- WILBUR NIEWALD WATERCOLOR LANDSCAPEWilbur
WILBUR NIEWALD WATERCOLOR LANDSCAPEWilbur Niewald
(Missouri/ Kansas, 1925-2022)
Untitled (Park Landscape)
Watercolor on paper
15" x 19"
Signed to the bottom right. Float-mounted in a glazed frame measuring 22" x 26".
Wilbur Niewald has been dubbed "the Patriarch of the Kansas City Art World" by Juliân Zugazagoitia, director of the Nelson-Atkins Gallery of Art. In addition to a career of creating exciting and influential works of his own, Niewald joined the Kansas City Art Institute's faculty in 1949, where over the course of several decades in a variety of roles (including the Chair of Painting and Printmaking) he helped shape KCAI pedagogy and prepare generations of contemporary artists.
Condition
Very good condition. There is a negligible fold at the bottom right of the sheet, and some bending to the bottom left corner of the mat. The artist's pinholes are at each corner of the sheet.
- WILBUR NIEWALD / YAKI POINT (1973 WATERCOLOR)Wilbur
WILBUR NIEWALD / YAKI POINT (1973 WATERCOLOR)Wilbur Niewald
(Missouri, b. 1925)
Yaki Point , 1973
Watercolor on paper
17" x 22"
An abstracted vista of the Grand Canyon's South Rim, Arizona. Signed to the bottom right. Float-mounted behind plexiglass in a walnut frame that measures 25" x 29 1/2".
Wilbur Niewald has been dubbed "the Patriarch of the Kansas City Art World" by Julián Zugazagoitia, director of the Nelson-Atkins Gallery of Art. Each of Niewald's paintings offered in this auction date from the 1970s, a decade pivotal to his identity as an artist, transitioning from a distinct abstract style to one more resolutely based on natural observation. In addition to a career of creating exciting and influential works of his own, Niewald joined the Kansas City Art Institute's faculty in 1949, where over the course of several decades in a variety of roles (including the Chair of Painting and Printmaking) he helped shape KCAI pedagogy and prepare generations of contemporary artists.
Provenance : From the corporate art collection of a Kansas City based Fortune 500 company, previously acquired directly from the artist.
Condition
There is the artist's pinhole at each corner of the sheet. The work is in very good condition, with no issues apparent. Not removed from the frame. The frame has a few dings and scrapes.
- WILBUR NIEWALD / VALENCIA, MEXICO (1971
WILBUR NIEWALD / VALENCIA, MEXICO (1971 OIL)Wilbur Niewald
(Missouri, b. 1925)
Valencia, Mexico , circa 1971
Oil on canvas
30" x 39"
A view of a town in Mexico, where Niewald spent time from 1970-71. Titled to the reverse. Presented in a simple slat frame that measures 30 3/4" x 39 3/4".
Wilbur Niewald has been dubbed "the Patriarch of the Kansas City Art World" by Julián Zugazagoitia, director of the Nelson-Atkins Gallery of Art. Each of Niewald's paintings offered in this auction date from the 1970s, a decade pivotal to his identity as an artist, transitioning from a distinct abstract style to one more resolutely based on natural observation. In addition to a career of creating exciting and influential works of his own, Niewald joined the Kansas City Art Institute's faculty in 1949, where over the course of several decades in a variety of roles (including the Chair of Painting and Printmaking) he helped shape KCAI pedagogy and prepare generations of contemporary artists.
Provenance : From the corporate art collection of a Kansas City based Fortune 500 company, previously acquired directly from the artist.
Condition
There is a one inch tear to the canvas in the left area of the image. Along the top area of the canvas is a long impression where another piece was leaned against it, terminating in a dimple. The issues did not result in any notable loss to the paint layer. No in-painting or over-painting observed under blacklight inspection.
- WILBUR NIEWALD / STUDIO VIEW NORTH (1973
WILBUR NIEWALD / STUDIO VIEW NORTH (1973 WATERCOLOR)Wilbur Niewald
(Missouri, b. 1925)
Studio View North , 1973
Watercolor on paper
22" x 30"
Signed to the bottom right and titled to the reverse. Float-mounted behind glass in a walnut frame that measures 30" x 38".
Wilbur Niewald has been dubbed "the Patriarch of the Kansas City Art World" by Julián Zugazagoitia, director of the Nelson-Atkins Gallery of Art. Each of Niewald's paintings offered in this auction date from the 1970s, a decade pivotal to his identity as an artist, transitioning from a distinct abstract style to one more resolutely based on natural observation. In addition to a career of creating exciting and influential works of his own, Niewald joined the Kansas City Art Institute's faculty in 1949, where over the course of several decades in a variety of roles (including the Chair of Painting and Printmaking) he helped shape KCAI pedagogy and prepare generations of contemporary artists.
Provenance : From the corporate art collection of a Kansas City based Fortune 500 company, previously acquired directly from the artist.
