Charles Burchfield

Watercolor on Paper Painting, by Charles Burchfield, 1919

1919

Charles Burchfield, 1893-1967 Wallpaper Design No.2, 1922-28 Watercolor and gouache on paper

William Zorach, 1887-1966 Redwoods, Yosemite Valley, 1920 Watercolor and pencil 15 ¾ x 13 ⅜ inches Signed (at lower right): William Zorach WZorach-7 Provenance: Estate of William Zorach Exhibited: William Zorach, 1887-1996, Sculpture, Drawings and Watercolors, Zabriskie Gallery, New York; Feb. 10 – March 14, 1998. William Zorach was born in Lithuania in 1889, and immigrated to the United States with his family in 1893. Settling in Cleveland with his parents, he worked as a lithographer from 1902- 1908, making enough money to study painting with Henry G. Keller at the School of Art. In 1910, Zorach traveled to Paris to study in La Palette, where he was encouraged to develop his own unique style rather than adhere to traditional teachings. Zorach once said, “I began to be conscious of the various modern influences that were invading the art world…I was disturbed and confused, and yet I felt that I was a very young man entering a new age. The forces creating modern art seemed more alive to me than anything I had known or anything being done in America.” 1 Together with his wife Marguerite, William Zorach produced a number of Cubist- style paintings for the American Armory Show of 1913, and the Forum Exhibition in New York in 1916. Around 1917, Zorach followed the lead of cubist artist Pablo Picasso and began experimenting with wood and stone carvings. By 1922, he devoted himself entirely to sculpture, and like Picasso, became fascinated in “primitive art”—the ritual objects and sculpture pieces of Oceanic, Native American and African tribes. Zorach’s work developed in its use of block-like forms with progressive suppression of detail—drawing elements from sources as disparate as the contemporary cubist and modernist movements, and combining them with forms seen in early African sculpture. Though the forms of his sculpture were often abstract, Zorach primarily focused upon a traditional subject matter, producing such well-known sculptures as Young Girl, now in the Whitney Museum of American Art, and Mother and Child, in the collection of the Metropolitan Museum of Art. Today, William Zorach is known as one of the earliest and most influential American artists dedicated to direct carving. Zorach also made an impression as a teacher and writer, facilitating a major change in the aesthetic philosophy and technique of sculpture in the United States. During the summers from 1913 to 1922, Zorach and his wife Marguerite painted...

Aaron Bohrod, 1907-1992 Barbecue Stand, circa 1935 Gouache on board Signed Lower left: “Aaron Bohrod” Inscribed and signed on verso Bohrod-1 Provenance: Private estate, Rhode Island...

William Glackens, 1870-1938 Criticizing Ernest Lawson’s Art Class, ca. 1907 Watercolor and pencil on paper Signed (at lower left): Glackens Inscribed ...

Reginald Marsh, 1898 – 1954 Monseigneur News Theatre, 1925 Signed and dated at lower right: 'Reginald Marsh 1925' Watercolor on card 8 x 11 inches Born in Paris to parents who were American artists, Reginald Marsh became an adept illustrator at an early age. His family returned to the United States in 1900. Upon graduating from Yale University, Marsh moved to New York and in 1922 took a job as an illustrator at the New York Daily News. For the paper he provided cartoons of vaudeville and burlesque shows. In 1925 Marsh went to work for a new magazine -- The New Yorker -- as one of its original cartoonists. That same year he married Betty Burroughs, daughter of the paintings curator at the Metropolitan Museum of Art. Later that year they traveled to Europe where Marsh discovered the work of the old masters at the Louvre in Paris and British museums. With a sketchbook always on hand, he wandered the streets of Europe and began depicting bums or what he called figures of failure. Upon the couple’s return, Marsh, now with a serious interest in pursuing art, enrolled at the Art Students League where he studied under George Luks, John Sloan, and Kenneth Hayes Miller. This work, Monseigneur News Theatre, is accompanied by a letter from Marsh Scholar Professor Norman Sasowsky, University of Delaware...

An early work by Charles Burchfield, likely a project for an illustration. A Landscape in pastel colors with a white tree and the text Love and xxx.

This surreal landscape comes from the inner sanctum of artist Christina Haglid. Two paper orbs combine and reveal a portal to another dimension. The artist invites the viewer to take a closer look at nature, to question what is seen and to enter into a newly created world. Meticulous in her execution, Haglid uses watercolor as one might use a colored pencil. Layer upon layer of color is added to achieve this impressively detailed painting. The piece is matted and framed in a simple white frame measuring 20.25 x 16.75. Christina Haglid Nest, 2020 watercolor and gouache on paper 11h x 8w in 27.94h x 20.32w cm CMH051 Artist's Statement Tiny Sanctuaries There has always been an intersection between the process of writing and the act of painting in my work. It has somehow been my guide. In the last four years, during the making of this work, that connection intensified as I started writing short stories and flash fiction while taking online classes. I find the process of writing and painting so different in almost every way, but there is something freeing and generative in writing which helps my painting process. Or perhaps it's a reminder of what painting is for me - something intuitive that needs to be trusted. And what they do have in common is a desire to encapsulate and distill a single moment, a story, about the complexity of our emotions and experiences. At the heart of my work is the recurring depiction of perseverance, strength of will, and a subtle optimism. Symbolically through the objects, precarious situations depict a moment of possible difficulty, often involving the influence of nature. A paper crane left in the snow. A boat nearly filled to the brim, but not submerged and able to drain its own contents carefully. A slide alone at night...

A paper lantern explodes out of the water, as if propelled by an inner, unknown force. This surreal landscape is done in exacting detail with watercolor and gouache down to the smal...

