Walter Pach Rue Jacob from the Rue de Seine 1932 watercolor on paper sight: 14 h x 10.25 w in (36 x 26 cm) Signed and dated to lower right 'Walter Pach 1932'. Exhibited: Walter Pach: Watercolors, 10 September - 23 October 2015, Francis M. Naumann, New York Literature: Walter Pach: Watercolors, Francis M. Naumann exhibition catalog, pg. 65 This work will ship from Lambertville, New Jersey.
Walter Pach New York / France, (1883-1958) female portrait, 1928 oil on canvas Signed and dated upper left. Hole in canvas. Biography from the Archives of askART: The following is from Laurette E. McCarthy, Ph.D. who wrote her dissertation on Walter Pach and is the leading expert on his life and work. Walter Pach (July 11, 1883-November 27, 1958), artist, critic, historian, dealer, teacher, and lecturer, was born in New York City, the son of Gotthelf Pach, photographer, and Frances Wise, an influential member of the Ethical Culture Society in New York. Pach grew up in a comfortable, middle-class home with one brother, Alfred. He was graduated with a Bachelor of Arts from The College of the City of New York in 1903. Thereafter he received artistic training in Manhattan under Leigh Hunt, William Merritt Chase, and Robert Henri. He also studied at the Académie Ranson in Paris. Between 1903 and 1910, Pach was the agent for the Chase European Summer School. Although living in New York City most of his life, Pach resided abroad frequently. He was in Paris intermittently between 1903 and 1913, and from 1929 through 1932; and lived in Mexico City in 1922 and during 1942 and 1943. In February 1914 he married Magdalene Frohberg, of Dresden, Germany, whom he had met in Florence in 1907. The couple had one son, Raymond. After Magda's death in 1950, Pach remarried Nikifora Loutsi, now Nikifora N. Iliopoulos. Walter Pach was a seminal figure in the history of early twentieth-century American art. His importance lies in his roles as an art critic, historian, lecturer, agent, and champion of modernism. Pach played a major part in the organization of the famous International Exhibition of Modern Art, better known as the Armory Show. This event, held in New York, Chicago, and Boston in 1913, was the first large-scale exhibition to bring avant-garde European painting and sculpture to America, thereby changing the course of art in the United States. While living in Paris during the early 1900s, Pach became friends with several of the most advanced painters and sculptors of the time. He was instrumental in securing loans from such artists as Henri Matisse, Odilon Redon, Marcel Duchamp, and Constantin Brancusi and became, in essence, the European agent for the Armory Show. Through his work as a publicist, chief salesperson, and lecturer during the show's run in America Pach helped promote and disseminate the ideas of modernism to large audiences. During the course of the exhibition he met John Quinn and Walter Arensberg, individuals whom, through Pach's assistance, amassed two of the earliest and most significant collections of modern art in America. During World War I, Pach acted as a liaison between several of the European artists and American galleries and collectors. He borrowed pieces from Georges Rouault, André Derain, Raoul Dufy, Raymond Duchamp-Villon, and others for display at various venues in New York and Philadelphia, and he was the representative for the Carroll Galleries of New York. From 1914 until 1926 Pach acted as Henri Matisse's agent in the United States. With the war raging on the continent, this was a critical time for modernism and its proponents. Through Pach's efforts the avant-garde European artists found not only a place to exhibit their works, but individuals to purchase them. Pach was also a staunch supporter of American and Mexican painters and sculptors of his day. He formed close bonds with John Sloan, Maurice Prendergast, Arthur B. Davies, Diego Rivera, and José Orozco and wrote articles on some of these artists. In addition to arranging shows at commercial galleries Pach helped found, and was treasurer of, the Society of Independent Artists. From 1917 to 1944 this New York organization held annual exhibitions that promoted all styles of foreign and American art. Pach devoted a substantial amount of his career to writing. Some of his major works include: Georges Seurat (1923); Raymond Duchamp-Villon, sculpteur (1924); The Masters of Modern Art (1924); Ananias, or the False Artist (1928); Queer Thing, Painting (1938); Ingres (1939), and The Classical Tradition in Modern Art, published posthumously in 1959. In addition to these books, Pach contributed numerous articles to such newspapers and magazines as the New York Times, Scribner's Magazine, The Dial, The Freeman, The Century, L'Amour de l'art, L'art et les artistes, and Gazette des Beaux-Arts. His piece on Cézanne in Scribner's Magazine (December 1908) was the first serious discussion of the artist to appear in English. Pach also translated several books, among them noted French critic and art historian Elie Faure's five volume History of Art (1921-1930) and The Journal of Eugene Delacroix (1937). Between 1906 and his death in 1958, Pach lectured extensively throughout the United States. His topics covered the history of art in general, with an emphasis on modernism. He was an instructor at New York University, Columbia University, The College of the City of New York, the Art Students League in Manhattan, the University of California, Berkeley, and the National University of Mexico, in Mexico City. Through these activities Pach introduced modern as well as other art to a broad range of the populace. Although most renowned for his work as critic and speaker, Pach considered himself first and foremost an artist. He created and exhibited numerous paintings, watercolors, and etchings and his style ranged from realistic to abstract. Most of his mature works are either still lifes or portraits. Several of his works are in the collections of The Metropolitan Museum of Art, The New York Public Library, and The Museum of Modern Art, New York. The history of modern art and art criticism would have been quite different without the work of Walter Pach. He not only championed the art of his own time, but also had a comprehensive knowledge of the history of art. His books, articles, and lectures discussed a wide range of subjects from ancient Mexican and Native American art to early twentieth-century European and American modernism. Pach firmly believed in the power of art to shape and effect people's lives. Throughout his career he strove to promote an understanding of, and appreciation for, the art of different nations and eras. He fought to make art a vital part of life in America. As John Quinn, Pach's friend and colleague, remarked, "I believe that before very long his contributions would come to be regarded as the best art criticism that we would have." Walter Pach died in New York City at the age of seventy-five.
Walter Pach New York / France, (1883 - 1958) N.Y. From Governors Island, 1920 etching Signed and dated in the plate lower left. Signed and dated in pencil lower right. Exhibited: The American Federation of Arts American Exhibition, Paris, 1928. Weyhe Gallery, NY. Biography from the Archives of askART: The following is from Laurette E. McCarthy, Ph.D. who wrote her dissertation on Walter Pach and is the leading expert on his life and work. Walter Pach (July 11, 1883-November 27, 1958), artist, critic, historian, dealer, teacher, and lecturer, was born in New York City, the son of Gotthelf Pach, photographer, and Frances Wise, an influential member of the Ethical Culture Society in New York. Pach grew up in a comfortable, middle-class home with one brother, Alfred. He was graduated with a Bachelor of Arts from The College of the City of New York in 1903. Thereafter he received artistic training in Manhattan under Leigh Hunt, William Merritt Chase, and Robert Henri. He also studied at the Académie Ranson in Paris. Between 1903 and 1910, Pach was the agent for the Chase European Summer School. Although living in New York City most of his life, Pach resided abroad frequently. He was in Paris intermittently between 1903 and 1913, and from 1929 through 1932; and lived in Mexico City in 1922 and during 1942 and 1943. In February 1914 he married Magdalene Frohberg, of Dresden, Germany, whom he had met in Florence in 1907. The couple had one son, Raymond. After Magda's death in 1950, Pach remarried Nikifora Loutsi, now Nikifora N. Iliopoulos. Walter Pach was a seminal figure in the history of early twentieth-century American art. His importance lies in his roles as an art critic, historian, lecturer, agent, and champion of modernism. Pach played a major part in the organization of the famous International Exhibition of Modern Art, better known as the Armory Show. This event, held in New York, Chicago, and Boston in 1913, was the first large-scale exhibition to bring avant-garde European painting and sculpture to America, thereby changing the course of art in the United States. While living in Paris during the early 1900s, Pach became friends with several of the most advanced painters and sculptors of the time. He was instrumental in securing loans from such artists as Henri Matisse, Odilon Redon, Marcel Duchamp, and Constantin Brancusi and became, in essence, the European agent for the Armory Show. Through his work as a publicist, chief salesperson, and lecturer during the show's run in America Pach helped promote and disseminate the ideas of modernism to large audiences. During the course of the exhibition he met John Quinn and Walter Arensberg, individuals whom, through Pach's assistance, amassed two of the earliest and most significant collections of modern art in America. During World War I, Pach acted as a liaison between several of the European artists and American galleries and collectors. He borrowed pieces from Georges Rouault, André Derain, Raoul Dufy, Raymond Duchamp-Villon, and others for display at various venues in New York and Philadelphia, and he was the representative for the Carroll Galleries of New York. From 1914 until 