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The Madding Crowd

150 Years of American Urban Landscapes

June 17 – August 20, 2021

BERENICE ABBOTT (1898–1991), "El, Second and Third Avenue Lines, Bowery and Division Streets, Manhattan," 1936. Gelatin silver print, 9 1/2 x 7 5/8 in.

BERENICE ABBOTT (1898–1991)
El, Second and Third Avenue Lines, Bowery and Division Streets, Manhattan, 1936
Gelatin silver print, 9 1/2 x 7 5/8 in.

THOMAS BENECKE (active 1855–56)

THOMAS BENECKE (active 1855–56)
Sleighing in New York, after 1855
Color lithograph, 21 3/4 x 30 3/4 in.
Signed (at lower left): T. BENECKE NY / 55

LAWRENCE EDWIN BLAZEY (1902–1999), "Euclid Avenue, Cleveland," about 1930. Ink, pencil, wash on paper, 12 1/4 x 16 7/8 in.

LAWRENCE EDWIN BLAZEY (1902–1999)
Euclid Avenue, Cleveland, about 1930
Ink, pencil, wash on paper, 12 1/4 x 16 7/8 in.
Signed (at lower left): L.E. BLAZEY

RUTH LIGHT BRAUN (1906–2003), "Bargain Counter, New York City," about 1928. Conté crayon on paper, 8 1/2 x 11 in.

RUTH LIGHT BRAUN (1906–2003)
Bargain Counter, New York City, about 1928
Conté crayon on paper, 8 1/2 x 11 in.
Signed (at lower right): RUTH / LIGHT / BRAUN

RUTH LIGHT BRAUN (1906–2003), "Klein’s Dress Shop, Union Square," about 1928–29. Conté crayon on paper, 11 x 8 1/2 in.

RUTH LIGHT BRAUN (1906–2003)
Klein’s Dress Shop, Union Square, about 1928–29
Conté crayon on paper, 11 x 8 1/2 in.
Signed (at lower right: RUTH / LIGHT / BRAUN

RUTH LIGHT BRAUN (1906–2003), "Waiting for the Train, Pennsylvania Station," about 1928. Conté crayon on paper, 11 x 8 1/2 in.

RUTH LIGHT BRAUN (1906–2003)
Waiting for the Train, Pennsylvania Station, about 1928
Conté crayon on paper, 11 x 8 1/2 in.
Signed (at lower right): RUTH / LIGHT / BRAUN

RUTH LIGHT BRAUN (1906–2003), "Fifty-Ninth Street, Plaza Fountain," about 1929–29. Conté crayon on paper, 11 x 8 1/2 in.

RUTH LIGHT BRAUN (1906–2003)
Fifty-Ninth Street, Plaza Fountain, about 1929–29
Conté crayon on paper, 11 x 8 1/2 in.
Signed (at lower left): RUTH / LIGHT / BRAUN 

RUTH LIGHT BRAUN (1906–2003), "Grand Central Terminal," about 1928. Conté crayon on paper, 8 1/2 x 11 in.

RUTH LIGHT BRAUN (1906–2003)
Grand Central Terminal, about 1928
Conté crayon on paper, 8 1/2 x 11 in.
Signed (at lower right): RUTH / LIGHT / BRAUN 

FREDERICK BROSEN (b. 1954), "West 74th Street," 2019.Watercolor over graphite on paper, 35 x 23 1/2 in.

FREDERICK BROSEN (b. 1954)
West 74th Street, 2019
Watercolor over graphite on paper, 35 x 23 1/2 in.
Signed (at lower right on phone booth): BROSEN 

FREDERICK BROSEN (b. 1954), "West 10th Street, Coney Island," 2018. Watercolor over graphite on paper, 34 3/4 x 25 in.

FREDERICK BROSEN (b. 1954)
West 10th Street, Coney Island, 2018
Watercolor over graphite on paper, 34 3/4 x 25 in.
Signed and dated (at lower right): BROSEN 18

COLIN BROWN (b. 1965), "Runes of Sleep," 2013. Carbonized nickel on board, 22 x 40 in.

