Saturday, December 7, 2013

Report from RED DOT ART FAIR, Miami -- following upgrade to Booth B -- 116

We're in Miami, Booth B -- 116, Red Dot Art Fair

Susan Teller Gallery, Booth B -- 116
Through tomorrow, Sunday, December 8, the Susan Teller Gallery is participating in Art Basel week in Miami, showing at Red Dot in the Wynwood Art District.  

William Baziotes, Young Clown, 1943-46

We are featuring American Modernist works by William Baziotes, Theodore Haupt, Alice Trumbull Mason, Hugh Mesibov, Angelo Pinto, Bernard Rosenquit, Anne Ryan, Louis Schanker, and Judith Shahn.

Miami Sunset During Red Dot Set Up

Wednesday, December 4, 2013

Report from Flint, Michigan


The Flint Institute of Arts Fifth Annual Print Fair was November 22-24, 2013. There was a steady stream of visitors throughout Saturday and Sunday, both novice and experienced collectors. In particular there was interest in the works of Bernard Rosenquit and Anne Ryan.

     The Flint Institute of Arts (Michigan) is located in the Cultural Center, near The Whiting, a performing arts theatre, the Longway Planetarium, the Flint Youth Theatre, the Flint Institute of Music, and the Buick Automotive Gallery.

     The Cultural Center is anchored at the north-east of Kearsley Street by Applewood, a gentleman’s farm, built for Charles Stewart Mott in 1916. The orchards include 26 varieties of apples. Mott, from Newark, NJ, was born into a bicycle-wheel making family that merged with the Buick Motor Company; Mott was an original partner in the General Motors Corporation.

     At the south-west end is the 1885 Whaley House, 624 East Kearsley Street, designed by Detroit architect George Watkins; it is the only Gilded Age house in the Cultural Center area.

Wednesday, November 13, 2013

NY Print Fair Review

--> This year's NY IFPDA Print Fair at the Park Avenue Armory ended Sunday evening, November 10.  We are still unpacking, but with an eye to shipping to Flint and then Miami for Red Dot.
It was a beautiful fair, extremely well attended from opening bell to closing.  

Alice Trumbull Mason, Lip's Edge, 1950

The Alice Trumbull Mason and Women of the Atelier 17 installation attracted lots of attention.  The centerpiece was Mason's Lip's Edge, 1950, which looked more modern than some of the contemporary pieces in the room.  Surface Tension was another favorite.  Intaglios by Minna Citron, Dorothy Dehner, Sue Fuller (including her seven piece Lancelot and Guinevere, and Concerto, Proof Set with Collage), and Fannie Hillsmith, rounded out Mason's Atelier 17 colleagues.

Our Cities Shift collection featuring Michael J, Gallagher, Hugh Mesibov, and Angelo Pinto, was opposite the American Modernism wall with works by William Baziotes, Edmond Casarella, Peter Grippe, Franz Kline, Dorothy Browdy Kushner, Louis Lozowick, Anne Ryan, Louis Schanker, and Ansei Uchima.

Sunday, October 13, 2013

Six Degrees of Peggy Bacon at The Art Students League

The exhibition Six Degrees of Peggy Bacon is on view at The Art Students League, NYC, through November 1.  It was organized with the Archives of American Art, Smithsonian Institution.

Drawings, prints, letters, sketchbooks, photographs, and memorabilia trace connections that wonder through the art world and beyond, as far as Eleanor Roosevelt and Albert Einstein. Three works by Bacon are on loan from us, including the drypoint Clams and Clodhoppers, 1933.

Peggy Bacon, Clams and Clodhoppers, 1933

Peggy Bacon, Djuna Barnes, about 1945
Included are Bacon’s friends such as artist-colleagues Louis Bouché, Arthur B. Davies, Philip Evergood, Reginald Marsh, Kenneth Hayes Miller, Katherine Schmidt, Max Weber, and Marguerite Zorach, as well as the writers Djuna Barnes and Frank O’Hara.