1926 Pach acted as Henri Matisse's agent in the United States. With the war raging on the continent, this was a critical time for modernism and its proponents. Through Pach's efforts the avant-garde European artists found not only a place to exhibit their works, but individuals to purchase them. Pach was also a staunch supporter of American and Mexican painters and sculptors of his day. He formed close bonds with John Sloan, Maurice Prendergast, Arthur B. Davies, Diego Rivera, and José Orozco and wrote articles on some of these artists. In addition to arranging shows at commercial galleries Pach helped found, and was treasurer of, the Society of Independent Artists. From 1917 to 1944 this New York organization held annual exhibitions that promoted all styles of foreign and American art. Pach devoted a substantial amount of his career to writing. Some of his major works include: Georges Seurat (1923); Raymond Duchamp-Villon, sculpteur (1924); The Masters of Modern Art (1924); Ananias, or the False Artist (1928); Queer Thing, Painting (1938); Ingres (1939), and The Classical Tradition in Modern Art, published posthumously in 1959. In addition to these books, Pach contributed numerous articles to such newspapers and magazines as the New York Times, Scribner's Magazine, The Dial, The Freeman, The Century, L'Amour de l'art, L'art et les artistes, and Gazette des Beaux-Arts. His piece on Cézanne in Scribner's Magazine (December 1908) was the first serious discussion of the artist to appear in English. Pach also translated several books, among them noted French critic and art historian Elie Faure's five volume History of Art (1921-1930) and The Journal of Eugene Delacroix (1937). Between 1906 and his death in 1958, Pach lectured extensively throughout the United States. His topics covered the history of art in general, with an emphasis on modernism. He was an instructor at New York University, Columbia University, The College of the City of New York, the Art Students League in Manhattan, the University of California, Berkeley, and the National University of Mexico, in Mexico City. Through these activities Pach introduced modern as well as other art to a broad range of the populace. Although most renowned for his work as critic and speaker, Pach considered himself first and foremost an artist. He created and exhibited numerous paintings, watercolors, and etchings and his style ranged from realistic to abstract. Most of his mature works are either still lifes or portraits. Several of his works are in the collections of The Metropolitan Museum of Art, The New York Public Library, and The Museum of Modern Art, New York. The history of modern art and art criticism would have been quite different without the work of Walter Pach. He not only championed the art of his own time, but also had a comprehensive knowledge of the history of art. His books, articles, and lectures discussed a wide range of subjects from ancient Mexican and Native American art to early twentieth-century European and American modernism. Pach firmly believed in the power of art to shape and effect people's lives. Throughout his career he strove to promote an understanding of, and appreciation for, the art of different nations and eras. He fought to make art a vital part of life in America. As John Quinn, Pach's friend and colleague, remarked, "I believe that before very long his contributions would come to be regarded as the best art criticism that we would have." Walter Pach died in New York City at the age of seventy-five.
Walter Pach New York / France, (1883 - 1958) cityscape with bridge, 1919 etching Signed and dated in the plate. Signed and dated in pencil lower right. Biography from the Archives of askART: The following is from Laurette E. McCarthy, Ph.D. who wrote her dissertation on Walter Pach and is the leading expert on his life and work. Walter Pach (July 11, 1883-November 27, 1958), artist, critic, historian, dealer, teacher, and lecturer, was born in New York City, the son of Gotthelf Pach, photographer, and Frances Wise, an influential member of the Ethical Culture Society in New York. Pach grew up in a comfortable, middle-class home with one brother, Alfred. He was graduated with a Bachelor of Arts from The College of the City of New York in 1903. Thereafter he received artistic training in Manhattan under Leigh Hunt, William Merritt Chase, and Robert Henri. He also studied at the Académie Ranson in Paris. Between 1903 and 1910, Pach was the agent for the Chase European Summer School. Although living in New York City most of his life, Pach resided abroad frequently. He was in Paris intermittently between 1903 and 1913, and from 1929 through 1932; and lived in Mexico City in 1922 and during 1942 and 1943. In February 1914 he married Magdalene Frohberg, of Dresden, Germany, whom he had met in Florence in 1907. The couple had one son, Raymond. After Magda's death in 1950, Pach remarried Nikifora Loutsi, now Nikifora N. Iliopoulos. Walter Pach was a seminal figure in the history of early twentieth-century American art. His