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Lot Numbers, Descriptions and Estimates
701. 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. 4000-6000
702. Ernest Fredericks (American, 20th Century), “Coastal Scene”, c.1940; oil/canvas, 28” x 38”, signed, nice ornate frame. 800-1200
703. Ernest Fredericks (American, 20th Century), “Autumn Stream”, c. 1930; oil/board, 8” x 10”, signed. 300-500
704. Daniel MacMorris (American, 1893-1981), “Entrance to the Garden Castle of Fontainebleau, France”, c. 1924; oil/board, 12” x 9”, signed; dated and titled verso. 500-700
705. Hubert A. Bade (American, early 20th century), “Church beside a Stream in a Snowy Landscape”, c. 1930; oil/canvas, 21” x 27”, signed, nice original frame. Bade exhibited at the Art Institute of Chicago in 1928. 300-500
706. Carl A. Schmidt (American, 1890-1962), “Cows”, oil/canvas laid down/board, 9” x 11”, signed. 300-500
707. Julian F. DuPre (American, early 20th century) a pair of works, one pictured: “Laguna”, c. 1925; oil/board, 6” x 9”, signed, and titled; with another Pacific Coast scene by the artist. DuPre worked in Los Angeles, and exhibited at the Mark Hopkins Institute (San Francisco) as early as 1897. 500-700
708. Grace May Betts, (American, 1885-1978), “Native Americans”, c. 1954; oil/canvas (scroll), 34” x 51”, signed. 800-1200
709. Grace May Betts, (American, 1885-1978), “Native Americans”, c. 1954; oil/canvas (scroll), 35” x 40”, signed, unframed. 800-1200
710. Walter Markmann, (American, early 20th century), "Western Landscape", c.1934; oil/cardboard, 9" x 12", signed and dated. 300-500
711. Einar Lundquist (Swedish/American, b. 1901), “Gloucester Harbor Scene”, c. 1930; oil/canvas, 20” x 22”, signed and dated. Chicago painter, exhibited at the Art Institute of Chicago, 1927-1931. 600-800
712. John Herbert Chadwick, (American, 1869-1938), "Island Heights Clouds (New Jersey)”, c. 1930; oil/board, 9” x 13”, initialed on front; inscribed with artist’s name and title on verso; good contemporary frame. 800-1200
713. G. Adolph Anderson (American, b.1877), “Still Life with Ceramic Buddha and Jars”, c. 1920; oil/canvas, laid down; 16” x 12”, signed. 400-600
714. Alvin Stude (American, early 20th Century) “Mountain Landscape”, c. 1930; oil/board, 21” x 17”, signed. Stude worked in Oak Park. 400-600
715. Trevor Robinson (American, early 20th century), “Yellow Irises”, c. 1940; oil/canvas, 30” x 24”, signed. 300-500
716. Jane Porter Robinson (American, early 20th century), “Children with Flowers”, c.1915; watercolor, 13” x 10”, signed. 300-500
717. V. Alonzo (Continental, 19th-20th century), “Bust of A Young Peasant Woman”, c. 1900; bronze inset into marble base, 13”h, signed. 600-800
718. British School, “Portrait of a Gentleman”, c. 1860; oil/canvas, 27” x 21”, unsigned, nicely framed. 800-1200
719. Robert Watkins (American, early 20th Century), “Sailing Vessel”, c. 1920; oil/canvas, 28” x 36”, signed; excellent period carved frame. 800-1200
720. Alfredo Pina (Italian/French, 1887-1966) “Leda and the Swan”, c. 1928; bronze sculpture with original patina, 15”w x 10”d x 17”h, signed and dated, with Paris. 2500-3500
721. J. Scott MacNutt (American, b. 1885), “Surf”, c.1921; oil/canvas, 18” x 22”, signed and dated. 400-600
722. B. Priess, (Continental, early 20th century), “Semi-Nude Figure of a Woman”, c. 1920; bronze on marble base, 14” overall, signed. 500-700
723. James R. Bingham (American, 1917-1981), “Illustration for a Saturday Evening Post Story”, c. 1940; oil/board, 16” x 20”, signed; labeled verso, unframed. 500-700
724. Worth Ellsworth, (American, 20th century), “Bill Hawley”, c. 1958; oil/canvas, 30” x 24”, signed and dated; label verso: 19th Annual Exhibition of Western Artists, Golden Gate Park, San Francisco (M. Hyde Young Memorial Museum) (1959). 600-800
725. Victor Petry (American, early 20th century), “Symphony”, c. 1923; oil/canvas, 27” x 37.5”, signed. Born in Philadelphia, he painted in New York City and Ogunquit, Maine. He was a member of the New York Watercolor Club and a student of Frederic Waugh. 400-600
726. Paul Gregg (American, 1876-1949), “Fly Fishing (Snagged!)”, c. 1930; oil/canvas laid down, 22.5” x 20.5”, signed and dated. 600-800