Condition
There is the artist's pinhole at each corner of the sheet. The sheet was attached to the back mat with archival tape that has come loose, leaving the sheet loose inside the frame. Otherwise the work is in very good condition, with no issues apparent. Not removed from the frame.
- WILBUR NIEWALD / STILL LIFE WITH WHITE
WILBUR NIEWALD / STILL LIFE WITH WHITE JAR (1979 OIL)Wilbur Niewald
(Missouri, b. 1925)
Still Life with White Jar , 1979
Oil on canvas
15" x 18"
Signed and titled to the reverse. Presented in a frame that measures 15 3/4" x 18 3/4".
Wilbur Niewald has been dubbed "the Patriarch of the Kansas City Art World" by Julián Zugazagoitia, director of the Nelson-Atkins Gallery of Art. Each of Niewald's paintings offered in this auction date from the 1970s, a decade pivotal to his identity as an artist, transitioning from a distinct abstract style to one more resolutely based on natural observation. In addition to a career of creating exciting and influential works of his own, Niewald joined the Kansas City Art Institute's faculty in 1949, where over the course of several decades in a variety of roles (including the Chair of Painting and Printmaking) he helped shape KCAI pedagogy and prepare generations of contemporary artists.
Provenance : From the corporate art collection of a Kansas City based Fortune 500 company, previously acquired directly from the artist.
Condition
Dimple to the canvas in the top left area, with a very small amount of flaking to the paint layer in that spot. No in-painting, overpainting or other condition issue or repair evident under blacklight inspection.
- WILBUR NIEWALD / FLORENCE (1970S WATERCOLOR)Wilbur
WILBUR NIEWALD / FLORENCE (1970S WATERCOLOR)Wilbur Niewald
(Missouri, b. 1925)
Florence , circa 1970s
Watercolor on paper
17 1/4" x 20 1/4" (sight)
Presented behind glass in a frame that measures 25 1/2" x 28".
Wilbur Niewald has been dubbed "the Patriarch of the Kansas City Art World" by Julián Zugazagoitia, director of the Nelson-Atkins Gallery of Art. Each of Niewald's paintings offered in this auction date from the 1970s, a decade pivotal to his identity as an artist, transitioning from a distinct abstract style to one more resolutely based on natural observation. In addition to a career of creating exciting and influential works of his own, Niewald joined the Kansas City Art Institute's faculty in 1949, where over the course of several decades in a variety of roles (including the Chair of Painting and Printmaking) he helped shape KCAI pedagogy and prepare generations of contemporary artists.
Provenance : From the corporate art collection of a Kansas City based Fortune 500 company.
Condition
Very good condition, without any notable issues apparent. Not removed from the frame.
- WILBUR NIEWALD / PENN VALLEY (1970S
WILBUR NIEWALD / PENN VALLEY (1970S OIL)Wilbur Niewald
(Missouri, b. 1925)
Penn Valley , circa 1970s
Oil on canvas
28" x 34"
An abstracted view of Penn Valley Park in Kansas City, Missouri. Titled to the reverse. Presented in a simple slat frame that measures 28 3/4" x 35".
Wilbur Niewald has been dubbed "the Patriarch of the Kansas City Art World" by Julián Zugazagoitia, director of the Nelson-Atkins Gallery of Art. Each of Niewald's paintings offered in this auction date from the 1970s, a decade pivotal to his identity as an artist, transitioning from a distinct abstract style to one more resolutely based on natural observation. In addition to a career of creating exciting and influential works of his own, Niewald joined the Kansas City Art Institute's faculty in 1949, where over the course of several decades in a variety of roles (including the Chair of Painting and Printmaking) he helped shape KCAI pedagogy and prepare generations of contemporary artists.
Provenance : From the corporate art collection of a Kansas City based Fortune 500 company, previously acquired directly from the artist.
Condition
The canvas has been noticeably indented by another work pressing against it, leaving a long crease along the top and left areas of the oil. No in-painting or over-painting observed under blacklight inspection.
- WILBUR NIEWALD / TANGLEWOOD (1973 WATERCOLOR)Wilbur
WILBUR NIEWALD / TANGLEWOOD (1973 WATERCOLOR)Wilbur Niewald
(Missouri, b. 1925)
Tanglewood , 1973
Watercolor on paper
17" x 22"
An abstracted view from Tanglewood, Massachusetts, where Niewald taught (at Boston University) in the early 1970s. Signed to the bottom right, and signed/ titled to the reverse. Float-mounted behind glass in a frame that measures 24 1/2" x 29 3/4".
Wilbur Niewald has been dubbed "the Patriarch of the Kansas City Art World" by Julián Zugazagoitia, director of the Nelson-Atkins Gallery of Art. Each of Niewald's paintings offered in this auction date from the 1970s, a decade pivotal to his identity as an artist, transitioning from a distinct abstract style to one more resolutely based on natural observation. In addition to a career of creating exciting and influential works of his own, Niewald joined the Kansas City Art Institute's faculty in 1949, where over the course of several decades in a variety of roles (including the Chair of Painting and Printmaking) he helped shape KCAI pedagogy and prepare generations of contemporary artists.
