May 6, 2007

Treadway/Toomey Auctions


Back to May 6th Sale Page

Camilio Adriani (Italian/American, early 20th century)

Adriani specialized in impressionist figures, landscapes, and harbor scenes.



Iris Andrews (American, b. 1881)



Rifka Angel (Russian/American, 1899-1986)



Wilhem Karl Ferdinand Arnesen (Danish, 1865-1948)

Arnesen's father was a skipper and a builder of model ships so Arnesen's interest for maritime started at a very young age. Later when Arnesen was educated at the Academy of Arts he was given the highly esteemed honour to accompany the Danish Royal family on their many travels abroad. Arnesen was known for his detailed and powerful seascapes with large sail ships and often portrayed famous historical events. Arnesen traveled and worked all around the world and his paintings were in high demand. Arnesen is known to be the last of the great old national marine artists. The paintings of Arnesen have been exhibited at the world fair in Chicago , Museum of Arts in Lübeck , Germany and frequently at Charlottenborg.



William E. Artis (American, 1914-1977)

Born in Washington , North Carolina , William Artis became a prominent Black-American ceramist and sculptor in the mid 20th Century. He lived in New York City and Mankato, Minnesota and focused primarily on functional objects that were ceramics but also sculpted in clay prominent Afro-Americans.

He was a student at the Harlem Community Art Center with Selma Burke and Augusta Savage, at the College of Ceramics at the State University of New York in Alfred from 1946 to 1947, and earned a B.F.A. from Syracuse University in 1950 and an M.F.A. in 1951. He also studied at the Art Students League in New York City , where he won the Harmon Foundation Prize in 1933.

Artis exhibited widely including the Salons of American in 1934, the Whitney Museum in 1933, and the Texas Centennial in 1936.



Bill Barret (American, b. 1934)

Sculptor Bill Barrett was born in Los Angeles , California and studied at the University of Michigan in Ann Arbor , where he received both a B.S. and a M.S. in design, as well as an MFA.  A longtime resident of New York City , Barrett now divides his time between Santa Fe and New York . His work has been widely shown in major museums and galleries coast to coast and in Switzerland and Japan . In addition, many of his works are owned by both corporate and private collector.

Barrett works in three stages: A small bronze maquette, which the author Michael Brenson has described as "typically quirky, experimental, and figurative." The next stage involves blowing up the work into welded and polished aluminum. At this stage the sculpture is, as Brenson writes, "lighter now and closer in form and structure to Cubism and David Smith." Finally, Barrett creates more airy, and the effect is increasingly architectural . . . with a lightness and directness" (Michael Brenson, "The New York Times", 1985).  Barrett's approach to art is basically humanistic. "Art helps people understand themselves better," he says. "I come from an expressionist attitude about what art is for. It's an involvement, that of the artist with his art and that of the art with the viewer. It becomes a very intimate conversation among the three, which is not new. It's always been this way. (Personal interview, Valentine Riddell, Santa Fe, 1992)




George Bates (Canadian, b. 1931)

George W. Bates was born in London , England , 1931. He came to North America

in 1954 at the age of 23, living in Toronto and Los Angeles before settling

in Vancouver , BC , in 1956.   Bates learned much from his friend of thirty years, Edwin C. Lockey, as artist who valued simplicity of design in his own work.  On painting, George has commented that "the need, the desire, to paint or participate in any of the arts is innate and is incapable of analysis. I believe that it is one of the few traits that defines mankind".  Since his first one-man show in Vancouver in 1971, Bate's work has continued to exhibit with one-man exhibitions usually each year or two. His work has been included in various group showings, as well as prominent charity auctions, fund raisers, and professional art association exhibitions. He is represented in many private and corporate collections in North America, Europe and the Far East .

Bates is a Charter Member of the Canadian Society of Marine Artists and was

elected Senior Member of the Federation of Canadian Artists in 1983.


Cynthia Bissel (20th century)


Leo B. Blake (American, 1887-1976)

Leo B. Blake received a thorough education in art at the Art Institute of Chicago where he was a student from 1908 to 1912.  After emerging from the Art Institute of Chicago, Blake began his career in illustration and commercial art and continued his residence in the Mid-West until he decided to break away and work as a free lance painter according to his own ideas and preferences. He set up a permanent studio in the Berkshires in 1933. Blake spent the rest of his career depicting landscape and seasonal changes around New England .  Blake was an active member of the Salmagundi Club, Illinois Academy of Fine Arts, Pittsfield Art League (President 1935), Berkshire Business Men's Art League, North Shore Arts Association, Connecticut Academy of Fine Arts, New Haven Paint and Clay Club, Springfield Art League, and the American Artists Professional League.  Blake exhibited throughout the country at many fine institutions including at the Art Institute of Chicago, Illinois Academy of Fine Arts (award, 1931), Allied Artists of America, Berkshire Museum, Connecticut Academy of Fine Arts (award, 1939), Salmagundi Club (award, 1942), Philadelphia Art Alliance, and Syracuse University.

Blake's work is represented in the permanent collections of the Illinois State Museum, Mechanics Institute of the Rochester Institute of Technology and the Berkshire Museum, Pittsfield, Mass.


Arnold Blanch (American, 1896-1968)

Born in Mantorville, Minnesota, Arnold Blanch was a painter of scenes of social-realist American life with mystical overtones and a child-like seeming style.  He was also a highly respected teacher, lecturer and visiting critic and was a spokesman for the art colony in Woodstock, New York.  He was married to Lucile Blanch.  Unlike many of his generation, he seemed disinterested in avant-garde styles and held to his own approach with canvases that were happy and somewhat romantic in subject matter.  In the 1930s, he was a muralist for the Federal Art Project and did work in post offices in Fredonia, New York and Norwalk, Connecticut.  He first studied at the Minneapolis School of Arts, and from 1921 to 1922 was at the Art Students League in New York City, studying with Kenneth Hayes Miller, John Sloan, and Robert Henri.  He also studied with Boardman Robinson, whose invitation he accepted to teach in Colorado Springs at the Colorado Fine Arts Center school. He took seriously their assertions that an artist should paint from his own experiences and environment.  He was a member of the American Artists Congress, the Association of American Artists, the American Watercolor Society, and the Painters, Sculptors, Gravers Society of America, which he also served as president.


Carl Oscar Borg (Swedish/American 1879-1947)

Carl Oscar Borg, protégé of Phoebe Hearst, friend of personalities like Edward Borein, Thomas Moran and Charles M. Russell, could create any subject in any medium, and do it well. He was most successful and highly regarded during his lifetime, receiving numerous awards and medals.


In the annals of American art history, Carl Oscar Borg belongs to the group of artists including Joseph Sharp, E. Martin Hennings, Walter Ufer, Victor Higgins, and Oscar Berninghaus. Borg belongs also to the group of American artists who came to California at the turn of the century to record the California landscape---artists like Marion and Elmer Wachtel, Hanson Puthuff, and William Wendt who taught him painting techniques. Borg’s works are included in many major museum, university, and private collection throughout the United States.


