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Sale Date:
May 7, 2006
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Lot Numbers, Descriptions and Estimates
601. Orient & Flume paperweight, gold iridescent glass with an etched landscape with bears, signed Richter, marked, numbered and dated 85/200 June 1980, 3”w x 2.5”h 700-900
602. Orient & Flume vase, bulbous form in brown glass with a pulled design in white, green and orange, signed, dated 1973, 5”w x 7”h 600-800
603. Orient & Flume vase, bulbous form in blue iridescent glass with an etched tropical landscape with elephants, marked, paper label, dated 1979 May 2, 5”w x 5.5”h 900-1200
604. WMF vase, large form in clear thick walled glass with red, yellow, blue and green inclusions, unmarked, 6.5”w x 8.5”h 700-900

Session Two - Fine American & European Paintings/Watercolors/Drawings - Approx. 4:00 (cst)
605. Henri Farre (French/American, 1871-1934), “Bears at Stagg Field”, c. 1926; oil/canvas, 24” x 44”, signed and dated. Farre exhibited at the Paris Salon and the Salon des Artistes Francois, and in the United States. Farre worked in Chicago as a painter and illustrator. The Chicago Football League of 1919 included teams from Joliet and as far as Dubuque, Iowa. Some teams were sponsored by politicians, employers or businessmen who saw value in promoting their names or products. The Staley Manufacturing Company’s team, under George Halas, moved from Decatur, Illinois, to Chicago in 1921, and became the Bears the next year. Originally known as Marshall Field, the stadium at the University of Chicago was renamed Stagg Field in 1913 after the famous coach, Amos Alonzo Stagg. In 1942, Stagg Field was the site of the first controlled nuclear reaction. 6000-8000
606. Henri Farre (French/American, 1871-1934), “Bears at Stagg Field”, c. 1926; oil/canvas, 26” x 38”, signed. This image depicting a touchdown run reminds us that the goal post was originally at the goal line. It was moved to the rear of the end zone in the NCAA in 1927, but not until 1974 in professional football. 6000-8000
William Burnett Benton was born in Minneapolis on April 1, 1900. Following his graduation from Yale University in 1921, he began an illustrious career in advertising, working in New York City and Chicago and in 1929 forming Benton and Bowles with Chester Bowles. Within six years, the agency was the sixth-largest advertising firm in the world. In 1936, the restless Benton sold his share in the agency to his partners for over $1,000,000, and he left to become Vice President of the University of Chicago. In 1941 he purchased the Encyclopaedia Britannica.
William Benton became U.S. Assistant Secretary of State in 1945 and took charge of the overseas information programs. During his time in office, he was involved in the development of UNESCO and the Fulbright Scholarship Act. In 1949, he was elected to the Senate and the following year he became the first Democrat to support Dean Acheson against attacks from Joe McCarthy. Over the next year, Benton became one of the Senate’s leaders against McCarthyism. In 1951, Benton introduced a Senate resolution calling for the expulsion of Joe McCarthy, claiming that he had lied and “practiced deception” with his assertions that he had a list of communists working for the State Department. Joe McCarthy retaliated by accusing Benton of purchasing and displaying “lewd works of art” while in the State Department. As well as employing known communists, Benton was accused of anti-American behavior by having the Encyclopaedia Britannica printed in England rather than in the United States. According to McCarthy, Benton was the “hero of every communist and crook in and out of Government.”

In 1951, as Benton came up for re-election, McCarthy continued his smear campaign against Benton accusing him of hiring “communists, fellow travellers, or dupes of the Kremlin” and using government money to send “lewd and licentious” materials abroad through the U.S. information program. Benton lost the election and retired from politics.

William Benton spent his final years working in the book business, publishing the 54 volume Great Books of the Western World and encyclopedias in French, Spanish and Japanese. In 1964, he bought the Merriam Company, which published the line of Webster’s dictionaries. He worked on the 15th edition of the Encyclopaedia Britannica, an editorial project estimated to have cost $32,000,000, the largest single private investment in publishing history. In 1972, the Art Museum at the University of Connecticut officially became The William Benton Museum of Art to honor the former United States Senator from Connecticut and University of Connecticut Trustee. Shortly after the honor was bestowed, Senator Benton passed away but not before giving the Museum a selection of theater drawings from his large collection of works by Reginald Marsh. William Benton died in New York on March 18, 1973.

