20th Century Auction May 17, 1998 Text Version of Catalog
Treadway Gallery, Inc.
818 NORTH BOULEVARD OAK PARK, ILLINOIS
Over 1000 Lots
Arts & Crafts/Art Nouveau ... Italian Glass ... Art Deco
1950s/Modern ... American and European Paintings . . . Costume & Bakelite Jewelry
A PRESENTATION BY TREADWAY GALLERY, INC. OF CINCINNATI, OHIO
IN ASSOCIATION WITH THE JOHN TOOMEY GALLERY OF OAK PARK, ILLINOIS
Sale Items - Text Version
1950s/Modern/Art Deco/Italian Glass Sale Items
Session III
No's 441 - 586
441. Fred Green Carpenter (American, 1882-1965), ÒNudeÓ, c.1925;
pastel/paper, 24Ó x 18Ó, signed, well framed under glass, provenance. Carpenter
was a close friend and student of Richard Miller at the St. Louis School of Fine Art.
He followed Miller to Paris in 1910 to continue his studies, and when he returned to St.
Louis in 1911, he became a teacher at the St. Louis School of Fine Art, and maintained
that position for 50 years. Related literature: Art Across America: Two Centuries of
Regional Painting, William Gerdts. 2500-3000
442. Joseph Tomanek, attribution, (American, b.1889), ÒIdyllic NudeÓ, c.1920;
oil/board, 14Ó x 10Ó, unsigned. Chicago area figure painter, well known for his
nudes. Tomanek studied at the Art Institute of Chicago and exhibited in the Chicago
area (1910s-40s). 500-700
443. W.C. Emerson (American, early 20th century), ÒAutumn LandscapeÓ,
c.1920; oil/board, 12Ó x 12Ó, signed. Chicago area painter known for his
atmospheric landscapes. 400-600
444. George Thompson Pritchard (American, 1878-1962), ÒMoonlight on the
LakeÓ, c.1920; oil/canvas, 21Ó x 25Ó, signed. Pritchard worked in California and in
the East. He specialized in highly impressionistic landscapes and harbor scenes. His
palette could sometimes be bright, but his tone was often muted. A very fine painting
by this artist. 800-1200
445. H.J. Allbritton (American, 20th century), ÒTexas Landscape with Blooming
CactusÓ, c.1932; oil/board, 20Ó x 16Ó, signed and dated. Allbritton worked in
southern Texas. His palette and subject matter are remarkably similar to fellow Texas
painter, Dawson-Watson, of whom he was most likely a student. 1250-1750
446. Gustave Baumann (American, 1881-1971), ÒCordova PlazaÓ, c.1920;
colored woodblock print, 8Ó x 8Ó, signed and titled. Baumann was a master
printmaker, well known for his images of the Southwest and Brown County, IN.
1500-2000
447. H.J. Allbritton (American, 20th century), ÒCorpus ChristiÓ, c.1932; oil/board,
20Ó x 16Ó, signed. Allbritton worked in southern Texas. Painted in a tonalist style
with a pink and blue palette. 1000-1500
448. A.H. Vickers (British, 19th century), ÒNear EdmontonÓ, c.1868; oil/canvas
laid down, 18Ó x 14Ó, signed, titled, and indistinctly dated, fine carved ornate frame.
Well known genre painter. Vickers specialized in scenes of this area and was sensitive
to fine detail in the figures and their activity. 2000-3000
449. A.H. Vickers (British, 19th century), ÒHyde Lane, EdmontonÓ, c.1870;
oil/canvas laid down, 18Ó x 14Ó, signed and titled, fine carved ornate frame.
2000-3000
450. George Schultz (American, b.1869), ÒCoastal SceneÓ, c.1910; oil/canvas,
22Ó x 32Ó, signed. Chicago area painter. He specialized in landscapes and coastal
scenes. He exhibited at the Art Institute of Chicago, Cliff Dwellers, and the Chicago
Gallery Association. 1000-1500
451. Harvey Ellis (American, 1852-1904), ÒMiddle Eastern SceneÓ, c.1880;
oil/canvas, 12Ó x 15Ó, signed, imperfections. Rochester, NY painter, architect, and
furniture designer. He exhibited at the National Academy. He gained recognition at the
turn of the century, when he designed exclusive furniture for Gustav Stickley.
2500-3500
452. Paul Ritter (German/American, 19th-20th century), ÒUpstate New York
LandscapeÓ, c.1880; oil/canvas, signed, massive ornate frame. Trained as a painter in
Germany, Ritter moved to New York and painted the Hudson River Valley.
2000-3000
453. Granville Perkins (American, 1830-1895), ÒCuban LandscapeÓ, c.1860;
oil/canvas, 18Ó x 24Ó, signed. New York City painter. Perkins exhibited at the
National Academy of Design (1862-89) and the Pennsylvania Academy of Fine Art
(1856). He spent some time in Cuba, and illustrated LeslieÕs, Beyond the
Mississippi. 2000-3000
454. Charles Edward Halberg (American, b.1855), ÒSunset on the LakeÓ, c.1910;
oil/canvas laid down, 14Ó x 18Ó, signed, wide Whistler-style frame. Chicago area
painter. Swedish born. Halberg exhibited at the Art Institute of Chicago,
Swedish-American Artist Society, and the Chicago Society of Artists. 400-600
455. Henry Pember Smith (American, 1854-1907), ÒNew England LandscapeÓ,
c.1880; oil/canvas, 14Ó x 20Ó, signed. Smith established a studio in New York City in
1877, and regularly exhibited at the National Academy of Design. He was a landscape
painter, and his work, which is somewhat ÒtighterÓ than the Impressionists, reveals a
sensitivity to light quality. 2000-3000
456. Claude Lorraine Ferneley (British, 1822-1891), ÒMelton Slow..ing?Ó, c.1850;
oil/canvas, 24Ó x 30Ó, signed and dated, excellent period ornate frame. Well known
for his pictures of horses, dogs, still lifes, and hunting scenes. Very high quality work
with incredible detail. 5000-7000
457. Georges Michel, attribution, (French, 1763-1843), ÒShipping SceneÓ, c.1800;
oil/canvas, 40Ó x 49Ó, unsigned, fine 19th century frame. Very well known marine
artist. Painted in a dramatic style, but very detailed. An important example by this
artist. 10,000-15,000
458. Harry Williams (British, active 1854-1877), ÒLugger Coming InÓ, c.1870;
oil/canvas, 12Ó x 10Ó, signed, ornate frame. 1500-2000
459. Joseph Pogl (European, 20th century), ÒElaborate InteriorÓ, c.1920;
oil/board, 26Ó x 39Ó, signed and dated. 800-1200
460. Harry Williams (British, active 1854-1877), ÒA Breezy Day off DoverÓ,
c.1870; oil/canvas, 12Ó x 10Ó, signed, ornate frame. 1500-2000
461. English School , ÒPortrait of a ManÓ, c.16th century; oil/canvas, 26Ó x 20Ó,
unsigned, 19th century frame. Elizabethan style portrait. Very high quality.