Borg succeeded in preserving America’s cultural heritage by documenting the customs and religious ceremonies of the Native Americans that had been shared with him. He felt a kinship with the West and the people who introduced him to it. He used paint, canvas and brushes to express the unique qualities he found in New Mexico, Arizona and California. He captured the grandeur of this unusual scenery, which is emphasized by atmosphere, light, color and expanse.


Carl Oscar Borg was born into a poor family in Dals-Grinstad, Sweden on March 3, 1879. As soon as he could hold a pencil he started copying pictures from books. He had neither the vocabulary nor the concepts to articulate a philosophy, but he yearned to be a great artist. Borg apprenticed to a house painter at age 15, then moved to London and became assistant to portrait and marine painter George Johansen. He began painting during that time.


In 1901, he sailed for the U.S. and worked as a house and furniture painter in the East. It was not the life he had dreamt about, and at the urging of his friends he headed for California. Carl Oscar Borg discovered Santa Barbara in 1903 as he made his way from San Francisco to Los Angeles. California provided the opportunity, support, and the spiritual environments, which permitted his talents to unfold, and his genius to develop. He enjoyed sailing out to the Channel Islands and often camped out weeks at the time to paint.


Under the patronage of Phoebe Hearst, who recognized Borg’s talent, he was able to return to Europe to study art. It was also Mrs. Hearst who made arrangements with the Department of the Interior for Borg to live with the Native Americans. Borg wrote: "The inhabitants of these great solitudes, these limitless horizons, this wilderness of color and form, are marked by an Arcadian simplicity, by a dignity and reserve that I am sure would be hard to find among any other living peoples…" And every summer, while residing in California, Borg would return to the desert to spend time with his many intimate friends among the Indians.


He taught art at the California Art Institute in Los Angeles, and at the Santa Barbara School of the Arts. He was the first art director for major Hollywood studios and worked with Sam Goldwyn, Douglas Fairbanks and Cecil B. DeMille.


For twenty years Borg made his way as an artist in the West, but the West began to resemble the rest of America. Carl Oscar Borg did not like the changes. But the automobile, railroad and the movies did support him as an artist. The Santa Fe Railroad hung his paintings along with other prominent artist’s work in their offices to attract the interest and attention of the tourists. Touring Topics, the AAA’s publication, featured one of Borg’s Grand Canyon paintings on the cover. Borg had a special place in his heart for the Grand Canyon. He wished to have his ashes be given to the wind of the Canyon.


But times were changing. Many of his friends in California had died. Borg saw the growing popularity of modern art. It was clear that these artists were fighting a losing battle. Borg returned to Sweden in 1934 and again in 1938. He painted people and scenes of Sweden, and successfully exhibited his paintings of the American Southwest. Although he was an American citizen, he could not return to the United States until after the war. Borg was very homesick for California, and could not wait to get back. He wrote to his friend Edwin Gledhill that he could not spend another winter in Sweden.


He returned to Santa Barbara in September of 1945. Many of his friends had died, and he was estranged from the world that had evolved there. But he was at peace with himself. On May 8, 1947, Borg was painting in his studio, as he did every day. That evening, he walked to his favorite restaurant to enjoy his favorite food. He was stricken with a massive heart attack and died in the ambulance on the way to the hospital. As he requested, his ashes were given to the wind of the Grand Canyon.


Clarence E. Braley (American, 1854-1927)

Clarence Braley was a self-taught landscape painter whose favorite mediums were watercolor and pastel. He was active in New Bedford, Massachusetts from 1875 to 1925 and participated in the New Bedford Art Association. He also exhibited at the Boston Art club and the Art Institute of Chicago.


Karl A. Buehr (German/American, 1866-1952)

One of the early Chicago artists to adopt Impressionism, Karl Buehr became a figure and landscape painter. As a figure painter, his specialty became "gorgeously colored images of young women on porches overlooking brilliant summertime gardens." (Kennedy 98) His later work often showed a female figure with serious expression engaging the viewer with a direct stare. In his landscapes, he was noted for his strong coloration. In a December 1896 student exhibition at the Art Institute, a reviewer for the "Chicago Times Herald" described Buehr's landscapes as "blithe and joyous" with "country roads brilliant in sunlight . . . fields rich in summer verdure, under soft skies painted in a high, musical key." (Gerdts 68)



David Davidovich Burliuk (Russian/American, 1882-1967)

David Burliuk was a central figure in the history of the Russian avant-garde movement as an accomplished poet, art critic, and exhibition organizer.  "He was one of the world's first hippies, and painted the words 'I Burliuk' on his forehead and stood on street corners reciting poetry."  He was born into a privileged class of Russian society.  His wife was educated with the Czar's children, and he was well positioned to become an artistic leader.  Burliuk studied at the Kazan School of Fine Arts in 1898 and then studied in Odessa, Moscow, Munich, and in Paris at the Ecole des Beaux Arts.  His early works were fauve-like, "violent in color and heavy with paint" and were exhibited with the Blue Riders in Munich.  In Russia, as a breaker of artistic tradition, he was expelled in 1911 from the Moscow Institute.  With other futurists, he undertook a public campaign with lectures, journals and films--all focused on the craziness of modern, industrial life.  With the advent of World War I, he left Russia and traveled for four years including to Siberia, Japan, and the South Seas.  To start all over again, he moved to America in 1922 and settled on Long Island where he continued to paint until his death there in 1967.   His subjects range from neo-primitive paintings to peasant life in Russia to futurist depictions of South Sea fishermen.  Much of his painting in Russia vanished in the Russian Revolution. Throughout his life, Burliuk was innovative, energetic and upbeat. In the United States, he developed his "radio style", a style that involved symbolism, neo-primitivism, and expressionism. " 



Gibson Byrd (American, 1923-2002)

A master of coloristic subtleties and atmospheric effects, D. Gibson Byrd was in many ways an artist's artist. Often, he would redo marginal paintings entirely.  Throughout his life, he had a strong feel for the land - a fact he attributed to his Shawnee Indian heritage. He had a knack for individualizing trees, hills and vaporous clouds.  Many of his landscapes had as their focal point a lone figure exploring the environment and his own thoughts. The symbolism was subtle but inescapable.  During his lengthy stay in Wisconsin, Byrd exhibited frequently at Milwaukee's Dorothy Bradley Galleries, a prestigious showcase for regional artists. His work was included in many local collections.  Byrd had an early and continuing interest in the civil rights struggle of the 1960s and '70s. He dramatized the movement in paintings ranging from satirizing a supermarket checkout counter to lamenting the murder of three civil-rights workers in Philadelphia, Miss.  Later, he explored issues of his own boyhood in a moving series of memory paintings he called, simply, "Oklahoma House."  His career as an artist was capped in 1988 by a well-reviewed retrospective exhibition in the Lawton Gallery of the University of Wisconsin-Green Bay.



