On-Line Condition Reports
Session 2 & 3
Sale Date:
September 12, 2004
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Lot Numbers and Descriptions
Estimate
701. Augustus Dunbier (American, b. 1888), “Picnic in the Park”, c. 1940; oil/canvasboard, 14" x 18", signed. Omaha, Nebraska painter.
800-1200
702. Robert Goldman (American, Contemporary), “Afternoon, Grand Canyon”, c. 2000; oil/canvas, 24" x 36", signed.
2500-3000
703. American School, “Beach Scene”, c. 1940; oil/board, 8" x 11.5", signed indistinctly.
300-500
704. Lucius Wolcott Hitchcock, attribution (American, 1868-1942), “Mountain Stream”, c. 1920; oil/canvas laid down on board, 12" x 16", unsigned.
400-600
705. Joseph Lane (American, b. 1900), “Flowers in the Window”, c. 1940; oil/canvas, 30" x 26", signed. Lane was born in Austin, Texas. He studied and exhibited at the Art Institute of Chicago in the 1930s.
1000-2000
706. Alexander Dzigurski (American/Yugoslavian, b. 1911), “Seascape”, c.1950; oil/canvas, 16 x 20", signed.
800-1200
707. George Cherepov (Lithuanian/American, 1909-1987), “Harbor in Maine”, c.1960; oil/canvas, 30" x 36", signed. Cherepov studied in Yugoslavia and Latvia before moving to New England. He painted landscapes and marines, and exhibited extensively at Grand Central Art Galleries, Greenwich Society of Artists, Silvermine Guild of Artists, and the Ogunquit Art Center (Maine). He taught at the Greenwich (CT) Art Center in the late 1950s.
2500-3500
708. Alexander Dzigurski (American/Yugoslavian, b. 1911), “Coastal Sunset”, c.1955; oil/canvas, 24" x 36", signed.
2000-3000
709. John William Hilton (American, 1904-1983), “Morning at Point Happy”, c.1960; oil/board, 20" x 34", signed; label verso with title and artist information from Scottsdale, AZ. Well known painter and illustrator, specializing in scenes of the American desert.
3500-4500
710. Harold Harrington Betts (American, b. 1881), “Early Autumn Landscape with Poplar Trees”, c.1930, oil/canvas, 21.5" x 23.75", signed, good period frame. Chicago painter. Betts exhibited at the Art Institute of Chicago (1897-1931) and the Pennsylvania Academy of Fine Art.
600-800
711. Charles W. Dahlgreen (American, 1864-1955), “Still Life with Artist’s Materials”, c.1925; oil/board, 28" x 32", signed. Dahlgreen studied in Germany and at the Art Institute of Chicago. He exhibited at the Paris Salon, Art Institute of Chicago, Pan-Pacific Expo (1915), Chicago Gallery Association, and the Hoosier Salon. His work is in the collections of the Art Institute of Chicago, Library of Congress, Smithsonian Institute, and the Chicago Gallery Association. 1000-2000
712. Charles J. Bergstrom (American, 20th century), “Lockvale, Colorado”, c.1934; oil/canvas, 18" x 24", signed and dated; titled verso.
800-1200
713. Jack Jordan (American, b. 1925), “Indian Scout”, c.1960; oil/canvas, 28" x 22", signed. Jordan was born in St. Louis, and as a young man worked in Iowa as a painter and illustrator. He moved to San Diego and continued his studies, while working at the San Diego Union Tribune. Jordan's works have been published in Southwest Art Magazine, Art Of The West Magazine, and in Samuel's Contemporary Western Artists.

He has exhibited at the Scripps Institute of Oceanography and the Southern California Art Exposition (at the Del Mar Fair). He continues to be active and is living in El Cajon, a suburb of San Diego.
800-1200
714. Andrew Thomas Schwartz (American,1867-1942 ), “Shining Hills”, c.1925; 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).
800-1200
715. William Clusmann (American, 1859-1927), “A Gray November Day”, c.1880; watercolor, 18" x 24", signed. Chicago painter. Clusmann exhibited at the Hoosier Salon, Chicago Watercolor Club, and the Chicago Gallery Association.
400-600
716. Alexander Dzigurski (American/Yugoslavian, b. 1911), “Seascape”, c.1955; oil/canvas, 24" x 36", signed; artist stamp verso.
2000-3000
717. William Herman Schmedtgen (American, 1862-1936), lot of two ink drawings, one pictured: “Taos”, c.1910; ink/paper, 11" x 10", signed; with another similar drawing of a lighthouse by the same artist.
