American and European Paintings
Session Two - 2:00 p.m.
No's 386 - 535
386. Norwood Hodge MacGilvary (American, 1874-1950), ÒIdyllic Western LandscapeÓ, c.1915; oil/canvas, 30Ó x 22Ó, signed. MacGilvary studied at the UC Berkeley and the Mark Hopkins Institute (San Francisco). He worked in California around 1915, when he exhibited at the Pan-Pacific International Exposition. He later moved to Pittsburgh and taught at the Carnegie Institute. 1500-2500
387. H.A. Duessel (American, early 20th century), ÒSpoon IslandÓ, c.1905; oil/board, 19.5Ó x 33.5Ó, overall size, signed, mission oak frame. Duessel adopted a unique style of extending the scene on to the frame. 500-700
388. Dawson Dawson-Watson (American, 1864-1939), ÒIllustration for HomeÓ, c.1902; gouache/board, 11Ó x 46Ó, signed and dated, under glass. Unusual Arts & Crafts style decoration by this artist. Dawson-Watson was best known for his paintings of Texas and the Grand Canyon. He worked in Giverny, France for a time also. 500-700
389. J.F. Cavery (American, early 20th century), Arts & Crafts style landscape, thick gouache/board, 30Ó x 36Ó, under glass, Chicago framing label verso. Painted in blues and greens. 500-700
390. Charles Sprinkmann (German, 19th century), ÒStroll by the LakeÓ, c.1890; oil/canvas, 21Ó x 13.5Ó, signed. Very high quality genre painting. 1250-1750
391. Dorsey Potter Tyson (American, 20th century), ÒGathering BlossomsÓ, c.1920; colored etching, 7Ó x 5.5Ó, signed in pencil and numbered, 18/100. New York City etcher. Contemporary of Helen Hyde, Bertha Lum, and others. 300-500
392. F. Humphrey Woolrych (American, 1868-1941), ÒSpring BlossomsÓ, c.1900; oil/canvas, 33Ó x 18Ó, indistinctly signed. Woolrych studied at the Royal Academy in Berlin and in Paris. He was a member of the St. Louis Artist Guild, the Hellas Artist Club, Berlin, and the 2 x 4 Society. He was a figure painter and landscapist. His work is in the collections of the St. Louis Public Library, Missouri Athletic Club, and the University of Missouri. 1000-2000
393. Charles W. Knapp (American, 1823-1900), ÒOuting at the LakeÓ, c.1860; oil/canvas, 13.5Ó x 24Ó, signed with initials. Landscape painter from Philadelphia. He exhibited at the National Academy of Design from 1859-1861. His scenes of lakes and valleys with multiple figures and animals earned him notoriety as a painter. 2500-3500
394. Alexis Fournier (American, 1865-1948), ÒMorning LightÓ, c.1910; oil/canvas, 20Ó x 24Ó, signed, original Arts & Crafts frame, titled on stretcher. Fournier was a member of the Roycrofters, in East Aurora, NY. He exhibited primarily landscapes at the National Academy of Design, Pennsylvania Academy of Fine Art, Art Institute of Chicago, and the Buffalo Art Club. Fournier also painted in Brown County, IN, and exhibited at the Hoosier Salon. An exceptional example of his work, that is light and colorful. 5000-7000
395. Daniel Folger Bigelow (American, 1823-1910), ÒCows at a StreamÓ, c.1889; oil/canvas, 20Ó x 30Ó, signed and dated, Sept. 17, 1889. Bigelow was an early Chicago painter. He was part of a group of artists who organized the Academy of Design, which later became the Art Institute of Chicago. 1000-1500
396. William M. Hart (American, 1823-1894), ÒCattle WateringÓ, c.1880s; oil/canvas laid down on board, 17Ó x 23Ó, signed, under glass, fine turn of the century frame. Important second generation Hudson River School painter. Hart worked in Albany, NY early in his career, until 1854, when he moved to New York City. He is best known for his serene landscapes which strike a perfect blend of sentimentality and accuracy in the portrayal of nature. 2500-4500
397. James Everett Stuart (American, 1852-1941), ÒMountain LandscapeÓ, c.1909; oil/canvas, 18Ó x 30Ó, signed and dated, June 25, 1909, numbered (1469). Stuart moved to San Francisco when he was 8 years old. Best known for Northern California landscapes. His work is in the collections of the White House, the Otis Art Institute (L.A.), and the Los Angeles Museum of Science, History, and Art. 1000-2000
398. James Everett Stuart (American, 1852-1941), ÒForest InteriorÓ, c.1910; oil/canvas, 18Ó x 30Ó, signed, flaking, losses. 400-600
399. Francis D. Healy (American, b.1862), ÒCastle in the Arizona SkyÓ, c.1920; oil/canvas, 20Ó x 30Ó, signed, hand-carved frame, titled on verso. Healy was born in St. Louis and studied at the St. Louis School of Fine Art, but he was best known for his desert landscapes. 800-1100
400. P.M. Skinner (American, late 19th century), ÒIndian CampfireÓ, c.1873; oil/board, 16Ó x 12.5Ó, signed and dated. Very fine quality work and highly desirable subject matter. 1000-2000
401. John Murray Thomson (British, b.1885), ÒGoat and KidÓ, c.1920; oil/canvas, 24Ó x 36Ó, signed. Well known painter of animals. Studied in Edinburgh. He was awarded the Carnegie Traveling Scholarship, and he and his wife, Ellen May Frew, wrote and illustrated a book titled, ÒThe Animals We KnowÓ. A high quality, finely detailed work. 2000-3000
402. George De Mare attribution (American, 1863-1907), ÒWriting a LetterÓ, c.1880; oil/canvas, 49Ó x 32Ó, unsigned, provenance. DeMare was a portrait painter in Chicago, active in the late 19th century and early 20th century, but was killed in a fire in 1907. He studied at the Ecoles des Beaux-Arts and the Academie Julian in Paris. He was a member of the Chicago Society of Artists and the Municipal Art League. He was the grandson of G.P.A. Healy, an important early Chicago artist. 4500-6500
403. Robert W. Grafton (American, 1876-1936), ÒBoys PlayingÓ, c.1900; oil/canvas, 24Ó x 20Ó signed. Portrait and landscape painter. He studied at the Art Institute of Chicago and the Academie Julian, Paris. He exhibited at the Art Institute of Chicago (1907); Delgado Museum, New Orleans; New Orleans Art Association; Richmond (IN) Art Association; and the Hoosier Salon. His work is in numerous important public collections in the South and the Midwest. This is an exceptional example of GraftonÕs genre paintings. 3000-5000
404. George Brandt Bridgman (American, 1864-1943), ÒLandscape with Split-rail FenceÓ, c.1892; oil/canvas, 16Ó x 24Ó, signed and dated, ornate frame. New York City painter. Bridgman studied abroad with Gerome and Boulanger. He taught at the Art Students League and the Grand Central School of Art. 1000-2000
405. Floyd Hopper (American, b.1909), ÒFarm in IndianaÓ, c.1940; black and white woodcut, 8Ó x 10Ó, unsigned, unframed. Indianapolis modern painter and printmaker. 100-200
