October 2022 Online Auction  

of Original Works by Susan Seddon-Boulet

Susan Seddon-Boulet  is considered an important founding member of the American Visionary Art Movement.  Her magnificent works are widely held in collections around the world.  Four books have been written about her life and art, "Shaman: The Paintings of Susan Seddon-Boulet", "The Goddess Paintings",  "The Power of the Bear" and "Susan Seddon-Boulet:A Retrospective." Written by Michael Babcock and published by Pomegranate Art Books. 

Susan Seddon-Boulet's art continues to exert a profound influence on the lives that it touches.  Anais Nin wrote:

"These figures are out of our dreams, those which flee from us upon awakening, those which are dispersed like dew at dawn, those which fall apart between our fingers like dust-roses.

Susan has a more muted step, or perhaps she is invisible…more soft-voiced, soft-gestured, as the images do not escape from her.  She can return from her voyages with intact descriptions…from places never visited by us but which we remember."

We are again very pleased to include notations from Susan’s close friend and biographer Michael Babcock about the work offered. Michael’s numerous books about Susan and her art have served to document and give personal insight into Susan and her artistic legacy.  

An Important Background On This Unique Collection

From Michael Babcock's book “Susan Seddon-Boulet: A Retrospective” Pub. Pomegranate Communications 2000.

“Late in her life, when asked how she became an artist, she replied, “I think it was accidental. It wasn’t what I set out to do.”  Although Susan continued to paint and draw when she moved to the United States, she had no thought of selling her work.  In the brief time she worked at Lufthansa, she met, Kathy Davis and Marita Kallfelz, two friends, who helped start her career... It was a birthday card that Susan drew for Davis that led the two women to urge Susan to sell her art and to undertake the quest to find a gallery in San Francisco, for their friend... 

For years Susan wanted to show her work at the Berkeley Art Festival, but didn’t feel it was good enough.  Over time Davis and Kallfelz persuaded Susan to share a booth with Kallfelz, who worked in ink, at the September 1971 show in Provo Park.  Without their constant encouragement Susan may never have entered the show.  Susan gave Davis a card that bore the inscription “To Dear Kathy who started it all.”  Despite earlier showings of her work, Susan always called this show her “first” and credited it with launching her career. By the end of the first day, she had sold every piece and won the Award of Excellence for her work.”

From Turning Point Gallery:  Her humility about her art was always present.  Prior to Susan’s first show at Turning Point Gallery in 1992, (a few hours had passed after the paintings arrived), we called Susan to let her know that the crate holding the paintings had arrived safely.

Her first question to us was “Do you think they are good enough to hang?”  The reason we waited the few hours between the paintings arrival and the phone call to Susan was because we spent that time selling them out of the crate to people who had heard, through word-of-mouth, that the paintings were at the gallery. The show sold out in a few hours, with them never needing to be hung.  We did hold the show and the response from the public was overwhelming.  Over a thousand people signed the guest book, and often throughout that wonderful weekend you would see someone standing in front of a one of Susan’s pieces, in tears, because of the impact the imagery had on them personally.  

From Michael Babcock: “This sale is notable for a number of works – rarely seen and never before available for sale. There is a naiveté to these warm and charming pieces that exhibit the sense of discovery that being a self-taught artist brought to Susan’s work.”  

“Susan continued to refine her style. She began using a resist technique, where she would layer pastel color on her media and then use sharp etching tools to reveal underlying layers and create intricate details (sgraffito). She expanded her color palette to use brighter colors. We see these changes beginning in late 1971. The transition was complete by late 1972/early 1973, although her detailing and technique continued to evolve and become more refined throughout her career.”

“Most people know Susan’s art primarily through the published images, which consists mainly of works from the mid-1980s onward. This show is a wonderful opportunity to see some of Susan’s earliest work and view how it progressed from her beginning years in the late 1960s into the mid-1970s. It’s also a chance to see many pieces never intended for sale, gifts to Kathy Davis and Marita Kallfelz never seen in public. The two works of dots on linen are the only known pieces by Susan in this genre and the two watercolors are among the only ones known in the 1970s.”

The pieces in this sale are from the Kathy Davis and Marita Kallfelz Collection.

Please Note: These are medium resolution images to facilitate quicker downloads. The original works are brighter, of finer detail and richness of color.  Individual monitor settings may alter the color of the original image.

All of these pieces are framed with Museum, conservation, Tru-Vue Glass; a premium glass which provides state-of-the-art UV protection, minimizes glare and at most angles appears virtually invisible. This glass is often used in major museums to protect the masterworks on display.


The Images of the Originals Offered Will Go Online October 7th.  

Auction Details - Dates - How to Offer - Terms, Etc.

You may click on any of the titles or images to see more information and detailed images from each piece.

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