonwintershow.org

S

panning the weekend of January
12 through 14, the Washington
Winter Show returns for another
exciting installment of showcasing fine
art and antiques, with a theme centered
around the joy of collecting. This
year’s 69th edition will see more than
40 prominent dealers from the U.S.
and Europe, along with “the nation’s

Agnes Millen Richmond (1870-1964), Fairy Tales, 1921. Oil on canvas, 36 x 32 in. Presented by Garvey
Rita Art and Antiques.

Richard Frances Lahey (1893-1978), Eisenhower
Day, Washington, June 18, 1945. Oil on Canvas, 26
x 17 in. Presented by Robert M. Quilter Fine Art.

102

top names in design and historic
preservation through educational
lectures and panel discussions,” share
event producers. Jonathan G. Willen,
executive director, elaborates, “the
[show] was founded in 1955 for the
purpose of raising funds for local
charities serving the needs of at-risk
children and families…During the past
68 years, the Washington Winter Show
has provided almost $10 million to its
chosen charities and will benefit The

Bishop John T. Walker School for Boys,
St. John’s Community Services and
Building Bridges Across the River in
2024.”
Willen promises that there’s a “spark
of joy” for everyone at this year’s
extravaganza, which will set the stage
for the 70th anniversary celebration in
2025. “We are most excited that we
have several new dealers to showcase
along with our loyal returning dealers,”
he says. Willen also adds that Marjorie

Horace Wolcott Robbins,
Jr. (1842-1904), Along the
River, 1871. Oil on canvas,
24 x 32 in. with frame.
Signed and dated (l.l.):
HW Robbins ‘71. Private
Collection. Presented by
Jeffrey Tillou Antiques.

Merriweather Post, the founder of
Hillwood Estate, Museum & Gardens,
the home of the loan exhibit, collected
as she described “for the joy of it” and
is the inspiration for the 2024 program.
In addition, Josh Young, an artist,
designer and tastemaker based in
Washington, D.C., is the artist in
residence for the 2024 show. “Inspired
by the fusion of Old-World elements
married with bold, modern-day
techniques, he has been experimenting

with an avant-garde approach to
classical portraits since 2009,” Willen
shares.
Special programming begins Friday,
January 12 with a luncheon and lecture
by Lady Henrietta Spencer-Churchill,
founder of Woodstock Designs at
10:30 a.m. The Saturday Design Panel
Where Beauty Meets Joy will be at 11
a.m.; the Splendor and Surprise: Hillwood
Estate, Museum & Gardens lecture at
4:30; and Jazz Night cocktail hour at 6

Thomas Chambers (1808-1869), The Birthplace of Washington, ca. 1843-60. Oil on canvas, 27 x 35 in,
Presented by Jeffrey Tillou Antiques.

p.m. Sunday will feature a lecture with
waffles and mimosas: Planting the Seeds
of Restoration at 11:30 a.m.
Attendees can expect to find oneof-a-kind historic works like the
colorful figurative painting by Agnes
Millen Richmond (1870-1964). The
piece titled Fairy Tales, 1921, is offered
by Garvey Rita Art and Antiques based
in Orleans, Massachusetts. Richmond
was known for scenes such as this
one—“[images] of both American
indoor and outdoor life, in which men,
women and children appear at ease
in both their dress and their relation
to the setting,” relays the Christie’s
auction house website.
Other fine examples to watch for
include a bustling urban painting by
Richard Frances Lahey (1893-1978)
titled Eisenhower Day, Washington, June
18, 1945, presented by Robert M.
Quilter Fine Arts. Significant landscapes
are featured by Jeffrey Tillou Antiques
like Horace Wolcott Robbins’ (18421904) Along the River, 1871; and
Thomas Chambers’ (1808-1869) The
Birthplace of Washington, circa 1843-60.
Everything kicks off in elegant
fashion on Thursday, January 11 with
the VIP Reception from 6 to 7 p.m.,
followed by the Preview Night Gala
running to 10 p.m.Visit the show
website for ticket and detailed event
information.
103