1500-2000
462. Thomas Collins (British, 19th-20th century), ÒThe Bite of the BerryÓ, c.1890;
oil/canvas, 7Ó x 10Ó, signed, fine original frame. Typically painted in a small format,
and known for his animal subject matter. The bird in the painting has eaten a wild berry
that temporarily paralyzes it; when its effects wear off, the bird will fly away unharmed.
1000-2000
463. Frederic Francois DÕAndrian, attribution (Swiss, 1802-1876), ÒEuropean
Villa with FiguresÓ, c.1837; oil/canvas, 22Ó x 18Ó, unsigned, original frame,
supposedly exhibited at the Paris Salon, 1837. 1500-2000
464. Edmund Loyal Field (American, 1856-1914), ÒFarm SceneÓ, c.1880;
oil/canvas, 20Ó x 30Ó, signed, a colorful and detailed landscape, excellent original
ornate frame. New York painter, born in Illinois. Studied Academie Julian, known for
his landscapes and rural scenes. 2000-3000
465. Porfirio Salinas (American, b.1910), ÒTexas LandscapeÓ, c.1940; oil/canvas,
28Ó x 38Ó, signed, original frame. This important Texas painter specialized in scenes
of the rugged landscape and sunny villages. He was raised in San Antonio, and
traveled with Robert Wood and Jose Arpa when he was young. President Johnson
gave the President of Mexico a Salinas painting as a gift. An excellent early work by
this artist. 7000-9000
466. William F. Matthews (American, b.1878), ÒThe DayÕs CatchÓ, c.1920;
oil/board, 9Ó x 12Ó, signed. St. Louis painter. Matthews also worked in New York
and Gloucester. He specialized in colorful landscapes and harbor scenes. 500-700
467. Glen Bastien (American, 20th century), ÒMountain LandscapeÓ, c.1940;
oil/canvas, 36Ó x 28Ó, signed. 800-1200
468. Leon Lundmark (American, b.1875), ÒCoastal Scene at SunsetÓ, c.1925;
oil/canvas, 28Ó x 34Ó, signed. Lundmark was born in Sweden and moved to
Chicago. He exhibited throughout the 1920s. He also worked in California.
1500-2000
469. Regina Gates (American, 20th century), ÒGloucester HarborÓ, c.1950;
oil/canvas, 25Ó x 30Ó, signed. Student of Emile Gruppe. Gates painted landscapes
and harbor scenes in the colorful broad style of her teacher. 1000-1500
470. Henry Ward Ranger (American 1858-1916), ÒWalking down a Country
PathÓ, c.1889; watercolor/paper, signed, dated, and dedicated. Ranger painted
Barbizon style landscapes and actually founded the American Barbizon School, in Old
Lyme, CT. He also worked in NYC, and exhibited at the National Academy of
Design. 1500-2000
471. Carl Krafft (American, 1884-1938), ÒWinter LandscapeÓ, c.1920; oil/canvas,
24Ó x 30Ó, signed. Important Chicago landscape painter. Krafft co-founded the
Ozark Society of Painters and also worked in Brown County, Indiana. 1000-2000
472. Emil Carlsen (Danish/American, 1853-1932), ÒStill Life with FowlÓ, c.1900;
oil/canvas, 22Ó x 20Ó, signed, original Whistler-style frame. Important American still
life painter. Carlsen moved from Denmark to the U.S. in 1872. He exhibited
extensively from the 1890s-1930s, at the Pennsylvania Academy of Fine Art, Art
Institute of Chicago, and the National Academy of Design. 6000-8000
473. Henry Ossawa Tanner (American, 1859-1937), ÒStill Life with Apples and a
BottleÓ, c.1890; oil/canvas, 19Ó x 24Ó, signed. Highly important African-American
painter. Tanner was born in Pittsburgh, although raised in Philadelphia. He was
accepted into the Pennsylvania Academy of Fine Art in 1880, and studied there under
Thomas Eakins. He eventually went to Paris to study with Constant and Laurens at the
Academie Julian. He painted both American and European subject matter while in
Paris. He became more involved with religious subjects by the early 1890s. It was this
subject that captivated most of his artistic endeavors until his death in 1937. He
returned only once to the U.S. briefly in the early 1900s. Tanner like many American
born painters, favored the artistic freedom and the active patronage that Paris offered,
and he also enjoyed a greater degree of racial equality.
Provenance: Tanner gave this painting as a gift to possibly his most important
student, as well as dear friend, William Eduoard Scott. The painting descended through
ScottÕs family. 50,000-70,000
474. George Raab (American, 1866-1943), ÒFarm at TwilightÓ, c.1920;
oil/canvas, 14Ó x 17Ó, signed. Milwaukee artist. He was the founder of the
Milwaukee Art Institute, known for impressionist landscapes and city scenes.
