Catalog: Fine Art (124)

Vintage Modernist Watercolor Americas Cup Yacht Sailing Races by Willard Bond. Presented matted and framed. Biography By DENNIS HEVESI Published: June 10, 2012 In First Around, one of Willard Bond's best-known paintings, two towering yachts are caught in a roiling sea. The one to the fore is rounding a mark, sharply heeled in the wind, its crew crammed by the upper rail to keep it from capsizing. It has not yet raised its spinnaker, the balloonlike sail toward the bow. Perilously close by, the other boat has just turned the marker, its billowing spinnaker a virtual rainbow of iridescent pink, blue, maroon and white. All this is captured in Mr. Bond's bold, swirling strokes that verge on the abstract. "Bond creates paintings, not around what boats look like, but what it feels like to be aboard or nearby, watching them move fast — big, speeding boats, often only inches apart," J. Russell Jinishian wrote in his 2003 book, Bound for Blue Water, a comprehensive study of marine art. "Crews scramble, sails drop and raise in a flurry of activity," Mr. Jinishian wrote. "The tension is high, adrenaline pumps, orders are yelled, spray flies, seas and heads pound, your whole world spins as you are unconscious of everything else around you. If you want to know what it is like to be in the heat of a yacht race, just look at a painting by Willard Bond." Mr. Bond, whose images line the walls of thousands of homes — particularly those of avid sailors — died of congestive heart failure on May 19 in Yountville, Calif., his daughter, Gretchen Bond de Limur, said. He was 85. Until moving to California several months ago to be near his daughter, Mr. Bond had divided his time between his apartment in Brooklyn Heights and the 30-foot-high geodesic dome he built decades ago as a second studio near Barryville, N.Y., in the Catskills. Even there, he could conjure up images of sailing vessels and the sea. In Knarr Class, Mr. Bond depicted the copious mast of a wooden racing boat. Against a glowering sky, with perhaps a storm on the horizon, the boat is tilted toward its port side. Subtle blues, greens and grays blend in the water and the clouds, with white dots hinting of structures on the distant coast. Over five decades as a marine artist, Mr. Bond created hundreds of watercolor and oil paintings, "everything from cruising sailboats to America's Cup yachts," said Jeffrey Schaub, owner of the Annapolis Marine Art Gallery in Maryland and a longtime representative of Mr. Bond. He said Bond originals sell for up to $30,000, his limited-edition lithographs for up to $1,000, and his posters for up to $45. "Willard Bond was an original," said Jeanne C. Potter, director of the Maritime Gallery at Mystic Seaport in Connecticut. "Willard would often hear from the sailors who raced that that is the way it is out there, and that he was the only artist that got it." He found his passion as a teenager sailing on Lake Coeur d'Alene in Idaho, where his grandparents owned a houseboat. Willard Gordon Bond was born in Colfax, Wash., on June 7, 1926, to Arthur and Hallie Gilleland Bond. The family later moved to Lewiston, Idaho. When not sailing on Lake Coeur d'Alene, the young man worked for several summers as a fire spotter for the United States Forest Service. After serving in the Navy in the Pacific from 1944 to 1946, he attended the Art Institute of Chicago, then moved to New York to study at the Pratt Institute, from which he graduated in 1949. In a loft on the Lower East Side of Manhattan, Mr. Bond began creating large-scale abstract oil paintings and ceramic murals while supporting himself as a set designer, lighting technician and occasional actor in Off Broadway theaters. In the early 1970s he went to the island of Jamaica, where, inspired by Buckminster Fuller, he built geodesic-dome homes in the jungle, as well as two large domes for a school, commissioned by the Peace Corps. It was after returning to New York in 1976 and becoming a pier master at the South Street Seaport — he welcomed the tall ships of Operation Sail to New York Harbor for the bicentennial celebration — that Mr. Bond turned to marine art. His works began selling at galleries. At the same time, his daughter said, he sailed his own small boat off Long Island before graduating to a Chesapeake Bay skipjack, which had long been used for oyster dredging. In addition to his daughter, Mr. Bond is survived his longtime partner, Lois Friedel Bond (they were once married, then divorced and then began living together again in Brooklyn), and two grandchildren. His first two marriages also ended in divorce. Not all Mr. Bond's paintings reflect a turbulent sea. There is an almost palpable peace to his "Running Home," an oil painting that depicts four yachts far in the distance, their sails — black and white, red and white, blue and white, and pure red — full as they head to port at the end of a day of racing. "Running" means that the wind is behind them

Pablo Picasso (Spanish, 1881–1973) Oath of the Women from Lysistrata Bloch 267-272. Original pencil signed etching from the deluxe edition of 100 signed etchings. Printed by Roger Lacourière (French, 1892–1966) Date: 1934 Medium: Etching Dimensions: plate: 8 11/16 x 5 3/4 in. (22.1 x 14.6 cm) sheet: 15 1/8 x 11 1/8 in. (38.4 x 28.3 cm) Condition is very good some minor staining and foxing very slight minor surface creasing.

