Great Estates Live Fine Art Auction

Lot: 1 - William J Forsyth, Indiana/California (1854-1935), still life with candlestick in window, 1925, watercolor on paper, 13 1/2"H x 10 1/2"W(sight), 19"H x 16"W(frame)

William J Forsyth Indiana/California, (1854-1935) still life with candlestick in window, 1925 watercolor on paper Signed and dated upper right. PROVENANCE: Tipton County Library Collection. askART Biography: William Forsyth was born in California, Ohio, in 1854, and moved with his family to Indianapolis in 1860. He studied art briefly as a young man, but financial limitations forced Forsyth to seek work. He formed a house painting business with his brother, and continued to paint in his free time. Having saved enough money, Forsyth began attending the Indiana School of Art in 1877, eventually becoming an assistant instructor. In exchange for paintings not yet painted, Forsyth was given the opportunity to join his friend T.C. Steele, who was studying at the Royal Academy in Munich. Upon his return to the states, Forsyth would serve as a major figure in the "Hoosier School" of painters, exhibiting with T.C. Steele, Otto Stark, Richard Gruelle, and J. Ottis Adams.

Lot: 2 - Richard Buckner (RB) Gruelle, Indiana, New York (1851-1914), Lake Wawasee, ca.1900, watercolor on paper, 13"H x 19 3/4"W(sight), 24 3/4"H x 31 1/4"W(frame)

Richard Buckner (RB) Gruelle Indiana, New York, (1851-1914) Lake Wawasee, ca.1900 watercolor on paper Signed lower right. PROVENANCE: Tipton County Library Collection. H. Lieber Label verso. askART Biography: A self-taught landscape painter, illustrator and writer Richard Gruelle lived in Indianapolis and Norwalk, Connecticut. He was apprenticed to a house and sign painter as a young man. He initially practiced portraiture but was best known as a landscape painter in the tradition of the Barbizon school, having taken up landscape painting in oil and watercolor in Indianapolis, circa1882. He painted for several seasons during the1890s in Washington, DC and held several exhibitions there. Gruelle was a member of the renowned "Hoosier Group" which included T. C. Steele, William Forsyth, J. Ottis Adams and Otto Stark (see entries for each). In 1897 he was commissioned to paint seascapes in New England and eventually made annual painting trips to Cape Ann (MA ). In 1905 he moved to New York City, returning briefly to Indiana in 1907, but then settling permanently in the East in 1910 in Norwalk, Connecticut, near the Silver Mine River. He was illustrator of James Whitcomb Riley's When the Frost is on the Punkin: and The Old Swimmin; Hole from Neighborly Poems. Exhibitions included the Denison Hotel, 1894; Five Hoosier Painters, Chicago, 1894; Art Institute of Chicago, 1897; Louisiana Purchase Exposition, St. Louis, 1904; Indianapolis & New Canaan (solos).

Lot: 3 - William J Forsyth, Indiana, California (1854-1935), Gladiolus in a vase, 1931, oil on canvas floral still life, 31 1/2"H x 23"W(sight), 38 1/2"Hx 30 1/4"W(frame)

William J Forsyth Indiana, California, (1854-1935) Gladiolus in a vase, 1931 oil on canvas floral still life Signed lower right. Exhibited: The John Herron Art Institute Twenty-Fifth Indiana Artists Exhibition, 1932. Biography from William A. Karges Fine Art - Carmel William Forsyth was born in California, Ohio, in 1854, and moved with his family to Indianapolis in 1860. He studied art briefly as a young man, but financial limitations forced Forsyth to seek work. He formed a house painting business with his brother, and continued to paint in his free time. Having saved enough money, Forsyth began attending the Indiana School of Art in 1877, eventually becoming as assistant instructor. In exchange for paintings not yet painted, Forsyth was given the opportunity to join his friend T.C. Steele, who was studying at the Royal Academy in Munich. Upon his return to the states, Forsyth would serve as a major figure in the "Hoosier School" of painters, exhibiting with T.C. Steele, Otto Stark, Richard Gruelle, and J. Ottis Adams.

Lot: 4 - Homer G Davisson, Indiana (1866-1957), "Autumn in Brown County", 1922, log cabin in hilly landscape, oil on board, 24 1/2"H x 29 3/4"W(sight), 32 3/4"H x 38"W(frame)

Homer G Davisson Indiana, (1866-1957) "Autumn in Brown County", 1922, log cabin in hilly landscape oil on board Signed lower right. PROVENANCE: Tipton County Library Collection. H. Lieber Co. Label verso, join purchase Public Library and Art Association. askART Biography: Indiana Impressionist landscape painter Homer G. Davisson, 1866-1957, studied at the Pennsylvania Academy of the Fine Arts, Philadelphia; Art Students League, New York City; and the Corcoran School of Art, Washington, D.C. He exhibited, primarily pastoral landscapes, at the Hoosier Salon, Swope Art Gallery, Fort Wayne Art Museum, and the Indiana Artists' Club. From 1920, Davisson regularly summered in Nashville, Indiana, where he became a charter member of the Brown County Art Gallery Association in 1926. He was a teacher at the Fort Wayne Art School. Davisson's paintings are in the collections of the Ruthmere House Museum, Elkhart, Indiana and the Wabash Carnegie Public Library, also in Indiana.

Lot: 5 - John Elwood Bundy, Indiana, North Carolina (1853-1933), Edge of Clearing, ca.1900, Autumn landscape with farm in the distance, oil on canvas over board, 13 3/4"H x 19 1/2"W(sight), 18 3/4"H x 24 3/4"W(frame)

John Elwood Bundy Indiana, North Carolina, (1853-1933) Edge of Clearing, ca.1900, Autumn landscape with farm in the distance oil on canvas over board Signed lower right. PROVENANCE: Tipton County Public Library Collection. CONDITION: Fair, scratches and paint loss upper center. Biography from the Archives of askART: Part of the The Richmond School of Indiana painters and Richmond's premier artist, John Bundy was born in Guilford County, North Carolina and was raised on a farm in Morgan County, Indiana near Monrovia. He attended Quaker schools and married Mary Marlatt in 1875. He spent nearly a decade in New York City as a portraitist and was also a photographer, but he decided to focus on landscape painting. He worked in both oil and watercolor, and much of his subject matter came from Wayne County, Indiana, especially the Whitewater Valley. In 1888, he moved to Richmond and for eight years headed the Art Department at Earlham College where he taught drawing and painting. During that time, a book of his etchings, Fond Recollections was published and reflected his love of the scenery around Earlham. After the death of his wife in 1906, he built a studio behind the family home in Monrovia and lived with his sister. From 1910 to 1911, he traveled in California and then spent several summers in Northern Michigan, on Little Traverse Bay, where he painted primarily in watercolor. By the early 1920s, he was sharing his home and studio with Elwood Morris, a Richmond painter, and his wife. He exhibited widely across the United States including the 1904 Louisiana Purchase Exposition, the Pennsylvania Academy in 1904, the National Academy of Design in 1911 and 1916, the Chicago Art Institute in 1903 and 1907-1914, the Hoosier Salon in 1925, and the 1902 Society of Western Artists. His primary dealer was J.W. Young of Chicago. In 1929, Bundy, who was getting quite frail, moved to Harlingen, Texas with his son, but died in a sanatorium in Cincinnati on January 17, 1933. Source: American Art Review, 8/2002; The Art of John Elwood Bundy, by William H. Gerdts.

Lot: 6 - Theodore Clement (T.C.) Steele, Indiana/California (1847-1926), Noonday in Winter, 1914, view of small studio and carriage house with figures at House of the Singing Winds, oil on canvas, 30"H x 40"W (sight), 35 1/2"H x

Theodore Clement (T.C.) Steele Indiana/California, (1847-1926) Noonday in Winter, 1914, view of small studio and carriage house with figures at House of the Singing Winds oil on canvas Signed and dated to lower right. PROVENANCE: Tipton County Library Collection. Given by Tri Kappa. H. Lieber label verso. Biography from the Archives of askART: One of the most outspoken proponents

Lot: 7 - Will Vawter, Indiana, West Virginia (1871-1941), The Brook in Winter, ca.1920, oil on canvas, 19 1/2"H x 23 1/2"W(sight), 25"H x 29"W(frame)

Will Vawter Indiana, West Virginia, (1871-1941) The Brook in Winter, ca.1920 oil on canvas Signed lower right. PROVENANCE: Titled on stretcher bar, verso. Tipton County Library Collection Craquelure throughout with some unstable paint surface. askART Biography: A landscape painter known for his loose, Impressionist style, Will Vawter was raised in Greenfield, Indiana and began his career as an illustrator. His first assignments were for James Whitcomb Riley, a successful poet who was also a resident of Greenfield. Vawter and his wife of two years moved to Brown County, Indiana in 1908, and for the next fifteen years, he worked on magazine illustration assignments. In 1923, he divorced and moved into a small apartment in downtown Nashville, from where he became more involved in oil painting. In 1925, he exhibited and won the prize for best winter scene at the first Hoosier Salon exhibit. He also exhibited at the Brown County Art Gallery Association.

Lot: 8 - Louis Oscar Griffith, Indiana (1875-1956), "Drifting Leaves", 1936 river landscape, oil on canvas, 27 1/4"H x 29"W(sight), 32 1/4"H x 34"W(frame)

Louis Oscar Griffith Indiana, (1875-1956) "Drifting Leaves", 1936 river landscape oil on canvas Signed to lower left. PROVENANCE: Tipton County Library Collection. Label of Hoosier Salon, Jan. 25-Feb. 8, 1936 on verso with $200. Marshall Field & Company, Picture Galleries S. P.4767 In memory of Mrs. Dora Tyer Gleason 1922-1934. Biography from the Archives of askART: Louis Oscar Griffith was born on October 10, 1875 in Greencastle, Indiana. In addition to etching, he was a painter of realistic landscape, portrait and genre, painting with Impressionist-influenced color and broad, relatively loose brushwork. Griffith moved to St. Louis, Missouri in 1893 to attend the St. Louis School of Fine Arts (attendance not confirmed by school records); he studied in Dallas with Frank Reaugh c. 1890; 1895-1896, 1896-1897, at the School of the Art Institute of Chicago in the evenings; in 1908 in Paris and Brittany; as well as the National Academy of Design. Griffith, over the years, lived at various residences including 1875-1879 Greencastle, Indiana; 1879-1893 Dallas, Texas; 1893-1896 St. Louis; 1896-1922 Chicago; 1922-1956 Nashville, Indiana. He married Carolyn Maulsby in 1920. Griffith died November 13, 1956 in Franklin, Indiana.

Lot: 9 - William Merritt Chase, New York, California, Indiana (1849 - 1916), seascape with sailboats at anchor, oil on canvas, 14"H x 18"W

William Merritt Chase New York, California, Indiana, (1849 - 1916) seascape with sailboats at anchor oil on canvas signed lower right. Canvas relined. Significant inpainting and possible repair. Biography from the Archives of askART: A native Midwesterner, William Merritt Chase became one of the more revered figures in American art because of his painting abilities and skills at

Lot: 10 - George W. Drew, New York (1875-1968), rocky shore/seascape, oil on board, 6"H x 8"W

George W. Drew New York, (1875-1968) rocky shore/seascape oil on board Signed lower right. From the Archives of askArt: Biography from Rehs Galleries, Inc. George W. Drew was born 21 December 1875 in Massachusetts. He was a member of the Independent Artists Association. He exhibited at the National Academy of Design and they have him recorded as living at 745 Columbus Ave., N.Y. in the year 1898. He also exhibited at the Allied Artists of America, which was established in 1914, Salons of America, N.Y. State Fair, Newark State Fair, Newark Museum and New York Museum of Science & Industry. Although there is little known about the personal life of George W. Drew, his paintings appear on the art market quite often. It is obvious that his work has always been well received because of the numerous exhibitions he has participated in. He is known for his rustic luminous depictions of the Nineteenth Century American Landscape. Like many of the Hudson River Painters, Drew captures the effects of light from within the canvas. He is a master of perspective; his landscapes are classically and harmoniously balanced, leaving the viewer to gently rest their eyes on the rustic countryside.

Lot: 11 - George W. Drew, New York (1875-1968), Bear Mountain (Spring Green), 1925, oil on canvas mounted on board, 8"H x 10"W

George W. Drew New York, (1875-1968) Bear Mountain (Spring Green), 1925 oil on canvas mounted on board Signed lower right. Signed, dated, and titled verso. Sliced top. From the Archives of askArt: Biography from Rehs Galleries, Inc. George W. Drew was born 21 December 1875 in Massachusetts. He was a member of the Independent Artists Association. He exhibited at the National Academy of Design and they have him recorded as living at 745 Columbus Ave., N.Y. in the year 1898. He also exhibited at the Allied Artists of America, which was established in 1914, Salons of America, N.Y. State Fair, Newark State Fair, Newark Museum and New York Museum of Science & Industry. Although there is little known about the personal life of George W. Drew, his paintings appear on the art market quite often. It is obvious that his work has always been well received because of the numerous exhibitions he has participated in. He is known for his rustic luminous depictions of the Nineteenth Century American Landscape. Like many of the Hudson River Painters, Drew captures the effects of light from within the canvas. He is a master of perspective; his landscapes are classically and harmoniously balanced, leaving the viewer to gently rest their eyes on the rustic countryside.

