.
.
Sale Date:
Sept. 11, 2005
Click thumbnail for larger image. Use Back button to return.
Lot Numbers and Descriptions
651. George Brandriff (American, 1890-1936), “Desert Home”, c. 1920; oil/canvas, 24” x 28”, signed, original carved frame. Brandriff moved to southern California in 1913, and taught painting in Laguna Beach, California and also served as president of the Laguna Beach Art Association. This is an excellent example of this artist's work. 10,000-20,000
652. Anthony Buchta (American, early 20th century), “Ranch near Edna”, c. 1930; oil/masonite, 25" x 30", signed, original frame. Buchta at the Art Institute of Chicago and at the Chicago Academy of Fine Art. He exhibited mostly landscapes at the Chicago Galleries Association, Chicago Palette and Chisel Club, and the Hoosier Salon. Buchta traveled to California and executed many western landscapes. His work is in the collection of the Swope Art Museum, Terre Haute, Indiana. 1000-2000
653. Greta Kempton (American, 1903-1991), “Figure in the Garden”, c. 1970; oil/canvas, 24.25” x 20”, unsigned. Kempton worked in Chicago, and the majority of her work was unsigned. 500-700
654. John Francis Murphy (American, 1835-1921), “Landscape, After the Storm”, c. 1880; watercolor/paper, 17.5” x 22”, signed. Murphy painted landscapes in the Barbizon tradition during the 1880s. He had just returned from France, and settled in Arkville, New York, a small community in the southern Catskills. Two years later, he was joined there by Alexander Wyant. This early example typifies his style before he moved to a more purely tonalist aesthetic, painting mostly barren autumnal landscapes. Murphy exhibited at the National Academy of Design, Rochester Art Club, Colombian Expo (Chicago, 1893), Paris Expo (1900), and the St. Louis Expo (1904) 1500-2500
655. Edmund Darch Lewis (American, 1835-1910), “Fishing in the Adirondacks”, c. 1890; watercolor/paper, 10.5” x 15.25”, signed. Philadelphia marine and landscape painter. He exhibited at the Boston Athenaeum, Pennsylvania Academy of Fine Art, and the National Academy of Design, from the 1850s-1910. Lewis frequently worked in watercolor. 1000-1500
656. Elmira Kempton (American, 1892-1971), "Autumn Landscape", c. 1940; oil/canvas, 20” x 24.25”, signed. Richmond, IN painter. Kempton studied with Wayman Adams and H. Wessel. She was a member of the National Association of Women Artists, Cincinnati Womens Art Club, and the Indiana Art Club. She exhibited at the Hoosier Salon and the Richmond Art Association, and was a teacher at Earlham College (1930s). 1500-2500
657. Henry Chapman Ford (American, 1828-1894), “Pastoral Landscape”, 1883; oil/canvas, 24.5” x18.5”, signed and dated with “New York, 1883”. Ford was a Civil War illustrator and veteran and when he was discharged from service, he settled in Chicago. 3000-5000
658. Alfred Jansson (American/Swedish, 1863-1931), “Blue Flowers by the Lake”, c. 1913; oil/canvas, 30” x 25”, signed and dated. Jansson came to Chicago in 1889, and spent most of his career there, painting impressionist landscapes. He studied in Stockholm and in Paris. He was a member of the Chicago Artist Club, Swedish American Artists, and the Chicago Artist Guild. He exhibited at the Columbian Expo (1893) and the Art Institute of Chicago (1910s). Shortly after Jansson arrived in Chicago, he was awarded a mural commission to decorate the Swedish Building of the World’s Columbian Exposition. 5000-7000
659. Carl R. Krafft (American, 1884-1938), “High Sierras”, c. 1925; oil/canvas, 22" x 38 “, signed, original frame. Important Chicago landscape painter. Krafft exhibited at the Art Institute of Chicago, National Academy of Design, Pennsylvania Academy of Fine Art, and the Chicago Gallery Association. He founded the Oak Park Art League and cofounded the Ozark Society of Artists, with Frank Nuderscher. 3000-5000
660. John Adams Spelman (American, 1880-1941), "Landscape with a Lake", c. 1920; oil/canvas, 26" x 32.25", signed, original frame. Spelman was a member of the Chicago Palette and Chisel Academy of Fine Art, Oak Park and River Forest Art League. Spelman was an outdoorsman himself, and had a keen sense of the landscape. He employed strong contrasts of light and dark to heighten the visual impact of the outdoor light quality. He was originally from Minnesota, and painted in the northeastern portion of that state, as well as the north shore of Lake Superior near Grand Marais. 4000-6000
