Lincoln Glenn Drawings and Watercolor Paintings

Emily Sargent Capri, circa 1900 Watercolor on paper 18 1/2 x 12 1/2 inches Provenance The artist Family of the artist by descent Adelson Galleries Inc., New York Collection of John ...

Emily Sargent Moroccan Market, circa 1900 Watercolor on paper 9 1/2 x 13 1/2 inches Provenance The artist Family of the artist by descent Adelson Galleries Inc., New York Collection...

Alexander Calder Preliminary drawing for the Spinner, 1966 Signed lower right Felt tip pen on paper Overall 27 x 15 1/2 inches Individual sheets 8 x 10 1/2 inches Alexander Calder ...

Chiura Obata Dahlias, 1940 Signed, dated and stamped lower right Watercolor on paper 15 x 9 5/8 inches Born in the Okayama prefecture of Japan, Chiura Obata was adopted by his uncle, an artist. As a child he was trained in ink painting, and at 14 he was apprenticed to the painter Murata Tanryo in Tokyo. He also studied with Kogyo Terasaki and Goho Hasimoto. In 1903, Obata moved to San Francisco and began working as an illustrator for The New World and The Japanese American, two of the city's Japanese newspapers. He also did work as a commercial designer. Obata helped establish the East West Art Society in San Francisco in 1921, which sought to promote cross-cultural understanding through art. This goal was reflected in his embrace of the Nihonga style, which fused traditional Japanese sumi-e ink painting with the conventions of western naturalism. He spent much of the 1920s painting landscapes throughout California, and among his favorite subjects were mountain landscapes. In 1927, he visited Yosemite and the Sierra Nevada, creating over a hundred paintings and sketches of the high country. Obata stayed in the USA until the death of his father in 1928. Between 1928 and 1932, he worked in Tokyo as a painter and transformed his California landscape watercolors...

Chiura Obata Nasturtiums, circa 1940 Signed and stamped lower left Watercolor on paper 15 x 9 5/8 inches Born in the Okayama prefecture of Japan, Chiura Obata was adopted by his uncle, an artist. As a child he was trained in ink painting, and at 14 he was apprenticed to the painter Murata Tanryo in Tokyo. He also studied with Kogyo Terasaki and Goho Hasimoto. In 1903, Obata moved to San Francisco and began working as an illustrator for The New World and The Japanese American, two of the city's Japanese newspapers. He also did work as a commercial designer. Obata helped establish the East West Art Society in San Francisco in 1921, which sought to promote cross-cultural understanding through art. This goal was reflected in his embrace of the Nihonga style, which fused traditional Japanese sumi-e ink painting with the conventions of western naturalism. He spent much of the 1920s painting landscapes throughout California, and among his favorite subjects were mountain landscapes. In 1927, he visited Yosemite and the Sierra Nevada, creating over a hundred paintings and sketches of the high country. Obata stayed in the USA until the death of his father in 1928. Between 1928 and 1932, he worked in Tokyo as a painter and transformed his California landscape watercolors...

Theresa Bernstein The Gathering, circa 1990 Signed lower right Mixed media on paper 9 x 10 3/4 inches Theresa F. Bernstein was born in Philadelphia in 1895 to cultured, middle-clas...

Diana Kurz Untitled, circa 1961 Pastel on paper 25 1/2 x 20 1/2 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first...

Diana Kurz Still Life, 1966 Signed and dated lower right Pastel on paper 19 3/4 x 25 1/2 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's f...

Diana Kurz Green Square #19 Gouache on paper 25 x 19 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to England...

Diana Kurz Green Square #14 Gouache on paper 11 x 14 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to England...

Diana Kurz Light White Pastel on Paper 14 x 11 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to England and t...

Diana Kurz Casper Gouache on paper 11 x 17 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to England and then ...

Diana Kurz Pink Green Study Pastel on paper 20 x 15 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to England ...

Diana Kurz June Watercolor and pastels on board 17 x 23 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to Engl...

Diana Kurz Study for TH Pastel and gouache on paper 21 1/2 x 20 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first...

Diana Kurz Green Square #12 Gouache on paper 19 x 14 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to England...

Betty Parsons Untitled, 1977 Signed and dated lower right Gouache on paper 5 1/2 x 3 3/4 inches Renowned as an esteemed and legendary art dealer who for more than three decades was...