Lot: 12 - George W. Drew, New York (1875-1968), landscape with tree, 1960, oil on board, 9"H x 6"W

George W. Drew New York, (1875-1968) landscape with tree, 1960 oil on board Signed and dated lower left. From the Archives of askArt: Biography from Rehs Galleries, Inc. George W. Drew was born 21 December 1875 in Massachusetts. He was a member of the Independent Artists Association. He exhibited at the National Academy of Design and they have him recorded as living at 745 Columbus Ave., N.Y. in the year 1898. He also exhibited at the Allied Artists of America, which was established in 1914, Salons of America, N.Y. State Fair, Newark State Fair, Newark Museum and New York Museum of Science & Industry. Although there is little known about the personal life of George W. Drew, his paintings appear on the art market quite often. It is obvious that his work has always been well received because of the numerous exhibitions he has participated in. He is known for his rustic luminous depictions of the Nineteenth Century American Landscape. Like many of the Hudson River Painters, Drew captures the effects of light from within the canvas. He is a master of perspective; his landscapes are classically and harmoniously balanced, leaving the viewer to gently rest their eyes on the rustic countryside.

Lot: 13 - George W. Drew, New York (1875-1968), southwestern landscape with children and cactus, 1941, oil on board, 14"H x 10"W

George W. Drew New York, (1875-1968) southwestern landscape with children and cactus, 1941 oil on board Signed lower right. From the Archives of askArt: Biography from Rehs Galleries, Inc. George W. Drew was born 21 December 1875 in Massachusetts. He was a member of the Independent Artists Association. He exhibited at the National Academy of Design and they have him recorded as living at 745 Columbus Ave., N.Y. in the year 1898. He also exhibited at the Allied Artists of America, which was established in 1914, Salons of America, N.Y. State Fair, Newark State Fair, Newark Museum and New York Museum of Science & Industry. Although there is little known about the personal life of George W. Drew, his paintings appear on the art market quite often. It is obvious that his work has always been well received because of the numerous exhibitions he has participated in. He is known for his rustic luminous depictions of the Nineteenth Century American Landscape. Like many of the Hudson River Painters, Drew captures the effects of light from within the canvas. He is a master of perspective; his landscapes are classically and harmoniously balanced, leaving the viewer to gently rest their eyes on the rustic countryside.

Lot: 14 - George W. Drew, New York (1875-1968), landscape with cherry blossom tree, oil on board, 14 1/4"H x 10"W

George W. Drew New York, (1875-1968) landscape with cherry blossom tree oil on board Unsigned. Taped edges. From the Archives of askArt: Biography from Rehs Galleries, Inc. George W. Drew was born 21 December 1875 in Massachusetts. He was a member of the Independent Artists Association. He exhibited at the National Academy of Design and they have him recorded as living at 745 Columbus Ave., N.Y. in the year 1898. He also exhibited at the Allied Artists of America, which was established in 1914, Salons of America, N.Y. State Fair, Newark State Fair, Newark Museum and New York Museum of Science & Industry. Although there is little known about the personal life of George W. Drew, his paintings appear on the art market quite often. It is obvious that his work has always been well received because of the numerous exhibitions he has participated in. He is known for his rustic luminous depictions of the Nineteenth Century American Landscape. Like many of the Hudson River Painters, Drew captures the effects of light from within the canvas. He is a master of perspective; his landscapes are classically and harmoniously balanced, leaving the viewer to gently rest their eyes on the rustic countryside.

Lot: 15 - George W. Drew, New York (1875-1968), landscape with cherry blossom tree, oil on canvas mounted on board, 6"H x 7 1/2"W

George W. Drew New York, (1875-1968) landscape with cherry blossom tree oil on canvas mounted on board Signed lower right. From the Archives of askArt: Biography from Rehs Galleries, Inc. George W. Drew was born 21 December 1875 in Massachusetts. He was a member of the Independent Artists Association. He exhibited at the National Academy of Design and they have him recorded as living at 745 Columbus Ave., N.Y. in the year 1898. He also exhibited at the Allied Artists of America, which was established in 1914, Salons of America, N.Y. State Fair, Newark State Fair, Newark Museum and New York Museum of Science & Industry. Although there is little known about the personal life of George W. Drew, his paintings appear on the art market quite often. It is obvious that his work has always been well received because of the numerous exhibitions he has participated in. He is known for his rustic luminous depictions of the Nineteenth Century American Landscape. Like many of the Hudson River Painters, Drew captures the effects of light from within the canvas. He is a master of perspective; his landscapes are classically and harmoniously balanced, leaving the viewer to gently rest their eyes on the rustic countryside.

Lot: 16 - George W. Drew, New York (1875-1968), landscape with sunset, oil on board, 5"H x 7 1/2"W

George W. Drew New York, (1875-1968) landscape with sunset oil on board Signed lower right. From the Archives of askArt: Biography from Rehs Galleries, Inc. George W. Drew was born 21 December 1875 in Massachusetts. He was a member of the Independent Artists Association. He exhibited at the National Academy of Design and they have him recorded as living at 745 Columbus Ave., N.Y. in the year 1898. He also exhibited at the Allied Artists of America, which was established in 1914, Salons of America, N.Y. State Fair, Newark State Fair, Newark Museum and New York Museum of Science & Industry. Although there is little known about the personal life of George W. Drew, his paintings appear on the art market quite often. It is obvious that his work has always been well received because of the numerous exhibitions he has participated in. He is known for his rustic luminous depictions of the Nineteenth Century American Landscape. Like many of the Hudson River Painters, Drew captures the effects of light from within the canvas. He is a master of perspective; his landscapes are classically and harmoniously balanced, leaving the viewer to gently rest their eyes on the rustic countryside.

Lot: 17 - George W. Drew, New York (1875-1968), Chalet in Montana, mountainous landscape, oil on board, 8"H x 10"W

George W. Drew New York, (1875-1968) Chalet in Montana, mountainous landscape oil on board Signed lower left. From the Archives of askArt: Biography from Rehs Galleries, Inc. George W. Drew was born 21 December 1875 in Massachusetts. He was a member of the Independent Artists Association. He exhibited at the National Academy of Design and they have him recorded as living at 745 Columbus Ave., N.Y. in the year 1898. He also exhibited at the Allied Artists of America, which was established in 1914, Salons of America, N.Y. State Fair, Newark State Fair, Newark Museum and New York Museum of Science & Industry. Although there is little known about the personal life of George W. Drew, his paintings appear on the art market quite often. It is obvious that his work has always been well received because of the numerous exhibitions he has participated in. He is known for his rustic luminous depictions of the Nineteenth Century American Landscape. Like many of the Hudson River Painters, Drew captures the effects of light from within the canvas. He is a master of perspective; his landscapes are classically and harmoniously balanced, leaving the viewer to gently rest their eyes on the rustic countryside.

Lot: 18 - George W. Drew, New York (1875-1968), Venice canal scene, oil on canvas mounted on cardboard, 16 1/8"H x 8"W

George W. Drew New York, (1875-1968) Venice canal scene oil on canvas mounted on cardboard Signed lower left. From the Archives of askArt: Biography from Rehs Galleries, Inc. George W. Drew was born 21 December 1875 in Massachusetts. He was a member of the Independent Artists Association. He exhibited at the National Academy of Design and they have him recorded as living at 745 Columbus Ave., N.Y. in the year 1898. He also exhibited at the Allied Artists of America, which was established in 1914, Salons of America, N.Y. State Fair, Newark State Fair, Newark Museum and New York Museum of Science & Industry. Although there is little known about the personal life of George W. Drew, his paintings appear on the art market quite often. It is obvious that his work has always been well received because of the numerous exhibitions he has participated in. He is known for his rustic luminous depictions of the Nineteenth Century American Landscape. Like many of the Hudson River Painters, Drew captures the effects of light from within the canvas. He is a master of perspective; his landscapes are classically and harmoniously balanced, leaving the viewer to gently rest their eyes on the rustic countryside.

Lot: 19 - George W. Drew, New York (1875-1968), eastern street scene, oil on canvas on board, 16"H x 8"W (board)

George W. Drew New York, (1875-1968) eastern street scene oil on canvas on board Signed lower left. From the Archives of askArt: Biography from Rehs Galleries, Inc. George W. Drew was born 21 December 1875 in Massachusetts. He was a member of the Independent Artists Association. He exhibited at the National Academy of Design and they have him recorded as living at 745 Columbus Ave., N.Y. in the year 1898. He also exhibited at the Allied Artists of America, which was established in 1914, Salons of America, N.Y. State Fair, Newark State Fair, Newark Museum and New York Museum of Science & Industry. Although there is little known about the personal life of George W. Drew, his paintings appear on the art market quite often. It is obvious that his work has always been well received because of the numerous exhibitions he has participated in. He is known for his rustic luminous depictions of the Nineteenth Century American Landscape. Like many of the Hudson River Painters, Drew captures the effects of light from within the canvas. He is a master of perspective; his landscapes are classically and harmoniously balanced, leaving the viewer to gently rest their eyes on the rustic countryside.

Lot: 20 - Max Cyprien Jacob, United States, France (1876-1944), Cityscape, 1932, mixed media, 15 3/4"H x 12"W(sight), 25"H x 21 1/4"W(frame)

Max Cyprien Jacob United States, France, (1876-1944) Cityscape, 1932 mixed media Signed and dated to lower left. Minor paint chips and tear to bottom. Biography from Bonhams Bond Street Max Jacob, French (1876-1944) was raised in a family of tailors and antique dealers. He was a poet, novelist, playwright, art critic and painter. In 1897, he settled in Paris and started authoring art columns for the journals Moniteur des Arts and La Gazette des Beaux-Arts, under the pseudonym "Léon David". In 1901 he met Pablo Picasso and settled with him on boulevard Voltaire. He associated with painters and poets at the Beateau-Lavoir. The first book that he published was Histoire du Roi Kaboul Ier et du marmiton Gauwain, which was followed by several others including Le Cornet à dés, Le Phanérogame, and Les Alliés sont en Arménie. In 1914, he converted to Christianity. In his career as a painter he produced few oil paintings but mostly gouaches depicting views of Brittany and circus scenes. In 1933, he was named a Knight of the National Order of the Legion of Honour.

Lot: 21 - Endre Komaromi-Kacz, Hungarian (1880-1969), room interior, oil on canvas, 29 1/4"H x 22 1/2"W(sight), 35"H x 28 1/4"W(frame)

Endre Komaromi-Kacz Hungarian, (1880-1969) room interior oil on canvas signed lower left. From the collection of Keith Little, Indianapolis, IN. Biography from the Archives of askART: Endre Komaromi Kacz Hungarian 1880 - 1969 Born in Komarom, Hungary, Kacz was initially a pupil of Eduard Ballo, a specialist in portraits and genre, at the National Academy in Budapest. He continued his studies under Simon Hollosy, a genre painter who established a private school in Munich, Germany, and Nagylonya, Hungary. The artist traveled in Belgium and Holland for a year, after which he returned to Budapest to attend the School of the Masters under Gyula Benczur for four years. Kacz began exhibiting in 1901, establishing himself as a painter of portraits and genre studies - usually interiors with figures. Many of these works displayed sympathy and understanding with children engaged in the simple pleasures a child most dearly loves. In 1918 the artist held a one-man show at the National Salon in Budapest and in 1924 at the Palace of Exhibitions. Kacz was awarded many prizes and medals and several of his works were purchased by the Hungarian National Gallery. Biography excerpted from the unpublished catalog by Edward P. Bentley for the Haussner Restaurant in Baltimore, Maryland, titled: Haussner's, The Children.