661. C. Curry Bohm (American, 1894-1971), "Brown County Landscape with a Cabin", c. 1940; oil/canvas, 25" x 28", signed, original frame. Important landscape painter from Indiana. Bohm studied at the Art Institute of Chicago, and began visiting Brown County around 1920, usually spending part of the summer there. He was a charter member of the Brown County Art Gallery Association (founded in 1926), although he did not permanently reside there until 1932. He specialized in landscapes, and exhibited at the Hoosier Salon, Art Institute of Chicago, Brown County Art Gallery Association, Chicago Municipal Art League, and the Chicago Palette and Chisel Academy of Fine Art. 6000-8000
662. James Sessions (American, 1882-1962), “Wash Day”, c. 1940, 13.5” x 20”, unsigned. 300-500
663. Sir Peter Lely (British, 1618-1680), “Portrait of a Distinguished Gentleman”, c. 1670; oil/canvas, 30" x 24", unsigned, artist’s name printed on the front of frame (similar to a nameplate, except painted directly on frame), which is a period ornate hand-carved wooden frame. Highly important British portrait painter of the 17th century. Lely succeeded Anthony Van Dyke as the leading portrait painter in London after Van Dyke’s death in 1641. Lely secured the patronage of a group of noblemen, including the Earls of Leicester, Salisbury, Pembroke, and Northumberland ( who were all prominent in court before the Civil War, and had remained in London during the conflict). By the early 1660s, Lely was given an annual pension by Charles II, and was naturalized. From the 1640s through the late 1670s, and the emerging popularity of Godfrey Kneller, Lely had virtually no competition. Lely was knighted in January of 1680, and died in late November of the same year. 1500-2000
664. F. Del Basso (Italian, early 20th century), a pair of oils, one pictured: "Coastal Scene", c. 1920; oil/canvas, 8.75" x 12.5", signed. 400-600
665. Heinrich Lang (German, 1838-1891), “Circus Scenes”, set of 4 hand colored prints, one pictured, all comparable in size (6.75" x 9.5"), signed in plate. 400-600
666. John Califano (American/Italian, b. 1864), “Bay of Naples”, c. 1897; oil/canvas, 24” x 36”, signed. Califano studied and worked in Italy before moving to Chicago. He also worked in California. 700-900
667. Elyse Lord (British, early 20th century), "Floral Still Life", c. 1920; 11" x 12", signed and numbered in pencil, 28/100. 300-500
668. Alfred Downing Fripp (British, 1822-1895), “Peasant Woman with Goats”, c. 1880; watercolor/paper mounted on panel, signed and dated, 30" x 21"; inscribed verso. Fripp is included in the collection of the Tate Museum. 2500-3500
669. Eda Sterchi (American, b. 1885), “The Desert Oasis”, c. 1910; oil/board, 15" x 18", signed. 700-900
670. Eda Sterchi (American, b. 1885), “Arab Girl”, c. 1911; oil/oil sketch paper (comparable to a very thin board), 14" x 10.5", signed and titled. Sterchi studied at the Art Institute of Chicago and in Paris. She also exhibited at the Salon d’ Automne, American Womens Club and the Societe Nationale des Beaux Arts (all in Paris). In the United States, she exhibited annually at the Art Institute of Chicago from 1915-1920, and had a one man show there in 1929. She also exhibited at the Chicago Artist Guild, Corcoran Gallery (1928), and the Santa Barbara Museum of Art. Sterchi spent several years in Tunis, and exhibited there as well. 1000-2000
671. 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
672. Lester Chaney (American, b. 1907) “Sand Dunes”, c. 1937; oil/board, 12" x 16", 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. 800-1200
673. George Macrum (American, 1878-1970), “Paysage de Collioure”, c. 1930, oil/canvas, 25.75” x 31.75”, signed and titled on verso. Macrum studied at the Art Students League under Frank DuMond and Birge Harrison. 1000-2000
674. Milton Menasco (American, 1890-1974), “Rider in a Western Landscape”, 1916; oil/canvas, 10” x 14”, signed and dated. Menasco was well known for his equestrian subjects. He was born in Los Angeles and he worked there and in New York as an illustrator for many years. He moved to Kentucky in 1948. Richard DuPont, Isabel Sloane, and John Hay Whitney were all collectors of his work. This is an excellent, early example. 6000-8000
