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Sale Date:
May 15, 2005
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Lot Numbers and Descriptions
601. Rico Tomaso (American, 1869-1986), “Strawberries”, c.1930; oil/canvas, 16” x 18”, signed. Tomaso studied at the Art Institute of Chicago. He met illustrator Dean Cornwell through his parents who shared an interest in music with the well known illustrator. Cornwell prompted Tomaso to go to New York, where he met Robert Henri. Tomaso contributed illustrations to The Saturday Evening Post, Redbook, Good Housekeeping, and Ladie’s Home Journal. 1500-2000
602. Tunis Ponsen (American, 1881-1961), “Floral Still Life”, c.1940; watercolor/paper, 18” x 20”, signed. 2000-3000
603. Edmund Brucker (American, b. 1912), “Portrait of a Young Boy”, c.1945; oil/canvas, 17.25” x 13”, signed. Important Indianapolis modern painter. Brucker studied at the Cleveland School of Art, and exhibited at the Hoosier Salon (1939-1980s), Metropolitan Museum of Art, Pennsylvania Academy of Fine Art, and the Carnegie Art Institute. He was primarily a figure painter, and was one of the most successful of the regionalist painters from Indianapolis. His work is in the collections of the Indianapolis Museum of Art, Herron Art School, Indianapolis Motor Speedway, Butler Institute of American Art, Cleveland Museum of Art. 1500-2500
604. Eugene Franquinet (American, 1875-1940), “Matilija Poppies (Wild Sunflowers)”, c.1920; oil/canvas, 20” x 16”, signed; titled verso. Franquinet was born and studied art in Brussels. He lived in the United States from 1907 until his death, and painted in Los Angeles. He was a member of the Laguna Beach Art Association and the Los Angeles Painters and Sculptors. 1000-2000
605. Alfred N. Simpkin (American, 20th century), “At the Piano”, c.1920; oil/canvas, 29” x 34”, signed. Fine, illustrative work. 1000-2000
606. Walter Beach Humphrey (American, b. 1892), “Mother and Child ”, c.1930; oil/canvas, 26” x 20”, signed. New Rochelle, NY painter and illustrator. He was a member of the New Rochelle Art Association (exhibiting from 1922-46) and the Hudson Valley Art Association. Humphrey executed numerous magazine covers and illustrations. 6000-8000
607. Narcisse Henocque (French, 1879-1952), “La Cote de Canteleu”, c.1920; oil/canvas, 21.5” x 32”, signed. Henocque studied with Delattre. He exhibited at the Musee des Artistes de Rouen (1907); Exhibit of Rouen Artists at Museum of Swansea (Great Britain), 1914; Gallery Simonson, 1925; Salon of the Musee Moderne, Paris, 1928-1939; and the Musee des Beaux Arts, Rouen, 1949. REF: L’Ecole de Rouen, Francois Lespinasse. 6500-8500
608. Charles Vignon (French, 20th century) “View of Place de la Concorde “, c.1940; oil/canvas, 28.25” x 38.25”, signed. 1500-2500
608. Paul Deltombe (French, 1878-1971), “Pomiche, la ville aux jette”, c.1930; oil/canvas, 21.5” x 32”, signed. Deltombe studied at the Ecole des Beaux Arts with Bonnat and Robert-Fleury, and at the Grand Chaumiere, were he met Signac, Maitisse, and Luce. He exhibited as early as 1902 at the Salon des Independants. He exhibited for many years at the Salon National des Beaux-Arts (Salon d’Automne), and in 1940, became Directoe of the Ecole des Beaux-Arts in Nantes. Major retrospective exhibits of his work have been held at the Museum of Nantes; Musee Paul Valery, Sete; Paris Congres in St-Jean-de-Monts; and the Chateau de Sedieres, Limousin. 5000-7000
610. André Albert Marie Dunoyer de Segonzac (French, 1884-1974), “Paysage”, c.1920; watercolor/paper, 21” x 16”, signed. Degonzac studied at the Ecole des Beaux-Arts in Paris from 1900 to 1903. He exhibited at the Salon d’ Automne in 1908, and met Dufy and Vlaminck in 1910. He was briefly involved with Section d’Or group, who empahasized the geometric aspects of Cubism in 1912, but later returned to landscape painting, done around Paris and Saint-Tropez. 5000-7000