Lot: 22 - Brunel Frederick, Connecticut, New York (d.1937), Vis-a-Vis, oil on canvas, 15 1/2" x 19 1/2", 20" x 24" (frame)

Brunel Frederick Connecticut, New York, (d.1937) Vis-a-Vis oil on canvas Signed lower right. From the collection of Edward P. Bentley, Art Researcher and Historian, Greenville, Michigan. Painting exhibited in Frederick's Memorial Retrospective. Biography from the Archives of askART: Frederick, Brunel ( -1937) An extremely elusive artist. Research only found an obituary and a Retrospective of the artists' work in 1940. I believe that he died at an extremely young age. His wife, Faith Ramsay, (1886-1980) was still single in about 1928, so they may have married shortly after that. Obituary Brunel Fredericks Dies in New England Clearwater, Nov. 8 – Word has been received of the death of Brunel Fredericks of New Hartford, Conn., Saturday evening, Oct. 16. Services were held in New York city on Oct 19. Mr. and Mrs. Fredericks, both artists, were located at Pass-a-Grille two years ago, where they had a studio. Local artists will recall paintings by both Brunel Fredericks and Faith Fredericks in the Clearwater Art Gallery. Mrs. Frederick's at present is in Michigan. Source: Tampa Bay Times (Newspaper) (St. Petersburg, Florida) 09 Nov 1937. Bakerville Art Association, Catalog. Paintings by Faith Ramsay and MEMORIAL EXHIBITION for Brunel Frederick, 1940. Foreword With the death of Brunel Frederick, the world lost a brilliant artist, whose work reflected his own glowing and lovable personality. He had the magic touch of the true artist, that transforms even the simplest sketch into a thing of beauty. Faith Ramsay, his wife, is perhaps better known for her skillfully painted portraits, though her beautifully executed flower painting are becoming increasingly popular. It is with real pleasure that we present the works of these two gifted artists. H.R. Balinger. Catalog contains a listing of 69 works in oil, watercolor and drawings by both Brunel Frederick and Faith Ramsay, his wife. Submitted by Edward P. Bentley, Art Researcher and Historian, Greenville, Michigan.

Lot: 23 - Warren B. Davis, New York (1865 - 1928), Spirit of Joy, oil on board, 11"H x 8 1/4"W (sight), 17 1/8"H x 14 3/8"W (frame)

Warren B. Davis New York, (1865 - 1928) Spirit of Joy oil on board signed lower right, titled verso. Biography from the Archives of askART: Best known for his paintings of idealized female figures, Warren Davis studied at the Art Students League in New York. He was also a magazine illustrator, and many of his depictions of ethereal appearing goddesses were on the covers of "Vanity Fair". Later in his career he became a skilled etcher and exhibited in Europe and the United States including the Pennsylvania Academy and the Salmagundi Club. Source: Treadway Toomey Galleries Peter Falk, "Who Was Who in American Art"

Lot: 24 - Arthur Bowen Davies, New York (1862 - 1928), two female nudes, graphite on paper / pastel on paper, 13"H x 10"W (one)

Arthur Bowen Davies New York, (1862 - 1928) two female nudes graphite on paper / pastel on paper Signed lower. Biography from the Archives of askART: Born in Utica, NY in 1863 of Welsh descent. When Arthur was 16, the Davies family moved to Chicago. He studied at the AIC and later furthered his art studies in Mexico while working as a civil engineer. His first exhibition was in 1888 at the American Art Ass'n. While in northern California in 1905, he painted in the Sierra. He was one of "The Eight," a group of painters who became a symbol of revolt in American art after an exhibition in NYC in 1908. Davies was instrumental in creating the Armory Show of 1913 there after which time he adopted a Cubist style. His final years were spent in Florence, Italy; he died there in 1928. Famous for his landscapes with figures, his early paintings were romantic and emotional while his later works were more self-conscious. Member: NA. Exh: Newhouse Gallery (LA), 1929. In: MM; Oakland Museum; AIC. Edan Hughes, "Artists in California, 1786-1940" Artists of the American West (Samuels); Art in California (R. L. Bernier, 1916); Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs (Bénézit, E); From Frontier to Fire; Art News, 12-22-1928 (obituary). Provenance: Born in Utica, N.Y., Arthur Bowen Davies studied at the Chicago Academy of Design (1879-1882). Attended, briefly, the Art Institute of Chicago. Moved to New York City to study at the Art Students League. Arthur Bowen Davies became a leading figure helping to plan the 1913 Armory Show in New York that dramatically changed directions in American art. Davies was a member of The Eight-- those artists associated with the Ashcan school. But unlike the bold and heavily wrought oil paintings of Robert Henry, William Glackens and George Luks, Davies was best known for painting ethereal pastoral figural compositions in a classical vocabulary. Major museums across the U.S. own and display examples of his work.

Lot: 25 - Winona Berryman Nash, Tipton (1871-1945), 1904 award-winning Duchesse lace, bronze award and plaque from the St. Louis World’s Fair, the Louisiana Purchase Exposition., hand tatted lace table cover mounted in frame, 41 1

Winona Berryman Nash Tipton, (1871-1945) 1904 award-winning Duchesse lace, bronze award and plaque from the St. Louis World's Fair, the Louisiana Purchase Exposition. hand tatted lace table cover mounted in frame Duchesse lace, Belgian bobbin lace, sometimes with needle lace inclusions, named for Marie-Henriette, Duchess of Brabant. It was made from about 1840 throughout the 19th century in Brussels and more especially in Brugge (Bruges). Duchesse lace was less expensive than the true Brussels lace, catering mainly to the lower end of the market, where the boldness of its floral designs made it popular. The design motifs were joined not by a mesh but by thin bars, or brides, not always artfully arranged. Ms. Nash received the accompanying bronze plaque award, "Louisiana Purchase Exposition, St. Louis, MO., 1904. Also includes Ms. Nash's Bronze Universal Exposition St Louis 1904 shield shape medallion, "Gold Medal Louisiana Purchase Exposition. PROVENANCE: Tipton County Library Collection. Plaque states that it "was made by Winona Nash (of Tipton) in 1903-04. It received gold medal awards for both lace and embroidery at the Louisiana Purchase Exposition of 1904. The Judging was done by two different Juries made up of men from several nations. At the time the lace was valued at five hundred dollars by the jury of awards.

Lot: 26 - Christofle France sterling silver Marly pattern service for 6 flatware set, 30pc. plus a pie/cake server.

Christofle France sterling silver Marly pattern service for 6 flatware set, 30pc. plus a pie/cake server. 6 1/2"L (salad fork), 7 1/2"L (soup spoon), 9 3/4"L (dinner knife), 5 7/8"L (tea spoon), 8 1/4"L (dinner fork), 10 3/4"L (pie server), 5 3/4"H x 14 3/4"W x 10 3/4"D (case)

Lot: 27 - Alphonse Maria Mucha, Czech (1860-1939), F. Champenois Imprimeur-Editeur, 1898, color lithograph with gold gilding, original edition Art Nouveau Affiche Calendar poster., 25 1/2"H x 19"W (sight), 31 3/4"H x 25 1/2"W (fra

Alphonse Maria Mucha Czech, (1860-1939) F. Champenois Imprimeur-Editeur, 1898 color lithograph with gold gilding, original edition Art Nouveau Affiche Calendar poster. signed in the plate.

Lot: 28 - John Ernest Breun, British (1862-1921), Portrait of a Girl, Kathleen Houson, 1901, pastel on canvas, 29 3/4"H x 24 1/2"W (sight), 33"H x 28"W (frame)

John Ernest Breun British, (1862-1921) Portrait of a Girl, Kathleen Houson, 1901 pastel on canvas Signed and dated upper right. Exhibited: Royal Academy, London, 1902, "Label / note from the National Portrait Gallery in London on the back of the frame."

Lot: 29 - Paul Peterich, Germany (1864-1937), life-size bust of a young man, bronze, 19"H x 19"W x 8"D

Paul Peterich Germany, (1864-1937) life-size bust of a young man bronze This item is local pickup or third party shipping only. Please contact us for a list of preferred shippers. Inscribed "Aktien-Gessellschaft. Vormals H. Gladenbeck u Sohn. Bildgiesserei" verso. German sculptor Paul Peterich, 1864-1937, is likely best known for his 1913 bronze sculpture of ‘Youth with Victor's Crown', now one of the crown jewels of the Berlin Sports Museum.

Lot: 30 - Walter Douglas, Ohio, New Jersey. (1868-1948), Rooster and Hens in a barnyard, oil on canvas, 17 3/4"H x 21 1/4"W(sight), 28 1/2"H x 32"W(frame)

Walter Douglas Ohio, New Jersey., (1868-1948) Rooster and Hens in a barnyard oil on canvas signed lower left. Biography from the Archives of askART: Painter Walter Douglas was born in Cincinnati, Ohio in 1868. A pupil of William Merritt Chase, Douglas studied at the Art Students League of New York and National Academy of Design. Douglas was a member of the American Watercolor Society, Salmagundi Club, Salon of America and Society of Independent Painters. He exhibited extensively at the National Academy of Design, Pennsylvania Academy of Fine Arts, Art Institute of Chicago, Boston Arts Club, Salmagundi Club, Society of Independent Artists and at the 1904 St. Louis Exposition. Douglas's works are held in the permanent collections of the Dallas Museum of Fine Art, New Haven Historical Society, Brooklyn Museum and Jersey City Museum. Submitted from online sources by Robert Savage of the Wellesley Collection. Source is the commercial website 1stdibs.com

Lot: 31 - Adolphe Willette, French (1857 - 1926), Le Jamedi (on January), 1892, oil on wood panel, 14 1/2"H x 18"W

Adolphe Willette French, (1857 - 1926) Le Jamedi (on January), 1892 oil on wood panel Signed and dated lower right. Signed, titled, dated verso. Adolphe Léon Willette (30 July 1857, Châlons-sur-Marne – 4 February 1926, Paris) was a French painter, illustrator, caricaturist, and lithographer, as well as an architect of the famous Moulin Rouge cabaret. Willette ran as an "anti-semitic" candidate in the 9th arrondissement of Paris for the September 1889 legislative elections. Biography Willette studied for four years at the École des Beaux-Arts under Alexandre Cabanel. His graphical work ranged from dainty triviality or political satire: he made Pierrot an imaginary hero of France, and established Mimi Pinson as frail, lovable, and essentially good-hearted. He could also be bitter and fierce, a partisan of political ideas. The guillotine and the figure of Death appear in his caricatures.[1] At the time of the Dreyfus affair he was an anti-dreyfusard;[2] with Jean-Louis Forain, he moved to the political right.[3] Works The artist was a prolific contributor to the French illustrated press under the pseudonyms "Cémoi", "Pierrot", "Louison", "Bébé", and "Nox", but more often under his own name. He illustrated Melandri's Les Pierrots and Les Giboulles d'avril, Le Courrier français, and published his own Pauvre Pierrot and other works, in which he tells his stories in scenes in the manner of Busch. He decorated several "brasseries artistiques" with wall-paintings, stained glass, and so on notably Le Chat noir and La Palette d'or, and he painted the ceiling for La Cigale music hall. Willette contributed to the Salon des Cent and six of his posters were published in Les Maîtres de l'Affiche. A collection of his works was exhibited in 1888. His V'almy is in the Luxembourg, Paris.[1] Willette's characteristically fantastic Parce Domine was commissioned by Rodolphe Salis for Le Chat Noir in Montmartre. It was shown in the Franco-British Exhibition in 1908.[1][4]

Lot: 32 - Glenn Cooper Henshaw, New York, Indiana, Maryland (1880-1946), "Quiet Storm", creek in wooded landscape, pastel on paper, 17"H x 22 1/4"W(sight), 27 1/2"H x 33"W(frame)

Glenn Cooper Henshaw New York, Indiana, Maryland, (1880-1946) "Quiet Storm", creek in wooded landscape pastel on paper Signed to lower right. PROVENANCE: Tipton County Library Collection. Gift to the Public Library Collection by the artist in 1912. askART Biography: Glenn Cooper Henshaw was born in Windfall, Indiana in 1880. He later moved to the East Coast, living in Baltimore, Maryland and New York City, following study at the Ecole des Beaux-Arts in Paris, where he was influenced by Impressionism. He exhibited at the Herron Art Institute, Indianapolis, Indiana; Art Institute of Chicago, Illinois; Addison Gallery of American Art, of the Phillips Academy, Andover, Massachusetts. In 1941, he moved to Nashville, Indiana, in Brown County, where he purchased the Odd Fellows Building, spending summers there for the five years remaining of his life. Brown County, termed "The Art Colony of the Midwest," was one of six major art colonies in the early 1900s. A painter of portraits and cityscapes prior to 1941, Henshaw continued with these genres in Nashville, also painting some landscapes. After his death in 1946, eighty-five of four hundred oils and pastels were kept as a memorial in the Odd Fellows Building, later moved to the Brown County Art Gallery. A fire destroyed many of Henshaw's paintings at the latter venue, though space at the Brown County Art Gallery today features a collection of work that survived the fire, as well as paintings later added to the collection. Henshaw's records are in the collection of the Smithsonian Institution Archives of American Art, Washington, D.C.