406. Stephen Etnier (American, 20th century), ÒMother and ChildÓ, c.1950; mixed media, 24Ó x 18Ó, signed and dated. Modern image. Etnier worked with Rockwell Kent and John Carroll. His work is in the collections of the Metropolitan Museum of Art and the Boston museum. He exhibited throughout the 1940s-60s. 300-500
407. D.W. Sladek (German, early 20th century), ÒSatyrsÓ, c.1937; extensively enhanced lithograph, 17Ó x 10.75Ó, arched top, signed and dated. Highly stylized and detailed work. 300-500
408. Seong Moy (Chinese/American, b.1921), color woodcuts, pair, ÒPi Pa PlayerÓ and ÒDancing QueenÓ, both 7Ó x 9Ó, signed and dated. 200-300
409. Albert Urban (German/American, 1909-1959), ÒDreamÓ, c.1945; color serigraph, 17Ó x 12Ó, signed and dated, unframed, estate stamp verso. ÒDegenerate artistÓ, studied with Max Beckmann. 300-500
410. Chiostri Carlo (Italian, 19th-20th century) ÒItalianate Reflecting PoolÓ, c.1900; oil/canvas, 39.5Ó x 45Ó, signed indistinctly. Impressive, quality work. 1000-1500
411. Charles Francis Browne (American, 1859-1920), ÒApproaching StormÓ, c.1900; oil/canvas laid down, 9.5Ó x 13.5Ó, signed, original Whistler-style frame. Chicago landscape painter. Browne exhibited from the 1880s-1910s at the Chicago Society of Artists, Art Institute of Chicago, and the Pan-Pacific Expo, San Francisco. This example reveals the tonalist style for which he was known. 800-1100
412. John William Orth (American, b.189), ÒTaxcoÓ, c.1920; oil/board, 24Ó x 20Ó, signed. Orth was born in Germany and studied there with H. Von Habermann. He moved to the U.S. and settled in Kansas City, MO. 600-800
413. Carl Hoerman (American, b.1885), ÒCalifornia LandscapeÓ, c.1925; oil/canvas, 28Ó x 36Ó, signed, original carved frame. Hoerman was a resident of Riverside and Palm Springs in the 1920s-30s. He exhibited at the Pasadena Art Institute (1928) and the All-California Exhibition (1939). He also worked in Michigan, and specialized in impressionist landscapes. 800-1100
414. James Arthur Merriam (American, 1880-1951), ÒPalm SpringsÓ, c.1930; oil/canvas, 40Ó x 50Ó, signed, original frame. Merriam moved to California in 1920, settling in Los Angeles, where he remained his entire life. He painted scenes of mountain landscapes, desert scenes, and missions. Related literature: HughesÕ Dictionary of California Artists. This is a major example of his work. 2000-3000
415. Nellie Augusta Knopf (American, 1875-1962 ), ÒCameronÕs Cove, PikeÕs PeakÓ, c.1921; oil/canvas, 26Ó x 28Ó, signed and dated; label on verso from the Inaugural Exhibition of the Hoosier Group, Inc. Knopf studied at the Art Institute of Chicago, and with Birger Sandzen and Charles Woodbury. She was most well known for her mountain landscape paintings, and exhibited at the Art Institute (1920-37), National Academy, Detroit Institute of Art, and the Broadmoor Art Academy, Colorado Springs. She taught at MacMurray College, in Jacksonville, IL. Exhibited: Art Institute of Chicago, 1921. This is an excellent early work by this artist. 5000-7000
416. Joe Waano-Gano (American, b.1906), ÒCanyon ScenesÓ, c.1930; lot of two pastels, each 4Ó x 6Ó, both signed on verso, one pictured. Los Angeles painter, Cherokee Indian. Waano-Gano, which means ÒBow-ArrowÓ, studied with Christian von Schneideau in the 1920s. He specialized in western landscapes and Native American scenes. He exhibited throughout the 1930s-40s at the Los Angeles City Hall, L.A. Museum, 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. 600-800
417. Harry Haviland Osgood (American, b.1875) ÒSpring BlossomsÓ, c.1920; oil/canvas, 20Ó x 16Ó, signed verso, Arts & Crafts frame. Osgood studied at the Art Institute of Chicago and the Academie Julian, Paris. He exhibited at the Art Institute of Chicago in the 1910s, and later at the Hoosier Salon. 700-900
418. Joe Waano-Gano (American, b.1906), ÒPebbles of NatureÓ, c.1930; oil/board, 18Ó x 24Ó, signed. Waano-Gano was a Los Angeles painter. He was Cherokee Indian, and his name meant ÒBow-ArrowÓ. He specialized in western landscapes and Native American life. 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), and the Western Airlines Offices (San Francisco). 800-1100
419. Edward J. Finley Timmons (American, b.1882), ÒCoastline SceneÓ, c.1920; oil/canvas, 16Ó x 20Ó, signed, nice original frame. Chicago area painter. He exhibited at the Art Institute of Chicago, and was a member of the Chicago Painters and Sculptors and the Chicago Art Students League. His works are in several important public collections in Illinois and Iowa. 400-600
420. Frederick Ballard Williams (American, 1871-1956), ÒLadies in a GardenÓ, c.1930; oil/masonite, 8Ó x 10Ó, signed, original ornate frame. Known for decorative, romantic landscapes with figures. He studied at the National Academy of Design, and later exhibited there. His work is in the collections of the Art Institute of Chicago, Metropolitan Museum, National Gallery of Art, and the Brooklyn Museum. 1000-1500
421. George F. Schultz (American, b.1869), ÒSailboats at SunriseÓ, c.1920; oil/canvas, 20Ó x 30Ó, signed. Chicago landscape and marine painter. Schultz exhibited at the Art Institute of Chicago (1910s). His work is in the collections of the Union League Club, Cliff Dwellers, and the City of Chicago College. 1000-2000
422. William Henry Howe (American, 1846-1929), ÒShepherdess and Her FlockÓ, c.1897; oil/canvas, 24Ó x 31Ó, signed and dated. Important landscape painter. He exhibited extensively from the 1880s-1910s, in the U.S. and in Paris. He studied at the Royal Academy in Germany, and was a member of the National Academy and the Samagundi Club. A large and important example of this artistÕs work. 2500-3500
423. W. C. Emerson (American, early 20th century), ÒDancing NymphsÓ, c.1910; oil/board, signed. Painter well known for his Arts & Crafts style landscapes, sometimes including figures. Emerson was born in London, but moved to the U.S. and worked in Chicago, New York City, and New Preston, Connecticut. Emerson was a member of the New York Watercolor Club. A major oil by this artist, and an excellent example of the style and subject matter for which he was known. 3500-4500
424. Paul Sargent (American, 1880-1946), ÒMidwestern LandscapeÓ, c.1934; oil/board, 9Ó x 12Ó, signed and dated. Sargent worked in Los Angeles and in Illinois and Indiana. He specialized in impressionist landscapes. He studied at the Art Institute of Chicago (1902-1912), and exhibited at the Hoosier Salon, Charleston (IL) Art Association, and the Los Angeles Central Library. 500-700