600-800
475. Francesco Spicuzza (American, 1883-1962), ÒLiliesÓ, c.1930; oil/canvas,
30Ó x 25Ó, signed. Milwaukee painter, known for his landscapes and still lifes. He
taught at the Milwaukee Art Institute and exhibited from the 1910s-40s. 400-600
476. Robert Lie (American, early 20th century), ÒSailing the High SeasÓ, c.1930;
oil/board, 24Ó x 36Ó, signed, original ornate frame. He was known for his marine
paintings, emphasizing detail in his depiction of the vessels. 800-1200
477. Frank Myslive (American, b.1908), ÒPioneers of the Indiana DunesÓ, c.1940;
oil/canvas, 27Ó x 30Ó, signed on exhibition label verso from the Hoosier Salon. This
artist worked in Hammond, IN. 500-700
478. David Anthony Tauszky (American, 1878-1972), ÒPortrait of a BoyÓ,
c.1925; oil/canvas, 24Ó x 20Ó, signed, exceptional carved frame. Tauszky, a figure
painter, was well known in the East before moving to Los Angeles in 1922. He was a
member of the Pasadena Society of Artists, Laguna Beach Art Association, and the
Painters and Sculptors of Los Angeles. 1000-2000
479. Oldrich O. Farsky (American, early 20th century), ÒCalifornia LandscapeÓ,
c.1928; oil/canvas, 24Ó x 36Ó, signed. Farsky was a resident of Los Angeles in the
mid to late 1920s. His specialty was scenes of the Antelope Valley, near Palmdale,
CA. 2000-3000
480. Maria Liszt (American, 20th century), ÒGloucester HarborÓ, c.1950;
oil/canvas, 24Ó x 30Ó, signed, wide gold frame. Liszt was a favorite student of
Impressionists, Emile Gruppe, Aldro Hibbard, and W.L. Stevens. She worked
primarily in the Boston area and was a member of the North Shore Art Association and
the National Association of Women Artists. Very high quality work from this second
generation Gloucester colony painter. 2000-3000
481. Emile Gruppe (American, b.1896), ÒMorning Light, GloucesterÓ, c.1930;
oil/canvas, 20Ó x 24Ó, signed, nicely framed. Highly important Rockport area
painter. A superior example of GruppeÕs classic subject matter.
482. T.V. Field (American, 20th century), ÒDes Plaines River, AutumnÓ, c.1930;
oil/board, 24Ó x 30Ó, signed. Chicago area painter. Colorful, thickly painted
impressionist work. 1000-1500
483. Henry H. LaThangue, attribution, (British, 1859-1929), "Spring Blossoms",
c.1890; oil/canvas, 13.5Ó x 9.5Ó, signed with initials, l.r., and bears dedication, ÒMy
Dear Norton, H. La...Ó, l.l., original frame. Colorful, impressionistic work.
2000-4000
484. Richard Chase (American, 1892-1985), ÒFlower Still LifeÓ, c.1930;
watercolor/paper, 14Ó x 20Ó, signed. Chicago painter. Studied at the Art Institute of
Chicago, and painted a series of Chicago street scenes in the 1920s that were
illustrated in color in the Chicago Tribune. 400-600
485. E. Szentes (American, 20th century), ÒOn the BeachÓ, c.1930; oil/canvas,
23Ó x 19.5Ó, signed. Very high quality illustrative work. 1000-1500
486. Joseph Henry Hatfield (American, 1863-1928), ÒBlue Hill from WeatherbeeÓ,
c.1900; oil/board, 12Ó x 15Ó, signed, excellent original Whistler- style frame. Boston
area painter. He studied in Paris, and exhibited at the National Academy of Design and
the Boston Art Club. 1250-1750
487. Arthur Clifton Goodwin (American, 1864-1929), ÒHarbor SceneÓ, c.1915;
oil/canvas, 20Ó x 26Ó, signed, well framed. Very well known Boston painter. He
painted city scenes and marines in a pastel palette. He exhibited at the Boston Society
of Watercolor Painters and the Boston Art Club. 4000-6000
488. Delphin Enjolras (French, b.1865), ÒReclining NudeÓ, c.1900; oil/canvas,
24Ó x 19Ó, signed. Well known French romantic painter. Enjolras specialized in
works concerned with light quality and the female figure. 8,000-12,000
489. Delphin Enjolras (French, b.1865), ÒLighting Japanese LanternsÓ, c.1900;
oil/canvas, 15Ó x 18Ó, signed, ornate frame. This exceptional work reveals EnjolrasÕ
sensitivity to light quality and his mastery of the figure.
490. Johan Jacobsen (Danish, 20th century), ÒDucks Taking FlightÓ, c.1930;
oil/canvas, 19Ó x 26Ó, signed. 400-600
491. Louis Mayer (American, b.1869), ÒRiver Scene, MilwaukeeÓ, c.1910;
oil/canvas, 19Ó x 15Ó, signed, well framed. Milwaukee impressionist painter. He
exhibited at the Art Institute of Chicago and the Milwaukee Art Institute. 600-800
492. Joseph Adamek (American, early 20th century), ÒLandscape with CattleÓ,
c.1930; oil/board, 39.5Ó x 65Ó, unframed. Landscape painter from the St. Louis
area. This painting was executed along the Mississippi River, north of St. Louis, near
Louisiana, MO. 900-1200
493. John Colfer (American, early 20th century), ÒCalifornia LandscapeÓ, c.1925;
oil/ board, 16Ó x 20Ó, signed. Los Angeles painter, member of the Painters and
Sculptors of Los Angeles. 1000-1500
494. Charles Damrow (Native American, b.1916), ÒLone RiderÓ, c.1950;
oil/canvas, 40Ó x 30Ó, signed. Well known western painter. 1500-2500
495. Edward Borein (American, 1873-1945), ÒSix RidersÓ, c.1920; etching,
4.75Ó x 9Ó, pencil signed, some foxing. Highly important western painter and etcher.
