20th Century Auction May 4, 1997 Text Version of Catalog


Treadway Gallery, Inc.


datebar112397.gif - 1.2 K

818 NORTH BOULEVARD   OAK PARK, ILLINOIS

850 Lots
Arts & Crafts ... Italian Glass ... Art Deco
1950s/Modern ... American and European Paintings


A PRESENTATION BY TREADWAY GALLERY, INC. OF CINCINNATI, OHIO IN ASSOCIATION WITH THE JOHN TOOMEY GALLERY OF OAK PARK, ILLINOIS

Sale Items - Text Version


Arts & Crafts Item No's 1-461

Paintings, Drawings, Prints Item No's 462-611

50s Modern & Italian Glass Item No's 612-997

General Sale Information, Terms



Paintings, Drawings and Prints

No's 462 - 611

462. Joseph Rusling Meeker (American 1827-1889) "After a Storm", c.1880; oil/canvas laid down on masonite, 22" x 32", unsigned on front, but signed on verso of canvas (signature tracing done by conservator for record before mounting on masonite), provenance. Meeker was well known for his scenes of the Louisiana swamps and bayous. He was born in Newark, New Jersey, and studied at The National Academy of Design. He was living in St. Louis when the civil war broke out, and joined the Navy. He served on a gunboat traveling up & down the Mississippi. He made sketches of the Louisiana swamplands whenever possible, and upon returning to St. Louis after the war, made oil paintings in the studio. This painting is likely the work listed in an 1880 exhibition catalog of Pettes & Leathe's Galleries, St. Louis. This exhibition, which featured works by J.M.. Tracy, W.L. Marple, and J.R. Meeker, lists a 22" x 32" oil by Meeker titled "After A Storm, Lake Maurepas, Louisiana". 5000-7000

463. Edward Emerson McDowell (American, 1879-1946), "California Landscape", c.1925; oil/canvas, 20" x 24", signed, excellent condition. Worked as a painter and cartoonist. He settled in Los Angeles in 1903, and painted colorful landscapes and garden scenes in an impressionist style. 600-800

464. George Herbert Baker (American, 1878-1943) "Winter Landscape", c.1910; pastel/paper, 6" x 9", signed, mission-style frame. Indiana painter. Baker specialized in paintings and pastels of colorful impressionist landscape scenes. He exhibited regularly at The Hoosier Salon and The Richmond (In.) Art Association (1910s-20s). 500-700

465. Svend Svendsen (American/ Norwegian, 1864-1934), "River Village in Winter", c.1900; oil/canvas, 22" x 28", signed, original frame. Chicago's most talented Scandinavian landscapist. Svendsen moved from Norway to Chicago around 1893. He exhibited in Chicago and nationally from 1890s-1920s. His paintings exhibit his artistic concern with light and shadow effects. 1200-1500

466. Svend Svendsen (American, 1864-1934), and C.S. Dorian (American, early 20th Century), lot of two works. The first, by Svendsen, "Moonlit Cottages In Winter", oil/canvas, 18" x 24", signed, overcleaned, imperfections; the second, signed C.S. Dorian, oil/canvas, 10" x 14"; c.1910, "Moonlit River Landscape", original frame. 300-500

467. Frank Wolcott (American, early 20th century) "Lake Michigan Dunes", c.1920; oil/canvas, 18" x 18", signed on verso. Finely painted tonalist style work. Wolcott exhibited at the Art Institute of Chicago from 1906-1918, and at the Pennsylvania Academy of Fine Art. 600-800

468. William Lester Stevens (American, 1888-1969) "Landscape with House", c.1925; gouache/paper, 9" x 11", signed, framed. Important Rockport area impressionist. He specialized in colorful, loosely painted scenes, and exhibited throughout the 1920s-40s. 800-1100

469. H. Peabody Flagg (American, b.1859) "Sheep Grazing By The Coast", c.1900; oil/canvas, 13" x 18", signed. Very fine tonalist work. Flagg studied with Carolus-Duran in Paris, and was a member of The New York Architect's League. He exhibited at the turn of the century at The Boston Art Club and The Salmagundi Club. 1000-1500

470. Xanthus Russell Smith (American, 1839-1929) "Feeding the Chickens", c.1880; oil/canvas, 9" x 12 ", signed. Smith was born in Philadelphia. Both of his parents, Russell and Mary Wilson Smith, were painters, so they encouraged artistic development. Xanthus studied at The Pennsylvania Academy of Fine Art and The Royal Academy in London. Smith served in the navy during the civil war, and between 1869-1876, he was commissioned by the Union Club of Philadelphia to execute paintings of civil war battle scenes. His best early works are genre scenes and marines, painted in fine detail. Later, he painted portraits and became interested in photography. This fine early example of Smith's work illustrates his skillful technique, as well as his sensitivity to light and composition. 3000-5000

471. Xanthus Russell Smith (American, 1839-1929), "Dunally Castle, Bay of Oban, Scotland", c.1880s; 10" x 15", oil/board, signed and dated, imperfections. Important early American painter of landscapes and marines. Very well painted work, revealing Smith's attention to detail, and his familiarity with boating subject matter. 3000-5000

472. Charles Francis Browne (American, 1859-1920) "Wooded Landscape", c.1910; oil/canvas, 20" x 28"", signed, labels verso, fine original frame. Illinois landscape painter. Browne studied in Boston and in Europe. He exhibited at the Chicago Society of Artists, Art Institute of Chicago, Pan-Pacific Expo, and the National Academy. He taught at the Art Institute of Chicago. This is an exceptional, colorful example of this artist's work. 1000-1500

473. Andrew Thomas Schwartz (American, 1867-1942) "Pensive", c.1900; oil/canvas laid down on board, 20" x 23", signed. Although he is known for his landscapes, Schwartz painted important figurative works early in his career. He studied with Duveneck in Cincinnati. His paintings were exhibited at the National Academy, Salmagundi Club, Louisville Art Association, etc. Schwartz was a member of the Circolo Artistica of Rome, and this painting was executed there during his three year stay, from 1899-1902. 2500-3500

474. Franklin Dehaven (American, 1856-1934) "Summer Landscape", c.1916; oil/board, 8" x 11.5", signed and dated. Well known impressionist landscape painter. He studied with George Smillie in New York, and exhibited at the National Academy, St. Louis Expo (1904), and the Pan-Am Expo (1901). 700-900

475. William F. Matthews (American, b.1878) "Harbor Scene", c.1910; oil/board, 16" x 20", signed, arts & crafts style period frame. Matthews was born in St. Louis, and studied at The St. Louis School of Fine Art with Richard Miller and Paul Cornoyer. He exhibited at The St. Louis Artist Guild, the 2 x 4 Society, and The St. Louis Art Museum. He later moved to Brooklyn and painted on the east coast. 1000-1500

476. Pauline Palmer (American, 1867-1938) "Mountain Village", c.1909; oil/board, 13.5" x 10.5", signed. Important Chicago impressionist. Palmer studied at the Art Institute of Chicago and with Richard Miller, in Paris. This work was probably done in Italy. Palmer exhibited paintings done in Europe at The Art Institute of Chicago in 1911. Palmer was well known for her loosely painted impressionist landscapes, still lifes, and figure paintings. This small but surely painted work reveals Palmer's focus on light and color. 1000-1500

477. George Thompson Pritchard (American, 1878-1962) "Village Stream", c.1930s; oil/canvas, 24" x 36", signed indistinctly on front, artist's label on verso. Pritchard was born in New Zealand, and studied painting there and in Australia, before moving to the United States in 1906. He traveled throughout the U.S. and Europe painting, and then finally settled in California in 1935. He painted landscapes and marines. 1000-1500

478. William Lester Stevens (American, 1888-1969), "Brittany Market", c.1925; oil/canvas, 20" x 24", signed. Important Rockport area impressionist. He studied with Tarbell at the Museum of Fine Arts School, Boston. He specialized in colorful, loosely painted street scenes, harbor scenes, and landscapes. He was a member of the Rockport Art Association, North Shore Art Association, and the National Academy. He exhibited extensively from the 1920s-40s, and his work is in the collections of the Boston Art Club and numerous institutions in and around the Boston area. An excellent example of Steven's work done while abroad. 3500-4500

