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John AthertonGuns, rifle and Shells Abstraction1948
1948
$16,000
£12,152.39
€13,977.48
CA$22,355.14
A$24,928.51
CHF 13,006.63
MX$305,882.17
NOK 165,553.70
SEK 156,858.54
DKK 104,319.07
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About the Item
An intriguing and complex composition composed of guns, rifles, ammo and a bullseye. Work is housed in a rustic Heydenryk frame.
- Creator:John Atherton (1899 - 1972, American)
- Creation Year:1948
- Dimensions:Height: 11.5 in (29.21 cm)Width: 14.5 in (36.83 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:A soiled spot in the upper left and upper right quadrant. Otherwise presents very well Frame has some skufs and surface abrazions.
- Gallery Location:Miami, FL
- Reference Number:1stDibs: LU38533628692

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Complex and masterfully thought out the composition of rifle, gun shells, target shapes, and buck shots. Most likely done for a ad or men's magazine.
Signed lower right Atherton. Housed in a rustic House of Heydenryk frame...
Category
1940s Post-Modern Abstract Paintings
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Gouache, Board
Landscape Abstraction - Mid-Century - Twenty Paintings in One
Located in Miami, FL
When it comes to abstract painting, the creation date is important. At the height of Abstraction Expressionism, overlooked Academic Artist John Atherton created a wonderfully complex painting that embodies many of the characteristics of what was going on in Mid-Century American Art. The work is simultaneously abstract as it is representational. Like a Bento Box, it's divided into sections by dividers. On close inspection, each section stands on it's own as a beautiful mini-painting yet coalesces as part of the whole. From a distance, it is eye-pleasing, but as the view gets closer and closer, new structures and details gloriously reveal themselves. This is an important painting and not unlike the work of Joaquín Torres-García. It was done in the last year of the artist's life. Signed lower right. Canvas is relined. Framed size: 30 x 41.25. The work is best viewed with top gallery lights to bring out color.
Color will look different under different lighting conditions. Atherton exhibited at the famous Julien Levy Gallery in New York and his fine art is mainly associated with Magic Realism. He participated in the seminal 1943 Museum of Modern Art exhibition, American Realists and Magic Realists. The Museum of Modern Art has 4 Atherton paintings in its collection. As an Illustrator, Atherton did covers for the Saturday Evening Post, Fortune and Holiday Magazine...
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Thought Provoking Rock Quarry - Mid Century Abstract
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This meticulously planned, designed, and executed work depicts an ultra-wide angle view of a rock quarry/mine. The viewer looks down at close-up-stylized rock formations and then out at a horizon line with rust-colored mine trestles. Atherton hints at perspective with a broken white line that is wider in the foreground and tapers to a hairline as it recedes to the background. The work was done in 1951 at the height of America's most important art movement: Abstract Expressionism. John Atherton absorbs its influences but retains elements of representation. Atherton was an in-demand commercial artist who worked for most blue-chip clients. It is possible that this was an editorial assignment for Fortune Magazine. At the same time, Atherton was also a fine artist and the work could be an expression of pure creative pursuits. The work looks better in person and one can look at it for hours and not get bored. Look carefully and you may discover a deeper meaning in this painting of precisely arranged rocks. Signed lower right.
Brooklyn Museum of Art, New York, sold to benefit the acquisitions program
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From Wikipedia, the free encyclopedia
John Carlton Atherton (January 7, 1900 - September 16, 1952) was an American painter and magazine illustrator, writer and designer. His works form part of numerous collections, including the Museum of Modern Art,[1] Whitney Museum of American Art and the Smithsonian American Art Museum.[2][3][4]
Early Years
He was the son of James Chester Atherton (1868-1928) and Carrie B. Martin (1871-1909). He was born in Brainerd, Minnesota.[5] His father was Canadian born. His parents relocated from Minnesota to Washington State, with his maternal grandparents whilst he was still an infant. He attended high school in Spokane, Washington.
Career
During his early years he never displayed an aptitude for art; rather, his first love being nature and the activities he relished there, mainly fishing and hunting. He enlisted in 1917, serving briefly in the U.S. Navy for a year during World War I. At the end of the war, determined to get an education he worked various part-time jobs, as a sign painter and playing a banjo in a dance band to pay his enrolment fee at the College of the Pacific and The California School of Fine Arts (now the San Francisco Art Institute). Once there, he also worked in the surrounding studios developing his oil painting techniques.
A first prize award of $500 at the annual exhibition of the Bohemian Club in 1929, financed his one way trip to New York City, which helped to launch his career as an artist.[6]
Atherton had aspired to be a fine artist, however his first paid jobs were for commercial art firms designing advertisements for corporations such as General Motors, Shell Oil, Container Corporation of America, and Dole. However, by 1936, encouraged primarily by friends, such as Alexander Brook, an acclaimed New York realist painter, he returned to the fine arts.