611. Victor Charreton (French, 1864-1936), “Vase a Fleurs”, c.1910; oil/board, 18” x 14.5”, signed. Charreton is most commonly considered a Post -Impressionist painter. He was self-taught, and devoted his career full time to painting in 1902. He exhibited at the Salon d’ Automne a year later. He lived in central France in the Auvergne region from 1892 until his death, painting landscapes, gardens, and still lifes. 10,000-15,000
612. Raoul Dufy (French, 1877-1953), “Marseilles”, 1925; pen and india ink/paper, 9.75” x 7.5”, signed; titled verso. Dufy was a painter, illustrator and designer. He had a solo show at the Galerie Berthe Weill, Paris, as early as 1906. Dufy started a small factory in 1911 to design and print fabrics for the couturier Poiret. In 1937 he painted a large scale mural of “Electricity” for the Paris International Exhibition, and in 1952, Dufy was awarded the main prize for painting at the Venice Biennale. 8,000-12,000
613. Mary Cassatt (American, 1844-1926), Margot Wearing a Bonnet, c.1903; color etching, 9.75” x 6.75”, unsigned (posthumous). In 1879, Cassatt worked closely with Degas and Pissarro in making prints, for a journal of black-and-white etchings. Although never published her involvement in this project would indelibly influence her oeuvre. The majority of her works were soft-ground etchings with aquatint, a process that echoed Cassatt’s experience as a painter. Throughout the latter half of the 1880’s, Cassatt used a process called drypoint. Most of her subjects are half-length compositions with little background detail. The space is closed and compressed in a quiet, controlled mood. 1000-2000
614. Jules Rene Herve (French, 1887-1981), “Park Scene, Paris”, c.1950; oil/canvas, 18” x 21.5”, signed. Herve studied at the Ecole des Arts Decorative and the Ecole des Beaux Arts. He exhibited as early as 1910 at the Salon des Artistes Francais, and captured the Silver Medal there in 1914, and the Gold Medal in 1925. He also was awarded the Gold Medal for Painting at the International Paris Exhibition (1937). His works are in the collections of The Art Institute of Chicago; The Petit Palais, Paris; and the Dahesh Museum, New York. 3500-4500
615. Antoine Blanchard (French, 1910-1988), “Rainy Paris Street Scene”, c.1960; oil/canvas, 20” x 24”, signed. Blanchard specialized in impressionistic scenes of Paris, and was a contemporary of Eduoard Cortes. 4000-6000
616. Jules Rene Herve (French, 1887-1981), “Street Scene, Paris”, c.1950; oil/canvas, 18” x 21.5”, signed. Herve studied at the Ecole des Arts Decorative and the Ecole des Beaux Arts. He exhibited as early as 1910 at the Salon des Artistes Francais, and captured the Silver Medal there in 1914, and the Gold Medal in 1925. He also was awarded the Gold Medal for Painting at the International Paris Exhibition (1937). His works are in the collections of The Art Institute of Chicago; The Petit Palais, Paris; and the Dahesh Museum, New York. 3500-5000
617. Georges Ferro La Gree (French, Contemporary), “Venice”, c.2000; oil/canvas, 22” x 18.5”, signed; titled verso. . La Gree studied engineering before becoming a full time painter, and he maintains a certain structure to his compositions, even though his style is highly impressionistic. 1000-2000
618. Annette Dufresne (American, 20th century), “Still Life”, c.1940; oil/canvas, 18” x 15”, signed on verso. Dufresne worked in Chicago and was the wife of fellow painter, Farnk Perri. 300-500
619. Edwin J. Bruns (American, b. 1889). “Harbor Scene, Nova Scotia”, c.1930; oil/board, 13” x 15”, signed. 300-500