EVENT PREVIEW: NASHVILLE, TN

A Southern Tradition
The Antiques & Garden Show of Nashville celebrates art, antiques and horticulture
January 12-14, 2024
Antiques & Garden Show
of Nashville
Music City Center
201 Rep. John Lewis Way South,
Nashville, TN 37203
t: (615) 352-1282
www.antiquesandgardenshow.com

C

urrently in its 34th year, the
annual Antiques & Garden Show
of Nashville is the longestrunning, largest celebration of antiques,
art and horticulture in the country. A
staple of Nashville, the event features
150-plus exhibitors, as well as cocktail
parties, important speakers and stunning
gardens for visitors to meander through.
Born out of the imagination of
esteemed Nashville-born interior
designer Albert Hadley, the Antiques &

Adolphe Borie (1877-1934), The Artist’s Wife, Edith Pettit Reading in the Garden. Oil on canvas, 16 x 20 in.,
signed upper right. Gift of George Biddle to the Corcoran Gallery of Art. Courtesy Stanford Fine Art.

A sweeping view of the entry garden and showfloor at the 2023 Antiques & Garden Show of Nashville.
Photo by Peyton Hoge.

104

Garden Show brings in more than 16,000
attendees from across the world.
Visitors will have the opportunity
to explore a bounty of fine art, antique
and horticulture vendors, as well as
enjoy live music and special events.
Fine art exhibitors at this year’s event
include Stanford Fine Art, William
Cook Antiques, Thistlewaite Americana,
Roberto Freitas, Earle D. Vandekar of
Knightbridge and more.
Nashville-based Stanford Fine Art
will be bringing a combination of
recently acquired American and French
Impressionist paintings, alongside
modern and contemporary works.
Among these is an oil on canvas by
Adolphe Borie (1877-1934) titled
The Artist’s Wife, Edith Pettit Reading
in the Garden. “Born in Philadelphia

Ernest Lee Major
(1864-1950),
Hydrangea and Silver
Pitcher. Oil on canvas,
18 x 22 in., signed
and dated upper left.
Courtesy Stanford
Fine Art.

to a prominent family, Adolphe
Borie studied at the Pennsylvania
Academy of Fine Arts from 1895 to
1899 with William Merritt Chase
and Thomas Anshutz, and then at
the Royal Academy of Munich
from 1899 to 1902 with Carl Marr,”

notes Elsa Dikkes, gallery director
of Stanford Fine Art. “Along with
his contemporaries such as Arthur B.
Carles and Henry McCarter, he was
among the Philadelphia artists who
introduced modern art to the city...
He won the Carol Beck Gold Medal

for portraiture from the Pennsylvania
Academy in 1910, which was followed
by numerous other prestigious awards.”
The gallery will also exhibit Ernest
Lee Major’s oil Hydrangea and Silver
Pitcher, a gorgeous 18-by-22-inch still
life rendered in a neutral color palette.
“By the early 1880s, [Major] was
studying under William Merritt Chase
at the Art Students League in New
York City. [He] made his international
debut in Paris in 1886 when he
attended the Académie Julian and
began exhibiting at the Paris Salon,”
says Dikkes. The artist returned to the
United States two years later, teaching
at several noteworthy art schools and
eventually became a regular participant
in most large-scale annual exhibitions
in Boston, New York, Chicago and
Philadelphia.
The Antiques & Garden Show
of Nashville takes place January 12
to 14 at the Music City Center.
To purchase tickets visit www.
antiquesandgardenshow.com.

Artwork and antiques on display at the Antiques & Garden Show of Nashville. Photo by Peyton Hoge.

