On-Line Condition Reports
Session 2 & 3
Sale Date:
September 12, 2004
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Lot Numbers and Descriptions
Estimate
651. C. Doxa (Dutch, early 20th century), “Interior Scene”, c. 1920; oil/canvas, 16" x 20", signed.
800-1200
652. F. Rayner (German, 20th century), “In the Tyroleon Alps”, c. 1930; oil/canvas, 28" x 38", signed; titled on stretcher.
800-1200
653. Eduard von Grutzner attribution (German, 1846-1925), “Luck Divine”, c.1880; oil/canvas, 27” x 20”, signed indistinctly. The subject and manner of painting is consistent with this artist.
2500-4500
654. Charles Tredupp (American, early 20th century), “Marine Nocturne”, c. 1912; oil/canvas, 16" x 12", signed and dated.
500-700
655. Charles W. Oswald (British, early 20th century), “Highland Cattle”, c. 1910; oil/canvas, 30" x 20", signed.
1000-1500
656. 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
657. Peter Watts (British, 1849-1918), “Horse and Jockey”, c. 1880; oil/canvas, 26" x 32", signed.
1000-1500
658. Hermann Gustave Simon (American, 1846-1895), “Terriers in a Barn”, c. 1877; oil/canvas, 7" x 9", signed and dated. Philadelphia painter. Simon exhibited from the 1870s-90s, at the Boston Art Club, Pennsylvania Academy of Fine Art, and the Art Institute of Chicago.
1200-1700
659. Charles W. Oswald (British, early 20th century), “Highland Cattle”, c. 1910; oil/canvas, 30" x 20", signed.
1000-1500
660. Heinrich Eduard Heyn, Sr., (German, late 19th century), “Wildbach in den Tiroler Alpen”, c. 1880; oil/canvas, 37" x 30", signed, good period frame.
1000-2000
662. Edward Loyal Field (American, 1856-1914), “Fishing on a River”, c. 1880; oil/canvas, 17" x 25", signed.
800-1200
663. Alexander Dzigurski (American/Yugoslavian, b. 1911), “Coastal Sunset”, c. 1955; oil/canvas, 20" x 24", signed; artist stamp verso. Dzigurski painted almost entirely this subject matter. He was a member of the Fine Arts Institute, Los Angeles and the Society of Western Artists. Dzigurski fled Tito’s communist regime in Italy, and eventually settled in California in 1952. A New York Times critic once called him, “a poet of the sea”. REF: 300 Years in American Art .
800-1200
664. Frederick Carl Gottwald (American, 1860-1941), “Italian Landscape”, c. 1920; oil/canvas, 20" x 29", signed; accompanied by a book relating to the artist: F.C. Gottwald and the Old Bohemians , Cleveland Artists Foundation. Important painter and teacher at the Cleveland School of Art in the early 20th century.
800-1200
665. Sarah Sewell Munroe (American, 1870-1946), “Woman with a Rose”, c. 1920; oil/canvas, 37.5" x 25", signed, unframed. Washington, DC artist. She studied with Childe Hassam and Charles Hawthorne. She exhibited at the Corcoran Gallery, Pennsylvania Academy of Fine Art, and the Society of Washington Artists. She specialized in figurative subjects.
2000-4000
666. Carol Eugene Mulertt (German/American, 1869-1915), “An Afternoon by the Sea”, c. 1900; oil/canvas, 24" x 32", signed, excellent original frame. Mulertt studied in Paris, and exhibited at the Paris Salons in the 1890s. He eventually moved to Cleveland, Ohio. REF: American Art at the Nineteenth-Century Paris Salons, Fink.
3000-5000
667. Karl Ouren (Norwegian/American, died 1943), “Mountain Inlet with Figures and Boats”, c. 1927; oil/canvas, 33.5" x 46", signed and dated. Ouren worked in Chicago and exhibited at the Chicago Gallery Association and the Palette and Chisel Club.
2000-3000
668. Aubrey Dale Greer (American, 1904-1998), “Still Life with Chinese Vase”, c. 1950; oil/canvas, 20" x 24", signed. Greer worked in Texas, Oklahoma, and in New York City, as a painter, muralist, and commercial artist.
1200-1500
669. Henri Farre (French/American, died 1934), a pair of oil sketches, possibly for a mural, one pictured: “Cupids”, c. 1920; oil/board, irregular shaped image, size of overall board is 17" x 26", signed, unframed.
600-800
670. Louis Hovey Sharp (American, 1875-1946), “Figure in a Boat on a Lake”, c. 1920; watercolor, 17" x 14", signed. He studied at the Art Institute of Chicago, and exhibited in Taos and Pasadena in the 1910s-1930s, as well the Painters and Sculptors of Los Angeles, and the Panama-California Expo (San Diego, 1915). Sharp lived in Pasadena in 1914, and also lived in Oak Park, IL.