Walter Harrison Cady (American, 1877-1970)

Best known for his illustrations of Peter Rabbit, a character invented in the 1920s by Thurmond Burgess, Harrison Cady began drawing and sketching as a child in Gardner, Massachusetts, and enjoyed a long and successful career in New York City as a magazine and book illustrator.  In 1925 he purchased a harbor-front estate at Rockport, Massachusetts, and turned his attention to oil painting.  He exhibited landscapes and marines with success at the National Academy of Design in New York, had solo exhibitions at the Macbeth Gallery, showed at the New York World’s Fair in 1939, and at Kennedy and Company until 1949.



Charles Campbell (American, 1905-1985)

Campbell studied at the CSFA in the late 1930s and continued to live in San Francisco until the mid-1960s or longer. By that time he had abandoned painting and was a metal craftsman.



Al Capp (American, 1909-1979)

Al Capp was a celebrity-cartoonist and creator of "Lil Abner." The strip began in 1934, and the sardonic, pugnacious Capp masterminded it until its end in 1977. During the long life span of the satirical hillbilly saga, he swung from liberal to conservative politically, earned a great deal of money and publicity, appeared on radio, television, and in any other medium that would give him an opportunity to hold forth. He carried on some impressive feuds, and gave the outward impression he was having an enormously good time living his life.


Francis Chapin (American, 1899-1965)

Dubbed the Dean of Chicago Painters in the 1930s, 40s and 50s, Francis Chapin painted images of people he met in the Old Town neighborhood where he lived as well as landscape and figure subjects from his travels to Mexico, Europe and Martha's Vineyard in Massachusetts. In those days, it was not unusual to see Chapin with his easel set up on a street corner. He was also a lithographer and art teacher.   Chapin was born in Bristolville, Ohio. He earned a Bachelor of Science Degree from Washington & Jefferson College and attended the Art Institute of Chicago on a Bryan Lathrop Fellowship. He was a member of the National Academy of Design and exhibited there as well as the Pennsylvania Academy, Art Institute of Chicago, the Whitney Museum of American Art and the Salon d'Automne in Paris. From 1929 to 1946, he was a teacher at the Art Institute and from 1941 to 1946 directed their Summer School. He also taught at the John Herron Art Institute at the Indianapolis Art Museum and the University of Georgia.  In Chicago, Ivan Albright was one of his best friends, and upon the death of Chapin, Albright commented that "He was especially deft in his use of color and in his ability to reach the essence of his subject with a few seemingly casual lines . . . his finished paintings have such a quality of freshness and spontaneity."



Durand-Chapron (European, 20th century)



Roger Chaput (French, 20th century)



Harry Chase (American, 1853-1889)

Born in Woodstock, Vermont in 1853, Harry Chase was drawn from the start to marine painting. While studying art in Munich, he completed scenes on the North Sea coast of Denmark. After a brief stint in Saint Louis, he returned to Europe, painting the French coast while working for two years in France.

The artist also spent three years in Holland, primarily in the Hague, where he studied with Hendrik Willem Mesdag. William Gerdts (Art Across America: Two Centuries of Regional Painting 1710-1920), who chronicles these experiences and training, notes that Chase became one of the major American proponents of the Hague School of Dutch Impressionist painters before returning to Saint Louis in 1879.   Soon after, Chase moved to New Bedford, Massachusetts and eventually to New York City. His work is discussed in Mary Jane Blasdale's 1990 Artists of New Bedford.   Chase died at the untimely age of 36, in Sewanee, Tennesse, but paintings from his relatively brief career are widely collected. Among the numerous significant American collections in which they are included are the Corcoran Museum of Art, Yale University Art Gallery, Carnegie Institute, and Indianapolis Museum of Art.



Harold Cohn (American, 1908-1982)



Ellis Prentice Cole (American, 1862-1952)

Cole was a Chicago painter, photographer, and lecturer. He exhibited at the Art Institute of Chicago as early as 1902. Cole executed photographs of the Worldís Colombian Exposition of Chicago as well as portraits, but his primary subjects were Native Americans, particularly the Crow, and the National Parks of the West. His works are in the collections of Little Big Horn College (Crow Agency, Montana), The Crow Indian Historical and Cultural Collection; Crater Lake Institute (Oregon); and the National Parks Portfolio (United States Department of the Interior). Cole's approach was fairly literal, but he had a keen sense of composition, and the subject content alone is captivating.


Charles A. Corwin (American, 1858-1938)

A muralist, painter, and lithographer, Charles Corwin was born in Newburgh, New York, and most of his active career was in New York City, although he spent much time in Chicago where he taught at the Art Institute and was a member of the Chicago Society of Artists.  He also was in Boston and San Francisco in 1916.   Corwin began his art studies in New York City, and then studied in Munich with Frank Duveneck and for some time adopted the Munich Style of painting, which was a heavy palette and dark tones. However, his fine-art work later in his career became lighter, and his subjects were landscapes, seascapes, and animals.  His specialty was museum murals, and in the late 19th century and early 20th, he was also an instructor at the Art Institute of Chicago. In 1903, he became a habitat preparator at the Field Museum, completing about 80 of the museum habitat groups of mammals, birds, and prehistoric people and animals. One of his projects was a series of large mural paintings of trees and plants, many of exotic species, as they appeared in their natural conditions. In his obituary, it was written: "HIs work included scenes from every continent and landscapes and seascapes of the earth as it is today and as it was millions of years ago."   Corwin was also part of the staff with E. Pierpont that painted the Cyclorama of Custer's Last Fight for the Boston Cyclorama Company in 1888.   He died at age 81 in January, 1938 at his home in Hyde Park, Illinois.



W.M.H. Cox (American, d. 1909)

Cox worked in Colorado Springs as a landscape and portrait painter, and worked with Thomas Craig.



Mario De Ferrante (Italian/American, 1898-1992)

Studied with Antonio Mancini in Italy before coming to the United States in 1922. The Futurists, led by Fillipo Tommaso Marinetti, belived that it was crucial to tear down all traditions of past painting philosophy (manifestos were written regarding art, music, literature, drama, etc), and begin a new technical and artistic endeavor. His work is in the collections of the Library of Congress, U.S. Bureau of Information (Wash. DC), Princeton, Yale, and Brigham Young Universities.



Louis Paul Dessar  (American, 1867-1952)

Louis Paul Dessar, who was born on January 22, 1861 in Indianapolis, Indiana, is best known for his Tonalist agrarian paintings, with farmers and their animals working in the fields. It was because of this style that his contemporaries called him the "Millet of America". Dessar rarely exhibited his works, although he is known to have shown his work at an exhibit in 1902 at the public library of Old Lyme, along with Ranger, Talcott, Cohen, and Voorhees. Dessar became a member of the Salmagundi Club in 1895; Society of American Artists in 1898; an Associate to the National Academy, a member of the Lotus Club in 1900; and a member of the National Academy in 1906. He was awarded the Third Class medal at the Paris Salon of 1891, and a medal at the Colombian Exposition in Chicago in 1893. He was awarded honorable mention at the Carnegie Institute of Pittsburg in 1897; the second Hallgarten Prize at the National Academy in 1899; and the first Hallgarten prize in 1900. He again was awarded a Bronze medal at the Pan-Am Exposition in 1901 and Silver in the Charleston Exposition.