A true cowboy artist, Borein worked on ranches in Santa Barbara and Mexico.
He was a member of the Society of American etchers. He was a friend of Will Rogers,
Maynard Dixon and Charles Russell. A fine example of his printmaking. 800-1200
496. Charles M. Russell (American, 1864-1926), ÒMarcrum Christmas EnvelopeÓ,
c.1904; watercolor and mixed media/ paper, 11Ó x 14Ó, signed, provenance. This
important sketch was done as a collaboration by several artists: Percy Gray, Albert
Levering, Walter Bobbett, L.M. Glackens, Will Crawford, Nancy Russell, and Frank
Arthur Mankel. RussellÕs contribution is most prominent and dates from an important
period of his work, 1904. Russell was constantly sketching and giving his work to
friends and admirers. The sketch by Nancy, RussellÕs wife, of Charles, is the only
such image known. A rare and interesting piece by one of AmericaÕs most important
western painters. 35,000-45,000
497. Fred Grayson Sayre (American, 1819-1939), ÒHeading for Needles", c.1922;
gouche/board, 11Ó x 14Ó, signed, well framed. Important California painter;
specialized in landscapes and Indian life. He frequently worked in watercolor,
exhibiting 64 works on paper at a show in San Francisco in 1922. He also exhibited at
the Painters and Sculptors of L.A., Bohemian Club, and the Pallet and Chisel Club of
Chicago. 2000-3000
498. M.G. Burnside (American, 20th century), ÒWatering HoleÓ, c.1940; oil/board,
24Ó x 30Ó, signed. 600-800
499. Franz Biberstein, attribution, (American, 1850-1930), ÒCanyon SceneÓ,
c.1900; oil/board, 10Ó x 8Ó, unsigned, labels verso. 300-500
500. Birger Sandzen (American, 1871-1954), ÒSunshine CreekÓ, c.1930;
woodblock, 12Ó x 18Ó, signed. Kansas painter and printmaker. 300-500
500A. Birger Sandzen (American, 1871-1954), ÓThe Hillside FarmÓ, c.1930;
lithograph, 10Ó x 14Ó, signed. Kansas painter and printmaker. 300-500
501. Charles Damrow (Native American, b.1916), ÒHorse RoundupÓ, c.1950;
oil/canvas, 24.5Ó x 29.5Ó, signed, unique frame. 1500-2500
502. Charles Partridge Adams (American, 1858-1942), ÒColorado LandscapeÓ,
c.1910; gouache/paper, 10Ó x 14Ó, signed. Important Colorado painter. He also
worked in California, and was a member of the Laguna Beach Art Association and the
Denver Art Club. 1250-1750
503. Joseph Frey (American, 1892-1977), ÒCalifornia LandscapeÓ, c.1925;
oil/canvas, 20Ó x 24Ó, signed, fine carved frame. Frey studied at the Art Institute of
Chicago before leaving for San Francisco in 1915. He moved to southern California in
the 1920s, and worked in Los Angeles, Palm Springs, and Santa Barbara.
1000-1500
504. Joe Waano-Gano (Native American, b.1906), ÒHollywood HillsÓ, c.1940;
oil/canvas, 16Ó x 26Ó, signed, exhibition label verso. Los Angeles painter. Cherokee
Indian. Waano-Gano was primarily a landscape painter, and exhibited at the California
Art Club, San Fernando Valley Art Club, and Los Angeles City Hall. He also lectured
on Indian life and designed Indian motifs for textiles. A superior example of
Waano-GanoÕs California scenes.
505. Robert Wood (American, 1889-1979), ÒGlacier National ParkÓ, c.1940;
oil/canvas, 25Ó x 30Ó, signed, titled, fine original frame. Very well known painter.
Originally from England, Wood arrived in the U.S. in 1911, and soon moved to
California, where he became the leading figure in the artistÕs colony at Laguna Beach.
His California mountain scenes and Texas Bluebonnet paintings are most desirable.
4000-6000
506. Nicholas Richard Brewer (American, 1857-1949), ÒLake SceneÓ, c.1900;
oil, 8.5Ó x 11Ó, signed. Minneapolis painter. Brewer worked with Homer Martin and
Dwight Tryon, and painted landscapes in the Barbizon manner. 600-800
507. American School, 19th century, ÒHanging the Christmas WreathÓ, c.1870;
oil/canvas, 24Ó x 20Ó, unsigned. Very high quality work. 1000-1500
508. Carl W. Peters (American, b.1897), ÒRocks and SeaÓ, c.1930; oil/canvas,
20Ó x 24Ó, signed. Upstate New York painter, known for his impressionist
landscapes and coastal scenes. He exhibited at the Rochester Art Club, National
Academy, and the Buffalo Society of Artists. 4000-6000
509. John Wesley Hardrick (American, 1891-1968), ÒFigures Walking down a
PathÓ, c.1930; oil/board, 16Ó x 20Ó, signed. Highly important African-American
painter from Indianapolis. Hardrick studied at the John Herron School of Art in
Indianapolis. He exhibited at the Art Institute of Chicago (1927); Second Annual
Exhibition of Contemporary Negro Art in San Diego (1929); and the American Negro
Exposition: Celebrating 75 Years of Negro Achievement, Chicago (1940). An
excellent example of HardrickÕs work. 3000-5000
510. William Eduoard Scott (American, b.1884), ÒLandscape with a FenceÓ,
c.1906; oil/board, 8Ó x 12Ó, signed. Highly important African-American artist. Scott
studied at the Art Institute of Chicago and exhibited there as well as in numerous
important exhibitions featuring African-American painters, from the 1900s-40s. He
was a student of TannerÕs in Paris. 1000-1500
511. John Wesley Hardrick (American, 1891-1968), ÒFeeding the ChickensÓ,
c.1930; oil/board, 16Ó x 20Ó, signed. Highly important African-American painter
from Indianapolis. Hardrick studied at the John Herron School of Art in Indianapolis.