Provenance : From the corporate art collection of a Kansas City based Fortune 500 company, previously acquired directly from the artist.
Condition
There is the artist's pinhole at each corner of the sheet. Otherwise the work is in very good condition, with no issues apparent. Not removed from the frame.
- WILBUR NIEWALD / THREE GERANIUMS WITH
WILBUR NIEWALD / THREE GERANIUMS WITH ONIONS (1976 OIL)Wilbur Niewald
(Missouri, b. 1925)
Three Geraniums with Onions , 1976
Oil on canvas
25" x 29"
A still life composed of geraniums and onions, which was selected for exhibition in Wilbur Niewald's A Forty Year Retrospective, 1951-1991 (1992) at the Charlotte Crosby Kemper Gallery. Signed and titled to the reverse. Presented in a frame that measures 25 3/4" x 29 3/4".
Wilbur Niewald has been dubbed "the Patriarch of the Kansas City Art World" by Julián Zugazagoitia, director of the Nelson-Atkins Gallery of Art. Each of Niewald's paintings offered in this auction date from the 1970s, a decade pivotal to his identity as an artist, transitioning from a distinct abstract style to one more resolutely based on natural observation. In addition to a career of creating exciting and influential works of his own, Niewald joined the Kansas City Art Institute's faculty in 1949, where over the course of several decades in a variety of roles (including the Chair of Painting and Printmaking) he helped shape KCAI pedagogy and prepare generations of contemporary artists.
Literature : Wilbur Niewald: A Forty Year Retrospective, 1951-1991 . Charlotte Crosby Kemper Gallery, Kansas City, 1992.
Provenance : From the corporate art collection of a Kansas City based Fortune 500 company, previously acquired from the Nelson Sales & Rental Gallery.
Condition
Stretcher marks present around the edges of the oil, not too predominant. To the left of the image in the background are several small overpainted spots.
- WILBUR NIEWALD "ACROSS THE KAW" (1970S
WILBUR NIEWALD "ACROSS THE KAW" (1970S OIL)Wilbur Niewald
(Missouri, 1925-2022)
Across the Kaw , circa early 1970s
Oil on canvas
39" x 48"
A vivid and abstracted landscape by the revered painter that Nelson-Atkins Director Julian Zugazagoitia dubbed "the Patriarch of the Kansas City Art World." Not only was Niewald's fruitful body of work both exciting and influential, but his career as a member of the Kansas City Art Institute faculty, begun in 1949, saw him help to prepare several generations of contemporary painters.
Signed and titled to the reverse. Presented in a walnut frame with metal sight edge, measuring 40" x 49".
Provenance : From the collection of a Fortune 500 company, acquired from the artist.
Condition
Very good / good condition. There is a stable, pronounced network of cracking to areas of the paint layer that appear to be an intentional element of the work, lending the painting a distinctive level of visual interest.
- WILBUR NIEWALD "STUDIO VIEW EAST" (1973
WILBUR NIEWALD "STUDIO VIEW EAST" (1973 WATERCOLOR)Wilbur Niewald
(Missouri, 1925-2022)
Studio View East , 1973
Watercolor on paper
22" x 30"
A neighborhood view from the artist's studio by the revered painter that Nelson-Atkins Director Julian Zugazagoitia dubbed "the Patriarch of the Kansas City Art World." Not only was Niewald's fruitful body of work both exciting and influential, but his career as a member of the Kansas City Art Institute faculty, begun in 1949, saw him help to prepare several generations of contemporary painters.
Pencil-signed to the bottom right. Float-mounted behind glass in a walnut frame that measures 30" x 38".
Provenance : From the collection of a Fortune 500 company, acquired from the artist.
Condition
Very good condition, noting a pinhole at each corner of the sheet. The sheet has come free from its back mounting (no resulting damage, but it will need to be re-fastened).
- WILBUR NIEWALD "FLORENCE" (WATERCOLOR
WILBUR NIEWALD "FLORENCE" (WATERCOLOR CA. LATE 1960S)Wilbur Niewald
(Missouri, 1925-2022)
Florence , circa late 1960s
Watercolor on paper
13 1/2" x 19" (sight)
An expressive abstract landscape by the revered painter that Nelson-Atkins Director Julian Zugazagoitia dubbed "the Patriarch of the Kansas City Art World." Not only was Niewald's fruitful body of work both exciting and influential, but his career as a member of the Kansas City Art Institute faculty, begun in 1949, saw him help to prepare several generations of contemporary painters.
Pencil-signed to the bottom right, and titled to the reverse. Presented behind glass in a wooden frame that measures 22" x 28".
Provenance : From the collection of a Fortune 500 company, acquired from the artist.
Condition
Very good condition. Not removed from the frame.