Joseph F. DeYong (American, 1894-1975)

A painter and sculptor of Indian and western subjects, Joe De Yong was born in Webster Grove, Missouri, and was raised in Indian territory. As a teenager he learned fancy roping from Will Rogers and earned his living as a cowboy including working with Tom Mix in making westerns.  De Yong had deafness due to childhood spinal meningitis and became an expert at Indian sign language. As an artist, he was primarily self taught, and his greatest influence was Charles Russell during the time he worked in Russell's studio from 1916 to 1926 in Montana. Russell and his wife became very close to De Yong and treated him like a member of the family, and after Russell's death in 1926, De Yong became his "artistic heir and guardian of his creative legacy".   Through the Russells, De Yong became friends with Howard Eaton, whose family had ranches in Yellowstone and Glacier National Parks, and because of this connection De Yong spent much time painting in these locations, going first to Yellowstone in 1920.  He later moved to California where he worked as a technical advisor in the movie industry and lived in Pasadena and Santa Barbara.



Robert J. Dinning (American, 1887-1946)

Born and raised in Omaha, Nebraska, he became a landscape and still-life painter in the traditionalist school. He studied at the Pennsylvania Academy of Fine Arts, the Art Students League of New York, and the Barnes Foundation in Marion, Pennsylvania. His teachers were John Carlson, Eugene Speicher, and Andrew Dasburg.  He and his wife traveled widely in Europe and in the 1930s, settled in Pasadena, California where he was a member of the Pasadena Society of Artists and served as President of the Pasadena Fine Arts Association. He died at age 59 just after finishing a painting. A memorial exhibition of his work was held at the Joslyn Memorial Museum in Omaha in the fall of 1948.



Andrew Dobos (Austrian/American, 1897-1985)



Leon Louie Dolice (American, 1897-1985)

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 Artist's Association, Montauk, NY and at Tribeca Gallery New York City.



John Augustus Dominique (Swedish/American, 1893-1994)

Born in Virserum, Sweden on Oct. 1, 1893. Dominique came to the U.S. in 1898 and spent his youth in Oregon where he began his art career as a typesetter and cartoonist for a small newspaper. He later worked at the Portland Art Museum, attended art classes there in 1913, and then continued his studies in San Francisco at the Institute of Art (1915-16) and the Van Sloun School of Painting (1917). He had further study in the 1920s at the Santa Barbara School of Arts under C. C. Cooper and C. 0. Borg. In the 1930s Dominique had a studio in Santa Barbara and in Canby, OR in 1941. He continued painting at his home in Ojai, CA until his death on Feb. 20, 1994. His early watercolors and oils were Impressionist but later evolved into Abstract Expressionist.



Margaret Webb Dreyer (American, 1911-1976)



Lawrence Carmichael Earle (American, 1845-1921)

Lawrence Carmichael Earle was born on November 11, 1845 in New York City and died on November 20, 1921 in Grand Rapids, MI. Working in both oil and watercolor, he painted landscapes, genre, farm scenes, still lifes, murals, fish, butterflies, coastal scenes and portraits.  Earle studied in Munich, Florence, and Rome and held memberships in the National Academy of Design, associate in 1897; the American Watercolor Society in New York City; the Artist's Fund Society in New York City; the Art Institute of Chicago; and the New York Watercolor Club.   Earle exhibited with the National Academy of Design, the Art Institute of Chicago, the 1893 Columbian Exposition in Chicago and, from 1887 to 1900, the Boston Art Club. He decorated the Chicago National Bank with murals and his work is represented in the collections of the Art Institute of Chicago; the National Academy of Design; Stanford University in Stanford, CA; the Dallas Museum of Art; the State Museum of Michigan in Lansing; the Hunter Museum of American Art in Chattanooga, TN.



Miles Early (American, 1886-1957)



Edwin Ellis (British, 1841-1895)

Ellis was a marine and landscape painter.  Ellis studied art under Henry Dawson. He went on to paint mainly coastal views of Yorkshire, Wales and Cornwall, works notable for their broad facture and rich coloring, and comparable to the work of Charles Napier Hemy.  Ellis exhibited in London at the Royal Academy, Royal Institute of Painters in Water Colours, Grosvenor Gallery, Dudley Gallery, Fine Art Society, Agnew and Sons Gallery and Arthur Tooth and Sons Gallery, as well as at the Royal Society of Artists in Birmingham, Glasgow Institute of the Fine Arts, Royal Scottish Academy, Royal Hibernian Academy, Walker Art Gallery in Liverpool and Manchester City Art Gallery. In 1885 he was elected a member of the Nottingham Society of Artists. In 1893 a comprehensive exhibition of his works was held at the Nottingham Museum.


Robert John Thomas Entwistle (American, 20th century)



David Ericson (Swedish/American, 1873-1946)

David Ericson was a student of William Merritt Chase and Kenyon Cox at the Art Students League in New York. He also lived and painted in Paris, France, for a period of time and studied under James McNeil Whistler and Rene Francois Xavier Prinet.  David Ericson was a member of the Provincetown Art Association.  His honors include: Gold Medal, Paris; Silver Medal, St Louis World's Fair; Honorable Mention, Carnegie Institute, International Expo; 1904 1st prize, Minnesota Art Expo, St Paul; 1911 La Cross Art Assoc; and Commercial Club, Duluth.  He taught in Duluth, Minnesota and Buffalo, New York. The Tweed Museum in Duluth has the most extensive collection of David Ericson's work.



H. Mehlville Fisher (American, 1878-1946)



Seymour Fogel (American, 1911-1984)

Seymour Fogel was born in New York City in 1911. His early interest in art earned him a scholarship to the National Academy of Design. Upon graduation he set out to find his own artistic vision. It would result in an astonishingly prolific artistic career that would span decades of social and cultural change. As a result his art was not limited to one style.


During his Social Realist Period (1930s & 1940s), Fogel was considered one of the first and best WPA artists. He worked with Diego Rivera, Philip Guston and Ben Shahn on important murals, including projects for Rockefeller Center, the 1939 New York World's Fair and the new Social Security Administration Building in Washington, D.C. While riding the rails across Depression era America, Fogel produced drawings of disenfranchised and downtrodden people severely affected by the poverty of the times. During WW II, Fogel's war poster designs won numerous awards. His images were exhibited in the Museum of Modern Art (MOMA) and published throughout the nation.

In the 1940s, at the end of most federally funded arts programs, Fogel moved to Texas to join the art faculty of the newly created art department at the University of Texas at Austin. During his Texas Modernist Period, Fogel turned his attention to making abstract art that attracted attention both in and out of the state. His work was exhibited at prestigious museums and galleries, including the Corcoran Gallery of Art, the Dallas Museum of Art, Duveen Graham Gallery, the Houston Museum of Art, M. Knoedler & Co., the Metropolitan Museum of Art, Mortimer Levitt Gallery, the Museum of Modern Art and the Whitney Museum of American Art. By mid-century, Fogel's walls were lined with awards and prizes for both his studio work and his murals.