Betty Parsons Untitled, 1977 Signed and dated lower right Watercolor and ink on paper 5 1/2 x 3 1/4 inches Renowned as an esteemed and legendary art dealer who for more than three ...

Vivian Springford Untitled (Rice Paper Mounting), 1963-65 Signed lower left Ink, watercolor and acrylic on rice paper laid to canvas 27 1/4 x 53 3/8 inches A contributor to Abstrac...

Joseph Stella Tropical Flower with Azalea, circa 1919 Signed lower right Silverpoint and crayon on paper Image 10 3/4 x 8 1/4 inches Sheet 11 x 12 1/4 inches Stella was born June 1...

Joseph Stella Flowers Signed lower center Crayon and pencil on paper 13 1/4 x 10 1/4 inches Stella was born June 13, 1877 at Muro Lucano, Italy, a mountain village not far from Nap...

Burton Silverman Untitled Portrait, 1980 Signed and dated lower right Watercolor on paper 14 x 10 1/2 inches Burton Silverman been painting and exhibiting as a fine artist for over...

Hans Hofmann Untitled, circa 1943 Signed lower right Oil and watercolor on paper 22 1/4 x 30 3/4 inches The only artist of the New York school to participate directly in European m...

Nell Blaine Tree at the Edge of the Field, Springs, 1967 Signed and dated lower left Watercolor on paper 14 1/2 x 20 inches Nell Blaine was born in Richmond, Virginia in 1922. She ...

Allan Rohan Crite Animal Illustrations Signed lower left Pen and ink on paper 23 1/2 x 16 inches Brought up in Boston, Crite received his art training al the School of the Museum of Fine Arts and earned a Bachelor of Arts degree at the Harvard University Extension School in 1968. He worked for most of his life as an illustrator in the Planning Department of the Boston Naval Shipyards, retiring in 1976, but continued to paint at the same time. His work has been widely exhibited and well received in Boston, where a square is named after him. Crite's early paintings depict the daily life of Boston's African-American community, a community that was to be transformed in the following decade by urban renewal and housing projects. In his later paintings, magic-realist visions in which a black Virgin and Child ride on public transportation or float above the city streets, Crite used a bright palette rather than the more somber tones of his "neighborhood paintings...

Robert Henri Self Portrait / Sketch on verso Estate stamped lower right Ink on paper, graphite on paper 12 1/2 x 8 inches Born Robert Henry Cozad in Cincinnati, Ohio, Robert Henri became one of the leading personalities in American art, known for his teaching skills, ethnic portraits, especially spirited children, and insistence that artists should adhere to social realism and give rein to their own artistic instincts. During his growing up years, he lived between Cincinnati and Cozad, Nebraska, founded by his father John Jackson Cozad, a gambler and real estate promoter. When Robert was about 10 years old, his family moved to Cozad in Dawson County. Tension existed between John Cozad and the established ranchers who resented development, and a rancher attacked Cozad, who in self defense shot the man to death. Fearing for his life, he, his wife and two sons sneaked out of town and re convened in Atlantic City where they disguised their identity by taking other names. The father was later cleared of the charge, but he changed his name to Richard H. Lee, and passed his two sons off as adopted children named Frank Southern and Robert Henri. Robert chose a variation of his middle name to rhyme with "buckeye" to symbolize his Ohio roots. From Atlantic City, as a young man, he attended boarding school in New York City. He, having shown early art talent, studied at the Pennsylvania Academy of Fine Arts as a student of Thomas Anschutz and Thomas Hovenden...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

Leon Dolice New York Harbor Nocturne, circa 1930-40 Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long inf...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

Leon Dolice Empire State Building Signed lower right Watercolor on paper 19 x 12 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon th...

Leon Dolice Central Park Signed lower left Watercolor on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the young ma...

Leon Dolice Chrysler Building Signed lower right Watercolor on paper 19 x 12 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the yo...

Sonia Gechtoff Portico I, 1979 Signed, dated, and inscribed Acrylic and pencil on paper 40 x 40 inches Sonia Gechtoff was born in Philadelphia to Ethel "Etya" and Leonid Gechtoff. ...