425. Henry Howard Bagg (American, 1852-1928), ÒMountain LandscapeÓ, c.1900; oil/board, 14Ó x 19Ó, signed. Nebraska painter, specialized in western subjects. Bag arrived in Nebraska in 1895 and taught at the State Normal School, in Peru. He also taught at Cotner College and Nebraska Wesleyan University. Bagg provided western scenes for calendar companies and co-illustrated with Thomas Moran, ÒSeven Wonderlands of the American WestÓ, by Thomas D Murphy. 1000-1500
426. Louis Oscar Griffith (American, 1875-1956), ÒThe Hills of Brown CountyÓ, c.1920; oil/canvas, 24Ó x 30Ó, signed. Well known Indiana painter and important member of the artistÕs colony formed in Nashville, Indiana. He exhibited regularly at the Hoosier Salon, the Brown County Art Gallery Association, and the Brown County Art Guild. Like his Nashville neighbors, Will Vawter and Adolph Shulz, Griffith painted colorful impressionistic landscapes. 2500-3500
427. Thomas B. Griffin (American, 19th-20th century), ÒLandscape with LakeÓ, c.1900; watercolor/paper, 14Ó x 20Ó, signed. Griffin painted in Philadelphia, and frequently worked in watercolor. 300-500
428. H. Muller (German, 19th century), ÒMan with Pipe and GlassesÓ, c.1890; oil/canvas laid down on masonite, 10Ó x 8Ó, signed. Finely detailed work. 500-700
429. Chistopher H. Shearer (American, 1840-1926), ÒEarly Autumn LandscapeÓ, c.1922; oil/canvas, 30Ó x 50Ó, signed and dated. Shearer was a landscape painter from the Reading, Pennsylvania area. This monumental example of his work is one of the finest we have seen. 1500-2000
430. William Lester Stevens (American, 1888-1969), ÒSpring in the CountryÓ, c.1930; oil/canvas, 25Ó x 30Ó, 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, landscapes, and harbor scenes. 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 StevenÕs work, illustrating his use of vibrant color and bravado brushwork. 6000-8000
431. Richard E. Miller (American, 1875-1943), ÒThe EngagementÓ, c.1910; oil/canvas, 38Ó x 30Ó, signed, heavy ornate frame. Highly important American impressionist painter. Miller studied at the St. Louis School of Fine Art and in Paris. His figure painters are highly regarded. Consistent with most of the American Impressionists, Miller paints his model realistically and her mood is introspective; the background, however, be it an interior or landscape, is brushy and fragmented, with intentional lines drawn in diagonals, adding movement and color to the composition. 90,000-120,000
432. Robert Perutz (Polish, 19th-20th century), ÒHigh Bridge in WinterÓ, c.1900; gouache/paper, 13Ó x 18.5Ó, signed indistinctly on front with location, slavic stamp on verso. 400-600
433. L. Paupin (European, 19th century), ÒWoman by a StreamÓ, c.1890; oil/canvas, 27Ó x 22Ó, signed plainly, but unknown to us, heavy ornate frame. Very high quality work. 1000-2000
434. A. Escher (American, early 20th century), ÒPath through the Autumn WoodsÓ, c.1925; oil/canvas, 20Ó x 24Ó, signed. Colorful impressionist work, done in early autumn. 300-500
435. Cecelia de Wentworth (American, 19th-20th century), ÒPortrait of a LadyÓ, c.1892; oil/canvas, 45Ó x 37Ó, signed and dated, massive ornate frame, label from the Metropolitan Museum of Art on verso. Wentworth was known for her portraiture, and worked in Paris and New York City. She exhibited primarily in France around the turn of the century. 1500-2500
436. C.O. Erikson (American, early 20th century), ÒPath by the CreekÓ c.1915; oil/canvas, 23Ó x 27Ó, signed. Chicago landscape painter, active in the 1910s. 400-600
437. Royal Hill Milleson (American, b.1849), ÒAutumn SkiesÓ, c.1900; oil/canvas, 22Ó x 28Ó, signed. Chicago area landscape painter. He was a member of the Chicago Society of Artists and the Boston Art Club. 800-1200
438. Kate A. Williams (American, early 20th century), ÒPicnic in OctoberÓ, c.1920; oil/canvas, 20Ó x 24Ó, signed. WilliamÕs exact birthdate is unknown, but she died in 1939. She was an impressionist painter, and was a member of the National Association of Women Painters and Sculptors, American Federation of Artists, and the National Arts Club. She worked primarily in Washington D.C. and in New York City. 1500-2500
439. Wilson Henry Irvine (American, 1869-1936), ÒHarbor, Concorneau, BrittanyÓ, c.1917; pastel/board, 18Ó x 24Ó, signed; label with title, verso. Irvine studied at the Art Institute of Chicago. He was a member of the Chicago Society of Artists, National Academy of Design, and the Chicago Watercolor Club. Irvine and his wife traveled to France in 1917, painting the fishing villages along the coast. When he returned to the U.S., he settled in Lyme, Connecticut. This is an excellent example of IrvineÕs work on paper. 2500-3500
440. Tom Barnett (American, 1870-1929), ÒMatin-VeniceÓ, c.1915; oil/board, 14Ó x 16Ó, monogram verso. St. Louis area painter and architect. Barnett studied with Paul Cornoyer. He exhibited colorful, impressionist works from 1900-1920, at the Portland Expo (1905); St. Louis Expo (1904); and the National Academy of Design. 1500-2500
441. Svend Svendsen (American/Norwegian, 1864-1930), ÒFootprints in the Snow, Early EveningÓ, c.1900; oil/canvas, 30Ó x 22Ó, signed. Chicago area painter. Exhibited throughout the 1890s-1920s, in Chicago and nationally. He was best known for his snowy landscape paintings, with a unique use of light and shadowy effects. Fine example of the tonalist style of painting. 1500-2000
442. Harry Haviland Osgood (American, b.1875), ÒWinter, Nashville, IndianaÓ, c.1920; oil/board, 16Ó x 24Ó, signed and monogrammed on verso. Osgood studied at the Art Institute of Chicago and the Academie Julian, Paris. He exhibited at the Art Institute of Chicago in the 1910s, and later at the Hoosier Salon. 700-900
443. Ernest Fredericks (American, early 20th century), ÒThe Ozarks near Eureka SpringsÓ, c.1930; oil/canvas, 24Ó x 30Ó, signed. Fredericks is known for his colorful landscape paintings of the Midwest. 600-800
444. Dave Stirling (American, b.1889), ÒColorado LandscapeÓ, c.1925; oil/board, 18Ó x 16Ó, signed, good hand-carved frame. Stirling studied at the Chicago Academy of Fine Art. He specialized in mountain landscapes, and had a studio in Rocky Mountain National Park (1922-1946). Good early example. 400-600
445. Ernest Fredericks (American, early 20th century), ÒWoodland StreamÓ, c.1940; oil/canvas, 25Ó x 30Ó, signed, original carved frame. Fredericks is known for his colorful landscape paintings of the Midwest. This is a fine example by this artist. 600-800