In the 1960s, Fogel returned to New York, the city that had given birth to his artistic career. Prior to this New York Exploratory Period, Fogel had mastered traditional media, now his drive to experiment lead him to master the use of unexpected materials such as glass, sand and wax. During these years Fogel advanced his interest in architecture and sculpture. His career continued to be recognized as he was elected to the International Fine Arts Council, the International Institute of Arts and Letters and the Architectural League of New York.

In the late 1960s and 1970s, Fogel turned to a more transcendental form of art he termed “atavistic.” By this he implied the art was a pure, nonrational, elemental form of visual communication. These were prolific years for Fogel. During the New York Transcendental Period and later Connecticut Transcendental Period, Fogel produced series of works. Among these groups of art were technically meticulous pencil line drawings, newsprint collages, acrylic color flow paintings, the Woodland Portfolio conte-crayon drawings, and large sentinel paintings.

In the early 1980s, Fogel continued to produce art in his studio almost every day as museums and galleries continued to show his current and past work. When Fogel died in 1984, he left behind a staggering amount of artwork in his estate. This entire collection was carefully archived by his daughter, Gayle Laurel. In the ensuing years, Jared A. Fogel researched and wrote extensively about his father's life in art.


R. Atkinson Fox (American, 1860-1935)

Robert Atkinson Fox was a Philadelphia artist who produced more than 1000 works of art. From 1900 until his death, millions of the artist's color photolithographic reproductions prints were consumed by the American middle-class.   Fox was a generalist. He could paint basically any assignment given to him by a publisher, he frequently painted from memory, aided by sketches, sometimes finishing a painting in a day's time. Many of his original paintings were oil on canvas. His subjects included landscapes, probably the most collectable today, to enchanted gardens, country-sides, cottages, animals and pets (was a leading painter of cows, but also painted horses, dogs, sheep, bears and foxes). His diverse subject matter also includes women, Indians and Indian maidens, the Wild West, historical and contemporary themes, hunting and fishing scenes, adventure, ships, and historic figures such as Washington, Lafayette, Franklin and Theodore Roosevelt.



Jesus Guerro Galvan (Mexican, 1910-1973)

Galvan was a member of the “"Banderas de Provincia" group in Jalisco, made up of painters, writers and poets such as Raúl Anguiano, José Guadalupe Zuno y Agustín Yáñez. Around 1930 he settled in Mexico City, where he came into contact with some of the painters of the nationalist revolutionary school. He exhibited at the Galería de Arte Mexicano in 1941. He was the artist-in-residence at the University of New Mexico in Alburquerque as a resident artist, where he did the fresco entitled The Union of the Americas Associated for Freedom. Because he was considered a master of the Mexican school of painting an exhibition was held in homage to him in the Museo de Arte Moderno of Mexico City in 1977.



Karl Gasslander (American, 1905-1997)
A painter, teacher, and writer, Karl Gasslander, was born in Rockford, Illinois, and was the art critic for the Evanston "Daily News," and taught at the Evanston Collegiate Institute. He attended the Art Students League in New York, and in Illinois the Art Institute of Chicago and the Northwestern University School of Art. He was a member of the Chicago Society of Artists, the Chicago Society of Printmakers, and was a WPA artist under Louis Cheskin. A Karl Gasslander painting, purchased from Bunte Auction Services, appears on the television show, "Will and Grace."The artist worked in watercolor, oil, and blockprints and his subjects included landscapes and coastals, some from Provincetown, Massachusetts.



Robert MacDonald Graham (American, 1919)

Born in New Rochelle, New York, he 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. From that time he did little Regionalist work in the style of Benton, meaning that those paintings by Graham are rare but are also considered the most desirable.He was 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.



Walter Griffin (American, 1861-1935)

Born in Portland, Maine, Walter Griffin became one of the better known landscape painters in Connecticut in the late 19th and early 20th centuries.   Much of his landscape painting was in the environs of Farmington, Connecticut, which he called the "Barbizon of America" because of its bucolic charms. In 1903, he began painting in Old Lyme, and the artists there, especially Childe Hassam, influenced him to a brighter, more colorful palette. He became so intrigued with landscape painting that he gave up teaching.   However, by 1908, he became itinerant because his marriage was unhappy.  He moved around between Europe, especially France, and other parts of New England including Portland, Maine. In 1922, he was elected to the National Academy. After his death in 1935, the Academy held a joint memorial exhibition of his work and that of his close friend, Child Hassam. However, his work was largely forgotten until the mid 1970s because his sister had stored away his paintings. The Vose Galleries of Boston played a major part in exposing his painting to the public.



Otto Hake (German/American, 1876-1965)

Noted W.P.A. muralist whose work is featured especially in the Chicago area.



Henry Charles Hannig (American, early 20th century)

Hannig was a Chicago area post impressionist painter. Broad brushwork and a colorful palette are trademarks of his work.



Arne Hansen (Danish, 20th century)

Eugenie M. Heller (American, 1867-1952)

W.M. Hentschel (American, 1892-1962)

Hilaire Hiler (American, 1898-1966)

Hilaire Hiler in his lifetime was well known as a man of many artistic talents and as an artist of the avant garde. He was a highly talented painter, costume and set designer, muralist, jazz musician, psychologist, teacher, and writer of theoretical treatises on color and abstract design.  For the 1968 retrospective “Hilaire Hiler, Pioneer Abstractionist” at the Whitney Museum of American Art, art historian and Whitney director John I.H. Bauer wrote, summing up Hiler’s career: “Hiler has several claims to wider recognition. His charming primitivistic works of the late 1920s evolved with a kind of natural logic into semi-abstract paintings, in feeling related to those of the so-called Precisionists, such as Niles Spencer or George Ault. Soon thereafter (up to mid-1930s), he did a series of small gouaches on American Indian themes, which are even more abstract in feeling. From about 1940 to his death in 1966, Hiler produced a series of geometric abstractions. From these he derived a theory which he called Structuralism, praised by Waldemar George as going beyond Cubism in the scientific analysis of ‘color-form’.”

Edith Hudson  (American, 20th century)

Margaret Iannelli (American, early 20th century)

Artist known for design and illustration.

Frank Jirouch (American, 1878-1970)

Ohio artist known for landscape, marine, and portrait subjects along with sculptures. Studied at Académie Julian, Cleveland School of Art/Institute, and Pennsylvania Academy. Taugh under Daniel Garber. Member of the National Sculpture Society. Exh. Art Institute of Chicago, Corcoran Gallery Biennial, National Sculpture Society, Paris Salon, Pennsylvania Academy.