Henry Yuzuru Sugimoto Suburb of Gif-sur-Yvette, France, circa 1928-32 Signed lower left Watercolor on paper 11 x 14 inches Henry Sugimoto was born in Wakayama, Japan, on March 12, 1900. His father left for the United States shortly after he was born, and his mother joined him some years later, with the result that the young Henry was raised largely by his grandparents. Following the end of World War I, Henry Sugimoto arrived in the United States as a "yobiyose" (child brought over) and settled with his parents in Hanford, California. After attending Hanford High School, he enrolled at the University of California, Berkeley. He soon grew absorbed in art and his parents agreed to let him enroll at the California School of Arts and Crafts. After studying there for four years with a concentration in oil painting, he graduated with honors in 1928. He then moved to the California School for Fine Arts, but after a year there he decided to travel to France, the international artistic capital, for further study. Once arrived in Paris, Sugimoto became close to the circle of Japanese...

Juanita Guccione (1904 - 1999) Study for Ladders, 1948 Gouache on paper 17 x 13 inches Signed lower left, dated, and inscribed “Study for Oil Painting...

Reginald Marsh Tugboat at Dock, circa 1937 Signed lower right Watercolor and pencil on paper 13 3/4 x 20 inches Housed in a Lowy frame. Provenance: Sotheby'...

Gerome Kamrowski Pink Garden, 1947 Signed lower left Watercolor on paper 22 x 30 inches Gerome Kamrowski was born in Warren, Minnesota, on January 19, 1914. In 1932 he enrolled in ...

Martha Walter Families near Seville, Spain Signed lower left Watercolor on paper 7 x 8 inches Martha Walter was best known as a painter of colorful beach scenes and landscapes. Inf...

Martha Walter Mothers and Children, North Africa Signed lower right Watercolor on paper 6 1/2 x 7 1/2 inches Martha Walter was best known as a painter of colorful beach scenes and ...

Oscar Bluemner East Providence, December 21st, 1926 Inscribed with location and dated, upper left "East Providence Dec 21-26" Black crayon on paper 5 x 7 7/8 inches Julius Oskar Bl...

Hannelore Baron Untitled (C82-142), 1982 Signed and dated on the reverse Mixed media collage Sheet 12 1/4 x 10 1/2 inches Provenance: Manny Silverman ...

Richard Serra Ace LA Exhibition Poster Drawing, 1972 Ink on paper 8 1/2 x 11 inches Provenance: The artist Ace Gallery, Los Angeles Known for large-scale steel sculpture of geometric designs, Richard Serra has created site-specific pieces that make three-dimensional designs in space. He has also made wall reliefs and floor sculpture from flexible materials that suggest organic shapes. He is committed to the idea of utilizing quality materials and to the concept that process is as important as the final result. Serra was born in San Francisco and attended college at Berkeley and Santa Barbara, majoring in English Literature. He studied art at Yale University, earning a B.F.A. and an M.F.A. in 1964. There he worked with Josef Albers and came into contact with many leading artists of the New York School (Abstract Expressionists). He also had a job working in a steel plant, which had lasting influence on his career. On a Fulbright Scholarship, he studied in France and Italy. In 1977, he married Clara Wyergraf. In addition to steel as a medium for his sculptures, Serra has utilized rubber belts, neon tubes, molten lead, and large metal slabs. In 1968 he made his first Splash-piece, where molten lead was thrown against the point at which floor and wall meet. His 'Prop series" began around 1969 and involved placing large lead sheets against each other, several yards apart, or hung from ceilings. Many of his pieces are enormous three-dimensional configurations from steel beams and steel plates. His goal is to "create a 'field force . . . so that space is discerned physically rather than optically.' Based in New York City, Serra has traveled extensively to oversee his numerous site-specific sculptures including one for Videy Island near Reykjavik, Iceland. Consisting of nine pairs of basalt columns...

Charles Burchfield Drawing Study Graphite on paper 5 1/2 x 8 inches Charles Ephraim Burchfield (1893–1967) was an American painter, best known for his watercolor landscapes. Burchfi...

Mary Abbott Flowers, circa 1950 Signed lower left Pastel on paper 30 x 22 1/4 inches Provenance: Aaron Galleries, Glenview, Illinois Among the early exponents of Abstract Expressio...