446. Louis Ritman (American, 1889-1963), ÒReposeÓ, c.1920; oil/canvas, 21Ó x 32Ó, signed, also estate stamp verso, original frame. 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 of Chicago 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 in 1930 to teach, and remained there until 1960. 15,000-20,000
447. Fred Green Carpenter (American, 1882-1965), ÒParis CafeÓ, c.1915; oil/canvas, 24Ó x 20Ó, signed and dated. Important St. Louis impressionist. Carpenter studied at the St. Louis School of Fine Art, where he met Richard Miller, who taught there 1901-02. Carpenter went to Paris to further his work with Miller around 1910. Carpenter returned to St. Louis in 1911 to teach at the St. Louis School of Fine Art, a position he maintained for fifty years. William Gerdts, in his Art across America, Two Centuries of Regional Painting, says, ÒCarpenterÕs work reflects MillerÕs strong figures and jewellike palette, but (his) canvases...also represent an advanced strain of modernism, with their dramatic patterning and disregard for the naturalism of the Giverny Impressionists.Ó Carpenter exhibited from the 1910s-50s, at the St. Louis Artist Guild, Pennsylvania Academy of Fine Art, Art Institute of Chicago, Kansas City Art Institute, and the Pan-Pacific Expo (1915). 6000-8000
448. Tom P. Barnett (American, 1870-1929), ÒWorking in the QuarryÓ, c.1920; oil/canvas, 27Ó x 30Ó, St. Louis area painter and architect. Barnett studied with Paul Cornoyer and his father, architect, George Barnett. He exhibited colorful, impressionist works from 1900-1920, at the Portland Expo (1905); St. Louis Expo (1904); and the National Academy of Design. Barnett several paintings of this quarry, which is located in west St. Louis, MO. 1000-2000
449. Richard Creifelds (American, 1853-1939), ÒPortrait of a WomanÓ, c.1910; oil/canvas, 16Ó x 12Ó, signed. Creifelds studied at the National Academy and in Munich. He painted in New York City. 700-900
450. Carl E. Wallin (American, b.1879), ÒWoman in a River LandscapeÓ, c.1925; oil/masonite, 16Ó x 20Ó, signed. Chicago artist. He studied at the Art Institute of Chicago and exhibited at the Chicago Gallery Association, All-Illinois Fine Artists, and the Swedish American ArtistÕs Association (1920s-40s). 500-700
451. Alice Hirsh (Hersh) (American, early 20th century), ÒNew York Harbor at NightÓ, c.1914; oil/board, 12Ó x 16Ó, signed and dated. New York City artist. She was a member of the National Association of Women Painters and Sculptors and the Connecticut Academy of Fine Artists. 500-700
452. V. Bonhajo (Polish, 19th-20th century), ÒBatherÓ, c.1900; watercolor/paper, 15Ó x 9.5Ó, signed indistinctly. 400-600
453. Kathryn Cherry (American, 1880-1931), ÒGloucester HarborÓ, c.1920; gouache/board, signed, original frame. St. Louis area impressionist painter and designer. She studied with Richard Miller, and exhibited at the North Shore Art Association, Rockport Art Association, and the St. Louis Artist Guild. She was also a good friend of Adelaide Robineau, and designed ceramics at University City Pottery in St. Louis. A rare and important work on paper by this artist. 3000-5000
454. George Ames Aldrich (American, 1872-1941), ÒTwo Women by a StreamÓ, c.1920; oil/canvas, 36Ó x 40Ó, signed. Aldrich studied at the Art Students League and in Paris, with Whistler and Fritz Thaulow. He painted primarily French scenes, although this was more than likely painted in the U.S., distinguishable by the slight difference in the style. He exhibited at the Chicago Gallery Association, Hoosier Salon, and the 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. 4000-6000
455. Carl Krafft (American, b.1884), ÒBoating in SeptemberÓ, c.1915; oil/board, 10Ó x 14Ó, signed, fine original frame. Well known Chicago impressionist landscape painter. Krafft also co-founded the Ozark Society of Fine Artists. He exhibited extensively in the early 20th century, and is in numerous public collections in Chicago, and nationally. An early painting, thickly painted. 2000-3000
456. Thomas James Delbridge (American, b.1894), ÒShoreline SceneÓ, c.1925; oil/board, 20Ó x 23Ó, signed, labels verso. Studied at the Art Students League (NYC). He exhibited in the South: Southeastern States Exhibition, Houston Museum, Charleston Museum, and the New Orleans Museum. He also painted in Atlanta, GA. 700-900
457. Bernhard Christian Borchert (Russian, b.1863), ÒWild FlowersÓ, c.1910; watercolor/paper, 23Ó x 18Ó, signed. Borchert was an instructor of art at the University of Riga (Russia). He was best known for his illustrations of Northern European fairy tales. Very colorful. 1500-2000
458. Fred Pye (American, b.1882), ÒCrashing WavesÓ, c.1930; oil/canvas, 24Ó x 36Ó, signed, imperfections. Cincinnati painter, known for his coastal scenes. He was a member of the Cincinnati MenÕs Art Club and the Cincinnati Professional Artists. 300-500
459. Thomas Bigelow Craig (American, 1849-1924), ÒPastoral LandscapeÓ, c.1900; watercolor, 14Ó x 28Ó, signed, original frame. Well known for his watercolors of landscapes with animals. Craig worked in Philadelphia until 1889, when he moved to New York City. He exhibited extensively at the Pennsylvania Academy of Fine Art, National Academy of Design, and the Salmagundi Club. 700-900
459A. Hayley Lever (American, 1876-1958), ÒSailing BoatsÓ, etching, 6Ó x 8Ó, pencil signed. Lever was well known for his works of French harbors. 100-200
460. Louis Jambor (American/Hungarian, 1884-1955), ÒChildren ReadingÓ, c.1940; oil/canvas, 21Ó x 26Ó, signed, original ornate frame. Jambor studied at the Royal Academy in Budapest. He specialized in interiors, and exhibited at National Academy of Design and the Pennsylvania Academy of Fine Art (1940s). 1500-2500
461. Sigurd Skou (American/French, ? - 1929) ÒThe Red MacawÓ, c.1910; oil/board, 36Ó x 36Ó, signed. Skou was born in Norway and studied in Stockholm with Anders Zorn, and then in Paris, with Krogh. He worked in the U.S. and in Paris throughout his career. He was a member of the Salmagundi Club, Boston Art Club, American Art Association of Paris and the Connecticut Academy of Fine Art. He exhibited at the Norske Club, Chicago (1922); Norse Centennial, St. Paul, MN (1924); and the Salmagundi Club (1920s). Skou was known for his figurative works, and frequently worked in a square format. 3000-5000
462. Eduoard Leon Cortes (French, b.1882-1969), ÒParis in WinterÓ, c.1950; oil/canvas, 18Ó x 21Ó, signed. Very well known French Impressionist painter. His scenes of Paris, which he painted throughout his career, were exhibited from the 1920s-60s. CortesÕ work was represented by many galleries in the United States and in Europe. 10,000-15,000
