Saturday, December 17, 2011

Print Fair Follow-Up -- Peggy Bacon Featured

This year at the New York Print Fair we featured a collection under the Peggy Bacon & Circle banner.  On November 4 Andrew Raftery put our Bacons among The Top Ten Prints at the IFPDA in his Art in America blog article. Referring to the Bacons, both titled Alone in a Crowd, 1951, he wrote that “Teller has mounted a focused show based on two prints by the satirist Peggy Bacon....Bacon’s satire is poignant and effect and witty.”

Raftery noted the related pieces by her "New York peers in social satire" including Isabel Bishop, Minna Citron, Reginald Marsh, and Marguerite Zorach.

Monday, November 28, 2011

Bertrand Goldberg show at the Art Institute of Chicago

 Bertrand Goldberg: Architecture of Invention is on view at the Art Institute through January 15, 2012.

A Chicago native, Goldberg is known for the Marina City, Raymond Hilliard Homes, and River City projects. As both an engineer and architect, Bauhaus-trained Goldberg envisioned re-invigorated downtowns with multi-use buildings. He created urban communities utilizing industrially innovative concepts such as prefabricated modules and cantilevered construction. The Astor Tower of the early 1960s is contemporary to Marina City.

Goldberg also designed private homes, furniture, refrigerated railroad cars, and a mobile Fumigation Unit for the military.  

Saturday, November 12, 2011

New York Times Review of Anne Ryan Show


On VIEW  THROUGH Saturday, NOVEMBER 19, 2011

In The New York Times review of November 4, 2011, Roberta Smith wrote:
(Ryan’s) subjects include bathers, reclining nudes, still lifes and juggling clowns. Most are implicitly nocturnal, which is especially effective in stark images of apartment buildings and in two examples of “The Argument.” Here two scrawled figures confront each other against a cragged, gray background that, suggesting an urban wall, recasts them as giant graffiti. These are physically obstreperous works, shot through with unsettling emotions.

              Anne Ryan, The Argument, 1946, black-line woodcut

Link to entire article:

The entire show may be seen under Exhibitions at:


Saturday, October 29, 2011


Anne Ryan: The Black-Line Woodcut exhibition will be on view from October 19 through November 19, 2011.

Ryan  (1889-1954) made woodcuts for three or four years stating in 1945. Starting in 1941 she studied printmaking with Stanley William Hayter at the New York home of Atelier 17, under the auspices of The New School. She learned woodcut techniques from Louis Schanker, who also taught at the New School. 

Capricioso, 1946/47
The white--line woodcut technique, as developed by B.J.O. Nordfeldt, in Provincetown, Massachusetts, during the First World War, simplified the printing of color relief prints. An image was drawn on a piece of soft pine and these lines were then cut away, making grooves. The primary advantage was that these lines isolated different colors and made it possible to place several inks on the block at once without the wet inks touching. This drastically reduced the number of blocks needed to make an image, sometimes to even a single one. Ryan used her fingers as well as more traditional rollers to apply ink or oil paint onto the matrix. The damped paper could be attached or folded under the block to ensure registration of colors.

Ryan was a master at layering inks and transferring the ink to the paper by hand rubbing; each impression is essentially a monoprint. Further, she used black paper that changed the white line of the Provincetown prints to black. In the finished images these read as drawn lines and also outlined shapes and areas. Where the paper showed through the pigments it added an additional richness to the color. The black sheets themselves were originally used to wrap photographic papers in stacks of 10 x 8 x 1 inches. Ryan ironed and sometimes patched them. The creases form lines of their own and are intrinsic to a particular impression.

In the catalogue for the exhibition A Spectrum of Innovation, Color Printing in America 1890-1960, David Acton wrote that in printing on black paper Ryan’s “Colors achieved a saturation and luminosity quite different from those caused by white papers. In Ryan’s prints, the black ground read through the thin layers of ink, and an organic mottled texture was effectively achieved. This extraordinary luminosity and the softness and subtlety of hue are what distinguish these woodcuts.”

