Bert Gallery loves to clean closets! In the spirit of the end of the year clean up we reviewed inventory in the storage room and assisted some of our favorite clients slim down their collection. No more paintings under the bed and piled in the attic, they are now in the Attic Sale.
1. Edna Lawrence (1898 – 1986), Christmas Cactus, Pastel 14″ x 17″, unframed sheet, $25. SOLD
2. Edna Lawrence (1898 – 1986), Providence, unsigned Etching 5″ x 4″, Providence, framed, $75. SOLD
Edna Lawrence (1898 – 1986)
Edna Lawrence was a very loved teacher and friend to many RISD and Providence Art Club artists. In 1985 Bert Gallery was asked to work with her estate and now 27 years later we are near the end of her inventory.
Lawrence is in the current Bert Gallery exhibit – “The Allure of the New York Art Students League”. After graduating from RISD she went on for a year to study at the League. There she perfected her drawing technique and returned to spend 57 years teaching at RISD. She was also a life long member of the Providence Art Club and ran the Saturday morning portrait class. We would like to share the remaining works from our inventory with any artists and collectors who celebrate great technique and determination in an artist. Most of the works are unframed, some matted and a few framed. Please contact us if you would like to purchase some of her work and we need to add shipping charges if you are out of state.
3. Percy Albee (1883 – 1959) Old Couple with Baskets, Brown Pastel 13″ x 15″, loose sheet $15. SOLD
Percy Albee (1883-1959)
Albee was a student of both the Pennsylvania Academy of Fine Arts and the Rhode Island School of Design. He met his wife, the noted wood engraver, Grace Albee, at RISD. In his early career, he painted murals and was a printmaker in Providence. He enjoyed membership at the Providence Art Club and the Providence Water Color Club. Albee was awarded many mural commissions including both Memorial Hall, St. Paul’s Chapel at Brown University, The Roger Williams Park Museum, the Rhode Island Country Club and the Auditorium of the Brigham School in Providence. The latter mural was received in the American Magazine of Art in 1926. By the late 1920’s Percy took his family to Paris where he concentrated on large lithographs. By the 1930’s they returned to New York and eventually settled in Bucks Count, Pennsylvania. He continued to work and achieved Associate Member of the National Academy of Design, The Society Etchers and the Sal Magundi Club. He also won the 1937 prize for an exhibition at the Allied Artists of America.
4. Ruth Forrest (1919 – 1994) Leprechaun Charm, Pen and Ink 6″ x 4″, framed $40.
Ruth Forrest (1919 – 1994)
Ruth Forrest was a native Rhode Island artist who graduated from the Rhode Island School of Design in the 1940’s. Upon graduation she accepted a teaching position in the Cranston Schools where she remained for 38 years as an art instructor. During those productive years, Ms. Forrest explored print making and watercolor painting. The majority of her woodcuts, wood engravings, and linoleum cuts were executed within a ten year period between 1940 and 1950. These works were exhibited throughout the East Coast in juried exhibitions, including the Art Association of Newport, Northeast Printmakers Association, the Print Club of Philadelphia, the International Printmakers, the Pennsylvania Academy of Fine Arts, and the Rhode Island School of Design.
5. David Aldrich, Dark Waters, Watercolor 8″ x 10″, framed
$200. SALE $100
6. Grace Albee (1890 -1985), Prince, 1979, Wood engraving 2.5″ x 3.5″ , mat but unframed,
$50. SALE $40.
Grace Albee (1890 -1985)Grace Albee’s wood engravings are testimony to a perceptive observer and skilled craftsman. The seasoned artist produced over two hundred prints in a sixty year career span and became noted as a keen observer of the world around her, be it a scene of Paris, elsewhere in France, Pennsylvania farm country, or the Rhode Island Sea Coast. Throughout her career she gained entry into thirty-three museum collections, membership to the National Academy of Design, and a retrospective exhibition of 93 wood engravings in 1976 at the Brooklyn Museum.
7. Louise Marianetti (1916 – 2009) , Single Peach, pastel 9″ x 10″, no mat & frame,
$100. SALE $50. SOLD
Louise Marianetti (1916 – 2009)
Born in 1916, Louise E. Marianetti was only four when she lost her mother to influenza. Marianetti was surrounded by a supportive familial network, including her father Ceasar Marianetti who recognized Marianetti’s artistic talent when she was just ten and enrolled her in private classes. At this time, Marianetti was also taking weekend classes at the Rhode Island School of Design and would be the youngest student to be admitted to the prestigious art school in 1932. While at RISD, Marianetti experimented with different forms of media and studied under the renowned artists C. Gordon Harris and John Frazier. For her senior thesis, Marianetti submitted her painting “Nellie,” which caught the attention of the art community and the press alike in its technique and compelling nature.
