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Sale Date:
Sept. 11, 2005
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Lot Numbers and Descriptions
601. Oskar Gross (Austrian/American, 1871-1963), "Kassandra and the Mocked Troy", c. 1915; oil/canvas, 44” x 53”, signed, exceptional original carved frame. Gross exhibited at the Pennsylvania Academy of Fine Art in the 1910s, and the Art Institute of Chicago in the 1920s. He also exhibited at the Chicago Gallery Association, Chicago painters and Sculptors, and the Corcoran Gallery. His work is included in the collections of Northwestern Univ., Univ. of Chicago, and the American Conservatory of Music. Gross studied in Vienna and Munich, and the influence of the european secessionist painters, especially Franz von Stuck (Munich) is evident in this important early work. 8,000-12,000
602. Percy Harland Fisher (British, 1867-1944), “Girl with Rabbits”, c. 1890s, oil/canvas, 25" x 40", signed. Fisher studied at Dulwich College, and he exhibited with the Pastel Society in 1918. 6000-8000
603. Wilson Henry Irvine (American, 1869-1936), “Summer Landscape”, c. 1910; oil/canvas, 23” x 27”, signed with original frame. Irvine studied at the Art Institute of Chicago and exhibited at the Chicago Society of Artists and the National Academy of Design. He also worked in France and Old Lyme, CT. 6000-8000
604. Robert Grafton (American, 1876-1936), "Mother and Child", c. 1910; oil/canvas, 30.25” x 35.5”, original carved frame. Indiana/New Orleans artist. Grafton studied at the Art Institute of Chicago and the Academie Julian. He exhibited at the Art Institute of Chicago, Delgado Museum, New Orleans Art Association, Richmond Art Association, and the Hoosier Salon. His work is in numerous important public collections in the South and the Midwest. This is an exceptional example of Grafton's work. 8,000-10,000
605. Robert Goldman (American, b. 1948), “Above La Jolla Shores, San Diego”, c.2000; oil/canvas, 30” x 40”, signed. Goldman is a successful contemporary western landscape painter. This is a major example of Goldman’s work. 2500-3500
606. Carducius Plantagenet Ream (American, 1837-1917), “Peaches and Grapes”, c. 1880; oil/canvas, 14” x 18”, signed. Chicago’s most successful still life painter of the late 19th century. Some of his paintings of fruit were reproduced as chromolithographs by Louis Prang. He exhibited at the Art Institute of Chicago, Brooklyn Art Association, and the Royal Academy in London (1870s-1910s). His brother, Morston Constantine Ream, was also a painter. 3000-5000
607. Continental School, “Adoration of the Magi”, c. 1800; oil/canvas, 45” x 35”, unsigned. 5000-7000
608. Frederick Carl Smith (American, 1868-1955), "Paris Scene", c. 1894; oil/canvas, 11" x 16", signed. California painter, worked in Laguna Beach in the 1910s-20s. He was a member of the California Art Club, Pasadena Society of Artists, and the California Watercolor Club. Smith exhbited at the Paris Salon in the 1890s. 1000-2000
609. Vincente Izquierdo (Italian, 19th-20th century), “Madonna”, c. 1900, oil/canvas, 13" x 10", signed and dated on verso. 800-1200
610. Gregory Hollyer (British/American, 1871-1965), "Cattle in a Stream", c. 1880; oil/panel, 17” x 24”, signed. Hollyer was the son of William Perring Hollyer, the animal artist. Gregory received the Gold Medal for original oil painting at the Hugo Lang exhibition in Liverpool. He also painted Queen Victoria’s castle in Penrith. At the age of 19 he left England for Canada, though it was in the USA that he finally settled. He painted several portraits of prominent people: Sir Wilfred Laurier, while in Ottawa and Sir John A. McDonald while in Winnipeg. 800-1200