William Benton’s courage and keen sense for quality is reflected in the artwork he collected. He was never a follower of someone else’s taste; he was confident in his ability to identify the highest level of achievement in artistic expression. The following thirteen works come directly from the Benton family.
607. Reginald Marsh (American, 1898-1954), “Gypsy Rose Lee and the Star and Garter”, c. 1943; ink, watercolor /paper, 22” x 29”, signed, dated, and titled; labels verso. Marsh was an urban realist working in New York as both a painter and illustrator. He opposed abstraction, and focused entirely on people involved in day to day life activities. Marsh met William Benton while studying at Yale, and the two were good friends.

Exhibited: The Whitney Museum of Art, The William Benton Museum of Art, School of Fine Arts, University of Connecticut (Reginald Marsh Retrospective)

Provenance: The collection of Senator William Benton. 50,000-70,000
608. Reginald Marsh (American, 1898-1954), “The Trapezists”, c. 1940; watercolor and ink/paper, 25” x 16”, unsigned; there are vignette drawings in the border as well as writing which are hidden by the matte; exhibition labels verso.
Exhibited: Museum of Art, University of CT, William Benton Museum of Art, 1973

Provenance: The collection of Senator William Benton. 50,000-70,000
609. John Heliker (American, 1909-2000), “The Heights”, c. 1957; oil/canvas, 25” x 40”, signed and dated; labels verso. Originally a Cubist painter working with shattered planes of color, he evolved into a realist with loose modernist brushwork and bright color in the painting of interiors and the Maine coast. In 1965, Heliker was a founding member of the New York Studio School with Mercedes Matter, Alex Katz, Leland Bell, Philip Guston and Nicholas Carone.
Exhibited: Whitney Museum, Wadsworth Atheneum, The World Exposition: Suita Osaka Japan (Encyclopaedia Britannica Pavillion, American Park, 1970)

Provenance: The collection of Senator William Benton. 2000-4000
610. Reuben Tam (American, 1916-1991), “Volcanic Range”, c. 1947; oil/canvas, 20” x 40”, signed and dated; titled verso with label from Downtown Gallery (NY). Tam worked in Hawaii, and summered on Monhegan Island. He studied at the University of Hawaii and at the New School for Social Research. His atmospheric landscapes reflected the moods of nature. His work is in the collections of the Whitney Museum and the Museum of Modern Art.

Provenance: The collection of Senator William Benton. 3000-5000
611. Darrel Austin (American, 1907-1994), “Cub in a Green Landscape”, c.1960; oil/canvas, 8.25” x 10.25”, signed; Perls Gallery (NY) label verso.

Provenance: The collection of Senator William Benton. 1000-2000
612. Darrel Austin (American, 1907-1994), “Cub in a Blue Landscape”, c.1960; oil/canvas, 8.25” x 10.25”, signed and dated; Perls Gallery (NY) label on verso. Austin studied at the University of Oregon. He is in the collections of the Metropolitan Museum of Art, Detroit Institute of Art and the Boston Museum of Fine Arts.

Provenance: The collection of Senator William Benton. 1000-2000
613. William Thon (American, 1906-2000), “Spanish Spring”, c. 1960; oil/board, 22” x 36”, signed. Born in New York City, Thon received the Prix de Rome in 1947, followed by a Fellowship from the American Academy in Rome where he later served as Artist in Residence. He was a member of The American Academy and Institute of Arts and Letters, as well as the National Academy of Design. His work was awarded innumerable prizes and is in over 60 museum collections, including The Metropolitan Museum of Art, The Brooklyn Museum, The Hirshhorn Museum, The Butler Institute of American Art, The Columbus Museum of Art, and in Maine, The Farnsworth Art Museum, The Portland Museum of Art, and The Ogunquit Museum of Art.

Provenance: The collection of Senator William Benton. 1000-2000
614. Ethel Magafan (American, 1916-1993), “Distant Place”, c. 1960; egg tempera/masonite, 11” x 13”, signed; label verso from John Heller Gallery, NY. Magafan and her twin sister, Jenne, both studied at the Colorado Springs Fine Art Center. They met Doris Lee and Arnold Blanch who suggested they paint at the artist colony in Woodstock, NY, so they did. Ethel painted WPA or American Scene style western landscapes, although her style became increasingly abstracted throughout her career.