- WILBUR NIEWALD "KANSAS CITY, 20TH &
WILBUR NIEWALD "KANSAS CITY, 20TH & CHARLOTTE" (1979 OIL)Wilbur Niewald
(Missouri, 1925-2022)
Kansas City, View from 20th and Charlotte , 1979
Oil on canvas
26" x 32"
A view of downtown Kansas City from Crossroads East by the revered painter that Nelson-Atkins Director Julian Zugazagoitia dubbed "the Patriarch of the Kansas City Art World." Not only was Niewald's fruitful body of work both exciting and influential, but his career as a member of the Kansas City Art Institute faculty, begun in 1949, saw him help to prepare several generations of contemporary painters.
Signed and titled to the reverse. Presented in a slim wooden frame with metal sight edge, measuring 27" x 33".
Provenance : From the collection of a Fortune 500 company, acquired from the artist.
Condition
Very good condition. No issues were observed under blacklight inspection. There is a little bit of wear to the frame.
- PAUL-EMILE PISSARRO (FRENCH, 1884 -
PAUL-EMILE PISSARRO (FRENCH, 1884 - 1972) 9 ½" x 11 ¼" "La Vallee A L'Aurore". Pastel drawing on paper, signed "Paulemile Pissarro in center, floated over black mat board with inner gold fillet and framed under glass in a gilt wood frame, overall 26 ¾" x 30 ½". Accompanied by a certificate of authentication from Katia Pissarro, an established European art dealer who became part of the multi-generational Pissarro family of artists upon her marriage to Hugues Claude Pissarro in 1958. H Claude Pissarro, her husband, is the son of Paul-Emile Pissarro and grandson of the patriarch, Camille Pissarro. With H. Claude Pissarro. Katia became entrenched in the history of the Pissarro legacy and with impressionist and post-impressionist artists. She became an art historian and authenticator of artwork and later in life painted canvases that depicted California landscapes, the French country side and cities.
- PAUL-EMILE PISSARRO (FRENCH, 1884 -
PAUL-EMILE PISSARRO (FRENCH, 1884 - 1972) paper 9 ¾" x 12 ¼" "Le Phare." Pastel drawing on heavy artistic paper, signed "Paulemile Pissarro in lower right, floated over black mat board with inner gold fillet, ivory matting and framed under glass in a gilt wood frame with name plate, overall 26 ½" x 30 ?".
Accompanied by a certificate of authentication from Katia Pissarro, an established European art dealer who became part of the multi-generational Pissarro family of artists upon her marriage to Hugues Claude Pissarro in 1958. H Claude Pissarro, her husband, is the son of Paul-Emile Pissarro and grandson of the patriarch, Camille Pissarro. With H. Claude Pissarro. Katia became entrenched in the history of the Pissarro legacy and with impressionist and post-impressionist artists. She became an art historian and authenticator of artwork and later in life painted canvases that depicted California landscapes, the French country side and cities.
- ROUCLERE, HARRY AND MILDRED. HARRY AND
ROUCLERE, HARRY AND MILDRED. HARRY AND MILDRED ROUCLERE...Cincinnati, Ohio: The Henderson-Achert-Krebs Litho. Co., ca 1900. Color lithograph poster advertises the mind reading feats and lightning calculations of Harry and Mildred Rouclere early in their career, under the auspices of Whallen & Martell. Whallen, the patriarch of a family of acrobats, partnered with Martell to develop their own full evening minstrel and variety shows which toured America beginning in 1890. The Roucleres were a feature act on their program. 30 x 20". Minor folds and repairs; A-. Rouclere (1866 – 1942) was one of the few magicians of the golden age to save the fortune he built as an entertainer. Beginning his career in show business as a juggler in a circus at the age of nine, he eventually developed a sensational two-person mind reading act with his wife, Mildred, and dubbed it “Mildredism.” After retiring from the stage, Rouclere took over the ownership and operation of his father’s hotel in Ridgewood, New Jersey. The hotel became a popular meeting place for magicians. An early aviator and airplane owner, Rouclere was also known as “The Flying Boniface,” and distributed gifts to the children of Ridgewood at Christmastime from his plane – while dressed as Santa Claus. The presents floated down to the children when thrown from the plane, each one attached to a tiny parachute.
- ALFRED HEBER HUTTY(American/South Carolina,
ALFRED HEBER HUTTY(American/South Carolina, 1877-1954)
The Patriarch - Middleton Gardens, signed lower right ?Alfred Hutty?, etching, 13-1/2 x 17-1/8 in.; wood frame, 17 x 21 in.
Provenance: Private Charleston Collection
Condition:
Paper slightly toned; frame with wear
- ALFRED HEBER HUTTY(American/Charleston,
ALFRED HEBER HUTTY(American/Charleston, 1877-1954)
The Patriarch of Middleton Gardens, signed lower right "Alfred Hutty", graphite on paper, 20-3/4 x 28-1/2 in.; gilt wood frame, 29-3/4 x 37 in.
