Louis George Bouche (Am. 1896-1969), signed lower right, Kraushaar Galleries, New York label on stretcher. Sight size: 13 3/4" high, 16 1/2" wide. Frame size: 22 1/2" high, 25 1/2" wide. Property from a New Jersey Private Collection.
Lot of 3 prints: Benjamin D. Kopman, (1887-1965), Louis George Bouche (1896 - 1969), Jonah Kinigstein (b. 1923) Benjamin D. Kopman, (1887-1965), Batness, lithograph. Pencil signed and dated lower right. Titled and numbered 20/40 lower left. Louis George Bouche (1896 - 1969) still life, 1920 woodcut Pencil signed and dated lower right. Jonah Kinigstein (b. 1923) Rabbi and Torah lithograph Pencil signed lower right. Edition 143/300. Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others. Biography for Louis George Bouche from the Archives of askART: A long-time teacher at the Art Students League in New York City, from 1934 to 1969, he was a painter of realistic genre city scenes.He also directed the Belmaison Gallery in New York where he showed work by emerging French and American artists. He was born in New York and studied with Frank DuMond, Richard Miller and Luis Mora at the Art Students League and with Jean Paul Laurens in Paris.Returning to New York, he had a highly successful career depicting life around him.Bouche's father was also a painter. Working with Stanford White, Louis did designs for palatial homes of the Astors and Carnegies and planned the decorations for New York's Hotel Plaza.When the Pennsylvania Railroad wanted an artist to paint murals for its new streamlined club cars a generation later, the choice fell logically on Louis Bouche.Because he enjoyed good cigars, good brandy and told good stories about his famous friends, he was tempermentally suited to decorate a club car. In 1933, he received a Guggenheim Fellowship.For many years he kept a studio on West Tenth Street and also painted murals at Radio City Music Hall, the Justice and Interior Departments in Washington D.C., and the Eisenhower Foundation building in Abilene, Kansas. In 1970, The American Academy of Arts and Letters included his work in a memorial exhibition. Information provided by Jean Ershler Schatz, artist and reseacher from Laguna Woods, California Biography for Jonah Kinigstein from Butler Institute of American Art: Painter; Designer. Education: Cooper Union Art School; Grande Chaumiere in Paris; Belle Arte in Rome; Fulbright Fellow. Holdings: Museum of Modern Art; Albright-Knox Art Gallery; Nelson Gallery of Art; Ain Herod Museum in Tel-Aviv. Exhibits: Young Americans at the Whitney Museum of American Art; National Academy of Arts and Letters; ACA Gallery; Rittenhouse Gallery; Washington Irving Gallery; Pindar Gallery. Awards : Fulbright to Italy; Louis Comfort Tiffany Foundation Award; Perkin-Elmer Prize. Kinigstein was inducted as Academician into the National Academy of Design in 1997.
American, 1896-1969 House Repairs Signed L. BOUCHÉ (ul) Oil on canvas 18 x 14 inches (45.7 x 35.6 cm) Provenance: Kraushaar Galleries, New York (Framed 23 1/2 x 19 1/2 inches)
American, 1896-1969 House Repairs Signed L. BOUCHÉ (ul) Oil on canvas 18 x 14 inches (45.7 x 35.6 cm) Provenance: Kraushaar Galleries, New York (Framed 23 1/2 x 19 1/2 inches)
Louis Bouche (American, 1896-1969). Oil on canvas painting titled "Major Pereira's House" depicting a cottage. Signed along the lower left. With a Krauschaar Galleries label affixed to the verso. Provenance: Kraushaar Galleries, New York, 1977; Collection of Frank J. Indihar, M.D.; Private Minnesota Collection.
Louis Bouche Snow, Fifth Avenue oil on canvas 22.125 h x 16.375 w in (56 x 42 cm) Signed to lower left 'Louis Bouche'. Provenance: Kraushaar Gallery, New York | Acquired from the previous in 1989, Private Collection, New York | Private Collection, Connecticut This work will ship from Lambertville, New Jersey.