He exhibited at the Art Institute of Chicago, Second Annual Exhibition of
Contemporary Negro Art in San Diego, and the American Negro Exposition:
Celebrating 75 Years of Negro Achievement, Chicago. 3000-5000
512. W.C. Emerson (American, early 20th century), ÒMorning MistÓ, c.1910;
oil/board, 28Ó x 34Ó, signed, fine original frame. Well known for his atmospheric
landscapes. He worked in Connecticut and was a member of the Westchester Art
Institute; he also worked in the Chicago area. 2500-3500
513. John White Alexander (American, 1856-1915), ÒPortrait of a Girl with Her
DollÓ, c.1910; oil/canvas, 48Ó x 36Ó, signed. Important figure painter, known for his
Art Nouveau stylized portraits of women. He worked with Frank Duveneck in
Germany and Italy and was part of a group known as the ÒDuveneck BoysÓ. He was
president of the National Academy of Design (1909-1915), and his work is in
numerous important museum collections.
50,000-70,000
514. Karl Kappes (American, 1861-1943), ÒColorado SceneÓ, c.1925; oil/board,
12Ó x 16Ó, signed. Kappes was the leader of the Toledo artists. He specialized in
impressionistic landscapes and portraits. 400-600
515. Charles William Dahlgreen (American, 1864-1955), ÒArtistÕs SuppliesÓ,
c.1930; oil/canvas, 28Ó x 34Ó, signed. Chicago painter. He worked in Oak Park
and exhibited at the Chicago Gallery Association and the Hoosier Salon. 600-800
516. Emile Gruppe, attribution, (American, 1896-1978), ÒRoad to the HarborÓ,
c.1930; oil/canvas, 18Ó x 20Ó, bears signature on verso. There is documentation of
other paintings by Gruppe of this identical scene and composition. Important Rockport
area painter. 1500-2500
517. Ernest Albert (American, 1857-1946), ÒForest SunsetÓ, c.1915;
watercolor/paper, 11Ó x 16.5Ó, signed. Well known landscape painter. He worked
in Old Lyme, CT, and painted simple compositions with emphasis on color and light
quality. He exhibited at the Lyme Art Association, National Academy, and the
American Watercolor Club. 1500-2000
518. Edwin Daniel Betts, Sr. (American, 1849-1915), ÒPortrait of an Elegant
WomanÓ, c.1882; oil/canvas, 50Ó x 30Ó, signed and dated. Early Chicago portrait
painter and teacher. His four children were all painters (Edwin, Harold, Louis, and
Grace). 2000-3000
519. Tanasko Milovich (American, b.1900), ÒSpring MaidensÓ, c.1925; oil/board,
21Ó x 25Ó, signed, original Arts & Crafts style carved frame. St. Louis painter. He
exhibited from the 1920s-40s at the Denver Art Museum, Kansas City Art Institute,
and in St. Louis. Milovich worked in Paris in the late 1920s, and exhibited at the Paris
Salon. An excellent early example of his work. 1500-2500
520. Carl Krafft (American, 1884-1938), ÒThe Boat LandingÓ, c.1920; oil/board,
16Ó x 20Ó, signed. Important Chicago painter. Krafft cofounded the Ozark Society
of Painters and also worked in Brown County, Indiana. 3000-5000
521. Carl Krafft (American, 1884-1938), ÒSummer DayÓ, c.1920; oil on canvas,
38Ó x 40Ó, signed. Large and colorful work by this Chicago artist. 4000-6000
522. Edward Volkert (American, 1871-1935), lot of two works, ÒEarly Autumn
LandscapeÓ (pictured), c.1900; oil/board, 12Ó x 17Ó, signed, with a watercolor
attributed to Volkert, unsigned, 8Ó x 11Ó. Important Cincinnati painter. He
specialized in landscapes, sometimes with cattle. He also worked in Old Lyme, CT.
1000-1500
523. Roy Gamble (American, b.1887), ÒPortrait of a LadyÓ, c.1917; oil/canvas,
30Ó x 24Ó, signed and dated, contemporary ornate frame. Detroit area portrait
painter. Gamble studied in Paris, and with Chase and Henri. He exhibited from the
1910s-40s, at the Paris Salon, Scarab Club, Pennsylvania Academy of Fine Art, and
the Detroit Institute of Art. 1200-1700
524. R.B. Gruelle (American, 1851-1914), ÒIndiana LandscapeÓ, c.1900;
watercolor/paper, 10.5Ó x 14.5Ó, signed. Important member of the Hoosier Group.
He frequently worked in watercolor, and specialized in tonalist style landscapes and
coastal scenes. 2000-3000
525. Harold Harington Betts (American, b.1881), ÒWoodland StreamÓ, c.1910;
oil/canvas, 13Ó x 21Ó, signed. Specialized in colorful western landscapes and Indian
subjects. He was the son of Edwin, Sr. and brother of Louis. 700-900
526. Karl Albert Buehr (American, 1866-1952), ÒTreesÓ, c.1925; oil/canvas, 10Ó
x 10Ó, signed. Important Chicago area impressionist painter known for colorful
landscapes and figure paintings. Buehr worked in Giverny around the turn of the
century. 500-700
527. Gustave Cimiotti (American, b.1875), ÒLighthouseÓ, c.1920; oil/board, 16Ó x
20Ó, signed. New York painter, known for landscapes and marines. 400-600
528. E. Linden (American 20th century), ÒLandscape with HouseÓ, c.1926;
oil/canvas, 17Ó x 14Ó, signed. 300-500
529. William McKinley Snyder (American, 19th-20th century), ÒPath through the
Beech WoodsÓ, c.1900; oil/canvas, 30Ó x 48Ó, signed, wide gold frame. Well
known Indiana landscape painter. Snyder worked in Madison, IN. He painted in a
meticulous style, emphasizing light quality and detail. A major example of this artistÕs
work; we have not seen a painting of this size and quality offered in years. 4000-6000
530. Theodore Clement Steele (American, 1847-1926), ÒLate Afternoon, Brown
CountyÓ, c.1918; oil/canvas, 30Ó x 40Ó, signed and dated, original carved frame.