COLIN BROWN (b. 1965)
Runes of Sleep, 2013
Carbonized nickel on board, 22 x 40 in.

NICOLINO CALYO (1799–1884), "New York from Brooklyn and Williamsburg," 1838. Gouache on paper, 26 x 39 3/8 in.

NICOLINO CALYO (1799–1884)
New York from Brooklyn and Williamsburg, 1838
Gouache on paper, 26 x 39 3/8 in.
Signed and dated (at lower right): Nicolino Calyo f. 1838

NICOLINO CALYO (1799–1884), "New York from Hoboken," about 1835–40. Gouache on paper, 6 3/8 x 8 7/8 in

NICOLINO CALYO (1799–1884)
New York from Hoboken, about 1835–40
Gouache on paper, 6 3/8 x 8 7/8 in.
Inscribed (on original black paper support): New York. from Hoboken.

NICOLINO CALYO (1799–1884), "New York and Brooklyn from Williamsburg," about 1835–40. Gouache on paper, 6 3/8 x 8 7/8 in.

NICOLINO CALYO (1799–1884)
New York and Brooklyn from Williamsburg, about 1835–40
Gouache on paper, 6 3/8 x 8 7/8 in.
Inscribed (on original black paper support): New York and Brooklyn from Williamsburg.

COLIN CAMPBELL COOPER (1856–1937), "Waldorf Astoria," about 1908. Oil on board, 14 x 10 3/4 in.

COLIN CAMPBELL COOPER (1856–1937)
Waldorf Astoria, about 1908
Oil on board, 14 x 10 3/4 in.
Signed (at lower right): Colin C. Cooper

"Pair Blue Ground Vases with Swan Handles and with views of High Street," about 1820. Chamberlain’s, Worcester, England Porcelain, painted and gilded, 9 5/16 in. high

Pair Blue Ground Vases with Swan Handles and with views of High Street, about 1820
Chamberlain’s, Worcester, England
Porcelain, painted and gilded, 9 5/16 in. high
Signed and inscribed (with red script, under the base of each): Chamberlains / Worcester; (in red script, under the base of the Warwick Castle vase): Warwick Castle; (under the base of the High Street, Oxford, vase): High Street Oxford 

"'Old Paris' Porcelain Crater-Form Vase with Two Views of Philadelphia," 1830–32. French Porcelain, partially painted and gilded, 15 9/16 x 11 1/4 in.

"Old Paris" Porcelain Crater-Form Vase with Two Views of Philadelphia, 1830–32
French
Porcelain, partially painted and gilded, 15 9/16 x 11 1/4 in.

THOMAS FRANSIOLI (1906–1997), "The Brooklyn Bridge in 1892," 1965. Oil on canvas, 36 1/2 x 48 1/4 in.

THOMAS FRANSIOLI (1906–1997)
The Brooklyn Bridge in 1892, 1965
Oil on canvas, 36 1/2 x 48 1/4 in.
|Signed (at lower right): FRANSIOLI 

THOMAS FRANSIOLI (1906–1997), "C is for Cat," 1950. Gouache on paper, 15 x 18 3/4 in.

THOMAS FRANSIOLI (1906–1997)
C is for Cat, 1950
Gouache on paper, 15 x 18 3/4 in.
Signed with initials and dated (at lower right): T.F. / 1950 

WILLLIAM JAMES GLACKENS (1870–1938), "I Went Down to Coney Island for a Swim," about 1907. Ink, charcoal and gouache on paper, 13 1/2 x 17 in.

WILLLIAM JAMES GLACKENS (1870–1938)
I Went Down to Coney Island for a Swim, about 1907
Ink, charcoal and gouache on paper, 13 1/2 x 17 in.
Signed (at lower right): W. Glackens

CHILDE HASSAM (1859–1935), "A Wet Day on Broadway," 1891. Pastel on paper mounted on linen, 18 x 21 7/8 in.