Modern charcoal drawing of a cosmic abstract. Signed indistinctly lower right and dated 2003. Presented in a minimalist blonde wood frame. Image size: 22 x 30”, overall dimensions: 27 x 34”.

Original vintage expressionist etching print titled "Garden of no Tomorrows" numbered9/15 signed titled circa 1964 by Sylvia T Gavurin. Printed on quality wove paper archival matted and framed in a contemporary gold frame overall size 25ʺW × 1ʺD × 19ʺH Sylvia T Gavurin (1911 - 2002) was a Los Angeles based artist best known for her printmaking she showed in local exhibits her work is held in several private collections. In the 1940s Sylvia Gavurin was a court stenogrepher for the military. She was assigned to record the trials at Dachau Germany. This had a profound affect on her life and was a influence in her art work. This is an example of her work expressing the holocaust.

Modernist landscape Marsh series #1 by Ernest Garthwaite. Acrylic on paper measuring 22"w x 30"H.

Biography

Ernest Garthwaite was born in Saskatoon, Saskatchewan in 1940. He studied at Loras College in Iowa, receiving his Bachelor of Arts in 1961, and at the University of Notre Dame in Indiana, receiving his Master of Arts in 1962. He subsequently studied in Europe (including in Italy, Germany, and France) and at the University of Wisconsin in 1964 and the Art Students' League of New York in 1966. Garthwaite's work is represented in over 75 collections, including the Medicine Hat Museum and Art Gallery, New Rochelle Public Library, Art Gallery of Windsor, Bank of Montreal, Concordia University (Montreal), Marymount College (New York), Whyte Museum of the Canadian Rockies (Banff), and York College of the City University of New York.

Close Description Original antique painting of a native American Indian woman braiding her daughters hair. Gouache on paper signed lower right L. C. Perry. Presented in the original antique frame. Born in Boston, Lilla Cabot Perry was a key person, along with Mary Cassatt, in bringing French Impressionism* to the United States from France. "For many years, she lectured, wrote, and encouraged American patronage of the style." (Dunn, 16) She was also the artist most closely involved with the Guild of Boston Artists*, which opened its galleries in 1914 to promote accomplished painters and sculptors. She served on the board as the first secretary and worked hard to cultivate persons for financial backing. Pery had prominent Boston social credentials that included the Cabot and Lowell families. Her father was a distinguished surgeon; and her husband's great uncle, Commodore Matthew Perry, opened Japan to the world in 1853. In 1874, she married Professor Thomas Sergeant Perry, a professor of 18th-century literature, and their home became a gathering place for many Boston intellectuals including Henry James, William Dean Howells, and her brother-in-law, painter John LaFarge. She had elite private schooling and began her art studies with Robert Vonnoh and Dennis Bunker at the Cowles School in Boston. Having first traveled to Europe with her family in 1887, she studied in France privately with Alfred Stevens and at the Julian* and Colarossi* Academies. She also exhibited at the salons and expositions and in 1889, attended Claude Monet's exhibition, "Impressions", which "was a revelation for Perry, who decided to take up residence in Giverny." (Dunn, 16) In 1889, Perry and Cecilia Beaux visited Claude Monet at Giverny*, France, and she was highly intrigued with his painting. He, who never took pupils, did give Perry advice and encouraged her to put down on canvas her first impression, saying that was the truest and most pure expression. Between 1889 and 1909, she and her husband spent ten summer seasons in Giverny, where they lived next door to Monet and became close friends. Perry recorded interviews with Monet, who seemed very fond of her, and the result was Perry's book, published in 1927, Reminiscences of Claude Monet. She also successfully encouraged her wealthy friends to purchase Monet's paintings. In 1889, she returned to Boston with one of Monet's paintings, Etretat, one of the first Impressionist works to appear in that area, and she was surprised that no one was very taken with the painting. Several years later, she gave lectures on Monet to the Boston Art Students Association. In 1898, her husband, accepted a college teaching position in Tokyo, Japan as chair of English Literature, and living there until 1901, she painted the landscape and the people, completing more than eighty paintings. Of this period in her life, art historian William Gerdts wrote: "Lilla Perry was one of the most significant of the American painters who went to Japan in the late 19th century; . . . of all the Americans to work there, Perry's work is the least traditional and is the most indebted to the Impressionist aesthetic, and some of her Japanese scenes are, in color and brushwork, extremely close to Monet." (97) In her later years, she lived in the upper class Back Bay area of Boston, and spent her summers in Hancock, New Hampshire. Lilla was a founder and first Secretary of the Guild of Boston Artists. Much of her painting of that period was for her own enjoyment and focused on activities of upper class women, with her daughters frequently serving as the models. She seldom did any preliminary sketching, and pastel was a favorite medium. In very good all original condition overall size 17ʺW × 2.5ʺD × 15ʺH.