Franz Kline, Poem (by Frank O'Hara), 1957

Tuesday, October 1, 2013

At MoMA, American Modern

Museum of Modern Art, NYC
American Modern: Hopper to O’Keeffe
August 17, 2013, through January 26, 2014

Ben Shahn, Head of a Welder, 1940

With work from 1915 to 1950 the show is arranged thematically featuring artists “who expressed compelling emotional and visual tendencies of the time.” The show is tame and calm, too calm for some perhaps, but still it was great to see work by Louis Lozowick and Ben Shahn, as well as the dreamy images of Charles Burchfield and outlandish Paul Cadmus Greenwich Village Cafeteria, 1936. Literally  --  it was outside the doors going into the show and therefore unable to participate in the museum’s goal of “contextualizing” the works.
Paul Cadmus, Waiting for the Rehearsal, 1094


Tuesday, August 13, 2013




Tuesday through Saturday, 11 AM to 5 PM
William Baziotes, Abstraction, 1943

Link to view exhibition:

Judith Shahn, White Pitcher, 1940


Mary Sinclair, View from My Studio Window, 1951

Sunday, July 21, 2013

ArtHamptons, 2013

July 11-14, 2013

ArtHamptons, Bridgehampton, NY
The site, the tent, the fair, and our booth and location were all just great.

We featured the perfect East End piece: Franz Kline’s Poem, 1957. Made for the 21 Etchings and Poems portfolio, published by the Morris Gallery, the poem is by Frank O’Hara. An intaglio with photo-etch and aquatint, 8 ½ x 20 inches, it is signed by Peter Grippe, who made the plate, printed this impression, and was the organizer of the project in his role as director of Atelier 17.
Franz Kline, Poem, 1957
The Kline image is based on an untitled collage known as “Study for Elizabeth,” Kline’s wife, whose mental health was deteriorating in this period.

David Acton, The Stamp of Impulse, number 47, pages 140-141.

William Baziotes, Howling Creature, 1936-39

Inside, in the ArtHamptons tent we drew the American Modernist theme with an installation of William Baziotes 1930s surrealist drawings and a pictograph painting from the mid-1940s, as well as works by Theodore Haupt, Axel Horn, Louis Lozowick, Hugh Mesibov, Anne Ryan, and Louis Schanker. 

Outside, the horses are grazed and kept an eye open for errant fair-goers. The fields seemed endless. Some were given over to parking and on Saturday there were polo matches and then rain, which sounded wonderful inside the tent.

ArtHamptons Entrance at Night

Sunday, June 2, 2013

San Francisco Report

The artMRKT San Francisco fair, May 16th through 19th, was wonderful.  

Of course, it’s hard to beat a pier in that sticks hundreds of feet into the harbor – a site that comes equipped with sea lions (actually lounging, playing, roaring, near pier 39), sailboats of all ages, sunsets, and unbelievable views of the Golden Gate.

William Baziotes, Young Clown, 1944-4

The fair was extremely well attended throughout and we were on our toes the entire weekend. 

Special highlights for us in booth 125 were two William Baziotes pictograph-era (mid-1940s) paintings. These made a great instgallation with the full wall of his surrealist drawings from the ‘30s. There was also interest in work Theodore Haupt Three Graces, Hugh Mesibov, and Anne Ryan.


Sunday, April 14, 2013

Families/Cities SHIFT Now on View

In conjunction with the Ideas City Festival, sponsored by the New Museum.

Angelo Pinto, Hand with 
Skyscraper, (30 Rockefeller 
Center, NYC), 1946
This exhibition concerns nine 
artists from two families, the 
Gallagher-Leeches and the 
Pintos, whose histories converge 
over the decades, from the New 
Deal Era through today. Both 
began in Philadelphia, 
summered in New Jersey, and 
made the transition to New York. Besides the geographical parallels, 
the families support one another in 
the extreme, the artists all work collaboratively, and they teach 
or publish or build.

Michael J. Gallagher, New York  from
Brooklyn Heights, 1932
 Michael J. Gallagher, a contributor to magazines such as The New Yorker, was director of Philadelphia WPA’s Printmaking Workshop. His wife, Katharine McCollum, was the city’s Puppet Master. Their daughter, the painter Louise Leech, was the mother of Kitty, a costume and children’s book designer, and Gwyneth, a painter and video artist. Kitty and Gwyneth, moved to New York, in 1980 and 1999, respectively.