727. H. Bargas, (Continental, early 20th century), “Sisyphus”, c. 1930; terra cotta Art Deco sculpture, 12” x 20”, signed. 600-800
728. Finn Wennerwald (Danish, b. 1896), “Edge of the Pond”, c.1930; oil/canvas, 18” x 26”, signed. 400-600
729. 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. 300-500
730. C. Lovat Fraser, (British, 1890-1941), “Design for Perfume Bottle”, c.1917; watercolor with applied gold and silver leaf, 5.5” x 6.5”, signed and dated. Fraser was a well known Arts & Crafts period designer in England. His design work with applied metal leaf is very rare and desirable. 300-500
731. Sydney Adamson (Scottish/American, 19th century), “Theatrical Scene”, c.1895; gouache/board, 23” x 17”, signed and dated. 300-500
732. Henri Farre, attribution (American, 1871-1934), “Flowers on a Table”, c. 1925; oil/canvas, 28” x 39”, unsigned. See lots 642 and 645 from our September 2004 auction. This is clearly the work of Farre, and is the typical size for his works of this subject. 2000-3000
733. Stan Poray (American, 1888-1948), “Portrait of a Woman,”, c. 1925; oil/canvas, 52” x 33”, initialed, nicely framed. 3000-5000
734. Robert W. Stewart (American, early 20th century), "Summer in the Park", c. 1910; pastel, 11" x 14", signed. Stewart worked as a painter and illustrator. 300-400
735. Matthew E. Ziegler (American, 1897-1981), “Missouri Landscape”, c. 1940; oil/canvas, 36" x 36", initialed, “MEZ”. Ziegler worked in the artist’s colony of Ste Genevieve, MO. 800-1200
736. Arnold E. Turtle (American, 1892-1954) , “Portrait of a Woman”, c.1930; oil/canvas, 36” x 32”, signed. Chicago painter. 1200-1700
737. French School (20th Century), "Peaceful Stream"; pastel/paper, 9” x 10”, signed illegibly, framed. 300-500
738. Carl Thorp (American, b. 1912), lot of two oils (one shown), “Floral Still Life”, c.1967; oil/board, 14.5” x 7.5”, signed; with another work depicting a harbor scene. California painter, active 1928-57. He studied at the Academy of Fine Art, San Diego with Braun and Mitchell. He was a member of the Society of Western Artists and the Northern California Artist Association. 250-350
739. Harry T. Fisk (American, 1887-1976), lot of two work, one pictured: “Canal with Warships”, c. 1925; oil/board, 12" x 16", signed in pencil on verso. New York painter and illustrator, active from the 1920s-40s. 250-350
740. American School, “Woman in a Fancy Gown”, c. 1920; pastel/paper, 24” x 18”, unsigned. 200-300
741. Frank Jirouch (American, 1878-1970), “River Landscape”, c. 1940; oil/canvasboard, 16 x 20 signed, unframed. 1000-2000
742. Frank Peyraud (American, 1858-1948) ,“Morning Light, Fall Landscape”, oil/canvas, 20” x 24”, signed. 600-800
743. Don Louis Ruf (American, 1905-1982), lot of four oils, one pictured: “Landscape”, c. 1940; oil/canvasboard, 16” x 20”; with three other landscapes, all are the same size and unframed, only two are signed. 400-600
744. Floyd Garrison Ackerson (American b. 1889), “Landscape”, c. 1942; oil/cardboard, 11” x 15”, initialed. 800-1200
745. John Dominique (American, 1893-1994), “Mountain Landscape”, c. 1930; oil/canvas, 14” x 20”, signed and dated; estate stamp verso. 600-800
746. John Dominique (American, 1893-1994), “Late Afternoon”, c. 1930; oil/canvas, 16” x 22”, signed. 600-800
747. Tunis Ponsen (American, 1881-1961), “Midwestern Landscape”, c.1930; oil/canvas, 30” x 36”, signed. 4000-6000
748. Everett Lloyd Bryant (American, 1864-1945), “Women Dancing”, c.1930; gouache/board, 20” x 30”, unsigned; estate stamp/label of the artist verso. 800-1200
749. Everett Lloyd Bryant (American, 1864-1945), “Goats Foraging”, c.1930; gouache/board, 20” x 30”. 800-1200
750. Everett Lloyd Bryant (American, 1864-1945), “Among the Fir Trees”, c. 1930; gouache/board, 20” x 30”. 800-1200
751. Paul Sargent (American, 1880-1946), “Autumn Stream”, c. 1942; oil/canvas, 30” x 36”, signed, dated, original carved frame. This is an excellent, large example of the artist’s work. 4000-6000
752. Walter Vladimar Rousseff (American, b.1890), “Chicago in Winter”, c. 1921; oil/canvas, 26" x 24”, signed and dated. Rousseff worked primarily in Chicago.