479. Louis Ritman (American, 1889-1963), "Their Debut", c.1924; oil/canvas, 32" x 32", unsigned, letter of authentication from the artist's brother, Maurice Ritman. Highly important post-impressionist painter. Ritman was born in Russia, and moved to Chicago in 1903. He enrolled at the Art Institute of Chicago in 1907, studying with Reynolds and Vanderpoel. He traveled to Paris in 1909, and Giverny in 1912. He rented a house and maintained a studio there for almost 20 years. He sent paintings back to the Art Institute for exhibitions throughout the 1910s-20s. He also exhibited at the National Academy of Design and the Chicago Artists Guild. He returned to the Art Institute of Chicago in 1930 to teach, and remained there until 1960. "Their Debut" was painted in 1924, at George Ritman's farm outside of Glen, Michigan. The scene depicts Ritman's brother, Maurice, at the piano, and the artist's niece, Katherine Ritman Lustman. The painting retains an exhibition label from Grand Central Galleries, and is estate #281. 25,000-35,000

480. Edmund Henry Wuerpel (American, 1866-1958) "Missouri Bottoms", c.1948; oil/canvas, 31" x 45", signed. Important tonalist painter and teacher. Wuerpel worked with Whistler and Gerome in Paris. He exhibited his atmospheric landscapes from the turn of the century through the 1940s, and became the dean of the St. Louis School of Fine Art. He won awards at the St. Louis Expo (1904) and the Pan-Pacific Expo (1915). 1000-1500

481. Blanche Lazzell (American, 1878-1956) "Luxemburg Garden, Paris", c.1913; oil/board, 7" x 6", signed, titled and dated on verso. Well known painter and printmaker. Lazzell studied in Europe and at the Art Students League. She was most well known for her work in Provincetown, Mass. 700-900

482. Frank Wolcott (American, early 20th century) "Profile of a Woman", c.1918; oil/canvas, 18" x 12", unsigned (most of Wolcott's work is unsigned). This painting came from the estate of Edith Reid, Frank's sister-in-law. Wolcott studied at the Art Institute of Chicago and also exhibited there from 1906-1918. He also exhibited at the Pennsylvania Academy of Fine Art and the Chicago Gallery Association. He specialized in portraits, executed in thin washes of color and glazes in a muted palette. A very striking and unusual portrait, painted almost entirely in black, grey, and white. 2000-3000

483. Frank Wolcott (American, early 20th century) "Elsa", c.1910; pastel/paper, 28" x 15"", unsigned, exhibition label verso. Wolcott painted primarily portraits, in oil and pastel. This work, like most of his pastels, is much more colorful than his oil paintings. He handled the medium wonderfully and was a talented draftsman. Wolcott exhibited at the Art Institute of Chicago from 1906-1918, and at the Pennsylvania Academy of Fine Art. 800-1200

484. Frank Bicknell (American, 1866-1943) "Old Lyme, Connecticut", c.1911; oil/board, 8" x 10", signed. Well-known impressionist landscape painter. Bicknell was a member of The American Art Association in Paris, Salmagundi Club, and The National Academy. He exhibited from the late 19th century through the early 20th century. His work is in the collections of The National Gallery, Montclair (N.J.) Museum, Boston Art Club, and The Denver Art Museum. 1000-1500

485. James H.P. Conlon (American, early 20th century) "Girl Reading", c.1922; oil/canvas, 20" x 25", signed and dated. Conlon painted in Branford, Connecticut. He studied at the Art Student's League with Charles N. Flagg, and was a member of the Connecticut Association of Fine Artists and the Association of Connecticut Artists. A colorful impressionistic work. 2000-2500

486. Emile Albert Gruppe (American, 1896-1978), "Gloucester Boats", c.1930; oil/canvas, 20" x 20", signed. Important Rockport impressionist painter. An outstanding example of Gruppe's harbor scenes. 4000-6000

487. Emile Albert Gruppe (American, 1896-1978), "Autumn in Vermont", c.1930; oil/canvas, 25" x 30", signed. Gruppe was born in Rochester, New York. He was the son of the well known painter, Charles P. Gruppe. His father wished for Emile to become a great painter, and directed his educational experiences from a very early age. Emile first apprenticed as a sign painter to his uncle, and then attended classes at the National Academy and the Art Students League. John F. Carlson, a good friend of Emile's father, taught at the Art Students League and in Woodstock, N.Y. during the summers. Carlson gave the boy special attention, and Emile's interest and talent increased quickly. During the 1920s, Gruppe began selling his work through a dealer quite successfully. He soon moved to Rockport, Mass., where he began painting his now highly recognized harbor scenes. Gruppe spent most of his summers for the rest of his life around the Gloucester area, where he had set up a gallery/studio. He made regular trips to Vermont in the fall to capture the colorful landscape. Gruppe's loose and colorful style of impressionism became a hallmark of the New England painting community. 8000 - 10,000

488. Gulbrand Sether (Norwegian/American, 20th century) "Winter Lights", c.1930; oil/canvas, 27" x 39", signed. Painter known for his stylized landscapes with interesting light effects. His style and subject matter is similar to Chicago artist, Svend Svendsen. 1000-1500

489. Randolph Coats (American, b.1891) "Country Manor " c.1925; oil/canvas, 26" x 32", signed. This impressionist painter worked primarily in Chicago and Indianapolis. He exhibited at The Hoosier Salon, Chicago Gallery Association, and The Richmond Art Association. 1000-1500

490. Walter C. Hartson (American, b.1866) "Hillside Pasture, near **alls Village, Connecticut", c.1890; oil/canvas, 27" x 36", signed, fine new gold frame. Landscape painter. Hartson exhibited at the Atlanta Expo (1895); National Academy of Design (1898); American Artist Society (1902-04) in Philadelphia. He was a member of the Chicago Society of Artists, Salmagundi Club, and the Kit Kat Club. His expansive impressionistic landscape scenes are well developed, and the brushwork and palette are consistent with many of the Connecticut painters of the turn of the century. 2000-4000

491. Carl Sammons (American 1886-1968) "Desert Landscape", c.1930; oil/board, 12" x 16", signed. Sammons moved to California in 1919, and studied at The California School of Fine Art in San Francisco. Although he lived primarily in Oakland, he traveled throughout the state, painting in Palm Springs, the Monterey Peninsula, and Santa Barbara. 1000-1500

492. L.E.G. Mcleod (American, early 20th century) "California Terrace", c.1930; oil/canvas, 28" x 26", signed in pencil on verso. Los Angeles painter, active in the 1920s-30s. Colorful impressionistic work. 500-700

493. Joe Waano-Gano (American, 1906- ) "Desert Plateaus", c.1930; pastel/paper, 11" x 14", signed, unique frame. Los Angeles painter, Cherokee Indian. Waano-Gano, which means, "bow arrow", studied with Christian Von Schneidau in the 1920s. He specialized in Native American scenes and western landscapes. He exhibited throughout the 1930s-40s at the Los Angeles Museum of Art, Los Angeles City Hall, Kern County Fair, and in Chicago. He lectured on Indian life and designed Indian motifs for textiles. His work is in the collections of The Los Angeles General Hospital, Sherman Indian Institute (Riverside, Ca.), Western Airlines Offices (San Francisco), and Gardena High School. A vibrantly colored pastel. 600-800

494. Paul Chaigneau (French, 19th-20th century), "Evening Drink", c.1900; oil/canvas, 13" x 16", signed, original ornate frame. Turn of the century painter known for his scenes of genre and pastoral landscapes in the Barbizon tradition. Very well executed. 3000-4000

495. Benedict (Benno) Kogl (German, 1892-1973), "The Curious Kittens", c.1930; oil/board, 3.5" x 4.5", signed, ornate frame. Well known painter of animals, especially cats. Very well painted with special attention to detail and light quality. Kogel frequently painted on a small scale. 2000-3000