Provenance: Private Charleston Collection
Condition:
paper toned, laid down on acidic card with break at bottom right through to paper 3-3/8 x 1-1/8 in.; frame with wear and losses to corners
- GEORGE LUKS 1867-1933 PAWNBROKERS FAMILY
GEORGE LUKS 1867-1933 PAWNBROKERS FAMILY O/Boil on canvasboard, signed lower left, pencil inscription verso ""Pawnbroker's Family Meeting". NOTE: a known subject for Luks, the patriarch here appears to be the same figure in Christie's larger portrait, lot 121, sold for $26,400 on 09/12/2006.
10x13.75, framed 13x17
(CAROL343)(TC)
Condition:
very small loss above the signature, otherwise ready to hang
- SIGNED WILLIAM DRAPER PORTRAIT OF JOSEPH
SIGNED WILLIAM DRAPER PORTRAIT OF JOSEPH KENNEDY (1962)...William Franklin Draper (American, 1912-2003). Portrait of Joseph Kennedy, oil on canvas, 1962. Signed and dated with inscription on lower right which reads, "Wm. F. Draper - Ambassador Joseph Kennedy - 1/2 hour sketch - Palm Beach '62". A painting of historical figure Joseph Kennedy created by American artist William Draper in Palm Beach, Florida in 1962. It was President John F. Kennedy who asked William Draper to paint his father's portrait. Ambassador Kennedy's portrait had never been painted, and when John F. Kennedy became President, he wanted a picture of his father hanging in the embassy. So Draper went to Palm Beach to paint the Kennedy family patriarch, who by this time had a stroke and was paralyzed. Joseph Kennedy Sr's caretaker wheeled him out on his wheelchair, and Draper made this colored sketch in situ. Size: 24" L x 20" W (61 cm x 50.8 cm)
William Draper had known the Kennedy family from his childhood summers in Hyannis Port. According to Draper's Archives of American Art oral history transcript, the Draper's invited the Kennedy's for cocktails and introduced them to Hyannis Port society. Draper stated, "This sounds awfully snobbish but it's perfectly true because nobody knew the Kennedys." (Source: Smithsonian Archives of American Art "Oral history interview with William F. Draper, 1977 June 1-28") In addition to painting Ambassador Kennedy, Draper was the only artist for whom JFK posed during his lifetime. President John Fitzgerald Kennedy sat for William Draper a year before his assassination, and the National Portrait Gallery in Washington D.C. commissioned Draper to paint a portrait from the 1962 life sketch (also available at Artemis Gallery) in 1966 (object number NPG.66.35).
Joseph Kennedy was appointed Ambassador to the United Kingdom by President Franklin Delano Roosevelt in 1938, a position he held until 1940. In addition, Joe Kennedy was the patriarch of a legendary American family. He and Rose Kennedy had nine children, including John F. Kennedy (1917-1963) who was the 35th president of the United States, Robert F. Kennedy (1925-1968) who served as both U.S. Attorney General and a U.S. Senator from New York, and Ted Kennedy (1932-2009) who was a U.S. Senator from Massachusetts.
Speaking to Draper's talent as a portraitist, Peter Rathbone, Director Emeritus of the Boston Museum of Fine Arts, whose portrait Draper also painted stated, "Nature endowed William F. Draper with enough talents to require him to choose among them before embarking on a professional career. Yet to those who know him, it is hard to imagine that any natural bent could rival his personal endowment as a painter of portraits … Draper's painting belongs to the tradition of Sargent. Like Sargent's, his style is fluid with virtuoso brushwork as the identifying characteristic. Like Sargent, the preparation of the painting by Draper is all in the artist's eye. Unlike Sargent's detachment, Draper's understanding and love of people and his appreciations of physical subtleties are happily projected into his work. These traits are the source of the warmth and vitality of his portraiture. They are also the reasons why his portraits are fine likenesses. And it is not too much to say that something of his own vibrant personality is reflected in everything he paints." ("Portraits Period" by Portrait Brokers of America, 1990, p. 46)
William Draper's career spanned seven decades and his subjects included a portrait of John F. Kennedy that hangs in the National Portrait Gallery in Washington D.C. based upon an oil sketch for which the president sat in 1962. Draper was actually the only artist who painted JFK from life. Draper showed at Knoedler, the Graham Gallery, Portraits, Inc., the Far Gallery, The Findlay Galleries (New York, NY) and the Robert C. Vose Galleries (Boston, MA). His work has been included in shows at the National Portrait Gallery and the Corcoran Gallery of Art (Washington, D.C.), The National Academy of Design (New York, NY), The Boston Museum of Fine Arts, (Boston, MA) the Fogg Art Museum, (one of the Harvard Art Museums, Cambridge, MA), the National Gallery, (London), Salon de la Marine (Paris) and in museums in Australia. He also taught at the Art Students League of New York, and received a lifetime achievement award from the Portrait Society of America in 1999.
