Sale Date:
March 7, 2004
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Lot Numbers and Descriptions
Estimate
551. A.L. Friedrich (American, early 20th century), “Still Life with Black Vase”, c. 1930; oil/canvas, 16" x 12", signed verso. Friedrichs worked in St. Louis and was primarily a still life painter.
300-500
552. Mariko (Japanese/American, 20th century), “Mountain Landscape”, c. 1930; oil/canvas, 24" x 19.75", signed on verso; back of canvas bears some Japanese stamps and a paper label with Japanese writing; there is also notation in pencil on stretcher.
600-800
553. Mariko (Japanese/American, 20th century), “Poppies”, c. 1930; oil/canvas, 25.5" x 21", signed on verso; back of canvas bears some Japanese stamps and writing.
600-800
554. Mariko (Japanese/American, 20th century), “Coastal Scene”, c. 1930; oil/canvas, 24" x 19.75", signed on verso; back of canvas bears some Japanese stamps and writing.
600-800
555. Gustave Cimiotti (American, 1875-1969), “Coastal Scene with a Lighthouse”, c. 1920; oil/canvasboard, 16" x 20", signed. Cimiotti was best known for his scenes of Monhegan Island, Maine.
600-800
556. Claude Buck (American, 1890-1974), “Shepard with his Flock”, c. 1919; oil/canvas, 12" x 16", signed . Buck founded a group of artists called, “The Introspectives”, who held their first exhibit at the Whitney Studio in 1917. He moved to Chicago in 1919. Buck was considered a Symbolist painter, and his early works such as this were dark and moody. Later in his career, he worked in California. REF: Claude Buck, American Symbolist, Paul Karlstrom.
1000-2000
557. Lester A. Gillette (American, b. 1855), “Among the Hills”, c. 1920; oil/board, 18" x 24", signed; titled verso. Gillette worked in Topeka, Kansas. He painted landscapes and harbor scenes. He was a member of the North Shore Artist Association and the Gloucester Society of Artists.
500-700
558. Paul Turner Sargent (American, 1880-1946), “Sunlit Path in Autumn”, c. 1920; oil/canvas, 18" x 14", unsigned, but guaranteed; provenance, photocopy of affidavit from artist’s estate. Landscape painter from Charleston, Illinois. Sargent exhibited at the Hoosier Salon, Art Institute of Chicago, and in California, at the Laguna Beach Art Association.
1000-1500
559. Priscilla Trotter (American, 20th century), “Harbor Scene”, c. 1930; oil/board, 8" x 10", signed. Boston painter. Trotter studied at the Boston Museum School and the Pennsylvania Academy of Fine Art. She was a member of the North Shore Artist League and the Rockport Artist League. She also worked as an illustrator.
400-600
560. Axel Linus (Swedish/American), “Ranch in Winter”, c. 1940; oil/canvas laid down on board, 18" x 22", signed and dated. Linus studied in Europe, and was a successful artist in his native country of Sweden, before coming to the United States. He lived in Chicago in 1920, working as a portrait painter and muralist. He was a member of the Swedish American Association. He moved to Palm Springs, California in 1940, and remained in that vicinity the remainder of his career. He was a member of the Desert Art Center and the Palm Desert Palette Club.
600-800
561. Mary Cable Butler (American, 1865-1946), “Lehigh County Landscape”, c. 1920; oil/canvas, 18" x 24", signed. She studied at the Philadelphia School of Design for Women and the Pennsylvania Academy of the Fine Arts. Butler traveled, but worked primarily in Philadelphia. Her first exhibit was in 1894 at the Pennsylvania Academy of the Fine Arts, and she continued to show there most years through 1946.
1000-1500
562. Paul Parker (American, b. 1905), “Crashing Surf”, c. 1935; oil/board, 12" x 16", signed. Parker exhibited from 1931-40 at the Art Institute of Chicago, and later taught and worked in South Dakota. He worked as a fine artist and illustrator, and authored books on illustration art.
300-500
563. Harvey Day (American, 20th century), “Wagon Train Through the Desert”, c. 1940; oil/canvas, 20" x 24", signed.
500-700
564. Leonore Smith Jerrems (American, 20th century), “Still Life with Melon”, c. 1930; oil/canvas, 20" x 16", signed. Chicago painter. Jerrems exhibited at the Art Institute of Chicago and the Corcoran Gallery throughout the 1930s-40s.
