PAINTINGS / WORKS ON PAPER:

This early, painterly work by Jack Youngerman was done while he was living at Coenties Slip in lower New York City. He had just moved from Paris to New York on the urging of gallerist, Betty Parsons, who gave him his first NYC gallery show in 1958. The back of the painting is inscribed in black oil paint, "To G * D from J * D XMAS 1958." The painting was a Christmas gift from Jack and his wife, the actresss, Delphine Seyrig to his friends Gerry and Dolores Matthews, who lived in the same building at 27 Coenties Slip.

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In 1946 Forrest Bess found himself as a painter. Although Bess had produced works in the 1930’s, it was not until 1946 that Bess, at the urging of his psychiatrist had he began to record the colorful visions that were troubling him. The visions were likely brought on from the trauma he suffered from being beaten by a fellow Army mate as a consequence of his homosexuality. In this year, Bess produced a wide range of work; representational, abstract and symbolic paintings. About this period, Bess expressed to his dealer, Betty Parsons, “Only by painting the goddamned thing out have all my symptoms of anxiety disappeared.” It was these works that got him through his PTSD and on his way to the visionary painter he would become.

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An untitled early work from Minnie Evans. The symmetrical "mirrored" work is composed of abstracted birds, insects and florals—eyes are abundant!

Minnie Evans was a visionary African American artist known for her enchanting and spiritually charged works of art. Born in 1892 in Long Creek, North Carolina, Evans' artistic journey was deeply intertwined with her religious faith. She began creating art as a means of expressing her visions and communing with a higher power. Evans worked as a gatekeeper and later a domestic servant at Airlie Gardens in Wilmington, North Carolina, where her artistic talents were discovered and encouraged by the garden's owner, Mrs. Pembroke Jones.

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Nellie Mae Rowe was an African American self-taught artist who left an indelible mark on the world of folk and outsider art. Born in 1900 in Fayette County, Georgia, Rowe's life was marked by hardship and adversity. Despite limited formal education and financial resources, she embarked on a creative journey that would ultimately make her a celebrated figure in the art world. Rowe's art was a vibrant reflection of her unique perspective on life, drawing inspiration from her Southern roots, her vivid dreams, and her deep spirituality.

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Though very little is known about the artist—the work is a resounding success. It's sublime and enigmatic. Cadmium yellow is evenly applied with a palette knife to form the ground that frames the subject which is a concentic cluster of rings encircling a white shell (not yolk, as it's in reverse). The dappled impasto application of the paint here contrasts with the evenly applied groundwork.

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A beautiful, small early work by French artist Jean Lurçat. Before Jean Lurçat was known as the artist that reinvented the art of the French tapestry he was a successful painter. Lurçat abandoned oil painting in 1933. This work was shown at the highly influential Valentine Gallery in 1930 at a solo exhibition for the artist.

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An important and historically unique portratit of Benjamin Franklin done by means of an experimental electrical process.

With Franklin putting lightning in a bottle, electricity was one the most experimented forms of science in the Age of Enlightenment. Already revered as a Scientist worldwide, Franklin served as a diplomat to France following the American Revolution where he was known as “The Great American.”

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From his 1970 NYT obituary, “Mr. Vasilieff, born in Moscow, called himself a member of the left‐wing, post‐expressionist school of painting, and he often denounced the current preoccupation with total abstraction.

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Charmette Young has been working at the non-profit Vault Studios in Pittsburgh, PA since 2018. Her radiant embroideries are complex, improvisations thgat reflect Young's spirit.

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A collection of four works by Lee Cordova Spooner. Spooner was a visionary inventor of self-propulsion and self-defense. Two of these works are from Blue Mound, Illinois and two from St. Charles, Missouri (one on the back of a St. Charles hotel stationary).

From the WLD Foundation’s website: Little is known about the life of this highly original artist. L.C. Spooner's work, created between 1911 and 1935, is comprised entirely of plans of machines or everyday-life objects based on the principle of self-propulsion (self-propelled motors, self-propelled trash cans, self-propelled scales, self-propelled finger-lifter, etc.).

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Beautifully painted and detailed dog portrait in its original gilt metal pendant case.