Provenance: The collection of Senator William Benton. 2000-3000
615. Abraham Rattner (American, 1895-1978), “Storm Composition #4”, c. 1955; oil/masonite, 36” x 48”, signed and dated; titled verso.. One of Americas leading Expressionist painters. He studied at George Washington University, Corcoran School of Art, Pennsylvania Academy of the Fine Arts, and in Paris. In 1935, he had his first one-man-show at the Galerie Bonjean, Paris, at which time the French government purchased “Card Party” for the Louvre Museum collection. In 1940, he toured the United States with Henry Miller, resulting in an iconoclastic travelogue, The “Air-conditioned Nightmare”, with text by Miller and drawings by Rattner. He experimented with mosaic, tapestry and stained-glass. His stained-glass designs were highly celebrated and respected. His most famous stained-glass piece was the window for the Chicago Loop Synagogue. He taught at the New School for Social Research and The Art Students League. His work is in the collections of the Art Institute of Chicago; Corcoran Gallery of Art, Washington, DC; Whitney Museum of American Art, Pennsylvania Academy of the Fine Arts, Metropolitan Museum of Art, Whitney Museum of American Art, New York; Musée du Jeu de Paume, Paris; Hirshhorn Museum and Sculpture Garden, and Art Institute of Chicago.

Provenance: The collection of Senator William Benton. 6000-8000
616. Siegfried Gerhard Reinhardt  (German/American, 1925-1984 ), “The Family”, c. 1958; oil and wax, with applied gold leaf/masonite, 48” x 36”, signed and dated; labels verso. Reinhardt studied at Washington University in St Louis (St Louis School of Fine Art). In the 1940s, Reinhardt designed stained glass for Emil Frei, and worked as an illustrator for the Shanghai edition of Stars and Stripes .He exhibited at the Whitney Museum, Art Institute of Chicago, Pennsylvania Academy of Fine Art, St Louis Art Museum, and Midtown Galleries. In 1952, Life magazine hailed him as one of the most important young artists working in the United States. He executed numerous murals in St Louis, including, “The History of Flight”, at Lambert International Airport. He taught at Washington University from 1955-1970.
Exhibited: Midtown Gallery; Columbus Gallery Museum of Art; University of Connecticut; Whitney Museum of Art

Provenance: The collection of Senator William Benton. 6000-8000
617. Robert Remsen Vickrey (American, b. 1926), “Snow and Rocks”, c. 1955; , tempera/board, 18” x 30”, signed, labels verso. Vickrey studied at Yale, and with Reginald Marsh and Kenneth Hayes Miller at the Art Students League. Vickrey was one of the few realist painters who commanded the attention and respect of the New York art scene in the 1950s, when the Abstract Expressionists were so popular.
Exhibited: Midtown Metropolitan Museum Centennial Exhibition of the AWS, Wadsworth Pathenium.

Provenance: The collection of Senator William Benton. 7000-9000
618. Reginald Marsh (American, 1898-1954), “Girl Bicyclist”, c. 1951; tempera/masonite, 40” x 16”, signed and dated; labels verso (sketch painted on verso).

Exhibited: Whitney Museum, University of Connecticut, University of Arizona

Provenance: The collection of Senator William Benton. 15,000-25,000
619. Reginald Marsh (American, 1898-1954), “Fun in the Dark”, c. 1950; watercolor and ink/paper, (double-sided), 21” x 29.5”, signed and dated.

Provenance: The collection of Senator William Benton. 20,000-30,000


view of the image on verso of this lot
620. Lundy Siegrist (American, 1925-1985), “Virginia City”, c.1960; oil/canvas, 33” x 44”, signed, massive original “barnwood” style frame. Well-known Bay Area painter. This is an outstanding example of his work. 4000-6000
621. William S. Schwartz (Russian/American, 1896-1977), “Street Corner in South Haven (Michigan)”, c. 1926; oil/board, signed; 10” x 15”, titled and dated verso. This is an early example by the artist. 8,000-10,000
622. William S. Schwartz (Russian/American, 1896-1977), “Along Lake Michigan”, c. 1940; oil/canvas, signed; 30” x 36”, titled and dated verso. Important Chicago modern painter and printmaker. Schwartz studied at the Art Institute of Chicago, and exhibited extensively throughout the 1920s-40s. His work is included in the collections of the Art Institute of Chicago, Detroit Institute of Art, Library of Congress, Dallas Museum of Fine Art, Biro-Bidjan Museum (Russia), and the Department of Labor. 20,000-30,000
623. Gregory Orloff (Russian/American, 1890-1981), “Watering the Horses”, c. 1935; oil/masonite, 34” x 32”, unsigned; provenance: the estate of the artist, collection of Harlan J. Berk, Chicago. Important Chicago modernist painter and printmaker. This is an iconic example of American Scene painting. REF: Art of Today, Chicago: 1933 , Jacobson; Chicago Modern, 1893-1945: Pursuit of the New, (Terra Museum Exhibition, 2004) 10,000-15,000
Edward Steichen (American, 1879-1973) is one of the most important figures in the history of photography. He was a passionate advocate for photography as an art form, and led, along with Alfred Stieglitz, an aesthetic revolution that enabled photography to be considered as a medium capable of interpretation and expression, and not as a mere documentary record of visual facts. Early in his career, he was associated with a style of photography known as Pictorialism. Pictorialists felt that the aesthetic promise of photography lay in an emulation of painting. Steichen’s early work, then, adopted many Pictorialist
techniques such as a jiggled tripod, a lens bathed in glycerin, or various darkroom tricks designed to produce painterly, soft-focus effects.