importance lies in his roles as an art critic, historian, lecturer, agent, and champion of modernism. Pach played a major part in the organization of the famous International Exhibition of Modern Art, better known as the Armory Show. This event, held in New York, Chicago, and Boston in 1913, was the first large-scale exhibition to bring avant-garde European painting and sculpture to America, thereby changing the course of art in the United States. While living in Paris during the early 1900s, Pach became friends with several of the most advanced painters and sculptors of the time. He was instrumental in securing loans from such artists as Henri Matisse, Odilon Redon, Marcel Duchamp, and Constantin Brancusi and became, in essence, the European agent for the Armory Show. Through his work as a publicist, chief salesperson, and lecturer during the show's run in America Pach helped promote and disseminate the ideas of modernism to large audiences. During the course of the exhibition he met John Quinn and Walter Arensberg, individuals whom, through Pach's assistance, amassed two of the earliest and most significant collections of modern art in America. During World War I, Pach acted as a liaison between several of the European artists and American galleries and collectors. He borrowed pieces from Georges Rouault, André Derain, Raoul Dufy, Raymond Duchamp-Villon, and others for display at various venues in New York and Philadelphia, and he was the representative for the Carroll Galleries of New York. From 1914 until 1926 Pach acted as Henri Matisse's agent in the United States. With the war raging on the continent, this was a critical time for modernism and its proponents. Through Pach's efforts the avant-garde European artists found not only a place to exhibit their works, but individuals to purchase them. Pach was also a staunch supporter of American and Mexican painters and sculptors of his day. He formed close bonds with John Sloan, Maurice Prendergast, Arthur B. Davies, Diego Rivera, and José Orozco and wrote articles on some of these artists. In addition to arranging shows at commercial galleries Pach helped found, and was treasurer of, the Society of Independent Artists. From 1917 to 1944 this New York organization held annual exhibitions that promoted all styles of foreign and American art. Pach devoted a substantial amount of his career to writing. Some of his major works include: Georges Seurat (1923); Raymond Duchamp-Villon, sculpteur (1924); The Masters of Modern Art (1924); Ananias, or the False Artist (1928); Queer Thing, Painting (1938); Ingres (1939), and The Classical Tradition in Modern Art, published posthumously in 1959. In addition to these books, Pach contributed numerous articles to such newspapers and magazines as the New York Times, Scribner's Magazine, The Dial, The Freeman, The Century, L'Amour de l'art, L'art et les artistes, and Gazette des Beaux-Arts. His piece on Cézanne in Scribner's Magazine (December 1908) was the first serious discussion of the artist to appear in English. Pach also translated several books, among them noted French critic and art historian Elie Faure's five volume History of Art (1921-1930) and The Journal of Eugene Delacroix (1937). Between 1906 and his death in 1958, Pach lectured extensively throughout the United States. His topics covered the history of art in general, with an emphasis on modernism. He was an instructor at New York University, Columbia University, The College of the City of New York, the Art Students League in Manhattan, the University of California, Berkeley, and the National University of Mexico, in Mexico City. Through these activities Pach introduced modern as well as other art to a broad range of the populace. Although most renowned for his work as critic and speaker, Pach considered himself first and foremost an artist. He created and exhibited numerous paintings, watercolors, and etchings and his style ranged from realistic to abstract. Most of his mature works are either still lifes or portraits. Several of his works are in the collections of The Metropolitan Museum of Art, The New York Public Library, and The Museum of Modern Art, New York. The history of modern art and art criticism would have been quite different without the work of Walter Pach. He not only championed the art of his own time, but also had a comprehensive knowledge of the history of art. His books, articles, and lectures discussed a wide range of subjects from ancient Mexican and Native American art to early twentieth-century European and American modernism. Pach firmly believed in the power of art to shape and effect people's lives. Throughout his career he strove to promote an understanding of, and appreciation for, the art of different nations and eras. He fought to make art a vital part of life in America. As John Quinn, Pach's friend and colleague, remarked, "I believe that before very long his contributions would come to be regarded as the best art criticism that we would have." Walter Pach died in New York City at the age of seventy-five.