Highly important Hoosier Group artist. Steele was IndianaÕs premiere landscape
painter. A major example of his work, and the finest painting offered at auction by this
artist in some time. 25,000-35,000
Provenance: Mr. Henry B. Marshall, owner of the LaFayette Courier and
Journal, originally purchased this painting from the Lieber Brothers Company,
Indianapolis.
531. John F. Earhart (American, b.1854), ÒOhio LandscapeÓ, c.1916; oil/panel,
10Ó x 12Ó, signed and dated, imperfections. Cincinnati painter. He exhibited
primarily landscapes at the Cincinnati Art Club. 400-600
532. L. Emerson McDowell (American, 20th century), ÒBoy on a Cotton FarmÓ,
c.1920; oil/canvas, 20Ó x 16Ó, signed. Detailed, quality work with distinctively
southern subject matter. 1000-1500
533. Donald Witherstine (American, 1896-1961), ÒRiver LandscapeÓ, c.1917;
oil/canvas, 18Ó x 28Ó, signed and dated, excellent carved frame. Peoria, IL area
painter. Witherstine specialized in landscapes, and exhibited at the University of Illinois
and the Art Institute of Chicago. He also worked in Provincetown, MA. 800-1200
534. Bertha Rockwell (American, b.1874), ÒLandscapeÓ, c.1910; oil/canvas, 18Ó
x 22Ó, signed. Impressionist painter, worked in Junction City, Kansas. 300-500
535. Irna Tolford (American, 20th century), ÒHarbor SceneÓ, c.1930; oil/board,
24Ó x 19Ó, signed. 300-500
536. Holger Jensen (American, b.1880), pair of paintings, ÒStreet SceneÓ with
ÒWestern LandscapeÓ, both c.1920; gouache/board, 12Ó x 13Ó, signed. Oak Park,
Illinois painter. 500-700
537. Walter Emerson Baum (American, 1884-1956), ÒNear Sellersville,
PennsylvaniaÓ, c.1939; oil/board, 12Ó x 15Ó, unsigned, identified on verso, with
"Given to Phillip Rose, editor of Country Gentleman", and dated, Philadelphia framerÕs
label. Well known Philadelphia landscape painter. 1000-1500
538. Robert W. Grafton (American, 1876-1936), ÒMidwestern LandscapeÓ,
c.1915; oil/canvas, 38Ó x 31Ó, signed, original frame. Grafton was primarily a
landscape painter. He studied at the Art Institute of Chicago and in Paris. Grafton
painted in Indiana, exhibiting at the Hoosier Salon (1920s), Richmond Art Association,
and the Union League Club, Chicago. He also painted in New Orleans, showing at the
Delgado Museum and the New Orleans Art Association. 3000-5000
539. Thomas Wood Stevens (American, early 20th century), ÒLake Michigan
DunesÓ, c.1920; oil/canvas, 22Ó x 27Ó, signed on exhibition label verso, fine original
frame. Chicago area landscape painter. He studied at the Art Institute of Chicago and
with Sorolla, in Madrid. He was the director of the Goodman Theater at the Art
Institute of Chicago (1924-30). 2000-3000
540. William Arnold Eyden (American, b.1893), ÒCrashing WavesÓ, c.1940;
oil/canvas, 30Ó x 40Ó, signed. Well known Indiana painter. Eyden painted
landscapes in Indiana, but he also worked in New York and Gloucester. He exhibited
extensively from the 1910s-40s, and taught art as well. 800-1200
541. Frank Brown (American, b.1876), ÒGitaneÓ, c.1925; oil, 16Ó x 11Ó, signed.
Boston painter. 500-700
542. D.W. Sladek (German, early 20th century), ÒSatyrsÓ, c.1937; extensively
enhanced lithograph, 17" x 10.75", arched top, signed and dated. Highly stylized and
detailed work.
300-500
543. Rudolfo Novelli (American, b.1879), ÒThe BronxÓ, c.1915; oil/canvas, 12Ó x
14Ó, signed. New York City painter and illustrator. He specialized in city scenes,
influenced by the Ashcan style. He exhibited from the 1910s-30s. 1000-1500
544. Carl Erickson (American 1891-1958) "Dream Maiden", born in Joliet, IL,
trained at Chicago Academy of Fine Arts, worked in New York, Paris, illustrated for
Vogue Magazine, retrospective show held in the Brooklyn Museum in 1959, oil on
board, 19" x 30", excellent condition 900-1200
545. Arthur Wesley Dow (American, b.1857-1922) "Nabbys Point", c.1905-10,
colored woodblock print, 2.5" x 4", excellent condition, studied in Boston and Paris.
Instructor of Art at the Pratt Institute of Art and Arts Students' League in New York.
400-600
546. Arthur Wesley Dow (American, b.1857-1922) "Town Seal of Ipswich",
c.1895, colored woodblock print, 2.5"square, excellent condition 300-400
547. Charles Hetherington (American, b.1857-?) "Day at the Beach, Cape Cod", oil
on board, 11" x 16", excellent condition, born in Canada. Worked and exhibited in
U.S. and Paris. Specialized in landscapes. 600-800
548. Maria Liszt (American, 20th century), ÒGloucester BoatsÓ, c.1950; oil/canvas,
20Ó x 24Ó, signed, gold frame. Boston area painter, student of Emile Gruppe.
