APFA Summer Selections 2014

SUMMER SELECTIONS 2014aaron payne FINE ART

Santa Fe, New Mexico

SUMMER SELECTIONS 2014aaron payne FINE ART

Santa Fe, New Mexico

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This is the second year we’ve done an e-catalogue to start the summer season. It’s a great opportunity to share a selection of works that represent the broad range of art the gallery exhibits. I’m really pleased with the worksincluded. It’s also fascinating to publish these catalogues online (on ISSUU) and get comments from people fromacross the world that respond to the work. And who in turn send you catalogues on places I’ve never been or onsubjects I never knew about.

It has made me realize that the gallery and our efforts have created a community here and away that is connectedin ways I do not fully know. And that’s something exhilarating to think about. It’s one of the greatest benefits ofhaving a gallery.

Many of the works featured here have come from private collections where the owners bought them directlyfrom the artists. Many of these artists were building their careers and finding their voices then. Now they aremajor names and their connections to other artists and the canon of art history are clearly established.

And there have been other surprises, too.

In his statement for the seminal 1952 exhibition, 15 Americans, at the Museum of Modern Art, Edward Corbettwrote simply, “I intend my work as poetry.” A very simple thought for a complex man whose artworks are involved and layered…like the images and memories often conjured by words themselves. We should all have such intention in our labors. We are thrilled to have three artworks by Corbett which were included in 15 Americans and exhibited along with works by Jackson Pollock, Mark Rothko, William Baziotes, Clifford Still and others.

You will also notice that we have included some living, working Contemporary artists like David Hammons, John Outterbridge, Kerry James Marshall, Claes Oldenburg & Heather Hutchison. We continue to work withearly American Modernism, but also have enjoyed acquiring paintings by the Dynaton Group such as the Gordon Onslow Ford featured here. And by Postwar artists such as Emerson Woelffer.

All of these artworks tell a story and as we’ve broadened our perspective, the narrative becomes more and more engaging.

I’d like to dedicate this catalogue to one of my favorite writers who passed away recently, Gabriel García Márquez.Like all great artists, he lives forever through his work. No one has written more beautifully and honestly about the magic and pain of love. As he wrote in One Hundred Years of Solitude, “There is always something left to love.”

I hope you find something here you truly love.

Enjoy

Aaron Payne

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Raúl ANGUIANO

Ruth ASAWA

Gustave BAUMANN

Romare BEARDEN

Thomas BENRIMO

Dorothy BRETT

Edward CORBETT

Harold B. COUSINS

Stuart DAVIS

Beauford DELANEY

Werner DREWES

Morris GRAVES

David HAMMONS

Heather HUTCHISON

Raymond JONSON

Claude LAWRENCE

Norman LEWIS

John MARIN

Kerry James MARSHALL

Alfred Henry MAURER

Kenneth NOLAND

Claes OLDENBURG

Gordon ONSLOW FORD

John Wilfred OUTTERBRIDGE

Mimmo ROTELLA

Charles Green SHAW

Alma Woodsey THOMAS

Max WEBER

Cady WELLS

William Thomas WILLIAMS, JR.

Emerson S. WOELFFER

Artist Index

SUMMER SELECTIONS 2014aaron payne FINE ART

We have art in order not to die of the truth.

FRIEDRICH NIETZSCHE

GORDON ONSLOW FORD ( 1 9 1 2 - 2 0 0 3 )

Untitled, 1954

Casein on mulberry paper29.5 x 37.5 inches (74.9 x 95.3 cm)

dated lower left: 12.54

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RAYMOND JONSON( 1 8 9 1 - 1 9 8 2 )

Synthesis Three, 1935

Oil on canvas20 x 24 inches (50.8 x 61 cm)

signed and dated lower left: Jonson/ ‘35

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RAYMOND JONSON ( 1 8 9 1 - 1 9 8 2 )

Oil and Tempera No. 3 /Zig Zag Space, 1940

Oil and casein tempera on panel25 x 19 inches (63.5 x 73.7 cm)

signed and dated lower left: Jonson ‘40

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KENNETH NOLAND ( 1 9 2 4 - 2 0 1 0 )

Songs: Pennies from Heaven, 1984

Acrylic on canvas87.875 x 61.875 inches (223.2 x 157.2 cm)

signed, titled and dated verso: Songs, Pennies From Heaven,Kenneth Noland, 1984, 84.05

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CHARLES GREEN SHAW ( 1 8 9 2 - 1 9 74 )

Untitled (Portrait), 1941

Oil on board20 x 16 inches (50.8 x 40.6 cm)

signed and inscribed verso:Charles G Shaw, New York

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EDWARD CORBETT ( 1 9 1 9 - 1 9 7 1 )