In 1905, with Alfred Stieglitz, he founded the famous Little Galleries of the Photo Secession at 291 Fifth Avenue in New York (later the 291 Gallery). Stieglitz greatly admired Steichen’s work and featured his photos in his journal, Camera Work often. Influenced by early modernism and abstraction in painting, he gradually abandoned his Pictorialism in favor of straight photography with a strong sense of design and clean, uncluttered images and compositions.
This collection of very personal images created by Steichen comes from a relative of the artist.
624. Edward Steichen (American, 1879-1973), “Nell and Joan, vintage gelatin silverprint, 7.9” x 9.8”, inscribed, matted, unframed. 1500-2500
625. Edward Steichen (American, 1879-1973), lot of two images, “Child in a Field” (shown right), vintage gelatin silverprint, 2.9” x 4.5”, matted, unframed. 500-700
626. Edward Steichen (American, 1879-1973), “Mother and Child”, vintage gelatin silverprint, 10” x 8”, matted, unframed. 800-1200
627. Edward Steichen (American, 1879-1973), “Children with Leaf Garlands”, vintage gelatin silverprint, 9.5” x 6.2”, matted, unframed. 800-1200
628. Edward Steichen (American, 1879-1973), “Girl with Feathered Cap”, vintage gelatin silverprint, diptych, 4.5” x 3.5”, matted, unframed. 1500-2500
629. Edward Steichen (American, 1879-1973), “Little Girl with Dog”, vintage gelatin silverprint, 4.5” x 3.5”, matted, unframed. 800-1200
630. Edward Steichen (American, 1879-1973), lot of three images, two pictured, “Child in Bath”, vintage gelatin silverprint, 9.9” x 7.9”, inscribed, matted, unframed. 1500-2500
631. Edward Steichen (American, 1879-1973), “Studio Portrait of Kate”, c. 1925; vintage gelatin silverprint, 10” x 8”, matted, unframed. 3500-4500
632. Edward Steichen (American, 1879-1973), “Portrait of Clara at Voulangis”, vintage gelatin silverprint, 3.5” x 2.5”, matted, unframed. In 1908, the Steichens rented a farmhouse in the village of Voulangis par Crècy-en Brie, a few miles northeast of Paris. Steichen returned to Voulangis after WWI, and this was where, in 1923, he and his gardener burned all of his paintings because he felt that photography was now his only true form of expression. 1200-1600
633. Edward Steichen (American, 1879-1973), “Portrait of Mr. Pratt”, vintage gelatin silverprint, 6.5” x 4”, matted, unframed. 800-1200
634. Edward Steichen (American, 1879-1973), “Portrait of Helen Sherman Pratt”, c. 1918; vintage gelatin silverprint, 9.5” x 7.5”, matted, unframed. 3000-4000
635. Edward Steichen (American, 1879-1973), “Doorway at Voulangis with Steichen’s Mother”, vintage gelatin silverprint, 2.1 x 2.1”, matted, unframed. 400-600
636. Edward Steichen (American, 1879-1973), “Daughter and Friend at Voulangis”, vintage gelatin silverprint, 4.5” x 3.5”, matted, unframed. 600-800
637. Edward Steichen (American, 1879-1973), “Goats on Michigan Beach”, c. 1930s; vintage gelatin silverprint, 7.5” x 9.2”, matted, unframed. Well-known poet, Carl Sandburg, married Steichen’s sister, Lilian in 1908 (Sandburg called her “Paula”). Mrs Sandburg raised nubian goats known as Chikaming at their residence in Michigan, and developed special breeding techniques for them. Carl Sandburg wrote the introduction to the exhibition catalog for Steichen’s The Family of Man (1955). 400-600
638. Edward Steichen (American, 1879-1973), lot of two images, “Mary with the Sandburg’s Goats”, c. 1930s; vintage gelatin silverprint, 8” x 7.5", matted, unframed. 800-1200
639. Frank V. Dudley (American, 1868-1957), “Lake Scene at the Indiana Dunes”, c.1920; oil/canvas, 18 X 24”, 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. 10,000-15,000
640. Karl C. Brandner (American, 1898-1961), “Landscape with Haystacks”, c. 1940; oil/board, 18” x 24”, signed; label from Chicago Gallery Association and the Palette and Chisel Academy 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. 1500-2000
641. Jane Porter Robertson (American, early 20th century), “Children with Flowers”, c. 1915; watercolor, 13” x 10”, signed. Denver artist. She exhibited at the Denver Artist Association and the Denver Artists Club (1915-1919). 600-800
642. Carl Rudolph Krafft (American, 1884-1938), “Snowbound” c.1920; oil/canvas, 16” x 20”, signed ; artist’s label on verso with title; original carved frame. Krafft maintained a studio in Oak Park, Illinois, but he also painted in the Missouri Ozarks. He and his friend, St. Louis painter, Frank Nuderscher, co-founded the Ozark Society of Painters. This is a nice, early example, and good subject matter. 3000-5000
643. Chauncey Foster Ryder (American, 1868-1949), “An Old Gate”, c. 1910; oil/canvas, 12” x 16”, signed, good carved frame. Ryder worked in Old Lyme, Connecticut. 4500-6500
644. WITHDRAWN
645. Karl Albert Buehr (American, 1866-1952), “Figures Walking along a Path”, c. 1920; oil/canvas, 21" x 26", signed. Buehr studied at the Art Institute of Chicago from 1888-1893, and then in Paris in 1901-02. He was not formally associated with the “Frieseke Group”, but he did paint in Giverny at about the same time, and shared a similar aesthetic. In 1914, Buehr returned from a long time spent abroad to teach at the Art Institute of Chicago, and his works of Giverny were exhibited there. He also painted in the Midwest, and exhibited at the St. Louis Expo (1904); Municipal Art League (Chicago); and the Chicago Gallery Association. 6000-8000