611. Gustav Wolff (German/American, b. 1863) "The Shady Pool", c. 1910; oil/canvas, 12" x 16", signed with plaque on frame with title. Studied with Paul Cornoyer at the St Louis School of Fine Art, and painted similar subjects in a similar style. He painted all over Europe, and in Buffalo, NY. He exhibited at the Portland Expo (1905); Competitive Exhibition (1906); and the Society of Western Artists (1907). 1000-2000
612. Jean Mannheim (American, 1861-1945), "Mountain Landscape", oil/canvas board, 16" x 12", signed. Mannheim was a highly respected California painter. 2500-3500
613. F. Van Vreeland, "Domestic Dutch Scene", watercolor/paper, 20" x 29", signed. 800-1200
614. Royal Hill Milleson (American, 1849-1935), "Coastal Town at Dawn", c. 1900; watercolor/paper, 6.5" x 9.5", 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. 700-900
615. Oswald Beurich (Continental, 20th century), "Temple", c. 1920; oil/canvas, 19" x 13", signed. 400-600
616. Juliet Burdoin, (American, b.1893), "Docked Sailboats", 1926; oil/board, 18" x 24", signed and dated. Burdoin was a member of the Rockport Art Association. 500-700
617. Princess Leroff-Parlaghy, "Portrait of a Gentleman", c. 1913; oil/canvas, 55" x 43", signed, dated; excellent original frame, letter included. 1500-2500
618. Paul Strayer (American, b. 1885), "Cart Jockey", c. 1929; oil/canvas, 29" x 36", signed, unframed. Chicago painter. Strayer studied at the Art Institute of Chicago, and was well known for his illustrative work. 1500-2500
619. Louis Ritman (American, 1889-1963), "Woman in a Striped Skirt", c. 1920; watercolor and gouache/paper, 16.5" x 14", unsigned, accompanied by a letter from Maurice Ritman, which lists several watercolors purchased by one buyer, provenance. Important American expatriate painter. Ritman studied at the Art Institute of Chicago before traveling to Giverny in 1912. He returned to Chicago in 1930 and taught at the Art Institute. His post-impressionist figure paintings are highly desirable. 5000-7000
620. Louis Icart (French/American, 1888-1950), “Woman in Fancy Dress”, c. 1920, colored etching, 20" x 13", signed, edition of 375. 600-800
621. Cassius M. Coolidge (American, 1844-1934), “Two Fishermen”, c. 1925; oil/canvas laid down on aluminum, 22” x 28”, signed. Coolidge worked as a painter and cartoonist, and most of his subjects contained some element of humor. His works were frequently purd by cigar companies, and were reproduced for promotional purposes. His work was included in the collection of the Masco Corporation. 1000-2000
622. James Sessions (American, 1882-1962), “Still Life with Cockatoo”, c. 1940, oil/canvas, 32" x 26", signed. studied at the Art Institute of Chicago from 1903-1906 and initially supported himself as a wheelsman aboard Great Lakes ships from 1906-1914, later serving in the Illinois Naval Reserve during World War I. He worked as a commercial illustrator, and was known for his watercolors. 2000-3000
623. Henry (Hy) Hintermeister (American, 1897-1972), “Summer Day”, c. 1940; oil/canvas, 24” x 18”, signed. Important illustrator. Hintermeister exhibited at the Art Institute of Chicago in the 1920s. 3000-5000
624. Henry (Hy) Hintermeister (American, 1897-1972), "Mother and Child in Yard“, c. 1940; oil/canvas, 32” x 24”, signed. Important illustrator. Hintermeister exhibited at the Art Institute of Chicago in the 1920s. 2500-4500
625. WITHDRAWN
626. Jennie Brownscombe (American, 1851-1936), "Landing of Columbus", c. 1882; oil/canvas, 30” x 40”, signed; American Federation of Arts Label on verso. Well known figure and genre painter. She studied at the Cooper Union School, National Academy of Design, and in Paris. She exhibited at the Art Institute of Chicago, National Academy of Design, Boston Art Club, and the Salons of America. She had a studio in Rome from 1888-1895, and she shared a studio in the Catskill Mountains with George Henry Hall from 1908-1913. She was also an illustrator. 7000-9000