Number 10, 1951

Chalk and casein on paper34.75 x 22.625 inches (88.3 x 57.5 cm)

signed and dated lower left: Corbett Taos 1951

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EDWARD CORBETT ( 1 9 1 9 - 1 9 7 1 )

Number 13, 1951

Chalk on paper22.875 x 18 inches (58.1 x 45.7 cm)

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EDWARD CORBETT ( 1 9 1 9 - 1 9 7 1 )

Number 9, 1951

Chalk on paper33 x 22.875 inches (83.8 x 58.1 cm)

signed and dated upper left: Corbett Taos 1951

Each of the Edward Corbett paintings featured in this catalogue were

included in the 1952 seminal exhibition, “15 Americans,” curated by Dorothy Miller.

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HAROLD B. COUSINS ( 1 9 1 6 - 1 9 9 2 )

Untitled, circa 1960

Steel (large sculpture)12 x 12 inches (30.5 x 30.5 cm)

signed with artist’s foundry stamp: H. Cousins

Bronze (small sculpture)3 x 3 inches (7.6 x 7.6 cm)

incised with signature: H. Cousins

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EMERSON S. WOELFFER ( 1 9 1 4 - 2 0 0 3 )

Bar Maria Internationale, 1959

Oil and collage on canvas31.75 x 27.5 inches (80.6 x 69.9 cm)

signed, dated, titled and inscribed verso: Forio Night

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EMERSON S. WOELFFER ( 1 9 1 4 - 2 0 0 3 )

Isola Nero, 1959

Oil on paper, laid down on masonite27 x 20.375 inches (68.6 x 51.8 cm)

signed and dated lower left: Woeffler ‘59; also signed verso: Woeffler 1959; also titled verso and inscribed verso: Forio d ’Ischia Napoli, Italia

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JOHN WILFRED OUTTERBRIDGE( b . 1 9 3 3 )

Sculpted Form, 1962

Mixed media on wood panel33.5 x 11.5 inches (85.1 x 29.2 cm)

signed lower right: J. Outterbridge

NORMAN LEWIS ( 1 9 0 9 - 1 9 7 9 )

Untitled Abstraction, April 4, 1960

Watercolor on paper20 x 26 inches (50.8 x 66 cm)

signed and dated lower right: Norman Lewis / 4-4-60

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If you could say it in words, there would be no reason to paint.

EDWARD HOPPER

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THOMAS BENRIMO ( 1 8 8 7 - 1 9 5 8 )

Untitled, circa 1950

Oil on masonite12 x 18 inches (30.5 x 45.7 cm)

signed lower right: Tom Benrimo

GUSTAVE BAUMANN( 1 8 8 1 - 1 9 7 1 )

Green Gate Orchard, 1923

Color woodcut on paper9.25 x 10.75 inches (23.5 x 27.3 cm)

Edition 28/100signed lower right: Gustave Baumann; in middle: 28;

also titled lower left: Green Gate Orchard

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GUSTAVE BAUMANN ( 1 8 8 1 - 1 9 7 1 )

Ranchos de Taos, 1930

Color woodcut on paper9.25 x 11 inches (23.5 x 27.9 cm)

Edition 47/125signed and numbered lower right: Gustave Baumann 47/125;

titled lower left: Ranchos de Taos

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DOROTHY BRETT ( 1 8 8 3 - 1 9 7 6 )

Jet and Moon, 1959

Oil, seashell and crystal on masonite36 x 12.5 inches (91.4 x 31.8 cm)

signed and dated lower right: D E Brett 1959

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CADY WELLS ( 1 9 0 4 - 1 9 5 4 )

Penitente Procession, 1939

Mixed media on paper21.875 x 29.625 inches (55.6 x 75.2 cm)

signed and dated lower left: Cady Wells ‘39

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STUART DAVIS ( 1 8 9 2 - 1 9 6 4 )

Bass Rocks #1, 1939

Gouache on paper8.75 x 12.25 inches (22.5 x 31.1 cm)

signed and dated lower center: Stuart Davis ‘39

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STUART DAVIS ( 1 8 9 2 - 1 9 6 4 )

Revolver, 1925

Ink on paper9.75 x 15 inches (24.8 x 38.1 cm)

signed and dated lower right: Stuart Davis 1925

Improvisation, to me, is the channeling of subconscious influences.Consciously, I’m satisfied when I have gone beyond the obvious; forexample, the visual and intellectual, to the sensual, which I believeis energy, lyricism and balance.