105

EVENT PREVIEW: NEW YORK, NY

Top of the Line
The Winter Show celebrates 70 years as the longest-running art,
antiques and design fair in the country
January 19-28, 2024
The Winter Show
Park Avenue Armory
643 Park Avenue
New York, NY 10065
t: (917) 860-6559
www.thewintershow.org

T

he 2024 edition of The Winter
Show brings together more than
65 internationally renowned
dealers from the Americas and Europe
exhibiting museum-quality works from
around the world. Now in its 70th year,
the annual event transforms New York
City’s Park Avenue Armory into a hub
for fine art collectors and connoisseurs,
offering fine art spanning 5,000 years

from antiquity to today.
“The Winter Show is thrilled to be
celebrating this milestone,” says Helen
Allen, executive director. “It’s been
70 years since East Side House began
The Winter Show, [and] not only
are we the longest-running art and
design fair, but we are also the only
fair to be owned by its beneficiary. In
the end, The Winter Show is unique
due to its continued dedication to
the mission of East Side House,
helping New Yorkers in need through
professional, educational, supportive
care opportunities from cradle to cane.
As the first major art world event each
year and through our community
commitment, no other show can claim
to be as uniquely inspired by New
York City as we are!” Allen adds that
while the show is rooted in tradition,

William Trost Richards (1833-1905), Seascape, 1904. Oil on canvas, 22 x 36 in.,
signed and dated lower left: ‘Wm T. Richards. 04’. Courtesy Avery Galleries.
Eliza Cecelia Beaux (1855-1942), Portrait of Frederick C. Havemeyer, IV. Oil
on canvas, 50 x 33 in., signed: ‘Cecelia Beaux’. Courtesy Red Fox Fine Art.

106

it also continuously looks to the
future of art. And with its position
within the art calendar as a January
event, The Winter Show “helps guide
the collecting interests and cultural
zeitgeist of the times.”
Every piece of artwork exhibited
in The Winter Show is carefully
vetted by a panel of experts. In the
realm of historic American art, Allen
says a special exhibition of works
presented by leading Americana
dealers titled Celebrating Americana
will be on display. “One highlight
that has caught my attention is an
early work by the celebrated 19thcentury Hudson River School painter
Thomas Cole presented by Hirschl
& Adler Galleries. In addition, there
will be works by William Sergeant
Kendall, William Trost Richards, Eliza

Cecelia Beaux, and a number of folk
paintings,” she says.
Books and prints will also be a
major highlight at this year’s show, with
Daniel Crouch Rare Books exhibiting
a number of prints from the Petros G.
Pelos Collection, which highlights late
19th-century accounts of the developing
American West.
Dealers at the 2024 show include
such prestigious galleries as Thomas
Colville Fine Art, Avery Galleries,
Debra Force Fine Art, Arader Galleries,
Hirschl & Adler Galleries and many
others.
The 70th anniversary of The Winter
Show takes place January 19 to 28.
The Opening Night Party will be
held Thursday, January 18, with Young
Collectors Night a week later on
January 25. All proceeds from the show’s
benefit events and ticket sales fund the
East Side House Settlement.

Thomas
Cole (18011848), View of
Featherstonhaugh
Estate Near
Duanesburg, New
York, 1826. Oil on
canvas, 34 x 48 in.
Courtesy Hirschl &
Adler Galleries.

Robert Henri
(1865-1929),
Dorita, 1924. Oil
on canvas, 52 x 40
in. Courtesy Debra
Force Fine Art.

107

EVENT REPORT: DETROIT, MI

An Intellectual Journey
Initiatives in Art and Culture celebrates 25 years of providing
immersive learning experiences in the field

I

n late September of last year, 75
people from all over the country
convened in Detroit for Initiatives
in Art and Culture’s 25th annual Arts
and Crafts Conference. Organized by IAC
president and founder Lisa Koenigsberg,
a leading scholar on the arts and crafts
movement, the five-day conference took
attendees to more than 20 historically
relevant sites in and around Detroit, and
featured dozens of lectures moderated by
experts in the field.
“We really embrace our subject matter
and explore it deeply,” says Koenigsberg.
“It’s not your standard experience. It’s
thoughtful and embracing. It’s a very full
program with site visits, access to private
collections, talks and panels—you are
really immersed in the subject matter.
It’s not just a field trip—the people who
attend and those who lead the tours are
incredibly well-informed—it’s almost
like a faculty. We bring together the best
of the best.”
Each year, New York City-based
IAC holds its Arts and Crafts Conference
in a different American city to explore
the region’s significance in the Arts
and Crafts movement and its unique
expression of the aesthetic and
philosophy. More than 50 percent of this
year’s participants were returnees.
After attending the 2022 conference
in Cleveland, Shane Qualls of Cincinnati,
decided to sign up for the 2023 event in
Detroit.
“The context and quality of the
Cleveland IAC conference, in addition
to the historical depth and breadth,
went far beyond my initial curiosity
and expectation,” says Qualls. “The
scope of the agenda and the caliber
of people involved is impressive. And
having now attended two back-to-back
annual conferences, I am convinced