Amy Londoner Beach at Atlantic City, circa 1922 Signed lower right Pastel on paper Sight 23 x 18 inches Amy Londoner (April 12, 1875 – 1951) was an American painter who exhibited at the 1913 Armory Show. One of the first students of the Henri School of Art in 1909. Prior to the Armory Show of 1913, Amy Londoner and her classmates studied with "Ashcan" painter Robert Henri at the Henri School of Art in New York, N.Y. One notable oil painting, 'The Vase', was painted by both Henri and Londoner. Londoner was born in Lexington, Missouri on April 12, 1875. Her parents were Moses and Rebecca Londoner, who moved to Leadville, Colorado, by 1880. In 1899, Amy took responsibility for her father who had come to Los Angeles from Leadville and had mental issues. By 1900, Amy was living with her parents and sister, Blanche, in the vicinity of Leadville, Denver, Colorado. While little was written about her early life, Denver City directories indicated that nineteenth-century members of the family were merchants, with family ties to New York, N.Y. The family had a male servant. Londoner traveled with her mother to England in 1907 then shortly later, both returned to New York in 1909. Londoner was 34 years old at the time, and, according to standards of the day, should have married and raised a family long before. Instead, she enrolled as one of the first students at the Henri School of Art in 1909. At the Henri School, Londoner established friendships with Carl Sprinchorn (1887-1971), a young Swedish immigrant, and Edith Reynolds (1883-1964), daughter of wealthy industrialist family from Wilkes-Barre, PA. Londoner's correspondence, which often included references to Blanche, listed the sisters' primary address as the Hotel Endicott at 81st Street and Columbus Avenue, NYC. Other correspondence also reached Londoner in the city via Mrs. Theodore Bernstein at 252 West 74th Street; 102 West 73rd Street; and the Independent School of Art at 1947 Broadway. In 1911, Londoner vacationed at the Hotel Trexler in Atlantic City, NJ. As indicated by an undated photograph, Londoner also spent time with Edith Reynolds and Robert Henri at 'The Pines', the Reynolds family estate in Bear Creek, PA. Through her connections with the Henri School, Londoner entered progressive social and professional circles. Henri's admonition, phrased in the vocabulary of his historical time period, that one must become a "man" first and an artist second, attracted both male and female students to classes where development of unique personal styles, tailored to convey individual insights and experiences, was prized above the mastery of standardized, technical skill. Far from being dilettantes, women students at the Henri School were daring individuals willing to challenge tradition. As noted by former student Helen Appleton Read, "it was a mark of defiance,to join the radical Henri group." As Henri offered educational alternatives for women artists, he initiated exhibition opportunities for them as well. Troubled by the exclusion of work by younger artists from annual exhibitions at the National Academy of Design, Henri was instrumental in organizing the no-jury, no-prize Exhibition of Independent Artists in 1910. About half of the 103 artists included in the exhibition were or had been Henri students, while twenty of the twenty-six women exhibiting had studied with Henri. Among the exhibition's 631 pieces, nine were by Amy Londoner, including the notorious 'Lady with a Headache'. Similarly, fourteen of Henri's women students exhibited in the groundbreaking Armory Show of 1913, forming about eight percent of the American exhibitors and one-third of American women exhibitors. Of the nine documented works submitted by Londoner, five were rejected, while four pastels of Atlantic City beach scenes, including 'The Beach Umbrellas' now in the Remington Collection, were displayed. Following Henri's example, Londoner served as an art instructor for younger students at the Modern School, whose only requirement was to genuinely draw what they pleased. The work of dancer Isadora Duncan, another artist devoted to the ideals of a liberal education, was also lauded by the Modern School. Henri, who long admired Duncan and invited members of her troupe to model for his classes, wrote an appreciation of her for the Modern School journal in 1915. She was also the subject of Londoner's pastel Isadora Duncan and the Children: Praise Ye the Lord with Dance. In 1914, Londoner traveled to France to spend summer abroad, living at 99 rue Notre Dames des Champs, Paris, France. As the tenets of European modernism spread throughout the United States, Londoner showed regularly at venues which a new generation of artists considered increasingly passe, including the annual Society of Independent Artists' exhibitions between 1918 and 1934, and the Salons of America exhibition in 1922. Londoner also exhibited at the Morton Gallery, Opportunity Gallery, Leonard Clayton Gallery and Brownell-Lambertson Galleries in NYC. Her painting of a 'Blond Girl' was one of two works included in the College Art Associations Traveling Exhibition of 1929, which toured colleges across the country to broad acclaim. Londoner later in life suffered from illnesses then suffered a stroke which resulted in medical bills significantly mounting over the years that her old friends from the Henri School, including Carl Sprinchorn, Florence Dreyfous, Florence Barley, and Josephine Nivison Hopper, scrambled to raise funds and find suitable long-term care facilities for Londoner. Londoner later joined Reynolds in Bear Creek, PA. Always known for her keen wit, Londoner retained her humor and concern for her works even during her illness, noting that "if anything happens to the Endicott, I guess they will just throw them out." Sprinchorn and Reynolds, however, did not allow this to happen. In 1960, Londoner's paintings 'Amsterdam Avenue at 74th Street' and 'The Builders' were loaned by Reynolds to a show commemorating the Fiftieth Anniversary of the Exhibition of Independent Artists in 1910, presented at the Delaware Art Center, Wilmington, DE. In the late 80's, Francis William Remington, 'Bill Remington', of Bear Creek Village PA, along with his neighbor and artist Frances Anstett Brennan, both had profound admiration for Amy Londoner's art work and accomplishments as a woman who played a significant role in the Ashcan movement. Remington acquired a significant number of Londoner's artwork along with Frances Anstett Brenan that later was part of an exhibition of Londoner's artwork in April 15 of 2007, at the Hope Horn...