Although a few prints are totally abstract, Ryan explored a full repertoire of themes in woodcut, while similar compositions might reveal vases on a table, women under a proscenium arch or on a beach, or boulders on a gently curving planet. Within a single subject space and light changed from one impression to another.

       Ryan began painting in 1938 when she was nearly fifty.
Within an abbreviated career, from 1939 to 1953, she made paintings, drawings, collages, plaster pieces, and prints. Her first one-woman painting show was at the Pinacotheca Gallery, NY, in 1941. She lived in Greenwich Village; the artists Giorgio Cavallon, Hans Hofmann, Barnet Newman, Jackson Pollock, and Tony Smith, were among her friends. The Prismatic Eye: Collages by Anne Ryan, 1948-1954, was shown at the Metropolitan Museum of Art in 2010

Link to site to view exhibition:

Saturday, September 24, 2011

Steel & Roses at Grolier Club

September 8 through November 4, 2011, The Grolier Club will be featuring an unusual joint exhibition: Steel & Roses.  Roses: Botanical Books section refers to the eighteenth and nineteenth century volumes collected by Fern Cohen. Steel refers to mid-twentieth century American prints collected by her husband, Hersh Cohen.  Among works in Steel are etchings or lithographs by PEGGY BACON, FRED BECKER, ABE BLASHKO, BERNARDA BRYSON SHAHN, RIVA HELFOND, ALBERT POTTER, WILLIAM E. SMITH, HARRY STERNBERG, and LYND WARD. 

Harry Sternberg, Drilling a Breast, 1937, lithograph, 15 x 21
The Grolier Club is located at 47 East 60th Street, NYC.

Sunday, September 18, 2011

2011’s Summer of Drama

Thursday, September 15
Judith Shahn, Early Work, New York City • Cape Cod • Mexico opened at Gallery.  Fall is around the corner.

Judith Shahn, Back View, Greenwich Village, NYC, 1948
Sunday, September 11
Ten Years.  The 2753 empty chairs facing South at Bryant Park were as moving as ever.

Friday, September 9
Prince Street/N&RHenge. Around 9 AM, actual sunlight falls onto the floor of the Prince Street station, south-bound. This rare event occurs three or four days in the spring and then late summer, providing they are sunny days, of course.

Friday, September 2
 A B-24 World War II plane, the last one fully restored and still operational, flew over us.

Saturday, August 27
North-East Corner of Broadway and Prince, Sunday Morning
Hurricane Irene hit. Subway and busses were shut down! There was extensive damage in NJ, NY State, and New England. New York City was spared the worst. Just in case, we spent the night – first time ever – in the gallery.

Tuesday, August 23
A 5.8 magnitude earthquake hit the East Coast. The Gallery rattled but came through without injury.

Monday, August 15
Trip to Philip Johnson Glass House – heavy rain let up late in visit.

Sunday, August 14
NYC broke an all-time record for one day’s rainfall with as much as 8 inches in some areas.

Friday, August 5
In his glowing review of the Peggy Bacon & Her Circle show, Holland Cotter wrote in The Times that Bacon and “All of the colleagues in the circle traced here are now gone, though shows like this ensure that their link with history, however slender, will not be broken.” Thank you Holland.

Friday, July 22
Temperature hit 104 degrees in Central Park making it one of the five hottest NYC days ever.
Thursday, July 14
Manhattanhenge. The sun setting on Fourteenth Street was spectacular. Fortunately it was two days because we missed in on the 13th.

Wednesday, June 29
The US Postal Service officially debuted their Pioneers of American Industrial Design stamp pane at the Cooper-Hewitt National Design Museum. The Dave Chapman -- Industrial Sewing Machines was our favorite. Chapman was the father of Associated American Artists’ colleague Carol Evans.

