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Sale Date:
March 5, 2006
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Lot Numbers, Descriptions and Estimates
601. Gulbrand Sether (Norwegian/American, 1869-1941), “Winter Glow”, c. 1920; oil/canvas, 20” x 30”, signed. 700-900
602. Houck (Scandinavian/American, early 20th century), “Delaplane”, c. 1920; oil/canvas, 25” x 30”, signed and titled indistinctly. 800-1200
603. Continental School, “Figures on a Palatial Terrace”, c. 1900; oil/board, 40” x 55”, bears monogram, “C.F”. Large, attractive work. 700-900
604. Olive Parker Black (American, 1868-1948), “Pastoral Landscape”, c. 1915; oil/canvas, 16” x 24”, signed, original ornate frame with some imperfections. Black studied with Hugh Bolton Jones and W.M. Chase (most likely in Shinnecock), and her style could be seen as a perfect mixture of the influences of her teachers. Black exhibited at the National Academy of Design from the 1890s-1930s. 3500-4500
605. Frank Russell Green (American, 1859-1940), “Venice”, c. 1900; oil/canvas, 21” x 31”, signed. Green studied in Paris, and exhibited at the Salmagundi Club, National Academy of Design, Boston Art Club, Paris Salon, and the Pennsylvania Academy of Fine Art. 3000-5000
606. Jan P. Van Empel (Dutch/American, early 20th century), “From My Window”, c. 1919; oil/canvas, 24” x 30”, signed; label verso from the Detroit Museum of Art, 1919 (with title). Van Empel studied with Henri, and exhibited at the inaugural exhibition of the Whitney Club in 1918. He also exhibited at the Pennsylvania Academy of Fine Art from 1914-40. Van Empel traveled to Seward, Alaska in 1924, and gained a reputation as a painter there. The Anchorage Museum of History and Art has several works by the artist in their collection. 3000-5000
607. Grace Ravlin (American, b.1885), “Arab Riders”, c. 1920; oil/canvas, 26” x 21.5", signed; label verso from Wilfrid W. Hurworth & Son (Great Britain). Ravlin studied with Chase and in Paris. She was a member of the Associee Societe Nationale des Beaux-Arts (Paris), Peintres Orientalists Francais; Salon Societe d’ Automne. She also exhibited at the Art Institute of Chicago and at the Amis des Arts, Toulon (1911). Ravlin was best known for her scenes of North Africa and the American West. 5000-7000
608. Tom P. Barnett (American, 1870-1929), "Mid-Winter ", c. 1929; oil/canvas, 25" x 30", signed with monogram; Chicago Gallery Association label verso. Barnett was a painter and an architect. He and his father designed numerous important buildings in St. Louis. He studied painting with Paul Cornoyer. Barnett exhibited landscapes and harbor scenes at the National Academy of Design, St. Louis Artist Guild, St. Louis World's Fair (1904), Portland Expo (1915), and the St. Louis Artist. 2500-3500
609. Wilson Henry Irvine (American, 1869-1936), “Late Summer Landscape”, c. 1910; oil/canvas, 18” x 24”, signed, original carved frame. Irvine studied at the Art Institute of Chicago and exhibited at the Chicago Society of Artists and the National Academy of Design. He also worked in France and Old Lyme, CT. 8,000-10,000
610. William McDougal Hart (American, 1823-1894), “Cows in an Expansive Landscape”, c. 1870; oil/canvas, 11" x 15.5", initialed. Hart painted in the White Mountains of New Hampshire, Keene Valley, and the Catskills. He became a full member of the National Academy in 1858, and was elected President of the Brooklyn Academy of Design in 1865. Property of the Howard County (Indiana) Historical Museum. 7500-9500
