.
Sale Date:
May 15, 2005
Click thumbnail for larger image. Use Back button to return.
Lot Numbers and Descriptions
501. Charles Warren Eaton (American, 1857-1937), “Late Summer”, c.1905; oil/panel, 9.5” x 13”, signed. Well known tonalist painter. Eaton studied at the Art Students League and the National Academy of Design in the 1870s, and exhibited there as early as 1882. He was a member of the Lotos Club, Salmagundi Club, New York Watercolor Club, and the National Academy. In 1886, he shared a studio with Leonard Ochtman and Ben Foster, and traveled with them to Grez. He also painted in Italy, Belgium, Holland, and France. 2000-3000
502. Ann Guillot (American, b. 1875), “Floral Still Life with Blue Vase”, c.1930; oil/canvas, 23” x 20”, signed. Dallas, Texas painter. Guillot studied with Daniel Garber and W.S. Robinson. She was a member of the Dallas Women’s Forum, Reaugh Art Club, Texas Fine Art Association, and the Southern Sates Artist League. 800-1200
503. Walter Howlison “Zarh” Pritchard (American, early 20th century), “Sierra Nevada, California”, c.1911; pastel/board, 13” x 9”, signed; titled on verso. Pritchard was born in Madras, India, and worked in Los Angeles and also in Tahiti. He exhibited at the American Museum of Natural History (1916); Galeries George Petit, Paris (1921); Grace Nicholson Galleries, Pasadena (1926). In 1909, he changed his first name to Zarh. 800-1200
504. Herbert J. Day (American, early 20th century), “Figure in a Rowboat”, c.1930; oil/canvas, 16” x 20”, signed. Day worked in Illinois and Indiana, and exhibited at the Art Institute of Chicago in the 1920s. 600-800
505. George Thompson Pritchard (American, 1878-1962), “River Landscape”, c.1920; oil/canvas, 24” x 28”, signed, unframed. Pritchard was born in New Zealand, and studied there at the Aukland Academy of Art, before traveling to Paris to attend the Academie Julian. He later worked in California. He specialized in landscapes and marines executed in a tonalist aesthetic.1000-2000
506. Royal Hill Milleson (American, 1849-1935), “Mountain Landscape”, c.1910; oil/canvas, 30” x 40”, signed, unframed. Milleson 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. This is an important example of this artist’s work. 2500-4500
507. Leonid Gechtoff (American, 1883-1941), “A Winter Evening”, c.1929; oil/canvas, 24” x 30”, signed and dated. Gechtoff worked mostly in Pennsylvania, but he painted all across the United States, specializing in broadly painted landscapes and seascapes. 1000-1500
508. Carl Newland Werntz (American, 1874-1944), “Seascape”, c.1915; oil/canvas laid down on board, 20” x 14”, signed. Werntz studied with Lawton Parker in Chicago, and also with Richard Miller and A. Mucha in Paris. He exhibited at the Art Institute of Chicago from 1913-1927, as well as the Pennsylvania Academy of Fine Art. 1000-2000
509. Alberta Kinsey (American, 1875-1968), “New Orleans Courtyard”, c.1940; oil/canvasboard, 20” x 16”, signed. Kinsey worked in Cincinnati, and then in New Orleans for many years. 1500-2000
510. Frank C.Peyraud, (American, b. 1858), “Haystacks”, c.1891; watercolor, 11” x 11.75”, signed and dated. Important Chicago area landscape painter. He studied at the Art Institute of Chicago and in Paris. He exhibited from the 1890s-1920s, at the Chicago Society of Artists, Pan-Pacific Expo (San Francisco, 1915), and the Art Institute of Chicago. His work is in the collections of the Union League, Chicago and the Art Institute of Chicago. Peyraud also worked in California. 500-700
511. H. C.Mortensen (American, early 20th century), “Still Life with an Urn of Flowers”, c.1930; oil/canvas, 25.5” x 30”, signed. Mortensen worked in the Chicago area, and exhibited at the Art Institute of Chicago in 1927. 400-600