627. James Sessions (American, 1882-1962), “Landscape with Houses”, c. 1940, watercolor/paper, 14" x 20", signed. Sessions studied at the Art Institute of Chicago from 1903-1906 and initially supported himself as a wheelsman aboard Great Lakes ships from 1906-1914, later serving in the Illinois Naval Reserve during World War I. He worked as a commercial illustrator, and was known for his watercolors. 1000-2000
628. Karl C. Brandner (American, 1898-1961), “Winter Farm Landscape”, c. 1940; oil/board, 18" x 20", signed. Brandner studied at the Art Institute of Chicago and the Chicago Fine Art Academy. He exhibited at the Hoosier Salon, Chicago Gallery Association, and the Palette and Chisel Club. Exceptional example of Brandner's work. 4500-6500
629. Jess Hobby (American, early 20th century), "Stream in an Early Winter Landscape", c. 1930; oil/canvas, 18" x 21", signed. Hobby worked in Oak Park, IL. He painted primarily landscapes of Illinois and Indiana. 2000-4000
630. Tom P. Barnett (American, 1870-1929), "Mid-Winter ", c. 1929; oil/canvas, 25" x 30", signed with monogram; Chicago Gallery Association label verso. Barnett was a painter and an architect. He and his father designed numerous important buildings in St Louis. He studied painting with Paul Cornoyer. Barnett exhibited landscapes and harbor scenes at the National Academy of Design, St Louis Artist Guild, St Louis World's Fair (1904), Portland Expo (1915), and the St Louis Artist. 4000-6000
631. Ada Walter Shulz (American, 1870-1928), "The New Baby", c. 1920; oil/board, 14" x 11", unsigned, provenance: the family of the artist (a letter of authenticity may be provided). Shulz began her studies at the Art Institute of Chicago in 1889, under John Vanderpoel. She traveled with Vanderpoel's class in the summer of 1892 to Delavan, Wisconsin, where she met her future husband, Adolph Shulz. In 1894, the two were married, and remained in Delavan for the next twenty years, although they began summering in Brown County, Indiana in the 1910s. They moved there permanently in 1917. Adolph specialized in landscape painting, and Ada chose the mothers and children of Brown County as her subjects. 20,000-30,000
632. Ada Walter Shulz (American, 1870-1928), "Young Girl with Flowers", c. 1920; oil/board, 14" x 10", unsigned, provenance: the family of the artist (a letter of authenticity may be provided). 20,000-30,000
633. Robert Charles Gruppe (American, b. 1944), “Harbor”, c. 1970; oil/canvas, 30" x 25", 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. 1500-2200
634. Robert Charles Gruppe (American, b. 1944), “Florida Scene”, c. 2000; oil/canvas, 30" x 36", signed. Established New England Impressionist. He has exhibited regularly at the North Shore Artist Association and the Rockport Artist Association. 1000-1800
635. Emile Gruppe (American, 1896-1978), “Last Winter Light, Vermont”, c. 1960; oil/canvas, 25” x 30”, signed, original frame. Gruppe was a central figure to the New England Impressionists of the 20th century. 7000-9000
636. George Henry Bogert (American, 1864-1944), “Moonlight”; oil/canvas, 30” x 45”, signed and a Findley Gallery label on verso. Bogert studied at the National Academy and in Paris. He painted in Venice in the 1890s. He exhibited from the 1880s-1910s, at the National Academy of Design, Brooklyn Artist Association, Art Institute of Chizcago, and the St. Louis Expo (1904). 2000-4000