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A favorite Branchard landscape with divided fields over Putnam Valley, NY. Has a bit of a Grant Wood feel to it. Branchard's work is currently included in the traveling museum exhibit, Gatecrashers: The Rise of the Self-Taught Artist in America.

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Exceptional Folk Art portrait of a pug wearing an orange bow-tied harness on flowered carpet in front of a red velvet curtain. One of the very best folk art dog paintings I have seen.

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Striking in its modern composition and brilliant color, this large pastel drawing by Henry Dousa depicts a herd of cattle shown at World's Columbian Exposition in 1893.

Henry Dousa is known for his iconic Folk Art painting, “The Farm of Henry Windle,” where he illustrates an out-of-scale giant steer. In this masterwork, Dousa arranges five cattle like pips on a die. A single sire, named, “Gay Harry,” is surrounded by four heifers, “Kitty Walls,” “Kitty Mayo,” “Cherry May,” and “Model.” Gay Harry won second place at the Grand Sweepstakes.

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This remarkable watercolor from 1822 is one of the earliest American asylum works extant and likely the earliest in private hands. Further, it is attributed to Richard Nisbett (1753-1823), a published author and poet of note, and a patient at Philadelphia Hospital's asylum ward.

The painting is inscribed on the lower left, "1822. Painted by a maniac confined in the cells of the Alms House—the design his own." It is initialed "J.P.H" for John Pennington Hopkinson (1801-1836). Dr. John P. Hopkinson was a Philadelphia physician, author, and professor and was the son of Congressman Joseph Hopkinson, and Francis Hopkinson's grandchild, signer of the Declaration of Independence.

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A pair of compelling polaroid photo collages, each dated 1988 and each featuring the same woman (Eva). The larger is entitled, "Eva with Portrait" and is composed of twenty separate polaroids to create the whole image. If you look to the bottom left, she is in the image being assembled on the floor. The smaller is a portrait of Eva and composed on twelve separate images.

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A sensitively painted small work with a very specific light quality to the early night sky.

Room 521 in the expanded and rehung Museum of Modern Art is dedicated to past director, Alfred H. Barr, Jr., and his groundbreaking exhibit of 1938, "Masters of Popular Painting." The show focused on self-taught and artists removed from the mainstream market or as they were called then, "folk artists, or naives," today we may term them as "outsiders." Emile Branchard was one of the artists represented in that seminal exhibit.

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This extraordinary and ambitious painting is by an unidentified painter named, "Rodriguez" (signed lower right).

The hedonistic painting illustrates several nude women embracing a capital vice (lust, vanity, greed, wrath, sloth, and envy) while a gluttonous man drinks wine and gorges on watermelon bananas.

The cavernous landscape hints at death with grottos that mimic the shape of human skulls with dark, vacant eye sockets.

While not all the vignettes are precise, which sin they portray, some like the woman transforming into a Jaguar in front of a bifurcated snake is quite remarkable—as is the woman straddled on a large flying dragon.

The whole has the feeling of Gustave Dore illustrations for Dante’s Inferno and The Divine Comedy.

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Though created for scientific purposes, this image of a male inner torso is strikingly beautiful with its deep blue tonal range and confrontational subject.

In a recently published essay by Lita Tirak, Tirak reveals that the innovative radiographs were created by a General Electric technologist named Harold Mahoney. Mahoney was a formally trained artist by way of the Art Institute of Chicago and the Arts Students League of New York and became a radiologist during WWI.

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A collection of over one hundred variations of the cross painted by Clara Bella Dunham (1901-1967). Though the cross is now primarily associated with Christianity, it is an ancient symbol used by past cultures throughout time and the world over. 84 shown here - there are about 125 total. Displayed together they make a powerful installation.

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A rare John Kane double-sided pencil sketch. Kane is regarded as one of the masters of self-taught American artists.

On the above or recto, note how Kane makes room for the hands to complete the sketch—he ran out of room while drawing the figure's arms, so he placed them to the lower left. Above the hands, Kane lists 18th-19thC English painters that he must have been studying.

The verso illustrates a young boy in a Highlander outfit (Kane would use this figure in a few finished paintings). The writing on this side lists the colors of the rainbow (Roy G. Biv).

Provenance: Galerie St. Etienne

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Painted on a window shade mounted on early plywood with original artist painted frame. A Virginia Housescape with couple on Bench looking at a dog barking up a tree. Wonderfully flat and folky.