Lot: 33 - Glenn Cooper Henshaw, New York, Indiana, Maryland (1880-1946), portrait of a child, 1910, pastel on paper, 17"H x 12 1/2"W(sight), 22"H x 17 1/2"W(frame)

Glenn Cooper Henshaw New York, Indiana, Maryland, (1880-1946) portrait of a child, 1910 pastel on paper Signed "Hinshaw" and dated to lower right. PROVENANCE: Tipton County Library Collection. A gift to the Public Library from The Art Association 1911. askART Biography: Glenn Cooper Henshaw was born in Windfall, Indiana in 1880. He later moved to the East Coast, living in Baltimore, Maryland and New York City, following study at the Ecole des Beaux-Arts in Paris, where he was influenced by Impressionism. He exhibited at the Herron Art Institute, Indianapolis, Indiana; Art Institute of Chicago, Illinois; Addison Gallery of American Art, of the Phillips Academy, Andover, Massachusetts. In 1941, he moved to Nashville, Indiana, in Brown County, where he purchased the Odd Fellows Building, spending summers there for the five years remaining of his life. Brown County, termed "The Art Colony of the Midwest," was one of six major art colonies in the early 1900s. A painter of portraits and cityscapes prior to 1941, Henshaw continued with these genres in Nashville, also painting some landscapes. After his death in 1946, eighty-five of four hundred oils and pastels were kept as a memorial in the Odd Fellows Building, later moved to the Brown County Art Gallery. A fire destroyed many of Henshaw's paintings at the latter venue, though space at the Brown County Art Gallery today features a collection of work that survived the fire, as well as paintings later added to the collection. Henshaw's records are in the collection of the Smithsonian Institution Archives of American Art, Washington, D.C.

Lot: 34 - Glenn Cooper Henshaw, New York, Indiana, Maryland (1880-1946), James Whitcomb Riley, ca.1916 portrait of the Indiana poet., pastel on paper, 16 1/4"H x 12 3/4"W(sight), 26"H x 22 1/4"W(frame)

Glenn Cooper Henshaw New York, Indiana, Maryland, (1880-1946) James Whitcomb Riley, ca.1916 portrait of the Indiana poet. pastel on paper Signed "Henshaw" lower right. PROVENANCE: Tipton County Library Collection. askART Biography: Glen Cooper Henshaw was born in Windfall, Indiana in 1880. He later moved to the East Coast, living in Baltimore, Maryland and New York City, following study at the Ecole des Beaux-Arts in Paris, where he was influenced by Impressionism. He exhibited at the Herron Art Institute, Indianapolis, Indiana; Art Institute of Chicago, Illinois; Addison Gallery of American Art, of the Phillips Academy, Andover, Massachusetts. In 1941, he moved to Nashville, Indiana, in Brown County, where he purchased the Odd Fellows Building, spending summers there for the five years remaining of his life. Brown County, termed "The Art Colony of the Midwest," was one of six major art colonies in the early 1900s. A painter of portraits and cityscapes prior to 1941, Henshaw continued with these genres in Nashville, also painting some landscapes. After his death in 1946, eighty-five of four hundred oils and pastels were kept as a memorial in the Odd Fellows Building, later moved to the Brown County Art Gallery. A fire destroyed many of Henshaw's paintings at the latter venue, though space at the Brown County Art Gallery today features a collection of work that survived the fire, as well as paintings later added to the collection. Henshaw's records are in the collection of the Smithsonian Institution Archives of American Art, Washington, D.C.

Lot: 35 - Glenn Cooper Henshaw, New York, Indiana, Maryland (1880-1946), "Night Scene", ca.1918, pastel on paper, 16 3/4"H x 24 3/4"W(sight), 27 1/2"H x 33 1/2"W(frame)

Glenn Cooper Henshaw New York, Indiana, Maryland, (1880-1946) "Night Scene", ca.1918 pastel on paper Signed "Hinshaw" lower right. PROVENANCE: Tipton County Public Library Collection. askART Biography: Glen Cooper Henshaw was born in Windfall, Indiana in 1880. He later moved to the East Coast, living in Baltimore, Maryland and New York City, following study at the Ecole des Beaux-Arts in Paris, where he was influenced by Impressionism. He exhibited at the Herron Art Institute, Indianapolis, Indiana; Art Institute of Chicago, Illinois; Addison Gallery of American Art, of the Phillips Academy, Andover, Massachusetts. In 1941, he moved to Nashville, Indiana, in Brown County, where he purchased the Odd Fellows Building, spending summers there for the five years remaining of his life. Brown County, termed "The Art Colony of the Midwest," was one of six major art colonies in the early 1900s. A painter of portraits and cityscapes prior to 1941, Henshaw continued with these genres in Nashville, also painting some landscapes. After his death in 1946, eighty-five of four hundred oils and pastels were kept as a memorial in the Odd Fellows Building, later moved to the Brown County Art Gallery. A fire destroyed many of Henshaw's paintings at the latter venue, though space at the Brown County Art Gallery today features a collection of work that survived the fire, as well as paintings later added to the collection. Henshaw's records are in the collection of the Smithsonian Institution Archives of American Art, Washington, D.C.

Lot: 36 - Zulma Steele, Wisconsin, Vermont, New York (1881-1979), The Big Mountain - Ashokan Woodstock, N, oil on board, 8 3/4"H x 14 3/4"W(sight), 12 1/2"H x 18 3/4"W(frame)

Zulma Steele Wisconsin, Vermont, New York, (1881-1979) The Big Mountain - Ashokan Woodstock, N oil on board Signed lower left. Signed and titled verso.

Lot: 37 - Eugene Francis Savage, American (1883 - 1978), rocky landscape with harvest dancers, charcoal and chalk on paper, 35 1/4"H x 28 3/4"W(frame), 22 1/2"H x 19 3/4"W(sight)

Eugene Francis Savage American, (1883 - 1978) rocky landscape with harvest dancers charcoal and chalk on paper Signed lower right. Biography from the Archives of askART: Eugene Francis Savage, widely known as an American regionalist muralist and a painter of both native Hawaiian and Seminole Indian cultural groups was born in Covington, Indiana on March 29, 1883. He studied at the

Lot: 38 - Eugene Francis Savage, American, Indiana (1883 - 1978), The Sweeper, oil on canvas, 57"H x 35"W(frame), 42"H x 25 1/4"W(sight)

Eugene Francis Savage American, Indiana, (1883 - 1978) The Sweeper oil on canvas Signed lower right. This item requires local pickup or third party shipping. Please contact us for a list of preferred shippers. Exhibited: The Century Association, NY Biography from the Archives of askART: Eugene Francis Savage, widely known as an American regionalist muralist and a painter of both

Lot: 39 - Unknown , American (20th Century), fenceline on river's edge, oil on canvas ca.1900 in beautiful carved gesso frame, 21 1/4"H x 35 3/4"W(sight), 31 3/4"H x 45 1/2"W(frame)

Unknown American, (20th Century) fenceline on river's edge oil on canvas ca.1900 in beautiful carved gesso frame unsigned. PROVENANCE: Tipton County Public Library Collection Large puncture hole in canvas.

Lot: 40 - Murray Bewley, American (1884-1964), Bewley In Florence, self-portrait, watercolor on paper, 6 3/4"H x 6"W (sight), 14 3/4"H x 13 3/4"W (frame)

Murray Bewley American, (1884-1964) Bewley In Florence, self-portrait watercolor on paper Note in pen on verso reads "On reverse 'Bewley in Florence' Murry P. Bewley, Painter 1884. Fort Worth, Texas. Estate stamp #77". Biography from the Archives of askART: Murray Percival Bewley is most often noted for his oil portraits of children, and, to a lesser extent, his watercolor landscapes. He is considered by some to have been the leading Texas portrait painter of the twentieth century, although he spent much time away from Texas. Bewley was born and raised in Fort Worth, Texas in June 1884 and graduated from high school there. His initial exposure to art training was in Fort Worth with a teacher named Viginia Linnen, and then he went to Denver where he studied at the Denver Staudents School of Art during summer school. He also studied at the Art Institute in Chicago, the National Academy of Design in New York, and the Pennsylvania Fine Art Academy in Philadelphia. William Merritt Chase, Celia Beaux, and Robert Henri are some of the well-known artists with whom he studied, and in 1906 he went to Florence, Italy with Chase and then to Paris when Chase advised him to establish a studio and stay out of school.. Bewley was a traveler most of his career, although he continued to return to Fort Worth, Texas to paint portraits of friends and family. He spent time in Paris, France, between 1905 and 1910, and his works were seen in the Paris Salons through 1914. In 1913, he returned to Fort Worth where he spent time painting, and then in 1916 he went to New York, where he taught and painted until 1924. Then he moved to California until the mid 1930s when he returned to Paris. After that he returned to California, living in Beverly Hills, and then again went to France where he died in 1956 in Lyons. Memberships for Bewley include the Allied Artists of America, the Salmagundi Club, and the Texas Fine Arts Association. Among his exhibition venues are the Paris Salon, 1908-1909; the Art Institute of chicaog, and the Pennyslvania Academy of the Fine Arts. Source: John and Deborah Powers, "Texas Painters, Sculptors, and Graphic Artists"

Lot: 41 - Boris Dmitrievich Grigoriev, Russian Federation, United States, France (1886 - 1939), untitled woodland scene with animals and female nudes, ca.1912, gouache and tempera on cardboard, 8 1/2"H x 13 3/4"W

Boris Dmitrievich Grigoriev Russian Federation, United States, France, (1886 - 1939) untitled woodland scene with animals and female nudes, ca.1912 gouache and tempera on cardboard signed lower right. Unframed. Biography from the Archives of askART: Boris Grigoriev was a Russian painter and graphic artist. Grigoriev was born in Rybinsk and studied at the Stroganov Art School from 1903 to 1907. Grigoriev went on to study at the Imperial Academy of Arts in Saint Petersburg under Aleksandr Kiselyov, Dmitry Kardovsky and Abram Arkhipov from 1907 to 1912. He began exhibiting his work in 1909 as a member of Union of Impressionists group, and became a member of the World of Art movement in 1913.[1] At that time he also was interesting in literature, writing novel Young Rays. Grigoriev lived for a time in Paris, where he attended the Académie de la Grande Chaumière. In Paris he was strongly influenced by Paul Cézanne. After his return to Saint Petersburg in 1913 he became part of the Bohemian scene in St. Petersburg and was close to many artists and writers of the time, such as Sergey Sudeykin, Velimir Khlebnikov and the poet Anna Akhmatova, often painting their portraits. Grigoriev was also interested in the Russian countryside, its peasants and village life. From 1916 to 1918 he created a series of paintings and graphic works, Russia (Raseja, Russian:), depicting the poverty and strength of the Russian peasantry and village life. The alboum was started by a Grigoriev's poem To her stepsons. The album won a praise from influential art-critic Alexandre Benois. According to Benois Grigoriev had shown the very essence of Russia in the period before the revolutionary upheaval. From 1919, Grigoriev travelled and lived abroad in many countries including Finland, Germany, France, USA, Central and South Americas. In 1934 he published his poem Russia in American Russian-language newspaper Novoye Russkoye Slovo. The poem was a poetic reflection of his famous Russia series of paintings. He also wrote poem America published only in 2003. Grigoriev died in Cagnes-sur-Mer in 1939.

Lot: 42 - Margaret Anna Dobson, California, Maryland (1888-1981), Sailboats at harbor, oil on board, 19 1/4"H x 15 1/4"W(sight), 27 1/4"H x 23 1/4"W(frame)

Margaret Anna Dobson California, Maryland, (1888-1981) Sailboats at harbor oil on board Signed to lower right. From the collection of Keith Little, Indianapolis, IN. Biography from Crocker Art Museum Store Painter, illustrator, muralist, etcher. Born in Baltimore, MD on Nov. 9, 1888. Dobson studied at the Maryland Institute, PAFA, Fontainebleau School of Art (Paris), and Syracuse University. She studied privately with Daniel Garber, Cecilia Beaux, Violet Oakley, Emil Carlsen, Robert Vonnoh, Hugh Breckenridge, and others. She was active in London, England until 1933. She then settled in Los Angeles where she remained until her death on Jan. 20, 1981. Primarily a muralist, she also painted floral still lifes and landscapes of the Sierra and southern California. Member: NAC; Royal Society of Etchers (London); Laguna Beach AA; Women Painters of the West; Santa Monica AA; Calif. Art Club; LAAA; Artists of the SW. Exh: Fontainebleau, 1927 (prize); Egan Gallery (LA), 1933; Calif. PM Society, 1935, 1936; Ebell Club (LA) 1936 (1st prize); Academy of Western Painters, LACMA, 1937; Santa Cruz Art League, 1938; Friday Morning Club (LA), 1939; GGIE, 1939; Society for Sanity in Art, CPLH, 1944. Murals: Santa Monica Women's Club; Palace of Fontainebleau and Fontainebleau Hospital (France); Kaufman (TX) Post Office (Driving the Steers); Girl Scouts Bldg (Santa Monica); Syracuse University; Maryland Institute. AAA 1933; AAW; KOV; WWAA 1936-56; LA Times, 1-25-1981 (obit).