Francis Coates Jones (American, 1857-1932)

Genre-figure painter Francis Coates Jones, born in Baltimore, Maryland in 1857, first expressed an interest in art in 1876 when visiting Edwin Abbey. Jones and his brother, H. Bolton Jones, a painter of landscapes, then worked at Pont-Aven, Brittany in an artists' colony attended by Robert Wylie and Thomas Hovenden. Pont-Aven would soon become famous for Paul Gauguin painting there.  Jones, in the autumn of 1877, went to Paris to study at the Ecole des Beaux-Arts.   Reflecting his teachers and his artistic education, Jones painted in an academically detailed style that was also rich in paint handling. Although a genre painter of contemporary life, Jones' had a special feeling for richly furnished interiors and costumes. He later adopted Impressionism. The Berkshire Mountains of South Egremont, Massachusetts were a subject he pursued during the summer.  He taught at the National Academy of Design in New York City. Jones' illustrated views of historic houses in Washington, D.C., which appeared in Scribner's Magazine in October, 1893.  He was also a mural painter, commencing in 1895.  Francis Coates Jones held memberships in many arts organizations including American Federation of Artists, American Watercolor Society, Century Association, Lotos Club, National Academy of Design, National Arts Club, National Institute of Arts and Letters, National Society of Mural Painters, Salmagundi Club and Society of American Artists.  His work may be found in the Art Institute of Chicago and the Museum of Fine Arts in Springfield, Massachusetts.

Hans L. Jorgensen (American, 1887-1972)

Harry F. (Hans) Jorgensen was born in Massachusetts on November 26, 1878. He settled in San Francisco in 1937 and studied at the California School of Fine Arts. With his artist wife Joan Thoren, he maintained a studio in his home at 2101 Sacramento. While working in the art department of the Examiner, he painted coastals, seascapes, and landscapes of northern California. After 27 years of newspaper work, his retirement years were spent across the Golden Gate where he and his wife had a home in Tiburon at 5005 Paradise Drive. Jorgensen died in San Francisco on December 26, 1963. Exhibited: Gump's (SF), 1938; San Francisco Museum of Art; Sanity in Art, California Palace of Legion of Honor 1940s.

William Keith (American, 1838-1911)

William Keith was one of California’s earliest artists. A native of Aberdeen, Scotland, Keith settled permanently in San Francisco in 1859. Keith’s early works are most closely aligned with the romantic vision of the Hudson River School artists. The latter part of Keith’s oeuvre was focused onsmaller, more intimate scenes more closely aligned with the French Barbizon artists. Keith taught (primarily women) in his studio throughout his career. Four years after his death, an entire room was devoted to Keith’s work in the 1915 Panama-Pacific international Exhibition. 

Jack King (American,1920-1988)

Medard Klein (American, 1905-2002)

Klein exhibited regularly at the Museum of Non-Objective Art (Guggenheim), Art Institute of Chicago, National Academy of Design, Laguna Beach Art Association, Oakland Art Gallery and the Institute of Design. Similarly to the work of Kandinsky, Klein’s paintings were influenced by auditory and symphonic experiences. His studio held a large collection of recorded classical music. Klein maintained his paintings sought " emotional response not greatly different from that evoked by the abstractions of music."

Constantin Kluge (European, 1912-2003)

Worked as an architect, but found much success in exhibiting his paintings. He eventually decided to make painting his full-time profession. Kluge began painting French villages, cities, and country sides. His work depicted vivid panoramas where waves of buildings follow one upon the other between a harmony of water and sky. In 1990, the French President Francois Mitterand made Kluge a Legion de la Legion d'Honneur at the Elysse Palace in Paris. Studied French Municipal College, Shanghai; Ecole des Beaux-Arts, Paris Member Shanghai Art Club; Societe des Artistes Francais (Silver Medal) Exhibited Paris Salon (Raymond Perreau prize and Gold Medal recipient

Ted Kolanoski (American, 1905-1963)

Adele Lemm (American, 1904-1977)

Adele Lemm's goal with her painting is to discover a sense of summer, the season's color and heat, recreation and restoration, fun and fancy. For summers were all these things and more to Adele Lemm, a Memphis teacher-artist. Her passion for her art was borne out not only in her products, but also in her living. For a quarter of a century, Lemm was a dedicated and popular instructor at the Memphis Academy of Art. She exhibited at the National Academy of Women Artists' annual show, winning five prizes, and at many galleries and museums throughout the East, including the Ward Eggleston Gallery in New York City, the Pennsylvania Academy of Fine Arts, the Memphis Brooks Museum of Art and the Delgado Museum in New Orleans.

Eli Levin (American, b. 1938)

Born 1938 in Chicago, Illinois, Levin attended Diploma, Music and Art High School in New York City. In 1961 after receiving his B.A. in Literature at New School for Social Research, New York, Levin moved to Boston. There he was expelled from the Museum School’s graduate program for both experimenting with egg tempera (an early Renaissance medium) and painting too realistically. One of his professors had insisted that Levin paint abstractly with oil or he would flunk him. In 1964 Eli Levin moved to New Mexico where the art scene was relaxed enough to accomodate Levin’s desire to pursue figurative painting. When he arrived in Santa Fe, the old art colony had all but disappeared, but he became friends with Louie Ewing and Arthur Haddock who made him feel as though he were a contiguous part of the New Mexico tradition. He briefly went to University of Wisconsin in Madison in 1965 to finish his M.A. in Art. In 1991 Levin returned to school to get an M.A. in Humanities at St. John’s College, Santa Fe. In 1993 Eli Levin changed his name to Jo Basiste, after his paternal grandfather. At this time he abandoned his bar scenes and starting painting mythological subject matter. Levin has been an art critic for several newspapers, including the Albuquerque Journal North, the Santa Fe Reporter and the Philadelphia Enquirer. Since 1985 to the present, he has held an etching workshop at his studio.  Levin is best known for his bar and dance-hall scenes of social commentary. These paintings are full of color with a distortion of form to express humanity satirically. His work has been influenced by the Mexican painter, Diego Rivera, American painters Thomas Hart Benton and John Sloan among others.

Thomas L. Lewis (American, 1907-1978)

Born in Bay City, Texas, Thomas became a painter of detailed Southwest landscapes and an art gallery owner in Taos, New Mexico. He was a professional artist from the age of nineteen and began by painting scenes of the American South including swamplands, cypress and beech trees, and blacks toiling in the field. He also did etching to supplement his income, but discovered that his slightly impaired eyesight prevented him from being a skilled etcher. In the early 1930s, he began experimenting with sepia-tones and desert painting and developed a sophisticated range of colors, which were particularly expressive of the desert country.

Robert Lie (Norwegian/American, 1899-1980)

Leota W. Loop (American, 1893-1961)

Born in Fountain City, Indiana, Leota Loop spent her career as an active artist in Brown County, Indiana. She began studying art at age 10 from Olive Rush at the Fairmont Academy. She also studied with William Forsyth, Theodore Steele, Will Vawter and Randolph Coates--all associated with the Brown County art colony.

Gunnar E. Lundberg (American, 20th century)

Matsuda (Japanese School)

Henry McBride (American, 1867-1962)

Miriam McKinnie (American, 1906-1987)

Born in Evanston, Illinois, Miriam McKinnie was a painter, muralist, and lithographer who studied at the Minneapolis School of Fine Art and the Kansas City Art Institute. She exhibited at the Chicago Art Institute, the Kansas City Art Institute and in 1947 at the Corcoran Gallery Biennial.