Original Acrylic on Canvas titled "Vertigo" measuring 30" x 24" signed verso. Tom Christopher is an American artist known for his expressionist urban paintings, mostly of New York City. Christopher began as a commercial artist, and has become a notable artist with worldwide galleries and exhibitions.

An original Tom Christopher New York painting acrylic on canvas titled "Between the Clock and the Messenger" measuring 48" by 48.5" signed on verso. This painting has been exhibited at Galerie Tamenaga in Paris France with label on stretcher bar.

TOM CHRISTOPHER BIOGRAPHY

"Monet had his water lilies and Tom Christopher has Times Square." --The New Yorker Tom Christopher is a classically trained draughtsman. He received a BFA from the Art Center College in Los Angeles, studying with the legendary Disney animator Ward Kimball and the painter Lorser Fietelson. He then worked for Peterson Publishing drawing automobiles for Motor Trend Magazine, drawing portraits at Disneyland and creating rock posters for CBS Records. After moving to New York in 1981 he went on drawing assignments with Meredith Vieira and John Stossel covering courtroom drama for CBS News in downtown Manhattan. This experience in part formed the foundation for a narrative and journalistic approach to his art. Although born in Hollywood, and steeped in the LA hot rod / skateboard culture, he became obsessed with painting household objects and tools on a Brobdingnagian scale, exhibiting in galleries in the East Village. He would always carry a sketchbook, endlessly drawing and recording everything from subways to skyscrapers. In 1987, NYC was a dark city, crime ridden and gripped by fear. But, as he put it: "One day walking around Times Square, the clouds cleared and I had an epiphany of sorts. The City exploded in a blaze of expressionistic colors with the brilliant laser white light sculpting the buildings, cabs, messengers and scurrying figures. At once I realized my mission; try and capture the narrative, the beauty and the magnetic pull of the epicenter of this modern urban city." Now his subject matter is largely focused on the streets of New York. But calling him a New York painter would be as much a mistake as it would be to dismiss Kirchner as a Berlin cityscene painter. They have both used the subject of the city as a launching pad to explore the many aspects of man's struggle in an urban environment. Indeed, this theme is universal as his paintings have found a following in Europe, especially Paris, Germany and Tokyo. Most of the work is painted using small batch, handmade acrylic paint. Pencil lines from the initial exploratory sketch stage often remain on the white canvass. These raw areas give the painting both breathing room and serve as a reminder of the process. His artistic vocabulary ranges from lines that loop and skit around, to delicate watercolor washes, heavy brushwork to thick impasto with swirls and drips of color. Working with 'at risk' kids he brought these expressionistic colors and large brushwork to the Roseland Ballroom on 53rd St creating the city's largest outdoor mural at 225 by 65 ft. "I think it's interesting to tell a story about people in the city and not necessarily be concerned about what the finished product will look like. The last thing an artist should do is to set out to try and make 'art'. I find that if you have something to say, just paint, most of the time it will find it's own way." Says Mr. Christopher. He was trained in an approach that relies on visual observation and blocking out all else. Actually, he was trained to not listen as it would become too distracting. This is now changing in new works with overheard conversations and fragments of speech finding their way into the artwork as titles of the paintings create a continually evolving narrative thread. "Tom Christopher has become to American painting what Count Basie or Duke Ellington became to American popular music, not completely jazz but owning much to Charlie Parker and Charles Mingus." Written by Dr. Louis Zona, Director and Chief Curator, The Butler Institute of American Art, Youngstown Ohio.

