Fralin Catalog (6-21-23) - Flipbook - Page 14
collection is a courtyard subject from 1912 by Wilfrid Gabriel de
Glehn, a British artist and great friend of Sargent’s. The strong
similarity to Sargent’s work while both were in Spain intimates their
closeness and was the impetus for this acquisition.
With the thrust of the collection concentrated on American works
painted between 1880 and 1950, a few paintings fall outside that range.
These include a gem-like view of Natural Bridge by David Johnson
painted in 1861, chosen because of its specific Southwest Virginia
subject, and a charming Winslow Homer watercolor from circa 1879,
selected because of the artist’s significance in American art history.
Delving into the second half of the 20th century and in keeping with
their penchant for Realism, the Fralins acquired a long-sought major
work by Fairfield Porter, painted in Maine in 1962. The only living
artist included in the collection is Jamie Wyeth, represented by his
Monhegan watercolor from 1974. This work completes the trilogy of
Wyeths, complementing examples by his grandfather and father.
In terms of subject, a common theme throughout the collection
captures slices of diverse American life in their respective periods,
whether featuring the metropolitan streets of New York and Paris,
the rural landscape of the South and Midwest, the coastal areas of
New England, or the monumental West. Others reflect events, such
as Theodore Butler’s rousing Flag Day in 1918, Samuel Johnson Woolf’s
stimulating political convention at Madison Square Garden in 1924,
and George Luks’ speakeasy setting during the Prohibition era. Still
others portray everyday activities, such as artists in their studios and
en plein air, craftsmen in their shops, fishermen in skiffs, and figures
in leisure pursuits, including playing pool, dining out, swimming,
taking a sleigh ride, or attending a circus.
The process of pursuing art has been as fun as acquiring the works
themselves. For any collector, it is important to make pilgrimages
to both galleries and auction houses to find the widest breadth of
material for selection, and we did just that. The Fralins would usually
come up to New York twice a year, and we would spend the day
dashing around Manhattan from place to place. At the end of the
day, we would meet to discuss strategy on which pieces to go after
and to what limits. Once decided, our plans were set, until we might
regroup after the first round of auctions to adjust our game plan for
the next day.
The auction arena is always exciting as one never knows what will
happen. Although we use auction estimates as guidelines, they are
rarely accurate, especially if two people really want to buy the same
work. In this case, the competition can become heated, and prices
can soar far beyond the estimated projection. Over the years, we have
lost out on a few works for this reason. On the other hand, unexpected
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