637. Lucie Hartrath (American, 1868-1962), "Among the....", c. 1910; oil/canvas laid down on board, original, 9" x 12", signed; artist's label on verso with her address in Chicago. Important Chicago and Indiana area impressionist. Hartrath studied at the Art Institute of Chicago with Vanderpoel. She exhibited as early as 1901, at the Pennsylvania Academy of Fine Art. She also exhibited at the Hoosier Salon, Paris Salon, and the Chicago Municipal Art League. Hartrath visited Brown County, Indiana in 1908, and then painted there regularly. 4000-6000
638. James Merriam (American, 1880-1951), "Desert Mountain Landscape", c. 1940; oil/canvas, 40" x 50", signed verso. Merriam moved to Los Angeles in 1920, and lived there until his death. He painted deserts, mountains, and missions. 2000-3000
639. Georges LaChance (American, 1888-1964), "Little Brownie", 1942; oil/canvas mounted on board, 20" x 16", unsigned with Indiana Artist Club label on verso. 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). 600-800
640. Fred Penney (American, 1900-1988), "View Looking North East from Beach at Muskegon, Michigan", c. 1950; watercolor/paper, 11.75" x 15.5", signed. 400-600
641. American School, “Autumn Landscape”, c. 1910; oil/canvas, 18" x 15", unsigned, excellent period frame, imperfections. 500-700
642. Harry Chase (American, 1853-1889), "Spring Path", 1883; oil/board, 9" x 12", signed, dated and inscribed, "Nutty, NJ" on verso. Chase was a well known landscape and marine painter. He worked on the East Coast and in St Louis. 1000-2000
643. Oldrich Otto Farsky (American, early 20th century), " Autumn Landscape", c. 1910; oil/canvas, 36" x 24", signed. Farsky worked in Illinois and in California. 2000-4000
644. Frank Perri (American, early 20th century), “Farm Buildings”, c. 1940; oil/board, 10” x 15”, signed and titled on verso. Perri immigrated from Italy to Chicago around 1930. He exhibited at the Carnegie Institute of Art and the Art Institute of Chicago, and was President of the Oak Park Artists League. He traveled to Mexico in the late 1930s. He specialized in figurative works and urban scenes of Chicago. 200-300
645. American School (20th Century), "Moonlight", c. 1950; oil/canvas, 12" x 16", signed indistinctly (Flying Iron); titled on verso. 300-500
646. Cleveland Orr Fisher (American, b. 1885), "Winter Mist", c. 1930; oil/board, 6" x 8", signed; titled verso. Member of the Iowa Artists Club and the Society of Western Artists. 250-350
647. William J. Potter (American, 1883-1964), “The Cove”, c. 1930, oil/board, 16” x 20”, signed. Well known Connecticut painter. 500-700
648. Max Kuehne (American, 1880-1968), "Rockport Window”, c. 1930; etching, 8.25” x 11.5”, signed and titled. New York City impressionist painter. He studied with K.H. Miller, and exhibited from the 1920s-40s, at the Whitney Museum, Los Angeles Museum of Art, and the Detroit Institute of Art. 400-600
649. Aiden Lassell Ripley (American, 1896-1969), “Passerbys - A Moroccan Garden”, c. 1940, gouache/paper, 13.75” x 17.75”, with an estate stamp; provenance: Child's Gallery, Boston. Ripley was president of the Guild of Boston Artists from 1949-1959. 1000-2000
650. Frank V. Dudley (American, 1868-1957), "Lake Vista", c. 1925; oil/canvas, 27" x 30", signed; label verso. Dudley studied at the Art Institute of Chicago. He first visited the Northern Indiana dunes in 1912, and was so taken with the view, he devoted most of his subject matter to them for the remainder of his career. In 1918, Dudley had an exhibition of his paintings of the area at the Art Institute of Chicago. He also exhibited at the Chicago Gallery Association, Union League Club, Chicago (a painting by Dudley remains in their collection), Hoosier Salon, and the Museum of Art, Cedar Rapids, IA. He was a devoted supporter of the dunes area conservation. 10,000-15,000
Sale Date:
Sept. 11, 2005