611. Robert Grafton (American, 1876-1936), “Patsy and Mother”, c. 1910; oil/canvas, 30.25” x 35.5”, original carved frame. Provenance: Michigan City Public Library Collection (copies of the inventory information for this work will be provided). Indiana/New Orleans artist. Grafton studied at the Art Institute of Chicago and the Academie Julian. He exhibited at the Art Institute of Chicago, Delgado Museum, New Orleans Art Association, Richmond 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 Grafton’s work depicting his wife and his daughter, Patricia. Grafton’s wife was from Michigan City, Indiana, and they resided there for several years. 7000-9000
612. Pierre Louis Delaval (French, b. 1790), “Portrait of a Woman”, c. 1819; oil/canvas, 25.5” x 21.5”, signed and dated; fine quality substantial frame (old). 1000-2000
613. WITHDRAWN
614. School of Charlemagne Oscar Guet (French, 1801-1871), “Portrait of a Woman”, c. 1850; oil/copper, 19” x 14”, signed verso. 2000-3000
615. School of Teniers (Flemish, 18th century), “Domestic Scene”, oil/panel, 8.5” x 6.25”, unsigned. 1800-2000
616. Louis Anquetin (French 1861-1932), “Leda and the Swan”, c. oil/canvas, 8” x 11”, signed. 2000-3000
617. Wolfe (German, early 20th century), “Figure with Pipe”, c. 1920; oil/panel, 7” x 6”, signed, Newcomb-Macklin frame. 400-600
618. Leonard Moore Davis (American, 1864-1938), “Alaskan Landscape”, c.1900; oil/canvas, 24” x 36”, signed.Davis went to New York City College and then worked as a printer and wood finisher until 1884 when he enrolled in the Art Students League in New York City for five years. Then he studied in Paris at Ecole des Beaux-Arts and Academie Julian under Jean Paul Laurens, Jules Lefebvre and Benjamin Constant. An itinerant, he made trips to Alaska where he was a gold miner, and he focused his painting skills on scenes of Alaska. He became a portrait painter, art teacher and lecturer on Alaska, and he also painted landscapes in Arizona. In 1930, he settled in Tarzana, California.  2000-3000
619. Margaret Reynolds (American, early 20th century), "Cabin in the Snow” c. 1925; oil/academy board, 15” x 12”, signed. Painter from Los Angeles active in the 1920s (Hughes). 300-500
620. Ernest Fredericks (American, early 20th century), “Winter Landscape” c. 1920; oil/canvas, 24” x 30”, signed. Chicago landscape painter. He exhibited at the Art Institute of Chicago (1924-26). 700-900
621. George Twok Aden Ahgupuk (American, 1911 - 2001) lot of two works, “Alaskan Scene”, c. 1940; watercolor, 4” x 10”, signed and inscribed, “Caribou Skin”; with another similar work by the artist. Ahgupuk worked in Shishmaref, and exhibited at the National Exhibition of American Indian Painters; Philbrook Museum (1946). 800-1200
622. Mary Curtis Richardson (American, 1848-1931), "Girl with Bow”, c. 19; oil/board, 14” x 10”, signed. Mary Curtis, known as the “Mary Cassatt of the West”, for her mother and child paintings, was a California portrait and genre specialist who by the late 19th century had received national recognition including prizes at the National Academy of Design beginning 1885. Mary Richardson exhibited her portraits and mother and child paintings at the San Francisco Art Association between 1895 and 1901; the Vickery, Atkins & Torrey Gallery, San Francisco, in 1909; and the National Academy of Design, New York City, in the late 1880’s. She and her husband remained in San Francisco in a home they built for themselves in 1888. 3000-5000
623. C.B. Tarlton (American, 20th century), “Indiana Landscape”, c. 1940; gouache, 23” x 31”, signed. Tarlton worked in Richmond, Indiana painting landscapes. 300-500
624. Celse (French, 20th Century), “Seaside Town”; oil/board, 7.75” x 10.75”, unframed, signed, dated ’48. 200-300
625. Celse (French, 20th Century), “Seaside Town with Figure”; oil/board, 7.5” x 10.5”, unframed, signed, dated ’48. 200-300