753. Andrew T. Schwartz (American, 1867-1942), “Early Autumn Landscape”, c. 1925; oil/canvas, 20” x 24”, signed; nice original frame. 2000-3000
754. Joseph Tomanek (American, b. 1889), “Spring Flowers”, c. 1930; oil/canvas, 29” x 38”, signed; titled on stretcher. 2000-3000
755. Oldrich Otto Farsky (American, early 20th century), " Autumn Landscape", c. 1910; oil/canvas, 36" x 24", signed. 1500-2500
756. Louis Grell (American, 1887-1960), “Costume Ball”, c. 1920; oil/canvas, 25” x 30”, signed and unframed. 1500-2500
757. Jules Louis Tavernier (French, b.1879), “Arabic Scene”, c.1910; oil/board, 10” x 13.5”, signed. 2500-3500
758. Everett Lloyd Bryant (American, 1864-1945), “Floral Still Life”, c.1930; oil/canvas, 25” x 30”, signed. 2500-4500
759. William Ballantine Dorsey, (American, b. 1942), “California Coast”, c. 2000; oil/canvas, 18” x 24”, signed. 1500-2500
760. Dale Philip Bessire (American, 1892-1974), “Autumn Landscape, Indiana”, c. 1940; oil/canvas, 24” x 30”, signed. 3500-4500
761. Varaldo J. Cariani (American, 1891-1969), “Clouds and Shadows, Bear Wallow”, c. 1930; oil/canvas, 25" x 30”, signed; titled on label verso, original carved frame. 3000-5000
762. William Ballantine Dorsey (American, b. 1942), “California Scene”, c. 2000; oil/canvas, 24” x 30”, signed. 2000-3000
763. Aime Perret (French, 1847-1927), “Peasant Woman”, c. 1880; oil/canvas, 24” x 20”, signed, nice period frame. Born in Lyon (Rhone) in 1847, he began drawing at an early age. Lyon had a vibrant artistic community full of painters, designers, printmakers and sculptors and Perret was swept into the scene immediately. He was a pupil of Joseph Benoit Guichard, Antoine Vollon, and Puvis de Chavannes, and attended the School of Fine Arts in Lyon. He made his debut at the Salon of French Artists in 1869, receiving a Medal of Honor for each of the two consecutive years. He was also awarded a medal at the Universal Exposition of 1889. His landscapes are more than studies of nature and light-effects; they become settings for the activities of peasants, which Perret imbues with a sense of solitude and dignity. He is often compared with the Barbizon landscapist Jean-Franois Millet. In an 1883 letter to a friend, Vincent Van Gogh speaks excitedly about making copies after several French artists, including Perret. The majority of his career was spent between his two beloved residences: a house in Bois-le-roi (Ile-de-France) which he bought in 1878, and one in Paris on the Rue d' Amsterdam. This ability to travel between the city and countryside allowed Perret to remain a sophisticated artist, while painting the rural subjects he loved. 10,000-15,000
764. George Ames Aldrich (American, 1872-1941), “Stream in Normandy”, c. 1920; oil/canvas, 25” x 30”, signed. 6000-8000
765. Hamilton Hamilton (American, 1847-1928), “Mother and Daughter”, c. 1890; watercolor, 30” x 15”, signed, Hamilton Hamilton, N.A.”, nicely framed and matted. 3000-5000
766. Leon Louie Dolice (American, 1892-1960), "New York", c. 1930; pastel/paper, signed, 12" x 19". Dolice was born in Vienna. He came to the United States in 1920, and lived and worked in New York City. He became friends with George Luks and Herb Roth, and was clearly influenced by the "ashcan" style. He worked in pastel and made prints of his city. Dolice's works are in a number of notable museums and private collections, including the Museum of the City of New York; The New York Public Library Print Collection; The New York Historical Society; Georgetown University Lauinger Library; The Print Club of Philadelphia and others. In the past few years, his work has been exhibited at Hofstra Museum, Long Island, NY; with the Montauk Artists' Association; Montauk, NY and at Tribeca Gallery New York City. 800-1200
767. Leon Louie Dolice (American, 1892-1960), "New York", c. 1930; pastel/paper, signed, 12" x 19". 800-1200
768. Leon Louie Dolice (American, 1892-1960), "New York", c. 1930; pastel/paper, signed, 19" x 12". 800-1200
