Frank K. M. Rehn Galleries, 1933
Dorothy Williams Garrett, circa 1933-36 (acquired from the above)
Gift to the present owner, 1956

New York, Frank K. M. Rehn Galleries, Paintings by Audrey Buller, April-May 1933
New York, Ferargil Galleries, Paintings by Audrey Buller, April-May 1936
Houston, Texas, O'Kane Gallery, University of Houston, Audrey Buller, A Magic Realist in Retrospect, Paintings from 1926-1952, January-March 2007, no. 24

"Paintings by Audrey Buller," New York Post, April 29, 1933

Very good condition; unlined; some isolated craquelure, under UV: a few thin lines of retouching to address craquelure in flag.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Audrey Buller (Parsons) was born into a wealthy family in Montreal, Canada in 1902. Audrey, and her sister, Cecil Tremayne Buller, a well–known printmaker, eschewed Montreal's social circle and moved to New York City to pursue their artistic interests. Audrey enrolled in classes at the Art Students League where she met her husband, artist Lloyd Parsons. Buller's work garnered prizes at the National Acad♉emy of Design in 1937 and the Pennsylvania Academy of Fine Arts in 1943-44 and she was a member of the National Association of Women Artists.

Buller's work is associated with the '🅰Magic Realists', a term that was introduced by German art critic Franz Roh. However, the term was never embraced by the artists who worked in that style, who included George Tooker, Ivan Albright, and Henry Koerner. Jeffrey Wechsler defined magic realism as "an art of the implausible, not the impossible; it🦩 is imaginative, not imaginary" ('Magic Realism: Defining the Indefinite', Art Journal, Winter 1985, p. 293). These works often contain extremely realistic depictions of mundane objects, which often border on Surrealism.