626. Ilio Giannaccini (Italian, b. 1897), “Village Scene”; oil/board, 9” x 6.5”, framed, signed. 350-550
627. Ilio Giannaccini (Italian, b. 1897), “Terrazzo di Anacapri”; oil/canvas, 7” x 9”, framed, signed. 350-550
628. Ilio Giannaccini (Italian, b. 1897), “Village Scene”; oil/board, 9” x 6.5”, framed, signed. 350-550
629. Luigi Polverini (Italian, 20th Century), “Grigioni-Capocorso”; oil/board, 9” x 11.5”, framed, no visible signature, label on verso. 350-550
630. A. Dèchenaud (French, 1868-1929), “Big Top”; oil/board, 4.25” x 6”, framed, signed. 500-700
631. Natale Pollastrini (Italian, 20th Century), “Campidoglio-Aracoeli, Rome”; oil/board, 9” x 11”, framed, no visible signature, label on verso. 350-550
632. Royal Hill Milleson (American, 1849-1935), “Tranquility”, c. 1900; oil/canvas, 18” x 24”, signed. Milleson was primarily a landscape painter. He worked in Indianapolis in the 1890s, and in Chicago from 1900-1923. He exhibited at the Art Institute of Chicago, and his work is in the collections of the Herron Art Institute and the Indianapolis Museum of Art. 1500-2500
633. Francis Luis Mora (American, 1874 - 1940), “Sketch of a Hooded Figure”, c. 1920; ink drawing, 13” x 10”, signed. 300-500
634. Amandus Faure (German, 1874-1931), “Circus Performers”, c. 1900; oil/canvas, 30” x 36”, signed. 3000-5000
635. Karl Schmidt (American, 1890-1962), "Off the Coast", c. 1920; oil/board, 12" x 16", signed, California impressionist, working primarily in Santa Barbara. 1000-2000
636. Paul Frederick Berdanier  (American, 1879 - 1961), “City View in Winter”, c. 1945; oil/board, 12” x 9”, signed; Salmagundi Club label verso. Berdanier worked in St. Louis and New York, and was a student of Paul Cornoyer. 500-700
637. George Van Millett  (American, 1864 - 1952) “Duck Hunting”, c. 1910; oil/canvas, 20” x 32”, signed. Van Millett studied in Paris and Munich before moving to the United States, where he settled in Kansas City. 2000-3000
638. Matthew A Daly (American, 1860-1937), “Colorado River”, c. 1910; oil/board, 11” x 15”, signed; titled verso. Cincinnati painter, also worked for Rookwood. 1000-1500
639. Ellis Prentice Cole (American, b. 1862), “Jonnie Shoshone”, c. 1941; gouache, 12” x 9”, signed and dated; extensive inscription regarding subject; exhibited Austin Town Hall, 1949 (First Award). Chicago painter. He exhibited at the Art Institute of Chicago as early as 1902. 500-700
640. Anna Marie Valentien (American, 1862-1947), “California Landscape”, c. 1925; oil/masonite, 20” x 24”, signed. Valentien was known as a painter and a ceramicist. She was born in Cincinnati and studied with Frank Duveneck at the Cincinnati Art Academy, and in France with Rodin at the Academie Colarossi. She married Albert Valentien, whom she had met in Cincinnati when they both worked for the Rookwood Pottery Company. In 1908, the couple settled in San Diego, California, and established the Valentien Pottery Company, whose low-relief pottery with art nouveau designs is credited as launching the Arts and Crafts Movement in San Diego. 1000-2000
641. Gulbrand Sether (Norwegian/American, 1869-1941), “Pueblo Indians, New Mexico”, c. 1910; oil/canvas, 22” x 28”, signed. Sether studied with Fritz Thaulow in Norway. He settled in Chicago’s Humboldt Park, an area heavily populated by Norwegian-Americans, and established a studio around 1900. He exhibited at the Norse-American Centennial Art Exhibition (1925,) which was held at the Minnesota State Fair. He also showed at the Chicago Norske Klub’s Annual Norwegian Art Exhibits. 1500-2500