300-500
671. Henri Farre (French/American, died 1934), “Cupids”, c. 1920; oil/canvas laid down on board, irregular shaped image, 26" x 61", signed, unframed.
1500-2500
672. Yamada Baske (American, early 20th century), “Figure by a Mill”, c. 1920; watercolor, 11.5" x 16", signed. Baske worked in Minneapolis and specialized in landscapes and Asian subjects.
600-800
673. C.A. Holland (American, 19th-20th century), “Leda and the Swan”, c. 1910; oil/canvas, 34.5" x 53.5", signed and dated.
2000-3000
674. Lenore Condee Lawson (American, b. 1899), “Winter Visits the Mills, Hammond, Indiana”, c. 1930; oil/masonite, 24" x 28"h, signed; titled verso. Lawson studied in Chicago with Fursman and Dahlgreen. She exhibited at the Hoosier Salon, South Side Artist Association, and the Hammond Artist Association.
2500-3500
675. Adolph R. Shulz (American, 1869-1963), “Landscape”, c. 1920; oil/board, 8" x 12", initialed.
1500-2000
676. Dale Bessire (American, 1892-1974), “Autumn in Brown County”, c. 1931; oil/canvas, 30" x 36", signed, original artists carved frame. Bessire was a founding member of the Brown County Art Gallery Association in 1926. He exhibited throughout the 1930s-50s at the Hoosier Salon; he also exhibited at the Chicago Gallery Association, Century of Progress (Chicago), H. Lieber Co. Gallery, Indiana State Fair, and the John Herron Art Institute. This is a large and important work by this artist.
7000-9000
677. Carl R. Krafft (American, 1884-1938), “Autumn Reds”, c. 1936; oil/canvas, 24" x 27", signed; label verso, original frame. Important midwestern landscape painter. Krafft maintained a studio in Oak Park, Illinois, but he also traveled to Brown County, Indiana, and the Missouri Ozarks.
3500-4500
678. Adolph R. Shulz (American, 1869-1963), “View from the Window”, c. 1918; oil/board, 8" x 12", signed. Shulz studied at the Art Institute of Chicago, Art Students League (with Chase), and in Paris. He returned to Delavan in the summers to paint. Adolph began to make trips to Nashville, IN around 1900, and was generally considered to be the “father” of the Brown County colony. He exhibited at the Hoosier Salon from 1925-1942. He also exhibited at the Art Institute of Chicago, Milwaukee Art Institute, and the Brown County Gallery Association.
1500-2000
679. Harry Haviland Osgood, (American, b. 1875), “Indiana Dunes”, c. 1922; oil/canvas, 36" x 48", imperfections, signed and dated. Osgood studied at the Art Institute of Chicago and in Paris, at the Academie Julian and Colarossi. He was a member of the Chicago Society of Artists, and painted in Brown County for several years. This is the finest work we have seen by this artist, and highly desirable subject matter.
2500-4500
680. Herbert J. Day (American, early 20th century), “Fishing”, c. 1930; oil/masonite, 18" x 22", signed. Day worked in Illinois and Indiana, and exhibited at the Art Institute of Chicago in the 1920s.
700-900
681. Edward T. Grigware (American, 1889-1960), “New England Summer Day”, c. 1923; oil/canvas, 20" x 20", signed, dated; label on verso from unidentified venue with name, date, and title. Grigware began as a professional baseball player in Detroit, but then decided to pursue a career in art. He studied and exhibited extensively in Chicago in the 1920s-30s. He served as a Lt.. Commander under Nimitz in WWII, and later in his career, he founded a school for western art in Wyoming. This is an excellent, early work.
2500-4500
682. Edward H. Nicholson (American, 1901-1966), “And Alice Said to the Rabbit”, c. 1964; oil/canvas, 40" x 34", signed; label verso from Hoosier Salon, First Prize Winner, 1964. Nicholson studied at the Art Institute of Chicago and the Chicago Academy of Fine Art. He exhibited at the All-Illinois Society of Fine Art (1939,40,44); Santa Barbara Art Association (1936-38); National Academy Art Gallery; and the Hoosier Salon.
1000-2000
683. Herbert J. Day (American, early 20th century), “Northwoods”, c. 1930; oil/masonite, 18" x 22", signed. Day worked in Illinois and Indiana, and exhibited at the Art Institute of Chicago in the 1920s.
700-900
684. Paul Turner Sargent (American, 1880-1946), “Portrait of a Woman under an Umbrella”, c. 1930; oil/canvas, 24" x 20", signed.