108

Attendees during a private tour of the Guardian Building led by James W. Tottis,
museum consultant.

that this is an invaluable opportunity for
continued learning about early 20thcentury American history, art, culture and
architecture. Most special, is the people
with whom I’ve become acquainted thus
far—including attendees from all across

the country, as well as a few keynote
speakers, museum curators and the IAC
executive board. Not only was this year’s
conference a positive experience, it was
a treasure-trove of historical perspective
and people who are truly passionate

Mark J. Heppner,
president and CEO,
Ford House; Benjamin
Grobe, AIA, architect,
SmithGroup; Alivia
Stalnaker, AIA,
design architect,
SmithGroup
Detroit office;
Lisa Koenigsberg,
president, IAC;
Rodrigo Manriquez,
head, MidWest
Cultural Studio,
SmithGroup; Geoff
Bird, attendee, in the
Lake Shore Room
having a sit down
lunch and program at
the Ford House.

Private Tour of Detroit’s Fox Theater.

about culture, design, art and history of an important bygone
era. I’m very much looking forward to signing up next year and
inviting friends.”
It is exactly this kind of experience that Koenigsberg and her
team work so diligently to provide and doing so is especially
gratifying in light of the conference’s milestone year.
“It was such an emotional experience to come to the end
of those five days having shared so much and having this
experience mark the conference’s 25th year,” says Koenigsberg.
“To be able to span the breadth of the movement, to think
broadly about it, and then to share that with people who are
so deeply interested and committed—it was just sublime and a
great prelude to what I hope for in the next 25 years.”
While the location for IAC’s fall 2024 Arts and Crafts

Main room of Saarinen House, the jewel of Cranbrook’s world-renown
National Historic Landmark campus. Saarinen House is a unique example
of a modern, art deco-style domestic space realized through arts and
crafts methodologies. Photography by James Haefner, Courtesy of
Cranbrook Center for Collections and Research.

Conference is not yet confirmed, Koenigsberg did disclose that
they are considering Pennsylvania’s Brandywine Valley as a
potential location.
For more information about this event and other IAC
programming, including the American Art Conference taking place
this May in New York City, visit www.artinitiatives.com.
109

EVENT REPORT: NEW YORK, NY

Art and Philanthropy
The 35th edition of the Art Show drew a crowd of 10,000 visitors
with proceeds benefitting the Henry Street Settlement

View of vendors at The Art Show from 2022. Photo by Andy Ryan.

O

rganized by the Art Dealers
Association of America
(ADAA) at the Park Avenue
Armory in New York City, The Art
Show saw quite the successful turnout
for the early November showcase.
This prestigious art fair is known for
bringing together the country’s finest in
the art world for special programming
and exhibitions of both historic and
contemporary works, with this year
featuring 78 exhibitors and 57 solo
presentations. In addition, the Benefit
Preview and admission proceeds
realized over $1.1 million for the show’s
partnering charity, the Henry Street

110

Settlement.
“This 35th edition of the fair was a
true celebration of the ADAA mission
and the powerful work of its member
galleries,” says Maureen Bray, ADAA
executive director. “The Art Show’s
enthusiastic public reception, from
those generously supporting the Benefit
Preview to the collectors, artists and
curators gathering at our sold-out
events, demonstrates the impact and
reach of the fair and the critical support
it brings to longtime partner Henry
Street Settlement. Our ADAA member
galleries transcended all expectations in
their critically acclaimed presentations

of under-recognized talents, historic
pinnacles and contemporary greats
alike…”
Bray notes that some stunning historic
highlights from the show included 19thcentury watercolors by the esteemed
author George Sand (1804-1876),
courtesy of Jill Newhouse Gallery, along
with group exhibitions by Thomas
Colville and Debra Force Fine Art, and
an elegant solo presentation of works by
Joseph Stella at Avery Galleries. Debra
Force featured works that included
Milton Avery’s (1885-1965) Yellow Jacket,
circa 1942, showing the artist’s later style
of bold color and flattened forms.