CHILDE HASSAM (1859–1935)
A Wet Day on Broadway, 1891
Pastel on paper mounted on linen, 18 x 21 7/8 in. 
Signed and dated (at lower left): Childe Hassam 1891

CHILDE HASSAM (1859–1935), "Fifth Avenue, Noon," 1916. Etching, 9 7/8 x 7 1/8 in.

CHILDE HASSAM (1859–1935)
Fifth Avenue, Noon, 1916
Etching, 9 7/8 x 7 1/8 in.
Signed (at lower right margin in pencil): CH [monogram] imp. 

HILAIRE HILER (1898–1966), "Le 14 Juillet," 1928. Oil on canvas board, 30 x 24 3/4 in.

HILAIRE HILER (1898–1966)
Le 14 Juillet, 1928
Oil on canvas board, 30 x 24 3/4 in.
Signed and dated (at lower left on brick wall): HILER / 1928

DIANA HOROWITZ (b. 1958), "Crane Study at Tower 1," 2011. Oil on panel, 10 x 8 in.

DIANA HOROWITZ (b. 1958)
Crane Study at Tower 1, 2011
Oil on panel, 10 x 8 in.
Signed and dated (on verso): Diana Horowitz 2011

DIANA HOROWITZ (b. 1958), "One Crane, Eye Level," 2011. Oil on linen, 11 x 8 in.

DIANA HOROWITZ (b. 1958)
One Crane, Eye Level, 2011
Oil on linen, 11 x 8 in.
Signed and dated (on verso): Diana Horowitz ‘11 

DIANA HOROWITZ (b. 1958), "Two Cranes, with Platform," 2011. Oil on panel, 11 x 8 in.

DIANA HOROWITZ (b. 1958)
Two Cranes, with Platform, 2011
Oil on panel, 11 x 8 in.
Signed and dated (on verso): Diana Horowitz ‘11

YASUO KUNIYOSHI (1889–1953), "Virginia City, Nevada," 1941. Gouache on gessoed panel, 12 x 8 in.

YASUO KUNIYOSHI (1889–1953)
Virginia City, Nevada, 1941
Gouache on gessoed panel, 12 x 8 in.
Signed (at upper right): Kuniyoshi 

REGINALD MARSH (1898–1854), "Cabaret," 1938. Tempera and pencil on gessoed panel, 35 3/4 x 23 3/4 in.

REGINALD MARSH (1898–1854)
Cabaret,1938
Tempera and pencil on gessoed panel, 35 3/4 x 23 3/4 in.
Signed (at lower right): REGINALD MARSH

REGINALD MARSH (1898–1954), "Metropolitan Opera," 1940. Chinese ink and watercolor on paper, 22 x 15 1/4 in.

REGINALD MARSH (1898–1954)
Metropolitan Opera, 1940
Chinese ink and watercolor on paper, 22 x 15 1/4 in.
Signed dated and inscribed (at lower right): METROPOLITAN OPERA / REGINALD MARSH ‘40 

ANDY MISTER (b. 1979), "Disobedience," 2019. Carbon pencil, charcoal and acrylic on paper mounted on panel, 36 x 30 in.

ANDY MISTER (b. 1979)
Disobedience, 2019
Carbon pencil, charcoal and acrylic on paper mounted on panel, 36 x 30 in. 

JOHN MOORE (b. 1941), "Incomplete Plan," 2005. Oil on canvas, 72 x 59 in.

JOHN MOORE (b. 1941)
Incomplete Plan, 2005
Oil on canvas, 72 x 59 in.
Signed and dated (at lower right): Moore 05 

JANE PETERSON (1876–1965), "Luna Park," about 1918. Charcoal and gouache on paper, 18 x 24 in.

JANE PETERSON (1876–1965)
Luna Park, about 1918
Charcoal and gouache on paper, 18 x 24 in.

WINOLD REISS (1886–1953), "Untitled," about 1925–30. Mixed media on paper, 19 7/8 x 14 in.

