Skip to content

The American Art Fair Online 2021

The American Dream

Seven Decades of Reality and Imagination in American Art

May 1 – June 11, 2021

GEORGE WESLEY BELLOWS (1882–1925), "Grammy Ames’ House, No. 1," 1916. Oil on panel, 18 x 22 in.

GEORGE WESLEY BELLOWS (1882–1925)
Grammy Ames’ House, No. 1, 1916
Oil on panel, 18 x 22 in.
Inscribed (by the artist’s wife, at lower left): Geo Bellows / ESB; (on the back): GRAMMY AMES’ HOUSE / Mrs GEO BELLOWS / 146 E 19st / NY

FRANK WESTON BENSON (1862–1951), "Redheads Lighting," 1924. Oil on canvas, 44 x 36 1/2 in.

FRANK WESTON BENSON (1862–1951)
Redheads Lighting, 1924
Oil on canvas, 44 x 36 1/2 in.
Signed and dated (at lower left): F. W. Benson ’24

ROSS EUGENE BRAUGHT (1898–1983), "Banana Tree," 1937. Oil on canvas, 43 x 43 in.

ROSS EUGENE BRAUGHT (1898–1983)
Banana Tree, 1937
Oil on canvas, 43 x 43 in.
Signed and dated (at lower right): Ross Braught 37

CHARLES EPHRAIM BURCHFIELD (1893–1967), "Cobwebs in Autumn," 1949. Watercolor on paper, 18 x 25 in.

CHARLES EPHRAIM BURCHFIELD (1893–1967)
Cobwebs in Autumn, 1949
Watercolor on paper, 18 x 25 in.
Signed (at lower right): CEB [monogram] / 1949

JAMES CHAPIN (1887–1975), "Call Girl," 1956–60. Oil on canvas, 36 1/8 x 30 1/2 in.

JAMES CHAPIN (1887–1975)
Call Girl, 1956–60
Oil on canvas, 36 1/8 x 30 1/2 in.
Signed, dated, and titled (at lower left): James Chapin; (at lower right): 1956–’60; (on the back): Call Girl / by / James Chapin

PHILIP EVERGOOD (1901–1973). "Fat of the Land," about 1941. Oil on canvas, 28 x 46 in.

PHILIP EVERGOOD (1901–1973)
Fat of the Land, about 1941
Oil on canvas, 28 x 46 in.
Signed and inscribed (at lower right): Philip Evergood; (on the stretcher): FAT OF THE LAND

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

WILLIAM GLACKENS (1870–1938)
I Went Down to Coney for a Swim, about 1907
Ink, charcoal, and gouache on paper, 13 1/2 x 17 in.
Signed and inscribed (at lower left): W. Glackens; (on the back): I Went Down to Coney for a Swim

O. LOUIS GUGLIELMI (1906–1956), "The American Dream," 1935. Oil on Masonite, 21 1/2 x 30 in.

O. LOUIS GUGLIELMI (1906–1956)
The American Dream, 1935
Oil on Masonite, 21 1/2 x 30 in.
Signed and dated (at lower left): Guglielmi / ’35; (on the back): O. Louis Guglielmi / ’35 // “The American Dream”

CHILDE HASSAM (1859–1935), "Landscape, Eastern Oregon (Clouds and Mountain)," 1908. Oil on cigar boxtop panel, 5 3/8 x 8 1/4 in.

CHILDE HASSAM (1859–1935)
Landscape, Eastern Oregon (Clouds and Mountain), 1908
Oil on cigar boxtop panel, 5 3/8 x 8 1/4 in.
Signed and dated (at lower left): [crescent]; (on the back): Childe Hassam / 1908

CHARLES HOUGHTON HOWARD (1899–1978), "Bouquet," 1932. Oil on canvas, 31 x 41 in.

CHARLES HOUGHTON HOWARD (1899–1978)
Bouquet, 1932
Oil on canvas, 31 x 41 in.
Signed and dated (at lower right): HOWARD 32; (on the back): C. H. Howard

JULES KIRSCHENBAUM (1930–2000), "Without the Hope of Dreams," 1953. Oil on canvas, 84 1/8 x 36 1/8 in.