400-600
565. Mary Gronemeyer (American, 20th century), “Expansive Missouri Landscape”, c. 1940; watercolor/paper, 15" x 11", signed. Mary and her husband, artist Phillip Gronemeyer, both worked and exhibited in St. Louis. Mary studied at Columbia University and the Pratt Institute (NY). She exhibited throughout the 1910s-60s, and frequently worked in watercolor.
200-300
566. Robert Charles Gruppe (American, contemporary), “Swordfishermen”, c. 2000; oil/canvas, 30" x 36", 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. This is an outstanding example from this artist.
4000-6000
567. Adam Emory Albright (American, 1862-1957), “Figures along the Coast”, c. 1920; oil/canvas, 20” x 26”, signed. Chicago area impressionist painter. Albright specialized in scenes of his children in outdoor settings. He exhibited at the Art Institute of Chicago, Pennsylvania Academy of Fine Art, Hoosier Salon, and the Chicago Gallery Association.
4000-6000
568. Andrew Thomas Schwartz (American, 1867-1942), “Gathering Flowers”, c. 1920; oil/canvas, 16" x 20", signed. Schwartz was best known for his crisp landscape paintings. He studied with Duveneck in Cincinnati, and exhibited at the Art Institute of Chicago (1905-09), Pennsylvania Academy of Fine Art (1909-1912). His work is in the collections of the Atkins Museum of Fine Art and the Cincinnati Art Museum.
2000-3000
569. Paul Cornoyer (American, 1864-1923), “Street in Gloucester), c. 1920; oil/canvas, 18” x 24", signed with estate stamp; provenance: Dr. Lawrence Ashby (this work is included in the listing of Cornoyer’s works, Paul Cornoyer, American Impressionist, #22, Lakeview Center for Arts and Sciences, Pioria, IL, 1973). Cornoyer studied in Paris, and then worked in St. Louis until the 1890s. Upon the encouragement of William Merritt Chase, who had acquired some of his work, he moved to New York, where he developed his signature tonalist style, executing rainy, atmospheric street scenes. In the 1920s, he worked in Gloucester, MA.
5000-7000
570. J. Jeffrey Grant (American, 1883-1960), “Rainy Sunday”, c. 1925; oil/canvas, 30" x 20", signed. Chicago area painter. He was a member of the Chicago Art Club, Chicago Painters and Sculptors, North Shore Art Association, and the Chicago Gallery Association. He exhibited throughout the 1910s-30s, and his work is in the collections of the Springfield Art Museum and the Municipal Art League (Chicago). This is an outstanding example of this artist’s work.
3000-5000
571. Jessie Arms Botke (American, b. 1883), “White Peacock”, c. 1920; oil/canvas, 25" x 27", signed. Important California painter. Botke studied at the Art Institute of Chicago and with Albert Herter. She and her husband, Cornelius left Chicago for California in the 1910s. Her most important work features exotic birds in stylized landscapes. She exhibited at the Art Institute of Chicago, National Association of Women Artists, National Academy of Design, Los Angeles Museum, Golden Gate Expo, and the Pennsylvania Academy of Fine Art.
15,000-20,000
572. Rolla Taylor (American, 1872-1970), “Texas Bluebonnets”, c. 1940; oil/board, 10" x 14", signed; label on verso from “Collins Art Shop, San Antonio, Texas”. Well known Texas landscape painter. Taylor studied with Onderdonk and Arpa. He was a member of the Southern States Art League, Texas Fine Artist Association, and the American Federation of Artists. He exhibited at the Cotton Carnival (1910), Annual Exhibition of Texas Artists (Ft. Worth Art Museum), San Antonio Art Guild, San Antonio Competitive Exhibitions, Texas Federation of Women’s Clubs, and the Artists of Southeast Texas Exh. His work is included in the collections of the Panhandle -Plains Historical Museum and the Rosenburg Library (Galveston). REF: Dictionary of Texas Artists, 1800-1945, P. Grauer & M. Grauer. This is Taylor’s most desirable subject matter.
3000-5000
573. Wallace Bassford (American, early 20th century), Concarneau, France”, c. 1930; oil/canvas, 28" x 33", signed. Bassford studied at the St. Louis School of Fine Art Fred Greene Carpenter and Edmund Wuerpel, as well as with George Elmer Browne. He was a member of the St. Louis Artist Guild, Provincetown Art Association, and the Cape Cod Artist Association. This is an excellent, early example of his work.
