BROCK & CO.

03/26/2026

MARY ABBOTT (1921-2019)
Untitled, n.d.
Watercolor on paper
4 x 6 inches
Initialed at lower right: A
Signed verso: M. / Abbott

Mary Abbott was a towering figure of the Abstract Expressionist movement, though her contributions were long overshadowed by her male contemporaries. A key member of the “New York School,” she was one of the few women invited to join The Club, the exclusive intellectual heart of the art world in the 1940s and 50s.

Abbott’s work is defined by its rhythmic energy and physical intensity. Unlike the somber tones of some peers, her canvases often erupted with vibrant, botanical colors—pinks, yellows, and lush greens. This was largely inspired by her time spent in St. Croix and Haiti. She didn’t just paint landscapes; she translated the feeling of nature into sweeping, gestural brushstrokes.

Abbott’s artistic approach seamlessly integrated gestural abstraction, which prioritized the physical “action” of painting through bold and urgent movements, with a masterful use of lyrical color to evoke light and bridge the gap between abstraction and nature. Beyond the canvas, her collaborative spirit drove her to work alongside avant-garde poets like Frank O’Hara, effectively blending visual and literary arts to push the boundaries of modern creative expression.

In an era that often sidelined female artists, Abbott remained fiercely committed to her vision. She viewed the canvas as a space for spontaneous discovery. Today, her legacy is being rediscovered by historians who recognize her not just as a contemporary of Willem de Kooning, but as a primary architect of American abstraction. Her paintings remain a testament to the power of bold movement and the enduring pulse of nature.



DM or email us at [email protected] for more information

03/26/2026

MARY ABBOTT (1921-2019)
Untitled, n.d.
Watercolor on paper
4 x 6 inches
Initialed at lower left and lower right: A
Signed verso: M. Abbott

Mary Abbott was a towering figure of the Abstract Expressionist movement, though her contributions were long overshadowed by her male contemporaries. A key member of the “New York School,” she was one of the few women invited to join The Club, the exclusive intellectual heart of the art world in the 1940s and 50s.

Abbott’s work is defined by its rhythmic energy and physical intensity. Unlike the somber tones of some peers, her canvases often erupted with vibrant, botanical colors—pinks, yellows, and lush greens. This was largely inspired by her time spent in St. Croix and Haiti. She didn’t just paint landscapes; she translated the feeling of nature into sweeping, gestural brushstrokes.

Abbott’s artistic approach seamlessly integrated gestural abstraction, which prioritized the physical “action” of painting through bold and urgent movements, with a masterful use of lyrical color to evoke light and bridge the gap between abstraction and nature. Beyond the canvas, her collaborative spirit drove her to work alongside avant-garde poets like Frank O’Hara, effectively blending visual and literary arts to push the boundaries of modern creative expression.

Today, her legacy is being rediscovered by historians who recognize her not just as a contemporary of Willem de Kooning, but as a primary architect of American abstraction. Her paintings remain a testament to the power of bold movement and the enduring pulse of nature.



DM or email us at [email protected] for more information

03/26/2026

MARY ABBOTT (1921-2019)
Untitled, n.d.
Watercolor on paper
4 1/8 x x 5 7/8 inches
Initialed at lower right: M.A.
Signed verso: Mary Abbott

Mary Abbott was a towering figure of the Abstract Expressionist movement, though her contributions were long overshadowed by her male contemporaries. A key member of the “New York School,” she was one of the few women invited to join The Club, the exclusive intellectual heart of the art world in the 1940s and 50s.

Abbott’s work is defined by its rhythmic energy and physical intensity. Unlike the somber tones of some peers, her canvases often erupted with vibrant, botanical colors—pinks, yellows, and lush greens. This was largely inspired by her time spent in St. Croix and Haiti. She didn’t just paint landscapes; she translated the feeling of nature into sweeping, gestural brushstrokes.

Abbott’s artistic approach seamlessly integrated gestural abstraction, which prioritized the physical “action” of painting through bold and urgent movements, with a masterful use of lyrical color to evoke light and bridge the gap between abstraction and nature. Beyond the canvas, her collaborative spirit drove her to work alongside avant-garde poets like Frank O’Hara, effectively blending visual and literary arts to push the boundaries of modern creative expression.