Original vintage modernist abstract painting of books by Barry Nemett oil on canvas signed lower right and dated 1971. Presented in a natural oak wood frame. Measures 19ʺW × 1.5ʺD × 49ʺH in good condition minor touch ups. Biography: Barry Nemett, Chair of the Painting Department at Maryland Institute College of Art, studied at the Skowhegan School of Painting and Sculpture, received his BFA at Pratt Institute and his MFA at Yale University. His awards include The Hugh Fraser Foundation, Ford Foundation Grant, MICA Trustee Grant for Excellence in Teaching, Maryland State Arts Council Individual Fellowship Grant, ITT International Travel Fellowship/Fulbright Hays Grant, Ely Harwood Schless Award for Excellence in Drawing and Painting at Yale University, Faculty Enrichment Grant, and the Berkeley T. Rulon Miller Award. Prof. Nemett has curated numerous traveling exhibitions, and has exhibited his own work at the National Academy Museum, Museum of Art, Rochefort-en-Terre, France, Aichi Prefectural Museum of Art, Japan, Baltimore Museum of Art, Delaware Museum of Art, Institute of International Education, Washington County Museum of Art, Andre Zarre Gallery, Atlanta College of Art, Goucher College, Indiana University, Loyola College, New Jersey State Museum, University of North Carolina, Pratt Institute, St. John's University, University of Maryland, University of New Hampshire, University of Pennsylvania, Wellesley College, College of William and Mary, and Yale University.

David Cox Original oil painting 1844 signed lower right titled on reverse Manorbier Castle South Wales. Oil on board measuring approx. 30 x 40 inches. Biography

David Cox was an English landscape painter, one of the most important members of the Birmingham School of landscape artists and an early precursor of impressionism.

Original Vintage Art Nouveau Drawing of a Lady by Charles Sheldon c.1930. Presented matted and framed. Acquired with a group of art from the estate of the artist. Charles Gates Sheldon (b. 1889 / d. 1960) Charles Sheldon was born in Worcester, Massachusetts in 1894. He spent most of his life in Springfield. In high school, he contributed to the artwork in the yearbook. Sheldon studied at the Arts Students League. He then studied under Alphonse Mucha in Paris. He started working for Ladies Home Journal doing artwork of hats, gloves and fashion work. Sheldon moved into advertising doing creative advertising for clients such as, Fiberloid hair brushes, Fox Shoe Company, La Vogue lingerie and Gainsbourough. The ads had many stars features such a Zigfeld Follies. By 1921, Sheldon was working for high fashion companies. In 1924 and 1925, Sheldon created cover art for the Christmas issue of Colliers and a Halloween issue cover for Saturday Evening Post. By the late 1930's, magazines started to moving towards photography for their covers. However, Sheldon continued to produce his his delicate, dreamy, pastel portraits for the Breck Shampoo Company. Sheldon retired in the late 1950's. In 1960, he died at his home is Springfield. When his home was torn down in 1978, a hidden room was found full of "artwork by his contemporary illustrators such as J.C. Leyendecker, Howard Chandler Christy, Maxfield Parrish, and Charles Dana Gibson".

Original antique European Alpine Village winter scene oil painting by Anton Doll (1826 - 1887. Oil on canvas signed lower left noted painted in Munich framed in original gold gilt frame. Anton Doll began studying law in Munich, before he turned towards painting. In 1852, he became a member of the Munich Art Association that had exhibited his paintings from very early on. Doll was influenced by Carl August Lebschée and Adolf Stademann, and his main subject was the city of Munich. Besides his historical architectural paintings with a few staffage figures, he painted wintry landscapes, clearly influenced by the great Dutch old masters. Today, works by Doll can be seen, for example, in the New Pinakothek in Munich, and in the Graphic Collection of the Staatsgalerie Stuttgart.

An original antique French Art Nouveau bronze statue of a glamorous woman c.1905. Bronze mounted to a marble base signed on verso with the stamp medallion of Original Bronzes Society Paris France. Dimensions 3.5ʺW × 3ʺD × 7.5ʺH Georges Van der Straeten was a Belle Epoque sculptor born in Ghent, Belgium, on December 21, 1856. He studied under the Neo-Baroque sculptor Jef Lambeaux (1852-1908). In 1883, at the twenty-seven years old, Van der Straeten moved to Paris. While living in Paris he befriended Jean Marie Constantin Joseph "Jan" van Beers, a fellow painter and son of the Romantic poet Jan van Beers. He lived at 9 Hoche Avenue, Paris. Van der Straeten showed at his first Paris Salon in 1885 and continued to show until 1912. He won many awards for his work, including the silver medal at the 1900 World's Fair, Paris and a knight of the Legion of Honor in 1903. Van der Straeten's figures are detailed and inspired by the French artist Antoine Watteau (1684-1721) and similar in style to the Italian sculptor Emmanuel Villanis (1858-1914). The work is Art Nouveau with an emphasis on the figure. His works have been produced in large numbers by French foundries Paris Bronzes Society, Pinedo and by ceramsist Friedrich Goldscheider. The artist died in Ghent in 1928.