2000-3000
549. William Lester Stevens (American, 1888-1969), ÒWinter in New EnglandÓ,
c.1930; oil/canvas, 36Ó x 40Ó, signed, wide Whistler style gold frame. Important
Boston School painter, known for his bold impressionist landscapes and harbor
scenes. 5000-7000
550. W.J. Scott (American, 20th century), ÒIndustrial SceneÓ, c.1934;
pastel/paper, 14Ó x 18Ó, signed. New Jersey artist active in the 1930s-40s. He
specialized in urban scenes, factories, and figurative work. 500-700
551. Shiko Munakata (Japanese, 1903-1975), ÒFemale Buddha with FishÓ,
c.1956; black and white woodblock print, 13Ó x 9.5Ó, pencil signed and numbered,
Cleveland Print Club. Highly important Japanese modern printmaker.
2000-3000
552. Sadaeo Wantanabe (Japanese, 20th century), ÒTwo Religious FiguresÓ,
c.1973; black and white woodblock print with some hand-coloring, 8Ó x 6.5Ó, signed
and dated. 200-300
553. John Courtright (American, 20th century), ÒAutumn Comes to Oak Street
BeachÓ, c.1935; oil/canvas, 18Ó x 26Ó, signed and dated, Art Institute of Chicago
exhibition label verso, interesting hand carved frame. Strong modern image of Chicago
subject. 1500-2000
554. Joseph Vorst (American, b.1897), ÒMule FarmÓ, c.1940; thick
gouache/paper, 12Ó x 18Ó, signed and titled, provenance. Vorst was a friend of
Thomas Hart Benton, and painted in a similar style. He exhibited at the Art Institute of
Chicago, WorldÕs Fair New York, Kansas City Art Institute, and the St. Louis Art
Museum. 1250-1750
555. James Turnbull (American, b.1909), ÒWater BreakÓ, c.1941; oil/canvas, 24Ó
x 16Ó, signed and dated. Regionalist style painter from St. Louis. Turnbull, like his
contemporaries, Benton, Vorst, and Jones, painted the American Scene. W.P.A.
artist. 2500-3500
556. Emil Ganso (American, 1895-1941), ÒKinnebunk HarborÓ, c.1930; hand
colored lithograph, 12Ó x 16Ó, signed. Important modern painter and printmaker,
known for his figurative work. 200-300
557. W.J. Scott (American, 20th century), ÒFactory SceneÓ, c.1935; pastel/paper,
14Ó x 18Ó, signed. 500-700
558. Edward W. Carlson (American, b.1883), ÒThe SidingÓ, c.1930; oil/board,
18Ó x 24Ó, signed. Chicago area painter active in the late 1920s-1930s. 500-700
559. Joe Jones (American, b.1909), ÒMissouri MuleÓ, c.1940; india ink/paper,
14Ó x 10Ó, signed. Important Midwestern regionalist. Jones, like his friends, Benton
and Vorst, favored the Missouri mule for subject matter. Jones executed numerous
W.P. A. murals in the 1940s. 700-900
560. Noel Rockmore (American, 20th century), ÒShip Graveyard WeldersÓ,
c.1945; oil/masonite, 20Ó x 39Ó, signed, artistÕs label verso. Interesting W.P.A.
style work. Rockmore worked in the Chicago area. Possibly a relative of Chicago
modernist, Gladys Rockmore (Davis). 800-1200
561. William Eduoard Scott (American, 1884-1964), ÒMarinaÓ, c.1930; oil/canvas
board, 16Ó x 20Ó, label on verso from California Afro-American Museum,
provenance: grandson of the artist. Highly important African-American artist. Scott
worked primarily in Chicago. He studied at the Art Institute of Chicago and in Paris,
with Henry Ossawa Tanner. He exhibited at the Royal Academy London, Paris Salon,
Art Institute of Chicago, Los Angeles Museum, Harmon Foundation, American Negro
Exposition, Chicago (1940), Smithsonian Museum, and Howard University. He was a
member of the Hoosier Salon and the Chicago Art League. His work was recently
showcased in a museum tour. A Shared Heritage: Art by Four African Americans.
10,000-15,000
562. Medard Klein (American, b.1905), ÒCompositionÓ, c.1940; mixed
media/paper, 13.5Ó x 10.5Ó, signed. Important Chicago non objective painter. He
exhibited at the Art Institute of Chicago and the Non Objective Museum. 700-900
563. Frank Brown (American, b.1876), ÒIdyllÓ, c.1925; oil, 13" x 9", signed.
Boston painter. Exhibited at the Art Institute of Chicago and the National Academy of
Design. Brown also worked in Paris, and his work is in the collection of the French
National Museum. 500-700
564. James Brockhurst (American, 20th century), ÒNudeÓ, c.1930; lithograph, 9Ó
x 12Ó, signed. New York City figure painter and printmaker. He studied at the Art
Students League and exhibited at the National Academy of Design. 200-300
565. Medard Klein (American, b.1905), ÒCompositionÓ, c.1940; mixed media,
11.5Ó x 14.5Ó, signed. Important Chicago non objective painter. He exhibited at the
Art Institute of Chicago and the Non Objective Museum (Guggeheim). 700-900
566. Ben Benn (American, b.1884) ÒThree BoysÓ, c.1960; oil/canvas, 20Ó x 16Ó,
signed and dated. Modernist painter from New York City. Russian born, Benn moved
to the U.S. and studied at the National Academy. He was a member of the American
Artist Congress, and his work is in the collections of the Metropolitan Museum of Art,
Whitney Museum, Newark Museum, and The Hague. 1500-2000
567. Jean Charlot (French, 1898-1979), ÒNaval SkirmishÓ, c.1935; color
lithograph, 6Ó x 8Ó , signed and dated, artist proof. Well known modernist painter
and printmaker. 300-500
568. William Freinik (German/American, b.1905) ÒThe CoupleÓ, c.1950;
oil/canvas, 33Ó x 28Ó, signed, signed again verso, ÒFreinik, Seattle, #20Ó. Born in
Wattenschied, Germany, he studied at the Academy of Fine Arts, Stuttgard and with
Hans Hoffman in Munich (1924-26). He moved to the United States in 1928 and
settled in Chicago. He lived there until 1945, when he moved to Seattle. He held major
shows at the Gelsenkirchen Art Museum, Germany; Inter Gallery, Brussels; Sebastian
Reeve Gallery and the Robert James Gallery, both in California. 1000-1500
569. Dale Nichols (American, b.1904), ÒReturning from the HuntÓ, c.1940;
oil/canvas, 24Ó x 36Ó, signed. Best known for his Nebraska farm scenes. Nichols
won the Hearst award at the Art Institute of Chicago (1930s); he also exhibited at the
Worlds Fair New York (1939); Century of Progress, Chicago; and the All-Illinois
Society of Fine Artists. An excellent example of American Scene painting.