Angelo Pinto was a painter and printmaker.  He taught at the Barnes until 1992. In 1935 he started a photography studio in New York but stayed on at the Barnes Foundation in Merion, Pennsylvania, as teacher and photographer. His daughters are Jody, an environmental artist, and Anna, a draughtsman and calligrapher. A life-long New Yorker, Jody attended the Pennsylvania Academy where she now teaches. 

Anna Pinto, Beach Glass, 2000
Highlights from the Gallagher-Leeches include extremely rare New Deal-era carborundum prints of industrial subjects by Michael Gallagher and elegantly refined children’s book illustrations by Katharine. The costume sketch below.

Kitty Leech, Three Men, 2008
Three Male Dancers from Imprints on a Landscape, The Mining Project, 2008. In the dance, choreographed by the artist’s aunt, Martha Whitman, the men are the printmakers at her grandfather’s Philadelphia WPA Printmaking Workshop: from left to right, Hugh Mesibov, Gallagher, and Dox Thrash.

Gwyneth Leech, Ecuador/New York

Gwyneth’s installation Ecuador/New York, A Dream of Home, 2010-12, made from 55 used and painted paper coffee cups is shown her. Her painting, Directions of Flow, 2009, based on a flight over the new Jersey Meadowlands, is at the right.

From the Pinto family there are Angelo’s photographs, wood engravings, reverse paintings on glass of Long Beach Island, New Jersey, and a portrait of Jody, as well as an enormous preparatory drawing for Jody’s nine-ton Fingerspan Bridge of 1987 in Philadelphia’s Fairmount Park, and Anna’s Alphabet, 1994, a tour-de-force of delicacy. 

Jody Pinto, Fingerspan Bridge,1987

Sunday, March 17, 2013

San Antonio Review, March 2013

The 2013 McNay Art Museum Fair was early this year, March 2 and 3. It was in the high 60s or low 70s everyday and just beautiful.

Ours was the booth between the entrance doors. In particular there was interest in work by William Baziotes, Peggy Bacon, Franz Kline, Angelo Pinto, Anne Ryan, Louis Schanker, and Helen A. Strojny. The fair is located just across the hall from the mid-century American room -- we could practically see Baziotes’ White Bird of 1950, from our booth.
William Baziotes, White Bird, 1950, at the McNay Art Museum

With a few hours to play tourist we visited the site of the nineteenth-century Pearl Brewing Company. Currently developed as a multi-use residential community, the clear standout is the 1894 circular stable, now a banquet hall. (Of course, I’m also crazy about the Hancock Shaker Village, Massachusetts, round barn from 1826. However, the Hancock barn was for cows and was drastically more intricate.)

Horse Stable, 1894, at the Peal Brewing Site, San Antonio

On a drive south of San Antonio we visited The Espada Acequia built by Franciscans and Native Americans in 1731. Water from the aqueduct powered a mill at Espada and irrigated surrounding fields (as it continues to do). In accordance with ancient Spanish law excess water was returned to the creek.

It was mountain laurel (sophora secundiflora) season. A tall-growing scrub related to the pea family, its violet-colored flowers smell like grape soda. Once identified, it’s found everywhere and is always stunning.

Mountain Laurel at the McNay Art Museum, 3-3-13

At the San Antonio International Airport for our return trip we encountered the newly installed Suitcase Wheel by The Art Guys. Made of 75 vintage Samsonite cases, it is sixteen feet across.

In the departure lounge we found rows of seats with cup holders and windows that were part of Gateways, Four Directions, by Rolando Briseno, installed in 2010. Naturally, the McNay window was our favorite.

Saturday, February 16, 2013


On view through Saturday, February 23, 2013.



Riva Helfond, Highlands Train Station (NJ), 1938


Fannie Hillsmith, Lilac Room, 1957-58

Angelo Pinto, Harem, 1936

Fred Shane, Quandary, 1974



William Baziotes, Figure with Mirror, 1936-39



Friday, January 25, 2013

LA ART SHOW now open


Now in the South Hall, the Los Angles Art Show opened with a bang and runs through Sunday, January 27. The reception party was packed and yesterday was filled with old friends.  The William Baziotes wall continued to capture the attention and there was interest in work by Theodore Haupt, Angelo Pinto, Doris Rosenthal, and Anne Ryan.

This is the first time in the South Hall.

William Baziotes Wall

Susan Teller Gallery, Booth 1105

Beautifully lit columns at back of South Hall