Sale Date:
March 7, 2004
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Lot Numbers and Descriptions
Estimate
601. Lee F. Randolph (American, b. 1880), “Along the Coast”, c. 1910; oil/canvas laid down on board, 6.25" x 8.25", signed; titled on verso.
500-700
602. David Rawrsley (American, 20th century), “Greece”, c.1960; watercolor/paper, 19" x 14", signed.
250-350
603. J. Lebrun Jenkins (American, 1876-1951), "May in the Ozarks", c. 1940; oil/board, 20" x 30", signed and titled. Jenkins was born in New York City and studied with his stepfather, Francois Regnault. He moved to St. Louis and worked as an illustrator for two newspapers in the 1890s. He worked as a fine artist in St. Louis from 1909 until his death. He exhibited at the St. Louis Artist Guild and there was a retrospective exhibit at McCaughen & Burr Galleries (St. Louis) in 1955. In 1901, the Library of Congress awarded him a copyright for his emblem for the Louisiana Purchase Expo, St. Louis.
400-600
604. Royal Hill Milleson (American, 1849-1935), lot of two works, both triptychs, one pictured: “Mountain Landscapes”, c. 1910; oil/board, 8" x 23" overall, signed verso; with another, “Mountain River”, oil/board, 8" x 23", overall, both unframed (these are attractive as they are, or you could easily make them into three separate paintings, since there is a negative space between the images). 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.
700-900
605. Berthold Genzmer (German, 1858-1927), "A Lane in the Mountains", c. 1890; oil/board, 14" x 12", initialed verso.
400-600
606. L.J. Friedheim (American, early 20th century), “Trees beside a Fence”, c. 1911; oil/canvas, 20" x 16", signed and dated.
400-600
607. M.M. Lazarus (American, 20th century), “Pansies”, c. 1908; oil/canvas, 20" x 14", signed and dated.
300-500
608. Ole Due (Danish, 20th century), “Landskol oed Gudenog”, c. 1920; oil/canvas, 18" x 24", signed.
400-600
609. Leonore Smith Jerrums (American, 20th century), “Still Life with Rooster Figure”, c. 1930; oil/canvas, 20" x 24", signed. Chicago painter. Jerrums exhibited at the Art Institute of Chicago and the Corcoran Gallery throughout the 1930s-40s.
400-600
610. Adam Emory Albright (American, 1862-1957), “Yellow Roses”, c. 1930; oil/canvas, 13.5" x 18", signed. Chicago area impressionist painter. Albright exhibited at the Art Institute of Chicago (1890s-1930s), Pennsylvania Academy of Fine Art (1880s-1910s) Hoosier Salon, and the Chicago Gallery Association (1926-31), and the National Academy of Design (1892-1919).
1500-2000
611. George Howell Gay (American, b. 1858), "Autumn Landscape", c.1900; watercolor/board, 14" x 26", signed. Gay was a well known watercolorist from New York. This is a very fine example of his work, typifying the tonalist aesthetic.
1000-1500
612. Leota Williams Loop (American, 1893-1961), “Autumn Flowers”, c. 1930; oil/canvas, 20" x 24", signed; inscribed on stretcher verso: “Brown Cty, Ind”. Indiana painter. Loop studied with Randolph Coats, William Forsyth, and Olive Rush. She exhibited at the Hoosier Salon from 1925-1959.
2500-4500
613. Ida Pond Sylvester (American, died-1935), “Gloucester Scene”, c. 1920; 16" x 20", signed; framed.
500-700
614. 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
615. Norman Henry Yeckley (American, b. 1914), “Verdugo Canyon”, c. 1941; oil/canvas, 24" x 30", signed and dated; label verso from the WPA, Southern Cal Art Project. 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.
800-1200
616. John A. Spelman (American, b. 1880), “Rocky Coast”, c. 1920; oil/canvas, 28" x 32”, signed, original frame. Chicago landscape painter.
2000-3000
617. Emile LeJeune (Swiss, 1885-1964) “Les Oellets au Picher d’etain”, c. 1939; oil/board, 27" x 17", signed and dated, original frame.
500-700
618. Charles Franklin Galt (American, b. 1884), “Autumn Landscape”, c. 1930; oil/board, 10" x 12", signed. St. Louis landscape and figure painter. Galt studied with Richard Miller and in Paris. He exhibited during the 1910s-30s, at the St. Louis Artist Guild, Art Institute of Chicago, and the Pennsylvania Academy of Fine Art.