Louis George Bouche New York, Massachusetts, (1896 - 1969) still life, 1920 woodcut Pencil signed and dated lower right. Biography from the Archives of askART: A long-time teacher at the Art Students League in New York City, from 1934 to 1969, he was a painter of realistic genre city scenes. He also directed the Belmaison Gallery in New York where he showed work by emerging French and American artists. He was born in New York and studied with Frank DuMond, Richard Miller and Luis Mora at the Art Students League and with Jean Paul Laurens in Paris. Returning to New York, he had a highly successful career depicting life around him. Bouche's father was also a painter. Working with Stanford White, Louis did designs for palatial homes of the Astors and Carnegies and planned the decorations for New York's Hotel Plaza. When the Pennsylvania Railroad wanted an artist to paint murals for its new streamlined club cars a generation later, the choice fell logically on Louis Bouche. Because he enjoyed good cigars, good brandy and told good stories about his famous friends, he was tempermentally suited to decorate a club car. In 1933, he received a Guggenheim Fellowship. For many years he kept a studio on West Tenth Street and also painted murals at Radio City Music Hall, the Justice and Interior Departments in Washington D.C., and the Eisenhower Foundation building in Abilene, Kansas. In 1970, The American Academy of Arts and Letters included his work in a memorial exhibition. Information provided by Jean Ershler Schatz, artist and reseacher from Laguna Woods, California
Louis Bouché (Am. 1896-1969) "Gas Works, Stamford Conn." 1932 Oil on canvasboard, framed Signed and dated l.r., titled verso 11 7/8" x 15 3/4" actual, 18 3/16" x 22 1/16" framed
(American, 1896-1969) Mr. Jack Parker's Studio, unsigned, inscribed in paint frame verso "Louis Bouche", 24 x 20 in.; period carved gilt wood frame, 33-1/2 x 29-1/4 in. Provenance: Kraushaar Galleries, New York, NY (label verso); From the Estate of Susan Holden, Asheville, North Carolina
"Art Supplies". Oil on canvas. Signed lower right. Kraushaar Galleries label, NY label affixed verso. In a Carl Sandelin custom made frame. From a New York City collection.
* Bouché (Louis Georges, 1896-1969). Reclining Female Nude, oil on wood panel, signed L. BOUCHÉ to upper right corner, with an unfinished study of a seated woman to verso, 40.5 x 51cm (16 x 20ins) framed Qty: (1)
LOUIS BOUCHE (AMERICAN 1896-1969) Mrs. Otto Spaeth, circa 1940s oil on canvas 74 x 51 cm (29 1/8 x 20 1/8 in.) signed lower right PROVENANCE Collection of Otto and Elois Spaeth, noted industrialists, art collectors and patrons of American art Thence by descent in the family EXHIBITED Addison Gallery, Phillips Academy, Andover, Massachusetts Wadsworth Atheneum, Hartford, Connecticut, 1949 Exhibition of Member's Portraits, Cosmopolitan Club, New York, NY, January 21-February 8, 1980 RELATED LITERATURE Eloise Spaeth, American Art Museums and Galleries. An introduction to looking, illustrated on flyleaf LOT NOTES Eloise Spaeth, along with her husband, Otto Spaeth, was a prominent art collector, who had an outsize influence on the development of appreciation for American art and art museums, in the middle of the 20th Century. Her husband, Otto Spaeth, was the founder of the Dayton Tool and Die Company, amongst other major manufacturers, and was a Vice President of the Whitney Museum of American Art. Together, they established a collection of leading European and American modernists of the day, including works by Pablo Picasso, Henri Matisse, Alexander Calder, Edward Hopper, Georgia O'Keefe, Stuart Davis, and Charles Sheeler. In addition to being a major collector, she was also active in the American Federation of Art, serving as the traveling exhibtions chairwoman, and the Venice Biennale American Pavilion. She also authored widely published books on American Art, including American Art Museums: An Introduction to Looking (1960). The Spaeth's were also personal friends and patrons of many leading artists of the day. The Smithsonian Archives of American Art is in possession of the Spaeth's correspondence and papers. CONDITION Observed in frame, the painting appears in age-appropriate condition. Overall craquelure visible to the naked eye, resulting in flaking and scattered losses. Most severe of craquelure is visible against the cream walls. Inspection under UV shows scattered retouching to the craquelure. framed dimensions: 97 x 74 cm (38 1/4 x 29 1/8 in.) N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Oil on canvas portrait of a woman, signed lower right, by Louis Bouche (American, 1896-1969). [Art: 24" H x 20 1/2" W; Frame: 32" H x 28" W]. In good condition.