J. Jay McVicker (American, b. 1911)

Oklahoma painter. McVicker studied at Oklahoma State University, and eventually taught there. He painted traditional regionalism in the 1940s, and moved into abstraction later in his career. He exhibited extensively from the 1940s-70s at the Art Institute of Chicago, Whitney Museum, Dallas Museum of Fine Art, and the Pennsylvania Academy of Fine Art. 

Edward Millman (American, 1907-1964)

Millman studied at the Art Institute of Chicago with Leon Kroll. He exhibited at the World’s Fair New York (1939); Pennsylvania Academy of Fine Art, Art Institute of Chicago, and the Museum of Modern Art. He taught at Washington University in St. Louis, Art Students League, and in Woodstock.

Wallace Mitchell (American, 1911-1977)

Michigan artist known for abstraction.  Attended and taught at Cranbrook Academy of Art in Michigan.

Thomas Moran (American, 1837-1926)

Best known for his panoramic views of the American West, Moran demonstrated the breadth of his vision in equally accomplished paintings of the Pennsylvania countryside, the landscape of Long Island, industrial complexes in Mexico and America, views of Venice,Italy, and numerous seascapes.

Dorothy Morang  (American, b.1906)

New Mexico modernist painter. She was part of the Transcendentalist Painter Group, which included Emil Bisttram. She exhibited at the Museum of Non-Objective Painting (1940s), Museum of New Mexico, and the University of New Mexico.

Murdoc (American, b. 1963)

Contemporary mid-western painter, highly influenced by Magic Realism, post-war Japanese art, and graffiti artists.  Studied at Washington University in St Louis (1981-1986).   A graffiti artist himself, Murdoc, blends popular urban symbolism with a personal narrative--much like another influential figure to him, Jean-Michel Basquiat . The topiary shaped as a crown is a direct homage to Basquiat on one hand--and simultaneously, a representation of Murdoc, himself).  In the tradition of Magic Realism, his subjects are executed in a realistic (non-abstract) style, but they are in content, substitutions for other, personal relationships. The topiary, the hummingbirds, the mermaid, the owl, and the starfish, for example, represent people or even significant events relevant to the artist.  Every aspect which makes up the composition--the arrangement or the number of something, for example, symbolizes something very specific. There are no purely decorative elements to his paintings.

Wilhelm Julius August Nabert (German, 1830-1904)

Gerald L. Nees (American, b. 1938)

Nees was paralyzed as a young boy in Indiana, but learned how to paint holding a brush in his mouth.

Known for city genre scene, cityscape/city views, Indiana streetscene, and marine subjects; also, Naive, realist, and representational styles

Benjamin Tupper Newman (American, 1858-1940)

Maine painter known for landscape art.

George Washington Nicholson (American, 1832-1912)

Nicholson was a prolific painter of landscapes, often with a dramatic or historical content. Stylistically, his work shows the obvious influence of J.M.W.Turner. In recognition of his accomplishment, Nicholson was made an Associate of the Pennsylvania Academy of the Fine Arts.

C.A. Nordberg (American, b. 1895)

Harry Haviland Osgood (American, 1875-1960)

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.

Peter W. Ostuni (American, 1908-1992)

Although Ostuni was a painter, he may be best known for his works in glass. He studied at the Cooper Union, and exhibited paintings and stained glass throughout the 1950s-70s.

Leon Germain Pelouse (French, 1838-1891)

Beverly Pepper (American, b. 1924)

Beverly Pepper started her career as a commercial artist in New York before shifting to painting and sculpture. She later studied in Paris (from 1949) with Fernand Leger and Andre Lhote, and from 1951 lived in or near Rome. From 1960 she shifted from painting to carving in wood and working in clay and bronze.

J.H. Peteris (American, 20th century)

Pete Peterson (American, 20th century)

Armand Point (French, 1861-1932)

French painter and designer. He began his career painting the Algerian scenes of his youth, rendering Orientalist subjects—such as markets and musicians—with a distinctive, unaffected precision. In 1888 he went to Paris to study at the Ecole des Beaux-Arts under Auguste Herst (b 1825) and Fernand Cormon. He exhibited at the Société Nationale des Beaux-Arts from 1890.

Karl Priebe(American, 1914-1976)

A part of the Wisconsin Surrealists in the 1930s and 1940s, Karl Priebe has created work that has been diverse and not easy to categorize. His paintings, many with successive washes of casein, include birds in landscape and eerie-looking figures in interiors and in landscapes with odd juxtapositions.
He studied painting at the Layton Art School in Milwaukee and the Art Institute of Chicago, and during the 1940s, exhibited his paintings at the Perls Gallery in New York City. He enjoyed popularity and was featured in Life magazine in 1947. From 1938 to 1942, he was an assistant in ethnology at the Milwaukee Public Museum, and from 1944 was an instructor in painting at the Layton School of Art in Milwaukee.
An associate was Marshall Glasier, who led the rebellion against what he regarded as provincial painting, exemplified by John Steuart Curry, Regionalist painter from Kansas, who was artist-in-residence at the University of Wisconsin from 1936 to 1946.
Priebe was represented in an exhibit, "Surreal Wisconsin," at the Madison Art Center in 1998.
His papers are held at Marquette University in Milwaukee, Wisconsin, Department of Special Collections and University Archives, Raynor Memorial Libraries.

Alexander Rattray (American, 1849-1902)

Leonard Reedy (American, 1899-1956)

Well known western painter, frequently worked in watercolor. He studied at the Art Institute of Chicago and the Chicago Academy of Fine Art.

Robert M. Root (American, 1863-1938)

Root studied at the St Louis School of Fine Art and in Paris. He was a member of the Brown County Art Association and the Indiana Art Gallery Association. He exhibited at the Paris Salon (1892) and the Art Institute of Chicago (1910s).

Charles Sahwel (American, 20th century)

Paul Sanasardo (American, b. 1928)

Grew up near the Art Institute where he studied painting and sculpture. He designed and built scenery for the "Tonight at 8:30" group, under the direction of Paul Sills, at the University of Chicago.

Later, while in the army, Mr. Sanasardo became a principal dancer for the Washington Dance Theatre in Washington, D.C. In 1953 he joined the Anna Sokolow Dance Company in New York City.

Zoltan Sepeshy (Hungarian/American, 1898-1974)

One of the leading artists in the United States in the mid years of the 20th century and a central figure in the arts scene in Michigan from the 1920s through the 1960s. Sepeshy had numerous exhibitions in New York commercial galleries, which consistently garnered favorable reviews, and in American museums -- especially in the Midwest. During his life, individuals as well as major institutions, including the Art Institute of Chicago and the Detroit Institute of Arts, avidly collected his work. The Muskegon Museum of Art owns several major works by the artist.