Monday, September 5, 2011

Whitney's Breaking Ground on view through September 18

The Whitney’s Breaking Ground show closes September 18.

It is such a stunner -- everything looks wonderful.  The Edward Laning 1931 painting of 14th Street is an entire universe.  The Alexander Brook and the Isabel Bishop are just beautiful. (Bishop modern before she was consciously modern). Peggy Bacon, 

Arthur B. Davies, Ernest Fiene, Katherine Schmidt, Arthur B. Davies, Yasuo Kuniyoshi, Georgina Klitgaard  (Mrs. Kai Klitgaard), Katherine Schmidt, Marguerite Zorach, and Max Weber, are just a few of the others in the show.

Peggy Bacon, Going Fishing, 1953

Sunday, August 7, 2011

New York Times Review of Bacon & Circle Show

In the New York Times review of the Peggy Bacon & Her Circle show August 5, 2011, Holland Cotter wrote about the “distinctly geeky male students lurking in the background” of Bacon’s 1918 drypoint, Lunch at the League, with Dorothy Varian and Doris Rosenthal.

                              Peggy Bacon, Lunch at the League, 1918
He also noted that George Bellows, Kenneth Hayes Miller, and John Sloan, teachers at the League, are represented in the show along with Isabel Bishop, Minna Citron (he called her depiction of childbirth a kind of “Titian-esque allegory”)
and Alexander Brook (with a portrait of Rosalie Hook – the photographer and wife of Robert Gwathmey).
In conclusion Cotter wrote, “All of the colleagues in the circle traced here are now gone, though shows like this ensure that their link with history, however slender, will not be broken.”  

We are thrilled, of course.

The show is on through August 18, 2011.
Link for site:

Sunday, July 24, 2011

Peggy Bacon & Her Circle


 Peggy Bacon, Close Quarters, 1932, (shipboard cabin, Bacon is at sink)

Peggy Bacon & Her Circle is on view at the Susan Teller Gallery from July 13 through August 18, 2011. There are paintings and works on paper from 1919 to 1952.

Bacon attended the Art Students League from 1917 to 1920. It was there she met Alexander Brook; they were married from 1920 to 1940. She studied with George Bellows, Kenneth Hayes Miller, and John Sloan. Bacon taught at the League in 1935-36 and from 1948 to 1952.

For most of her career Bacon lived in the East Village or Greenwich Village neighborhoods of New York City. She spent extended periods in Woodstock, NY, Cape Cod, Massachusetts, and the coastal region of Maine, to which she moved in 1961. Many of her fellow students and neighbors became close colleagues, including Isabel Bishop, Minna Citron, Wanda Gag, Kai Klitgaard, Yasuo Kuniyoshi and his wife Katherine Schmidt, Reginald Marsh, Raphael Soyer, Dorothy Varian, and Marguerite Zorach.

 Kai Klitgaard, Abstract Tondo (or Monster in Tondo), 1930, ink drawing, 3 inches in diameter.
Bacon's book of caricatures, Off with Their Heads, was published in 1934.

Sunday, July 3, 2011


Carol Evans at the debut of Dave Chapman's stamp by the USPS.
On Wednesday, June 29, 2011, the US Postal Service officially debuted their Pioneers of American Industrial Design stamp pane at the Cooper-Hewitt National Design Museum.

The ceremony started off with the Presentation of Colors by the High School of Graphic Communication Art Navy Junior ROTC and the singing of the National Anthem. Bill Moggridge, Director of the Cooper-Hewitt and inventor of the laptop computer, 1979, welcomed the audience and Jessica Helfand, Design Subcommittee Chair of the Citizen’s Stamp Advisory Committee said “It was a great day for design and designers.”

Of course, our favorite was the stamp featuring two sewing machines in streamlined elegance. They were designed by Dave Chapman (1909-1978) for the White Sewing Machine Company of Cleveland, in 1949. Chapman began his career at  Montgomery Ward and Company, and in1935 founded Dave Chapman Industrial Design. He was a president of the Society of Industrial Designers, a recipient of the Design Award Medal given by the Industrial Designers Institute, and a fellow of the International Institute of Arts and Letters. His papers are at Syracuse University.

