Sale Date:
March 7, 2004
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Lot Numbers and Descriptions
Estimate
501. Dutch School, “Family Luck”, c. 1910; oil/canvas, 22" x 28", bears an added signature, “De Hoog”; “B. De Hoog” written on stretcher verso also. This painting is quite possibly by Bernard De Hoog (Dutch, 1866-1943), or one of his contemporaries.
1000-1500
502. Eda Sterchi (American, b. 1885), a pair of oil sketches, one pictured: “The American Desert”, c. 1925; both are oil/board, 5" x 16", signed.
500-700
503. Edmund Henry Wuerpel (American, 1866-1958), “Daybreak”, c. 1910; oil/board, 8" x 5.25", signed with monogram. Wuerpel studied with Whistler and Gerome in Paris. He was the Dean of the St. Louis School of Fine Art and exhibited at the St. Louis Expo (1904), Pan-Pacific Expo (1915).
400-600
504. William C Emerson (American, early 20th century), “Spring Landscape with Maidens”, c. 1910; oil/canvas, 24" x 24", signed. Emerson was a member of the New York Watercolor Club and the Westchester Art Institute.
1500-2000
505. Walter Shirlaw (American, 1838-1909), “Man Plowing”, c. 1900; pastel and pencil/paper, 4.5" x 9.5", signed. Shirlaw was active in founding the Art Institute of Chicago in the late 1860s. He painted in the west and in Europe before returning to New York in 1877. He was an influential teacher at the Art Students League, and he exhibited extensively from the 1860s-1900s.
300-500
506. Gulbrandt Sether (Norwegian/American, early 20th century), “Moonlit Harbor Village”, c. 1910; oil/canvas, 22" x 39", signed.
1000-2000
507. Eliot Candee Clark (American, 1883-1980), “Wind River Valley”, c. 1930; oil/canvas, 24" x 36", signed; titled, signed and dated on stretcher verso.
2000-3000
508. Lawton S. Parker (American, 1868-1954), “The Redhead”, c. 1900; watercolor/paper, 6.4" x 9.5", unsigned; R.H. Love Gallery Catalogue Raisonne stamp verso. Important impressionist, and member of a group of artists who worked in Giverny, which included Louis Ritman, Frederick Frieseke, Guy Rose, and Karl Albert Buehr. Parker studied at the Art Institute of Chicago in the late 1880’s, and then in Paris at the Académie Julian. He returned to the U.S. and taught at the St. Louis School of Fine Art, the Art Institute of Chicago, and Beloit College in Wisconsin.
800-1200
509. Charles H. Closson, Jr. (American, 20th century), “Birch Trees”, c. 1930; watercolor and gouache/paper, 26" x 20", signed.
300-500
510. 19th Century School, possibly American, “Expansive Landscape with Distant River and Town”, c. 1880; oil/canvas, 16" x 24", signed indistinctly, imperfections, unframed.
400-600
511. Royal Hill Milleson (American, 1849-1935), “A Summer Landscape with a Small Stream”, c. 1900; watercolor/thick paper, 14" x 20.5", 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.
600-800
512. George F. Schultz (American, b. 1869), “Sailing Vessel off the Coast”, c. 1910; watercolor, 20" x 27", signed. Chicago area artist. Schultz studied and exhibited at the Art Institute of Chicago. He also exhibited at the Pennsylvania Academy of Fine Art. His work is in the collections of the Union League Club (Chicago), Cliff Dwellers, and the collection of the City of Chicago.
600-800
513. Samuel Chatworth Burton (American, British/American, 1881-1955), “West Indies Coastal Trader”, c. 1925; watercolor, 18" x 24", signed; there is another work on the verso depicting a storm in a harbor. Minneapolis artist. Burton studied in Paris and London before moving to the United States. He was a member of the Minneapolis Artist Association, Chicago Society of Etchers, and the California Printmakers. He taught art and architecture at the University of Minnesota.
1000-1500
514. Geoff H. Flavelle (American, 19th-20th century), “Shipping off the Coast”, c. 1900; watercolor/paper, 14" x 28", signed.
250-350
515. Georges LaChance (American, 1888-1964), “Toward the Eternal Hills”, c. 1940; oil/canvas, 20" x 24", signed, original carved frame. LaChance first moved to Brown County in the early 1930s. He was a charter member of the Brown County Art Gallery Association, and he exhibited at the Art Institute of Chicago, Marshall Field Gallery, Swope Art Gallery, and the Hoosier Salon (1926-1961).
1500-2000
516. Victor Casenelli (American, 19th-20th century), “Arab Rider”, c. 1900; gouache/paper, signed, original ornate frame. Casenelli worked in Cincinnati, and painted Indians and Orientalist subjects. He worked primarily in gouache, and this expansive horizontal composition is typical for the artist.