3000-5000
685. Georgina Lara (Circle of), British, 19th-20th century, “Busy Street Scene”, oil/board, 9" x 12", signed very faintly and indistinctly lower right. This painting is very well executed and depicts a highly desirable subject.
1000-1500
686. Paul R. Koehler (American, 1875-1909), a pair of pastels, one pictured: “Sheep on a Rocky Hillside”, c. 1900; each 15" x 23", signed; the other image is a stream in autumn; imperfections.
700-900
687. Tony Lingg (American, early 20th century), “Woman with a Vase of Flowers”, c. 1900; oil/canvas, 50" x 27", signed, imperfections.
600-800
688. Italian School, early-mid 19th century (in the manner of 18th century), “Two Women in an Elaborate Courtyard”, oil/canvas, 46" x 35", inscribed, “Della Valentino” , suggesting the work is in the manner of Giovanni Domenico Valentino, who was well known for his depictions of elaborate kitchen interior scenes, period frame.
6000-8000
689. Alexandre Gabriel Decamps (French, 1803-1860), “North African Dwelling”, c. 1840; oil/canvas, 18" x 25.5", signed. Although he studied briefly with Etienne Bouhot (1780-1862) and then Alexandre-Denis Abel de Pujol (1787-1861), he was largely self-taught. He made only one visit to the Middle East, in 1828 (visiting Turkey, Greece and North Africa), but in the 1830s he established a considerable reputation as a painter of Orientalist themes.
3000-5000
690. Giulio Rosati (Italian, 1875-1957), “Arab Camp”, c. 1910; watercolor, 15" x 23", signed. Rosati was one of a large group of Italian Orientalist painters working in Rome at the end of the nineteenth century.  These artists emulated Mariano Fortuny y Marsal in his skilful rendering of detail and bright colouring.  This manner was particularly popular with American and British collectors, many of whom purchased these images as a memento of their travels in the Near East, a voyage very much in vogue at the end of the last century.
6000-8000
691. Charles Green (British, 1840-1898), “Little Nell”, c. 1867; watercolor, 8" x 16", signed and dated; titled on mat.
5000-7000
692. Carl Weber (American, 1850-1921), “Cattle by a Stream”, c. 1900; watercolor and gouache, 17.5" x 28", signed. Well known Philadelphia watercolorist.
600-800
693. Granville Perkins (American, 1830-1895), “A Quiet Stream”, c. 1891; watercolor, 15" x 21", signed and dated. Perkins painted marines and landscapes, and was active in Baltimore and Philadelphia. He frequently worked in watercolor.
800-1200
694. Hugo Anton Fisher (American, 1854-1916), “Cattle at a Stream”, c. 1890; watercolor, 20" x 28", signed. California painter. He exhibited at the Colombian Expo in 1893 and the California State Fair in 1891.
600-800
695. Svend Svendsen (Norwegian/American, b. 1864), “The Stone Bridge”, c. 1900; oil / canvas, 17" x 23", signed. Studied at the Ed. Ertz at Academie Delecluse, Paris, 1890s. He exhibited at the Art Institute of Chicago (1895-1920), Nashville Expo (1897), Pennsylvania Academy of Fine Art (1898-1900), and the Milch Galleries , NY (1920s). This is a unique and desirable subject for this artist.
800-1200
696. Otto (Oldrich) Farsky (American, early 20th century), “Jasper Pulaski Counties Wildlife Sanctuary (IN)”, c. 1900; oil/canvas, 19" x 15", signed. Farsky worked in Chicago before moving to Los Angeles in 1925. He frequently painted in the Antelope Valley, near Palmdale, CA.
1000-1500
697. Adelaide Cole Chase (American, 1869-1944), “Portrait of a Woman”, c. 1900; oil/canvas laid down on board, 72" x 46", signed, massive original frame. Boston painter. She exhibited at the Boston Artist Club (1890s), Pennsylvania Academy of Fine Art, and the Art Institute of Chicago.
3000-5000
698. Robert Crannell, Jr. (American, 1840-1904), “The Wold of Kent, England”, c. 1870; oil/canvas, 30" x 50", signed; label verso with artist’s name and title. Minor was one of the leading exponents of the Barbizon school of painting in the United States. This is an exceptional and important work by this artist.
5000-7000
699. Roswell Morse Shurtleff (American, 1838-1915), “Forest Interior”, c. 1880; oil/canvas, 16" x 20", signed. Shurtleff painted in Keene Valley, New York region, with John Lee Fitch. These two painters were responsible for bringing other important painters there, including Homer, Wyant, Smillie, and Weir. Shurtleff was best known for these forest interior scenes.
2000-4000
700. Robert Goldman (American, Contemporary), “Sycamore by the Streamside”, c. 2000; oil/canvas, 30" x 40", signed.
2700-3200
Sale Date:
September 12, 2004