Kenneth Shopen (American, 1902-1967) 

Shopen studied and taught art at the University of Illinois, was an art critic for the Chicago Daily News and was an accomplished painter of genres and landscapes. Shopen also studied and exhibited at the Art Institute of Chicago in 1945 and the Corcoran Gallery biennials 1941 - 1947. He was also member of the College Art Association of America


Mitchell Siporin (
American, 1910-1976)

During the 1930s Depression, he was one of the WPA (Works Progress Administration) artists and received a commission along with Edward Millman to do the largest mural commissioned under the Federal Arts Project. During World War II he had one-man shows at the Downtown Gallery in New York, and was part of the group show at the Metropolitan entitled "Pintura Contemporanea Norteamericana" which also toured Mexico and South America. He received the Florsheim prize from the Art Institute of Chicago and was collected by the Whitney Museum of American Art, the Metropolitan and the Museum of Modern Art. After the war he was awarded a Guggenheim and later the Prix de Rome from the American University. He settled in Massachusetts where he founded the Department of Fine Art at Brandeis University.

Marshall D. Smith (American, early 20th century)

Chicago WPA painter. Smith exhibited in the 1930s at the Art Institute of Chicago.

Anna Lee Stacey (American, 1871-1943)

Chicago/Pasadena painter. Stacey exhibited at the Art Institute of Chicago and the Chicago Society of Artists. Her work is included in the collections of the Union League Club, Chicago Women’s Club, and the Kenwood Club (Chicago).

J. Stancin (American, 20th century)

Clayton Staples (American, 1892-1978)

Eda Sterchi (American b. 1885)

Sterchi was born in Olney, a small town in south central Illinois. She left for Chicago in 1908 to attend the Art Institute. Soon afterward, she traveled to Paris to study. She met with early success, exhibiting in 1913 at the American Artists Club and the International Artists Union (both 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), Santa Barbara Museum of Art, and at the Arden Studios in New York. Sterchi spent several years painting in Tunis.

Katharine Beecher Stetson
(American, 1885-1979)

Sculptor, landscape painter. Born in Providence, RI on March 23, 1885. Katherine was the daughter of feminist Charlotte Perkins Gilman and artist Charles W. Stetson. She studied in Rome, at the PAFA, and with Wm M. Chase, Sergeant Kendall, Herman D. Murphy, Birge Harrison, Cecilia Beaux, and her husband, F. Tolles Chamberlin. After settling in Pasadena in 1925, she remained there until her death on Feb. 18, 1979

George Straub (American, 20th century)

Lewis Suzuki (American, b. 1920)

Lewis Suzuki was born in Los Angeles, California in 1920.  An important figure in the watercolor movement known as the “California Style”, Suzuki studied at the Otis Art Institute in Los Angeles, and the Art Students League in New York City during the late 1930’s, and 1940’s.

 Since the 1950’s he has resided and painted in the San Francisco, California area.  Here he specialized in cityscapes, and still life floral works, done with the wet-into-wet watercolor painting style.

Emil Thulin (American, 1891-1965 )

Thulin studied at the Art Institute of Chicago from 1911 to 1914 . He also studied at the Academy Julian in Paris. Thulin exhibited at the Art Institute of Chicago during the 1920s. He was awarded prizes at the Swedish Club of Chicago in 1932 and 1935.

Francis Thyssens (American, early 19th century)

Edward J. Finley Timmons (American, 1882-1960)

Chicago area landscape painter. Timmons studied and exhibited at the Art Institute of Chicago.

Joseph Tomanek (Czech/American 1879-1974)

Chicago area artist, well known for his nudes. Tomanek studied in his homeland of Czechoslovakia, and then at the Art Institute of Chicago, with A. Krehbiel and K.A. Buehr. He was a member of the Bohemian Artist Club, Association of Chicago Painters and Sculptors, and the Chicago Gallery Association. His work is included in the collection of the Vanderpoel Art Association (Chicago). He exhibited from the 1910s-40s.

Eduard Buk Ulreich (American, 1889-1962)

Born in Austria-Hungary and living in San Francisco, Eduard Ulreich became a painter of genre, and a sculptor, muralist, and magazine illustrator. Many of his murals are in hotels, temples, industrial buildings, and post offices. He was the pupil of Mlle F. Blumberg and also studied at the Kansas City Art Institute and the Pennsylvania Academy. In the 1920s, he lived in New York City and worked as a general illustrator for books and magazines. He was a member of the guild of Free Lance Artists, and western subjects were included in his illustrations. His wife, Nura, was an author and illustrator of children's books and an art instructor.

Franz von Stuck (German, 1863-1928)

German draughtsman, illustrator, printmaker, decorative artist, painter, sculptor and architect. He was noted for his treatment of erotic and comic aspects of mythological themes.

Abraham Walkowitz (American, 1878-1965)

Walkowitz emigrated from Siberia to the U.S. in 1889. He studied at the National Academy of Design, and then in Paris. He exhibited regularly at Stieglitz's Photo-Secession Gallery in the 1910s; he also exhibited at the 1913 Armory Show. There was a major retrospective of his work in 1939 at the Brooklyn Museum.

Edmund Wuerpel (American 1866-1958)

Wuerpel studied with Whistler and Gerome in Paris. He was the Dean of the St. Louis School of Fine Art and exhibited at the St. Louis Expo (1904), Pan-Pacific Expo (1915).

Max Weyl  (American, 1837-1914)

Weyl studied in Europe and was highly influenced by the Barbizon painters prior to 1875, yet he maintained a tight adherence to the academic tradition exploited by Hudson River painters until the 1880s.  He was a member of the Society of Washington Artists and won two prizes with that association in 1901 and 1904, but he remained a recluse most of his artistic life and did not like to exhibit or enter painting contests. He painted diligently throughout Europe and after coming back to America in the 1870s, he returned to Germany to live and paint.  Weyl was close friends with Maine marine painter William S. Barrett and New York marine painter Paul Dougherty. He was highly respected for his dramatic impressions of the American and European landscape, in which he used glowing Barbizon tones to display nature’s moods.

Clifton Wheeler (American, 1883-1953)

Wheeler studied at the Herron Art Institute and the New York School of Art, with William Forsyth, Wm. M. Chase, and Robert Henri. He exhibited at the Pennsylvania Academy of Fine Art, Richmond Art Association, Golden Gate Expo, and the Hoosier Salon (1925-1953).

Robert J. Wolff (American, 1905-1977)

Wolff became a member of Abstract American Artists in 1937 and exhibited with the group.

Wolff helped establish the Chicago Institute of Design, the American revival of the German Bauhaus school. After World War II Wolff was professor of Art at Brooklyn College, where as department chairman his faculty included Ad Reinhardt, Burgoyne Diller, Stanley Hayter, Carl Holty and Mark Rothko. Wolff's book Essays on Art and Learning, was published in 1971.  Wolff's work is represented in collections including: Art Institute of Chicago, Brooklyn Museum of Art, estate of Alexander Calder, estate of Marcel Breuer, Guggenheim Museum of Art, Rhode Island School of Design Museum, Tate Gallery in London, and the Wadsworth Athenaeum.


Back to May 6th Sale Page