496. Italian School 18th century, "Allegorical Scene", oil/canvas, 23" x 33", unsigned, relined. High quality old master work. 1000-2000

497. Robert William Vonnoh (American, 1858-1933) "Portrait of a Man", c.1900; oil/canvas, 29" x 24", signed, restretched, relined, imperfections. Important American portraitist and impressionist landscape painter. Vonnoh studied in Boston and Paris. He exhibited extensively in the late 19th and early 20th century. 500-700

498. Peter Frederick Rothermel (American, 1817-1895) "Odalesque", c.1859; oil/canvas, 30" x 39.5", signed, imperfections, tears. Born in Pennsylvania, Rothermel initially trained as a surveyor, and even worked as a sign painter before getting interested in the fine arts. He painted portraits in Philadelphia, and then began painting historical subject matter for which he is well known. This work was probably painted in Europe. The sharply defined, colorful figure in the foreground contrasting with the vague, shadowy figure in the background is highly indicative of the artist's style. Rothermel's work is included in the collections of The Patrick Henry Memorial Foundation, Pennsylvania Academy of Fine Art, and The William Penn Memorial Museum. 1000-2000

499. Frederick C. Smith (American, late 19th - early 20th century) "Landscape With Figures", c.1887; oil/board, 15" x 19", signed, "Fred... C. Smith" and dated 1887. This is most likely done by California painter, Frederick Carl Smith (1868-1955). Smith worked in Europe with Constant and Bouguereau in the late 19th century, before finally moving to California in 1917. 400-600

500. William Lester Stevens (American, 1888-1969) "Street Scene", c.1925; gouache/paper, 8" x 11", signed, framed. Important Rockport area impressionist. He specialized in colorful, loosely painted scenes, and exhibited throughout the 1920s-40s. 800-1100

501. Louis Gabriel Eugene Isabey (French, 1803-1886) "Court Scene", c.1860; oil/panel, 12" x 16", signed, original ornate frame. Well - known french painter of genre, interiors and animals. Finely executed 19th century work. 2000-4000

502. Theodore Clement Steele (American, 1847-1926), "Early Autumn Landscape, Brown County", c.1907; oil/canvas, 20" x 28", signed and dated. Important member of the Hoosier Group and Indiana's master impressionist. Steele studied at the Royal Academy in Munich and was a member of the National Academy, Boston Art Club, and the Indianapolis Art Association. His work is included in important private and public collections, including the Indianapolis Museum of Art, St. Louis Art Museum, Cincinnati Art Museum, and Indiana University. An excellent example of Steele's work, with a very desirable palette. 15,000-20,000

503. Adam Emory Albright (American, 1862-1957), "Golden Afternoon", c.1913; oil/canvas, 24" x 24", signed and dated. Important Midwestern impressionist. Albright worked primarily in Chicago and in Indiana. He specialized in softly painted impressionist scenes of children, frequently his own daughter and sons. He exhibited regularly at the Art Institute of Chicago, Hoosier Salon, Chicago Gallery Association, and the Association of Chicago Painters and Sculptors (1900-1930). A major example of the artist's work, and highly desirable subject matter. 8,000-12,000

504. Jane Peterson (American, 1876-1965) "Paris Street Scene", c.1920; watercolor/paper, 12.5" x 11", signed. Peterson specialized in colorful, impressionistic street scenes and harbor scenes. She exhibited extensively during the early 20th century, and her work is included in the collections of The Brooklyn Museum, Metropolitan Museum, and The Pennsylvania Academy of Fine Art. 1000-2000

505. George Mealand (American 20th Century), "East River Night", c.1958; oil/board, 13.5" x 20", signed, titled and dated verso. Noctural scenes of the industrial traffic of New York City's East River were commonly depicted by Modern painters. 400-600

506. William Lester Stevens (American, 1888-1969) "French Street Scene", c.1925; 11" x 9", gouache/paper, signed, framed. Important Rockport area impressionist. He specialized in colorful, loosely painted scenes and exhibited throughout the 1920s-40s. 800-1100

507. Valentine Davis (British, 1854-1930) "Feeding The Geese", c.1890; oil/canvas, 15" x 21"", signed, original frame. Impressionist painter, specialized in genre, rivers, and animals. 1000-2000

508. Charles A. Wilimovsky (American, b.1885) "Portrait of a Woman", c.1926; oil/canvas, 28" x 24", signed and dated, fine original carved frame. Chicago area artist. Studied at the Art Institute of Chicago and with Chase. He was well known for his portraiture. He exhibited throughout the 1910s-20s at the Art Institute of Chicago, Kansas City Art Institute, Chicago Society of Artists, and the University of Oklahoma. He later taught at the Art Institute of Chicago. 800-1100

509. Cornelisz Zwaan (Dutch/American, 1882-1964) "Happy Hours", c.1920; oil/canvas, 24" x 29 ", signed. This artist was well known for his interior scenes of women and children. He spent some time painting in Detroit, as well as Europe. 2000-3000

510. Louis Aston Knight (French/American, 1873-1948), "The Meadow Path", c.1920; oil/canvas, 26" x 21.5", signed. Important impressionist painter. Born in Paris, his father was Daniel Ridgeway Knight. He exhibited at the Paris Salon and the Paris Expo. His work is in the collections of the Luxembourg Museum, Musee des Colonies (Paris), Toledo Museum, and the Newark Museum. 4500-6500

511. Louis Ritman (American, 1889-1963), "The Wicker Chair", c.1930; oil/canvas, 25" x 32", unsigned, provenance, Ritman family. Highly important post-impressionist painter. Ritman was born in Russia, and moved to Chicago in 1903. He enrolled at the Art Institute of Chicago in 1907, and studied with Reynolds and Vanderpoel. He traveled to Paris in 1909, and Giverny in 1912. He rented a house and maintained a studio there for nearly 20 years. He sent paintings back to the Art Institute for exhibitions throughout the 1910s-20s. He also exhibited at the National Academy of Design and the Chicago Artists Guild. He returned to the Art Institute of Chicago in 1930 to teach, and remained there until 1960. 10,000-15,000

512. Frank J. Girardin (American, b.1856) "Indiana Beeches", c.1900; gouache/paper, 14" x 20", signed, original ornate frame. Studied at the Cincinnati Art Academy with Duveneck. He was a member of the Los Angeles Painters and Sculptors, Society of Indianapolis Artists, and the Cincinnati Art Club. He specialized in landscape painting. An excellent example of Girardin's work. 1000-1500

513. American School, in the style of painter Grace Carpenter Hudson (1865-1937). It is 8" x 4", oil/board, unsigned. This well painted work is most likely executed after a work by Hudson. She was well known for her portraits of Northwest Coast Indian children and babies, painted in accurate detail. This painting was done in the early 20th century, and is of high quality. 1000-1500

514. Adolph Robert Shulz (American, 1869-1963) "The Lake Cove", c.1920; oil/board, 24" x 30", signed, wide gold frame. Shulz was considered to be the founder of the Nashville Art Colony (Indiana), first visiting there in 1900. He moved with his wife, Ada, who was also a painter, and his family to Nashville in 1917. Adolph painted the landscape and exhibited at the Hoosier Salon and the Brown County Art Association regularly. He began taking students and eventually left his wife to marry Alberta Rehm, a young student painter. While Shulz's family life was chaotic, his art and his subject matter, nature, were his sanctuaries. He exhibited successfully throughout his career. 4000-6000

515. Andrew Thomas Schwartz (American, 1867-1942) "Landscape", c.1920; oil/canvas, 20" x 24", signed, original carved frame. Studied with Duveneck in Cincinnati, and exhibited at the National Academy of Design, Salmagundi Club, and the Louisville Art Association. Well known landscape painter. 1000-2000