646. Frank Benson (American, 1862-1951), “Duck on a Pond”, ca.1920; etching, 5.5” x 8.25”, signed, matted, framed. 200-300
647. Frank Benson (American, 1862-1951), “Finch on a Branch”; etching, 6.5” x 4”, signed, matted, framed. 200-300
648. Finn Wennerwald (Danish, b. 1896), “Edge of the Pond”, c.1930; oil/canvas, 18” x 26”, signed. 1400-1800
649. William C. Bauer (American, 1862-1904), “Farmhouse by a Pond”, c. 1890; watercolor, 7” x 10”, signed. Bauer worked in New Jersey and New England, and frequently worked in watercolor. He exhibited at the National Academy of Design, Art Institute of Chicago, and the Boston Art Club (1880s-90s). 600-800
650. Henry H. Cross (American, 1837-1918), “Mountain Landscape with Bighorn Sheep”, c. 1895; oil/canvas, 40” x 30”, signed and dated. Cross studied with Rosa Bonheur in the 1850s, and became a fine painter of animal subjects himself. He had a studio in Chicago in the 1860s, and then went west, focusing on wildlife subjects and Native American life. 2500-4500
651. Matthew Hastings (American, 1834-1919) "In Arcadia", c. 1870; oil/canvas, 22" x 18", signed. Early St Louis historical painter. Hastings was born in Georgetown, D.C., and moved to St Louis in 1840. Arcadia, a small Ozark town south of the city was a popular destination for artists. This is an early and important example of St Louis painting. Works by this artist rarely come up at auction. 1500-2500
652. Henriette Desportes (French, b. 1877), “Contentment”, c. 1900; oil/canvas, 56” x 36”, signed; label from unidentified Paris exhibition on frame (verso). Desportes was awarded prizes at the Societaire du Salon des Artistes Francais in 1901, 1903, and 1908. Provenance: Paul R. Benson to Earlham College. 2000-3000
653. Patrick Vincent Berry (American, 1852-1922), “Expansive Landscape”, c. 1880; oil/canvas, 10” x 14”, signed. Berry studied with Bierstadt and William Hart, and specialized in landscapes. He exhibited at the National Academy of Design, and taught at Fordham University in New York. 1000-2000
654. Haynes King (school of) (English, 1831-1904), “Young Sportsmen”, c. 1880, oil/canvas, 36” x 28”, bears signature. King was born in Barbados, but came to England in his early twenties where he became a notable London based figure painter. He exhibited at the Royal Academy from the 1860s-1900s. 1000-2000
655. Royal Hill Milleson (American, 1849-1935), "Coastal Town at Dawn", c. 1900; watercolor/paper, 6.5" x 9.5", signed. 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. 500-700
656. William E. Harris (British, 1860-1930), “Children by a Stream”, c. 1890; oil/canvas, 8.5” x 11.5”, initialed. 700-900
657. Garstin Cox (British, b. 1893), “Rocky Coastline”, c. 1925; oil/board, 10” x 12”, signed; artist’s label verso. Cox exhibited at the Royal Academy as early as 1912. He was a member of the St. Ives Art Colony and the Newlyn Society of Artists. 1000-1500
658. John Henderson (Scottish, 1860-1924), “Young Fisherman”, c.1900; oil/canvas, 18” x 24”, signed. 2500-3500
659. Doris and Richard Beer (American, early 20th century), lot of three works, “Nantucket”, “Orange Street”, and “Old North Slip”, c. 1940; watercolors, 5.5” x 7.5”, signed and titled. 300-500
660. Anthony Buchta (American, early 20th century), “Fishing Harbor”, c.1930; watercolor, 8” x 10”, signed. Buchta studied at the Art Institute of Chicago and at the Chicago Academy of Fine Art. He exhibited at the Chicago Galleries Association, Chicago Palette and Chisel Club, and the Hoosier Salon. 300-500
661. D. Kazakh “Menah” (Russian, 20th century), “Coastal Scene”, c. 1972; oil/board, 19.75” x 23.5”, signed, dated and titled on verso 300-500
662. Ernest Fredericks (American, early 20th century), “Woodland Stream”, c. 1920; oil/canvas, 16” x 20”, signed. Chicago landscape painter. He exhibited at the Art Institute of Chicago (1924-26). 500-700
663. Herbert Gurschner (Austrian, 1901-1975), colored woodblock print, signed. Studied at the Kunstgewerbeschule in Innsbruck, in Vienna, and for four years at the Munich Academy under Franz von Stuck. Travelled in Italy and Spain. Was influenced by Hodler and Egger Lienz, from whom he had private instruction. First one-man exhibition at the Fine Art Society 1929. Exhibited at the Venice Biennale 1930; also in Austria, Germany, France and the U.S.A. Settled in England 1932. 800-1200
664. Robert Hollowell (American, 1886-1939), “Cuban Landscape”, c.1929; watercolor/paper, 18” x 23”, signed and dated; label on verso from Richard Love Galleries, Chicago. 400-600
665. Paul E. Harney (American, 1850-1915), “Midwestern Landscape”, 1908; oil/canvas, 11” x 14”, signed and dated. Harney studied at the National Academy of Design in New York City and the Royal Academy in Munich. He painted most of his career in St. Louis. His subjects were monks, chickens, and landscapes. 1000-2000