400-600
718. Gerald Cassidy, attribution (American, 1879-1934), “Indian with Pottery Vessel”, c.1915; oil/canvas laid down on board, 5.5" x 5.75", unsigned, provenance. This work is consistent in style, composition, and subject to the work of Cassidy. Cassidy was an early Taos painter, illustrator, and muralist. He frequently painted in an almost square composition, depicting a sparse landscape brilliantly flooded with light, and bold renditions of figures in the foreground.
6000-8000
719. Louise K. Morris (American, b. 1896), “Laguna Fiesta”, c.1934; oil/canvas laid down on board, 40" x 48", signed; label on verso from Cleveland Museum of Art. Morris studied with Boardman Robinson and Weinold Reiss. She worked as a painter, printmaker, and illustrator.

Illustrated: The Bulletin of the Cleveland Museum of Art , p.74; First Prize for Mural and Decorative Painting, 1934.
2500-3500
720. Pal Fried (Hungarian, 1893-1976), “Rider”, c.1950; oil/canvas, 30" x 24", signed; numbered 52898 verso. Fried mastered a wide variety of subjects from Paris street scenes to westerns.
2500-4500
721. Millard Sheets (American, 1907-1989), “Mural Design (A Catholic Church Exterior Tile Mural Design, Ventura)”, c.1960; mixed media/paper, 9.5" x 28.5", signed. Important California watercolorist.
3000-5000
722. Lochindorf “Crossing the River”, c.1929; oil/canvas, 13" x 18", signed and dated. This artist was purportedly from Wisconsin.
1000-2000
723. John Franklin (American, 20th century), “Indian Village with Figures”, c.1960; oil/board, 16" x 20", signed.
600-800
724. Cassilly Adams (American, 1843-1921), “View from the Interior of a Tipi”, watercolor/paper, 8.5” x 14”, signed . Adams painted compelling portrayals of the Cheyenne, Sioux, and Plains indian tribes. His work is included in the collections of the Amon Carter Museum, Buffalo Bill Historical Society, Woodcock Museum, and the Shelburne Museum.
3000-5000
725. Marion Kavanaugh Wachtel (America, 1876-1954), “In the Sierra Nevada”, c.1930; oil/board, 10” x 12”, signed. Important California landscape painter. She studied early on at the Art Institute of Chicago, and taught there briefly before moving to San Francisco in 1903. While working with William Keith, she was introduced to Elmer Wachtel, with whom she fell in love and eventually married. Elmer died in 1929, and after his death Marion, who had previously worked almost exclusively in watercolor, began painting in oil. She was a member of the California Watercolor Society, Academy of Western Painters, Los Angeles, and the Pasadena Society of Artists. REF: The Woman Artist in the American West, California Design, 1910, Los Angeles Painters of the 1920s.
8,000-12,000
726. Cassilly Adams (American, 1843-1921), “Indian Mother and Child in a Canoe”, watercolor/paper, 7.5” x 13”, signed .
2000-3000
727. Elbridge Wesley Webber (American, 1841-1914), “Fishing on the River”, c.1880; oil/canvas, 16” x 26”, signed, label on period frame reads: "Abraham Strauss, Brooklyn". Webber painted landscapes and marines. He was associated with the White Mountain artists and Boston. He shared a studio with painter, William Pierce Stubbs, in Boston in the 1870s. He exhibited at the Brooklyn Artist Association, National Academy of Design, Mechanic’s Institute, and the Boston Art Club.
5000-7000
728. William McDougal Hart (American, 1823-1894), “Cattle in an Expansive Landscape”, c.1870; oil/canvas, 11" x 15.5", initialed. Hart painted in the White Mounains of New Hampshire, Keene Valley, and the Catskills. He became a full member of the National Academy in 1858, and was elected President of the Brooklyn Academy of Design in 1865. Property of the Howard County (Indiana) Historical Museum.
10,000-20,000
729. Joseph J. Behensky (American, early 20th century), “Path in a Landscape”, c.1920; oil/canvas, 16" x 20", signed, unframed. Behensky exhibited at the Art Institute of Chicago from 1919-1924. His address was given as Lincoln Ave, Chicago.
250-350
730. Don Louis Ruf (American, 1905-1982), lot of four oils, one pictured: “Clouds over the Missouri”, c.1940; oil/canvasboard, 16" x 20", signed; with three others, including two landscapes and a harbor scene, all are the same size, signed, and unframed. Ruf was a good friend of painter, Augustus Dunbier. He studied at the Art Institute of Chicago, and worked in the art department of Montgomery Wards.