516. Alexander Helwig Wyant (American, 1836-1892) "Mountain Stream" c.1870; oil/canvas laid down on board, 20" x 14", signed. Early American landscape painter. Wyant studied at The National Academy of Design and abroad. Wyant's work bridges the objective realism of the Hudson River School tradition to American impressionism. His work is in the collections of The Brooklyn Museum, National Gallery of Art, and The Metropolitan Museum of Art. 1500-2000

517. William S. Robinson (American, 1861-1945) "Autumn in Connecticut", c.1910; oil/board, 8" x 10", signed. Important Oil Lyme Connecticut painter. Robinson specialized in impressionistic landscapes and exhibited at The Lyme Art Association; St. Louis Expo (1904); Paris Expo (1900); etc. Robinson spent summers in Old Lyme from 1905-20, and lived there permanently after 1921. 1500-2000

518. Joseph Pierre Birren (American, 1864-1933), "Spring Landscape", c.1910; oil/board, 32" x 38"", signed, original massive frame. Birren painted in Chicago and in Laguna Beach, California. He studied painting in New York and in Europe. In 1927, he moved to Santa Fe, New Mexico, and his impressionistic works were highly regarded. He was a member of the Chicago Art Club, Laguna Beach Art Association, North Shore Art Association, and the Chicago Gallery Association. His work is in the collections of the Los Angeles Museum, Union League Club (Chicago), and the Pasadena Art Institute. This is a major example of Birren's work. 3000-5000

519. Frederick Oakes Sylvester (American, 1869-1915), "The Song of the Mississippi", c.1911; oil/canvas, 55" x 32", signed with monogram; also dedicated with cartouche to founder of Elsah, Illinois (General James Semple), modern Arts & Crafts style frame. Sylvester was known as the painter and poet of the Mississippi River. He studied at the Massachusetts Normal School in Boston, MA. He replaced Ellsworth Woodward as the director of the art department at Newcomb College in New Orleans. Sylvester also designed Arts & Crafts style decorative arts, such as metalwork and tooled leather. He left Newcomb College and moved to St. Louis in 1892. He specialized in paintings of the Mississippi River, executed in a tonalist style. He became art director at Principia College, a Christian Scientist school in 1902; and that summer, bought a home in Elsah, IL, a small community located high on the bluffs overlooking the river. Sylvester exhibited at the Society of Western Artists (1897-1912); St. Louis Art Museum (1897-1912); National Academy of Design (1905); Portland Expo (1905); St. Louis Expo (1904; his painting, "The River", won the bronze medal); and the St. Louis Artist Guild. Sylvester wrote the important poem, "The Great River" in 1911. A period copy of this book accompanies the painting. It is very rare to see figures like these in Sylvester's work. This major painting is the most important example of Sylvester's work. 20,000-30,000

520. John Zwara (American, early 20th century) "Indiana River Landscape", c.1930; oil/canvas, 24" x 30", signed, original frame. Indianapolis impressionist landscape painter. 1200-1500

521. Johann Berthelsen (Danish/American, 1883-1969) "New York in Winter", c.1940; oil/board, 16" x 12", signed, original frame. Berthelsen's family moved to the U.S. from Denmark in 1889. He studied music very seriously, and toured the country with the Grand Opera Company. He devoted most of his time to music, and painted only for his personal pleasure until 1932, when he began to work full time as painter. He typically worked on small oils and pastels of New York street scenes. He was a member of the Allied Artists of America and the American Watercolor Society. 1500-2000

522. Frank T. Beatty (American, b.1899), lot of two works: first, "Old Church and Ruins, London", c.1930; oil/board, 14" x 20", signed; the second work is a watercolor, "Fishing in the Harbor" (pictured), 10" x 13", signed, framed. Colorful impressionist scenes. 500-700

523. Nicolai Simbari (Italian, b.1927) "Harbor and Flowers", c.1960; 25" x 35", oil/canvas, signed. Simbari is very well known for his bright paintings executed in a highly impressionistic, almost abstracted style. His subjects are almost always outdoors in the sunlight. His works are held by the Virginia Museum of Art, Christian Dior, France, Liberty Co., London, etc. A very fine example of this artist's work. 3000-5000

524. Frank Wolcott (American, early 20th century) "Portrait of Miss Florence Kinney ", c.1915; pastel/paper, 18" x 14", unsigned, label verso. This colorful, intimate impressionist portrait reveals Mary Cassatt's influence on Wolcott's work in pastel. 800-1200

525. Bernard I. Green (American, 1887-1951) "New York Harbor", c.1925; oil/canvas, 16" x 20", signed. Green was born in Russia, and moved to the United States when he was very young. He studied at New York University and The Art Students League. He exhibited at The National Academy (1910-46), Art Students League (1914), Pan-Pacific Expo (1915), and The World's Fair New York (1939). His work is in the collections of The Oakland Art Museum and The J.B. Speed Museum. 1500-2000

526. Samuel Hyde Harris (American, 1889-1977) "Desert Landscape", c.1940; oil/canvas, 22" x 28", signed, fine arts & crafts style frame. Important California painter. Harris moved from England to the United States in 1904, settling in Los Angeles. His most notable teacher was Hanson Puthuff, because Puthuff was very influential on Harris' painting style. Harris was well known for his California landscapes and desert scenes. He exhibited successfully from the 1930s-1970s in Southern California. His works are in the collections of the L.A. County Museum and The Laguna Beach Art Museum. Related literature: California Design, 1910; The California View; and Southern California Artists, 1890-1940. 2000-3000

527. Manley K. Nash (American, early 20th century), "The Scouting Party", c.1910; oil/canvas, 34" x 44", signed, exceptional original carved frame. St. Louis area painter. Nash studied at the St. Louis School of Fine Art, and exhibited primarily western scenes at the St. Louis Artist Guild and the St. Louis Art Museum. Nash and fellow St. Louis painter, Oscar Berninghaus, left St. Louis to travel west to Taos. Nash also worked in California, where he painted mainly coastal scenes. He was highly regarded in the St. Louis area, and won many prizes for his paintings of Native American life. A major example of Nash's work, and a first - class western painting. 6000-8000

528. Emile Albert Gruppe (American, 1896-1978) "House in Early Winter", c.1963; oil/canvas, 20" x 24", signed, original frame. Important Rockport impressionist painter. Gruppe studied at the Art Students League, and in Woodstock, N.Y. during the summers with John F. Carlson. He exhibited from the 1920s-70s, at the North Shore Art Association, Rockport Art Association, Salmagundi Club, and the New Haven Palette and Chisel Club. His work is in the collections of the White House and the Los Angeles County Museum. His loose impressionist style was highly influential to later Gloucester area painters. 3000-5000

529. John A. Spelman (American, b.1880) "Forest Interior", c.1920; oil/canvas, 16" x 20", signed, fine gold frame. Chicago area painter. Spelman was a member of the Chicago Painters and Sculptors and the Oak Park and River Forest Art League. He exhibited at the Art Institute of Chicago, Chicago Gallery Association, and the Oak Park Art League (1920s). Known for his impressionistic landscapes. 700-900

530. Rockport School (American, early 20th century) "Downtown Rockport, MA", c.1920; oil/board, 30" x 35", signed illegibly, "Chas. Iappellin?", massive gold frame. High quality work and important subject matter. Rockport became an important artist's colony in the early 20th century, and many American impressionists traveled there to paint in the summertime. 1500-2000

531. David Anthony Tauszky (American, 1878-1972) "The Silk Kimono", c.1912; oil/canvas, 30" x 25", signed on verso (there is another portrait on the other side of the canvas, which is signed and dated, but partially painted out by the artist). Tauszky studied at The Art Students League and The Academie Julian, in Paris, before moving to Los Angeles in 1922. He exhibited at The Salmagundi Club, Grand Central Art Galleries, Connecticut Academy of Fine Art, Laguna Beach Art Association, Pasadena Art Institute, and The Painters and Sculptors of Los Angeles. An exceptional early work by this artist. 4000-6000