More on the artist's background: William Franklin Draper was born in Hopedale, Massachusetts on December 24, 1912. A child prodigy, he studied classical piano at Harvard University. He later changed his focus to fine art and studied with Charles Webster Hawthorne and Henry Hensche in Provincetown, Rhode Island. Draper also attended the National Academy of Design in New York and the Cape Cod School of Art in Massachusetts. Then he traveled to Spain and studied with Harry Zimmerman, moved on to France and attended the Academie de la Grande Chaumiere. In 1937, he moved to Boston to study sculpture with George Demetrius and also studied with Jon Corbino in beautiful Rockport, Massachusetts. In 1942, Draper joined the Navy and served as a combat artist when stationed on the Aleutian Islands and in the South Pacific. He observed and painted battle scenes on Bougainville, Guam, Saipan, and other locations, as well as genre scenes of soldiers who were not engaged in combat but rather at work and at play. National Geographic magazine reproduced 25 of his war images in four issues in 1944. In 1945, the Corcoran Gallery of Art in Washington D.C. organized a group exhibition of works by five official war artists, including Draper. That same year the Metropolitan Museum of Art included Draper in an exhibition entitled, ''The War Against Japan.'' Draper was also featured in a PBS television show about combat artists entitled, "They Drew Fire" in May of 2000. After the war, Draper opened a studio on Park Avenue in New York City and continued to not only paint, but also play classical and jazz piano.
Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003), an accomplished American artist whose career spanned seven decades. Known as the "Dean of American Portraiture," William Draper was the only artist to paint President John F. Kennedy from life, and his oeuvre includes marvelous landscapes from his world travels, military paintings as he was one of only seventeen Combat Artists in WWII, and portraits of illustrious individuals.
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#151460
Condition:
Small puncture to canvas at upper right that does not impact the painted image. Expected age wear with minor stains that are visible in unpainted areas of the canvas and do not impact the painted image. Signed and dated with inscription on lower right which reads, "Wm. F. Draper - Ambassador Joseph Kennedy - 1/2 hour sketch - Palm Beach '62". Black border tape around the edges of the painting has some tears and folds. "Ambassador Joseph Kennedy" is handwritten on the verso. There is a Draper Estate stamp on the verso as well.
- ALFRED HUTTY(American/South Carolina,
ALFRED HUTTY(American/South Carolina, 1877-1954)
The Patriarch-Middleton Gardens, 1942, edition of 75, signed lower right "Alfred Hutty" also with snail cypher, drypoint on paper, 10 x 13-3/4 in.; modern wood frame, 21 x 24 in.
Literature: Sara C. Arnold and Stephen G. Hoffius, editors, The Life and Art of Alfred Hutty: Woodstock to Charleston , The University of South Carolina, 2012, p. 153, No. 173.
Condition:
paper slightly toned but matted to show clean bright edge; frame with light wear
- PAIR OF CHARLES VAN MARCKE BRUSSELS
PAIR OF CHARLES VAN MARCKE BRUSSELS VASESPAIR OF CHARLES VAN MARCKE BRUSSELS VASES
Continental, circa 1810-1820, porcelain. Each with rams head handles and gold stripe decoration, one panel colorfully hand painted with children, the reverse painted en grisaille with classical scenes. Each signed in gilt script, C. E. C Van Marke/ Rue de la Medaliane/ Bruxelles.
Charles van Marcke was the patriarch of several generations of painters. He lived and worked in Brussels as a porcelain painter. His eldest son, Jean-Baptiste painted porcelain as well and was also a landscape and animal painter. Charles' grandson, Emile Van Marcke de Lummen (1827-1890) was born at the Sevres commune and went on to become a noted landscape and animal painter.
11 1/4 x 9 in. (28.6 x 22.9 cm.)
Condition:
Professional restoration work including chips at the top of the socle, horns and top of base. The nut and bolt assembly on each is replaced
- PATRIARCHS MILITANT CEREMONIAL SWORD
PATRIARCHS MILITANT CEREMONIAL SWORD 19CAntique sword with gilt accents, from a member of the Patriarchs Militant. Measures about 38-1/4" overall. Some oxidation on blade and scabbard, all on nickel plating -- cleanable, minimal pitting. Good condition.
