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Summer Selections 2014 – Exhibition Catalogue

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  • SUMMER SELECTIONS 2014aaron payne FINE ART

    Santa Fe, New Mexico

  • SUMMER SELECTIONS 2014aaron payne FINE ART

    Santa Fe, New Mexico

  • 2

  • This is the second year weve done an e-catalogue to start the summer season. Its a great opportunity to share a selection of works that represent the broad range of art the gallery exhibits. Im really pleased with the worksincluded. Its 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 Ive 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 thats something exhilarating to think about. Its 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 layeredlike 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 weve broadened our perspective, the narrative becomes more and more engaging.

    Id like to dedicate this catalogue to one of my favorite writers who passed away recently, Gabriel Garca Mrquez.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

    3

  • Ral 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

  • 10

  • 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

    11

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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

  • 13

  • 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

    15

  • 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

    16

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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

  • 20

    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.

  • 24

    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 artists 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

    27

  • 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

    28

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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

    31

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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

    36

  • 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

    37

  • 38

  • 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

    39

  • 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

    40

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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

  • 45

    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, Im 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 wasnt 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, abst