Amy Londoner Beach at Atlantic City, circa 1922 Signed lower right Pastel on paper Sight 23 x 18 inches Amy Londoner (April 12, 1875 – 1951) was an American painter who exhibited at the 1913 Armory Show. One of the first students of the Henri School of Art in 1909. Prior to the Armory Show of 1913, Amy Londoner and her classmates studied with "Ashcan" painter Robert Henri at the Henri School of Art in New York, N.Y. One notable oil painting, 'The Vase', was painted by both Henri and Londoner. Londoner was born in Lexington, Missouri on April 12, 1875. Her parents were Moses and Rebecca Londoner, who moved to Leadville, Colorado, by 1880. In 1899, Amy took responsibility for her father who had come to Los Angeles from Leadville and had mental issues. By 1900, Amy was living with her parents and sister, Blanche, in the vicinity of Leadville, Denver, Colorado. While little was written about her early life, Denver City directories indicated that nineteenth-century members of the family were merchants, with family ties to New York, N.Y. The family had a male servant. Londoner traveled with her mother to England in 1907 then shortly later, both returned to New York in 1909. Londoner was 34 years old at the time, and, according to standards of the day, should have married and raised a family long before. Instead, she enrolled as one of the first students at the Henri School of Art in 1909. At the Henri School, Londoner established friendships with Carl Sprinchorn (1887-1971), a young Swedish immigrant, and Edith Reynolds (1883-1964), daughter of wealthy industrialist family from Wilkes-Barre, PA. Londoner's correspondence, which often included references to Blanche, listed the sisters' primary address as the Hotel Endicott at 81st Street and Columbus Avenue, NYC. Other correspondence also reached Londoner in the city via Mrs. Theodore Bernstein at 252 West 74th Street; 102 West 73rd Street; and the Independent School of Art at 1947 Broadway. In 1911, Londoner vacationed at the Hotel Trexler in Atlantic City, NJ. As indicated by an undated photograph, Londoner also spent time with Edith Reynolds and Robert Henri at 'The Pines', the Reynolds family estate in Bear Creek, PA. Through her connections with the Henri School, Londoner entered progressive social and professional circles. Henri's admonition, phrased in the vocabulary of his historical time period, that one must become a "man" first and an artist second, attracted both male and female students to classes where development of unique personal styles, tailored to convey individual insights and experiences, was prized above the mastery of standardized, technical skill. Far from being dilettantes, women students at the Henri School were daring individuals willing to challenge tradition. As noted by former student Helen Appleton Read, "it was a mark of defiance,to join the radical Henri group." As Henri offered educational alternatives for women artists, he initiated exhibition opportunities for them as well. Troubled by the exclusion of work by younger artists from annual exhibitions at the National Academy of Design, Henri was instrumental in organizing the no-jury, no-prize Exhibition of Independent Artists in 1910. About half of the 103 artists included in the exhibition were or had been Henri students, while twenty of the twenty-six women exhibiting had studied with Henri. Among the exhibition's 631 pieces, nine were by Amy Londoner, including the notorious 'Lady with a Headache'. Similarly, fourteen of Henri's women students exhibited in the groundbreaking Armory Show of 1913, forming about eight percent of the American exhibitors and one-third of American women exhibitors. Of the nine documented works submitted by Londoner, five were rejected, while four pastels of Atlantic City beach scenes, including 'The Beach Umbrellas' now in the Remington Collection, were displayed. Following Henri's example, Londoner served as an art instructor for younger students at the Modern School, whose only requirement was to genuinely draw what they pleased. The work of dancer Isadora Duncan, another artist devoted to the ideals of a liberal education, was also lauded by the Modern School. Henri, who long admired Duncan and invited members of her troupe to model for his classes, wrote an appreciation of her for the Modern School journal in 1915. She was also the subject of Londoner's pastel Isadora Duncan and the Children: Praise Ye the Lord with Dance. In 1914, Londoner traveled to France to spend summer abroad, living at 99 rue Notre Dames des Champs, Paris, France. As the tenets of European modernism spread throughout the United States, Londoner showed regularly at venues which a new generation of artists considered increasingly passe, including the annual Society of Independent Artists' exhibitions between 1918 and 1934, and the Salons of America exhibition in 1922. Londoner also exhibited at the Morton Gallery, Opportunity Gallery, Leonard Clayton Gallery and Brownell-Lambertson Galleries in NYC. Her painting of a 'Blond Girl' was one of two works included in the College Art Associations Traveling Exhibition of 1929, which toured colleges across the country to broad acclaim. Londoner later in life suffered from illnesses then suffered a stroke which resulted in medical bills significantly mounting over the years that her old friends from the Henri School, including Carl Sprinchorn, Florence Dreyfous, Florence Barley, and Josephine Nivison Hopper, scrambled to raise funds and find suitable long-term care facilities for Londoner. Londoner later joined Reynolds in Bear Creek, PA. Always known for her keen wit, Londoner retained her humor and concern for her works even during her illness, noting that "if anything happens to the Endicott, I guess they will just throw them out." Sprinchorn and Reynolds, however, did not allow this to happen. In 1960, Londoner's paintings 'Amsterdam Avenue at 74th Street' and 'The Builders' were loaned by Reynolds to a show commemorating the Fiftieth Anniversary of the Exhibition of Independent Artists in 1910, presented at the Delaware Art Center, Wilmington, DE. In the late 80's, Francis William Remington, 'Bill Remington', of Bear Creek Village PA, along with his neighbor and artist Frances Anstett Brennan, both had profound admiration for Amy Londoner's art work and accomplishments as a woman who played a significant role in the Ashcan movement. Remington acquired a significant number of Londoner's artwork along with Frances Anstett Brenan that later was part of an exhibition of Londoner's artwork in April 15 of 2007, at the Hope Horn...

