tempera and watercolor on paper
signed and dated l.r.
22" ht. x 30" wd. (sheet size)
30" ht. x 38" wd. (framed)
Knoedler Galleries, New York, October 15th-November 2nd, 1963. Plate #14
Acquired from the above by Jane and Alfred Friedlander, 1963.
Descended in the family until the present
A number of correspondences remain with the painting. They include:
-The Knoedler Galleries 1963 catalog "Vieira da Silva". Plate #14
-Typed letter signed by artist, c/o Guy Wheelan. Written to Alfred Friedlander, 16 January, 1968.Â A request for information and transparencies for Le courant.
-June 1970 typed letter, on Knoedler Galleries letterhead.Â Catalog raisonne request for transparency and information.
-June 27, 1970 submission form on Knoedler Galleries letterhead.
Le courant was first shown at Knoedler Galleries in 1963, the second such exhibition staged by the powerhouse gallery of Vieira da Silva's work.Â At this time, her reputation as the leading Portuguese abstract painter was well formed. In the following years, Knoedler, the artist, and author Guy Wheelan would embark on staging retrospective shows and begin compiling what would become the painter's catalog of works. This example was acquired at the Knoedler show, as the Friedlander's were well acquainted with the gallery and made several important purchases there. It has remained in the family collection until today.
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Caza Sikes is excited to present The Friedlander Collection, amassed by multiple generations of a keen and enthusiastic collecting family.
The collection was assembled in two phases, spanning the better half of a century: first by Jane and Alfred Friedlander, with purchase history for individual works dating to the early 20th Century, and continued by Susan and William Friedlander, with works collected as recently as the 2000s.
Notably, Jane and Alfred Friedlander collected important works from a group of respected and celebrated dealers in the 1950s and 60s. These include Theodore Schempp (1904-1988), a graduate of Oberlin College, personal friend of Georges Braque, and expatriate dealer who navigated many works to Midwestern collectors during the middle of the 20th century. Original receipts of purchase on Schempp letterhead, as well as other correspondence, remain with the Collection related to included original works by Paul Klee and Georges Braque. Other important dealers are the famed Knoedler and Co. in New York, and Gimpel Fils Ltd., a seminal European gallery which dealt in top modernists of the 20th century.
Susan and William Friedlander continued the trend of collecting modernist work, primarily via noted Cincinnati modern dealer Carl Solway. Led by a Tom Wesselman original still life as a highlight and a Saul Steinberg original mixed media work featured on the May 19, 1962 cover of The New Yorker, there are many works on paper by top 20th century artists assembled by the Friedlanders, including Magritte, Albers, Giacometti, among others. Additional works by well-known artists such as Pablo Picasso and Maria Helena Vieira da Silva round out the sale.
Many of the works in the Collection were heavily exhibited at institutions. This provenance is well documented, and in most instances exhibiting a clear and unbroken lineage to current day. In some extraordinary cases, such as the Braque, works were purchased directly from the artist.