2500-4500
574. Harrison Begay (American, b.1927), lot of two watercolors, one pictured: “Mother and Daughter on Horseback”, 16" x 16", signed, “Haskay Yenah Yah”; with another depicting two horseback riders, 16" x 19", also signed.
800-1200
575. Gulbrandt Sether (Norwegian/American, early 20th century), “Snowy Landscape”, c.1910; watercolor/paper, 21.5” x 15”, signed. Sether, like Svend Svendsen, specialized in winter landscapes, especially nocturnes.
600-800
576. Matt Clark (American, 1903-1972), “Who is Making Whom?”, c.1947; drybrush/paper, 19" x 19", signed. Well known illustrator and brother of Benton, who was also an illustrator.
1000-2000
577. Willem van der Steeg (Dutch, 20th century), “River Landscape”, c. 1930; oil/canvas, signed.
1000-2000
578. Ida Pond Sylvester (American, died 1935), “Coastal Scene”, c. 1920; oil/canvas, 16" x 20", signed, new carved frame. Sylvester studied with Snell, Graecen, and Ennis. She was a member of the National Association of Women Artists and the American Watercolor Society. She exhibited at the Pennsylvania Academy of Fine Art annuals as early as the 1890s, and lived for some time in Passaic, New Jersey.
600-800
579. Martha Harriet Hoke (American, 1861-1939), “The Old Well”, c. 1890; watercolor/paperboard, 9" x 15", signed and dated. Early St. Louis artist.
400-600
580. Richard Kruger (American, b. 1880), "Desert Landscape", c. 1920; oil/canvas, 28" x 36", signed. California painter.
1500-2500
581. Oscar H. Gieberich (American, b. 1886), “Pink Flowers”, c.1940; monotype, 16" x 12", signed. Gieberich worked in New York and in Boston. He studied with Charles Hawthorne and at the Art Students League. His work is in the collection of the Boston Museum. Gieberich married Richard Miller’s widow, and this work comes from the estate of Miller’s niece.
300-500
582. Hal Robinson (American, 1875-1933), “Searchlight across the Water”, c. 1915; oil/canvas, 16" x 20", signed. Robinson worked primarily in New York. He exhibited at the National Academy of Design and the Corcoran Gallery, and also painted in Old Lyme, CT.
1500-2000
583. William Arnold Eyden, Jr. (American, 1893-1982), “Blooming Meadow with Richmond in the Distance”, c. 1920; watercolor/paper, 16" x 20", signed. Important Richmond, IN painter and teacher. Eyden studied with J. Bundy and T.C. Steele. He exhibited at the Richmond Art Association (1910s-40s), Hoosier Salon (1925-1981), John Herron Art Institute, and the Pennsylvania Academy of Fine Art. His work is in numerous public collections throughout Indiana. He had a studio in Greenwich Village for 11 years. This is a fine image and an early work for Eyden.
900-1200
584. Leonard Reedy (American, 1899-1956), “The Night Rider”, c. 1935; watercolor/paper, 8" x 11", signed and titled. Well known western painter, frequently worked in watercolor. He studied at the Art Institute of Chicago and the Chicago Academy of Fine Art. His work is in the collections of the Santa Fe Railway and the Adams Collection.
700-900
585. Esther Silber Reed (American, b. 1900), “Boathouse”, c. 1930; watercolor/paper, 9" x 12", signed; with another watercolor by C.W. Gauss (American, 20th century), “Long’s Peak, Estes park, Colorado”, c. 1920; 7.5" x 10", signed and titled. Reed studied at the St. Louis School of Fine Art and the Art Students League. She exhibited at the St. Louis Artist Guild in the 1930s.
300-500
586. Phillip Gronemeyer (American, 20th century), “The Shed”, c. 1940; watercolor, 11" x 16", signed. Gronemeyer worked in St. Louis, and exhibited at the St. Louis Artist Guild for a number of years.
250-350
587. Hedley William Waycott (American, 1865-1938), “Grist Mill on Spoon River (Bernadotte, Illinois)”, c. 1934; oil/canvas laid down on board, 26" x 32", signed and dated. Waycott was a landscape painter from Peoria, IL. He was a member of the All-Illinois Society of Fine Artists and the Peoria Art institute. His work is in several public collections in Peoria.
