Charles Sheeler

LOT 23 CHARLES SHEELER 1883-1965 'CHARTRES CATHEDRAL' warm-toned, The Museum of Modern Art 1939 'Charles Sheeler Retrospective Exhibition' stamp and typed credit label reading 'Chartres Cathedral, 1929, original photograph by Charles Sheeler, Lent by the artist' on the reverse, framed, 1929, printed no later than 1939 (Stebbins and Keyes, pl. 68) 9 5/8 by 7 5/8 in. (24.4 by 19.4 cm.)

CHARLES SHEELER (1883-1965) Side of White Barn, Bucks County, 1917 gelatin silver print credit and title 'Buck [sic] County Barn' in pencil (on the accompanying original secondary mount) image: 7 5/8 x 9 5/8in. (19.3 x 24.5cm.) sheet/flush-mount: 8 x 9 7/8in. (20.3 x 25cm.) secondary mount: 16¼ x 13¾in. (40.5 x 35cm.) One of the most noteworthy productions in the history of photography. [Sheeler] has been enamored of barns for years...and succeeds because of a passionate insistence on composition. Henry McBride Millard, 'Charles Sheeler: American Photographer', Contemporary Photographer, Vol. VI, No. 1, 1967, n.p.; Stebbins and Keyes, Charles Sheeler: The Photographs, Museum of Fine Arts, Boston, 1987, pl. 21 (variant cropping); Lucic, Charles Sheeler in Doylestown: American Modernism and the Pennsylvania Tradition, Allentown Art Museum/University of Washington Press, 1997, pl. 27, p. 76; Stebbins, Mora and Haas, The Photography of Charles Sheeler, American Modernist, Bulfinch Press, 2002, p. 27 (variant cropping) Perhaps best-known for his Precisionist canvases of industrial complexes and factory buildings, Charles Sheeler's photographs were extremely important in the development of modernism. This image is a masterpiece, taken during the period when Sheeler was photographing barns in Bucks County, Pennsylvania, near the Doylestown farmhouse he shared with his close friend Morton Schamberg. The barn wall has been flattened and simplified to create an elegant abstraction, here in its purest form. In variant printings of the image, Sheeler left visible more of the shingle roof at the top of the image and the chicken at the bottom. This print is quite exceptional. Sheeler is known to have mounted only his finest prints and this one is accompanied by its original mount.

Close CHARLES SHEELER “It is also within the province of the photographer to seek the same underlying abstract structure and, having found it to his satisfaction, to record it with his camera, with an exactitude not to be achieved through any other medium.” CHARLES SHEELER 21 IMPORTANT PHOTOGRAPHS FROM THE COLLECTION OF DR. ANTHONY TERRANA CHARLES SHEELER Chartres-Flying Buttresses at the Crossing , 1929 Gelatin silver print. 9 3/4 x 7 1/2 in. (24.8 x 19.1 cm) Signed, titled 'Chartres' and dated in pencil on the mount. ESTIMATE $50,000 - 70,000 PROVENANCE From the artist to an intimate of Walker Evans by descent to a private collector By descent to a Private Collection, New England Robert Klein Gallery, Boston LITERATURE Stebbins & Keyes, Charles Sheeler: The Photographs , pl. 67 Contact Specialist Request Condtion Report Recieve Email alerts “It is also within the province of the photographer to seek the same underlying abstract structure and, having found it to his satisfaction, to record it with his camera, with an exactitude not to be achieved through any other medium.” CHARLES SHEELER View catalogue Purchase catalogue Annual subscriptions

LOT 30 PROPERTY OF A PALM BEACH COLLECTOR CHARLES SHEELER 1883 - 1965 CALIFORNIA signed Sheeler and dated 1957 (lower right); inscribed Charles Sheeler and dated 1957 on a piece of the original stretcher affixed to the stretcher; also inscribed Charles Sheeler and dated 1957 on a piece of board affixed to the reverse oil on canvas 26 1/2 by 26 1/2 inches (67.3 by 67.3 cm)

Charles Sheeler (1883-1965) Architectural Cadence (G. 6), 1954 Screenprint in colors on wove paper, signed in pencil, dated and numbered 100/74, published/printed by Art Galleries, UC: Los Angeles/Floriano Vecchi at Tiber Press, New York, with margins, framed. 6 1/8 x 8 5/8in sheet 7 3/4 x 10in