Lot: 43 - Minnie Ellsworth Bartlett, Indiana (1890-1977), "After Paul Sollner", young man playing guitar, illustration style watercolor on paper, 15 1/2"H x 11 1/2"W(sight), 21"H x 17"W(frame)

Minnie Ellsworth Bartlett Indiana, (1890-1977) "After Paul Sollner", young man playing guitar illustration style watercolor on paper signed lower left. In a carved and gilt frame. From the collection of Keith Little, Indianapolis, IN. Minnie Ellsworth Bartlett was born on June 29, 1890, in Seymour, Indiana. Her real name was Joan Ellsworth Bartlett; her nickname may have come in honor of her aunt, Minnie Bartlett EuDaly (1867-1944). Minnie Ellsworth Bartlett's father, John E. Bartlett (1862-1940), was a well-admired artist and sign painter in his hometown and in southern Indiana. Minnie's mother, Rhoda Marie (Coulborn) Bartlett (1861-1922), died of pneumonia when she was still quite young. The Bartletts and related families were prominent in the civic life of Seymour. Minnie Bartlett carried on in her father's mix of art and business. The first notice I have of her work is for cartoons she drew for a log-rolling and carnival in Seymour in 1905. These were displayed in the window of Cox Pharmacy when she was just fifteen years old. One was of Kin Hubbard's famed Abe Martin character from the Indianapolis News. Minnie Bartlett graduated in 1907 from Seymour High School, an edifice surrounded by trees and once bordering a tract of forestland. From 1909 to 1911, she studied at the Herron School of Art in Indianapolis where her instructors were Clifton Wheeler, Otto Stark, and William Forsyth. In her last year at Herron, Minnie had her art on display in a student exhibit at Herron. More importantly, she landed a plum assignment to provide 133 illustrations for the Eleventh Annual Report of the State Board of Forestry, 1911 (1912). Her drawings were of the trees of Indiana, a botanical key that proved to be the life's work of Charles C. Deam (1865-1953), a self-taught botanist and the first Indiana state forester. The Trees of Indiana was issued in book form in 1919. According to one source, Minnie Ellsworth Bartlett's drawings were used in that edition as well. I have the first revision of The Trees of Indiana from 1932, a book illustrated not with drawings but with photographs.

Lot: 44 - VJ (Varaldo Guiseppe) Cariani, Indiana/Italy (1891-1969), "Autumn Woods", ca.1930, Brown County Landscape, oil on canvas, 30"H x 35 3/4"W(sight), 35 3/4"H x 41 3/4"W(frame)

VJ (Varaldo Guiseppe) Cariani Indiana/Italy, (1891-1969) "Autumn Woods", ca.1930, Brown County Landscape oil on canvas Signed lower left. PROVENANCE: Tipton County Library Collection. Verso "Painting conserved by S. D. Battista." Minor craquelure. Biography from the Archives of askART: A landscape and still-life painter whose name is much associated with Brown County, Indiana, V.J. Cariani was born in Renazo, Italy and settled in Nashville, Indiana. He studied at the National Academy of Design and the Art Students League with Frank DuMond, and was a member of the Hoosier Salon, the Indiana Artists Club, and the Springfield Art League. While studying at the Art Students League, he met painter Marie Goth and eventually returned to Indiana with her, building a studio on her Brown County property. However he left the Art Students League in 1917 to enlist in the Army during World War I. A very religious person, his experiences caused him much post-war depression. He returned to his home town of Springfield, Massachusetts, and Marie Goth, trying to find a way to lift his spirits, hatched a plan with her father to hire Cariani as a stone carver for the Goth family Crown Monument Company. Sources include: Treadway Toomey Galleries, Auction Catalogue 12/02/2001 Judith Vale Newton and Carole Ann Weiss, "Skirting the Issue"

Lot: 45 - Dale Bessire, Indiana, Ohio (1892-1974), Autumn Landscape, ca.1938, Brown County, IN, oil on canvas, 23 3/4"H x 29 1/2"W(sight), 28 1/4"H x 34 1/4"W(frame)

Dale Bessire Indiana, Ohio, (1892-1974) Autumn Landscape, ca.1938, Brown County, IN oil on canvas Signed lower left. PROVENANCE: Tipton County Public Library Collection. Donated by George A. Spencer. Biography from the Archives of askART: A founding member of the Brown County Art Gallery Association, Dale Bessire was a native of Indianapolis and studied at the John Herron Art Institute. He studied business at the University of Chicago, and then moved to Nashville, Indiana in 1914 where he became known as the artist farmer because he was successful at both running an orchard and pursuing an art career, primarily as a landscape painter. He exhibited at the Hoosier Salon and the Chicago Gallery Association. Source: American Art Review, December 1994 Peter Falk, "Who Was Who in American Art"

Lot: 46 - Paul E Barr, Indiana, North Dakota (1892-1953), "The Narrows: Devil's Lake, North Dakota; Blue Waters Abreak Upon the Beach", 1930, oil on canvas, 25"H x 31 1/2"W(sight), 29 1/2"H x 36"W(frame)

Paul E Barr Indiana, North Dakota, (1892-1953) "The Narrows: Devil's Lake, North Dakota; Blue Waters Abreak Upon the Beach", 1930 oil on canvas Signed and dated to lower left. PROVENANCE: Tipton County Library Collection. Purchased by the Public Library from Paul E. Barr, 1939. Artist Label Verso with note that work was to be sent to the Society of the Four Arts, Palm Beach Florida. askART Biography: Born and raised in Tipton County, Indiana, Paul Barr was a painter of North American and European scenes including architecture, southwestern landscapes, mountain views from the Rockies, Alps, Catskills, Grand Tetons and national parks. For twenty-five years, Paul Barr headed the Art Department at the University of North Dakota in Grand Forks. He painted in more than ten countries and had studios in Paris, New York City, Colorado and Indiana. His art education included the Art Institute of Chicago, the Sorbonne University of Paris and universities in Colorado, Chicago and Indiana. Paul Barr developed an early interest in art and In 1904, at the age of eleven, exhibited some of his work at the Louisiana Purchase Exposition at the World's Fair in St. Louis. In 1916, he became an annual exhibitor at the John Herron galleries in Indianapolis and from that time was prolific with exhibitions with the Hoosier Salon at Marshall Field's in Chicago and other venues including the Fort Wayne Art Museum. He held the position with the North Dakota University Art Department from 1928 to his death in 1953. He was sixty-one and died from a cerebral hemorrhage. His work is in the North Dakota Governor's Office and in the corporate collection of International Business Machines (IBM). HIs papers are in the collection of the University of North Dakota.

Lot: 47 - Paul E Barr, Indiana/North Dakota (1892-1953), Old Farmhouse / North Dakota Farmhouse, 1939, canvas on board, 17 1/2"H x 26 1/2"W(sight), 25 1/2"H x 34 1/2"W(frame)

Paul E Barr Indiana/North Dakota, (1892-1953) Old Farmhouse / North Dakota Farmhouse, 1939 canvas on board Signed to lower right with symbols. PROVENANCE: Tipton County Library Collection. Artist label verso " Paul E. Barr, Frank Forks, N.D. $100. Metal plaque lower front "Gift from Paul E. Barr." Born and raised in Tipton County, Indiana, Paul Barr was a painter of North American and European scenes including architecture, southwestern landscapes, mountain views from the Rockies, Alps, Catskills, Grand Tetons and national parks. For twenty-five years, Paul Barr headed the Art Department at the University of North Dakota in Grand Forks. He painted in more than ten countries and had studios in Paris, New York City, Colorado and Indiana. His art education included the Art Institute of Chicago, the Sorbonne University of Paris and universities in Colorado, Chicago and Indiana. Paul Barr developed an early interest in art and In 1904, at the age of eleven, exhibited some of his work at the Louisiana Purchase Exposition at the World's Fair in St. Louis. In 1916, he became an annual exhibitor at the John Herron galleries in Indianapolis and from that time was prolific with exhibitions with the Hoosier Salon at Marshall Field's in Chicago and other venues including the Fort Wayne Art Museum. He held the position with the North Dakota University Art Department from 1928 to his death in 1953. He was sixty-one and died from a cerebral hemorrhage. His work is in the North Dakota Governor's Office and in the corporate collection of International Business Machines (IBM). HIs papers are in the collection of the University of North Dakota.

Lot: 48 - Paul E Barr, Indiana / North Dakota (1892-1953), Washington Monument At Night, oil on board, 20 3/4"H x 8 1/4"W(sight), 23 1/2"H x 11"W(frame)

Paul E Barr Indiana / North Dakota, (1892-1953) Washington Monument At Night oil on board Artist label verso. PROVENANCE: Tipton County Library Collection. Born and raised in Tipton County, Indiana, Paul Barr was a painter of North American and European scenes including architecture, southwestern landscapes, mountain views from the Rockies, Alps, Catskills, Grand Tetons and national parks. For twenty-five years, Paul Barr headed the Art Department at the University of North Dakota in Grand Forks. He painted in more than ten countries and had studios in Paris, New York City, Colorado and Indiana. His art education included the Art Institute of Chicago, the Sorbonne University of Paris and universities in Colorado, Chicago and Indiana. Paul Barr developed an early interest in art and In 1904, at the age of eleven, exhibited some of his work at the Louisiana Purchase Exposition at the World's Fair in St. Louis. In 1916, he became an annual exhibitor at the John Herron galleries in Indianapolis and from that time was prolific with exhibitions with the Hoosier Salon at Marshall Field's in Chicago and other venues including the Fort Wayne Art Museum. He held the position with the North Dakota University Art Department from 1928 to his death in 1953. He was sixty-one and died from a cerebral hemorrhage. His work is in the North Dakota Governor's Office and in the corporate collection of International Business Machines (IBM). HIs papers are in the collection of the University of North Dakota.

Lot: 49 - Walt Disney Studios "Fantasia" pastel on paper bell flower concept drawing on black paper, 1940, unsigned and attributed to Elmer Plummer.

Walt Disney Studios "Fantasia" pastel on paper bell flower concept drawing on black paper, 1940, unsigned and attributed to Elmer Plummer. Biography from the Archives of askART: Born in Redlands, CA on Nov. 6, 1910. Plummer began painting during high school. He then studied on a three-year scholarship at the Chouinard Art School (and later taught there) under Millard Sheets and others. In 1934 he began work in the art department at Warner Bros and then moved to Disney Studios where he remained for many years. Most of his career was spent in Hollywood and his native city. He died in Junction City, OR on Dec. 31, 1986. Exh: Painters & Sculptors of LA, 1930s; LA Co. Fair, 1932 (1st prize), 1939; Calif. WC Society, 1932-42; LA AA, 1934 (award); Hesse Gallery (Glendale), 1935; Stendahl Gallery (LA), 1936; Calif. State Fair, 1938 (3rd prize); PAFA, 1938; AIC, 1939; GGIE, 1939; Chouinard Alumni, 1954. In: Orange Co. (CA) Museum; White House (Washington, DC); Pasadena YMCA (mural); Riverside (CA) High School; San Diego Museum. Edan Hughes, "Artists in California, 1786-1940" California Arts and Architecture list, 1932; Who's Who in American Art 1940; Who's Who in California 1942; Variety, 1-13-1987 (obituary). 7 3/4"H x 10 1/4"W(sight), 12 1/2"H x 14 1/2"W(frame)

Lot: 50 - Rolf Stoll, German (1892 - 1978), Andalusia, watercolor on paper, 28 1/2"H x 32 1/2"W x 1"D (frame), 19"H x 23"W (sight)

Rolf Stoll German, (1892 - 1978) Andalusia watercolor on paper Unsigned. Biography from Spanierman Gallery (retired): Rolf Stoll, a painter of figure subjects, landscapes and floral still lifes, was an important member of the Cleveland art scene during the second quarter of the century. He was also an influential teacher, as well as one of Ohio's foremost portrait painters. Rolf

Lot: 51 - Mattie (Matilda) Lietz, Illinois (1893-1956), "African marigolds", ca.1938, oil on canvas, 23 1/2"H x 19 1/2"W(sight), 27 3/4"H x 23 3/4"W(frame)

Mattie (Matilda) Lietz Illinois, (1893-1956) "African marigolds", ca.1938 oil on canvas Signed to lower right. PROVENANCE: Tipton County Library Collection, Gift to the Public Library, Library Patrons, 1938. askART Biography: Born in Peoria, Illinois, Mattie Lietz was a painter and teacher who spent most of her career in that state. She studied at Butler College in Irvington, Indiana, and at the Art Institute of Chicago with Frederick Grant, George Elmer Browne, and John Thomas Nolf. She was a member of the Chicago Galleries Association and exhibited in New York at the National Academy of Design. She also exhibited at the Art Institute of Chicago, the Hoosier Salon, and the All-Illinois Fine Art Association. Her work is in the collection of the Tipton Indiana Public library, Cossett School in La Grange, Illinois, and the Norton Art Gallery in Palm Beach, Florida.