512. Halil (Turkish School), “Reclining Nude”, c.1884; oil/panel, 9” x 13”, signed and dated. 1000-2000
513. American School, “The Mill Stream”, c.1920; oil/canvas laid down on board, 6” x 10”, signed indistinctly. 350-450
514. Y. Gianni, Italian School, 19th-20th century, “Old Street in Naples”, c.1920; gouache, 20” x 13”, signed; titled verso. 500-750
515. Edward Grenet (French, b. 1857 ), “Woman on a Path in a Landscape”, c.1890; pastel, 25” x 21”, signed, excellent original frame. 2000-4000
516. Harvey Ellis (American, 1852-1904), “ Serenade by the River”, c.1890; oil/board, 6.5” x 11.25”, signed. Ellis was best known for his furniture designs which were executed by Gustav Stickley at the turn of the 20th century. He painted and exhibited at the New York Watercolor club, Boston Art Club, Art Institute of Chicago, Pennsylvania Academy of Art, and the National Academy of Design. 1000-2000
517. M. Gianni, Italian School, 19th-20th century, “Naples Bay”, c.1920; gouache, 12.5” x 19.5”, signed; titled verso. 500-750
518. Julius Rolshoven (American, 1858-1930), “Moonlit Landscape”, c.1900; oil/board, 13” x 14”, signed. Rolshoven began teaching in Paris in 1890. He spent a great deal of time in Italy, where this work was most likely painted. He traveled to New Mexico in 1916, and began painting Native American subjects. He spent the last 11 years of his life divided between Santa Fe and Italy. Rolshoven’s work reveals his interest with the effects of light, and typically have a certain romanticism normally associated with old master paintings. 2000-3000
519. Karl Ouren (Norwegian/American, died 1943), “March Afternoon”, c.1937; oil/canvas, 24” x 32”, signed and dated. Ouren worked in Chicago and exhibited at the Chicago Gallery Association and the Palette and Chisel Club. 2500-3500
520. Marshall D. Smith (American, early 20th century), “Venice “, c.1930; oil/canvas (it is a loose, flat canvas that is not stretched, which could be mounted or matted and framed), 9.5” x 8”, initialed. Chicago WPA painter. Smith exhibited in the 1930s at the Art Institute of Chicago. Smith worked in Chicago, New Orleans, and Venice, and painted primarily street scenes and figurative work. 400-600
521. John Anthony Puller (British, late 19th century), “The Gossipers”, c.1868; oil/canvas, 9” x 7”, signed and dated; stamp on canvas (verso) from Charles Roberson, London—possibly the maker of the canvas. Well known genre painter. 2500-3500
522. Johann Holmstedt (Swedish, 1851-1929), “Scandanavian Fjord”, c.1900; oil/canvas, 23” x 31”, signed. 1500-2500
523. James Wethered Bell (American, late 19th century), “Vermont”, c.1875; oil/canvas, 16” x 24”, signed; dated and titled verso. Bell worked in the Hudson River Valley in the 1880s. 2000-3000
524. Frank F. English (American, b. 1854), “A Figure and Horses in a Landscape”, c.1900; watercolor/paper, 16” x 18”, signed. English studied at the Pennsylvania Academy of Fine Art, and in Europe. He frequently worked in watercolor, and was a member of the Philadelphia Sketch Club, and exhibited at the American Art Society, Philadelphia. 3000-5000
525. Edward Volkert, (American, 1871-1935), “Cows in a Landscape”, c.1900; watercolor/paper, 16” x 20”, signed. Important Cincinnati painter. He specialized in landscapes, sometimes with cattle. He also worked in Old Lyme, CT. 1500-2000
526. Edward Lamson Henry (American, 1841-1919), “Buildings at Water’s Edge”,1869, oil/canvas, 9” x 14”, signed and dated. Henry exhibited at the Hudson River Museum and the National Academy of Design, 84th Annual Exhibition (New York). 4000-6000