Amy Londoner Musical Conductor, 1922 Signed and dated lower right Pastel on paper Sight 18 x 23 inches Amy Londoner (April 12, 1875 – 1951) was an American painter who exhibited at the 1913 Armory Show. One of the first students of the Henri School of Art in 1909. Prior to the Armory Show of 1913, Amy Londoner and her classmates studied with "Ashcan" painter Robert Henri at the Henri School of Art in New York, N.Y. One notable oil painting, 'The Vase', was painted by both Henri and Londoner. Londoner was born in Lexington, Missouri on April 12, 1875. Her parents were Moses and Rebecca Londoner, who moved to Leadville, Colorado, by 1880. In 1899, Amy took responsibility for her father who had come to Los Angeles from Leadville and had mental issues. By 1900, Amy was living with her parents and sister, Blanche, in the vicinity of Leadville, Denver, Colorado. While little was written about her early life, Denver City directories indicated that nineteenth-century members of the family were merchants, with family ties to New York, N.Y. The family had a male servant. Londoner traveled with her mother to England in 1907 then shortly later, both returned to New York in 1909. Londoner was 34 years old at the time, and, according to standards of the day, should have married and raised a family long before. Instead, she enrolled as one of the first students at the Henri School of Art in 1909. At the Henri School, Londoner established friendships with Carl Sprinchorn (1887-1971), a young Swedish immigrant, and Edith Reynolds (1883-1964), daughter of wealthy industrialist family from Wilkes-Barre, PA. Londoner's correspondence, which often included references to Blanche, listed the sisters' primary address as the Hotel Endicott at 81st Street and Columbus Avenue, NYC. Other correspondence also reached Londoner in the city via Mrs. Theodore Bernstein at 252 West 74th Street; 102 West 73rd Street; and the Independent School of Art at 1947 Broadway. In 1911, Londoner vacationed at the Hotel Trexler in Atlantic City, NJ. As indicated by an undated photograph, Londoner also spent time with Edith Reynolds and Robert Henri at 'The Pines', the Reynolds family estate in Bear Creek, PA. Through her connections with the Henri School, Londoner entered progressive social and professional circles. Henri's admonition, phrased in the vocabulary of his historical time period, that one must become a "man" first and an artist second, attracted both male and female students to classes where development of unique personal styles, tailored to convey individual insights and experiences, was prized above the mastery of standardized, technical skill. Far from being dilettantes, women students at the Henri School were daring individuals willing to challenge tradition. As noted by former student Helen Appleton Read, "it was a mark of defiance,to join the radical Henri group." As Henri offered educational alternatives for women artists, he initiated exhibition opportunities for them as well. Troubled by the exclusion of work by younger artists from annual exhibitions at the National Academy of Design, Henri was instrumental in organizing the no-jury, no-prize Exhibition of Independent Artists in 1910. About half of the 103 artists included in the exhibition were or had been Henri students, while twenty of the twenty-six women exhibiting had studied with Henri. Among the exhibition's 631 pieces, nine were by Amy Londoner, including the notorious 'Lady with a Headache'. Similarly, fourteen of Henri's women students exhibited in the groundbreaking Armory Show of 1913, forming about eight percent of the American exhibitors and one-third of American women exhibitors. Of the nine documented works submitted by Londoner, five were rejected, while four pastels of Atlantic City beach scenes, including 'The Beach Umbrellas' now in the Remington Collection, were displayed. Following Henri's example, Londoner served as an art instructor for younger students at the Modern School, whose only requirement was to genuinely draw what they pleased. The work of dancer Isadora Duncan, another artist devoted to the ideals of a liberal education, was also lauded by the Modern School. Henri, who long admired Duncan and invited members of her troupe to model for his classes, wrote an appreciation of her for the Modern School journal in 1915. She was also the subject of Londoner's pastel Isadora Duncan and the Children: Praise Ye the Lord with Dance. In 1914, Londoner traveled to France to spend summer abroad, living at 99 rue Notre Dames des Champs, Paris, France. As the tenets of European modernism spread throughout the United States, Londoner showed regularly at venues which a new generation of artists considered increasingly passe, including the annual Society of Independent Artists' exhibitions between 1918 and 1934, and the Salons of America exhibition in 1922. Londoner also exhibited at the Morton Gallery, Opportunity Gallery, Leonard Clayton Gallery and Brownell-Lambertson Galleries in NYC. Her painting of a 'Blond Girl' was one of two works included in the College Art Associations Traveling Exhibition of 1929, which toured colleges across the country to broad acclaim. Londoner later in life suffered from illnesses then suffered a stroke which resulted in medical bills significantly mounting over the years that her old friends from the Henri School, including Carl Sprinchorn, Florence Dreyfous, Florence Barley, and Josephine Nivison Hopper, scrambled to raise funds and find suitable long-term care facilities for Londoner. Londoner later joined Reynolds in Bear Creek, PA. Always known for her keen wit, Londoner retained her humor and concern for her works even during her illness, noting that "if anything happens to the Endicott, I guess they will just throw them out." Sprinchorn and Reynolds, however, did not allow this to happen. In 1960, Londoner's paintings 'Amsterdam Avenue at 74th Street' and 'The Builders' were loaned by Reynolds to a show commemorating the Fiftieth Anniversary of the Exhibition of Independent Artists in 1910, presented at the Delaware Art Center, Wilmington, DE. In the late 80's, Francis William Remington, 'Bill Remington', of Bear Creek Village PA, along with his neighbor and artist Frances Anstett Brennan, both had profound admiration for Amy Londoner's art work and accomplishments as a woman who played a significant role in the Ashcan movement. Remington acquired a significant number of Londoner's artwork along with Frances Anstett Brenan that later was part of an exhibition of Londoner's artwork in April 15 of 2007, at the Hope Horn...