Lot: 52 - Ruthven Holmes Byrum, Indiana, Michigan (1896-1958), Muskegon city skyline across the lake, 1931, oil on canvas with view of cityscape, 29 1/2"H x 25 1/4"W(sight), 33"H x 29 1/4"W(frame)

Ruthven Holmes Byrum Indiana, Michigan, (1896-1958) Muskegon city skyline across the lake, 1931 oil on canvas with view of cityscape Signed and dated lower right. PROVENANCE: Tipton County Library Collection, Gift of the General John Tipton Chapter of the DAR, 1933. askART Biography: Ruthven Holmes Byrum was born in Grand Junction, MI. He lived all of his life in Anderson, IN. He was an educator, painter, writer, lecturer. Byrum studied at Indiana University, and in Paris, at the Académie de la Grande Chaumière, Académie Julian, under Andre Lhote. and with Hans Hofmann, in Munich. He painted landscapes and did some illustrative work. He exhibited at the Hoosier Salon, John Herron Art Institute, Art Institute of Chicago, and the Corcoran Gallery. He taught at Anderson College, Indiana in the 1930s, and his work is in the collections of the Swope Museum, Richmond Art Association, and Indiana University.

Lot: 53 - W A Eyden, Indiana, New York (1881-1965), "Autumn Woods", gouache on board, 19 1/4"H x 29 1/4"W(sight), 24 1/2"H x 34 1/2"W(frame)

W A Eyden Indiana, New York, (1881-1965) "Autumn Woods" gouache on board Signed to lower left. In a gilt gesso frame. Provenance: Tipton County Public Library collection. Biography from the Archives of askART: Walter Earnest Eyden was born on 29 November 1881 in Wayne County, Indiana. Eyden was working as a salesman in the 1900-1930 censuses of Richmond, Wayne County, IN. The October 1, 1908 edition of The Cambridge City Tribune reports that Eyden was a salesman for George H. Nolte. He was employed as "Buyer & Manager, Geo. C. Nolte" in Richmond, IN when he completed his WWI Draft Registration Card in 1918. He was still living in Richmond, but unemployed, when he completed his WWII Draft Registration Card. Walter married Clara Estella or Estelle on 1 July 1904 in Richmond, Wayne County, IN. Walter was also an artist, but he may not have made his living by painting until late in life, as few examples of his works are found. His occupation was listed as "artist" in the 1943 edition of Polk's Indianapolis City Directory. Nothing has been found regarding his training and work as an artist but it seems likely that he was a student of his father, William Arnold Eyden Sr. He appears to have been primarily a painter of landscapes in oils, gouache and watercolors. His work is often similar in appearance to that of his father and brother. Walter Earnest Eyden died on 3 December 1965 in Indianapolis, IN and is buried in the Earlham Cemetery, Richmond, Wayne County, IN. Researched, written and submitted by Kevin Daniel, University of Illinois graduate student of Library and Information Science with a focus on art Cataloging.

Lot: 54 - Geraldine Armstrong Scott, Indiana (1900-), Late Autumn Winter Snow, 1929, landscape, oil on canvas, 24 3/4"H x 29 3/4"W(sight), 30"H X 35"W(frame)

Geraldine Armstrong Scott Indiana, (1900-) Late Autumn Winter Snow, 1929, landscape oil on canvas Signed and dated to lower right. PROVENANCE: Tipton County Public Library Collection. Mrs. Scott was born in Elkhart, IN in 1891, She was a painter, lecturer and teacher of the arts. She studied at Northwestern Univ.; NY Sch. Fine & Applied Art; Parsons Sch. Des., NY and Paris; Indiana Univ. Center, Kokomo; E.R. Sitzman. She exhibited at the Hoosier Salon; Indiana Art Club; South Bend, 1928 (prize); S. Indp. A., 1928; Northern Indiana AL (prize). She taught at Butler University; Carnegie Library, Kokomo; Northwestern University and Noblesville High School in Indiana

Lot: 55 - Blendine Orie (Smalley) Carpenter, Florida, Illinois (1900-1999), Old Foray Mill, Kentucky, 1937, oil on canvas, 26 1/2"H x 30 1/4"W , 30 1/2"H x 34 1/4"W (frame)

Blendine Orie (Smalley) Carpenter Florida, Illinois, (1900-1999) Old Foray Mill, Kentucky, 1937 oil on canvas From the collection of Edward P. Bentley, Art Researcher and Historian, Greenville, Michigan. Provenance: The All Illinois Society of the Fine Arts, Gold Medal, 1937. Biography from the Archives of askART: Carpenter, Blendine Oriole (Smalley) (1900-1999) Born Sheldon,

Lot: 56 - Eileen Higgins, Indiana (20th Century), "Tipton, Ind", 1961, village landscape with church, oil on canvas, 15 1/2"H x 19 1/2"W(sight), 21 1/2"H x 25 1/2"W(frame)

Eileen Higgins Indiana, (20th Century) "Tipton, Ind", 1961, village landscape with church oil on canvas Signed and titled to lower right.

Lot: 57 - Attributed to Kovner Saul, New York, California / Russian Federation (1904 - 1981), Residential view landscape, oil on canvas, 35 1/2"H x 35 1/2"W(sight), 44 1/2"H x 44"W(frame)

Attributed to Kovner Saul New York, California / Russian Federation, (1904 - 1981) Residential view landscape oil on canvas Signed to lower right. Biography from Art-Torg Auctions Saul Kovner (1904-1982) was born in Russia on January 14, 1904. He settled in New York City in the 1920s. He studied at the Pratt Institute and National Academy of Design. He then maintained a studio near Central Park, taught classes, and created paintings, prints, and drawings of the city streets and their denizens. During the 1930s, he worked for the WPA project. He died in North Hollywood, CA on March 13, 1981. His works are signed only with his first name, "Saul" and are held at the Metropolitan Museum, Library of Congress, Detroit Institute of Fine Arts, and Baltimore Museum of Art.

Lot: 58 - Margaret Eifler, California (1910-1996), floral still life with Chinoiserie, 1979, watercolor on paper, 20 3/4"H x 24 1/2"W

Margaret Eifler California, (1910-1996) floral still life with Chinoiserie, 1979 watercolor on paper signed lower left. Biography from the Archives of askART Monterey Peninsula Herald, CA Oct. 25, 1996 Salinas – Margaret C. Eifler, 86, an artist and Salinas resident, died Tuesday at her home. Born April 11, 1910, in Marinette, Wis., she graduated from the Minneapolis School of Art and Design and did postgraduate work at the American Academy of Art in Chicago and the Art institute of Chicago. She began her career as a commercial artist. Recently, she had concentrated on painting with watercolor. Her work has been shown in galleries throughout the country, including the Brown County Art Guild in Indiana and the Valley Art Gallery in Salinas. Mrs. Eifler was a member of the Brown County Art Guild, the Society of Western Artists, the Monterey Peninsula Watercolor Society, the Salinas Valley Art Association and the Salinas Women's Club. She also was an associate member of the American Watercolor Society.

Lot: 59 - Raphael Soyer, New York / Russia (1899-1987), self portrait, 1963, graphite on paper, 10"H x 8"W(paper), 17"H x 14 1/2"W(frame)

Raphael Soyer New York / Russia, (1899-1987) self portrait, 1963 graphite on paper Signed lower right, inscribed and dated lower left. Biography from the Archives of askART: Born in Borisoglebsk, Russia in 1899, Raphael Soyer is identified as a Social Realist* painter because of his interest in the common man, although he avoided subjects that were particularly critical of society. Soyer moved with his family to the Lower East Side of New York City in 1913, after they were deported from Russia by the Tsarist regime. His father, a Hebrew teacher and writer, encouraged artistic and intellectual pursuits. His popularity with his students in Russia and his liberal ideas led to problems for him with the authorities, and he was forced to leave with his family. Soyer left school at sixteen to help support the family. He attended free classes at Cooper Union* and at the National Academy of Design*. Guy Pene du Bois, a teacher at the Art Students League*, recognized his talent and introduced him to Charles Daniel, who gave him his first solo exhibition in 1929. The success of this event secured his position as a professional artist. The experience of immigrant life in the United States provided him with a rich source of imagery for his art, which was sensitive, penetrating portrayals including transients, shoppers, dancers, and fellow artists. Near his studio in Manhattan's Lower East Side he observed his fellow New Yorkers. His subjects were portrayed with strong, flat colors, which evoked a sense of isolation. Common themes were intimate studies of solitary women, often nudes, and portraits of fellow artists, reflecting his great affection and admiration for them. Soyer's most frequent model was himself, often posed with pencil or brush in hand, as in Self-Portrait ca. 1927, and his work was mainly in oil and lithography*. He did not accept commissions for portraits because his interest was with the private person and the effects of the modern world on the psyche, rather than a public facade. Artists he admired, such as Rembrandt, Degas, and Eakins, he felt were dedicated to showing their times truthfully, and emphasized inner character more than physical beauty. Both of Soyer's brothers, Moses and Isaac, were also artists. With his identical twin Moses, he painted murals for the post office in Kingessing, Pennsylvania. He also taught at the Art Students League. He was a co-founder of Reality magazine and champion of Realism* at a time when Abstract Expressionism* dominated the American art scene. The Depression's economic difficulties could be seen in his subjects, and unemployed men caught Soyer's eye. Women at work became a theme with Soyer after 1940. On November 4, 1987, he died in New York. Sources include: Michael David Zellman, 300 Years of American Art Matthew Baigell, Dictionary of American Art

Lot: 60 - Raphael Soyer, New York / Russia (1899-1987), Seated Figure, female portrait, ink on paper, 10 1/4"H x 7 , a18 1/2"H x 15"W

Raphael Soyer New York / Russia, (1899-1987) Seated Figure, female portrait ink on paper Signed lower right. Biography from the Archives of askART: Born in Borisoglebsk, Russia in 1899, Raphael Soyer is identified as a Social Realist* painter because of his interest in the common man, although he avoided subjects that were particularly critical of society. Soyer moved with his family to the Lower East Side of New York City in 1913, after they were deported from Russia by the Tsarist regime. His father, a Hebrew teacher and writer, encouraged artistic and intellectual pursuits. His popularity with his students in Russia and his liberal ideas led to problems for him with the authorities, and he was forced to leave with his family. Soyer left school at sixteen to help support the family. He attended free classes at Cooper Union* and at the National Academy of Design*. Guy Pene du Bois, a teacher at the Art Students League*, recognized his talent and introduced him to Charles Daniel, who gave him his first solo exhibition in 1929. The success of this event secured his position as a professional artist. The experience of immigrant life in the United States provided him with a rich source of imagery for his art, which was sensitive, penetrating portrayals including transients, shoppers, dancers, and fellow artists. Near his studio in Manhattan's Lower East Side he observed his fellow New Yorkers. His subjects were portrayed with strong, flat colors, which evoked a sense of isolation. Common themes were intimate studies of solitary women, often nudes, and portraits of fellow artists, reflecting his great affection and admiration for them. Soyer's most frequent model was himself, often posed with pencil or brush in hand, as in Self-Portrait ca. 1927, and his work was mainly in oil and lithography*. He did not accept commissions for portraits because his interest was with the private person and the effects of the modern world on the psyche, rather than a public facade. Artists he admired, such as Rembrandt, Degas, and Eakins, he felt were dedicated to showing their times truthfully, and emphasized inner character more than physical beauty. Both of Soyer's brothers, Moses and Isaac, were also artists. With his identical twin Moses, he painted murals for the post office in Kingessing, Pennsylvania. He also taught at the Art Students League. He was a co-founder of Reality magazine and champion of Realism* at a time when Abstract Expressionism* dominated the American art scene. The Depression's economic difficulties could be seen in his subjects, and unemployed men caught Soyer's eye. Women at work became a theme with Soyer after 1940. On November 4, 1987, he died in New York. Sources include: Michael David Zellman, 300 Years of American Art Matthew Baigell, Dictionary of American Art

Lot: 61 - Moses Soyer, New York / Russia (1899 - 1974), seated female nude, sanguine on paper, 12 1/2"H x 9 3/4"W(sight), 19"H x 15 1/2"W(frame)

Moses Soyer New York / Russia, (1899 - 1974) seated female nude sanguine on paper Signed lower right. Biography from the Archives of askArt: Dedicated to art expression with social-realist themes of the Depression Era in America, Moses Soyer was born in Czarist Russia in 1899, and was one of three artistic brothers, the others being Raphael and Isaac. Raphael Soyer was Moses' identical twin. Later in his career, Moses Soyer turned to the depiction of female figures, especially ballet dancers. The Soyer brothers were raised in an intellectual atmosphere created by their father, a Hebrew scholar. In 1912, the Soyers emigrated to the United States and eventually settled in New York City. Moses Soyer's artistic studies began in 1916, and included classes in New York at Cooper Union, the National Academy of Design, the Educational Alliance, and the Modern School, where he was influenced by Robert Henri and George Bellows. After traveling to Europe on a fellowship, Soyer taught at several schools until The Depression made such teaching positions scarce. The Depression, in fact, set the mood for most of Soyer's art expression. The Works Project Administration provided him with work as well as the fellowship of other artists, but the era itself provided the social sentiments which permeate most of Soyer's work. Using some of the techniques of his favorite artists, such as Van Rijn Rembrandt and Gustave Courbet, he portrayed his subjects in the perseverance of hard work or in the uncertainty of unemployment. As an artist, Soyer was particularly sensitive to the lack of work during the Depression and to the fact the Works Projects Administration provided employment for many artists who would have remained unemployed. He was opposed to landscape painting, and pursued the opportunity to use art for the purpose of making realistic social statements about his time. Together, Moses and his twin worked on some large projects, such as a mural commissioned by the Works Projects Administration for the Kingsessing Station Post Office in Philadelphia. After the Depression, Soyer tended towards ballet subjects, reminiscent of Degas, yet his work retained his own personal style of conveying sentimental moods. His paintings remained popular throughout his life. Soyer died in 1974.