769. Leon Louie Dolice (American, 1892-1960), "Nude", c. 1930; pastel/paper, signed, 14" x 20". 800-1200
770. Leon Louie Dolice (American, 1892-1960), "Nude", c. 1930; pastel/paper, unsigned, 21" x 16". 800-1200
771. Leon Louie Dolice (American, 1892-1960), "Nude", c. 1930; pastel/paper, signed, 14" x 20". 800-1200
772. Leon Louie Dolice (American, 1892-1960), "Washington Square, N.Y.C.", c. 1930; block print, signed, titled, 20" x 14". 300-500
773. Leon Louie Dolice (American, 1892-1960), "Downtown, New York", c. 1930; block print, signed, titled, 20" x 14". 300-500
774. Leon Louie Dolice (American, 1892-1960), "MacDougall Alley", c. 1930; block print, signed, titled, 20" x 14". 300-500
775. Leon Louie Dolice (American, 1892-1960), "New York", c. 1930; pastel/paper, signed, 12" x 19". 800-1200
776. Leon Louie Dolice (American, 1892-1960), "New York", c. 1930; pastel/paper, signed, 11" x 9". 800-1200
777. Leon Louie Dolice (American, 1892-1960), "New York", c. 1930; pastel/paper, signed, 12" x 19". 800-1200
778. Leon Louie Dolice (American, 1892-1960), "Gramercy Park, N.Y.C.", c. 1930; block print, signed, titled, 20" x 14". 300-500
779. Leon Louie Dolice (American, 1892-1960), "Union Square, N.Y.C.", c. 1930; block print, signed, titled, 20" x 14". 300-500
780. Leon Louie Dolice (American, 1892-1960), "Queensborough Bridge, N.Y.C.", c. 1930; block print, signed, titled, 20" x 14". 300-500
781. Robert MacDonald Graham (American, 1919); “Honky Tonk”, c. 1965; acrylic and vinyl polymer/masonite, 18"x 24", signed and titled. Graham studied at the Kansas City Art Institute with Thomas Hart Benton. He served as a combat artist during World War II and after the war was influenced by the Belgian painter, Jules van Vlasselaer. He worked as an art instructor at the University of Texas in Austin from 1951 to 1955 and from 1958 to 1975, taught at the University of Missouri at Kansas City. Like his mentor, Graham revisited the same subject many times, usually making subtle changes in a new work, but preserving the primary composition and feeling of the original. The two works being sold here are representative of that. The original, executed in 1965, and a later version, painted in 1992, not long before his death, are very similar, with only minor, peripheral differences. 3000-5000
782. Robert MacDonald Graham (American, 1919), “Honky Tonk”, c.1992; Binney and Smith acrylic/canvas, 24” x 36”, signed; titled and dated verso, with inscription by artist, “second version circa 1965 painting.”, fine new frame. 3000-5000
783. Reginald Marsh (American, 1898-1954), “The Trapezists”, c. 1940; watercolor and ink/paper, 25” x 16”, unsigned; there are vignette drawings in the border as well as writing which are hidden by the matte; exhibition labels verso. 15000-20000

Provenance: The collection of Senator William Benton, CT. (letter of confirmation is available)
784.   Charles Sebree (American, 1914-1985), “Sailing Boats”, c.1950; casein/gessoed masonite, 12 x 16”, signed. 6000-8000
785. Walter Henry Williams (American, 1920-1988), “Children in a Field of Flowers”, c. 1959; oil, wax, pastel and gravel/paper laid down on board (original), 30” x 20”, signed and dated. Important African-American artist. Walter Williams studied art at the Brooklyn Museum Art School under Ben Shahn, Reuben Tam and Gregoria Prestopino. He also spent a summer studying art at the Skowhegan School of Painting and Sculpture in Maine. Williams moved to Copenhagen, Denmark in the 1960s, returning only briefly to the United States, to complete a body of work informed by the experiences of being an African American living in the South. While he was in Copenhagen, he created a series of colorful woodcuts of black children playing in fields of flowers. He died in Copenhagen in June 1998. This is the finest work offered at auction by Williams to date. 15,000-25,000