1000-1500
517. Mercier (French, 19th century), “Sheep in a Manger”, c. 1880; oil/canvas, 13.5" x 19.5", signed.
600-800
518. Gulbrandt Sether (Norwegian/American, early 20th century), “Snowy Night”, c. 1910; pastel, 14" x 26", signed. Sether, like Svend Svendsen, specialized in winter landscapes, especially nocturnes.
400-600
519. Walter Simpson Parke (American, b. 1909), “The Chase”, c. 1950; oil/masonite, 16" x 20", signed. Parke worked in Chicago and in Brown County, Indiana. He studied at the Art Institute of Chicago, and was a member of the Oak Park Art League and the Brown County Artist Guild. He exhibited at the Union League Club (Chicago), Municipal Art League (Chicago), and the Denver Art Museum.
800-1200
520. William B. Baird (American, b. 1847), “Alpine Landscape”, c. 1880; oil/canvas, 22" x 32", signed. Baird studied with Adolphe Yvan, in Paris, and exhibited extensively during the 1870s-90s at the Paris Salon, National Academy of Design, and Pennsylvania Academy of the Fine Arts. REF; Amercan Art at the Nineteenth-Century Paris Salons.
1000-2000
521. Arnold Wittkamp (Austrian, 1827-1900), “The Crossroads”, c. 1870; oil/canvas, 24" x 40", signed, massive original semi-ornate frame.
1000-1500
522. American School , “Still Life”, c. 1930; oil/canvas laid down on board, 16" x 18", unsigned, very good period carved frame.
300-500
523. Nels Hagerup (Norwegian/American, 1864-1922) “Coastal Scene”, c. 1910; oil/canvas, 20" x 30", signed, unframed. Hagerup worked on the California and Oregon coasts in the late 19th and early 20th century. He was prolific, and specialized in marines. REF: Artists in California, 1786-1940, Hughes.
1000-1500
524. Helen Morgan (American, 20th century), “Mountain Lake”, c.1920; oil/canvasboard, 12" x 9", signed.
250-350
525. Charles Collins (American, 19th-20th century), “The Shepard”, c. 1896; oil/canvas, 24" x 32", signed and dated. He exhibited at the Art Institute of Chicago in the 1890’s.
600-800
526. Jules Victor Verdier (French, 1862-1926), “Odalisque”, c. 1900; oil/canvas, 15" x 30", signed, excellent highly ornate original frame.
4000-6000
527. Joseph Foxcroft Cole (American, 1837-1892), “The Farm Pond”, c.1873; oil/canvas, 18" x 27", signed and dated, outstanding original frame; label verso from Doll and Richards, Boston. Cole was influenced by William Morris and the French Barbizon masters, and specialized in pastoral scenes in the Barbizon style. He exhibited at the National Academy of Design (1863-1892); Paris Salon (1860s-70s); Boston Athenaeum; Boston Art Club, and the Royal Academy (London). Cole worked in Massachusetts.
2500-4500
528. Frederick Goodall (British, 1822-1904), “The Infant Samuel”, c. 1880; oil/board, 11" x 9", signed with monogram; mark on verso, “George Rowney & Co, London”. Goodall exhibited at the Royal Academy in London. He first visited Egypt in the late 1850s, and then he returned in the 1870s.
3000-5000
529. Jan Frederik van Deventer (Dutch, 1822-1886), “Sailing Ships”, c. 1870; oil/canvas, 15" x 22", signed.
6000-8000
530. Walter Farndon (American, 1876-1964), “Band Concert”, c. 1920; oil/panel, 14" x 10", signed in pencil on verso; estate stamp #411, Vose Galleries label verso, #WF-17. Farndon studied at the National Academy of Design, where he was later elected an Associate in 1928, and an Academician in 1937. He also studied with Robert Henri, and was a member of the Society of Independent Artists. He painted in Ridgefield, New Jersey in the 1920s.
3000-5000
531. Edward Parker Hayden (American, 1858-1922), “Landscape with a Stream”, c. 1880; oil/canvas, 20" x 30", signed. Hayden studied at the Art Students League and with William Picknell. He was a member of the Salmagundi Club, and exhibited at the National Academy of Design (1889-97); Society of American Artists; Boston Art Club (1896-98); and the Philadelphia Art Club. This is a very fine example of Hayden’s work.
2500-3500
532. Bernard de Hoog, Dutch (1866-1943), “Dutch Interior Scene”, c. 1910; oil/canvas, 40" x 32", signed, original frame. He studied and worked in Amsterdam until 1899, then worked in Lauren from 1903 to 1924. He also lived in Bussum before moving to The Hague, where he died in 1943. This artist specialized in warm interior scenes in The Hague tradition.