532. Alexis Jean Fournier (American, 1865-1948) "Bachelor Buttons", c.1920; pastel/paper, 13" x 10", signed, well framed. Roycroft artist. Painted landscapes and still lifes, and exhibited at the Hoosier Salon, Roycroft Salon, and the Art Institute of Chicago (1900-30s). Rare work on paper by this artist. 800-1100

533. Louis Aston Knight (French/American, 1873-1948) "River Landscape With Cottage", c.1920; oil/canvas, 26" x 32", signed. Important impressionist painter. He was born in Paris, the son of artist Daniel Ridgeway Knight. He exhibited at The Paris Salon and The Paris Expo. His work is in the collections of The Luxembourg Museum, Musee des Colonies (Paris), Toledo Museum, and the Newark Museum. Knight was known for these scenes, painted outside Paris. 4000-6000

534. George Ames Aldrich (American, 1872-1941), "Brittany Stream", c.1910; oil/board, 30" x 36", signed. Important Chicago impressionist. Aldrich studied at the Art Students League and in Paris, with Whistler and Fritz Thaulow. He painted primarily French scenes, and exhibited throughout the 1910s-20s, at the Chicago Gallery Association, Hoosier Salon, Societe des Artistes Francais. His work is in the collections of the University of Illinois, Purdue University, Houston Museum, Musee de Rouen, France, and Ball State College. A fine, vibrantly colored example of Aldrich's work. 6000-8000

535. Charles Courtney Curran (American, 1861-1942), "Venus Veiling Pandora", c.1914; oil/canvas, 22" x 18", signed and dated on front, and initialed and numbered on the verso, "C.C.C. -21". Important American figure painter. Curran's work can be divided into three distinct periods: academic figure painting in the landscape; symbolist style fantasy paintings; and finally, loosely painted figurative works concerned with light quality and the female form, executed primarily at Cragsmoor, NY. This painting is a fine example of Curran's "middle period". Curran studied in New York and Paris, and exhibited at an early age at the National Academy of Design. He also exhibited at the Salmagundi Club, Lotos Club, Paris Salon, Columbian Expo., Chicago, etc. His work is in numerous important private and public collections. 4000-6000

536. Victoria Ebbels Hutson Huntley (American, b.1900) "Golden Wheat", c.1955; oil/board, 16" x 20", signed and dated, label verso. Regionalist painter. She studied at the Art Students League and the New York School of Applied Design with John Sloan and Max Weber. She exhibited at the World's Fair New York (1939) and the Art Institute of Chicago (1930). 400-600

537. Pelton, American School (early 20th century), pair, "Summer River Landscape", and "Lakeside Dunes", both oil/canvas, 11" x 14", signed, original frames. Two attractive tonalist scenes. 400-600

538. Elmer S. Berge (American, early 20th century), "Coastline Scene", c.1920; oil/canvas, 16" x 20", signed. Very well painted impressionist work. 300-500

539. Ernest Watson (American, early 20th century) "The Woodbine", c.1934; color block print, 7" x 10", signed and dated, unframed. Scene depicts a tan cow grazing beside an old house and tree; the landscape is blue, green, and black. This was a Prairie Printmaker print. Watson was known for his block prints and his work is included in the collections of the Smithsonian, Baltimore Museum of Art, and the Los Angeles Museum of History and Science. 250-350

540. George Jensen (American, b.1878) "Autumn Landscape with Figures", c.1935; oil/board, signed. Toledo, Ohio artist. He studied at the Art Institute of Chicago and with Wilder Darling in Toledo. He exhibited at the Toledo Museum of Art (1927-43) and the Scandanavian-American Artists (1932-36). 800-1200

541. Joe Waano-Gano (American, 1906- ) "Desert Radiance", c.1930; pastel/paper, 11" x 14", signed, unique frame. Los Angeles painter, Cherokee Indian. Waano-Gano, which means, "bow-arrow", studied with Christian Von Schneidau in the 1920s. He specialized in Native American scenes and western landscapes. He exhibited throughout the 1930s-40s at the Los Angeles Museum of Art, Los Angeles City Hall, Kern County Fair, and in Chicago. He lectured on indian life and designed indian motifs for textiles. His work is in the collections of The Los Angeles General Hospital, Sherman Indian Institute (Riverside, Ca.), Western Airlines Offices (San Francisco), and Gardena High School. A vibrantly colored pastel. 600-800

542. Nan Sheets (American, b.1889) "Turner Falls", c.1930; oil/canvas, 24" x 22", signed; titled on verso, fine original carved frame. Oklahoma City artist. Studied with Birger Sandzen and Kathryn Cherry. She exhibited throughout the 1920s-40s at the Kansas City Art Institute, Southern States Art League, and the North Shore Art Association. Her work is in the collections of the Dallas Museum of Fine Art, Kansas City Art Institute, and Vanderpoel College. She taught at the Oklahoma Art Center (1935-65). 1000-2000

543. Lawrence McConaha (American, b.1894) "Wash Day, Tahiti", c.1930; oil/canvas, 30" x 36", signed, fine original frame. McConaha was an Indiana painter who studied with Guy Wiggins and George Baker. He was deeply inspired by the works of Gauguin, and went to live and paint in Tahiti, as did Gauguin. Some of his most interesting, lush works were done there. He exhibited at the Hoosier Salon, Richmond Art Association, Salmagundi Club, Connecticut Academy of Fine Arts, and the John Herron Art Institute (1920s-40s). An excellent example of McConaha's work. 2500-4500

544. John Wesley Hardrick (American, 1891-1968), "Ride through the Country", c.1930; oil/board, 23.5" x 30", signed. Highly important Midwestern African-American artist. He worked in Indianapolis with Stark and Forsyth. Primarily a landscape painter, Hardrick exhibited in San Diego (1929), Art Institute of Chicago, American Negro Expo, Chicago (1941), and the Smithsonian Institute. He was one of four African-American artists featured in an exhibition, "A Shared Heritage", originating at the Indianapolis Museum of Art. A rare and important work including figures by this artist. 6000-8000

545. William Eduoard Scott (American, 1884-1964), "The Maker of Goblins", c.1928; oil/canvas, 32" x 26", signed, original frame, label verso. Highly important African- American painter. Scott worked primarily in Chicago. He studied at the Art Institute of Chicago and in France, with H.O. Tanner. He exhibited at the Royal Academy in London, Paris Salon, Art Institute of Chicago, Los Angeles Museum, Harmon Foundation, American Negro Exposition (1940), Smithsonian Institution (1933), and Howard University (1945). He was a member of the Hoosier Salon and the Chicago Art League. This painting was included in a national exhibition, "A Shared Heritage: Art by Four African Americans", catalog by William Taylor and Harriet Warkel (Indiana University Press). The painting was also exhibited in San Diego in 1929. An extremely rare and important work by this highly celebrated African-American painter. 40,000-60,000

546. Poster Musee Grévin/ Fantoches de John Hewelt, by Jules Cheret, before lettering poster. Several costumed figures in garden with moonlight. Lithograph in colors, c.1900, 34.25" x 48.5". 2500-3500

547. Louis Icart (French, 1888-1950) "Woman With Parrots And Cat", c.1927; colored etching, pencil signed and numbered, #189, 9.5" x 10". Important Art Nouveau painter and etcher. 500-700

548. Louis Icart (French, 1888-1950) "Woman With Doves", c.1927; colored etching, pencil signed and numbered, #201, 9.5" x 10". Important Art Nouveau painter and etcher. 500-700

549. Paul Jacoulet print, image of Oriental lady, signed in pencil, 11.5"w x 15"h, framed, excellent condition 350-450

550. Art Nouveau plaque, relief design of young lady playing stringed instrument, floral border, made of pottery or plaster, signed on back, made in Austria, 20"w x 31"h, very good condition 800-1100

551. Theophile Alexander Steinlen (French, 1859-1923) "Academie Nationale de Musique, Le Reve", c.1899; poster, 31" x 24", framed. G. Hartmann & Co. Editeurs, 20 rue Drunon, Paris. Nouveau period artist, contemporary of Toulouse-Latrec. 1000-2000