642. Oscar Rabe Hanson (American, early 20th century), “Egyptian Exploration”, c. 1930; gouache and watercolor/paper, 20” x 14”, signed. Chicago artist and illustrator. He exhibited at the Society of Independent Artists and the Salons of America in the 1930s. 600-800
643. Victor Casenelli (American, 19th-20th century), “Duck Lake near Muskegan, Michigan”, c. 1900; gouache/paper, signed. Casenelli worked in Cincinnati, and painted landscapes, Indians and Orientalist subjects. He worked primarily in gouache, and this expansive horizontal composition is typical for the artist. 800-1200
644. William Henry Dethlef Koerner (American, 1878-1938), “Sketchers”, c. 1910; oil/board, 20” x 16”, unsigned; label and estate stamp verso with title and “G-29”. In the late 1890s, Koerner worked as an illustrator for the Chicago Tribune and by 1901, he was attending classes at the Art Institute in Chicago, and four years later enrolled in the Art Students League in New York. When illustrator Howard Pyle accepted him for formal instruction, it was a major career boost. In 1924, Koerner first went West. He camped extensively and continued to travel to California via the Santa Fe Railroad. Zane Grey, popular novelist, used his illustrations in his novels. Koerner worked primarily from New York but kept a summer studio near the Crow reservation in Montana. He became a highly successful illustrator. 5000-7000
645. California School, Edwards (American, early 20th century), “Desert Scene with Mountains, California ”, c. 1946; oil/canvas, 24” x 30”, signed. 2000-3000
646. Wilbur E. Phillips (American, b. 1907 ), “Southwest Landscape”, c. 1940; oil/canvas, 25” x 30”, signed. Kansas City painter. Phillips studied at the St. Louis School of Fine Art, and exhibited at the St. Louis Artist Guild, Missouri State Fair, and the Kansas City Art Institute. 5000-7000
647. William Henry Dethlef Koerner (American, 1878-1938), “Girl in a Hat”, c. 1910; oil/board, 20” x 16”, unsigned; identified verso, from the estate of the artist. 5000-7000
648. Paul Turner Sargent (American, 1880-1946), “Early Autumn Landscape”, c. 1926; oil/canvas, 20” x 28”, signed and dated, original frame. Landscape painter from Charleston, Illinois. Sargent exhibited at the Hoosier Salon, Art Institute of Chicago, and in California, at the Laguna Beach Art Association. 2000-4000
649. Frederic Milton Grant (American, 1886-1959), “Telephone Poles, Chicago”, c. 1911; oil/canvas, 18” x 16.25”, unsigned; provenance: Kamp Galleries (from a relative of the artist). He studied with John Vanderpoel at The Art Institute of Chicago and then went to Paris and Venice where he was a student of William Merritt Chase. He exhibited at the Art Institute of Chicago, the Chicago Art Club and the Palm Beach Art Center. 4000-6000
650. Carl Krafft (American, 1884-1938), “Winter Vista”, c. 1925; oil/canvas, 25” x 30”, signed. Important Chicago landscape painter. Krafft exhibited at the Art Institute of Chicago, National Academy of Design, Pennsylvania Academy of Fine Art, and the Chicago Gallery Association. He founded the Oak Park Art League and cofounded the Ozark Society of Artists, with Frank Nuderscher. 4000-6000
651. Edward Warner (American, 20th century), “Chicago”, c. 1964; pastel, 25.5” x 19”, signed and dated; Newcomb-Macklin frame. 1000-2000
652. Frank V. Dudley (American, 1868-1957), “Indiana Dunes”, c.1920; oil/canvas, 19.5” x 21.5”, original frame, signed. Dudley studied at the Art Institute of Chicago. He exhibited at the Chicago Gallery Association (1929-1931), Annual Art Exhibition, Chicago (1902-1927), Chicago & Vicinity Exhibition (1902-1943), Museum of Art, Cedar Rapids, Business Men’s Art Club, Union League Club, Chicago (a painting by Dudley remains in their collection), Hoosier Salon, and Valparaiso University. In 1918, Dudley had an exhibition of his paintings of the area at the Art Institute of Chicago. He was a devoted supporter of the dunes area conservation. 5000-7000