Atherton continued to accept numerous commissions for magazine illustrations; such as Fortune magazine, and over the years he would paint more than forty covers for The Saturday Evening Post starting with his December 1942 design, “Patient Dog.” This picture is reminiscent of his friend Norman Rockwell ‘Americana style’ and captures a poignant moment of nostalgia, where a loyal dog looks toward a wall of hunting equipment and a framed picture of his owner in military uniform.
Selected One person Exhibitions
Atherton accomplished his first one-man show in Manhattan in 1936. His Painting, “The Black Horse” won the $3000 fourth prize from among a pool of 14,000 entries. This painting forms part of the Metropolitan Museum of Art collection in New York.[7]
Atherton achieved recognition in New York City and elsewhere during the 1930s. Having exhibited at the Julien Levy Gallery in New York,[8] his paintings began to be collected by museums; including the Museum of Modern Art[9] and the Metropolitan Museum of Art.
His reputation increased with his art deco stone lithograph poster for the 1939 New York World's Fair. In 1941, his design won first place in the Museum of Modern Arts “National Defense Poster Competition”.
Selected Public Collections
Fleming Museum of Art, Burlington, Vermont
Albright-Knox Art Gallery,[10] Buffalo, NY
Art Institute of Chicago,[11] Chicago
Wadsworth Atheneum,[12] Hartford, CT
Brooklyn Museum of Art, New York
Metropolitan Museum of Art, New York
The Museum of Modern Art,[13] New York
Whitney Museum of American Art,[14] New York
Pennsylvania Academy of the Fine Arts,[15] Philadelphia
De Young Museum,[16] San Francisco
Smithsonian American Art Museum,[17] Washington DC
Butler Institute of American Art[18] Youngstown, OH
The Famous Artists School
Founded in 1948 in Westport, Connecticut, U.S.A. The idea was conceived by members of the New York Society of Illustrators (SOI), but due to the Society's legal status, could not be operated by it. SOI member Albert Dorne led the initiative to set up a separate entity, and recruited the support of Norman Rockwell, who was also an SOI member. For the founding faculty, Dorne recruited Atherton, as well as accomplished artists such as Austin Briggs, Stevan Dohanos, Robert Fawcett, Peter Helck, Fred Ludekens, Al Parker, Norman Rockwell, Ben Stahl, Harold von Schmidt and Jon Whitcomb.[19]
He collaborated with Jon Whitcomb with the book “How I Make a Picture: Lesson 1-9, Parts 1”.[20][21]
Society of Illustrators
Atherton as an active member from his arrival in New York. The society have owned many of his works. Ex-collection includes:
Rocking Horse (ca. 1949) [22]
Atherton, as his peers had many of his works framed by Henry Heydenryk Jr.[23]
Personal
On November 2, 1926, he married Polly “Maxine” Breese (1903-1997).[24][25] They had one daughter, Mary Atherton, born in 1932.
Atherton's often chose industrial landscapes, however found himself spending considerable time in Westport, Connecticut, with an active artistic community, and it became home for him, and his family. He then moved to Arlington, Vermont.[26]
Norman Rockwell enlisted Atherton in what was to be the only collaborative painting in his career.[27]
He was part of a group of artists including a Norman Rockwell, Mead Schaeffer and George Hughes who established residences in Arlington.[28] Atherton and Mead Schaeffer were avid fly fishermen and they carefully chose the location for the group,[29] conveniently located near the legendary Battenkill River.
In his free time, Atherton continued to enjoy fly-fishing.[30] He brought his artistic talent into the field of fishing,[31] when he wrote and illustrated the fishing classic, “The Fly and The Fish”.[32]
He died in New Brunswick, Canada in 1952,[33] at the age of 52 in a drowning accident while fly-fishing.[34]
Legacy
The Western Connecticut State University holds an extensive archive on this artist.[35]
His wife, Maxine also published a memoir “The Fly Fisher and the River” [36] She married Watson Wyckoff in 1960.
Ancestry
He is a direct descendant of James Atherton,[37][38] one of the First Settlers of New England; who arrived in Dorchester, Massachusetts in the 1630s.
His direct ancestor, Benjamin Atherton was from Colonial Massachusetts...
Category
1950s Abstract Expressionist Abstract Paintings
Materials
Mixed Media, Gouache, Board
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Signed and dated lower right;
inscribed, Dated and Signed on Verso
Provenance: Ashley John Gallery
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Storm Composition #3
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An early example of Abstract Expressionism executed in 1955 during the movement's heyday and it's period of peak inventiveness. However, this work is still rooted in representation. The dark area the runs along the base of the picture is the ground and to the left, right and center there are black structures that represent trees. The work is very tactile and is composed of globs of paint that grow out from the surface and form a thick impasto. Rich vibrant saturated blues, reds and oranges create optical drama. The work look better in person. frame: 29 x 39 1/2 inches , Provenance: Kennedy Galleries
The Currier Gallery of Art...