552. Poster Michiels Freres, by Privat Livemont, c.1902, 19.75" x 33", proof before lettering; lithograph in colors; Two female figures with white flowers in their hair surrounded by lush landscape. 3000-4000

553. Poster Comptoir Belle, by Benderli; colorful image done in Belle Epoque style to advertise this Swiss Furniture Company in Geneva. Lithograph in colors, c.1920. 1800-2000

554. Emile Albert Gruppe (American, 1896-1978), "Rockport Harbor", c.1930; oil/canvas, 20" x 24", signed. Important Rockport impressionist painter. 4000-6000

555. Emile Albert Gruppe (American, 1896-1978), "Winter in New England", c.1930; oil/canvas, 25" x 30", signed. Important Rockport impressionist painter. 8000-10,000

556. Poster Herman Muller, "Peacocks", lithograph in colors, c.1900; by artist before lettering, 25" x 60.5", decorative panel 1500-1800

557. Poster La Loïe Fuller-Anon, c.1900; female figure in center of poster in costume with butterfly motif, 38" x 26", lithograph in colors. 1000-1500

558. Poster "North West England", by Freda Marston; travel poster of mountains and British landscape. Done for LMS Company. Lithograph in colors, c.1930, 40" x 50". 1200-1500

559. Poster Steel, by Norman R.I. Wilkinson; travel poster of between the wars industrial Britain. Lithograph in colors, c.1930, 40" x 50". 1500-1800

560. Poster St. Moritz, by Walter Herdel. Female figure in swimsuit on diving board with red flag above her. c.1930s, 40" x 25.5". 800-1000

561. Walt Disney (American, 1901-1966) "Mickey Mouse", c.1930s; blue crayon drawing/paper, 20" x 16", signed, "To my favorite teacher, Mrs. Adams, from Walt Disney", Los Angeles label on verso. Highly important film maker and animator. This is a rare personal sketch. 3000-5000

562. Paul Dougherty (1877-1947) "River Village", c.1915; oil/board, 15" x 18", signed original frame. Dougherty was born in New York and earned a law degree before beginning his art studies. He attended The Art Students League and worked in Europe before returning to the United States in 1907. He was considered one of America's best marine painters and exhibited extensively. Arthritis forced him to move to Arizona in 1928, and finally California in 1931. He painted in Carmel in the summer and Palm Springs in the winter. This work reveals the influence of French impressionism from Dougherty's early European travels. 2000-3000

563. William Forsyth (American, 1854-1935) " Moonlight Ceremony", c.1905; oil/canvas, 24" x 32", singed. Highly important Hoosier Group artist. He exhibited at The St. Louis Expo (1904); Society of Western Artists (1910); Pan-Pacific Expo (1915); Hoosier Salon, Etc. This is a rare and unusual Arts & Crafts style work by this impressionist painter. 3000-5000

564. Frank Weathers Long (American, b.1906) "Maidens of the Rock", c.1940; oil/canvas, 34" x 28", signed in pencil on verso and titled, recent Deco-style frame. Studied at the Art Institute of Chicago and the Pennsylvania Academy of Fine Art. He exhibited throughout the 1930s and 40s at the Worlds Fair New York (1939); J. B. Speed Museum, Louisville (one man show, 1940); and painted murals at the University of Kentucky. W.P.A. artist. Strong Deco style image. 3500-4500

565. John Marin (American, 1870-1953) "Two Figures in a Field", c.1926; watercolor and ink/paper, 7" x 9", signed and dated, framed. Highly important New York modernist. Marin received much public recognition after his participation in the New York Armory Show of 1913. He was prolific, executing works in oil, watercolor, and prints. This spontaneous, sure work is indicative of Marin's highly regarded style. 1000-2000

566. Donald C. Brown (American, early 20th century) "Sunbathing on the Rooftop", c.1940; oil/canvas, 30" x 24", signed. Powerful, well- painted image. This social realist image illustrates the change that occurred after the Depression in the way women appeared as subject matter. Painters such as Leon Kroll and Raphael Soyer depicted strong images of women, even if the subject was involved in leisurely activity. 1500-2000

567. William Sylvester Carter (American, b.1909) "After The Bath", c.1949; oil/board, 20" x 16", signed and dated. Important African-American painter. Carter was born in St. Louis, but moved to Chicago to study at The Art Institute. He exhibited throughout the 1940s at The Art Institute of Chicago (1940), Southside Community Art Center (1941), Atlanta University (1942), St. Louis Urban League (1940-46), McMillen Art Gallery (1940), and The Barnet Aden Gallery. An important early work for this artist. 2000-3000

568. Paul Landacre (American, 1893-1963) "Black Stallion", c.1940; wood engraving, 7" x 8", pencil signed and titled; contained in its original folder from The Woodcut Society of Kansas City (1940). Important regionalist painter and printmaker. 400-600

569. Thomas Hart Benton (American, 1889-1975) "Gateside Conversation", c.1940; lithograph, 9.5" x 14", pencil signed, Associated American Artists label on verso, original frame. Highly important American modernist painter and printmaker. 1000-2000

570. James McCracken (American, 20th century) "Egrets", c.1930; oil/board, 36" x 36", signed, original Deco-style frame. Chicago area artist. He specialized in art Deco-style images of animals, especially birds, in a style similar to Jesse Arms Botke. McCracken exhibited at The Art Institute of Chicago, and also worked in Iowa with Grant Wood. An excellent example of McCrackens work, and a powerful Art Deco image. 2500-3500

571. Fletcher C. Ransom (American, early 20th century) "The Honey Tree", c.1910; oil/board, 21" x 19", signed. Important New York City illustrator. Ransom specialized in wildlife or outdoors scenes, and the accuracy of this work illustrates his familiarity with natural settings. Ransom exhibited at the Society of Illustrators (New York) in 1903. 1750-2750

572. Carl Hepp (American, b.1934) "Farmer's Market, St. Louis", c.1959; oil/canvas, 36" x 26", signed. St. Louis modernist painter. Studied at The St. Louis School of Fine Art. Hepp was highly influenced by Max Beckmann, who taught there for two years (1948-49). He exhibited extensively in St. Louis and at The Carnegie Institute (1951). 300-500

573. Sascha Brastoff (American, b.1918) "Roman Horse", c.1961; watercolor/paper, 16" x 20", signed and dated, framed. New York City modernist painter and designer. She exhibited at the Syracuse Museum and the Clay Club, NY. 300-500

574. Charles Sebree (American, 20th century) "Ravinia Madonna", c.1950; mixed media/paper, 6.5" x 5", signed, original frame, label from the Cincinnati Modern Art Society on verso. Interesting modern image. 200-300

575. Harry Gottlieb (American, b.1895), "Nude Draped in Shawl", c.1935; pastel/paper, 12.5" x 19", signed, excellent condition. New York artist. He was a member of the American Art Congress and the Art League of America. His work is in the Boston Museum and the Whitney Museum collections. He was a W.P.A. artist. 300-500

576. Max Russell Woodson (American, early 20th century) "Autumn Muses", c.1920; impressive four panel standing screen, painted in oil on stretched canvas, 70" x 80" overall size. Strong Art Deco image from this Connecticut painter. Rich gold, blue, rust, and dark forest green are the primary colors. Functional and highly decorative accessory. 5000-7500

577. David Park (American, 1911-1960), "Portrait of Marguerite Van Horn", c.1930; pencil drawing, 12" x 8.5", signed. Line drawings were an important part of Park's body of work. He felt drawings should be done quickly and expressively, "to avoid hesitancy". He frequently made developed oil paintings from earlier drawings. 3000-5000

578. Albert Urban (German/American, 1909-1959) "Abstract Composition", c.1953; color serigraph, 24" x 31", signed in image, matted, unframed. Abstract image in dark brown with orange swirls and white lines. Urban was born in Germany and studied with Willi Baumeister and Max Beckmann. His work is included in the Degenerate Art Exhibition of 1937, which was condemned by Hitler. He moved to the U.S. in 1940 and began making serigraphs in 1942. He was included in major exhibitions at The Museum of Modern Art ad The Guggenheim Museum. 400-600