CLAUDE LAWRENCE

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CLAUDE LAWRENCEClaude Lawrence did not begin his career as a visual artist but as a musician. Between 1960-1980 he played thesaxophone in various shows around the country. It wasn’t until 1987 that Claude became a fulltime painter.

He is a self-taught artist, having learned everything he knows from experimentation and attending museums andgalleries. Asked about artists who influenced him he said he studied painters in books, from Picasso to Basquiat,and learned about painting by looking at art.

Claude lived and worked in Harlem from 1987-90. During those years he met artists Fred Brown, Lorenzo Pace, Jack Whitten and Joe Overstreet. He worked the artist circuits, going to gallery openings and networking.Through word-of-mouth and diligence, he landed many exhibition opportunities. He met Bob Blackburn at an opening in New York who recruited him to study printmaking at the Printmakers Workshop from 1992-93.

Claude left New York and moved to Stockbridge, Massachusetts from 1990-91. He moved to Los Angeles from1991-94, Sag Harbor from 1994-2005, then San Miguel, Cuernavaca and Mexico City from 2005-2010. He now resides in Chicago.

His visual style is confident, gestural, abstract, mysterious and bold. Areas of the paper have thick opaque paintwith watercolor-like washes. Some include charcoal drawings of faces and figures. What they all have in common are modernistic forms, lyrical brushwork, strong colors, energy and confidence. He says his paintings “are based on harmony and come straight from the self conscious.”

Lawrence’s work is in the permanent collection of the Parrish Art Museum, Southampton, the California African-American Museum, Los Angeles, and as this catalogue is published, several artworks are before the acquisitioncommittee of a major New York City museum.

We are pleased to have a strong selection of Claude’s work for your consideration.

– excerpted from October 2013 interview with Madeline Murphy Rabb.

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CLAUDE LAWRENCE( b . 1 9 4 4 )

The New Savoy, March 2001

Acrylic on paper22.75 x 30 inches (57.8 x 76.2 cm)

signed and dated lower right: C. Lawrence 3-01

CLAUDE LAWRENCE( b . 1 9 4 4 )

Future Lyricism, 2004

Acrylic on paper22.5 x 30 inches (57.2 x 76.2 cm)

signed and dated lower right: C. Lawrence ‘04

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BEAUFORD DELANEY ( 1 9 0 1 - 1 9 7 9 )

Portrait of Joseph Delaney, 1933

Pastel on paper17 x 16 inches (43.2 x 40.6 cm)

signed and dated middle right: B. Delaney ‘33

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BEAUFORD DELANEY ( 1 9 0 1 - 1 9 7 9 )

Untitled (Paris Street), circa 1966

Oil on canvas25 x 21.5 inches (63.5 x 54.6 cm)

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RUTH ASAWA ( 1 9 2 6 - 2 0 1 3 )

Plane Tree #15, 1960

Green ink on coated paper19 x 24.75 inches (48.3 x 62.9 cm)

signed lower right: Asawa; also signed with artist’s chop lower right

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RUTH ASAWA ( 1 9 2 6 - 2 0 1 3 )

Plane Tree #16, 1960

Green ink on coated paper19 x 25 inches (48.3 x 63.5 cm)

signed lower right: Asawa; also signed with artist’s chop lower right

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Art is the lie that enables us to realize the truth.

PABLO PICASSO

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ALFRED HENRY MAURER( 1 8 6 8 - 1 9 3 2 )

Still Life, circa 1920

Oil and mixed media on paper20.5 x 17.5 inches (52.1 x 44.5 cm)signed upper right: A.H. Maurer

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JOHN MARIN( 1 8 7 0 - 1 9 5 3 )

No. 2, Fall of 1930, 1930

Oil on canvas on cardboard18 x 14.25 inches (45.7 x 36.2 cm)

signed lower left: Marin / ‘30

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WILLIAM THOMAS WILLIAMS, JR.( b . 1 9 4 2 )

Untitled, 1971

Watercolor and ink on paper20.5 x 45.5 inches (52.1 x 115.6 cm)

signed and dated lower right: W Williams 1971

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ROMARE BEARDEN ( 1 9 1 1 - 1 9 8 8 )

Calm Sea, 1987

Collage and watercolor on paper10.25 x 14.5 inches (26 x 36.8 cm)

signed lower right: rom/are bear/den

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ROMARE BEARDEN ( 1 9 1 1 - 1 9 8 8 )

Madeline Jones’ Wonderful Garden, 1977

Collage of various papers with ink, graphite and surface abrasion on fiberboard13.5 x 16 inches (34.3 x 40.6 cm)

signed upper right: rom/are bear/den

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MIMMO ROTELLA ( 1 9 1 8 - 2 0 0 6 )