Marine Dutch School, 18th Century Coastal Scene with ships in a storm Gouache on prepared paper

A small purple vase floats on a dreamy background of pale blues fading into a warm beige. The artist achieves a remarkable delicate quality by multip...

A single bud vase, a willow tree seeming to grow inside a confined vessel, all appearing to float upon a sea of moving water are the subjects of Christ...

"Steam", by Christina Haglid, is a small, exquisite watercolor. A single nasturtium is suspended inside a paper lantern, floating on turbulent water, the steam escaping from the lantern propelling it forward. The fragility of the environment has always played an important role in Haglid's work. As a child growing up on the East Coast, the ever changing seaside landscapes intrigued her. This fragile balance between nature and her subject matter is as delicate as a paper lantern floating on the ocean. Christina Haglid Steam, 2019 watercolor and gouache on paper 8h x 9w in 20.32h x 22.86w cm CMH034 Artist's Statement Tiny Sanctuaries There has always been an intersection between the process of writing and the act of painting in my work. It has somehow been my guide. In the last four years, during the making of this work, that connection intensified as I started writing short stories and flash fiction while taking online classes. I find the process of writing and painting so different in almost every way, but there is something freeing and generative in writing which helps my painting process. Or perhaps it's a reminder of what painting is for me - something intuitive that needs to be trusted. And what they do have in common is a desire to encapsulate and distill a single moment, a story, about the complexity of our emotions and experiences. At the heart of my work is the recurring depiction of perseverance, strength of will, and a subtle optimism. Symbolically through the objects, precarious situations depict a moment of possible difficulty, often involving the influence of nature. A paper crane left in the snow. A boat nearly filled to the brim, but not submerged and able to drain its own contents carefully. A slide alone at night which will return to its purpose during the day. My intention is to not show the failure because I imagine all these objects make it through to better times. Allegories of survival. Someone comes by and finds the paper crane, the rowboat owners return and see their boat undisturbed, and the slide during the day brings joy. EDUCATION 1993 M.F.A., Cranbrook Academy of Art 1991 B.F.A., Maryland Institute, College of Art 1990 Skowhegan School of Painting and Sculpture EXHIBITIONS 2019 "Tiny Sanctuaries", Gallery Victor Armendariz, Chicago, IL 2015 "Gallery Group" Ann Nathan Gallery, Chicago, IL 2014 "Gallery Group" Ann Nathan Gallery, Chicago, IL 2013 "Gallery Group" Ann Nathan Gallery, Chicago, IL 2012 "Gallery Group" Ann Nathan Gallery, Chicago, IL 2011 “Gallery Group” Ann Nathan Gallery, Chicago, IL "Meticulous Details: Conservators' Paintings" The Architrouve, Chicago, IL 2010 “Art Chicago” Merchandise Mart, Ann Nathan Gallery, Chicago, IL 2009 “Botanica” Ann Nathan Gallery, Chicago, IL 2006 “Botanicus” Ann Nathan Gallery, Chicago, IL 2006 “Arts Botanica” Loyola University Museum of Art, Chicago, IL 2005 “Blumen: Group Show” Ann Nathan Gallery, Chicago, IL 2004-05 “Think Small” Illinois State Museum, IL [traveled] “Christina Haglid: Microworlds” Greenville County Museum of Art, Greenville, SC [solo exhibition] 2004 “Art Chicago” Navy Pier, Ann Nathan Gallery, Chicago, IL 2003 “Small to Mighty” Ann Nathan Gallery, Chicago, IL 2002 “Art of the 20th Century” NY Armory, Ann Nathan Gallery, NY, NY “Art Chicago” Navy Pier, Ann Nathan Gallery, Chicago, IL 2001 “Group Fusion” Ann Nathan Gallery, Chicago, IL 2000 "Small & Mighty II" Ann Nathan Gallery, Chicago, IL "Christina Haglid, New Work and Amy Lowry-Poole, Bugs and Buds" Ann Nathan Gallery, Chicago, IL 1999 “Small & Mighty” Ann Nathan Gallery, Chicago, IL “Views II” Ann Nathan Gallery, Chicago, IL 1998 “Maleri” Galleri Carl Michael Bellman, Stockholm, Sweden “1987 – 1997, A Skowhegan Decade, Alumni Exhibition and Benefit Auction” David Beitzel Gallery, NY, NY “On and Off the Wall, Gallery Group” Ann Nathan Gallery, Chicago, IL 1997 “15 x 15” (Alumni Exhibition), Thesis Gallery, Maryland Institute, College of Art, Baltimore, MD 1996 “Small Works” Suburban Fine Arts Center, Highland Park, IL., Special Recognition Award 1994 “Unknown Chicago” Gallery 312, Chicago, IL “15 x 15” (Alumni Exhibition), Meyerhoff Gallery, Maryland Institute, College of Art, Baltimore, MD 1993 “Graduate Summer Exhibition” Cranbrook Academy of Art Museum, Bloomfield Hills, MI “Graduate Thesis Exhibition” Cranbrook Academy of Art Museum, Bloomfield Hills, MI “Michigan Fine Arts Competition” Birmingham Bloomfield Art Association, Birmingham, MI 1992 “Word of Mouth” Forum Gallery, Cranbrook Academy of Art Museum, Bloomfield Hills, MI 1991 “Drawing: A Covert and Private Affair” West Gallery, Rutgers University, New Brunswick, NJ “Senior Exhibition” Meyerhoff Gallery, Maryland Institute, College of Art, Baltimore, MD 1990 “Fiber Exhibition” Fox Gallery...