579. Albert Urban (German/American, 1909-1959) "Abstract Composition", c.1953; color serigraph, 24" x 31", signed, dated, and numbered, 11/20. 400-600

580. David Park (American, 1911-1960), "The Van Horn Family", c.1930; oil/canvas, 22.5" x 22.5", signed and dated, provenance. Highly important California modernist. Park moved to Los Angeles in 1928 and studied at Otis Art Institute. He married Lydia Newell in 1930 and traveled to San Francisco, where he worked with Diego Rivera. He also worked with Ralph Stackpole on the monumental figures in front of the San Francisco Stock Exchange. During the 1930s, he executed mural commissions for the Federal Art Project. He taught at the California School of Fine Art in San Francisco from 1944-1952. Park resigned in protest when his friend and colleague, Hassel Smith was dismissed. Park then painted out of his living room for three years, and even designed window displays for liquor stores, until he joined the faculty at UC Berkeley in 1955. He then achieved much critical acclaim, and exhibited with fellow painters, Richard Diebenkorn, Elmer Bischoff, James Weeks and Theophilus Brown. Park was diagnosed with cancer in 1959, and died a year later at 49. This early work illustrates the figurative painting style which would become much more influential to his later mature work of the 1950s than anyone would have guessed. Park shocked the mainstream academic art community of the Bay Area in 1950, when he abruptly departed from his non-objective painting style that he had embraced throughout the 1940s, and returned to figurative works. His early exhibitions include solo shows at the Oakland Art Museum (1933); San Francisco Museum of Art (1936-39,40); and a group show at the Oakland Art Museum (1932).
Park met Marguerite Van Horn in Berkeley, CA in 1930. Marguerite's mother, Lucretia (1882-1970) was also a painter. The painting has remained in the possession of the Van Horn family until recently. This painting will be included in Nancy Boas' upcoming biography of David Park. A very rare and important early work of this Bay Area Figurative Movement painter. 25,000-35,000

581. Jim Harmon (American, 20th century) "Clown", c.1949; oil/canvas, 28" x 20", signed. St. Louis modernist painter. Exhibited in the 1940s - 50s. He studied at The St. Louis School of Fine Art. 400-600

582. Lee Atkyns (American, b.1913) "Strike", c.1945; oil/board, 21" x 40", signed. Washington D.C. modernist. Atkyns exhibited throughout the 1940s, at The National Academy, Boston Museum of Fine Art, Phillips Memorial Gallery, Georgetown Gallery, and numerous places in Washington D.C. He was the director of the Lee Atkyns Studio School of Art, in Washington D.C. 600-800

583. Roland Stewart Stebbins (American, 1883-1974) "The Young Nun", c.1940; oil/canvas, 25" x 21", signed. Modernist painter from Madison, Wi. Stebbins exhibited at The National Academy of Design, Madison Art Association, and The Boston Art Club (1940s). He taught at The University of Wisconsin. 500-700

584. Karl Ernst Metzler (German/American, 1909- ) "War: Barren Land", c.1938; oil/board, 24" x 30", estate #277. Important Baltimore modernist, W.P.A. artist. Metzler came to the U.S. in 1916 from Germany, via Holland. He later studied art at The Maryland Institute. He exhibited in Baltimore, at The Friends of Art House and The Museum; also at The World's Fair New York (1939), Phillips Memorial Gallery, etc. He was a member of The American Art Congress and The Artist Union. An excellent early example of Metzler's modern work. 1000-2000

585. August Mosca (American, b.1909), "Study of Black Woman", c.1939, colored drawing/paper, 18" x 24", signed and dated, excellent condition. Mosca studied at the Art Students League, and exhibited at the National Academy and the Mississippi Art Association. 200-300

586. Karl Ernst Metzler (Gernam/American, 1909- ) "War Refugees And Casualties", c.1938; oil/board, 25" x 30", signed. Important Baltimore modernist, W.P.A. artist. Metzler came to the U.S. in 1916 from Germany, via Holland. He later studied art at The Maryland Institute. He exhibited in Baltimore, at The Friends of Art House and The Museum; also at The World's Fair New York (1939), Phillips Memorial Gallery, etc. He was a member of The American Art Congress and The Artist Union. An excellent, early example of Metzler's modern work. 1500-2500

587. Karl Ernst Metzler (German/American, b.1909) "Balancing Act", c.1950; oil/board, 20" x 29", provenance: artist's estate, #352 in catalog. Important Baltimore modernist, W.P.A. artist. Metzler came to the U.S. in 1916 from Germany via Holland. He later art at the Maryland Institute. He exhibited in Baltimore, at The Friends of Art House and the museum; also at the World's Fair New York (1939), Phillips Memorial Gallery, etc. 800-1100

588. Willard Grayson Smythe (American, b.1906) "Composition", c.1943; oil/canvas, 38" x 27", signed and dated. Important Chicago non-objective painter. Smythe studied at the Art Institute of Chicago, as well as exhibiting there in the 1930s. He also exhibited at the Chicago Society of Typographic Artists (1920s-40s), Great lakes Exhibition (1939), and the American Institute of Graphic Artists (1937). He taught at the Art Institute from 1928-40s. A major important oil by this artist. 4000-6000

589. Salvador Dali (Spanish, 1904-1989) "Cycle of Life", c.1977; lot of three color lithographs; "Reflections", "Vigor of Youth", and "One's Identity"; one of which is pictured, 9" x 11", pencil signed and numbered, each framed. Important modern master prints. 1000-1500

590. Rudolph Weisenborn (American, b.1881), "Kitchen Symphony", c.1928; oil/canvas, 43" x 42", signed and dated, original frame. Highly important Chicago modernist. He exhibited at the Federal Art Project and the Art Institute of Chicago in 1938, as well as the "Half Century of American Painting" exhibition at the Art Institute in 1939. Weisenborn combined references to cubism, expressionism, and fauvism in a highly geometric form of painting. He was orphaned at the age of nine, and then traveled West to become an artist. He studied at the Student's School of Art in Denver, where he supported himself as a janitor (1905-1910). He studied with Jean Mannheim before returning to Chicago in 1912. Weisenborn was a leading force behind the avant-garde art groups, Cor Ardens, Neo-Arlemusc, and Les XX. These groups were reactionary to the conservatism of the Art Institute. It was here that Weisenborn became associated with Raymond Johnson and Albert Bloch. He founded the Chicago No-Jury Exhibitions in 1922. Weisenborn turned to primarily non-objective works in the 1930s, and was a member of the Abstract American Artists, in NYC. A rare and important early work from this highly regarded modernist. 7000-9000

591. Robert Jay Wolff (American, 1905-1977) "Dynamic Composition", c.1946; casein/paper, 29.5" x 23", signed and dated. Wolff studied at Yale University and in Europe. He exhibited regularly at the Art Institute of Chicago, American Abstract Artists, Non-Objective Museum, and the Quest Gallery, Chicago. Wolff was asked by Moholy-Nagy to join the staff at the Institute of Design in the late 1930s. His work is in the collections of the Brooklyn Museum, Art Institute of Chicago, Rhode Island School of Design, and the Solomon Guggenheim Museum. 1500-2500

The New Bauhaus, School of Design, and the Institute of Design are all names for the Chicago art and design school which was founded in 1937, by Lazslo Moholy-Nagy. Considered by many to be the legitimate successor to the German Bauhaus, which was condemned by Hitler and the Nazis in Berlin. Many artists who worked at the New Bauhaus were associated with the W.P.A. in Chicago, and the American Abstract Artists in New York. There has been a new light shed recently on the importance of this school to the overall development of abstract art in the United States.