653. Florence White Williams (American, 1900-1953), “Landscape with Flowers and Buildings”, c. 1925; oil/canvas, 18” x 16”, signed. A painter, teacher, wallpaper designer, and illustrator of children’s books, Florence Williams was born in Putney, Vermont and lived in Chicago, Illinois, and Greenfield, Massachusetts. She studied at the Chicago Academy of Fine Art and the Art Institute of Chicago with Henry Snell, John Carlson, and Ames Aldrich. Williams was active in the South Side Art Association in Chicago and the Illinois Academy of Fine Arts and exhibited at the Art Institute of Chicago. 1500-2000
654. Joseph Tomanek (American, b. 1889), “Spring Flowers”, c. 1930; oil/canvas, 29” x 38”, signed; titled on stretcher. Chicago area artist. Tomanek studied in his homeland of Czechoslovakia, and then at the Art Institute of Chicago, with A. Krehbiel and K.A. Buehr. He was a member of the Bohemian Artist Club, Association of Chicago Painters and Sculptors, and the Chicago Gallery Association. His work is included in the collection of the Vanderpoel Art Association (Chicago). He exhibited from the 1910s-40s. 3000-5000
655. Elmer Boyd Smith (American, 1860-1943), “July”, c. 1890; oil/canvas, 11” x 16”, signed; Love Galleries label verso. Smith studied at the Académie Julian in the early 1880s. He spent a considerable amount of time in France through the 1890s, working in Paris and Auvers, before returning permanently to the U.S. around 1900. He traveled west, and spent some time in Kansas City, where he was the first director of the Kansas City Artist Association and the School of Design. He then returned to Connecticut, where he remained until his death. He exhibited at the Boston Art Club, Pennsylvania Academy of Fine Art, Paris Salon, and the Society of National Beaux-Arts. REF: American Art at the Nineteenth Century Paris Salons, Fink. 3500-4500
656. Mathias Joseph Alten (American, 1871 - 1938), “Landscape at Dusk”, c. 1907; oil/canvas, 12” x 16”, signed and dated, original frame. Alten studied with Whistler in Paris, Sorolla in Spain, and briefly with Edward Turner in Grand Rapids. He was a member of the Grand Rapids Art Association, Chicago Gallery Association, and the Scarab Club. He exhibited from the 1890s-1920s, at the Art Institute of Chicago, Pennsylvania Academy of Fine Art, National Academy of Design, Detroit Art Institute, and the Chicago Gallery Association. His work is in the collections of the Detroit Institute of Art, Syracuse Museum of Fine Art, and the Michigan State Capitol. 2500-3500
657. Frank A. Bicknell (American, 1866-1943) "Connecticut Landscape”, c. 1910; oil/board, 20” x 24”, signed. In 1913, he was elected an associate of the National Academy of Design and for six years from 1919 taught at the College of Fine Arts at the Carnegie Institute of Technology in Pittsburgh. Bicknell came to Old Lyme in 1902 and lived there for nearly 40 years. He was an especially close friend of Florence Griswold and often stayed at her boarding house in Old Lyme. 3000-5000
658. John Jay Baumgartner (American, 1865-1946), “Santa Margarita Ranch”, c. 1925; gouache, 9.5” x 13.5”, signed, dated, titled. Baumgartner painted in the San Francisco Bay area. He was a member of the San Francisco Art Assn and the Bohemian Club. His works are in the collections of the Oakland Museum and the California Historical Society. 500-700