Pach (Walter, 1883-1958). New York, 1927 * Pach (Walter, 1883-1958). New York, 1927, etching on cream wove paper, signed and dated in ground, plate size 17.6 x 12.6 cm (6 3/4 x 5 ins), wide margins lightly toned towards edges, pencilled title on verso, sheet size 28 x 22.7 cm (11 x 9 ins) QTY: (1) NOTE: The Metropolitan Museum of Art, New York, have an unillustrated 1927 Walter Pach etching titled New York from "Rum Dock" which is likely the same as this etching. Their etching was produced (according to an inscription) for the art revue Byblis, and we know that this etching did indeed appear in that journal in Spring 1928, simply entitled New York.
Walter Pach signed etching. Measures 9.75-in. x 6.75-in. Mounted to mat board. If lot is absent of a condition report one 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. Our in-house shipping department will gladly pack and ship any item that fits into a 16x16x16 inch or 30x5x24 inch or equivalent or smaller box/folio. We will charge for labor to pack and process based on actual time it takes, actual cost of materials used to pack and actual shipper charges that will include insurance and signature required. We generally use USPS and Fed Ex and compare the pricing between the two. We gladly will give shipping estimates prior to auction. Please make this request at least 24 hours prior to auction for our shipping department to respond. We will also gladly combine items if they fit into one box and meet our maximum box size stated here. We reserve the right to require an outside shipper on any item(s) in the auction.
Walter Pach (American, 1883-1958), Floral Still Life, oil on canvas, signed "Walter Pach", and dated at lower right, 21.25"h x 17.5"w (sight), 26.75"h x 23"w (frame)
Watercolor and pencil on paper, 1931, signed 'Walter Pach' and dated upper left, inscribed '26' lower left, inscribed 'For Nikifora from Walter' and 'Property of Nikifora L. Pach, W.F. 1953' on the back of the frame.10 1/4 x 14 1/8 in. (sight), 19 1/4 x 23 1/2 in. (frame). Property from the Estate of William Kelly Simpson
WALTER PACH (1883-1958): FAIR AT ST. CLOUD Oil on panel, 1911, signed 'Pach' and dated lower right, inscribed 'No. 3' and 'Walter Pach' on the reverse, with partial label from Paris American Art Co., Paris. 10 3/4 x 14 3/4 in., 17 1/2 x 21 1/2 in. (frame).
WALTER PACH (american 1883-1958) BOUQUET ON A TABLE Signed and dated 'Pach/1911' upper left, oil on canvas 18 x 24 in. (45.7 x 61cm) provenance: Christie's, New York, n.d. Private Collection, Delaware.
Two prints, (1) etching and (2) serigraph, with Laurel Gallery, NY, October 1947, catalog. (1) Walter Pach (American, 1883-1958). Scopasian Head. Etching, 1922. Signed in pencil, signed and date in plate (l.r.). Plate size 6 x 5 inches. (2) Leonard Pytlak (American, 1910). After the Fire. Serigaph. Signed (l.r.). Sheet size 10 1/8x 11 7/8 inches.
PACH, Walter, att., (American, 1883-1958): A Mustacheod Gentleman Speaking at a Podium Addressing a Room Full of People, believed to be painted by Walter Pach, Oil/Masonite, 20 1/2" x 12" no visible signature, custom frame, 25" x 16 1/2". Starting Bid USD $ 150
WALTER PACH (american 1883-1958) STILL LIFE ON TABLETOP Signed and dated '1918' top right, oil on canvas 16 x 20 1/8 in. provenance: Private Collection, Pennsylvania.
Church Ornament, 1911 Etching printed on wove paper, signed in pencil and dated, from the edition of unknown size, with margins, in good condition aside from surface soiling, soft handling creases, 2 pressure marks in left and right margins, framed. 9 1/4 x 3 7/8in sheet 11 7/8 x 6in
Painting by Walter Pach (New York, 1883-1958), still life with South American sculpture and fruit, signed lower left ?Walter Pach 1944", oil on artist board, board warped, abrasions, paint loss, some retouch upper right edge, possible cleaning in signature area, 16-1/4 x 13", carved and painted wood frame, deaccessioned by North Carolina Museum of Art with label verso
Walter Pach American, 1883-1958 CHILDREN AT AREZZO Signed and dated Pach/1912 (lr) Oil on panel 10 3/4 x 14 3/4 inches Provenance: Collection of Arthur G. Altschul, cat. no. 113 Estimate $ 1,000-1,500