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Super graphic early watercolor on paper of a German Folk Art family tree. Have not done the research into the family - some of the names observed are Hoffman; Steiner; Pabst; and Haberman.

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Unusual tole painting on a tin substrate (maybe a tray). The bear is strikingly (and maybe a bit unsettling) anthropomorphic.

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This is a remarkable illustration by an as of yet unidentified artist. The adeptly rendered nude figure and intricate design are masterfully worked and executed. It appears that the male figure to the center-left is a self-portrait and the large woman in the center and little vignettes are the same woman. A key is illustrated to the bottom center-left.

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This large Tichý monotype adds an element of art history beyond Tichý's persistant subject of the female. The apple adds a Biblical element and possibly represents Eve as a temptress.

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This small monotype is one of my favorites, as it exemplifies Tichý's improvisational process as it is clear he used a shard of broken plastic or glass as the etching ground—the image is hazy and has a dark vignette much like his photographs.

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In 2005 Stephen Brown had a stroke and a pulmonary embolism. In 2006, while driving home past an orchard, he noticed a pear tree in the exact shape of his stroke on the x-ray he had brought home. He instantly knew that the pear tree's pruning and regrowth duplicated the shape in his brain. Thus began his small series of paintings and pastels of this pear tree—a catharsis of healing. Writing in the 2012 "Legacy" catalog, colleague and dear friend Walter Hall wrote "These paintings are about rising above the daunting forces that threaten or obstruct one's way; both defiant and life-affirming, the vitality of the new branches, shooting up from the gnarled, suffering trunks, presents a noble and exhilarating image of the irrepressibility of the will to live."

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The large memory painting calls to mind the work of George Morgan, who composed memory paintings from a bird's-eye's perspective. Intuitively we use this aerial device as a method of recall.

A massive wave of Latvian immigrants came to the United States after World War II. Having Suffered through Soviet and Nazi occupations, hundreds of thousands fled and spent years in European refugee camps before some of them immigrated to the United States in the early 1950s.

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This unsigned, but dated group of folk art drawings, completed over a few weeks in July and August 1936, capture the quaint insight into the world of an unknown artist.

The unknown, but proudly Texan artist illustrates a family gathering, the interior, and exterior of a small home, church, school, farm life and a couple in a field of bluebonnets. The renderings are drafted with a good sense of composition, perspective, and handling of the graphite.

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(ul) Hudson River Brick Factories; (ur) Meatpacking District; (ll) Manhattan Bridge; (lr) Westside Passenger Piers.

Kronengold was born in New Orleans and studied at New York’s Art Student League and the Pennsylvania Academy of Fine Arts. In the late 20’s and 30’s he was a leading cover illustrator for the New Yorker.

These four small, en plein air, paintings exhibit an assured handling of paint with broad strokes and blocks of color that readily define the space and light of scenes in and around New York City.

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A striking example of Clark's work with a female alien named "Desire" in the center panel. Unusually Clark uses loosened ink, similar to watercolor and a couple of the sections surrounding the figure. Titled on top, "MY NAME IS DESIRE FROM THE PLANET CALLED PLEASURE I AM HERE TO SERVE YOU WITH WHATEVER YOU WISH."

His street name was "The Magnificent Pretty Boy," because of his good looks and intense blue eyes. Armed with a sixth grade education, a life of drug dealing and hustling, Clark found himself in and out of the Texas penitentiary system until an assault landed him there on an extended stay.

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Byrne came into painting at 87 years of age and while living at a rest home like George E. Morgan. He got his inspiration from newspaper clippings and local real estate advertisements. Although known for his semi-abstract architectural works, Byrne loved to paint animals as well.

This work with its stark composition reminds one of Bill Traylor’s animal paintings.

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Early portrait of a good-looking, young African_american man holding a walking stick and wearing a fine black suit and a sharo blue bowtie.

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A unique work of a carved "photo" album with carved panels inset with oval paintings of various landscapes. Story is that this was made as a loven token from a husband to his his wife, as a memory of the various places that they had traveled.

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Iconic old growth oak tree on the Vineyard.

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Washington occasionally did wood block prints - they are the perfect compliment to his sculpture - the carved lines of the wood block echo his carving of stone.

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