Max Weber

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

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

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

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.