1800-2200
588. Charles Harry Kellner (American, b. 1890), “Fishing”, c. 1930; oil/canvas, 26" x 32", signed. Chicago painter. He studied with Victor Higgins, W.J. Reynolds, and Harry Lachman. He was a member of the Chicago Society of Artists, All-Illinois Society of Fine Artists, and the Chicago Palette and Chisel Club. He exhibited murals at the Illinois Building at the New York Worlds Fair (1939), Golden Gate Exhibition, and the All-Illinois Society of Fine Artists.
800-1200
589. Paul Turner Sargent (American, 1880-1946), “Midwestern Landscape”, c. 1927; oil/canvas laid down on board, 10" x 14", unsigned, but guaranteed; provenance, photocopy of affidavit from artist’s estate. Landscape painter from Charleston, Illinois. Sargent exhibited at the Hoosier Salon, Art Institute of Chicago, and in California, at the Laguna Beach Art Association.
400-600
590. George W. Weisenburg (American, 20th century ), “Forest Interior”, c. 1925; oil/canvas laid down, 16" x 20", signed. Oak Park, Illinois painter. He exhibited at the Art Institute of Chicago from the 1910s-30s.
300-500
591. Paul Turner Sargent (American, 1880-1946), “Summer Clouds”, c. 1927; oil/canvas laid down on board, 6" x 8", unsigned, but guaranteed; provenance, photocopy of affidavit from artist’s estate. Landscape painter from Charleston, Illinois. Sargent exhibited at the Hoosier Salon, Art Institute of Chicago, and in California, at the Laguna Beach Art Assoc.
300-500
592. Alvin Stude (American, 20th century), “Summer Landscape”, c.1920; oil/canvas, 16" x 20", signed. Oak park, IL painter. He was a member of the Oak Park-River Forest Art League.
500-700
593. Mary P. Gronemeyer (American, 20th century), “Floral Still Life”, c. 1940; watercolor/paper, 15" x 11", signed. Mary and her husband, artist Phillip Gronemeyer, both worked and exhibited in St. Louis. Mary studied at Columbia University and the Pratt Institute (NY). She exhibited throughout the 1910s-60s, and frequently worked in watercolor.
200-300
594. Mabel C. Murphy (American, 20th century), “Sand Dunes, California”, c. 1949; oil/board, 8" x 10", signed; titled and dated verso.
300-500
595. Richard Ernesti (American, 1856-1946), “Mountain Landscape”, c. 1930; oil/canvas laid down on board, 16" x 24", signed. Ernesti was best known for his paintings of Colorado, but he worked in Pennsylvania, Iowa, and Washington (state) as well. REF: Iowa Artists of the First Hundred Years, Ness and Orwig; Washington State Art and Artists, 1850-1950, Trip and Cook; Samuels.
1000-1500
596. Lester Chaney (American, b. 1907) “Roaring Waves and Rocks (East Coast of Cape Elizabeth, Maine)”, c. 1929; oil/canvas, 25" x 30", 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.
1500-2000
597. Harry Leon Engle (American, early 20th century), “The Dam” (probably on the Fox River), c. 1921; oil/canvas, 16" x 20", signed; titled and dated verso. Studied at the Art Institute of Chicago. Engle specialized in landscape painting, and exhibited at the Palette and Chisel Academy of Fine Art and the Chicago Painters and Sculptors. He also worked in Richmond, IN and in California. He served as Director of the Chicago Gallery Association.
1500-2500
598. Grace Dermody (American, 20th century), “Texas Landscape with Bluebonnets”, c. 1930; oil/board, 8" x 10", signed.
300-500
599. Hilma Payne (American, 20th century), “Water Lillies”, c. 1939; oil/board, 11" x 14", signed and dated.
300-500
600. Lee F. Randolph (American, b. 1880), “Haywagon”, c. 1909; oil/canvas, 8" x 10", signed and dated. Randolph studied at the Cincinnati Art Academy and the Art Students League, before travelling to Paris. He worked there for several years around the turn of the 20th century, before moving to San Francisco. He exhibited at the San Francisco Art Association and the Pan-Pacific Expo (1915). He was a member of the Bohemian Club, and was the Director of the California School of Fine Art from 1919-1944 (San Francisco).
600-800
Sale Date:
March 7, 2004