- NEWELL CONVERS (NC) WYETH, AMERICAN
NEWELL CONVERS (NC) WYETH, AMERICAN (1882-1945), N.C. WYETH AND HIS GRANDSON, EXHIBITION POSTER, 23 1/2"H X 19 1/4"W, 25 1/4"H X 21 1/4"W (FRAME)Newell Convers (NC) Wyeth, American, (1882-1945) N.C. Wyeth and His Grandson, exhibition poster Signed lower right by Jamie Wyeth. A Legacy, Terra Museum of American Art, Chicago. Biography from the Archives of askART: The following is from The New York Times online edition, 1/25/2001: N.C. Wyeth (1882-1945), America's greatest illustrator as well as an accomplished easel painter, dedicated his career to depicting American subjects in a fresh, energetic manner uninfluenced by European art - "true, solid American subjects - nothing foreign about them," as he put it in 1903. Reflecting times in which unconditional loyalty to country was taken for granted and the American flag was a sacred symbol of freedom, N.C. executed works that encapsulated those very American qualities. As television anchorman Tom Brokaw points out in his catalogue essay, the patriarch of the Wyeth clan "was a man of the first half of the century, roughly from Theodore Roosevelt to Franklin Delano Roosevelt, when Americans seemed to be framed in red, white and blue bunting and the background music was "Yankee Doodle Dandy" or Kate Smith singing "God Bless America". N.C.'s lifelong veneration for America's historical traditions, growing out of his New England heritage and strengthened by his Chadds Ford residency in the history-rich Brandywine Valley, manifested itself in idealized, heroic images of such larger-than-life personalities as Paul Revere, George Washington, Nathan Hale, Thomas Jefferson, John Paul Jones and Abraham Lincoln. He painted stalwart views of Stonewall Jackson and Ulysses S. Grant and action-packed renditions of Civil War combat, suggesting valor and patriotism on both sides. Commissioned by the government during World War I to create recruiting and propaganda posters, Wyeth had an output that ranged from images of brave doughboys helping their wounded mates, in "WWI Poster" (1918), to dramatic paintings of terrified Huns surrendering to gun-toting American infantrymen in Kamerad! (1919). Along with other Americans, N.C. was horrified by stories of atrocities committed by the German Army. He responded with vivid, impassioned images, such as "The Abdication of Attila" (1917), done for Life magazine, that suggested that Kaiser Wilhelm had outstripped the infamous Attila the Hun as the epitome of "supreme evil" and the "arch-tyrant" of history. Pondering an offer from the War Department to become an official artist at the Western Front, Wyeth remarked, "I wouldn't mind a crack at a Boche or two, and would be tickled to death if I could disembowel their divine leader...." Responding with equal patriotic fervor to the challenge of World War II, Wyeth underscored the determination of Uncle Sam and our citizen army in Amateurs at War: The American Soldier in Action (1943) and the heroism of GIs in the Pacific in Marines Landing on the Beach (1944). He recognized the contributions of farmers to the Allied effort in Soldiers of the Soil (1942), an illustration for a Brown and Bigelow calendar, and in another calendar work, Our Emblem (1944), reflected the symbolism of the American eagle protecting a tranquil New England hamlet. Wyeth's colorful Buy War Bonds (1942), featuring an assertive Uncle Sam clutching Old Glory and urging on planes overhead and infantrymen on the ground, helped the Treasury Department sell a lot of bonds to back the war effort. One poster sold $200,000 worth of bonds, while another took in $1 million, according to Wyeth biographer David Michaelis. In a tempera-on-panel, The War Letter (1941) he depicted his parents on the bucolic grounds of their home in Needham, Mass. As his mother reads a letter from the morning mail and a newspaper describing overseas developments lies next to her, his father looks on. It is a poignant vignette reflecting keen home front concern about unfolding wartime events. To N.C. Wyeth, the choice between good and evil, freedom and tyranny in both World Wars was clear. His characteristically bold, forceful images, imbued with old-fashioned patriotism, helped spur an embattled America on to victory in both conflicts. exhibition poster Dimensions: 23 1/2"H x 19 1/4"W, 25 1/4"H x 21 1/4"W (frame)
- CARVED WOOD SANTOCARVED WOOD SANTO with
CARVED WOOD SANTOCARVED WOOD SANTO with staff and colorful robe and hat, possibly Joseph the Patriarch, 25" high.
- W. J. L. (BILL) GIBBONS (CANADIAN 1914
W. J. L. (BILL) GIBBONS (CANADIAN 1914 - 1994 ) PORTFOLIO CASE CONTAINING FIVE BLACK AND WHITE PHOTOS OF NATIVE AMERICANS, "THE PATRIARCH", "FOUR SCORE AND SEVEN" "MINE EYES HAVE SEEN" "THE PAST TO THE FUTURE" AND "A ...W. J. L. (Bill) Gibbons (Canadian 1914 - 1994 )Portfolio case containing five black and white photos of Native Americans, "The Patriarch", "Four Score and Seven" "Mine Eyes have seen" "The Past to the Future" and "A Stoney Indian" all matted, all inscribed "Gibbons / Banff" on mat with title, two with plexi covers, wear consistent with age on all, including toning, creasing, foxing on mat, and worn edges, approximate ss: 13" h. x 10" w.
- 1850'S HALF PLATE SOUTHERN FAMILY DAGUERREOTYPEA
1850'S HALF PLATE SOUTHERN FAMILY DAGUERREOTYPEA nice view of a Mother, Father, and what can be assumed to be their two daughters and sons. Dressed in their finest, the centrally posed man wearing a top hat appearing to possibly be beaver. Both sons are wearing fashionably wide neckties and double breasted vests under frock coats. Each lady is wearing a rounded bonnet trimmed with flowers, one showing her sausage curls. Based on the fact that the patriarch of the family appears somewhat portly it may be speculated that this family owneda plantation. They were certain to have been successful financially. This dag was not removed from the leather grape pattern case. Viewable image approx. 4-1/2" L x 3-1/4" H, case approx. 6" L x 4-3/4" H. Wear to case and image in keeping with agOriginal seals appear intact, hinge on case intact and may have been repaired. See images for more details on condition. This item can be shipped in-house.