In an era that often sidelined female artists, Abbott remained fiercely committed to her vision. She viewed the canvas as a space for spontaneous discovery. Today, her legacy is being rediscovered by historians who recognize her not just as a contemporary of Willem de Kooning, but as a primary architect of American abstraction. Her paintings remain a testament to the power of bold movement and the enduring pulse of nature.

02/23/2026

ANNIE HURLBURT JACKSON (1877-1959)
Dunes in Shadow, c. 1917
Oil on canvas on board
8 x 10 inches
Identified and titled on exhibition label verso

EXHIBITED

Brookline, Massachusetts, Third Annual Exhibition of Brookline Civic Society, 1917

Annie Hurlburt Jackson, born in Minneapolis, Minnesota, in 1877. In 1896, she settled in Brookline, Massachusetts, a move that placed her at the heart of one of the most vibrant artistic communities in the United States.

Jackson sought a rigorous and varied education, studying under several of the most influential American painters and educators of the early 20th century, including Charles Webster Hawthorne, Hermann Dudley Murphy, Eric Pape and Charles Herbert Woodbury.

While many of her contemporaries focused on large-scale oils, Jackson chose to specialize in the "exquisite craft" of miniature painting. This medium required immense patience and a steady hand, often involving watercolor applied to delicate surfaces like ivory or porcelain. Her 1925 work Hetty, now held by the Brooklyn Museum, serves as a prime example of her mastery in watercolor on porcelain.

Beyond miniatures, Jackson was an active member of several prestigious art organizations, including The Guild of Boston Artists, American Society of Miniature Painters and Copley Society of Art.

Her contributions to American art are preserved in the permanent collections of major institutions, ensuring her role in the history of the Boston School remains documented with works held by the Museum of Fine Arts, Boston; Philadelphia Museum of Art; Cincinnati Art Museum; Worcester Art Museum; and Currier Museum of Art.



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02/12/2026

ELIZABETH FISHER WASHINGTON (1871-1953)
Bickford's Float, Gloucester, Massachusetts, n.d.
Oil on board
7.25 x 8 inches
Signed at lower right: E. F. WASHINGTON
Signed verso (in pencil): E. F. Washington
Titled verso (in pencil): Gloucester / Mass

Elizabeth Fisher Washington was born in Siegfried’s Bridge, Pennsylvania, and sought professional rigor at the Pennsylvania Academy of the Fine Arts (PAFA), studying under legends such as Hugh Breckenridge and Fred Wagner.

In 1912, she earned the prestigious Cresson Traveling Scholarship, allowing her to study European masters. This exposure, blended with the American Impressionist movement, defined her signature style: a balance of technical precision and atmospheric softness.

A dedicated plein air painter, she spent summers in the art colonies of New Hope, Cape Ann, and Rockport. Her peers held her in high regard; she was a two-time winner of the Mary Smith Prize (1917 and 1934), awarded to the best female artist in Philadelphia.

Beyond the easel, she was a pillar of The Plastic Club and the Philadelphia Art Alliance, where she helped establish art as a rigorous professional calling for women.

Today, Washington’s works are held in the permanent collections of the Smithsonian American Art Museum, PAFA, and the Woodmere Art Museum—testaments to an artist who successfully transcended a famous name to build a lasting reputation.



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12/13/2025

ROBERT M. KULICKE (1924-2007)
Three Pears, 1958
Oil on board
5 3/8 x 7 5/8 inches
Signed and dated at upper right: Kulicke 58

In 1968, Kulicke perfected the ancient goldsmithing technique of granulation, a process involving fusing tiny metal granules onto a surface, which he began to teach. He co-founded the Kulicke-Stark Academy (later the Jewelry Arts Institute) with his companion Jean Stark.