463. Joe Waano-Gano (American, b.1906), ÒDesert SkiesÓ, c.1930; pastel/paper, 11Ó x 14Ó, signed, from the estate of the artist. Los Angeles artist. Specialized in western landscapes and frequently worked in pastel. He exhibited throughout the 1930s-40s in the Los Angeles area. 500-700
464. F.E. Ogden (American, early 20th century), ÒWoodland StreamÓ, c.1922; oil/board, 15Ó x 21Ó, signed and dated. Colorful impressionistic style. 300-500
465. M.E. Knayan (American, early 20th century), ÒLandscape with WaterÓ, c.1930; oil/board, 12Ó x 16Ó, signed. Fine quality impressionist landscape. 300-500
466. Harry Doerr (American/German, 19th-20th century), ÒInterior Scene with FiguresÓ, c.1913; pen and ink drawing, 10Ó x 7.5Ó, signed and dated, unframed. 100-200
467. W.R. Akers (American, early 20th century), ÒWooded LandscapeÓ, c.1914; oil/canvas, 22Ó x 28Ó, signed plainly, but unidentifiable to us, framed. Very pleasing impressionist landscape. 300-500
468. Will Vawter (American, 1871-1941), ÒSea and RocksÓ, c.1930; color print, 8Ó x 11Ó, pencil signed, framed. Well-known Brown County painter. Exhibited frequently at the Hoosier Salon. He illustrated several books. Very colorful image. 200-300
469. Leon Dolice (American, 1862-1960), ÒNew York at NightÓ, c.1930; pastel/paper, 20Ó x 12Ó, signed. New York City painter. Dolice frequently worked in pastel, and was highly influenced by the Ashcan painters, especially Shinn. 500-700
470. Louis Dali (French, 20th century), ÒParis Street SceneÓ, c.1950; oil/canvas, 14Ó x 18Ó, signed, ornate frame. Dali was well known for his impressionistic scenes of Paris. He was well represented by galleries in the U.S. and in Europe. 600-800
471. Louis Dali (French, 20th century), ÒParis Street SceneÓ, c.1950; oil/canvas, 8Ó x 10Ó, signed, original frame. Dali was well known for his impressionist scenes of Paris, done in the 1940s-50s. He was well represented by United States as well as European Galleries. 400-600
472. Louis Dali (French, 20th century), ÒFrench Village in WinterÓ, c.1950; oil/canvas, 20Ó x 24Ó, signed, ornate frame. Dali was known for his impressionist scenes of Paris, done in the 1940s-60s. He was well represented in the United States and in Europe. This is a fine, large example of his work. 600-800
473. Fred Grayson Sayre (American, 1879-1939), ÒSouthern California LandscapeÓ, c.1929; oil/canvas, 24Ó x 30Ó, signed, good original frame. Sayre was primarily self-taught as a painter. He first came to California in 1917. He exhibited at the L.A. County Museum in 1922, and that same year held a one man show in San Francisco. He built a home and studio in Glendale in 1924. He was a member of the Palette and Chisel Club of Chicago, and was the cofounder and president of the Painters and Sculptors of Los Angeles. This is an excellent example of SayreÕs work. 2500-4500
474. Warren E. Rollins (American, 1861-1962), ÒSanta Fe SceneÓ, c.1919; oil/board, 8.5Ó x 14.5Ó, signed, original frame. Important, early member of the Santa Fe artistÕs colony (1913). Rollins studied at the California School of Design and exhibited at the Museum of New Mexico, and the California School of Design. His work is in the collections of the Santa Fe Railroad, Museum of New Mexico and executed W.P.A. murals. 2000-3000
475. Peter Rotier (American, 1888-1964), ÒMaine CoastÓ, c.1940; watercolor/paper, 17Ó x 22Ó, signed. Rotier was a Milwaukee modernist and W.P.A. painter. He exhibited in the 1930s-40s. This painting is similar to other modern images of Maine done by Marin, Zorach, and Drewes. Strong blue colors. 400-600
476. Frank Schwarz (American, 1894-1951), ÒPortrait of a Young WomanÓ, c.1940; oil/canvas, 24Ó x 18Ó, signed. Schwarz studied at the Art Institute of Chicago and the National Academy of Design. He exhibited from the 1920s-40s, and his work is in the collections of the Boston Museum, and the University of Nebraska. 500-700
477. Margaret Newland Wenstrup (American, 20th century), ÒIda Street, Mount AdamsÓ, c.1949; tempera/board, 21Ó x 28Ó, signed; and then signed, titled, and dated on verso by artist at a later date, from the estate of the artist. Known for modern urban views. 300-500
478. Raymond Talbot (American, 20th century), ÒTropical BirdsÓ, c.1949; a pair of watercolors, one pictured; gouache/board, 6Ó x 7.5Ó, signed and dated. The second painting is very similar, but picturing a different type of bird (same size, also signed). Great decorative style, similar to the work of painter, Stark Davis. 500-700
479. Buel Whitehead (American, 20th century), ÒSeminole FamilyÓ, c.1940; color lithograph, 6Ó x 8Ó, signed and titled in pencil. Whitehead was a southern painter and printmaker. He worked in a regionalist style and exhibited in the 1930s-40s. 300-500
480. J.L. van der Meide (European, 20th century ), ÒMoonlightÓ, c.1940; oil/canvas, 24Ó x 36Ó, signed, original ornate frame. Landscape specialist. Attractive package. 300-500
481. John Wesley Hardrick (American, 1891-1968), ÒNational Malleable CompanyÓ, c.1941; oil/canvas, 30Ó x 40Ó, signed and dated, provenance. The National Malleable Company was located in Indianapolis, Indiana. This painting was featured in the exhibition, ÒA Shared Heritage: Art by Four African-AmericansÓ, which toured the Indianapolis Museum of Art, Terra Museum, Museum of the National Center of Afro-American Artists, Boston and the Hunter Museum of Art, in Chattanooga (1996-97). Hardrick studied at the John Herron School of Art in Indianapolis (1906-1914) with William Forsyth and Clifton Wheeler. He exhibited at the Tenth Annual Exhibition of Works by Indiana Artists in 1917 with fellow African-American painter, William Eduoard Scott. He shared a studio with Hale Woodruff for a brief time in the early 1920s, and exhibited with Woodruff at the Art Institute of Chicago in 1927. Hardrick also exhibited in the Second Annual Exhibition of Contemporary Negro Art in San Diego in 1929. He was awarded grants by the Harmon Foundation, and worked as a W.P.A. muralist in 1933-34. He participated in the American Negro Exposition: Celebrating 75 Years of Negro Achievement, in Chicago (1940). HardrickÕs wife, Georgia, died the year this work was painted (1941). He and his three children moved to his parentÕs house where he set up a studio in the attic. A rare and important work by an African-American artist. 25,000-35,000