- CHRIS HANSON (AMERICAN, 20TH CENTURY)
CHRIS HANSON (AMERICAN, 20TH CENTURY) 60" x 84" "The Patriarch", 1983. Oil on canvas, no signature found, in black frame, overall 63" x 87".
- PAUL-EMILE PISSARRO (FRENCH, 1884 -
PAUL-EMILE PISSARRO (FRENCH, 1884 - 1972) 9 ¾" x 12 ?" paper "Manon part au marche." Pastel drawing on paper, signed "Paulemile Pissarro in lower left, floated over black mat board with inner gold fillet, ivory matting and framed under glass in a gilt wood frame, overall 25 ¼" x 29 ¼". Accompanied by a certificate of authentication from Katia Pissarro, an established European art dealer who became part of the multi-generational Pissarro family of artists upon her marriage to Hugues Claude Pissarro in 1958. H Claude Pissarro, her husband, is the son of Paul-Emile Pissarro and grandson of the patriarch, Camille Pissarro. With H. Claude Pissarro. Katia became entrenched in the history of the Pissarro legacy and with impressionist and post-impressionist artists. She became an art historian and authenticator of artwork and later in life painted canvases that depicted California landscapes, the French country side and cities.
- HAITIAN 3 PANEL DOUBLE SIDED SCREEN
HAITIAN 3 PANEL DOUBLE SIDED SCREEN SIGNED PAUL THANIS: A colorful 3 panel Haitian screen done in the Jungle Style that this artist is so famous for; Oil/Board, each panel is 38'' x 18''. With the help of Louisnes Mentor, he exhibited his first painting at the patriarchal Georges S. Nader's Art Gallery and today his work is fully appreciated by the art lovers who consider his talent. (Haiti Voodoo Kingdom to Modern Riviera by John Allen Franciscus).
- HAITIAN 3 PANEL DOUBLE SIDED SCREEN
HAITIAN 3 PANEL DOUBLE SIDED SCREEN SIGNED PAUL THANIS: A colorful 3 panel Haitian screen done in the Jungle Style that this artist is so famous for; Oil/Board, each panel is 38'' x 18''. With the help of Louisnes Mentor, he exhibited his first painting at the patriarchal Georges S. Nader's Art Gallery and today his work is fully appreciated by the art lovers who consider his talent. (Haiti Voodoo Kingdom to Modern Riviera by John Allen Franciscus).
- Walter Ronald Locke (American b. 1883)
Walter Ronald Locke (American b. 1883) two engravings titled Yellow Birch 8 1/4" x 10 3/4" and the "The Patriarch" Fla. pencil... ?
- BASHINZHAGYAN (BACHINDJAGHIAN) Gevork
BASHINZHAGYAN (BACHINDJAGHIAN) Gevork Zaharovich (Russian/Armenian 1857-1925): Greater and Lesser Mt Ararat with Khor Virap Monastery in the foreground Oil/Canvas 13'' x 26 1/4'' signed lower right dated 1921 gilded frame with wear 17'' x 30''. Listed in Benezit as BASHINZHAGYAN but signs name sometimes as BACHINDJAGHIAN. Born in Georgia died in Tbilisi. Also spelled Bashinjagyan he is considered the patriarch of landscape painting in Armenia. An in depth biography is available for public viewing at https://www.armsite.com/painters/bashinjagyan/index.phtmlCONDITION: This picture has been rolled at one point showing vertical creases scattered craquelure throughout several areas of missing paint and separation needs cleaning.
- John Alfred Wheeler Sr. (English 1821-1877)
John Alfred Wheeler Sr. (English 1821-1877) "Hunting Scene: Jumping the Stone Wall" oil on canvas signed "J.A. Wheeler" lower left 17 in. x 21 in. in a later giltwood frame. Note: Wheeler was the patriarch of a prominent and successful Bath family of sporting painters which included his sons and grandson. He gained his knowledge of the anatomy and movement of horses during his years in the British army; it was only upon his retirement in 1857 that he began to paint. Wheeler was admired for his colorful energetic equestrian and hunting scenes of which the present lot is a prime example. In this work the artist has paid special attention to the tension of the animal's muscles the sense of frenzied movement and the tight emotion of the moment. Reference: Woods. Victorian Painters The Text. Antique Collector's Club 2008.
- Chinese bronze figure of Bodhidharma,
Chinese bronze figure of Bodhidharma, the patriarch of Zen Buddhism, Ming Dynasty 17th century; depicted in a long robe, carrying a shoe in his hand, 7 1/4 in. H.
- Two N. C. Wyeth illustrated books; 1916's
Two N. C. Wyeth illustrated books; 1916's "Black Arrow" and "Poems of American Patriotism" from 1922 illustrate the patriarch's characteristic style of rendering historical figures. 9 1/2"H. Good condition.