Most importantly, to us, Chapman is also the father of our friend and years-ago Associated American Artists’ colleague Carol Evans.

The stamp pane features twelve designers.  There’s only one woman, Greta von Nessen, but it’s a wonderful group including Frederick Hurten Rhead who developed Fiesta Dinnerare, as well as Norman Bel Geddes, Henry Dreyfuss, Raymond Loewy, and Russel Wright.

These are forever stamps with short histories printed on the reverse, the peel off backs.

Sunday, June 19, 2011


Work by Judth Shahn is now in the Gallery.

             Judith Shahn, Beach Cabins (Cape Cod), about 1950.

The exhibition Judith Shahn, Early Work, 1948 to 1955, New York City, Cape Cod, Mexico, will be on view September 15 through October 8, 2011.

Sunday, June 12, 2011


John Storrs: Machine-Age Modernist, is on view at the Grey Art Gallery of New York University, through July 9, 2011. There is a wonderful range of sculpture -- from cubist but still clearly figurative to stripped down, architectural-motif slices of stone. Of the drawings, several relate to commissions. As we were reminded in March, no visit to Chicago is complete without a sighting of Storr's Ceres, 1929, at the top of the Chicago Board of Trade Building.
John Storrs, Figure Reclining Under a Tree, 1918-20

Figure Reclining Under a Tree, 1918-20, is an unpublished illustration for Walt Whitman’s Song of Myself. A wood engraving, 6 x 6, this subject was in the major retrospective, John Storrs, Whitney Museum of American Art, 1986/87. 
Grey is also showing Art/Memory/Place: Commemorating the Triangle Shirtwaist Factory Fire.

Wednesday, May 25, 2011

Djuna Barnes shows up in Midnight in Paris

Peggy Bacon would have been so pleased to see her pal Djuna Barnes featured in Woody Allen’s Midnight in Paris. Now showing, the film opened May 11 in Cannes, of course.  Barnes (1892-1982), the American modernist writer, was part of Bacon’s Greenwich Village crowd, and figures in Bacon’s Off with Their Heads, published in 1934.

This drawing of Barnes was in our April show of Bacon's Drawings and Prints.


May 25 is the last day of



Dorothy Browdy Kushner (1909-2000) and Robert  Kushner (born 1949), mother and son: Paintings, fabric pieces, and drawings, from the 1930s to the 1970s for Dorothy and from the 1970s to 2000 for Robert.

The entire show may be seen under Exhibitions at WWW.SUSANTELLERGALLERY.COM

                          Gallery East Wall, May, 2011


Thursday, April 21, 2011

Peggy Bacon: Drawings and Prints, 1915 to 1976, through Saturday, April 30

On view this weekend through next, the Peggy Bacon show runs through Saturday, April 30.  From crowd scenes to relaxing felines, no one does it like she does!

For My Dear, 1950, embroidery
Artist, draftsman, caricaturist, author, teacher, and maker of embroidered love letters, Bacon played a key role in twentieth century American art history. She hit the New York hot spots of Greenwich Village, The Art Students League (where she studied with John Sloan, George Bellows, and Kenneth Hayes Miller, and met Alexander Brook, her husband from 1920 to 1940), and Union Square. She worked in the artists’ colony of Woodstock, NY, in Wellfleet, Cape Cod, and in Washington, DC, portraying statesmen for Fortune Magazine. She could be witty and clever, but was always charming and gracious.