527. Baron Ernst von Maydell (German, b. 1884), “Rhapsody in Blue (Memory of George Gershwin)”, c.1940; acquarelle/paper, 14” x 10”, signed; title and artist information on verso. Maydell worked in Europe and in the United States, executing almost exclusively realist works of plants and insects. he exhibited at the Corcoran Gallery in 1931 and the Delaware Art Museum in 1950. 2000-3000
528. Clement Rollins Grant (American, 1849-1893), “Woman in a Landscape”, c.1880; watercolor, 14.5” x 10”, signed. Boston painter. Rollins exhibited at the Boston Art Club (1877-1890s), National Academy of Design, and the Paris Salons. 700-900
529. Charles Salis Kaelin (American, 1858-1929), “Rockport”, c.1910; watercolor and mixed media/paper, 13” x 13”, unsigned; accompanied by a letter from Robert W. Loos 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
530. Warren B. Davis (American, 1868-1928 ), “Three Muses”, c.1910; oil/board, 25.25” x 16.5”, signed. Davis was known for his works depicting idealized female figures, and a number of these were reproduced as coverv illustrations for Vanity Fair magazine. He studied at the Art Students League, and exhibited at the Salmagundi Club, Corcoran Gallery, and the Pennsylvania Academy of Fine Art. 3000-5000
531. Henry Hobart Nichols (American, 1869-1962), “Harbor at Night”, c.1930; gouache, 10” x 14”, signed. Nichols was President of the National Academy of Design; he was also director of the Tiffany Foundation and a trustee of the Metropolitan Museum. He was a member of the Lotus Club, New York Watercolor Club, and the Pennsylvania Academy of Fine Arts. His work is in the collections of the Metropolitan Museum, Corcoran Gallery, National Gallery of Art, and the Museum of Natural History. 2000-3000
532. Hiroshi Yoshida (Japanese, 1876-1950), “Figures on a Path”, c.1918; watercolor/paper, 12.25” x 25.5”, signed. Yoshida was most famous for his woodblock prints he made after 1920, but these early original works in watercolor are rare and exceptional. 2000-4000
533. Walter Granville-Smith (American, 1870-1938), “Trout Fishing”, c.1930; watercolor, 9” x 11.5”, signed and dated. Well known painter and illustrator. He exhibited extensively from the 1900-1930, and his work is in the collections of the Salmagundi Club, Smithsonian, Butler Art Institute, and the Lotos Club. 1500-2500
534. James Henry Moser (American, 1854-1913), “Riverboat”, c.1900; watercolor/paper, 9” x 13”, signed. Well known painter and illustrator. Moser worked frequently in watercolor. He exhibited extensively from the 1880s-1910s. His work is in the collections of the White House, Metropolitan Museum, National Gallery of Art, and the Cooper-Hewitt Museum. He was commissioned to do a series of watercolors for the Great Southern Railroad. 400-600
535. William Clusmann (American, 1859-1927), “Winter Scene”, c.1920; oil/canvas, 14.25” x 20.25”, signed. Chicago painter. Clusmann exhibited at the Hoosier Salon, Chicago Watercolor Club, and the Chicago Gallery Association. 400-600
536. Michele Garinei (Italian, 1871-1960), “A Cardinal Examining a Coin”, c.1910; oil/canvas, 17” x 11”, signed, nice period frame. 800-1200
537. J. Demski (European, 19th century), “The Lord of the Manor”, c.1880; oil/canvas, 25” x 19”, signed; title on label verso. Demski was well known for his depictions of Cossacks. 1000-2000
538. Rainer Zstranffy Gabrielle (European, 20th century), “The White Kitten”, c.1930; pastel/paper, 8” x 10”, signed. 250-350