659. Spenser Baird Nichols (American, 1875-1950), “Knight and Maiden”, c. 1920; watercolor, ink, and gold paint, 12” x 9.5”, signed, nicely framed. Son of painter, Henry Hobart Nichols. He grew up in Washington, DC, and studied at the Corcoran School of Art. He was Chief Designer of the Louis Comfort Tiffany studios, designing mosaics, windows and interiors, as well as painting murals for the firm, all under the signature of Tiffany before WWI. He did illustrations for children’s books. He was a member of the Washington Water Color Club, Society of Washington Artists, The Salmagundi Club, the National Arts Club, and the National Academy of Design. 800-1200
660. John Edward Costigan (American, 1888-1972), “Autumn Woodland”, c. 1947; oil/board, 10” x 12”, signed; Salmagundi Club label verso. 2500-3500
661. George Henry Bogert (American, 1864-1944), “Moonlight”; oil/canvas, 30” x 45”, signed and a Findley Gallery label on verso. Bogert studied at the National Academy and in Paris. He painted in Venice in the 1890s. He exhibited from the 1880s-1910s, at the National Academy of Design, Brooklyn Artist Association, Art Institute of Chicago, and the St.. Louis Expo (1904). 2000-4000
662. Oldrich Otto Farsky (American, early 20th century), " Autumn Landscape", c. 1910; oil/canvas, 36" x 24", signed. Farsky worked in Illinois and in California. 1500-2500
663. George Herbert Baker (American, 1878-1943), “Indiana Landscape”, c. 1915; oil/canvas, 18" x 24", signed. Landscape painter from Richmond, Indiana. He was born in Muncie, IN and studied at the Cincinnati Art Academy. He exhibited at the Richmond Art Association, Hoosier Salon, and the Indiana State Fair. Baker was closely associated with T.C. Steele and John Elwood Bundy. 600-800
664. Orrin Draver (American, 1895-1964), “Coastal Scene”, c. 1940; oil/board, 28” x 36”, signed. Richmond, IN painter. Draver was born in Nebraska, and moved to Indiana as a boy. He worked in his father’s milling machine business until 1932, when his father died. He sold the company and devoted himself entirely to painting. His dealer in Chicago was J.W. Young, and he also showed at Aronoff’s Galleries and Closson’s in Cincinnati. 1000-2000
665. Charles Bridgeman Vickery (American, 1913-1998), “Birches of the Dunes”, c. 1970; oil/canvas, 30” x 25”, signed. Western Springs, IL painter. Vickery studied at the Art Institute of Chicago and the American Academy of Fine Art. He was a member of the Palette and Chisel Academy, Rockport Art Association, and the North Shore Art Association. He exhibited at the Union League Club, Ackerman Gallery, North Shore Art Association, Gloucester, MA (Waters of the World Prize, 1970). 3000-5000
666. Charles Salis Kaelin (American, 1858-1929), “Waves against the Rocks”, c.1910; oil/board, 11” x 14”, unsigned; accompanied by a letter from Martha K. Jones (artist’s niece, 1989) identifying the work as by Kaelin. Important Cincinnati painter and pastelist. Kaelin studied at the Art Students League and the Cincinnati Art School. He exhibited at the Rockport Art Association, North Shore Art Association, and the Pan-Pacific Expo. His work is in the collections of the Cincinnati Art Museum, Queen City Club, and the Cincinnati University Club. 2000-3000
667. Karl C. Brandner (American, 1898-1961), “A Winter Poem”, c. 1953; oil/board, 18” x 20”, signed; Chicago Gallery Association label verso. Brandner studied at the Art Institute of Chicago and the Chicago Fine Art Academy. He exhibited at the Hoosier Salon, Chicago Gallery Association, and the Palette and Chisel Club. 2500-3500
668. Robert P. Kilbert (American, b. 1880), “Pet Goat”, c.1920, oil/canvas, 30” x 25”, signed. A very good example with desirable subject matter. 2000-3000
669. John Nichols Haapanen (American, b. 1891 ), “Winter in Maine”, c. 1926; oil/canvas, 20” x 24”, signed and dated. Haapanen worked in Maine and in Boston. 1500-2000
