Michio Takayama (1903-1994), Petroglyphs. Oil on canvas, 60½ x 51 in., signed lower right. Courtesy Addison Rowe Gallery, Santa Fe, NM.
Michio Takayama (1903-1994)
Petroglyphs
New to Addison Rowe Gallery’s inventory is Petroglyphs by Michio Takayama. In the summer of 1966, the Japanese artist and his wife Yaye were introduced to Taos, New Mexico, by a former painting student. It was during this trip that Michio became enamored with the scenery and created his first drawings of the landscape. The Takayamas moved to Taos in April 1967 to take up their fellowship at the Helene Wurlitzer Foundation Residency program. They built their home and studio in Taos, where Michio, inspired daily by the uninterrupted views of Taos Mountain and the beautiful sunsets, painted and exclaimed, “Taos is best!”
Michio’s daughter, Masami Takayama stated he “applied one layer of color then waited until it dried before applying the next...The layering effect created a complexity of color with a unique transparency, which was characteristic of his work…To this complex color scheme, Michio sometimes superimposed simple strong brushstrokes akin to Japanese calligraphy.”
Addison Rowe Gallery
229 E. Marcy Street • Santa Fe, NM 87501
(505) 982-1533 • www.addisonrowe.art
Samuel Colman (1832-1920), Colorado Cañon. Gouache on paper, 13 x 14¾ in., inscribed lower center: ‘Colorado Canyon’ in the artist’s hand. Courtesy Thomas Colville Fine Art, Guilford, CT.
Samuel Colman (1832-1920)
Colorado Cañon
After extensive travels abroad, Samuel Colman, the first president of the American Society of Painters in Watercolor, first traveled to Colorado in 1870, returning on several trips in the 1880’s during which time Colorado Cañon was painted. “In this work, Colman captures the majestic grandeur of the canyon’s glowing cliff’s which he contrasts to a gentle and welcoming iridescent river,” says gallerist Thomas Colville, who recently acquired the work.
Born in Portland, Maine, Colman moved to New York City with his family as a child, where his father opened a bookstore, attracting a literary clientele that may have influenced Colman’s artistic development. He is believed to have studied briefly under the Hudson River School painter Asher Durand, and he exhibited his first work at the National Academy of Design in 1850. His landscapes are comparable in scope and style to those of Thomas Moran. Around the same era, Colman worked extensively as an interior designer, collaborating with his friend Louis Comfort Tiffany on the design of Samuel Clemens’ Hartford home, and later on the Fifth Avenue home of Henry and Louisine Havemeyer. He also became a major collector of Asian decorative objects, and wrote two books on geometry and art—Nature’s Harmonic Unity and Proportional Form.
Thomas Colville Fine Art
111 Old Quarry Road • Guilford, CT 06437 • (203) 453-2449 • tlc@thomascolville.com • www.thomascolville.com
Ethel Robertson Gath (1892-1972), Neighbors, 1947. Oil on Masonite, 36 x 30 in., signed lower right, plaque reads: “American XX Century Ethel Robertson Gath ‘Neighbors’ Katherine Rhoades Memorial Fund, 1947 The Virginia Museum of Fine Arts.” Courtesy CW American Modernism, Los Angeles, CA.
Ethel Robertson Gath (1892-1972)
Neighbors
“We are delighted to offer this rare and award-winning work by Ethel Robertson Gath,” says Chris Walther of the gallery CW American Modernism. “A native of Flint, Michigan, Gath’s homespun modernism elevates her work from the 1940s to a different level than many genre scenes of the period. The resulting painting is an equally charming and compelling image of neighbors greeting one another along a stretch of urban street.”
A well-recognized American scene painter, Neighbors is a prime example of the paintings for which Gath was best known. “I am never at a loss for subject matter,” she reflected. “I do not look for something to paint, nor do I feel that I have to ‘go away’ to find the right spot. I am surrounded with subject matter in my everyday life, waiting to be painted.” Gath worked principally in her home state of Michigan and in Washington, DC, where she excelled at capturing the commonplace. The homespun narrative quality of Gath’s paintings were accessible and popular. One critic noted, “I am sure my readers will find something of interest…in Ethel Gath’s careful drawing of familiar household and street scenes” while another noted, her compositions “afford[ed] the pleasures of recognition to a high degree.” Although Gath considered herself a realistic and conservative painter, her simplified, edited forms in Neighbors take on a modernist quality as buildings, hanging laundry, a car and people all carefully composed with rakish foreshortened angles form well designed patterns of color, light and shadow, elevating the work beyond the typical genre scene of the period.
CW American Modernism
By appointment • Los Angeles, CA • (310) 383-0463
cwamericanmodernism@gmail.com • www.cwamericanmodernism.com
Evelyn K. Richmond (1872-1961), Mt. Mansfield & Schuyler Island, Lake Champlain (Mt. Mansfield, VT), 1893. Watercolor on paper, 5½ x 16 in. Courtesy J. Kenneth Fine Art, Shelburne, VT.
Evelyn K. Richmond (1872-1961)
Mt. Mansfield & Schuyler Island, Lake Champlain (Mt. Mansfield, VT)
Evelyn K. Richmond was an artist active in New England and California. Born in Boston in 1872. Richmond was a pupil of Henry B. Snell, an American impressionist painter and educator. By 1931 she had settled in Santa Barbara where she remained until her death in 1961. Her subjects include scenes from her travels abroad, as well as apple orchards, barnyards and this watercolor vista of upper New England. Richmond was a member of many organizations including the National Association of Women Artists, the Santa Barbara Art League and the Providence Watercolor Club.
J. Kenneth Fine Art
(802) 540-0267 • jkennethfineart@gmail.com • www.jkennethfineart.com
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