Lot: 62 - John Domont, Indiana (20th/21st Century), white barn and field landscape, oil on canvas, 32"H x 26"W(sight), 33 1/4"H x 27 1/2"W(frame)

John Domont Indiana, (20th/21st Century) white barn and field landscape oil on canvas Signed and dated to verso. Biography from the Archives of askART: At the suggestion of Ursula Kolmstetter, Head Librarian of the Stout Reference Library of the Indianapolis Museum of Art, the following is from the website of the artist who lives in Indianapolis: (http://www.domontgallery.com) ARTIST STATEMENT I began my career as a fine art photographer focused on the decisive moment and pursuing the magic of light. I looked for images that indicated a sense of universal wonderment and unity. In my late 20s, I worked exclusively for conservation groups photographing threatened habitats and endangered species around the world. I photographed so many different mammals in water habitats that water itself became a primary focus for my artistic endeavors. In the process of abstracting the qualities of water, as it transformed into its various aspects of light, color, movement, and energy, I began to experience a relationship with painting. By 1983, painting had become my primary means of artistic expression and landscape painting became the primary focus of my work. My paintings are an expression of inspirations from nature and my relationship to the landscape. I strive to create harmony among the three forms of light available to an artist: surface light, the light of nature, and the light of spirit. My art is about presence and place. I work in the landscape of Indiana, my home. Our roads, pastures, fields, and forests are the essence of our landscape, the American mid-west. The Indiana countryside is both simple and nourishing. It is in the basics of our landscape that one can see and feel the beauty of the essential, the elements of land and sky, of nature and humanity coming together. Rather than portraying the realism of a country scene, I am in pursuit of the experiential expression. When one stands alone in a field with grain and sky, wind and color as companions, an experience of unity can occur. I am interested in expressing the harmony of the seen and the unseen. This experience of unity, which brings with it a sense of awe, supports and guides my work. My paintings are an attempt to honor the beauty and magic of living in our time and place.

Lot: 63 - John Domont, Indiana (20th/21st Century), , 24"H x 30"W

John Domont Indiana, (20th/21st Century)

Lot: 64 - James Snodgrass, Indiana (1929-2013), Nativity scene, oil on masonite, 15 1/4"H x 27"W

James Snodgrass Indiana, (1929-2013) Nativity scene oil on masonite signed lower right. From the collection of Keith Little, Indianapolis, IN.

Lot: 65 - Stephen Stoller, Indiana, New York (b.1945), city street scene with walking couple, 1985, oil on canvas, 19 1/4"H x 15 1/2"W(sight), 27 1/4"H x 23 3/4"W(frame)

Stephen Stoller Indiana, New York, (b.1945) city street scene with walking couple, 1985 oil on canvas no visible signature. In gilt frame. From the collection of Keith Little, Indianapolis, IN. Biography from the Archives of askART: Stephen I. Stoller (b.1945, New York) is an American oil painter and sculptor. Stoller married poet Francy Stoller in 1969. He has six children: Judah Pablo, Ben, Abraham, Danielle Love, Navahjo, and Moses. He currently resides in New York City and Whitehall, New York. Stoller worked and learned his art on the streets of New York and other cities around the world. His early studio works were exhibited on Madison Avenue and other mainstream galleries in New York City. In 1982, Stoller defined himself a street painter. Stephen renders the figurative with activity and communication in the urban setting. He works using the live model and architecture as a basis for his work. His style is a definite and immediate application that drives at the nature and soul of the composition. Stoller's work has been acquired by major institutions in the Midwest. Two canvases were chosen for museum exhibition at the High Museum, "Georgia Artists." Stoller has had numerous one person shows throughout his forty year career. Since 1997, Stoller has established himself as a leading street painter in New York City after spending 15 years in Indianapolis, Indiana. His most recent major exhibition was at Art Expo, New York, Javits Center, Feb 2002. In 2008, Stoller had a painting admitted to the permanent collection at the Indiana State Museum (Indianapolis). Steve Stoller under his pseudonym (John Serpent) wrote Memoirs Of An Unknown Artist in 2009. His new book The Poet should be in stores in the first few months of 2010. Information provided by the artist.

Lot: 66 - Vincent La Gambina, New York (1909 - 1994), P.S. 41 (Greenwich Ave, NYC), 1936, oil on canvas, 22 1/4"H x 33 1/2"W (sight), 28 1/2"H x 39 1/2"W (frame)

Vincent La Gambina New York, (1909 - 1994) P.S. 41 (Greenwich Ave, NYC), 1936 oil on canvas Signed and dated in lower right corner, signed and titled verso. Biography from the Archives of askART: The following, at the suggestion of Richard Leon, is from the Museum of New York, www.mcny.org Picturing New York: Paintings by Vincent La Gambina was on view at the Museum of the City of

Lot: 67 - Unknown Post Impressionist style laundresses, village scene oil painting on board. 14"H x 18"W

Unknown Post Impressionist style laundresses, village scene oil painting on board. Unsigned. From the collection of Keith Little, Indianapolis, IN.

Lot: 68 - Maxim Bugzester, Polish (1910 - 1978), village scene, oil on board, 18"H x 14"W(sight), 31 1/2"H x 27 1/4"W(frame)

Maxim Bugzester Polish, (1910 - 1978) village scene oil on board Signed lower right. Biography from The Artisfun Gallery: Maxim Bugzester was born on August 31, 1909 in Stanislov, Poland of Russian Jewish parents who immigrated there. The family then moved to Vienna where Maxim spent the greater part of his youth, distinguishing himself not only as a athlete, but, also in the artistic domain. His active participation in sports enabled him to qualify for the Austrian Olympic team for which he won the bronze medal in Greco Roman wrestling. Maxim later became a price fighter and held the European title for the lightweight division, however his athletic endeavors ended in 1935 in order to allow him to pursue his artistic ambitions. Maxim entered the Academy of Fine Arts in Vienna at the age of 14 in the 'kinder' art program, which was proceeded by studies at the Academy under the tutelage of Albert Paris Gutersloh. In order to further his artistic development, Maxim left Austria to study at the innovative Bauhaus School in Munich, where he was taught by the German Expressionist Schmidt-Rottluff. Following his education in Germany, Maxim moved to the South of France where so many prominent artists of the time were residing, including renown Nabis painter Pierre Bonnard with whom he worked. In 1935, Maxim immigrated to America where he served in the United States Army from 1943 to 1944. He then moved to New York City, which became a vibrant new source of inspiration for his work. In 1952, he married Ruth Hackenburg whom he met at the Art Student League of New York. The couple had their first child, Mark, in 1954, and decided to return to France the following year. Living in the heart of the Bohemian quarters of Paris enabled Maxim to integrate the dynamic French intellectual and artistic circles, through which he befriended cubist painter George Braque. Both artists developed a strong friendship and Maxim proceeded to study with Braque for two and a half years. The Bugzester family returned to New York City in 1959 where Ruth gave birth to their second child, Karen. Maxim opened an independent art studio on West 56th Street, teaching painting to rising and gifted young artists. The vibrant palettes and expressive brushstrokes reflect Maxim's rich artistic and cultural background. The artist's sensitivity is revealed through his work, and his paintings are today in many of the finest private collections. Maxim Bugzester painted and taught art in New York City until his death on October 21, 1978.

Lot: 69 - Rhoda Boughton, New Jersey / Maine (1925-2015), "Zinnias in a Chinese Vase" floral still life, oil on canvas, 24"H x 20"W

Rhoda Boughton New Jersey / Maine, (1925-2015) "Zinnias in a Chinese Vase" floral still life oil on canvas Signed to lower right and back. Exhibition label verso: Sixteenth Montclair New Jersey Annual Art Exhibition. From the artist's obituary: Born in Weehawken, New Jersey on August 6, 1925 she was the daughter of Florence and Moses Sultzer. She attended the Art Students League in NYC and the John Heron Art Institute in Indiana where she met Stuart Scott Boughton, the love of her life. They were married on July 4, 1945. Stuart predeceased her on May 22, 1999. At a young age Rhoda showed artistic talent and was often called on in school to showcase her art. An accomplished painter in oils, her works not only hang in many Vinalhaven homes, but also across the country. She took great pleasure in sharing her art as an Art Teacher with adults and especially with children. She taught for many years at the Art Center of Northern New Jersey and the Brooklyn Museum with lifelong friends Ashley Bryan and Emily Nelligan. Most recently she delighted in spending time with her dear friend Dr. Rich Entel and exploring new avenues of artistic expression. In addition, she found great joy in working on the Vinalhaven theater production sets many of which were quite innovative. She was never without her sketch pad. Her connection to Vinalhaven dates from 1962 when she learned of this beautiful island through her artist friends Emily Nelligan and Marvin Bileck. In 1980 Rhoda and Stuart purchased a house on the island and in 1987 moved there year round to enjoy its exquisite beauty and close community. Her entire life she was a dependable volunteer, both in New Jersey and Vinalhaven. She gave of her time and talent whenever it was needed. She was an active member of the Garden Club and a devoted member of the Friends of the Vinalhaven Public Library including the Library Centennial Fundraising Committee. In her leisure time Rhoda was an avid reader, fan of movies, especially black and white and of Masterpiece Theatre. She was an enthusiastic gardener and loved cooking using her harvest. She took pleasure in entertaining and sharing the stories of her past.

Lot: 70 - Constantino Nivola, New York/Italy (1911-1988), abstract modernist figure, fired terracotta clay sculpture, 5 1/2"H x 4"W x 6 1/2"D

Constantino Nivola New York/Italy, (1911-1988) abstract modernist figure fired terracotta clay sculpture signed under base. Biography from the Archives of askART: Born in Orani, Sardinia, Costantino Nivola became a painter, designer, and sculptor in abstract expressionist style. He studied at the Istituto Superiore d'Arte in Monza, Italy with Marino Marini and Marcello Nizzoli, Art Director for Olivetti Company. In 1939, Nivola came to the United States, and from 1954 to 1957 was Director of the Design Workshop at Harvard University Graduate School. He also taught at Columbia University, Dartmouth College, the University of California Berkeley and the International University of Art in Florence, Italy.

Lot: 71 - Harry A Davis Jr., Indiana (1914-2006), Mexico City Metropolitan Cathedral, 1987, acrylic with watercolor on paper, 19"H x 29 3/4"W(sight), 30 1/2"H x 40 1/2"W(frame)

Harry A Davis Jr. Indiana, (1914-2006) Mexico City Metropolitan Cathedral, 1987 acrylic with watercolor on paper Signed and dated to lower right. From the collection of Keith Little, Indianapolis, IN. The Metropolitan Cathedral of the Assumption of the Most Blessed Virgin Mary into Heaven, also commonly called the Mexico City Metropolitan Cathedral, is the cathedral church of the Catholic Archdiocese of Mexico.

Lot: 72 - Lois Davis, Texas, Indiana (1924-2021), Reclining figure in a lobby, 2010, acrylic on canvas, 25"H x 30"W

Lois Davis Texas, Indiana, (1924-2021) Reclining figure in a lobby, 2010 acrylic on canvas signed lower right and verso. From the collection of Keith Little, Indianapolis, IN. Lois I. Davis passed away peacefully in San Antonio, Texas on April 19, 2021. She was born in La Porte, Indiana, in 1924. She was married for 58 years to her late husband, fellow artist Harry A. Davis. After

Lot: 73 - Jan Scott Boyer, Indiana (b.1941), "City with Women and Clock Tower", 1973, Outsider Art oil on canvas, 29 1/2"H x 35 1/2"W(sight), 36"H x 42"W(frame)

Jan Scott Boyer Indiana, (b.1941) "City with Women and Clock Tower", 1973 Outsider Art oil on canvas signed, titled and dated lower right. From the collection of Keith Little, Indianapolis, IN.