Louis Bouche (American, 1896-1969) "Sheds," 1943, graphite drawing on paper, signed, dated and titled. Unframed. Size: 12'' x 16.5'', 30 x 42 cm (sheet); 18'' x 22'', 46 x 56 cm (mat). Provenance: Collection of Joshua P. Smith.
Louis George Bouche (American, 1896-1969), "The Scene of the Crime," oil on canvas, signed lower right, gallery label (Kraushaar Galleries, New York, NY) affixed stretcher bar verso, Property of the Woodstock Artists Association label affixed verso, canvas: 27"h x 23"w, overall (with frame): 35.5"h x 31.25"w
Louis George Bouche (American, 1896-1969), Untitled (Island Village Scene with Figures), 1926, oil on canvas, signed and dated lower right, canvas: 33.25"h x 60"w, overall (with frame): 36.5"h x 63.75"w
Louis George Bouche (New York, Massachusetts 1896 - 1969) signed pencil drawing. Signed and dated 'L. Bouche 3/1/40' in pencil lower right. Measures 14.5-in. x 11.5-in. sheet size. Image in G/VG condition. Tape residue along middle of right side. Some smearing of pencil. Unframed, loose and not mounted or glued down. If lot is absent of a condition report a condition report may be requested via email. Condition report is provided as an opinion only and is no guarantee as grading can be subjective. Buyer must view photographs or scans to assist in determining condition and ask further questions if so desired. Provenance: Amity Art Foundation, Inc. We ship most items in this auction in house and gladly combine shipping if possible of multiple items.
Louis Bouche modernist oil painting on canvas dated 1933 of Hope Cove, Devonshire. Titled 'Hope Cove, Devonshire, England'. Date: 1933 Medium: Oil painting on canvas. Measurements: 21.5 inches x 27.75 inches sight size, and 27.5 inches x 33.75 inches x 2.25 inches overall including framing. About the artist: Louis Bouche, (1896-1969 was an American artist, educator, decorator, and Guggenheim fellow. Bouche was born in New York city and grew up in Paris, France. He studied at Lysée Calneux, Academy Colorossi, the Grande Chaumiere in France, and Art Students League in New York. Bouche was a member of the Federal Works Project during the depression, and went on to paint murals for Radio City Music Hall and the Pennsylvania Railroad, and design club cars for the Pennsylvania Railroad. He also taught art at the Art Students League in New York from 1934 to 1969. Bouche's works are held in numerous private and public collections including the Museum of Modern Art, the Whitney Museum of Art, the US State Department, the Phillips Collection, and the Los Angeles County Museum of Art.
Louis George Bouché (American, 1896-1969), "Spanish Moss", oil on canvas, signed lower left, "Kraushaar Galleries, New York" label with artist and title on stretcher, 26 in. x 20 in., framed
Louis George Bouche (American, 1896 - 1969), oil on canvas, depicts two women standing in front of colorfully painted farm building, signed "L. Bouche" LR, unframed, wear consistent with age and use including craquelure, flaking and loss of paint especially at edges, noticeable loss at upper edge, 20" h. x 24" w. [Deaccessioned from a New England Institution]
Oil on canvas, 1964, signed 'L. Bouché' upper left, titled on a label on the reverse, with label from Kraushaar Galleries, NY and The Century Association, NY.21 3/4 x 15 1/2 in., 29 x 23 in. (frame).
