| Davistown Museum Annual Art Exhibition |
| | Price | | Status | Location |
| Ascrizzi, Joe |
| A230 | Heavenly Madonnas | DTM | MH |
| 1986, two painted panels, unsigned, 36" wide, 46" high. | photo |
| Fooling around with paint can be great fun. Joe still lives and works not too far up the road from The Davistown Museum. |
| Atwood, Allan |
| 31902A3 | Harbor View with Fishing Shacks | LPC | DTHP |
| n.d., oil on board, signed "Allan Atwood 47", 16" wide x 14" high. |
| A Union, Maine, artist. |
| Atwood, Allan |
| 51402A5 | Portland from Munjoy Head | LPC | DTHP |
| ca. 1955, oil on canvas, 28" wide, 22" high. |
| Atwood, Allen |
| 071208A1 | Untitled | DTM | T |
| n.d., Oil, 25" x 30". |
| Avery, Milton (1885 - 1965) |
| AHC0001 | Landscape: Cole Pond, Rawsonville, Vermont | POR | | LPC | MH |
| 1945, o/c, signed "Milton Avery 45" in lower left corner, 22" x 33 1/2". | bio | photo |
| This quick study was painted during the early summer of 1945 of a scene in Rawsonville, VT, prior to Avery's annual |
| summer sojourn at Gloucester, MA. Milton had spent many previous summers in the late 1930s at Rawsonville and loved to |
| paint the hills and landscapes of Vermont, as well as of Gaspé and other locations. This particular landscape was painted on |
| the north side of Cole Pond, looking to its southeast shore. Avery depicts a number of the houses on this shoreline by his |
| typical use of short slashes to express structure. This canvas is particularly interesting in that Avery, ala Helen |
| Frankenthaler, utilized bare, unprimed canvas as ground in this landscape study that links his earlier traditionalism with his |
| later color field masterpieces. Signature Avery elements in this landscape, executed in just a few hours, include his habitual |
| use of orthogonals, the unfinished nature of the study, the stick-like structures of the houses on the southeast side of Cole |
| Pond, and, most importantly, the soft radiant ambiance of the clouds and the foliage in this painting. This is a painting |
| executed not for the salon, the art commodity market or for a collector, but just for the love of painting. It represents the |
| day-to-day production of a working painter who wasn't thinking about public opinion. It was also executed at an important |
| juncture in Avery's career, when he was moving away from paintings with traditional perspective and content and |
| experimenting with using color to express mass and space. While the traditional perspective of this study is anomalous in |
| view of his later color field masterpieces, Avery, who never confined himself to one particular style, clearly signals his |
| intense interest in color to express form and space in this landscape, which so clearly predicts his later mastery of color |
| field painting. |
| Avery, Milton (1885 - 1965) |
| AHC0001A2 | Photograph of Milton Avery's Cole Pond, Rawsonville, VT | LPC | MH |
| 1980, photograph (transparency), unsigned, 7" high, 12" wide. | bio | photo |
| This photograph (transparency) is of the Milton Avery landscape painting on exhibit, ID # AHC0001. This landscape, one of |
| Avery's quick studies, is signed in his characteristic linear script and dated 1945. Avery spent many summers during the |
| 1930s in the Rawsonville, Vermont area; he returned here in the early summer of 1945 to paint this landscape prior to his |
| now annual summer sojourn in Gloucester, MA. This painting was executed on the north shore of Cole Pond, looking out to |
| the houses and cottages that dot the southeast shore of the pond. Cole Pond lies within the Green Mountain National Forest |
| to the east of Rawsonville and was an area familiar to Avery from many years of summer visits. |
| |
| Of particular note is Avery’s use of orthogonals to denote the lay of the land and especially of a vestigial road running |
| alongside the hill and connecting with another road lying just out of view, which terminates several miles away along the |
| shore of the West River. In the upper right hand corner of the painting, a distant hill within the town of Jamaica can be |
| seen. All of the elements in this painting are consistent with the US Geological Survey map of 1986 (Londonderry, VT, |
| revised 1997). In depicting the shoreline of Cole Pond, Avery took almost no artistic license to change the landscape, yet it |
| was obviously not his objective to create a realistic rendition of the Cole Pond area. |
| |
| The fundamental and outstanding characteristic of this painting is Avery’s unique ability to use soft colors to express form |
| and space. Both the clouds and the foliage of this Vermont landscape are signature Avery. His unique ability to create the |
| color field masterpieces of his later career are foreshadowed in this painting from the critical mid-years of his career. |
| Balise, Sett |
| 62808A2 | No Trespassing | $300.00 | | MAG | MAG2 |
| 2007, Oil on canvas, signed, 16" x 20". | photo |
| | Page 3 of 47 |