The entire show may be viewed under Exhibitions or Current at WWW.SUSANTELLERGALLERY.COM

Friday, April 15, 2011

Peggy Bacon: Drawings and Prints, 1915 to 1976, through April 30

               Peggy Bacon, The Pet (Of Course, They All Wanted the Cat), 1919

In one of the earliest works in the show, Votes for Women, 1915, Bacon places her feminist on a platform labeled Babbit’s Lye, standing her on an authentic soapbox.  Women as bathing ”Beauties of Nature,” 1942, morph into Mexican matrons in shawls in the 1976 -- sixty years of applying a sharp eye to her surroundings.

Bacon studied at the New York School of Applied Design for Women in 1913 and at the Art Students League in with George Bellows, John Sloan, and Kenneth Hayes Miller from 1915 to 1920. Although based in New York City she spent extended periods in Woodstock, NY, and Wellfleet, Cape Cod, Massachusetts. Over the years her prints and drawings ranged from charming to shrewd to caustic.

In the brochure for the exhibition, Between the Wars, Women Artists of the Whitney Studio Club and Museum, 1997, curator David W. Kiehl wrote “Peggy Bacon… ranks… among the greatest American delineator of human personality of the period.”

Bacon contributed to Vanity Fair, the New Masses, and The New Yorker, and illustrated more than 60 books, many her own and many for children. She was awarded a Guggenheim Fellowship in Fine Arts in 1934. Her work is in permanent collections throughout the country.

Additional highlights of the show are the drypoints, Hard of Hearing, 1933, that appeared in the New York Worlds’ Fair, 1939, and an artist’s proof of Aesthetic Pleasure, 1936, with extensive annotations in the artist’s hand.

                                   Peggy Bacon, Hard of Hearing, 1933
The entire show may be viewed under Exhibitions or Current at WWW.SUSANTELLERGALLERY.COM

Thursday, March 17, 2011

The Chicago Print and Drawing Fair

Peggy Bacon, Votes for Women, 1915
The Chicago Print and Drawing Fair is currently on view in the Yates Gallery of the Chicago Cultural Center, March 17 through March 20, 2011. Fourteen dealers are showing, all International Fine Print Dealers Association members. At this fair we are featuring works by women: Peggy Bacon (in advance of our April show), Riva Helfond, Anne Ryan, and Marguerite Zorach. Will Barnet, James Daugherty, Howard Daum, Peter Grippe, and Hugh Mesibov, round out the group.

Thursday, February 17, 2011

Absolute Abstraction

James Daugherty, Synchromist Compositon, 1972, 6 x 12 inches
Absolute Abstraction is now on view through March 12, 2011. Paintings, sculpture, and works on paper include Josef Albers’ classic lithograph, Prefatio, 1942, Hugh Mesibov’s enormous oil, Spontaneous Landscape, 1957, and James Daugherty’s pastel, Synchromist Compostion, 1972. Also represented are Fred Becker, Charles Burchfield, Hans Burkhardt, Edmond Casarella, Minna Citron, Worden Day, Howard Daum, Dorothy Dehner, Sue Fuller, Peter Grippe, Riva Helfond, Fannie Hillsmith, Dorothy Browdy Kushner, George Morrison, Jean Morrison Becker, Bernard Rosenquit, Anne Ryan, Louis Schanker, Fred Shane, Mitchell Siporin, Howard Thomas, and Ansei Uchima.

Monday, January 24, 2011

Los Angeles Art Show, 2011

The LA Art Show ended yesterday. The fair and the weather were beautiful. There was a giant sign on the Convention Center and it was 70-ish, sunny, calm – just terrific.
      We showed paintings from Hugh Mesibov’s surrealist period, The Wartime Shipyard, 1942-45, and works by Missourians-turned-Californians, Dorothy Browdy Kushner and Fred Shane. The  California theme was continued by natives Fred Becker, Claire Mahl Moore, Pele deLappe, and Ansei Uchima.
      Not to be out-done, New York City was represented by Will Barnet, Peggy Bacon, James Daugherty, Peter Grippe, Bernard Rosenquit, Anne Ryan, Louis Schanker, and Harry Sternberg.

James Daugherty, New York from Fort Lee, 1921