Titian (Tiziano Vecellio) (Italian, ca. 1485/90?–1576). Venus and Adonis. The Metropolitan Museum of Art, New York. The Jules Bache Collection, 1949 (49.7.16)
Portrait of the Ballerina Natalie Krassovska (1934). Savely Sorine (Russian, 1878-1953). Watercolour, heightened with white, coloured crayons and pencil on paper, laid on canvas. Krassovska joined the Ballet Russe de Paris in 1935 and René Blum’s Ballet Russe de Monte Carlo in 1936. In 1938, she became a member of the Massine-Denham Ballet Russe de Monte Carlo. During her time with the troupe, Krassovska worked closely with Mikhail Fokine who coached her for roles in Les Sylphides and…
Summer Reading (1919). Frederick Frieseke (American, 1874-1939). Oil on canvas. Frieseke’s high-keyed palette and the thick impasto of his short brushstrokes are masterfully executed in this work. Through deft handling of steady yet broken brushstrokes, Summer Reading becomes a brilliant visual display of color and light. This sophisticated handling of paint combined with a jewel-like palette emphasizes Frieseke’s effect of a sun-filled day.
A Modern Hero. Louis Bromfield. New York: Frederick A. Stokes, 1932. First edition. Original dust jacket; art by F. S. Johst. Pierre is a young and handsome circus rider whose mother has long tolerated his amorous adventures but becomes genuinely concerned when he actually falls in love. She reveals to him that he’s the son of a wealthy man, whom she could not marry because of the circus life. But Pierre uses this knowledge as a springboard to wealth and fame himself.
Night Falls on Siva’s Hill. Edward Thompson. New York: Dial Press, Lincoln Mac Veagh, 1929. First edition. Original dust jacket; art by Gerome Brush. “It concentrates on one of the key issues important to Briton’s in India at that time - social standing and acceptability in ‘proper’ society. The father figure himself had been forced to give up his own promising military career when he married what was regarded as an unsuitable woman.” – British Library
The Etude, April 1906. Cover art by Ada Brooke Drake (1874-1951). Woman playing religious music on the harp. “Bring up one set of musically gifted boys…on plantation melodies for a Cantus Firmus, and we will soon have a symphony which shall not be called American by its author, but which the public will spontaneously and enthusiastically acclaim as an ‘American Symphony.’ “ – Mr. Constantin von Sternberg
The Evil Men Do. Cortland Fitzsimmons. New York: Frederick A. Stokes, 1941. First edition. Original dust jacket; art by Martinot. “A smart antique shop is but a cover for notorious but elegant gambling rooms in the rear. Martinique, cold-blooded and ruthless, is the owner; his manager and his fish-eyed secretary are as unsavory as he. But Martinique makes a mistake when he draws into a diabolical plot a lovely young girl and her fiancé.”
The Violet Flame: Story of Armageddon and After. Fred T. Jane. Chicago, Laird & Lee, 1899. “This is a strange and weird tale of a general upheaval about to take place, and culminating in the destruction of the whole human race, except the hero and heroine, who are left behind to start anew the story of Adam and Eve. In spite of the dramatic ending, the book is full of modern lite and humor, and the interest centers in the city of London, in the first years of the coming century…”
Dancers (c.1910-1911). Duncan Grant (British, 1885-1978). Oil paint on wood. Tate. Grant was a leading figure in the Bloomsbury Group. In 1909 he visited the Paris studio of Matisse, whose Dancers may have partly inspired this painting. The vibrant colours and dynamic forms also reflect the influence of Gauguin, Cézanne and van Gogh.