400-600
619. Leota Williams Loop (American, 1893-1961), “Violets”, c. 1930; oil/canvas laid down on board, 9" x 8", signed. Indiana painter. Loop studied with Randolph Coats, William Forsyth, and Olive Rush. She exhibited at the Hoosier Salon from 1925-1959.
1000-1500
620. George Herbert Baker (American, 1878-1943), “Indiana Landscape”, c. 1915; oil/canvas, 18" x 24", signed. Landscape painter from Richmond, Indiana. He was born in Muncie, IN and studied at the Cincinnati Art Academy. He exhibited at the Richmond Art Association, Hoosier Salon, and the Indiana State Fair. Baker was closely associated with T.C. Steele and John Elwood Bundy.
1000-2000
621. Randolph Coats (American, 1891-1957), “Sailboats”, c. 1920; oil/board, 12" x 12", signed. Coats studied at the Herron School of Art and the Cincinnati Art Academy, with Forsyth, Duveneck, and Hopkins. He exhibited at the Societe Nationale des Beaux-Arts (Paris), Art Institute of Chicago, John Herron Art Institute, Chicago Gallery Association, and the Pennsylvania Academy of Fine Art.
1000-2000
622. George William Eggers (American, 1883-1958) “Landscape with Stream”, c. 1930; oil/canvas, 16" x 20", signed. Eggers studied with H.D. Murphy and Birge Harrison. He exhibited in the 1920s-30s, at the Whitney Museum, Rhode Island School of Design, Denver Art Museum, and the Los Angeles Museum of Art. He was director of the Art Institute of Chicago from 1916-1921.
400-600
623. American School, “Portrait of Girl”, c. 1920; oil/canvas, 20" x 16", signed indistinctly.
500-700
624. Karl Albert (American, b. 1911), “Desert Scene”, c. 1940; oil/canvas, 20" x 24", signed. Albert grew up in Wyoming, and eventually settled in Los Angeles to paint. He studied with Edgar Payne and Sam Hyde Harris. He was a member of the Laguna Beach Artist Association and the San Gabriel Artists Guild.
800-1200
625. Harvey Gregory Prusheck (American, b. 1887), “Flowers in a Vase”, c. 1930; oil/canvas, 20" x 16", signed. Cleveland area painter. Prusheck was a member of the Illinois Academy of Fine Art and the Chicago Society of Artists. He exhibited in the 1920s-30s at the Art Institute of Chicago, the Cleveland Arts and Craftsmen, and the Corcoran Gallery. His work is included in the collections of the Cleveland Museum and the Milwaukee Art Institute.
600-800
626. Eliot Candee Clark (American, 1883-1980), “Baja, California”, c. 1935; oil/canvas laid down on board, 12" x 18", signed.
600-800
627. T. Cunningham (American, 20th century), “Still Life”, c.1930; oil/board, 16" x 11.5", signed.
300-500
628. William Engelhardt (American, 20th century), “Flowering Desert”, c. 1940; oil/canvas, 20" x 24", signed.
700-900
629. James Butler (American early 20th Century) “Navajo Woman”, c. 1950; gouache/board, 4" x 4", signed. Butler worked in New Mexico and specialized in Indian subject matter.
200-300
630. Otto Hellmeier (German, b. 1908), “Coastal Village”, c. 1950; oil/board, 15" x 23", signed.
600-800
631. Francis Stilwell Dixon (American, 1879-1967), “Evening”, c. 1920; oil/canvas, 21" x 26", signed; title inscribed on stretcher verso. Dixon studied at the Art Students League with Hawthorne and Henri. He worked primarily in Connecticut and New York, and exhibited throughout the 1910s-30s, at the Corcoran Gallery, Salons of America, Society of Independent Artists, and the Salmagundi Club.
1000-2000
632. Francis Stilwell Dixon (American, 1879-1967), “Early Snow”, c. 1920; oil/canvas, 20" x 26", signed.
1000-2000
633. William H. Eppens (American, b. 1885), “Autumn Landscape with Stream”, c. 1930; watercolor, 18" x 22", signed. Eppens studied at the Art Institute of Chicago and the Chicago Academy of Fine Art with Carl Krafft and Frederic Grant. He was a member of the South Side Art Association and exhibited at the Art Institute of Chicago and the Vanderpoel Art Association.