400-600
731. Elsperman (American, early 20th century), a pair of oils, one pictured: “Autumn Landscape”, c.1930; oil/canvas, 14" x 14", signed, unframed; with another similar work, also unframed.
300-500
732. Herbert J. Day (American, early 20th century), a pair of oils, one pictured: “Autumn”, oil/illustration board, 9" x 11", unsigned; with another: “Mountain Landscape”, oil/board, 9" x 11", signed; both in original artist made frames. Day worked in Illinois and Indiana, and exhibited at the Art Institute of Chicago in the 1920s.
600-800
733. Karl C. Brandner (American, 1898-1961), “Fishing”, c.1930; oil/board, 8" x 10", signed.
250-350
734. Hans Duerr (Austrian, b. 1913), “Seascape”, c.1950; oil/canvas, 24" x 36", signed.
600-800
735. Henri Farre (French/American, died 1934), “Flowers on a Glasstop Table”, c.1925; oil/canvas, 22" x 35", signed.
2500-3500
736. Marcel Louis Sauvaige (French, died 1927), “Harbor Scene”, c.1910; oil/canvas, 28" x 36", signed, original frame.
5000-7000
737. Leopold Seyffert (American, 1887-1956), “Portrait of Joan Monroe Armour Wendell”, c.1941; oil/canvas, 42" x 32", signed. Seyffert studied with William M. Chase. He exhibited extensively from the 1910s-40s, at the Art Institute of Chicago, National Academy of Design, and the Pennsylvania Academy of Fine Art. Joan Armour Wendell was one of the first female aviators in the Midwest.
2500-4500
738. Francois Gall (French, 1912-1987), “Artist Market”, c.1950; oil/canvas, 19" x 23", signed and inscribed, “Paris”, original frame. This is an excellent example of this artist’s work.
4500-5500
739. Harrison Paul Brown (American, b. 1889), “Shoreline Scene”, c.1917; oil/board, 9.5" x 13.5", signed and dated. Brown studied at the Saugatuck Summer School and in Chicago with Frederick Fursman and Walter Clute.
300-500
740. Don Louis Ruf (American, 1905-1982), lot of four oils, one pictured: “Fall Beauty”, c.1940; oil/canvasboard, 16" x 20"; with three other landscapes, all are the same size and unframed, only two are signed.
400-600
741. Nicholas Richard Brewer (American, 1857-1949), “Smokey Mountains”, oil/board, 12" x 16", signed. Brewer studied with Dwight Tryon, and exhibited at the National Academy of Design, Minnesota State Artist Society, St. Paul Institute, and the Art Institute of Chicago.
1000-2000
742. Ernest Fredericks (American, early 20th century), a pair of oils, one pictured: “Ozarks, Near Eureka Springs, Arkansas”, c.1940; oil/canvas, 14" x 11", signed; both paintings are titled.
600-800
743. Joseph J. Behensky (American, early 20th century), a pair of oils, one pictured: “A Stream in a Meadow”, c.1920; oil/canvas, 17.5" x 24", unsigned, unframed; with a similar work by the artist of a mountain landscape, which is signed (unframed).
300-500
744. John Murdock (American, 19th-20th century), “Autumn Landscape”, c.1915; watercolor, 24" x 32", signed, dated, and dedicated.
500-750
745. Clara D. Davidson (American, 1874-1962), “Landscape at Sunrise”, c.1910; oil/canvas laid down on board, 10" x 9.5", signed. Painter and illustrator. Davidson worked primarily in Connecticut and was a member of the Silvermine Guild of Artists.
400-600
746. Gustave Wiegand (American, 1870-1957), “Autumn Landscape”, c.1920; oil/board, 16" x 12", signed; label verso from the National Arts (1937). Wiegand was best known for his landscape paintings.
1000-2000
747. Gustave Wiegand (American, 1870-1957), “Floral Still Life”, c.1920; oil/canvas, 24" x 29", signed, imperfections.
600-800
748. Guido Odierna (Italian, 20th century), “Crashing Waves”, c.1950; oil/canvas, 27" x 39", signed.
600-800
749. John Ferguson Weir (American, 1841-1926), “Cattle Resting in the Shade”, c.1890; gouache, 11" x 14.5", signed. National Academy painter. Weir founded the Yale Art School in 1869.
600-800
750. Royal Hill Milleson (American, 1849-1935), “Mountain Landscape”, c.1920; oil/canvas, 18" x 24", 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.
1000-2000
Sale Date:
September 12, 2004