675. Grace L. Hamilton (American, 20th century), “Texas, The Elderly Couple”, c. 1960; oil/canvas, 24” x 30”, signed; titled on verso. 2000-3000
676. Grace L. Hamilton (American, 20th century), “Totems”, c. 1960; oil/canvas, 47.5” x 29.5”, signed; exhibition label on verso. 2000-3000
677. Grace L. Hamilton (American, 20th century), “Mexican Landscape, Grazing Goats”, c. 1960; oil/canvasboard, 20” x 24”, signed; titled on verso. 2000-3000
678. Grace L. Hamilton (American, 20th century), “Cotton Gin and Flour Mill”, c. 1960; oil/canvas, 30.5” x 26.5”, signed; titled on verso, with exhibition label: A.O.C.A. (1959). 3000-4000
679. Andre Dunoyer de Segonzac (French, 1884-1974), “Le Village et La Riviere“, c. 1950, ink and watercolor/paper, 22.25” x 30.75”, signed. A member of the group known as the Section d’or, which stressed geometric aspects in cubism. After 1920 his painting style became more lyrical and natural. 5000-7000
680. Henry Lawrence Faulkner (American, 1924-1981), “Country House”, c. 1973; oil/board, 10” x 14”, signed. Faulkner was born in Kentucky, and studied at the Los Angeles County Art Institute with Millard Sheets. He exhibited at several galleries in New York, including the ACA Galleries; he also exhibited at the University of Kentucky, Closson Gallery (Cincinnati), and the University of Miami. 3500-5500
681. Abraham Rattner (American, 1895-1978), "Pieta", c. 1945; oil/canvas, 32" x 39", signed; labels verso, original frame. One of Americas leading Expressionist painters. He studied at George Washington University, Corcoran School of Art, Pennsylvania Academy of the Fine Arts, and in Paris. In 1935, he had his first one-man-show at the Galerie Bonjean, Paris, at which time the French government purchased "Card Party" for the Louvre Museum collection. In 1940, he toured the United States with Henry Miller, resulting in an iconoclastic travelogue, The "Air-conditioned Nightmare", with text by Miller and drawings by Rattner. He experimented with mosaic, tapestry and stained-glass. His stained-glass designs were highly celebrated and respected. His most famous stained-glass piece was the window for the Chicago Loop Synagogue. He taught at the New School for Social Research and The Art Students League. His work is in the collections of the Art Institute of Chicago; Corcoran Gallery of Art, Washington, DC; Whitney Museum of American Art, Pennsylvania Academy of the Fine Arts, Metropolitan Museum of Art, Whitney Museum of American Art, New York; Musée du Jeu de Paume, Paris; Hirshhorn Museum and Sculpture Garden, and Art Institute of Chicago.

Exhibited: Paul Rosenburg & Co., New York, "Abraham Rattner", 1946. Witte Museum, San Antonio, 1946 Cincinnati Art Museum, "A Selection of American Paintings", 1953 (illus. in cat) Houston Contemporary Art Museum, "Americans from the Real to the Abstract: Wyeth, Rattner, Shahn, and Motherwell". 1954 American Academy and Institute of Arts and Letters, New York, "Memorial Exhibition: Gropper, Koch, and Rattner", 1978

Illustrated: Houston Post in 1954, and is illustrated in the book "Abraham Rattner", Allen Leepa, 1974 (Abrams), p.112, pl 78 (in color). 20,000-30,000
682. Charles Sebree (American, b. 1914), "The Money Changers", c. 1938; egg tempera/board, 11" x 14", signed; original white-washed frame. African-American painter. Sebree exhibited at the Art Institute of Chicago in the 1930s-40s. He also exhibited Katharine Kuh Gallery, American Negro Exposition (Chicago, 1940), Howard University, and the South Side Community Art Center (Chicago). 10,000-20,000
683. Eldzier Cortor (American, b.1916), “Roof Tops on Wabash”, c. 1938; oil/canvas, 30” x 24”, signed; signed again and titled on stretcher; original white-washed frame. Highly important African American painter and printmaker. He received the Rosenwald Fellowship and the Guggenheim Fellowship which allowed him to travel to Haiti where he taught at the Centre d’Art. 30,000-50,000
684. John Wesley Hardrick (American, 1891-1968), “Portrait of a Young Girl”, c. 1930; oil/board, 34” x 28”, signed. Highly important African-American painter from Indianapolis. 3500-4500
685. John Wesley Hardrick (American, 1891-1968), "Autumn Landscape", c.1940; oil/board, 23" x 28", unsigned; artist name and title on verso with Lyman Brothers label (Lyman Bros. was a well known framer and gallery in Indianapolis in the early 20th century). 2000-3000