670. Lester Chaney (American, b. 1907), “Rocky Shore”, c. 1944; oil/board, 16” x 20”, signed. Chicago painter known for marines. He studied with Charles Woodbury and at the Art Institute of Chicago, and exhibited at the Little Gallery, Union League Club, Chicago No-Jury Society of Artists. 2000-3000
671. Emil Thulin (American, 1891-1965 ), “Summertime”, c. 1950; oil/canvas, 22” x 28”, signed and dated. 600-800
672. Emil Thulin (American, 1891-1965 ), “Snow Scene”, c. 1946; oil/canvas, 30” x 36”, signed and dated. Thulin studied at the Art Institute of Chicago from 1911 to 1914 . He also studied at the Academy Julian in Paris. Thulin exhibited at the Art Institute of Chicago during the 1920s. He was awarded prizes at the Swedish Club of Chicago in 1932 and 1935. 1000-1500
673. Mary Howey Murray Vawter (American, 1871-1950), “Indiana Landscape”, c.1925; oil/canvas, 24” x 32”, signed. Mary was the first wife of fellow Indiana painter, Will Vawter. She studied in Baltimore and at the Art Students League. Mary was an accomplished poet and a great fan of James W, Riley. She came to Indiana to meet Riley and hopefully marry him, but ended up marrying his friend (Will Vawter) in 1906. Mary exhibited at the Hoosier Salon from 1929-1929-1937; and also at the J.B. Speed Museum (Louisville), and the Independent Artist’s Association. 2000-3000
674. Robert Goldman (American, b. 1948), “Across the Canyon, Mission Hills”, c. 2000; oil/canvas, 20” x 24”, signed and dated. Goldman is a successful contemporary California painter. 2000-3000
675. Robert Goldman (American, b. 1948), “Colorado Landscape“, c. 2003; oil/canvas, 24” x 36”, signed. 1800-2200
676. Tunis Ponsen (American, 1881-1961), lot of three works, one pictured: “Floral Still Life”, c.1940; watercolor/paper, 18” x 20”, signed, with two similar works. 600-800
677. Ethel M. Lomasney (American, early 20th century), “Path through an Early Autumn Landscape”, c. 1930; oil/canvas, 25” x 30”, signed. Minneapolis painter. 800-1200
678. George Herbert Baker (American, 1878-1943), "Winter Landscape", c. 1920; oil/canvas-wrapped board , 14" x 16", signed, unframed. Baker was an important landscape painter from Richmond, Indiana. He was born in Muncie, IN and studied at the Cincinnati Art Academy. He exhibited at the Richmond Art Association, Hoosier Salon, and the Indiana State Fair. Baker was closely associated with T. C. Steele and Hohn Elwood Bundy 2000-3000
679. Grace Hamilton (American, 20th century), “Chinese Still Life”, c. 1940; oil/canvas, 24” x 28”, signed. 2000-3000
680. Margaret Anderson (American, early 20th century), “Indiana Beech Woods”, c. 1938; oil/canvas, 18” x 24”, signed and dated. 600-800
681. Robert P. Kilbert (American, b. 1880), “Gypsy Woman”, c.1920, oil/canvas, 40” x 34”, signed. Kilbert studied at the Art Institute of Chicago and the Academie of Julian in Paris. He exhibited at the Art Institute of Chicago, the Chicago Art Association and is in the collection of the Los Angeles Art Institute. 1500-2000
682. Pal Fried (Hungarian, 1893-1976), “Janine”, c.1960; oil/canvas, 30” x 24”, signed. Fried was well known for his “pin-up” style female images, along with Paris street scenes. 1000-2000
683. Gabriel Goddard (French, b. 1933), “Nature Morte au Pot Rouge”, c. 1970; oil/canvas, 21.5” x 31.5”, signed; provenance: Wally Findlay Galleries, Chicago. 4000-6000
684. Lucien-Philippe Moretti (French, 1922-2000), “The Pianist”, c.1960; oil/canvas, 29” x 23.5”, signed. Moretti studied in Paris in the 1940s, and exhibited extensively in the 1950s-70s. 1500-2500
685. C. Aremsen “Spanish Dancer”, c. 1940; oil/canvas, 27” x 39”, signed. 1500-2500