500-700
634. Eda Sterchi (American, b. 1885), “Muslim Cemetery”, c. 1910; oil/board, 15" x 18", signed.
500-700
635. Eda Sterchi (American, b. 1885), “The Tower, Tunis “, c. 1910; oil/board, 17” x 14", signed.
500-700
636. Eda Sterchi (American, b. 1885), “Muslim Cemetery”, c. 1910; oil/board, 15" x 18", signed, titled, labels verso.
500-700
637. A.L. Friedrich (American, early 20th century), “The Silk Kimono”, c. 1930; oil/canvas laid down on board, 16" x 12"; accompanying the lot is a photocopy of the artist’s life membership card from the Art Students League. Friedrich worked in St. Louis and attended the Art Students League.
300-500
638. American School , “Marblehead”, c. 1920; pastel/paper, 10" x 13", unsigned (School of Charles Kaelin).
200-300
639. Mary P. Gronemeyer (American, 20th century), “Missouri Hills”, c. 1940; watercolor/paper, 14" 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
640. John Gee (American, 20th century), “The Scorpium”, c.1930; watercolor/paper, 10" x 7", signed. Illustrator. Gee studied at the Art Institute of Chicago and was a member of the Sarasota Art Association and the Cleveland Print Club. He was a freelance illustrator for numerous children’s books and articles.
400-600
641. Alvin Stude (American, 20th century), “Winter Magic”, c.1920; oil/canvas, 28" x 36", signed. Oak park, IL painter. He was a member of the Oak Park-River Forest Art League.
800-1200
642. Lawrence Brunner (American, b. 1883), “Carmel”, c. 1940; oil/canvas, 22" x 26", signed. Brunner studied at the Art Institute of Chicago and the Cincinnati Art Academy with Duveneck, before moving to California. He maintained a studio in Hollywood during the 1930s-40s, and exhibited at the Painters and Sculptors of Los Angeles.
600-800
643. William Henry (American, 20th century), “Late Day Shadows”, c. 1959; watercolor, 9" x 12", signed; dated and titled verso. Naples, Florida painter. Henry painted in the Bahamas, Jamaica, Key West, and Mexico, as well as in Florida. He had a one man show at the Delphic Galleries in New York in the 1940s, but his career was interrupted by the war from 1942-46. He executed murals, including one for the Duke and Duchess of Windsor (during the Duke’s governorship of the Bahamas).
250-350
644. William Henry (American, 20th century), “Mercado”, c. 1952; casein/board, 16" x 20", signed; dated and titled verso.
300-500
645. William Henry (American, 20th century), “Downtown”, c. 1959; watercolor, 9" x 12", signed; dated and titled verso.
250-350
646. Robert MacDonald Graham (American, b. 1919), “Woman on a Porch”, c. 1959; oil/board, 18" x 24", signed and dated. Missouri regionalist painter. He studied with Thomas Hart Benton at the Kansas City Art Institute. He exhibited at the Mid-Western Regional Exhibition (1940); Art Institute of Chicago (1942).
700-900
647. Gerrit Hondius (Dutch/American, 1891-1970), “Circus Performers”, c. 1940; oil/board, 16" x 12", signed. Hondius studied at The Hague, and then in New York with Max Weber and Andrew Dasburg. The worked as a WPA artist, and specialized in circus subjects, ballerinas, and still lifes.
800-1200
648. Albert Pels (American, 1910-1998), “Young Girl and Wealthy Benefactor”, c. 1940; oil/canvas, 14" x 18", signed; titled on tag verso. Important WPA painter. Known for figurative works. Pels studied at the Art Academy of Cincinnati. He exhibited extensively from the 1930s-70s.
2500-3500
649. Victor Jerzey (American, 20th century), “Wrestling”, c. 1960; oil/canvas, 40" x 30", signed.
600-800
650. Duard Marshall (American, b. 1914), “Busy Harbor, Spain”, c. 1940; oil/canvas, 37" x 49", signed. Marshall studied at the Kansas City Art Institute with John de Martelly and Thomas Hart Benton. Marshall worked as an assistant to Benton on the Truman Library mural and others. He exhibited throughout the 1930s-70s, at the San Francisco Museum of Art, Kansas City Art Institute, Oakland Art Gallery, National Academy of Design, Museum of New Mexico, Santa Fe, and the Library of Congress.
2000-4000
Sale Date:
March 7, 2004