786. Gertrude Abercrombie (American b. 1909), “Self-Reflection”,
c. 1953; oil/masonite, 10” x 8”, signed, dated; titled verso. A leading member of a group of Chicago painters working in the Magic Realist style. Abercrombie, Karl Priebe, and Charles Sebree were all friends. 6000-8000
787. George E. Neal (American, b. 1906), “Chicago Street Scene”, c.1938; watercolor, 13.5” x 16”, signed and dated. (signed again in pencil). Neal was the first African-American instructor at the Art Institute of Chicago. He exhibited at the American Negro Exposition (Chicago, 1940), Howard University, and the Southside Community Center. 1000-2000
788. Albert Pels (American, 1910-1998), “Young Girl and Wealthy Benefactor”, oil/canvas, 14” x 18”, signed. 1500-2500
789. Fred Jones (American, b. 1914 ), “The Young Fisherman”, c. 1955; mixed media, 16” x 20”, signed. Chicago African-American Artist. 1000-2000
790. Alonzo Hauser (American, 20th century), “Musician”, c. 1935; plaster sculpture, 19”h, signed. 2000-4000
791. Walker Evans (American, 1903-1975), "Show Posters", (originally produced in 1937 - reprinted L.O.C. 1960), 15" x 10.5", stamped; inscribed verso. 500-700
792. Karl Priebe (American, 1914-1976), “Figure in a Landscape”, c. 1955; gouache/mixed media, 14” x 24”, signed. Magic Realist painter from Milwaukee. Good friend of Gertrude Abercrombie. 1000-2000
793. Charles Sebree (American, 1914-1985), “Religious Figure”, c. 1943; gouache, pencil/paperboard, 5.5” x 6”, signed and dated. Provenance: estate of Karl Priebe.     2000-3000
794. David Bekker (Polish-American, 1897-1956) , “Writing a Letter to the New Country”, c. 1936; oil/canvas, 30” x 20”, signed; exhibition tag, “#8” (lower right front). David Bekker was born in Vilna, Poland. He studied at the Antokolsky Art School in Russia; the Bezalel Art Academy in Jerusalem, Palestine; and the Academy of Fine Arts in Denver. His distinguished teachers in Bezalel were Boris Schatz and Abel Pann. During the Depression, Bekker was a WPA artist who created images of human suffering and painted murals in Illinois public buildings. In 1932, he published a portfolio of woodcuts, Myths and Moods. His works are included in the Library of Congress in Washington, D.C., and the Tel Aviv Museum. REF: Art of Today: Chicago, 1933 (written by J.Z. Jacobson and published by L.M. Stein), A Gift to Biro-Bidjan: Chicago, 1937 (Oakton Community College). 3000-5000
795. David Bekker (Polish-American, 1897-1956) , “Letter from the Old Country”, c. 1936; oil/canvas, 30” x 20”, signature and date are incised lower right corner by the artist, October 1936. 3000-5000
796. Dorothy Bartholemy (American, 1914-2005) “Cats on Stove”, c.1948; oil/canvas, 30" x 24", initialed, “d.a.b.”; Provenance: the estate of the artist. Bartholemy lived in East St. Louis, and studied at the St. Louis School of Fine Art (now Washington University) with Edmund Wuerpel. In 1937, she was awarded the John T. Milliken Prize for her painting, “Slave Market, 1850”. This award included a year of study in Europe. Bartholemy regularly exhibited at the St. Louis Artist Guild, St. Louis Art Museum, and the Society of Independent Artists; as well as the Carnegie Institute (Directions in American Painting) and the Metropolitan Museum of Art (New York). Bartholemy exhibited with other well known American Scene painters, Joe Jones, Joseph Vorst, and Charles Quest. 5000-7000
797. Dorothy Bartholemy (American, 1914-2005), “Siamese Cats”, c.1949; oil/canvas, 24" x 20", initialed, “d.a.b.” and dated; Provenance: the estate of the artist. 4000-6000
798. Joseph Santoro (American, 1908-1996), “Dry Dock”, c. 1970; watercolor/paper, 22” x 30”, signed, with “A.W.S” (American Watercolor Society. 500-700
799. Helen Van Wyk (American, 1930-1994), “Yellow Onions”, c. 1970; oil/canvas, 12” x 24”, signed. 600-800
800. Ann Scott Dodson (American, 20th century), “St Louis Riverfront”, c. 1960; oil/canvas, 20” x 30”, signed. 300-500

LOTS