Eugene Higgins In Foreign Parts, circa 1913 Signed lower right Watercolor on paper Sight 17 x 13 inches Born William Victor Higgins in 1884 to a Shelbyville, Indiana farm family where the only art Victor was aware of as a child was his father's love of flowers. "He loved their forms and their colors, and he tended his garden as a painter might work a canvas." At the age of nine, Victor met a young artist who traveled the Indiana countryside painting advertisements on the sides of barns. He purchased paints and brushes so the young Higgins could practice his own artwork on the inside of his father's barn. He also taught Victor about art museums and especially about the new Chicago Art Institute. This information never left the young artist, and he saved his allowance until his father allowed him at the age of fifteen to attend Chicago Art Institute. He worked a variety of jobs to finance his studies both there and at the Academy of Fine Arts. Victor Higgins traveled to New York in 1908, where he met Robert Henri, who became a significant influence by depicting every-day scenes and stressing the importance of the spirit and sense of place as important factors in painting. Higgins was also greatly affected by the New York Armory Modernism Show of Marsden Hartley in 1913. While Victor Higgins was in Chicago he met former mayor and avid collector Carter H. Harrison who was to prove instrumental in the growth of Higgins career for several years. Harrison agreed to support Higgins for four years to go to Paris and Munich and paint and study in the great museums in Europe. While at the Academie de la Grande Chaumier in Paris (1910-1914) he met Walter Ufer, who was another Chicago artist being sponsored by Carter Harrison. This meeting was not only a life-long friendship, but the beginning of a great change in the way Higgins looked at "American" art. He decided that America needed it's own authentic style rather than the 19th Century classic style he was taught in Europe. Very soon after returning to Chicago in 1914, Harrison sent him and Walter Ufer on a painting trip to Taos, New Mexico for a year in exchange for paintings. Higgins made other similar agreements and was able to support himself with his painting. This trip was a life-changing experience and introduced Higgins to the authentic America he had been looking for. In 1914 Taos was an isolated village about twelve hours from Santa Fe on an impossible dirt road. But the colorful life of the pueblo people and the natural beauty drew a collection of artists who became the Taos art colony, from which the Taos Society of Artists was founded in 1915. Victor Higgins became a permanent resident within a year of his arrival and a member of the society in 1917, exhibiting with Jane Peterson in 1925 and with Wayman Adams and Janet Scudder in 1927. The members would travel around the country introducing the Southwest scenes with great success. He remained a member until the Society's dissolution in 1927. Higgins was the youngest member of the group of seven. Other members were Joseph Henry Sharp, Bert Phillips...