592. Lazslo Moholy-Nagy (Hungarian, 1895-1946) "Untitled", c.1950; posthumous silkscreen in colors, 20" x 26.25", printed at the Institute of Design for the Moholy-Nagy Memorial Fund, no edition size. This print was included in the exhibition catalog, "Second Sight: Printmaking in Chicago, 1935-1995", James Yood, 1996, Northwestern University. Highly important figure to the international abstract art movement. Printmaking was an important part of the body of work to artists at the Bauhaus and the Institute of Design. 1000-2000

593. Daniel Massen (Swedish/American, 1896-c.1970) "Intersecting Lines", c.1939; blue oil/board with yellow oil reverse painted on to glass, original frame and glass, signed on verso, 29" x 22". Important teacher and artist of the Institute of Design. He exhibited at the Art Institute of Chicago and Phillips Academy in Maryland. His work was highly influenced by the work of Charles Biederman. He made paintings and three-dimensional constructions. A very interesting non-objective image. 1000-2000

594. Daniel Massen (Swedish/American, 1896-c.1970) "Intersection", c.1940; red and black gouache / board, signed with monogram and dated, well framed. Intense contrasting image, 20" x 24". Teacher and artist of the Institute of Design (1940s). He exhibited at the Art Institute of Chicago and the Phillips Academy in Maryland. His work was highly influenced by the work of Charles Biederman. He made paintings and three dimensional constructions. 800-1200

595. Robert Jay Wolff (American, 1905-1977) "Abstract Composition", c.1937; oil/board, 14" x 20", signed and dated, fine new frame. Wolff studied at Yale University and in Europe. He exhibited regularly at the Art Institute of Chicago, American Abstract Artists, Non-Objective Museum, and the Quest Gallery, Chicago. Wolff was asked to join the staff at the Institute of Design by Moholy-Nagy in the late 1930s. His work is included in the collections of the Brooklyn Museum, Art Institute of Chicago, Rhode Island School of Design, and the Solomon Guggenheim Museum. 1000-2000

596. Myron Kozman (American, b.1916) "Abstraction #302", c.1941; silkscreen in colors, 12" x 16", signed and titled in pencil, 5/19. Kozman was friend of Moholy-Nagy and taught silkscreen at the Institute of Design in the 1940s. This print was part of his W.P.A. project, and is reproduced in Moholy-Nagy's book, Vision and Motion, Kozman was one of the first five graduates of the Institute of Design, and his work is in the collections of the Library of Congress, Art Institute of Chicago, and the Bloch Gallery, Northwestern. A very important graphic image from this Institute of Design artist. 700-900

597. Joseph De Martini (American, b.1896) "Blue Cliffs", c.1940s; oil/canvas, 8" x 11", signed. New York City modernist painter. He exhibited throughout the 1930s-40s, at the World's Fair New York, Whitney Museum, Pennsylvania Academy of Fine Art, Art Institute of Chicago, and the Museum of Modern Art. 600-800

598. Medard Klein (American, b.1905) "Arrangement #55", c.1944; oil/board, 20" x 24", signed. Important Chicago non-objective painter. Klein exhibited at the Museum of Non-Objective Painting (Guggenheim), Art Institute of Chicago, San Francisco Museum of Art, National Academy of Design, Laguna Beach Art Association, and the Library of Congress (1930s-40s). This work was exhibited at the Museum of Non-Objective Painting in 1944. 4000-6000

599. Joseph De Martini (American, b.1896) "Window", c.1940s; oil/canvas, 10" x 8 ", signed. New York City modernist painter. He exhibited throughout the 1930s - 1940s, at The World's Fair New York, Whitney Museum, Pennsylvania Academy of Fine Art, Art Institute of Chicago, and The Museum of Modern Art. His works are in important collections such as Pepsi-Cola, Museum of Modern Art and IBM. 500-700

600. Emery Reves-Biro (Hungarian, 1895-1975) "Street Corner in Budapest", c.1920s; vintage gelatin silverprint, 7.25" x 6.75", initialed in ink on image, credit stamp verso. Reves-Biro was known for his modernist photographs of Hungary and the United States, and presents a classic modern composition in this photo, similar to those of Moholy-Nagy, Rodchenko, and Lissitzky. 1000-1500

601. Albert Renger-Patzsch (German, 1897-1966) "Machine and Worker", c.1930s; vintage gelatin silverprint, 6.5" x 9", photographer's "Renger-Foto D.W.B." stamp on verso. Renger-Patzsch is one of the most famous modernist photographers from Germany known for his machine and industry studies. An excellent example of Renger-Patzsch's work, and a strong image. 1500-2000

602. George Barford and Lazslo Moholy-Nagy "Untitled", c.1939; photogram, vintage gelatin silver print mounted on board, 5" x 6.75", signed and dated in pencil by Barford on verso. These two artist collaborated on a small series of photograms in 1939. This is a rare unique print from that series. Barford taught sporadically at the New Bauhaus, beginning in 1939. 1500-2000

"Chicago's Institute of Design, established by Lazslo Moholy-Nagy in 1937 as the New Bauhaus, was the seminal place for the education of the modern artist-photographer. The New Bauhaus' goal was to produce "universal designers" and its course of study offered an eclectic mix of science, art and social studies. Perhaps because this mixture included photography as a serious discipline for the first time in the environment of higher education, the medium flourished as it had at no other school in America. (from: The New Vision: Institute of Design, Forty Years of Photography, Aperture, 1982) Photographic experiments at the New Bauhaus resulted in a myriad of abstract photographic techniques including, photograms, photoplastics and photomontage. Innovative forms appeared, where the use and manipulation of light itself played the primary role.

603. Bernard Siegel "Solargram 4", c.1948; vintage gelatin silver print mounted on board, 9.5" x 7.5", signed in pencil on verso, titled in ink on verso, also "Entry" on verso. Bernard is the brother of Arthur Siegel. A similar "Solargram" by the artist was exhibited in "Six States Photography", at the Milwaukee Art Institute in 1950. 500-700

604. Lois Field "Copy", c.1948; vintage gelatin silver print mounted on board, 9.5" x 8", signed and dated in pencil on mount and in ink on verso. Field was born in 1923. 500-700

605. Lois Field "Chicago Alley", c.1948; vintage gelatin silver print, 4" x 5", signed and dated in pencil on verso. Photographs by Lois Field were exhibited in "When Harry Met Aaron: Chicago Photography 1946-1971" at the Museum of Contemporary Photography, Chicago, 1996. 300-500

606. Dorothy Riley "Spatial Tension", c.1941; vintage gelatin silver print, 7" x 9.5", crease from folding in upper left corner, but generally good condition. Similar photos by Riley of this sculpture appear in Vision in Motion, by Moholy-Nagy, 1947, page 231. 400-600

607. William Keck and Robert Bruce Tague "Light Study", c.1941; vintage gelatin silver print, 10" x 4". A different cropping of this image appears in Language of Vision, by George Kepes, 1944, page 136. 700-900

608. Margaret De Patta and Eugene Brilowski "Abstraction in Jewelry", c.1940; vintage gelatin silver print, photogram, 10.5" x 8", unsigned. Margaret DePatta worked closely with Moholy-Nagy, and designed silver non-objective jewelry. 700-900

609. Allen Porter "Untitled", c.1946; vintage gelatin silver print (photogram) mounted on board, 7" x 4.5", signed in pencil on verso. This work shows the profound influence of New Bauhaus photographer, Arthur Siegel, on Porter. 400-600

610. Hubert Leckie "Untitled", c.1950; vintage gelatin silver print, 14.25" x 10.75", some soiling, stains, and minor tears and creasing. Leckie taught at the New Bauhaus in the late 1930s and early 1940s. 300-500

611. Margaret DePatta and Eugene Brilowski "Abstraction in Jewelry", c.1940-41; vintage gelatin silver print, photogram, 8" x 10.5", signed in pencil on verso. 700-900


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TREADWAY GALLERY, INC.
2029 Madison Road  Cincinnati, OH 45208
513-321-6742  Fax 513-871-7722

JOHN TOOMEY GALLERY
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708-383-5234  Fax 708-383-4828


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