686. Louis Fabien (French, b. 1925), “Les Fleurs a l’Atelier”, c. 1975; oil/canvas, 50” x 37.5”, signed; provenance: Wally Findlay Galleries, Chicago. 3000-5000
687. Emile Sabouraud (French, 1900-1996), “Street Scene”, c. 1960; oil/board, 18” x 24”, signed. 800-1200
688. Mabel May Woodward, (American, 1877 - 1945), “Beach Scene”, c. 1920; watercolor, 8.5” x 12.5”, signed. Woodward was born in Providence, Rhode Island, and, except for summers at Gloucester, Massachusetts and Ogunquit, Maine, spent most of her life there. After graduating from the Rhode Island School of Design, she continued her education in New York, where she worked at the Art Student’s League under William Merritt Chase, Frank Dumont, Kenyon Cox and George Bridgman. In 1900 Woodward returned to Providence to join the faculty at her alma mater, where she taught for many years. 3500-5500
689. Osvaldo Imperiale (Argentinian, 1913-1977), “Harbor”, c. 1940; oil/canvas, 36” x 39”, signed. 2500-3500
690. E.J. (Jose Fernandez) Cygne (American, b.1929), “Figures by a Fountain”, c.1950; oil/canvas, 36” x 24”, signed; artist label verso. 1000-2000
691. Louise Kelly (American, early 20th century), “Old Mexico”, c. 1930; oil/canvas, 32” x 28”, signed; titled on stretcher. Kelly worked in Provincetown, MA and in Minneapolis. She was a member of the Provincetown Art Association and the Chicago Gallery Association. 1500-2500
692. Scott MacNutt (American, b.1885), “The Inlet”, c.1917; oil/canvas laid down on board (original), 10" x 14", initialed and dated. St. Louis painter. He studied at Harvard and the Boston Museum Fine Art School, with Woodbury. He exhibited portraits and landscapes at the St. Louis Artist Guild and at the St. Louis Art Museum. This is an excellent example of the tonalist aesthetic, and reveals the influence of Woodbury’s work on the artist. 1000-2000
693. Robert Charles Gruppe (American, b. 1944), “Island Shadows”, c. 1970; oil/canvas, 36” x 30”, signed. Robert is the son of Emile Gruppe, and is a well established New England Impressionist. He has exhibited regularly at the North Shore Artist Association and the Rockport Artist Association. 1200-1800
694. Birger Sandzen (American, 1871-1954), “Blue Valley Farm”, c.1929; woodblock print, 9” x 12”, signed, dated, and inscribed, “with kindest regards to the Gammas”. This is a very good example of Sandzen’s printmaking, and is relatively early. 400-600
695. Sarah Sewell Munroe (American, 1870-1946), “Woman with a Rose”, c. 1920; oil/canvas, 37.5" x 25", signed, unframed. Washington, DC artist. She studied with Childe Hassam and Charles Hawthorne. She exhibited at the Corcoran Gallery, Pennsylvania Academy of Fine Art, and the Society of Washington Artists. She specialized in figurative subjects. 800-1200
696. Victor Petry (American, early 20th century), “Symphony”, c. 1923; oil/canvas, 27” x 37.5”, signed. Born in Philadelphia, he painted in New York City and Ogunquit, Maine. He was a member of the New York Watercolor Club and a student of Frederic Waugh. 600-800
697. David Acuff (American, 20th century), “Whitewater”, c. 1960; watercolor, 18” x 24”, signed. 250-350
698. John Ward Dunsmore (American, 1856-1945), “The Monk”, oil on board, signed, original frame with label from the Salmagundi Club, Thumb-box Exhibition on verso, 10.5” x 7.5”. 300-500
699. John Ward Dunsmore (American, 1856-1945), attribution, “Footbridge”, oil on canvas laid down on board, unsigned, unframed, 8” x 11”. 200-300
700. Marc Chagall (French, 1887-1985), “Figure with a Sword (Bible series)”, etching with hand-coloring, 11.75” x 9”, signed and numbered 42/100 in pencil. 2500-3500
Sale Date:
March 5, 2006