James Abbott McNeill Whistler Beach Scene at Dieppe, 1885-86 Watercolor on paper, mounted on board 8 1/2 x 5 inches Signed on the reverse Provenance: Miss Annie Burr Jennings Mrs. ...

Bob Thompson Untitled, 1964 Felt tip pen on printed paper 11 x 20 1/2 inches Provenance: The artist Kathy Komaroff Goodman (gift from the artist) Hollis Taggart, New York Exhibited...

Oscar Bluemner Sheepshead, Long Island, 1907 Signed with the artist's conjoined initials "OB" and dated "4-30 - 5 - 30" / "Aug 3, 07" Watercolor on paper 6 x 10 inches Provenance: J...

Jane Freilicher Untitled I, 1958-59 Signed lower right Charcoal on paper 11 1/2 x 8 3/4 inches Provenance: Tibor de Nagy Gallery, New York Private Collection, New York Jane Freilic...

Winold Reiss The Red Silo Signed lower left Watercolor on paper 20 x 29 inches Winold Reiss (1886-1953) was an artist and designer who emigrated to the United States from Germany in 1913. Probably best known as a portraitist, Reiss was a pioneer of modernism and well known for his brilliant work in graphic and interior design. A compassionate man who greatly respected all people as human beings, he believed that his art could help break down racial prejudices. Like his father Fritz Reiss (1857-1915), who was also an artist and who was his son's first teacher, Winold Reiss was artistically moved by diverse cultures. The elder Reiss focused on folk life in Germany while Winold drew substantial inspiration from a range of cultures, particularly Native American, Mexican, and African-American. As did many young aspiring artists, Winold Reiss studied with the esteemed painter and teacher Franz von Stuck at the Royal Academy of Fine Arts in Munich, which was at that time a center of the decorative and fine-arts movement. It is not known whether Reiss met E. Martin Hennings...

Thiago Rocha Pitta Untitled, 2006 Watercolor on paper 30 x 23 inches Brazil-based artist Thiago Rocha Pitta’s (b. 1980) temporal and sensitive body of work depicts interventions wit...

Thiago Rocha Pitta Untitled, 2006 Watercolor on paper 30 x 23 inches Brazil-based artist Thiago Rocha Pitta’s (b. 1980) temporal and sensitive body of work depicts interventions wit...

Louis Valtat Young Girl Stamped with initials lower right Pencil on brown paper Sight 7 x 6 inches Provenance: Mrs. Ernest M. Werner, New York Private Collection, Rhode Island Loui...