Lot 312: Millard Sheets
Three Gay Birds & Birds of a Feather (2)
A: Signature in pencil lower right; initials in plate lower right; titled with edition lower left margin beneath image; B: Signed lower right; title in pencil lower left margin; edition lower center;
A: Image: 13.125" x 18"; Sheet: 22.5" x 28.5"; B: Image: 20.125" x 12.5"; Sheet (vis.): 21" x 13.125"; Frame: 30" x 22.25"
Together with copy of exhibition catalogue
Provenance: The Estate of Ruth and Dalzell Hatfield, Los Angeles, California;
Thence by descent
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Artist, designer, and educator, Millard Sheets (1907-1989) is responsible for some of the most iconic buildings in the Los Angeles area. He championed the incorporation of artwork into architectural plans, resulting in the Scottish Rites Temple, dozens of Home Savings and Loan banks, and the Garrison Theater, each of these lined with mosaics, stained glass, murals, sculpture, and furniture all created by Sheets. Originally from Pomona, Sheets graduated from the Chouinard Art Institute in 1929, having already established a reputation as a California Style watercolor painter. Beginning in 1932, Sheets became the assistant head of the art department at Scripps College, and only four years later he was named the full-time head. It was here that Sheets explored innovative ways to integrate various art disciplines such as architecture, art, dance, and music. Additionally, as commissions for murals, frescos, and buildings piled up, Sheets maintained an impressive and successful output of watercolors and oils.
In 1926 during Sheets' first year at Chouinard, the Dalzell Hatfield Gallery opened on 7th Street near MacArthur Park, just a few blocks away from the art school. Opting to save his money for paint supplies rather than lunch, Sheets would frequent the gallery to view the latest in European art, including his first Matisse and van Gogh. One year later, after seeing the young painter's works in local exhibitions, Hatfield offered to represent Sheets, explaining, "We've seen it [Sheets' painting], and we think that you have potential. We don't know whether it's going to be practical to handle it, but if you would put everything that you've got into it for five years, we'll do the same." His first one man exhibition opened at the Dalzell Hatfield Gallery one year later in 1929, and the day the exhibition opened, a telegram arrived announcing that Sheets had won the $1,750 prize for his painting Goat Ranch (1929) he entered in a national competition at the Witte Memorial Museum in San Antonio, Texas. These events marked the beginning of a 30-year relationship in which Hatfield sold at least 3,000 of his paintings and prints, "practically all that I've produced," according to Sheets.
Early in his career while he was still a student at Chouinard, Sheets painted primarily in oils. The King's Tent (1928), one of his earliest oil paintings, displays a sophistication of color, brush stroke, and composition for such a young artist and remains a precursor to some of his most famous paintings, Angel's Flight (1931) in LACMA's permanent collection and Family Flats (1933-34) in the Smithsonian Museum of American Art's permanent collection. For The King's Tent, Sheets skipped class to attend the election of a new Gypsy queen at the Whittier Narrows, just east of Los Angeles. Over 1,400 Gypsies set up tents that remained for six weeks. Sheets recalls, "I went out there with these big canvases, scared to death, because I was so young and some of these people looked pretty tough to me. At first they didn't particularly like to have me around, but they became intrigued." Sheets eventually painted 15 canvases while sitting in the middle of the Gypsy encampment. That same year, Sheets' professor at Chouinard encouraged him to paint in watercolor, a medium he quickly mastered. One of these watercolors, Below Half Moon Bay (c. 1935), was exhibited at the "17th International Exhibition of Watercolors" at the Art Institute of Chicago in 1938 and again in 1941 at the Faulkner Memorial Gallery of Art in Santa Barbara. These exhibitions were regular occurrences for Sheets thanks to Dalzell Hatfield, a visionary who fostered the modern art scene in Los Angeles by taking chances on young, talented artists such as Millard Sheets.
Hatfield, Dalzell, ed. Millard Sheets. Los Angeles: Dalzell Hatfield Gallery, 1935. Print.
Los Angeles Conservancy. Millard Sheets: A Legacy of Art & Architecture. Los Angeles: Los Angeles Conservancy, 2012. Print.
Sheets, Millard. Interview by George M. Goodwin. Oral History Program. Los Angeles: UCLA, 1977. Web. 26 Aug. 2013.