482. John Wesley Hardrick (American, 1891-1968), ÒMaxine SullivanÓ, c.1930; oil/canvas, 26.25Ó x 21Ó, signed, provenance. Maxine Sullivan was a popular jazz singer in Chicago. This work was also featured in the exhibition, A Shared Heritage: Art by Four African-Americans and is pictured in color in the exhibition catalog. 10,000-15,000
483. Ibiza Aoyama (Japanese, b.1894), ÒGirl with DogÓ, c.1950: oil/canvas, 23Ó x 28Ó, signed. Known for very colorful, modern impressionist work. 600-800
484. Louis Dali (French, 20th century), ÒParis SceneÓ, c.1950; oil/canvas, 8Ó x 10Ó, signed, original frame. Colorful, impressionist work by a well known Paris painter. 400-600
485. John Wesley Hardrick (American, 1891-1968), ÒIndiana LandscapeÓ, c.1940; oil/board, 42Ó x 67Ó, signed, provenance. A major landscape by this African-American painter. HardrickÕs style of landscape painting was unique. He utilizes palette knife work to achieve the dynamic texture and color intensity. An excellent example of this artistÕs landscape style of painting. 6000-8000
486. Mary Spencer Nay (American, 20th century), ÒRest after PlayÓ, c.1940; oil/canvas, 26Ó x 36Ó, signed and dated, exhibition label verso from the Louisville Art Association, ÒKentucky and Southern Indiana ArtÓ, 1941, J.B. Speed Art Museum. Nay worked in Louisville during the 1930s and 40s, and specialized in modern subject matter. 1000-2000
487. Lillyan Estelle Jacobs (American, b.1915), ÒYoung Negro Girl SeatedÓ, c.1935; oil/board, 32Ó x 17.5Ó, unsigned. Des Moines, Iowa regionalist painter. She exhibited at the Iowa Artist Salon (1932-39) and the WorldÕs Fair New York (1939); and her work is in the collections of the Iowa State College and the Hotel Franklin, Des Moines. She was a W.P.A. artist, and specialized in figurative works. 600-800
488. Gladys Rockmore Davis (American, b.1901), ÒNursingÓ, c.1941; oil/board, 25Ó x 30Ó, signed. Davis studied at the Art Institute of Chicago and exhibited in important modern shows at the Art Institute of Chicago (1937); National Academy of Design (1944); Pepsi-Cola (1946); and the Virginia Museum of Fine Art (1938). Her work is in the collections of the Museum of Modern Art, Cranbrook Academy, and the Pennsylvania Academy of Fine. A powerful image by this unique artist. 2500-3500
489. Edgar Yaeger (American, 1904-1997), ÒWoman and HouseÓ, c.1937; oil/canvas, 25Ó x 30Ó, signed, from the estate of the artist. Important Detroit modernist painter. Yaeger worked in Paris with Lhote, Gromaire, and O. Friesz. He exhibited at the Detroit Institute of Art, Art Institute of Chicago, Museum of Modern Art, and the Pennsylvania Academy of Fine Art (1930s-40s). His style was much more associated with the European modernists than painters working in the U.S. He specialized in figurative works and still lifes. A striking avant-garde image and an excellent example of YaegerÕs work. 6500-8500
490. Joe Jones (American, 1909-1963), ÒRed Nudes in a LandscapeÓ, c.1929; oil/canvas, 14Ó x 14Ó, signed and dated, from a relative of the artist. Jones was self-taught as a painter. He was an important W.P.A. artist, and exhibited at the Whitney Museum, Pennsylvania Academy of Fine Art, WorldÕs Fair New York (1939), and the Kansas City Art Institute. His work is in numerous important collections, including the Museum of Modern Art, Standard Oil Company, Whitney Museum, Library of Congress, and the St. Louis Art Museum. Jones was a good friend of Thomas Hart Benton. An excellent example of JonesÕ early work. 3000-5000
491. Jacob Richard (American, b.1883), ÒRocks and FlowersÓ, c.1920; oil/canvas, 25Ó x 30Ó, signed, hand-carved frame. Chicago/California painter. He was a member of the Chicago Society of Artists, All-Illinois Society of Fine Artists, and the Chicago Painters and Sculptors. He exhibited at the Art Institute of Chicago and taught at the PeopleÕs University. 900-1200
492. John Richardson (American, 20th century), ÒSkatersÓ, c.1940; gouache/board, 17.5Ó x 24Ó, signed. This is most likely by John Frederick Richardson, a W.P.A. painter from Nashville, TN. He was born in 1906, and exhibited throughout the 1930s-40s, at the Southern States Art League. He taught at the Watkins Institute in Nashville, and his work is in the collection of the Pennsylvania Academy of Fine Art. 500-700
493. Francis F. Brown (American, b.1891), ÒThe CreekÓ, c.1925; oil/canvas, 12Ó x 16Ó, signed, original frame. Indiana landscape painter. BrownÕs palette was unusual, probably influenced by the Fauvists. He studied with J. Otis Adams and William Forsyth. He exhibited at the Hoosier Salon, John Herron, and the Richmond Art Association. This is a fine early example of his work. 500-700
494. Barbizon School (French, 19th century), ÒRiver Landscape with FiguresÓ, c.1870; oil/canvas, 10Ó x 20Ó, indistinctly signed. Finely painted in the school of Daubigny. 700-900
495. John Califano (Italian/American, b.1864), ÒMountain LandscapeÓ, c.1900; oil/board, 12Ó x 9Ó, signed. Well known for his mountain landscapes, sometimes including figures and livestock. He painted in Italy, Chicago, and the American West. 500-700
496. William Henry Howe (American, 1846-1929), ÒWoodland PathÓ, c.1900; oil/board, 12Ó x 18Ó, signed, original ornate frame. Howe studied in Europe. He was a member of the National Academy and exhibited throughout the 1890s-1920s, at the Paris Salon, New Orleans Expo, Paris Expo, and the Columbian Expo, Chicago. 800-1200
497. Lillyan Estelle Jacobs (American, b.1915), ÒPortrait of a Black WomanÓ, c.1934; oil/board, 24Ó x 18Ó, signed and dated, 1934. Des Moines, Iowa regionalist painter. She exhibited at the Iowa Artist Salon (1932-39) and the WorldÕs Fair New York (1939); and her work is in the collections of Iowa State College and the Hotel Franklin, Des Moines. She was a W.P.A. artist, and specialized in figurative works. 800-1200
498. Lillyan Estelle Jacobs (American, b.1915), ÒTaking a BreakÓ, c.1935; oil/board, 24Ó x 18Ó, signed and dated, 7/27/35. Des Moines, Iowa regionalist painter. She exhibited at the Iowa Artist Salon (1932-39) and the WorldÕs Fair New York (1939); and her work is in the collections of Iowa State College and the Hotel Franklin, Des Moines. She was a W.P.A. artist, and specialized in figurative works. 1500-2000
499. Joseph Adamek (American, early 20th century), ÒEarly Autumn LandscapeÓ, c.1910; oil/board, 34Ó x 26Ó, signed, Arts & Crafts style frame. Adamek painted in Missouri, in the orchard country north of St. Louis, near Louisiana, MO. He worked during the 1910s-20s, and also executed several murals of this subject. 700-900