620. Lavera Ann Pohl (American, b. 1901), “Left Bank, Paris (Borde de Quais Ombrages avec Cathedral Notre Dame, Paris)”, c.1946; oil/canvas, 24" x 30", signed and dated; titled verso. Wisconsin painter. Pohl studied in Germany and at the Wisconsin School of Fine Art. She exhibited extensively in the 1940s, at the Milwaukee Art Institute, National Association of Women Artists, and the Wisconsin Painters and Sculptors. She was the director of the Milwaukee Art Institute in the 1950s. 800-1200
621. Gabriel Spat (American, 1890-1967), “Les Boulevards (Paris)”, c.1930; oil/board, 9.5” x 8”, signed, original frame. 2000-3000
622. Bunilla (European, mid 20th century) “Mother and Child”, oil/canvas, 46" x 20", signed. 400-600
623. Frank Perri (American, early 20th century), “Portrait of a Girl”, c. 1940; 350-550
624. Charles Levier (French, 1920-2003), “Dancers”, c.1960; oil/canvas, 38” x 28”, signed; titled verso. He exhibited at the Galerie Constantine in Lyons (1949), and made his American debut in Los Angeles in 1950. His work is held in the collections of the Museum of Modern Art, Paris; San Diego Museum; Atlanta Museum; Seattle Museum; and the New Orleans Museum. 1000-2000
625. Mariko (Japanese/American, 20th century), “Coastal Scene”, 400-600
626. Charles Levier (French, 1920-2003), “Cafe Scene”, c.1960; oil/canvas, 44” x 30”, signed; titled verso. He exhibited at the Galerie Constantine in Lyons (1949), and made his American debut in Los Angeles in 1950. His work is held in the collections of the Museum of Modern Art, Paris; San Diego Museum; Atlanta Museum; Seattle Museum; and the New Orleans Museum. 1500-2500
627. William Henry (American, 20th century), “Apollo and Daphne”, c.1957; watercolor/paper, 9.5” x 11”, initialed and titled. 250-350
628. Theodora Kane (American, b. 1906), “Woman with a Guitar”, c.1953; oil/board, 28” x 23”, signed and dated. Kane worked primarily in Washington, D.C.and exhibited extensively throughout the 1950s. 300-500
629. Doel Reed (American, 1894-1985), “ Evening Storm”, 1949; aquatint, 10.75” x 17”, signed and dated. Important painter and printmaker. Reed exhibited from the 1920s-50s. He settled in Taos in 1959, after previously spending several summers there. He was known primarily as a printmaker, and he taught at Oklahoma State University (1924-1959). 1000-1500
630. Doel Reed (American, 1894-1985), “The Southwest”, 1947; aquatint, 10.5” x 17”, signed and dated. 1000-1500
631. Doel Reed (American, 1894-1985), “Old Skiff Shop”, 1933; aquatint, 9” x 11.75”, signed and dated. 1000-1500
632. Doel Reed (American, 1894-1985), “Rio Grande”, 1947; aquatint, 11” x 17.75”, signed and dated. 1000-1500
633. Doel Reed (American, 1894-1985), “Storm Over the Cimarron”, 1947; aquatint, 11.75” x 17.75”, signed and dated. 1000-1500
634. Doel Reed (American, 1894-1985), “Remembrances Victorian”, c.1950; aquatint, 10.75” x 17”, signed. 1000-1500
635. Charles Du Tant (American, b. 1908), “The Day Before Shalako”, c.1947; oil/canvas, 22” x 28”, signed; titled and dated verso. Shalako is an important Zuni ceremony which usually takes place in November, after the crops are harvested. Du Tant was born in Oklahoma, and worked in Taos in the 1940s. 3000-5000
636. Grace L. Hamilton (American, 20th century), “Mexican Landscape, Grazing Goats”, c.1960; oil/canvasboard, 20” x 24”, signed; titled on verso. 2000-3000
637. Grace L. Hamilton (American, 20th century), “Cotton Gin and Flour Mill”, c.1960; oil/canvas, 30.5” x 26.5”, signed; titled on verso, with exhibition label: A.O.C.A. (1959). 3000-4000
638. Louis Ribak (American, 1902-1979), “The Lagoon”, c.1955; oil/board, 26.25” x 41”, signed. Ribak was the director of the Taos Valley Art School in the late 1950s. He was a WPA artist, and he exhibited at the Art Institute of Chicago, Worlds Fair New York, and the Whitney Museum. 2500-3500