686. Nathan B. Young (American, 1894-1993), “Kneeling for Prayer”, c. 1970, acrylic/board, 12” x 19”, unsigned.
400-600
687. Nathan B. Young (American, 1894-1993), “Yellow House”, c. 1970; acrylic/board, 12” x 16”, unsigned. 400-600
688. American Negro Exposition poster, original poster from the 1940 exposition in Chicago, 21.5” x 13.75”, excellent condition. American Negro Exposition, 1865-1940, Chicago Coliseum, July 4 to Sept. 2, American Negro Exposition Headquarters, 3632 South Parkway, Chicago. These posters are rare and desirable. 600-800
689. Nathan B. Young (American, 1894-1993), “Award Ceremony”, c. 1970; acrylic/board, 14” x 18’ , signed and titled on verso. Young was born in Alabama and his neighbor was Booker T. Washington who taught with Young’s father at Tuskegee Institute. Young attended Florida A&M University and Yale University Law School. In 1928, he moved to St. Louis and continued his law practice. In 1965, he was the first African American to be appointed as a municipal court judge in St. Louis. After his retirement in 1972, he focused on painting and writing. 400-600
690. Robert Philipp (American, 1895-1981), “In Central Park, N.Y.”, c. 1938; oil/board,14” x 23.75”, signed and dated; exhibition label verso from Raydon Gallery. New York modernist painter. Philipp studied at the National Academy of Design, and exhibited paintings of figures, cafes, and city scenes throughout the 1930s-60s. His work is in the collections of the Boston Museum, University of Illinois, National Academy of Design, and the Whitney Museum. New York modernist painter. Philipp studied at the National Academy of Design, and exhibited paintings of figures, cafes, and city scenes throughout the 1930s-60s. His work is in the collections of the Boston Museum, University of Illinois, National Academy of Design, and the Whitney Museum.

Exhibited: "A Neglected Generation of American Realist Painters: 1930-1948", 1981, illus. p. 46. 6000-8000
691. Aaron Bohrod (American, 1907-1992), “Exotic Still Life”, c. 1950; oil/board, 16” x 13”, signed. Important Chicago modernist. Bohrod studied with John Sloan and Boardman Robinson. He exhibited throughout the 1930s-40s, at the Associated American Artists, National Academy of Design, and the Oehlschlager Gallery (Chicago). His work is in the collections of the Art Institute of Chicago, Metropolitan Museum, Whitney Museum, and Cranbrook Academy. 3000-5000
692. Edmund Brucker (American, b. 1912), “The Young Black Athlete”, c. 1940; oil/canvas, 20" x 16", signed. Important Indianapolis modern painter. Brucker studied at the Cleveland School of Art, and exhibited at the Hoosier Salon (1939-1980s), Metropolitan Museum of Art, Pennsylvania Academy of Fine Art, and the Carnegie Art Institute. He was primarily a figure painter, and was one of the most successful of the regionalist painters from Indianapolis. His work is in the collections of the Indianapolis Museum of Art, Herron Art School, Indianapolis Motor Speedway, Butler Institute of American Art, Cleveland Museum of Art. 2500-4500
693. Frances Chapin (American, 1899-1965), “East Dorset Station”, c. 1940; oil/canvas, 35” x 45”, signed; titled on artist label verso. Well known Chicago painter; exhibited and taught at the Art Institute of Chicago in the 1930s. Chapin also exhibited at the National Academy of Design (Hallgarten Prize, 1930), Pennsylvania Academy of Fine Art (Sesnan Medal, 1939), and the Chicago Gallery Association. This is a major work by this artist. 8000-10,000
694. Van der Berg (Belgian, 20th century), “Girl with Cat”, 1940; oil/canvas, 36.5” x 29”, signed; label on verso from “Societe Royale Des Beaux-Arts”. Very striking image. 600-800
695. Frank Perri (American, early 20th century), “Group of Figures”, c. 1940; colored drawing, 4.5” x 6.5”, signed. 250-350
696. Max Ernst (German, 1891-1976), “Plate X", 1969; color lithograph, 24" x 18", signed and dated, 24/70. 800-1200
697. Frank Perri (American, early 20th century), “House with Trees", c. 1940; tempera/paper, 18” x 24”, signed. 300-500
698. Frank Perri (American, early 20th century), “The Last Picnic”, c. 1940; oil/board, 39” x 25”, signed and titled on verso. 300-500
699. Frank Perri (American, early 20th century), “Figures on a Blanket”, c. 1950; oil/board, 21” x 10”, signed. 250-350
700. Frank Perri (American, early 20th century), “City Scene with Trains”, c. 1940; watercolor/paper, 22” x 29.5”, signed. 300-500
Sale Date:
Sept. 11, 2005