Milton Avery (1885-1965), Yellow Jacket, c. 1942. Courtesy of
Debra Force Fine Art, New York.

Programming highlights included a
presentation by artist Kate Capshaw,
who collaborated with Henry Street
Settlement staff members on two
portraits found throughout the fair.
“Both works are included in an
exhibition at the Settlement’s Dale Jones
Burch Neighborhood Center on the
Lower East Side,” reads the fair press
release. “Bringing to the forefront both
the organization’s charitable work and
the philanthropic nature of The Art Show,
this presentation was further enlivened
by a discussion…in which David Garza,
president and CEO of Henry Street
Settlement, and Capshaw discussed
these new works and the importance
of the Settlement’s work to support
New Yorkers in need with education,
employment, shelter and arts programs.”
Special programs continued each
day of the event, like Meet the Artists,
which “provided visitors to the fair the
opportunity to meet and mingle with
exhibiting artists as well as experts who
shed light on some of the fair’s historical
presentations,” including a talk between

Joseph Stella (1877-1946), Portrait of Grace, 1944. Oil on canvas, 23 x 20.” Signed and
dated lower left: Joseph Stella/1944. Signed on verso: Joseph Stella.

art historian Midori Yamamura and
Michelle Yun Mapplethorpe, executive
director of the Katonah Museum of
Arton, on “how Asian artists made
alliances and created networks of
exchange in order to come to the
United States and make sustainable
studio practices in New York in the
1960s.”
On the overall state of the
contemporary and historic American

art market, Bray says, “I believe the
ADAA members themselves, and the
presentations they bring to The Art Show
each year, are a great barometer by which
to take the art market’s temperature.
Much like years past, the 2023 fair
featured a wide range of presentations
by historic and contemporary artists
alike—exemplifying the diversity of our
members’ rosters and expertise as well as
the interests of the viewing public.”
Attendees in
discussion
amongst works
from the 2022
showcase.
Photo by
Scott Rudd.

111

I

Jan/Feb 2024

Artists in this issue
Abercrombie, Gertrude

de Kooning, Elaine

94

Jackson, Harry

73

Prendergast, Maurice

de la Villéon, Emmanuel

88

Johns, Jasper

74

Richmond, Agnes Millen

80

Demuth, Charles

88

Johnson, Eastman

69

Ridgeway Knight, Daniel cover, 87

Ball, James Presley

98

Drexler, Lynne Mapp

59

Jones, Gerald Harvey

60

Robbins, Horace Wolcott

Bannister, Edward Mitchell

28

Duncanson, Robert S.

98

Kabotie, Fred

34

Rockwell, Norman

71

Avery, Milton

55
42, 71, 111

Baber, Alice

53

Durand, Asher B.

101

Beaux, Eliza Cecelia

106

Durieux, Caroline

95

Bellows, George

100

Fowler, Helen

Benson, Frank W.

73

Frieseke, Frederick Carl

Berthelsen, Johann

86

Gamble, John Marshall

58

Bierstadt, Albert

68

Gatewood, Maud

53

Barnes, Ernie

Bongé, Dusti

95

Gilliam, Sam

35
59, 81

60

Borie, Adolphe

104

Glackens, William

71

Bridges, Fidelia

89

Hartley, Marsden

70, 93

Britcher, Alfred Thompson 72, 101

Hassam, Childe

57

Cassidy, Gerald

Heade, Martin Johnson

68

31

Chambers, Thomas

103

Chapman, Kenneth M.

34

Clymer, John F.
Cole, Thomas

68

Henri, Robert
Henry, E.
Higgins,Victor

Kane, John

70, 80
102

103
79, 81

Rowlandson, Thomas

39

102

Ruscha, Ed

77

Latham, Barbara

52

Rush, Olive

Laurence, Sydney Mortimer

58

Russell, Charles. M.