639. Charles Surendorf (American, 1906-1979), “Rugged Landscape”, c.1965; watercolor/paper, 22” x 30”, signed and dated. Surendorf studied at the Art Institute of Chicago and the Art Students League in New York. He exhibited extensively in the 1930s and 40, and won a prize in 1930 at the Hoosier Salon. His work is in the collections of the San Francisco Museum of Art, Richmond (Indiana) Art Association, and the Tahiti Museum of Art. Surendorf frequently worked in watercolor, and this is an excellent example of his work. 1000-2000
640. Doel Reed (American, 1894-1985), “Old Place at Rancho de Taos”, c.1950; conte crayon/paper, 18” x 25.5”, signed. 800-1000
641. Hilaire Hiler (American/French, 1898-1966), “Untitled”, c.1962; gouache/mixed media, 9.5” x 6.5”, signed. Hiler studied in the U.S. before leaving for France in 1919. There, he studied at the University of Paris and ran a jazz club. He moved to San Francisco in the 1930s, and executed murals for the WPA. He spent some time in L.A. before returning to Paris. He became interested in “structuralism” in art, and a balance of form and color in the latter part of his career. 2000-3000
642. Aimee Gladstone Schweig (American, b. 1897), “Road through the Mountains”, c.1930; oil/canvas laid down on board, 9” x 12”, signed verso. St Louis modernist. Studied at the St Louis School of Fine Art, and was a member of the National Association of Women Artists, St Louis Artists Guild, and the Provincetown Art Association. 300-500
643. Alfred Morang (American, 1901-1958), “Southwest Scene with Buildings”, c.1939; pencil and red ink drawing/paper, 4” x 7”, signed and dated. Important New Mexico modernist. He exhibited at the Santa Fe painters and Sculptors, University of New Mexico, and the Museum of Non-Objective Painting. 300-500
644. Reginald Markham (American, 20th century), “California Scene”, c.1940; oil/board, 10” x 13.5”, initialed. 300-500
645. Frank Perri (American, early 20th century), “Farm at Dusk”, c.1940; gouache/paper, 24” x 18”, signed. Perri immigrated from Italy to Chicago around 1930. He exhibited at the Carnegie Institute of Art and the Art Institute of Chicago, and was President of the Oak Park Artists League. He traveled to Mexico in the late 1930s. He specialized in figurative works and urban scenes of Chicago. 400-600
646. Henry Lawrence Faulkner (American, 1924-1981), “Adoration of the Butterfly”, c.1973; oil/board, 24” x 20”, signed; titled and dated on verso. Faulkner was born in Kentucky, and studied at the Los Angeles County Art Institute with Millard Sheets. He exhibited at several galleries in New York, including the ACA Galleries; he also exhibited at the University of Kentucky, Closson Gallery (Cincinnati), and the University of Miami. 1500-2500
647. Grace L. Hamilton (American, 20th century), “Totems”, c.1960; oil/canvas, 47.5” x 29.5”, signed; exhibition label on verso. 2000-3000
648. Aaron Bohrod (American, 1907-1992), “Green Bull”, c.1940; oil/wood, 12.25” x 14”, signed. Important Chicago modernist. Bohrod created decorative objects and designed ceramics throughout his career. 700-900
649. Eli Levin (American, b. 1938), “Serenade”, c.1982-86; tempera/board, 12” x 16”, signed and dated. Levin exhibited at the Jamison Galleries, Fenn’s Gallery, Realist Gallery, Zaplin-Lampert Gallery, and the Ernesto Mayans Gallery (all in Santa Fe, New Mexico). 1500-2500
650. Aaron Bohrod (American, 1907-1992), “Ram”, c.1940; oil/wood, 8” x 14.5”, signed. Important Chicago modernist. Bohrod created decorative objects and designed ceramics throughout his career. 700-900
Sale Date:
May 15, 2005