JULES KIRSCHENBAUM (1930–2000)
Without the Hope of Dreams, 1953
Oil on canvas, 84 1/8 x 36 1/8 in.
Signed and dated (on the skull in the lower right): Jules Kirschenbaum / 1953

REGINALD MARSH (1898–1954), "Cabaret," 1938. Tempera and pencil on gessoed panel, 35 3/4 x 23 3/4 in.

REGINALD MARSH (1898–1954)
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 3/4 x 15 3/4 in.

REGINALD MARSH (1898–1954)
Metropolitan Opera, 1940
Chinese ink and watercolor on paper, 22 3/4 x 15 3/4 in.
Signed, dated, and inscribed (at lower right): METROPOLITAN OPERA / REGINALD MARSH ′40

JANE PETERSON (1876–1965), "The Beach, Gloucester," about 1915. Gouache on paper, 18 x 24 in.

JANE PETERSON (1876–1965)
The Beach, Gloucester, about 1915
Gouache on paper, 18 x 24 in.
Signed (at lower right): JANE PETERSON

JANE PETERSON (1876–1965), "Road to Rocky Neck, East Gloucester," about 1915. Oil on canvas, 40 x 30 in.

JANE PETERSON (1876–1965)
Road to Rocky Neck, East Gloucester, about 1915
Oil on canvas, 40 x 30 in.
Signed (at lower left): JANE PETERSON

PAUL SAMPLE (1896–1974), "Church in Evansville (Schoolhouse)," 1934. Oil on canvas, 24 x 28 in.

PAUL SAMPLE (1896–1974)
Church in Evansville (Schoolhouse), 1934
Oil on canvas, 24 x 28 in.
Signed and inscribed (at lower center): Paul Sample; (in pencil, on the stretcher): Schoolhouse / Paul Sample

JULIAN ALDEN WEIR (1852–1919), "Day in June," about 1900–09. Oil on canvas, 24 x 32 3/8 in.

JULIAN ALDEN WEIR (1852–1919)
Day in June, about 1900–09
Oil on canvas, 24 x 32 3/8 in.
Signed (at lower left): J. Alden Weir

The American Dream: 

The American Dream: 
Seven Decades of Reality and Imagination in American Art

The American Dream: 

The American Dream: 
Seven Decades of Reality and Imagination in American Art

The American Dream: 

The American Dream: 
Seven Decades of Reality and Imagination in American Art

The American Dream: 

The American Dream: 
Seven Decades of Reality and Imagination in American Art

The American Dream: 

The American Dream: 
Seven Decades of Reality and Imagination in American Art

The American Dream: 

The American Dream: 
Seven Decades of Reality and Imagination in American Art

Press Release

Hirschl & Adler’s May gallery show, The American Dream: Seven Decades of Reality and Imagination in American Art, is the “brick-and-mortar” version of our virtual booth for The American Art Fair Online 2021.

The American Dream derives from the title of an enigmatic painting from 1935 by the Magic Realist O. Louis Guglielmi, one of the centerpieces of the exhibition. The Guglielmi is accompanied by several new acquisitions making their exhibition début, including some great works of art from multi-generational private collections. Among the most noteworthy is a magnificent sporting painting by Frank Benson, Redheads Lighting, which has been in one family's collection since the patriarch acquired it from Benson—his friend and hunting companion—in the mid-1920s. Another recent acquisition is a magical 1949 watercolor by Charles Burchfield called Cobwebs in Autumn, which was acquired by the father of its current owner in the early 1950s, perhaps as a tangible memento of his undergraduate honors thesis on Burchfield at Harvard University in 1942—the first at the university treating a living artist.

While we will miss seeing our many friends at The American Art Fair this year, we are very much looking forward to presenting our new acquisitions on the Fair’s virtual platform and “live” at our gallery from this Saturday through mid-June.

Back To Top