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Enid Bell
1904-1994
Nightclub (Last Dance), c. 1945Inscribed: ENID BELLRedwood on painted wood base15 x 8 x 5 inches
38.1 x 20.3 x 12.7 cmAn American born in London, Enid Bell began her art studies at the Glasgow School of Art and continued at St. John's Wood School of Art in London. She also trained privately with Sir W. Reid Dick. In the U.S., she studied at the Art Students League in New York. Bell served as the Head of the Sculpture Department at the Newark School of Fine and Industrial Art from 1944 to 1968. Prior to this, she was the Sculpture Supervisor for the WPA from 1940 to 1941. Bell primarily worked with wood, terra-cotta, stone, marble, and alabaster. She exhibited widely, including at the Pennsylvania Academy of Fine Arts, National Academy of Design, and Paris International Exposition, where she won a Gold Medal in 1937. She was also a member of the National Sculpture Society and the New York Society of Craftsmen.
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Virginia Berresford1902-1995Shells, c. 1940Signed at lower right: Virginia BerresfordOil on canvas16 x 12 inches
40.6 x 30.5 cm -
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Georgia Engelhard
1906-1986
The White Church, c. 1930-39Signed on stretcher: Georgia EngelhardOil on canvas18¼ x 32¼ inches
46.4 x 81.9 cm -
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Georgia O'Keeffe1887-1986Alligator Pears, 1923Inscribed and dated on verso: Alligator Pears 1923Oil on board9 x 12 inches
22.9 x 30.5 cm -
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Helen Wessells1905-1985The Negro Troop, 1935-36Signed and dated at lower left: Helen Wessells '36; signed, dated and inscribed with the title on verso: The Negro Troop / Helen Wessells / 35Tempera on panel24 x 30 inches
61 x 76.2 cm -
For additional information about Schoelkopf Gallery's presentation at The Art Show, or any of the works presented, please be in touch with Alana Ricca at alana@schoelkopfgallery.com or (212) 879 - 8815.
Schoelkopf Gallery is delighted to present fourteen paintings, sculptures, and works on paper by twentieth-century American modernists, both familiar and whose renown never matched their talent, on view at The Art Show Organized by the ADAA, from October 29 to November 2, 2024. Drawn from The Estate of Mary Abbott and distinguished private collections including The Kathleen Kennedy and Frank Marshall Collection, the gallery’s presentation spans three critical decades from the 1920s to the 1950s and features a diverse group of artists who developed important contributions to modernism that traverse genres, mediums, and modes of expression.
In the years leading up to World War II, Helen Wessells portrayed the symbolic role of women in local community and national patriotism, while Ida O’Keeffe and Georgia Engelhard investigated physical structures of institutional power. Other modernists, such as Georgia O’Keeffe, Virginia Berresford, and Hedda Sterne, documented their studios and the natural world in jewel-like still lifes and landscapes informed by astute observation and personal creative lexicons. Similarly, Isabel Bishop experimented with layers of perception, choosing details to represent and omit in her portrait of a young woman, and Enid Bell’s distilled forms reveal the essence of two figures in an embrace, no more, and no less. In the post-war period, Mary Abbott and Alice Trumbull Mason experimented with the language of abstraction, both expressionist and geometric, creating compositions that oscillate with color and form.