WINOLD REISS (1886–1953)
Untitled, about 1925–30
Mixed media on paper, 19 7/8 x 14 in.
|Signed (at lower left with estate stamp): WINOLD / REISS

WINOLD REISS (1886–1953), "Untitled." Ink on paper, 14 7/8 x 19 7/8 in.

WINOLD REISS (1886–1953)
Untitled
Ink on paper, 14 7/8 x 19 7/8 in.

WINOLD REISS (1886–1953), "Untitled." Ink on paper, 14 7/8 x 19 7/8 in.

WINOLD REISS (1886–1953)
Untitled
Ink on paper, 14 7/8 x 19 7/8 in.

PAUL STARRETT SAMPLE (1896–1974), "San Pedro Harbor," 1937. Oil on canvas, 30 x 40 in.

PAUL STARRETT SAMPLE (1896–1974)
San Pedro Harbor, 1937
Oil on canvas, 30 x 40 in.
Signed and dated (at lower right): PAUL SAMPLE 37; (on stretcher): Los Angeles / Paul Sample

MARC TRUJILLO (b. 1966), "John F. Kennedy International Airport," 2015. Oil on panel, 16 x 27 in.

MARC TRUJILLO (b. 1966)
John F. Kennedy International Airport, 2015
Oil on panel, 16 x 27 in.
Signed and dated (on verso): MARC TRUJILLO 2015 

PURVIS YOUNG (1943–2010), "[Procession with Raised Arms]," early 1970s. Oil on heavy paper, 24 x 24 in.

PURVIS YOUNG (1943–2010)
[Procession with Raised Arms], early 1970s
Oil on heavy paper, 24 x 24 in.
Signed (at upper right): Young

Press Release

Hirschl & Adler is pleased to present its summer exhibition, The Madding Crowd, featuring American fine and decorative arts from the 19th century to the present. Encompassing pieces from over 25 artists, the show includes work by Berenice Abbott, Lawrence Edwin Blazey, Frederick Brosen, Colin Brown, Nicolino Calyo, Colin Campbell Cooper, Thomas Fransioli, William Glackens, Childe Hassam, Hilaire Hiler, Diana Horowitz, Yasuo Kuniyoshi, Reginald Marsh, Andy Mister, John Moore, Jane Peterson, Edmund Quincy, Winold Reiss, Marc Trujillo, and Purvis Young, among others.

The Madding Crowd commemorates the city and its inhabitants, celebrating them through artistic representation. Due to the high density of people in cities, the effects of the Coronavirus pandemic and our responses to it have been intensely felt by its constituents. Quotidian city life continues to remain disrupted, but as the pandemic wanes, we hope to reflect on what cities have been through but still have to offer.

This wide-ranging selection of works represents two visions of urban life. On the one hand, some artists depict the highly organized, rational city as conceptualized by urban planners—a version visible through skyscrapers, bridges, aerials views, and mechanical structures. Consider Lawrence Edwin Blazey’s Euclid Avenue, Cleveland (about 1930), rendered in clean, architectonic lines. The high-vantage-point perspective is taken from a towering skyscraper, looking downward to the busy commercial thoroughfare dotted with vehicles and electric trolleys. Blazey’s Precisionism and daring perspective capture the dynamism and modernity of this booming center of Cleveland’s economy.

On the other hand, other works also delve into an individual’s experience within the metropolis, which is visible through various subjects, including scenes of recreation and entertainment or bustling, energetic crowds. One such crowd is seen in Andy Mister’s Disobedience. With its absence of specific signifiers of an issue or cause, the monochromatic drawing creates a timeless scene, one which beckons the viewer to imagine themselves immersed in the crowd and participating in the protest.

Artists portray the city as a place of vitalism, leisure, and liberation made possible through its organizational structures in these selections. Here too, the artists demonstrate the transitory, adaptable nature of the city and its inhabitants: progressive energy that will prove essential in our collective shift out of pandemic life. Forging connections across numerous cities, eras, and artistic styles, this exhibition offers a wealth of parallels between the contemporary viewer’s experience and the artistic distillation of city life.

 

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