Marianetti continued to blossom during her time at the Art Students League in New York, finding rather than losing her personal view, frightfully complex as it may have been. In New York, Marianetti took classes in portraiture and still life from Robert Brackman and William Palmer. Their influence in Marianetti’s work is clear by the subject of her paintings. Marianetti’s choice and perhaps preference of media was also influenced by the Renaissance revival that also occurred at this time. During her New York years, Marianetti threw herself into her work, taking on the challenges of working with egg tempera and silverpoint drawing and maintaining her strong Italian identity.
Marianetti kept in contact with the New York art community; however, she pursued her professional career back in her home state of Rhode Island. She gravitated towards the Providence Art Club, exhibiting with them and catching the eye of the media with her technical and juxtaposed skill. Her painting “Corsage” was shown in the 1944 jury selected exhibit with the Providence Art Club. The piece caught the eye of critic Frederick Sisson as he remarked on her attention to fine detail. While building her professional career, Marianetti continued to work with mixed media and techniques, shifting to looser brushstrokes, brown paper, and craft paper.
It was not only Marianetti’s refined techniques that caught the eye, but also the odd subjects that Marianetti sometimes portrayed in her works. People started to think of her pieces as magical realism, but Marianetti almost defended her work, stating that it “is not dream-state, they are thought-state.”
1949 was perhaps the best year of Marianetti’s career as she exhibited in 3 different one-artist shows at Boston’s Vose Gallery, at the Newport Art Association, and at the Casa Italiana at the University of Columbia in New York. She continued to display different media, which were able to portray different sentimental value for Marianetti, as well as different subject matter. Her paintings of “Crucifixion” and “Death Mask,” both portray such technique with such macabre subjects. It was around this time that Marianetti also wrote to her friend about disturbing dreams while colleague and religious advisor Father V. Gagnon saw her subject matter as coming from her heart and her soul rather than just from her brush. These shows were reviewed by many art critics, but perhaps no one’s appraise could mean more than Marianetti’s former teacher and exceptional woman artist Eliza Gardiner, who remarked that Marianetti’s “exhibition was distinguished and most individual” and that she would “surely be recognized nationally some day… I feel sure it will be before many years.” (Clean up that quote and integration… so much work to do on this piece.)
1949 was an important year for Louise Marianetti not only in her artwork, but also in her personal life. It was at the exhibit at the Vose Gallery that Marianetti met the noted Metropolitan Opera Baritone Everett Marshall. The next series of paintings in which Marianetti paints herself and Marshall make it clear that Louise is conflicted about her attraction. However, after ten years of “courting,” Marianetti and Marshall did get married in Fort Worth, Texas, while Marianetti was showing at the Ridglea Country Club. During these ten years, Marianetti continued showing her work but it seemed that she was mostly recycling old pieces that had been shown before. At the same time in the art world, magical realism, egg tempera, and gouache were being replaced for more modern techniques and subject matter.
In 1959, Marshall and Marianetti moved to Carmel, California, where they were welcomed as notable artists. Marianetti built a new network of collectors and followers as she exhibited with the Zantman Gallery and the Carmel Valley Art Gallery. She also taught at the Salinas Evening and Summer Schools in Monterey County. Marianetti also switched from egg tempera to pastel permanently, although it is unclear if this switch was brought on by the end of an art era or by Marianetti’s new California lifestyle.
After Everett Marshall died in 1965, Marianetti moved back to Rhode Island to live with her sister. At the young age of 52, Marianetti retired from art and lived out the rest of her days with her family, no longer keeping in contact with the art community. Like much of Marianetti’s life, there is no clear reason for why she stopped painting when she did. Her professional passion and ambition may have been put aside after falling in love with Everett or perhaps she did not wish to switch to the newer ideals and styles of the future of art. No matter, Marianetti accomplished a great deal in the short amount of time that she was recognized as an artist with a multitude of exhibitions and critiques to show for her great talent. Even after her death, the praise and shows continue to display her great talent as an artist of the mid-20th century.
Tagged in: Attic Sale