56, 90

Lawrence, Jacob

92

Sharp, Joseph Henry

62

Leigue, Janina

89

Smillie, James D.

Lovell, Tom

56

Stella, Joseph

Lahey, Richard Frances

Major, Ernest Lee

105

Marin, John
Martin, Agnes

Thiebaud, Wayne

46

Trost Richards, William

74

Warhol, Andy

30

32
111
92
106
76, 48

107

Moran, Thomas

50, 68

88

Neiman, LeRoy

80

Whittredge, Thomas
Worthington

76

Wilde, John

80
72

33

O’Keeffe, Georgia

66

69, 82, 107

Homer, Winslow

64

Peale, Charles Willson

65

Winter, Andrew George

88

Hopper, Edward

49

Pelton, Agnes

47

Wyeth, Andrew

59

Wyeth, N.C.

75

Zorach, Marguerite Thompson 55

Copley, John Singleton
Coppedge, Fern Isabel

54

Horgan, Paul

34

Peterdi, Gabor

Cropsey, Jasper Francis

89

Inness, George

57

Picasso, Pablo

46, 51, 96
54, 92

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AGO Projects, Mexico City
Altman Siegel, San Francisco
Andrew Kreps Gallery, New York
Anthony Meier, Mill Valley
Berggruen Gallery, San Francisco
Casemore Gallery, San Francisco
Catharine Clark Gallery, San Francisco
Crown Point Press, San Francisco
David Lewis, New York
David Zwirner, New York
Demisch Danant, New York
Fergus McCaffrey, New York
Fraenkel Gallery, San Francisco
Galerie Max Hetzler, Berlin
Gallery FUMI, London

Gladstone Gallery, New York
Haines, San Francisco
Hauser & Wirth, Los Angeles
Hosfelt Gallery, San Francisco
Hostler Burrows, New York
Jenkins Johnson Gallery, San Francisco
Jessica Silverman, San Francisco
Karma, West Hollywood
Lebreton, Monte Carlo
Lehmann Maupin, New York
In celebration of its tenth anniversary
the fair launches FOG FOCUS, an invitational
designed to showcase art by young artists
as an integral part of San Francisco’s

Marc Selwyn Fine Art, Beverly Hills /
Gió Marconi Gallery, Milan
Marian Goodman Gallery, New York

Commonwealth and Council, Los Angeles

Marianne Boesky Gallery, New York

CULT Aimee Friberg, San Francisco
Et al., San Francisco
George Adams Gallery, New York
Johansson Projects, Oakland

January 17, 2024
Preview Gala Benefiting
the San Francisco Museum
of Modern Art

Magen H Gallery, New York

creative ecosystem.

Crèvecœur, Paris

JANUARY 18-21, 2024
FORT MASON CENTER

LUHRING AUGUSTINE, New York

Jonathan Carver Moore, San Francisco
OCHI, Los Angeles
Schlomer Haus Gallery, San Francisco

Mendes Wood DM, New York
Michael Rosenfeld Gallery, New York
Micki Meng Gallery, San Francisco
NILUFAR, Milan
Nino Mier Gallery, Los Angeles
Ornamentum, Hudson
Pace Gallery, New York
pt.2 Gallery, Oakland
R & Company, New York
Rebecca Camacho Presents, San Francisco
Salon 94 | S94D, New York
Sarah Myerscough Gallery, London
Shulamit Nazarian, Los Angeles

CELEBRATING 10 YEARS
fogfair.com

Talwar Gallery, New York
Tina Kim Gallery, New York

Scottsdale Art Auction
A CCEPTING I MPORTANT C ONSIGNMENTS

FOR OUR

April 12-13, 2024 Auction

Estimate: $300,000 - 500,000
N ICOLAI F ECHIN
(1881-1955)

24" x 20" Oil

S PECIALIZING IN A MERICAN W ESTERN , W ILDLIFE AND S PORTING A RT
I NVITING I MPORTANT C ONSIGNMENTS FOR OUR A PRIL 12-13, 2024 A UCTION !
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