666. Genevieve Goth Graf (American, 1890-1961), “Zinnias”, c. 1940; oil/board, 9” x 12”, signed; titled on verso.. Graf was married to Brown County, Indiana painter, Carl Graf (and sister of Marie Goth). She exhibited at the Hoosier Salon in the 1930s. 300-500
667. Paul Turner Sargent (American, b. 1880), “Illinois Landscape”, c. 1930; oil/canvas, 17.5” x 23.5”, unsigned; accompanied by the estate certification, unframed. Illinois landscape painter. Sargent painted in Charleston, IL, and specialized in colorful, impressionist landscapes. He also worked in Indiana, and exhibited at the Hoosier Salon and the Brown County Art Association. Sargent painted in Los Angeles for a time in the 1920s. 800-1200
668. Percy B. Eckhart (American, 1877-1969), “California Landscape”, c. 1930; oil/canvas, 12” x 16”, signed. Eckhart exhibited at the Art Institute of Chicago in the 1290s-1930s. Eckhart was active in the art and cultural scene in Chicago throughout the 20th century. He was the founder of the Ravinia Festival Association. He graduated from the University of Chicago in 1941. 600-800
669. C. Curry Bohm (American, 1894-1971), “Coastal Scene”, c.1940; oil/canvasboard, 8” x 10”, signed, original frame. Important landscape painter from Indiana. Bohm studied at the Art Institute of Chicago, and began visiting Brown County around 1920, usually spending part of the summer there. 300-500
670. W. Blackwood (American/Canadian, early 20th century), “Winter Shadows”, c. 1920; watercolor and gouache/board, 7” x 10”, signed, period arts & crafts style frame. 300-500
671. H.H. Betts (American, 1881-1951), “Acoma”; oil/canvas, 25.5” x 33.5”, signed, framed. 2000-3000
672. Addison Irwin Johnson (American, 1892-1986), “California Scene”, c. 1960; oil/canvas, 24” x 30”, signed and dated. Johnson studied at the Art Students League before moving to Los Angeles in 1922. Member: Santa Monica AA (pres. & vice pres.); Desert Art Center (Palm Springs); Riverside AA. Exh: Minneapolis Inst. of Art, 1922; Mission Inn (Riverside); UC Riverside (solo); Riverside Co. Fairs (prizes). 1000-2000
673. Norman Henry Yeckley (American, b. 1914), “Desert Landscape”, c. 1940; oil/canvas, 14” x 18”, signed. Yeckley studied at the Art Students League and the Otis Art Institute. He worked in Glendale, California, and was a member of the Glendale Artist Association and the Laguna Beach Artist Association. 400-600
674. Harold Vincent Skene (American, b. 1883), “Colorado Landscape”, c. 1968; oil/board, 24” x 30”, signed. Skene’s work is included in the Denver Public Library Western History Collection. 500-700
675. Harold Vincent Skene (American, b. 1883), “Black Canyon”, c. 1962; oil/canvas laid down on board (original), 24” x 30”, signed. Skene’s work is included in the Denver Public Library Western History Collection. 500-700
676. Richard Lorenz (German, 1858-1915), “Western Scene”; oil/board, 10.5” x 13.5”, signed, framed. 3000-4000
677. Milton Menasco (American, 1890-1974), “Rider in a Western Landscape”, 1916; oil/canvas, 10” x 14”, signed and dated. Menasco was well known for his equestrian subjects. He was born in Los Angeles and he worked there and in New York as an illustrator for many years. He moved to Kentucky in 1948. Richard DuPont, Isabel Sloane, and John Hay Whitney were all collectors of his work. This is an excellent, early example. Ilustrator for the Black Beauty books. 4000-6000
678. Grace Ravlin (American, b.1885), “Vase of Flowers”, c.1920; oil/canvas, 25.5" x 21.5", signed. 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). 1500-2500
679. Albert Looking Elk (Albert Martinez) (American, 1888-1941), “Taos Pueblo, Early Evening”, c. 1925; oil/board, 7” x 9”, signed. Albert worked as a model for Irving Couse beginning around 1900, and later took some art lessons from Oscar Berninghaus. He sold his paintings primarily himself to visitors of Taos Pueblo, but did exhibit at the Museum of Fine Arts in Santa Fe from 1923-1930. 1500-2500
680. Harold Vincent Skene (American, b. 1883), “Up the Hill”, c. 1968; oil/ board, 18” x 22”, signed; titled and dated verso. Skene’s work is included in the Denver Public Library Western History Collection. 500-700
681. Edward Norton Ward (American, b. 1928), “One More Season”, c.1990; oil/canvas, 20" x 30", signed; titled verso. Contemporary California painter. A student of the late Joshua Meador for five years, Ward was elected to membership in the Carmel Art Association in 1963, serving three terms as President. He is an Artist Member of the California Art Club and Charter Member of the Society of American Impressionists. Carmel Plein Air Art Festival “Best Local Artist” 2000 & 2001. 1000-2000
682. Albert Looking Elk (Albert Martinez) (American, 1888-1941), “Taos Pueblo”, c. 1925; oil/board, 7” x 9”, signed. Albert worked as a model for Irving Couse beginning around 1900, and later took some art lessons from Oscar Berninghaus. He sold his paintings primarily himself to visitors of Taos Pueblo, but did exhibit at the Museum of Fine Arts in Santa Fe from 1923-1930. 1500-2500
683. Birger Sandzen (American, 1871-1954), “Figure of a Boy near Houses”, c.1894; watercolor, 13” x 9.5”, signed and dated.