Louis George Bouché (American, 1896-1969), "Spanish Moss", oil on canvas, signed lower left, "Kraushaar Galleries, New York" label with artist and title on stretcher, 26 in. x 20 in., framed
Two framed drawings to include Louis Bouche (1896-1969), pencil and crayon, Standing Female Nude, signed lower right, (creased) (10 1/4" x 8"), and Bruno Lucchesi (b. 1926), ink and pencil, Mother and Child, signed lower right (mat staining) 15 1/2" x 11 3/4"
Louis George Bouché (American, 1896-1969) Woman in Yard Oil on canvas laid on panel 11-3/4 x 8-1/2 inches (29.8 x 21.6 cm) Signed lower left: L. Bouché HID04901242017
LOUIS BOUCHE (1896-1969): SUMMER IN ENGLAND Oil on canvas, c. 1950, signed 'L. Bouche' lower left, with label from Kraushaar Galleries, NY. 22 x 28 1/4 in., 29 x 35 in. (frame).
LOUIS BOUCHE (1869-1969): MUSEUM JUNK ROOM Oil on canvas, 1948, signed 'L. Bouche' lower left, with label form Kraushaar Galleries, Inc. 24 x 20 in., 32 1/4 x 28 1/4 in. (frame).
LOUIS GEORGE BOUCHE New York/Massachusetts, 1896-1969 "The Bleachers". Signed lower right "Louis Bouche". Titled on label verso. Provenance: Vose Galleries, Boston. From a Cape Cod Collection of Americana. Oil on canvas, 20" x 24". Framed 27" x 31".
Louis George Bouché (American, 1896-1969) Woman in Yard Oil on canvas laid on panel 11-3/4 x 8-1/2 inches (29.8 x 21.6 cm) Signed lower left: L. Bouché HID04901242017
Louis George Bouché (American, 1896-1969) Hope Cove, Devonshire, England, 1933 Oil on canvas 22 x 28-1/2 inches (55.9 x 72.4 cm) Signed and dated lower left: Louis Bouché 1933 PROVENANCE: Pennsylvania Museum of Art, Philadelphia, Pennsylvania. HID04901242017
Louis Bouche (American, 1896-1969) The Plumber''s Daughter, 1919 oil on canvas signed and dated lower left 30" x 25" Provenance: Kraushaar Galleries, Inc., New York, New York (label on verso)
Louis Bouche (American, 1896-1969) The Plumber''s Daughter, 1919 oil on canvas signed and dated lower left 30" x 25" Provenance: Kraushaar Galleries, Inc., New York, New York (label on verso)
LOUIS BOUCHE (1896-1969), OIL ON CANVAS, PORTRAIT OF MILTON WRIGHT, 1957. 12" X 26"; FRAMED 33" X 18 1/2" NOTE: ALBANY INSTITUTE OF HISTORY AND ART, 1963, LABEL VERSO
LOUIS BOUCHE (1896-1969): NUDE HOLDING DRAPERY Pencil on paper, 1953, signed with initials ''L.B.'' and dated lower right, with label from Kraushaar Galleries, NY. 17 1/4 x 11 1/4 in. (sheet), 25 1/2 x 17 1/2 in. (frame). Estate of Paul and Clara Kellner
Louis George Bouché (American, 1896-1969), "Queens Landscape, 1945", oil on canvas depicting man and dog walking at twilight towards work yard with greenhouse and garage, signed "L. Bouché" and dated LR, frame bearing plaque engraved with work title, artist's name, and memorial fund, deaccession label from the New Britain Museum of American Art located UR corner verso, Parrish Art Museum (Southampton, NY) exhibition label dated 13 June-1 August 1982 located LL corner verso, partial torn paper label along center top stretcher, minor checking to frame, not examined out of frame, ss: 11 3/4" h. x 19 1/2" w.
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