539. Frederick Knecht Detwiller (American, 1882-1953), “Spring Blossoms”, c.1925; oil/canvas, 36” x 28”, signed, original frame. Detwiller studied at the Ecole des Beaux-Arts in Paris and the Instituto di Belle Arti in Florence. He was a member of the National Academy of Design, Paris Association of American Artists, Brooklyn Society of Artists, and the Lotos Club. He exhibited extensively from the 1920s-40s, and his work is in numerous public collections, including the Library of Congress, National Gallery of Art, Rijks Museum, and the U.S. Naval Museum. This is an excellent example of this artist’s work. 2500-4500
540. Glen Cooper Henshaw (American, 1885-1946), “Portrait of a Woman in a Blue Dress”, c.1912; pastel, 22” x 17”, signed and dated. Henshaw studied at the John Herron Art Institute and in Paris. He exhibited at the Art Institute of Chicago, Corcoran Gallery of Art, Hoosier Salon, and the Boston Museum. He frequently worked in pastel and worked in a style associated with the Ashcan painters, especially E. Shinn. 1000-2000
541. Adolph Kauffmann (Austrian, 1848-1916) “Sheep”, c.1880; oil/canvas, 21.75” x 22”, signed and inscribed, “Paris”, original ornate gold frame. 2000-3000
542. Eda Sterchi (American, b. 1885), “A Street in Tunis”, c.1910; oil/canvas laid down on board, 15” x 18”, signed. Sterchi was a strong, independent spirit, traveling alone to Tunis in the 1910s, becoming immersed in the local culture and artistic community, and successfully organizing one man exhibitions there of her work. She applied paint sparingly to raw canvas, utilizing the negative areas to produce dramatic contrasts of intense white against a rough sandy color, mimicking the landscape and architecture of the area. The figures, when placed in an expansive composition, are conveyed as vague and meek, overwhelmed by the wildness of the environment. Human forms in an interior or street scene, conversely, appear rich in color and command a central presence. 800-1200
543. George McConnell (American, 1852-1929), “Glimpse of the Ocean”, c.1919; oil/canvas, 18” x 26”, signed and dated; titled on label verso from the Portland Society of Art. Portland, Maine painter, known for marine subjects. 1000-2000
544. Charles P. Appel (American, b.1857), “Twilight Magic”, oil/canvas, 11.25” x 18”, signed. Appel studied with Chase and Mora and was a member of the Salmagundi Club. He exhibited at the Society of Independent Artists. 1500-2500
545. John Warner Norton (American, 1876-1934), “Landscape with a House”, 1920; oil/canvas, 18.25” x 24.5”, signed and dated. Norton studied at the Art Institute of Chicago and was a member of the Chicago Society of Artists. 1000-1500
546. Robert Wesley Amick (American, 1876-1970), “Pioneers”, drawing, 25” x 18”, signed. Colorado artist and illustrator known for his scenes of Native Americans and western landscapes. Amick studied at the Art Students League and at Yale University. He worked in Greenwich, CT, and was a member of the Greenwich Society of Artists, Old Greenwich Art Association, and the Society of Illustrators. 2000-3000
547. Joseph Adamek (American, early 20th century), “Missouri Orchard Country, near Clarksville”, c.1930; oil/board, 27” x 20”, signed. Adamek was primarily a landscape painter, and worked in St. Louis. 300-500
548. William Engelhardt (American, 20th Century), “Stream through the Autumn Woods”, c.1940; oil/canvas, 24” x 36”, signed. 800-1200
549. A. Martin (American, early 20th century), “Autumn Landscape”, c.1930; oil/canvasboard, 14” x 17”, signed; label on verso from Edward Gross Co., New York. This work is done in the style of R. Atkinson Fox (who was notorious for using pseudonyms to sign his work), and was executed as an illustration. 500-700
550. Carl Bonfig (American, early 20th century ), “Bluebird and Roses”, c.1920; oil/canvas laid down on board, 18” x 12”, signed with monogram. St. Louis painter. 300-500
Sale Date:
May 15, 2005