Provenance: The family of painter Carl Lotave. 3000-5000
684. Birger Sandzen (American, 1871-1954), “Aloe Vera”, c.1899; watercolor, 8” x 5.5”, initialed. Provenance: The family of painter Carl Lotave. 2000-3000
685. Birger Sandzen (American, 1871-1954), “A Building by the Water”, c.1894; watercolor, 14” x 10”, unsigned.

Provenance: The family of painter Carl Lotave. 2000-3000
686. Birger Sandzen (American, 1871-1954), “Finnboda (Stockholm)”, c.1894; watercolor, 13” x 9.5”, signed and dated.

Provenance: The family of painter Carl Lotave. 3000-5000
687. Birger Sandzen (American, 1871-1954), “Moonlight Reflections”, c.1908; oil/board, 14” x 7”, signed. Provenance: The family of painter Carl Lotave, who was a classmate of Sandzen’s in Stockholm, and who also taught at Bethany College, and was a close friend.  Birger Sandzen was born in Sweden, where he studied at the College of Skara and the University of Lund.  He furthered his studies in Stockholm and Paris, working with Anders Zorn, Edmond-Francois Aman-Jean, and Georges Seurat.  Sandzen was intrigued by the idea of traveling to the United States. Sandzen immigrated to America in 1894, accepting a post at Bethany College (Lindsborg, Kansas). Sandzen exhibited at the Art Institute of Chicago. Kansas City Artists, Pennsylvania Academy of Fine Art, Taos Society of Art, and the Society of Independent Artists. 12,000-18,000
688. Birger Sandzen (American, 1871-1954), “Coastal Landscape”, c.1911; oil/board, 14.5” x 11.5”, signed.