500. Anthony Toney (American, b.1913), ÒRiverside DriveÓ, c.1947; oil/canvas, 28Ó x 36Ó, signed and dated, New York label verso. NYC modernist, muralist. Toney exhibited at the Art Institute of Chicago, Museum of Modern Art, and the ACA Gallery (NYC), form the 1930s-70s. 600-800
501. Moritz Melzer (German, b.1877), lot of four German expressionist lithos, all unsigned, but identified in pencil on the verso; probably from a portfolio or book, unframed. The work pictured is titled, ÒSpreebrucke, BerlinÓ, c.1918, 9Ó x 11Ó. 200-300
502. Gerhard Marcks (German, b.1889), ÒWorking the FieldsÓ, c.1923; woodcut, 9Ó x 13Ó, unsigned. Marcks was a master teacher at the German Bauhaus. This print was given to student Anni Wildberg Gowa. A letter from Gowa accompanies the lot. 400-600
503. Joe Jones (American, 1909-1963), ÒLandscape with ShedÓ, c.1930; oil/canvas laid down on board, 8Ó x 10Ó, signed and dated, from a relative of the artist. Jones was self-taught as a painter. He was an important W.P.A. artist, and exhibited from the late 1920s-50s. His early works reveal a cubist influence, which he handled very successfully, before turning to a more regionalist style. He exhibited extensively throughout the 1920s-50s, and his work is in numerous museum collections. 1000-2000
504. Edgar Yaeger (American, 1904-1997), ÒNude with Blue BackgroundÓ, c.1947; oil/canvas, 22Ó x 20Ó, signed and dated, from the estate of the artist. Important Detroit modernist painter. Yaeger worked in Paris with Lhote, Gromaire, and O. Friesz. He exhibited at the Detroit Institute of Art, Art Institute of Chicago, Museum of Modern Art, and the Pennsylvania Academy of Fine Art (1930s-40s). His style was much more closely associated with the European modernists than painters in the U.S. He specialized in figurative works and still lifes. 2000-3000
505. Shiko Munakata (Japanese, 1903-1975), ÒGautama and BodhisattvasÓ, c.1958; woodcut on kozo paper, signed and dated, Ò1958.8.15Ó, in pencil in lower margin, red seal chop, printed by the artist at The Print Club of Cleveland, Ohio, publication No. 38, 1960; sight size 11 1/8Ó x 14 3/8Ó, hinged, not laid down. Highly important Japanese modern printmaker. 3000-4000
506. Myron Kozman (American, b.1916), ÒStudy for Abstraction #104Ó, c.1940; watercolor/paper, 10Ó x 12Ó, signed and dated. Kozman was one of the first five graduates of the Institute of Design. He later went on to teach there for 12 years. He worked closely with Moholy-Nagy, and was a W.P.A. artist. His works are in the collections of the Library of Congress, Art Institute of Chicago, and the Bloch Gallery (Northwestern University). 600-800
507. Giuseppe Capogrossi (Italian, 1900-1972), ÒArrangementÓ, c.1950; inkbrush drawing/bristolboard, 9Ó x 13Ó, double-sided, signed twice and dated, 1950, verso, nicely framed. Highly important Italian non-objective painter. Capogrossi worked in Paris from 1927-32, and then moved to Rome to form the ÒGruppo RomanoÓ, and later, the ÒOrigineÓ group, with which he was associated until 1951. He exhibited throughout Europe, and in New York. In the Dictionary of Abstract Painting, CapogrossiÕs work is described as, Ò...endless variation on a single theme, a kind of claw or trident on which he effects the most extraordinary transformations.Ó Related literature: Capogrossi, Cavalino, Venice (1954). 2000-3000
508. Alexander Corazzo (French/American, 1908-1971), ÒDynamic FormsÓ, c.1935; watercolor/paper, 9Ó x 12Ó, pencil study for this work as well as figurative study on verso, from the estate of the artist. Important non-objective painter. Corazzo worked at the New Bauhaus, Chicago, and was a member of the American Abstract Artists (NYC) and the Abstraction-Creation group (Europe). He exhibited throughout the 1930s-40s. An exciting colorful image, and an excellent example of CorazzoÕs work on paper. 1000-1500
509. Alexander Corazzo (French/American, 1908-1971), Ò#6Ó, c.1933-34; oil/canvas, 26Ó x 32Ó, signed, dated, and titled on verso, from the estate of the artist. Important non-objective painter, and member of the New Bauhaus. He studied in France at La Martiniere, Lyon (1920-24), and the Conservatoire Nationale de Musique de Lyon (1918-24). He was a member of two important non-objective art groups: American Abstract Artists (NYC) and the Abstraction-Creation group (Europe). He exhibited throughout the 1930s-40s at the Art Institute of Chicago, Carnegie Institute, Detroit Institute of Art, Santa Barbara Museum of Art, San Francisco Museum of Art, and the Stendahl Art Galleries (Los Angeles). Major oils by this artist rarely come up for sale at auction. 4000-6000
510. Myron Kozman (American, b.1916), ÒAbstraction 101Ó, c.1939; oil/canvas, 30Ó x 36Ó, signed. Kozman was an important figure in the early years of the Institute of Design in Chicago. He was a good friend of Moholy-Nagy, and was one of the first five graduates of the Institute of Design. He later taught there. W.P.A. artist. His work is in the collections of the Art Institute of Chicago, Library of Congress, and the Bloch Gallery (Northwestern University). An important early non-objective work by a New Bauhaus artist, which explicitly reflects the close relationship to Moholy-Nagy. 4000-6000
511. Clifford Dean Eitel (American, b.1909), ÒHungry Dog Chasing BoneÓ, c.1940; lumiprint, 10.25Ó x 13.5Ó, signed and titled. Eitel was an important modern photographer, closely associated with the New Bauhaus. 700-900
512. Hubert Leckie (American, 20th century ), ÒFilm ReelÓ, c.1950; photogram, vintage gelatin silver print, 12Ó x 8Ó, unsigned, from the estate of the artist. Leckie taught at the Institute of Design in the late 1930s and early 1940s. 300-500
513. Lois Field (American, b.1923), ÒOne, Two, Three (Photogram)Ó, c.1949; vintage gelatin silver print mounted on board, 10Ó x 8Ó, signed on verso, from the estate of the artist. Photographs by Field were exhibited in ÒWhen Harry met Aaron: Chicago Photography 1946-1971Ó, at the Museum of Contemporary Photography, Chicago, 1996. 300-500
514. Myron Kozman (American, b.1916), ÒPhotogramÓ, c.1938; vintage gelatin silver print, brown-toned, 5Ó x 8Ó, signed and dated verso. Kozman was one of the first five graduates of the Institute of Design, and then went on to teach there for 12 years. This photogram was created during KozmanÕs first year at the New Bauhaus. Early abstract photograms from the New Bauhaus years of 1937-38 are very rare. Kozman worked closely with Gyorgy Kepes, Moholy-Nagy, Nathan Lerner, and H. Holmes-Smith. 600-800