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Located in Miami, FL
Pioneering female abstract artist Elsie Driggs paints stylized abstract organic forms in a warm palette of orange browns and tope. She merges abstraction with some figuration. A structured face composed of lines and tone emerges from an orange background. It's 1939, and even though Driggs is not well known, she is preceding many of the marquee names of abstraction by a decade. Although under the radar, this is a major work and is titled on the back stretcher is " Egyptian Gothic." It features the artist's inventiveness with her fine pencil lines incorporated in flat washes of color and collage elements. Signed lower right and inscribed on frame verso with title, artist and the date of 1939. Provenance, Christie's, Freemans. Framed under glass..
Elsie Driggs (1898 – July 12, 1992 in New York City) was an American painter known for her contributions to Precisionism, America's one indigenous modern-art movement before Abstract Expressionism, and for her later floral and figurative watercolors, pastels, and oils. She was the only female participant in the Precisionist movement, which in the 1920s and 1930s took a Cubist-inspired approach to painting the skyscrapers and factories that had come to define the new American landscape. Her works are in the collection of the Whitney Museum of American Art, the Houston Museum of the Fine Arts, the Fine Arts Museums of San Francisco, the James A. Michener Art Museum in Pennsylvania, and the Columbus Museum of Art, among others. She was married to the American abstract artist Lee Gatch.
Career
Born in Hartford, Connecticut, Driggs grew up in New Rochelle, a suburb of New York City, in a family that was supportive of her artistic interests. After a summer spent painting with her sister in New Mexico in her late teens, she felt she had found her life's calling. At twenty, she enrolled in classes at the Art Students League of New York, where she studied under George Luks and Maurice Sterne, both of whom were charismatic, inspirational figures in her early life. She also attended the evening criticism classes held at the home of painter John Sloan. Driggs spent fourteen months in Europe from late 1922 to early 1924, drawing and studying Italian art. There she met Leo Stein, first in Paris and later in Florence, who became an important intellectual influence, and who urged her to study Cézanne. He also introduced her to the works of Piero della Francesca, the Renaissance artist for whom she felt throughout her life the greatest admiration.[1]
Driggs eventually settled in New York City, where she found representation with the progressive Charles Daniel Gallery.[2] (Advised that the old-fashioned and misogynistic Daniel would be unlikely to take on a woman artist, she signed the works she left for his consideration simply "Driggs" and waited to meet him in person until he had expressed his eagerness to include her in his gallery.)[3] In sympathy with those artists Daniel represented who were part of the burgeoning Precisionist movement, such as Charles Demuth, Charles Sheeler, George Ault, Niles Spencer, and Preston Dickinson, she too painted "the modern landscape of factories, bridges, and skyscrapers with geometric precision and almost abstract spareness."Impressionism and academic or Ashcan realism represented the past, in Driggs' view, and she intended to be resolutely modern. She was an attractive and engaging woman, but her demeanor belied a strong ambition and a clear sense of what it would take to make her mark in the New York art world. Driggs was part of the pre-eminent first group of Precisionist painters, including Demuth and Sheeler, who exhibited at the Daniel Gallery in the 1920s. Although a later group of Precisionist painters, including Louis Lozowick, Ralston Crawford and others, came on the American Art scene during the 1930s, Driggs felt that the style came to an end with the 1929 stock market crash.[5]
In 1926 she painted her most famous work, Pittsburgh, a dark and brooding picture now in the permanent collection of the Whitney Museum of American Art, which depicts the gargantuan smokestacks of the Jones & Laughlin steel mills in Pittsburgh. Its focus is an overpowering mass of black and gray smokestacks, thick piping, and crisscrossing wires with only clouds of smoke to relieve the severity of the image, yet it was an image in which she found an ironic beauty. She called the picture "my El Greco" and expressed surprise that viewers in later years interpreted the painting as a work of social criticism. Like the other Precisionists (e.g., Demuth, Charles Sheeler, Louis Lozowick, Stefan Hirsch), she was concerned with applying modernist techniques to renderings of the new industrial and urban landscape, not in commenting on potential dangers the overly mechanized modern world of 1920s America might present. If anything, Precisionism, like Futurism, was a celebration of man-made energy and technology. One year later, she painted Blast Furnaces, in a similar vein. As noted above, Piero della Francesca's mural depicting "The Story of the True Cross" in Arezzo, with its tubular, static and frozen forms was the major influence on Driggs' "Pittsburgh" (it may have been the major influence for "Blast Furnaces" as well).[7]
After Pittsburgh, Driggs' most acclaimed work was probably Queensborough Bridge...
Category
1930s Mixed Media
Materials
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