Tempo di Guerra, 1959

Collage on paper mounted on canvas9.75 x 10.5 inches (24.8 x 26.7 cm)

signed and dated lower left: Rotella / 59

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RAÚL ANGUIANO ( 1 9 1 5 - 2 0 0 6 )

The Photographer, 1939

Oil on canvas laid down on wood panel18.25 x 29.5 inches (46.4 x 74.9 cm)

signed and dated lower right: R Anguiano 1939

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WERNER DREWES ( 1 8 9 9 - 1 9 8 5 )

Composition A286, 1942

Crayon, watercolor and gouache on paper19.5 x 25.75 inches (49.5 x 65.4 cm)

signed, titled and artist’s mark with date lower left: Drewes, A286, 42

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WERNER DREWES ( 1 8 9 9 - 1 9 8 5 )

Composition A54, 1935

Ink and watercolor on paper5.375 x 8.25 inches (13.7 x 21 cm)

signed and titled lower left: Drewes, A-54; artist’s mark and date lower right: 35

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MAX WEBER ( 1 8 8 1 - 1 9 6 1 )

Women in Garden, 1912

Watercolor and gouache on paper16.25 x 10.75 inches (41.3 x 27.3 cm)

signed and dated lower right: Max Weber 1912

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I intend my work as poetry.EDWARD CORBETT

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ALMA WOODSEY THOMAS( 1 8 9 1 - 1 9 7 8 )

Untitled, 1972

Watercolor on paper9.5 x 11.75 inches (24.1 x 29.8 cm)signed lower right: AW Thomas

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ALMA WOODSEY THOMAS ( 1 8 9 1 - 1 9 7 8 )

Snoopy Sees a Day Break on Earth, 1970

Acrylic on canvas50 x 48 inches (127 x 121.9 cm)

signed and dated lower right: AW Thomas / ‘70

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KERRY JAMES MARSHALL( b . 1 9 5 5 )

Untitled, Ballerina, 2003

Lambda digital photograph on translucent plexiglass8.5 x 6.5 inches (21.6 x 16.5 cm)

Edition: 3/3signed and dated verso: K.J. Marshall 2003

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KERRY JAMES MARSHALL ( b . 1 9 5 5 )

Untitled (Memento), 1998

Photograph 23.875 x 19.875 inches (60.6 x 50.5 cm)

Edition: 4/6signed and dated lower right: Kerry James Marshall 1998;

titled lower center: Untitled (Memento); numbered lower left: 4/6

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HEATHER HUTCHISON ( b . 1 9 6 4 )

Sleepy Golden Storm, 1997

Wax, plexiglass, pigment and birch11.5 x 23 x 2.5 inches (29.2 x 58.4 x 6.4 cm)signed, dated verso: Heather Hutchison 1997

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HEATHER HUTCHISON ( b . 1 9 6 4 )

Purple Haze, 1997

Wax, plexiglass, pigment and birch11.5 x 23 x 2.5 inches (29.2 x 58.4 x 6.4 cm)signed, dated verso: Heather Hutchison 1997

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HEATHER HUTCHISON ( b . 1 9 6 4 )

Sun Rose, 1993

Beeswax, plexiglass, pigment and birch (triptych)30 x 21.5 x 3 inches (76.2 x 54.6 x 7.6 cm)

signed, dated verso: Heather Hutchison 1993

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CLAES OLDENBURG ( b . 1 9 2 9 )

Untitled (Hand Saw), circa 1966

Spray enamel, paper collage and tape on paper7 x 32 inches (17.8 x 81.3 cm)

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DAVID HAMMONS ( b . 1 9 4 3 )

Nipples, circa 1968

Body Print (pigment on paper)26.75 x 20.75 inches (67.9 x 52.7 cm)

signed lower right: Hammons

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MORRIS GRAVES( 1 9 1 0 - 2 0 0 1 )

Flower, 1954

Tempera on Japanese paper9.5 x 36.5 inches (24.1 x 92.7 cm)

signed and dated lower right: Graves / ‘54

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DESIGN: WinshipPhillips • winshipphillips.comPHOTOGRAPHY: James Hart

For inquiries on paintings featured in Summer Selections 2014 or inventory from our gallery, please call: 505•995•9779

213 East Marcy Street | Santa Fe, NM 87501apfineart.com | [email protected]

C O P Y R I G H T © A A RO N PAY N E F I N E A RT, 2014

aaron payne FINE ART

aaron payne FINE ART

213 East Marcy StreetSanta Fe, New Mexico 87501

505•995•9779apfineart.com