Pair of original hand colored horse lithographs from "Professor Low's Illustrations of the Breeds of the Domestic Animals London, 1840" . Drawn by Mr. Nicholson, R.S.A. from a painting by Mr. Shiels, R.S.A. Drawn on stone & printed by Fairland. Published by Longman, Orme, Brown , Green & Longmans, Paternoster Row, London 1840. Presented framed and matted in quality vintage burl wood frames. Measuring 12.5 x 17 inches, matte window 10" x 13" overall framed size 18" x 24" Low was a professor of agriculture at Edinburgh University who also set up an agricultural museum in Edinburgh with the assistance of a grant from Earl Spencer. William Shiels, member of the Royal Scottish Academy, was commissioned to produce a series of paintings of all the significant breeds then of economic significance in Great Britain. These paintings were then used as the basis for the present work with the addition of Low's text. Shiels' work is appreciated today for its faithfulness to the actual appearance of the animals, as opposed to idealized versions meant to please their owners, which were common at the time. William Nicholson, also a Royal Scottish Academy member, made the drawings after Shiels' paintings to convert them to prints.

Oil painting on canvas of a nude female figure signed A Brook lower right- Alexander Brook (1898 – 1980) . Image size 22"x 30", overall dimensions 26.5" x34.5". Lightly textured. In Good Condition. Born in Brooklyn, New York, Alexander Brook was a realist painter, whose works consisted mostly of still-life subjects, landscapes, and figures, often of women. He was very successful in his day, winning second prize to Picasso's first prize at the Carnegie Institute International Exhibition of Modern Painting in 1930. In New York, he studied at the Art Students League between the years of 1914-1918. It was at the Art Students League that Brook developed significant relationships with Niles Spencer, Reginald Marsh, Kenneth Hays Miller, Yasuo Kuniyoshi and, perhaps most significantly, Peggy Bacon, whom he married in 1920. Along with Kenneth Hayes Miller, Brook studied with John C. Johansen, Frank V. DuMond, George Bridgeman and Dimitri Romanofski. Within this group lay the foundations of American Realism. Brook was a member of the Society of Independent Artists, who rebelled against the strictures of the National Academy of Design. In 1938 Brook traveled to Savannah, Georgia, there he did some of his most provocative work. After two years in the South, Bacon and Brook were divorced. Brook later married the painter Gina Knee. During the years 1928 through 1939, Alexander Brook had works in over one-hundred exhibitions, fifteen of which were one man shows. By 1942, Brook had resumed teaching at the Art Students League. Demand for the artist's work kept him in significant collections, galleries, and museums, including the Downtown Gallery (New York), the National Academy of Design, the Rehn Gallery, the Larcada and the Knoedler galleries. Brook received awards at the Art Institute of Chicago (1929), the Pennsylvania Academy (1931), the Guggenheim Fellowship (1931), and the San Francisco Art Association (1938).

Post impressionist oil painting of a partial nude in blue tones. Reminiscent of Picasso's Blue Period. Signed lower right and presented in original dark wood frame with white insert. Masonite panel measures 20 x 30 inches.

Original N.C. Wyeth oil painting on art board title "Lumber" commissioned by Coca Cola company in 1943 for a series of posters in American industry. Signed lower right measuring 21 x 31 inches in excellent condition. A fine addition to any collection of American Art.

Biography

N. (Newell) C. (Convers) Wyeth (October 22, 1882-October 19, 1945), is one of the most celebrated illustrators in the history of art. He grew up on a farm in New England, and studied at the Massachusetts Normal Arts School where he attended classes taught by illustrators Eric Pape and Charles W. Reed. During 1902-04 he studied with the great illustrator Howard Pyle in Wilmington, Delaware. Wyeth accepted a commission from Scribner's and the Saturday Evening Post to paint western scenes, and traveled in the west to gain first hand knowledge of subjects. He worked as a ranch hand in Colorado and rode mail routes in New Mexico and Arizona. In 1906, Wyeth and Carolyn Brenneman Bockius were married in the Wilmington Unitarian church, and they made their home in nearby Chadds Ford, Pennsylvania. The focus of his painting soon shifted to the land and people of the region in which he lived. In 1911, Wyeth won a commission from Charles Scribner's Sons to illustrate a new edition of R. L. Stevenson's Treasure Island, a work that made him famous. He provided illustrations for dozens of other classic books, including Kidnapped (1913), The Black Arrow (1916), The Legends of Robin Hood (1917), The Last of the Mohicans (1919), and The Yearling (1939).

Impressionist nude female oil painting on canvas c.1920s. Presented in a Dutch impressionist parcel gilt wood frame. Canvas measuring 20 x 24 in excellent vintage condition.