Kulicke died in December 2007 at the age of 83. His work is held in the permanent collections of the Whitney Museum of American Art, the Victoria & Albert Museum, the Hirshhorn Museum and Sculpture Garden, and The Metropolitan Museum of Art, among others.
#1975
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12/13/2025

ROBERT M. KULICKE (1924-2007)
Two Pears, 1958
Oil on board
5 1/2 x 7 1/2 inches
Signed and dated at upper right: Kulicke 58

Kulicke established "Kulicke Frames" in New York City in 1951, where he socialized with Abstract Expressionist painters like Robert Motherwell and Franz Kline. At their request for frames that wouldn't distract from their work, he designed the thin, welded aluminum and later Lucite "floating" frames that became a standard in modern art presentation. These designs were famously adopted by MoMA for its traveling exhibitions and photography department. Kulicke's meticulous reproduction frames were also used on masterpieces at major institutions, including Leonardo da Vinci's Portrait of Ginevra de' Benci at the National Gallery of Art.

Despite his success as a frame maker, Kulicke considered painting his life's work. Inspired by Giorgio Morandi, he became a noted painter of intimate, small-scale still lifes of flowers, fruit (especially pears), and even dollar bills. He described his style as "more 17th century than 20th," calling himself an "intimist" and saying his work combined "Zen philosophy and Medieval art."
#1975
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12/13/2025

ROBERT M. KULICKE (1924-2007)
Fruit in a Bowl, 1957
Oil on board
6 3/4 x 7 3/4 inches
Identified verso on handwritten studio inventory label: RMK 57.29
Born in Philadelphia in 1924, Robert Kulicke's formative years included studying advertising design at the Philadelphia College of Art and independently studying the collections at the Philadelphia Museum of Art. After serving in the Army during World War II, he used the G.I. Bill to study painting in Paris in the atelier of Fernand Léger. During this time, he also apprenticed with local framers, a pursuit that sparked his lifelong career in frame design.
#1975
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11/22/2025

ELAINE SHERMAN CROSSLEY (1925-1996)
Stained Glass Window II, 1983
Oil on canvas
30 x 24 inches
Signed and dated at lower left: E. Crossley / '83

Elaine Sherman Crossley, born in 1925, was a curious and imaginative child who defied her mother's practical expectations to pursue a life dedicated to art and writing. Despite studying home economics during World War II for stability, she continued to hone her blunt writing and abstract, geometric art style. In 1950, she married Frank Crossley, a supportive partner who encouraged her creative ambitions as they moved to various cities. She developed a unique style rooted in ancient Sudanese and African art forms, aiming to express and share her Black experience. Although she had little interest in selling her work, her art was widely exhibited in California and the Midwest at venues like the Triton Museum and the Richmond Art Center. Crossley lived a life of quiet creativity dedicated to self-expression, hoping her work would one day be discovered before her death in 1996.



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11/22/2025

https://www.facebook.com/share/1DjQxAfejk/?mibextid=wwXIfr

Serena Lederer dans son salon , à Vienne , avec sur le mur le portrait d'Elisabeth Lederer par Gustav Klimt .
Cela fait plus de vingt ans que le collectionneur de la Neue Galerie , Ronald Lauder , a payé 135 millions de dollars pour le portrait d'Adèle Bloch-Bauer ( 1907 ) : " la dame en or " .
Cette fois , c'est Sotheby's, en charge de la collection Lauder qui propose cet autre chef-d'oeuvre " le portrait d'Elisabeth Lederer ( 1914 ) pour plus de 150 millions de dollars.
Et il s'est envolé pour plus de 236, 4 millions de dollars

11/22/2025

ELAINE SHERMAN CROSSLEY (1925-1996)
Untitled, 1980
Oil on canvas
28 x 22 inches
Signed and dated at lower left: E. Crossley 80

Elaine Sherman Crossley, born in 1925, was a curious and imaginative child who defied her mother's practical expectations to pursue a life dedicated to art and writing. Despite studying home economics during World War II for stability, she continued to hone her blunt writing and abstract, geometric art style. In 1950, she married Frank Crossley, a supportive partner who encouraged her creative ambitions as they moved to various cities. She developed a unique style rooted in ancient Sudanese and African art forms, aiming to express and share her Black experience. Although she had little interest in selling her work, her art was widely exhibited in California and the Midwest at venues like the Triton Museum and the Richmond Art Center. Crossley lived a life of quiet creativity dedicated to self-expression, hoping her work would one day be discovered before her death in 1996.



Contact us at [email protected]