515. Myron Kozman (American, b.1916), ÒPhotogramÓ, c.1938; vintage gelatin silver print, brown-toned, 5Ó x 8Ó, signed and dated verso. A very rare, early photogram form the first years of the New Bauhaus. 600-800
516. Myron Kozman (American, b.1916), ÒPhotogramÓ, c.1938; vintage gelatin silver print, brown-toned, 5Ó x 8Ó, signed and dated verso. A very rare, early photogram from the first years of the New Bauhaus. 600-800
517. Lois Field (American, b.1923), ÒUntitled (Photogram)Ó, c.1948; vintage gelatin silver print mounted on board, 8Ó x 5Ó, signed on verso, from the estate of the artist. Photographs by Field were exhibited in ÒWhen Harry met Aaron: Chicago Photography 1946-1971Ó at the Museum of Contemporary Photography, Chicago, 1996. 300-500
518. Albert Urban (German/American, 1909-1959), ÒPrayerÓ, c.1945; color serigraph, 16.75Ó x 11.75Ó, signed, and dated, unframed, estate stamp on verso. Urban was born in Germany and studied with Willi Baumeister and Max Beckmann. His work was 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 and the Guggenheim Museum. 300-500
519. Lois Field (American, b.1923), ÒUntitled (Photogram)Ó, c.1949; vintage gelatin silver print mounted on board, 5Ó x 4Ó, signed on verso, from the estate of the artist. Photographs by Field were exhibited in ÒWhen Harry met Aaron: Chicago Photography 1946-1971Ó, at the Museum of Contemporary Photography, Chicago, 1996. 300-500
520. Bernard Siegel (American, b.1916), ÒSolargram #2Ó, c.1948; vintage gelatin silver print mounted on board, 9.5Ó x 7.5Ó, signed in pencil on verso, from the estate of the artist. Siegel was best known for his series of ÒsolargramsÓ, and a similar one was exhibited at the Milwaukee Art Institute in 1950. 500-700
521. Roy Lichtenstein (American, 1923-1997), Ò..as I opened fire!Ó, c.1964; lot of three color posters (triptych), prints made from acrylic paintings, each 24Ó x 19.5Ó. Decorative images that exemplify LichtensteinÕs popular comic book style. (unframed). 400-600
522. William S. Schwartz (American, 1896-1977), ÒLithograph #12Ó (female nude); c.1928; lithograph, 16Ó x 10.25Ó, signed and dated, from the estate of the artist. Important Chicago modern painter and printmaker. Schwartz studied at the Art Institute of Chicago, and also exhibited there from the 1920s-40s. He specialized in figurative works and was a W.P.A. artist. 300-500
523. Oscar Bluemner (American, 1867-1938), ÒView at New Providence, New JerseyÓ, c.1915; green crayon drawing, 4.5Ó x 5.75Ó, unsigned, dated, ÒMay 10, 1915. There are extensive color notes and sketches on back. Provenance: the artist to his son, Robert Bluemner, New Hampshire, until 1968, to private collection, until 1997. Highly important modernist. The strength of the artistÕs imagery and line are revealed in this small drawing. 400-600
524. Joseph Pennell (American, 1860-1926), ÒLibertyÓ, c.1913; lithographic poster, 40Ó x 28Ó, published by Heywood, Strasser, and Voigt Litho Co. NY IMP, framed. WWI propaganda poster. Pennell was a New York City artist. He was well known for his prints and illustrations. 500-700
525. Bernard Siegel (American, b.1916), ÒColor SolargramÓ, c.1950; vintage gelatin silver print, 9.5Ó x 7.5Ó, signed in pencil on verso, from the estate of the artist. A strikingly unusual variation of SiegelÕs solargram series. 500-700
526. Buel Whitehead (American, 20th century), ÒWoods FireÓ, c.1940; color lithograph, 9Ó x 7.5Ó, signed and titled in pencil. Whitehead was a southern painter and printmaker. He worked in a regionalist style and exhibited i the 1930s-40s. 300-500
527. Alexander Corazzo (French/American, 1908-1971), ÒAbstract CompositionÓ, c.1935; watercolor/paper, 9Ó x 11Ó, elaborate color study on verso, from the estate of the artist. Important non-objective painter. Corazzo worked at the New Bauhaus, Chicago, and was a member of the American Abstract Artists and the Abstraction-Creation group in Europe. He exhibited throughout the 1930s-40s. A powerful image and an excellent example of CorazzoÕs works on paper. 1000-1500
528. Wilma Jean Van Voorhis (American, 20th century), ÒFirst TimeÓ, c.1961; lot of three vintage gelatin silver prints, ( all about the same size, all abstract compositions), 9.5Ó x 12.5Ó, pencil signed and titled on mount. Van Voorhis worked in Richmond, Indiana as a photographer and painter during the 1950s and early 1960s. She exhibited at numerous photography shows in that region. She became severely depressed and committed suicide by jumping off the bridge over the Whitewater River. 300-500
529. Robert J. Wolff (American, 1905-1977), ÒUntitledÓ, c.1941; casein/paper, 29Ó x 20Ó, signed and dated. Wolf 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 Soloman Guggenheim Museum. 1000-1500
530. Robert Bruce Tague (American, 1912-1984), ÒChairÓ, c.1938; pencil drawing design of a modern chair, 10.5 Ò x 20Ó, signed and dated. Important modern designer, closely associated with the New Bauhaus in Chicago. 500-700
531. Daniel Massen (American/Swedish, 1896-1979), Ò52-W-5Ó, c.1945; gouache/board, 30Ó x 22Ó, artistÕs exhibition label verso with title, name, and address. This piece was originally under glass, which was painted by the artist. Important teacher and artist of the Institute of Design in Chicago. He exhibited at the Art Institute of Chicago and the Phillips Academy, Maryland. His work was highly influenced by the paintings of Charles Biederman. Massen made paintings and three dimensional constructions. A very powerful non-objective image. 800-1200
532. Robert Bruce Tague (American, 1912-1984), ÒChairÓ, c.1938; pencil drawing design of modern chair, 9.5Ó x 19.5Ó, signed and dated. Important modern designer, closely associated with the New Bauhaus in Chicago. 500-700
533. Mel Ramos (American, b.1935), ÒRhinocerosÓ, c.1970; color screenprint, 19Ó x 29Ó, signed, dated and numbered in pencil, 7/30, 1970, label on verso. 300-500
534. Philippe Halsman (American, 1906-1979), ÒAndy WarholÓ, c.1967; vintage color photograph, taken in 1967, printed in 1989, 15Ó x 12Ó, signed on verso by Yvonne Halsman, and numbered, 51/100. Important modern photographer. He was best known for his portraits of famous people, such as Einstein, Dali, Marilyn Monroe, and Warhol. He exhibited at the Museum of Modern Art, Metropolitan Museum, and the International Center for Photography (NYC). 500-700
535. Mel Ramos (American, b.1935), ÒLlamaÓ, c.1970; color screenprint, 29Ó x 19Ó, signed in pencil, dated, numbered, 3/30, label on verso from Van Straaten Gallery, Chicago. Well known for his exotic images of nudes. 400-600
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