10,000-15,000
533. George Ames Aldrich (American, 1872-1941), “Britanny Stream in Winter”, c. 1910; oil/canvas, 26" x 32", signed. Aldrich studied with Whistler and F. Thaulow in France. His specialty was richly painted impressionist scenes of Brittany and Normandy, almost always including water. He exhibited regularly at the Hoosier Salon and the Art Institute of Chicago. He was a member of the Societe des Artistes Francais and the Chicago Society of Painters and Sculptors.
10,000-15,000
534. Francois Gerome (French, b. 1895), “Champs Elysees”, c. 1950; oil/canvas, 24" x 30", signed, original frame. Gerome was well known for his scenes of Paris, executed in the manner of Cortes and Blanchard.
2500-3000
535. Elena Vatslovana Yanchak (Russian, 1918-1967) “Melon Patch”, c. 1953; oil/board, 14" x 19.5", signed and dated in Cyrillic.
400-600
536. Carl Krafft (American, 1884-1938), “From the Hilltop”, c. 1925; oil/board, 22" x 38 “, signed; artist label verso. 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
537. John William Orth (American, b.1889), “Still Life”, c.1930; oil/board, 30" x 36", signed, original Newcomb-Macklin frame. Orth was born in Germany and studied there with H. Von Habermann. He moved to the U.S. and settled in Kansas City, MO. He painted still lifes and landscapes, and was a member of the Kansas City Society of Artists.
1000-2000
538. Burt Proctor (American, 1901-1980), “Children at Christmas”, c. 1960; oil/canvas, 12" x 16", signed. Proctor moved to Oak Park, Illinois, in 1908 and enrolled in the Chicago Art Institute. In the early 1920s, he split his time between Pasadena and New York, and worked as an illustrator by day, while he studied at night with Harvey Dunn and Pruett Carter. He settled permanently in the West, and became a successful illustrator and painter.
2000-3000
539. Amee Davis (American, 1893-1973), “Harbor Scene”, c. 1930; oil/canvasboard, 16" x 20", signed. Gloucester, MA painter. Davis studied with Thieme and exhibited at the Westfield Artist Association.
600-800
540. Andrew Thomas Schwartz (American, 1867-1942), “New England Landscape with a Church”, c. 1920; oil/canvas, 16" x 20", signed.
2000-3000
541. Breton (French, 20th century), “Harbor Scene”, c. 1950; oil/canvas, 12" x 16", signed.
600-800
542. American School , possibly Jessie Benton Evans (American, 1866-1954), “Ruins along the Coast”, c. 1920; oil/canvas, 24" x 26", unsigned; provenance: the estate of painter, Margaretta Gratz Brown (American, 1884-1932). Brown knew Evans, and there were other works by Evans in the estate.
500-700
543. Albert Alfredson (American, 20th century), “Snowy Stream”, c. 1950; oil/canvas, 24" x 28", signed. Alfredson studied at the Art Institute of Chicago and the Chicago Academy of Fine Arts. He was a member of the Municipal Art League of Chicago, Brown County Artist Guild, and the American Artist Professional League.
800-1200
544. Carl Krafft (American, 1884-1938), Turkey Creek”, c. 1920; oil/masonite, 18" x 20", signed; artist label with title verso.
2000-3000
545. Mary Deneale Morgan (American, 1868-1946), “Mountain Landscape”, c.1930; oil/board, 12" x 16", signed. Morgan studied at the California School of Fine Art with Arthur Matthews and William Keith. She was a member of the National Association of Women Artists, San Francisco Art Association, Laguna Beach Art Association, and the Carmel Arts & Crafts Club. She was the director of the Carmel School of Art (1917-1925).
3000-5000
546. Carl Krafft (American, 1884-1938), “The Camp, c. 1936; oil/canvas, 16" x 20", signed
2500-4500
547. Harriet B. Krawiec (American, b. 1894), “Still Life”, c. 1935; oil/canvas, 32" x 30", signed. Chicago painter. Krawiec studied with Buehr, Oberteuffer, and Charles Hawthorne. She exhibited at the Chicago Gallery Association, Association of Chicago Painters and Sculptors, and the Art Institute of Chicago. Her work is in the collection of the Illinois State Museum.
1000-2000
548. Charles Warren Eaton (American, 1857-1937), “Through the Woods, Glacier Park, Montana”, c. 1910; oil/canvas, 24" x 20", signed; titled verso. 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.
4000-6000
549. J. Scott MacNutt (American, b. 1885), “Irises”, c. 1949; oil/board, 14" x 11", 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.
300-500
550. A.L. Friedrich (American, early 20th century), “Still Life with Elephant Figurine”, c. 1930; oil/canvas, 16" x 12", signed verso. Friedrich worked in St. Louis and was primarily a still life painter.
300-500
Sale Date:
March 7, 2004