7000-9000
570. John Carroll (American, 1892-1959), ÒTrapeze GirlsÓ, c.1930; oil/canvas,
30Ó x 25Ó, signed, provenance: William Benton Collection, original frame. New York
City modernist. Carroll specialized in figurative scenes done in the ÒAsh-CanÓ style,
especially associated with the work of painter, E. Shinn. He exhibited from the
1920s-40s, at the Art Institute of Chicago, Pennsylvania Academy of Fine Art, and the
Pan-Am Exhibition. His work is included in the collections of the Los Angeles Museum
of Art, Whitney Museum, and the Detroit Art Institute. An exceptional example of this
artistÕs work, and a first class Ashcan style painting. 6000-8000
571. Joan Miro (Spanish, 1893-1983), ÒBlack AbstractÓ, c.1960; lithograph, 27Ó
x 41Ó, artistÕs proof, signed, ÒMiro, H.C.Ó, very well framed. 3000-5000
572. Salvador Dali (Spanish, 1904-1989), ÒObsequies for ClorindaÓ, c.1969;
color lithograph, 20.75Ó x 16.75Ó, signed and numbered, 61/160. Important modern
master print. 1250-1750
573. Keith Haring (American, 1958-1990), Ò666Ó, c.1988; lithograph in colors,
37Ó x 37Ó, pencil signed and numbered, 88+, 19/90. Important work on paper by
this well known contemporary artist. 2500-3500
574. Bernard Lorjou (French, b.1908), ÒPortraitÓ, c.1955; gouache/board, 30Ó x
22Ó, signed, numbered, #51326, well framed. Important School of Paris artist.
2000-3000
575. Chicago School, ÒGreen AbstractionÓ, c.1935; gouache/board, 19.5Ó x
14.5Ó, unsigned, well framed. Most likely the work of a student at the Institute of
Design, Chicago. The work originated in Chicago. 300-500
576. Keith Haring (American, 1958-1990), ÒCockfightÓ, c.1985; color lithograph,
29.5Ó x 37Ó, pencil signed, numbered, 44/80, and dated, well framed. 2000-3000
577. Bernard Lorjou (French, b.1908), ÒLÕ IdoleÓ, c.1955; oil/canvas, 58Ó x
35Ó, signed. Important French modernist painter. School of Paris. Well known for
his abstracted figurative work. 4000-6000
The works being offered in this sale by Bisttram are part of an important collection
of his paintings. Examples of this caliber are rarely found by this transcendentalist
painter. Bisttram co-founded the Transcendental Painting Group (TPG) with Raymond
Johnson in 1932, in Taos, New Mexico. Bisttram's first encounter with the spiritualism
in painting was at the Master Institute of the Roerich Museum, NYC, while working
with fellow artist-philosopher, J. Hambridge. Hambridge introduced Bisttram to the
Greek idea of the logorhythmic spiral, which became an integral part of BisttramÕs
Ògeometric vocabularyÓ, communicated through his art. Bisttram considered himself
the Òclassic modernistÓ, because he moved from realism to abstraction to
non-objective subject matter (throughout his painting career, he incorporated these
three approaches). Bisttram objectified specific realities by making them accessible
through the universal phenomenon of mathematical structure, thereby
approaching his ÒNew World OrderÓ.
578. Emil Bisttram (American, 1895-1976), ÒCalligraphyÓ, c.1952; oil/canvas,
36Ó x 48Ó, signed and dated, label verso. Another painting verso, representational.
15,000-20,000
579. Emil Bisttram (American, 1895-1976), ÒDramatic MoodÓ, c.1963; oil/canvas,
40Ó x 25Ó, signed and dated. 8,000-10,000
580. Emil Bisttram (American, 1895-1976), ÒNon-ObjectiveÓ, c.1950; charcoal
and ink/paper, 16Ó x 20Ó, signed, well framed. 2000-4000
581. A. George Miller (American, 20th century), ÒCityscapeÓ, c.1950; oil/canvas,
32Ó x 24Ó, signed, well framed. 500-700
Not Pictured:
582. Wassily Kandinsky, after, lithographic poster in colors, ÒKandinsky,
1900-1910Ó, 14Ó x 12Ó, provenance: Park West Galleries. 300-500
583. Myron Kozman (American, b.1916), ÒSilkscreen #302Ó, c.1940; silkscreen in
colors, 20Ó x 12Ó, signed and numbered, well framed. Kozman worked at the New
Bauhaus, and was an important student of Moholy-Nagy. He was a talented
printmaker. 400-600
584. Emil Bisttram (American, 1895-1976), ÒNon-ObjectiveÓ, c.1950; charcoal
and ink /paper, 20Ó x 16Ó, signed, well framed. 2000-4000
585. Emil Bisttram (American, 1895-1976), ÒEnclosed RhythmsÓ, c.1952;
oil/board, 20Ó x 22Ó, signed, titled. 8,000-10,000
586. Emil Bisttram (American, 1895-1976), ÒTranscendental CellsÓ, c.1964;
oil/board, 32Ó x 24Ó, signed and dated. 10,000-15,000
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