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Art Basel Miami Beach 2023

December 6 – 10, 2023

Raymond Jonson (1891-1982), City Forces, 1932, Oil on canvas, 37 1/4 x 68 1/4 in.

Raymond Jonson (1891–1982)
City Forces, 1932
Oil on canvas, 37 1/4 x 68 1/4 in.
Signed and dated (at lower right): Jonson 32

Edward Hopper (1882-1967), Longnook Valley, 1934, Watercolor and pencil on paper, 22 x 30 in.

Edward Hopper (1882–1967)
Longnook Valley, 1934
Watercolor and pencil on paper, 22 x 30 in.
Signed (at lower right): EDWARD HOPPER

Edmund Lewandowski (1914-1998), Steel and Grey, 1956, Oil on masonite, 42 x 18 in.

Edmund Lewandowski (1914-1998)

Steel and Grey, 1956

Oil on masonite

42 x 18 in.

Honore Sharrer (1920-2009), Nursery Rhyme, 1971, Oil on canvas, 49 x 89 in.

Honore Sharrer (1920-2009)

Nursery Rhyme, 1971

Oil on canvas

49 x 89 in. 

Elizabeth Turk (b. 1961), Script: Line 187, 2013, Marble, 18 x 35 1/2 x 7 3/4 in.

Elizabeth Turk (b. 1961)

Script: Line 187, 2013

Marble

18 x 35 1/2 x 7 3/4 in.

Bernard Boutet de Monvel (1881-1949), 1930 Tennis Allegory (one of a pair), n.d., Oil on canvas, 125 1/2 x 93 1/2 in.

Bernard Boutet de Monvel (1881–1949)
1930 (Tennis Allegory) (one of a pair), n.d.
Oil on canvas, 125 1/2 x 93 1/2 in.
Signed (at lower left): Bernard De Monvel

Bill Traylor (1854-1949), Exciting Event/ Blue and Red Form (Man Stealing Liquor), Poster paint and pencil on cardboard, 14 1/4 x 13 1/2 in.

Bill Traylor (1854–1949)
Exciting Event/ Blue and Red Form (Man Stealing Liquor), about 1939–42
Poster paint and pencil on cardboard, 14 1/4 x 13 1/2 in. 

Angela Fraleigh (b. 1976), I Wake Knowing that I Will Sing Again, if I promise to never look back, 2022, Oil and acrylic on Dibond panel, 40 x 30 in.

Angela Fraleigh (b. 1976)

I Wake Knowing that I Will Sing Again, if I promise to never look back, 2022

Oil and acrylic on Dibond panel

40 x 30 in. 

Marsden Hartley, Black and White Decoys, 1940-41, Oil on masonite, 22 x 28 in.

Marsden Hartley

Black and White Decoys, 1940-41

Oil on masonite

22 x 28 in. 

Julie Heffernan (b. 1956), Study for Self-Portrait with Tiny Worlds, 2023, Oil on canvas, 36 x 24 in.

Julie Heffernan (b. 1956)

Study for Self-Portrait with Tiny Worlds, 2023

Oil on canvas

36 x 24 in.

Winold Reiss (1886-1953), City of the Future [Vertical panel "Fb"], about 1936, Oil on canvas, 118 x 32 in.

Winold Reiss (1886–1953)
City of the Future, from Longchamps Restaurant, about 1936
Oil on canvas, 118 x 32 in. 

Maria-Elena Gonzalez (b. 1957), Fragment 2, 2021, Porcelain, epoxy, wood, latex paint, 13 3/4 x 10 1/4 x 3 1/2 in.

Maria-Elena Gonzalez (b. 1957)

Fragment 2, 2021

Porcelain, epoxy, wood, latex paint

13 3/4 x 10 1/4 x 3 1/2 in. 

Lily Cox-Richard (b. 1979), She-Wolf, 2019-22, Scagliola, 30 x 50 x 25 in.

Lily Cox-Richard (b. 1979)

She-Wolf, 2019-22

Scagliola

30 x 50 x 25 in.

Colin Hunt (b. 1973), Untitled  (The Gate), 2023, Egg tempera on panel, 80 x 40 in.

Colin Hunt (b. 1973)

Untitled  (The Gate), 2023

Egg tempera on panel

80 x 40 in. 

Press Release

Art Basel Miami Beach 2023

Hirschl & Adler, Stand D26

For the 2023 edition of Art Basel Miami Beach Hirschl & Adler will present a multimedia installation of 20th Century American Modernist works of art, complemented by choice selections of Post-War and Self-taught art. We will bring together a diverse selection of work by such artists as Marsden Hartley, Raymond Jonson, John Koch, George L. K. Morris, Winold Reiss, Honoré Sharrer, Joseph Stella, Bill Traylor, Purvis Young and others.

The spirit of American dynamism in the 20th century will be on full display in Raymond Jonson’s major painting City Forces (1932), an early harbinger of the artist’s move toward non-objective compositions as a founding member of the Transcendental Paint Group in the mid to late 1930s. Also featured is Marsden Hartley’s seminal Black and White Decoys (1940–41), a mature work signaling the artist’s late-career return to the Maine-inspired subjects of his early life after many years cultivating a more European, cosmopolitan aesthetic. An important painting by the self-taught master Bill Traylor, Exciting Event/ Blue and Red Form (Man Stealing Liquor) (1939–42) captures the vivid colors and whimsical human narratives by this revered storyteller of the American South. Elsewhere, a Cubist abstraction by George L. K. Morris, Floor Show (1947), introduces fairgoers to the work of the so-called Park Avenue Cubists, a group of well-to-do intellectual painters committed to an international style of abstraction even in the wake of World War II.

Hirschl & Adler is proud to participate in the ABMB Kabinett program once again. This year’s presentation will focus on the work of the under-recognized female surrealist artist Honoré Sharrer, who has enjoyed a resurgence of interest in recent years. Her sharp-edged realism and sly wit serve to undercut society’s history of patriarchal dominance. In paintings like The Play (1997), Sharrer’s unabashed women routinely disrupt the narrative and steal the show along the way.

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