Provenance: The family of painter Carl Lotave. 6000-8000
689. Lucie Hartrath (American, 1868-1962), "Among the....", c. 1910; oil/canvas laid down on board, original, 9" x 12", signed; artist's label on verso with her address in Chicago. Important Chicago and Indiana area impressionist. Hartrath studied at the Art Institute of Chicago with Vanderpoel. She exhibited as early as 1901, at the Pennsylvania Academy of Fine Art. She also exhibited at the Hoosier Salon, Paris Salon, and the Chicago Municipal Art League. Hartrath visited Brown County, Indiana in 1908, and then painted there regularly. 2000-3000
690. Birger Sandzen (American, 1871-1954), “Shore Birds”, c.1898; watercolor, 11” x 9”, signed and dated.

Provenance: The family of painter Carl Lotave. 2500-4500
691. J. Scott MacNutt (American, b. 1885), “Surf”, c.1921; oil/canvas, 18” x 22”, signed and dated. MacNutt studied with Woodbury in Ogunquit. He exhibited at the St. Louis Art Museum and the St. Louis Artist Guild. He also taught at the Charles Woodbury School in 1934. 500-700
692. John A. Dominique (American, b. 1893), “Mountainside”, c.1975”, oil/board, 12” x 14”, signed and dated. Dominique studied with C.C. Cooper, Carl Oscar Borg, and Armin Hansen. He exhibited at the Portland Art Museum, Oakland Art Museum, Los Angeles Art Museum, and the Santa Barbara Museum of Art. 400-600
693. Paul Conner (American, 1881-1968), “California Landscape”, c. 1920; oil/canvasboard, 13” x 18”, signed. Conner settled in Long Beach, California in 1919, and studied painting with Albert C. Conner and Henry L. Richter. At his ocean front studio he later taught small painting classes and made painting forays into the southern California deserts in search of subject matter. Member: Laguna Beach Art Ass’n; Long Beach Art Ass’n; Painters & Sculptors of Los Angeles. Works held: Athletic Club (Los Angeles); Deauville Club (Santa Monica); Ebell Club (Los Angeles). 600-800
694. Frank Nelson Wilcox (American, 1887-1964), “Setting Sail”; watercolor, 21.5” x 29.5”, signed, framed. 400-600
695. 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. 700-900
696. Mark Daily (American, b. 1944), “Coastal Blue”; oil/canvas, 12” x 16”, signed, framed. Colorado painter. 1000-2000
697. Charles Bridgeman Vickery (American, 1913-1998), “Sailing Ship on the Lake”, c. 1970; oil/canvas, 18” x 24”, 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). 1000-2000
698. Ann Guillot (American, b. 1875), “Floral Still Life ”, c.1924; oil/canvas, 30” x 25”, signed and dated. Dallas 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. 1000-1500
699. Ernest Fredericks (American, early 20th century), “Mountain River”, c. 1920; oil/canvas, 28 x 38”, unsigned, original ornate frame. Chicago landscape painter. He exhibited at the Art Institute of Chicago (1924-26). 1500-2500
700. James Eccles (American, 1885-1983), lot of two work, one pictured, “Sky Reflections”, c. 1950; oil/canvasboard, 16” x 20”, signed; titled verso, with an oil the same size, titled "Junck". Eccles studied at the Academy of Fine Arts, The Art Institute and Smith School of Art, all in Chicago. He was a member of the American Artists Professional League, The Austin-Oak Park-River Forest Art League, Brown County Gallery Assn., Hoosier Salon, Palette & Chisel Academy and West Suburban Artist Guild. 600-800
Sale Date:
May7, 2006