Details

Provenance

J.B. Neumann, New York (probably acquired directly from the artist) Mr. and Mrs. Richard S. Hirschland, Harrison, New York Forum Gallery, New York Christie's New York, 29 May 1987, lot 259 Private Collection, Buffalo Christie's New York, 23 May 1990, lot 220 [with] ACA Galleries, New York [with] Babcock Galleries, New York Bernard Goldberg Fine Arts, New York Acquired from the above by the present owner

Exhibited

Paris, Bernheim-Jeune, Max Weber, 1924, no. 13, illustrated (as Le Duo ) New York, Downtown Gallery, Max Weber , 1930, no. 13 New York, Museum of Modern Art, Max Weber Retrospective, 1907-1930, 1930, no. X, pp. 11-12 New York, Whitney Museum of American Art, Max Weber Retrospective, 1949, no. 23, p. X Catalogue note We wish to thank scholar Percy North for providing the following thoughts: Max Weber was a trained singer and returned to the subject of music often in his paintings. This particular painting is a transitional work from his cubist period indicated by the faces into his next more Cezannesque phase. This style of painting helped to establish his reputation as a leading American modernist.

Literature

Florence Gilliam, "Max Weber: Humanist," Menorah Journal, vol. II, December 1925 Creative Art, vol. 6, issue 91, April 1930, illustrated Art Lover, vol. 3, 1935, no. 3, p. 48, illustrated Morris Gilbert, "Max Weber," New York Telegram, no. 15, illustrated

Catalog summary

Property from a Private Collection, Virginia Max Weber 1881 - 1961 Solo signed Max Weber and dated 1918 (lower right) oil on canvas 24 by 18 in. 61 by 46 cm. Executed in 1918. Provenance J.B. Neumann, New York (probably acquired directly from the artist) Mr. and Mrs. Richard S. Hirschland, Harrison, New York Forum Gallery, New York Christie's New York, 29 May 1987, lot 259 Private Collection, Buffalo Christie's New York, 23 May 1990, lot 220 [with] ACA Galleries, New York [with] Babcock Galleries, New York Bernard Goldberg Fine Arts, New York Acquired from the above by the present owner Literature Florence Gilliam, "Max Weber: Humanist," Menorah Journal, vol. II, December 1925 Creative Art, vol. 6, issue 91, April 1930, illustrated Art Lover, vol. 3, 1935, no. 3, p. 48, illustrated Morris Gilbert, "Max Weber," New York Telegram, no. 15, illustrated Exhibited Paris, Bernheim-Jeune, Max Weber, 1924, no. 13, illustrated (as Le Duo ) New York, Downtown Gallery, Max Weber , 1930, no. 13 New York, Museum of Modern Art, Max Weber Retrospective, 1907-1930, 1930, no. X, pp. 11-12 New York, Whitney Museum of American Art, Max Weber Retrospective, 1949, no. 23, p. X Catalogue note We wish to thank scholar Percy North for providing the following thoughts: Max Weber was a trained singer and returned to the subject of music often in his paintings. This particular painting is a transitional work from his cubist period indicated by the faces into his next more Cezannesque phase. This style of painting helped to establish his reputation as a leading American modernist.