Lot: 74 - Asiru Olatunde, African (1918 - 1993), Osogbo, ceremonial tribal figural scene, aluminum relief sculpture, 14" x 30"

Asiru Olatunde African, (1918 - 1993) Osogbo, ceremonial tribal figural scene aluminum relief sculpture Incised signature. Biography from the Archives of askART: Asiru Olatunde was born in 1918 in Oshogbo, Nigeria and trained as a blacksmith like his father and grandfather before him. A serious illness forced him to look for other work, and he took up ceremonial drumming which he'd learnt since boyhood. He also made bangles in the shape of animals to sell at the market. Starting with small copper ornaments, his work gradually evolved into the repousse on aluminium panels – a technique of reverse-hammering - for which he became famous. He would draw the subject on the reverse of the panel and then beat out the scenes with a small metal punch. The imagery was inspired not only from Yoruba stories and customs, but also Biblical stories that were set in Nigerian scenery and local everyday life. Olatunde's work was widely exhibited in Europe and US, with an exhibition at the IMF headquarters in Washington. One work is in the collection of the Smithsonian Institute. Olatunde died in 1993. Source: "Asiru Olatunde," Tyler Collection: University of Tasmania, Web. 2018

Lot: 75 - Toshiko Takaezu, Ohio, New York (1922-2011), studio pottery bowl with black glaze, 3"H x 7"Diam.

Toshiko Takaezu Ohio, New York, (1922-2011) studio pottery bowl with black glaze signed under base. Crack on side.

Lot: 76 - Shirley Sternstein Jaffe, New York, New Jersey, France (1923-2016), "High Up", 2003, oil on linen, 30"H x 25"W(frame)

Shirley Sternstein Jaffe New York, New Jersey, France, (1923-2016) "High Up", 2003 oil on linen Provenance: Tibor De Nagy Gallery, NY, NY. Biography from the Archives of askART: An abstract painter and sculptor, she was born in New Jersey, in 1923 and educated at Cooper Union in New York City. In 1949, she moved to Paris, France, with her husband who wanted to study at the Sorbonne. Starting out under the influence of Abstract Expressionism, she established herself among a circle of American artists living in Paris including Sam Francis, Ellsworth Kelly, and Joan Mitchell. In the late 1960s, she went to Berlin, Germany and there she made a radical change toward geometry in her painting. In an interview she said: "I felt that my paintings were being read as landscapes. And that wasn't my intention. I don't think I was terribly clear about what my intention was, but I knew it wasn't landscape. At any rate, I was reworking gestural painting and it seemed wrong. I had to start thinking about what I was doing." (bombsite.com) In the summer of 1999, she completed a set of stained-glass windows of her design for the 14th-century chapel of the Perpignan Cathedral, which has been restored by that city. Jaffe returns regularly to the United States where she has exhibited since the early '90s. Among others, Jaffe's work is in the collection of the Museum of Modern Art, New York and the Centre Georges Pompidou, Paris, where one of her paintings was included in the exhibition "elles@centrepompidou - Women Artists in the Collections of the Centre Pompidou."

Lot: 77 - Edgar Tafur, (Ohio, Latin America) (1929-2007), abstract, bronze sculpture, 20"H x 12"W

Edgar Tafur (Ohio, Latin America), (1929-2007) abstract bronze sculpture Stamped signature to base. Slight bend to support. Excerpt from OKCMod.com: multidisciplinary artist, Edgar Tafur, who grew up in Columbia and studied architecture at the University of the Andes in Bogata before deciding to focus on sculpture when he was a student at the University of Florida. In fact, from what I can tell, it was his sculptures that first brought Tafur to Oklahoma City when the Oklahoma Art Center hosted an exhibition of his work in February 1969. multidisciplinary artist, Edgar Tafur, who grew up in Columbia and studied architecture at the University of the Andes in Bogata before deciding to focus on sculpture when he was a student at the University of Florida. In fact, from what I can tell, it was his sculptures that first brought Tafur to Oklahoma City when the Oklahoma Art Center hosted an exhibition of his work in February 1969.

Lot: 78 - Robert Berkshire, Indiana (1932 - 2010), abstract female nude in artist's studio, mixed media, watercolor on paper, 19"H x 24 1/2"W(sight), 29"H x 36 1/2"W(frame)

Robert Berkshire Indiana, (1932 - 2010) abstract female nude in artist's studio mixed media, watercolor on paper signed lower right. In ornate gilt gesso frame. From the collection of Keith Little, Indianapolis, IN. Biography from the IUPUI Herron School of Art + Design: Indianapolis native Robert B. Berkshire was a scholarship student at the John Herron Art Institute, graduating in 1954 with a diploma in fine arts. A Fulbright Fellowship funded his yearlong studies in Italy. He earned a master's degree in fine arts from Florida State University in 1958 and returned to Indianapolis to teach at his undergraduate alma mater. He remained a beloved member of the Herron faculty until his retirement in 1996. Berkshire painted with a verve that leapt from the canvas. He painted the way he lived: Large. He became one of Indianapolis' best-known painters. Through his estate planning, Berkshire made permanent resources available for painting scholarships, gallery support and unrestricted funds at Herron. The Robert B. Berkshire gallery was named in his honor.

Lot: 79 - Richard Ballou, American (1925-2011), The Business Man, ca.1950, oil on canvas, 25"H x 20"W (sight), 26"H x 21"W (frame)

Richard Ballou American, (1925-2011) The Business Man, ca.1950 oil on canvas signed and dated lower left. Exhibited: Metropolitan Museum of Art, American Painting Today, 1950. Excerpt from his obituary: Richard L. Ballou was a professor of Art at CCRI until retiring; he previously worked at the family business, Ballou's Barrington Bootery. He was a member of the Providence Art Club and was a RISD Alumni. He was a WWII Army veteran, serving in the 117th Infantry Division.

Lot: 80 - Joan Danziger, New York (B. 1934), figural sculpture with animal head and bicycle, 1981, paper mache, wire, mixed media, 43 1/2"H x 30"W x 15"D

Joan Danziger New York, (B. 1934) figural sculpture with animal head and bicycle, 1981 paper mache, wire, mixed media Signed verso and inscribed on eagle pendant. Biography from Neal Auction Company: Studying at Cornell University, the Art Students League of New York, and the Academy of Fine Arts in Rome, Joan Danziger has had an illustrious career in Washington, D.C., as well as exhibiting throughout the United States. Her oeuvre, which includes drawings, sculptures, tapestries and textiles, has long been focused on the themes of dream imagery, metamorphosis, mythology, and the interconnectedness of life. Inspired by ambiguity and symbolism, Danziger's works frequently incorporate hybrid human-animal forms accompanied by animals, such as the woman with a bird head carried by penguins in the current lot. In her work, Danziger is not attempting to recreate specific myths or narratives. Rather, she says, "My work is inhabited by spirits. People come out of it with their own stories." Ref.: O'Sullivan, Michael. "Joan Danziger: Mythic Landscapes, Fantasies with a Subtle Edge." The Washington Post May 2, 2008.

Lot: 81 - Joan Danziger, New York (B. 1934), Athene Raftor, 1980, paper mache, mixed media, 42"H x 37"W x 17"D

Joan Danziger New York, (B. 1934) Athene Raftor, 1980 paper mache, mixed media Signed verso. Artist label underneath. Biography from Neal Auction Company: Studying at Cornell University, the Art Students League of New York, and the Academy of Fine Arts in Rome, Joan Danziger has had an illustrious career in Washington, D.C., as well as exhibiting throughout the United States. Her oeuvre, which includes drawings, sculptures, tapestries and textiles, has long been focused on the themes of dream imagery, metamorphosis, mythology, and the interconnectedness of life. Inspired by ambiguity and symbolism, Danziger's works frequently incorporate hybrid human-animal forms accompanied by animals, such as the woman with a bird head carried by penguins in the current lot. In her work, Danziger is not attempting to recreate specific myths or narratives. Rather, she says, "My work is inhabited by spirits. People come out of it with their own stories." Ref.: O'Sullivan, Michael. "Joan Danziger: Mythic Landscapes, Fantasies with a Subtle Edge." The Washington Post May 2, 2008.

Lot: 82 - Joan Danziger, New York (B. 1934), human evolution scene, ink and wash on paper, 8 3/4"H x 6 7/8"W

Joan Danziger New York, (B. 1934) human evolution scene ink and wash on paper Signed lower right. Biography from Neal Auction Company: Studying at Cornell University, the Art Students League of New York, and the Academy of Fine Arts in Rome, Joan Danziger has had an illustrious career in Washington, D.C., as well as exhibiting throughout the United States. Her oeuvre, which includes drawings, sculptures, tapestries and textiles, has long been focused on the themes of dream imagery, metamorphosis, mythology, and the interconnectedness of life. Inspired by ambiguity and symbolism, Danziger's works frequently incorporate hybrid human-animal forms accompanied by animals, such as the woman with a bird head carried by penguins in the current lot. In her work, Danziger is not attempting to recreate specific myths or narratives. Rather, she says, "My work is inhabited by spirits. People come out of it with their own stories." Ref.: O'Sullivan, Michael. "Joan Danziger: Mythic Landscapes, Fantasies with a Subtle Edge." The Washington Post May 2, 2008.

Lot: 83 - Joan Danziger, New York (B. 1934), five seated figures, ink and wash on paper, 11 1/4"H x 22"W (sight), 16 12"H x 27 1/8"W (frame)

Joan Danziger New York, (B. 1934) five seated figures ink and wash on paper Figures with human and animal characteristics. Signed lower right. Biography from Neal Auction Company: Studying at Cornell University, the Art Students League of New York, and the Academy of Fine Arts in Rome, Joan Danziger has had an illustrious career in Washington, D.C., as well as exhibiting throughout the United States. Her oeuvre, which includes drawings, sculptures, tapestries and textiles, has long been focused on the themes of dream imagery, metamorphosis, mythology, and the interconnectedness of life. Inspired by ambiguity and symbolism, Danziger's works frequently incorporate hybrid human-animal forms accompanied by animals, such as the woman with a bird head carried by penguins in the current lot. In her work, Danziger is not attempting to recreate specific myths or narratives. Rather, she says, "My work is inhabited by spirits. People come out of it with their own stories." Ref.: O'Sullivan, Michael. "Joan Danziger: Mythic Landscapes, Fantasies with a Subtle Edge." The Washington Post May 2, 2008.

Lot: 84 - Joan Danziger, New York (B. 1934), abstract figural scene, 1980, oil on masonite, 12"H x 13"W

Joan Danziger New York, (B. 1934) abstract figural scene, 1980 oil on masonite Signed lower right. Signed, dated and titled verso. Heavy craquelure and a few spots of chipped paint. Biography from Neal Auction Company: Studying at Cornell University, the Art Students League of New York, and the Academy of Fine Arts in Rome, Joan Danziger has had an illustrious career in Washington, D.C., as well as exhibiting throughout the United States. Her oeuvre, which includes drawings, sculptures, tapestries and textiles, has long been focused on the themes of dream imagery, metamorphosis, mythology, and the interconnectedness of life. Inspired by ambiguity and symbolism, Danziger's works frequently incorporate hybrid human-animal forms accompanied by animals, such as the woman with a bird head carried by penguins in the current lot. In her work, Danziger is not attempting to recreate specific myths or narratives. Rather, she says, "My work is inhabited by spirits. People come out of it with their own stories." Ref.: O'Sullivan, Michael. "Joan Danziger: Mythic Landscapes, Fantasies with a Subtle Edge." The Washington Post May 2, 2008.

Lot: 85 - Louise Fishman, American (1939-2021), Untitled, 1985, charcoal on paper, 12"H x 18"W (sight), 16 3/4"H x 22 3/4"W (frame)

Louise Fishman American, (1939-2021) Untitled, 1985 charcoal on paper Label verso: Lennon, Weinberg Inc., New York. Biography excerpt from the Archives of askART: "Louise Fishman, Who Gave Abstract Expressionism a New Tone, Dies at 82, Obituary", The New York Times, by Neil Genzlinger, August 3, 2021 Her paintings infused a once-male-dominated genre with a feminist, lesbian sensibility. Louise Fishman, a widely exhibited artist who imbued her Abstract Expressionist paintings and other works with elements of feminism and gay and Jewish identity, died on July 26 in Manhattan. She was 82. Her spouse, Ingrid Nyeboe, said the cause was complications of an ablation, a heart procedure. Ms. Fishman continually explored new themes and techniques, usually giving her own spin to the male-dominated genre of Abstract Expressionism. She was influenced early in her career by the first-generation Abstract Expressionists, men from the Jackson Pollock era, but by the mid-1960s she began to immerse herself in the gay and feminist movements, joining protest organizations like WITCH — the Women's International Terrorist Conspiracy From Hell — and sharing ideas and frustrations with other women in a consciousness-raising group. It led her to rethink her art "I decided never to paint again unless it came out of my own experience," she told The Brooklyn Rail in 2012. "Because, I've said this many times, being in my woman's group and examining deeply where everything came from in my work, I realized that I hadn't had a thought outside of the male tradition of art history and contemporary art history." Among the works she produced after that was her "Angry" series, begun in the early 1970s, each canvas a name amid a furious field of paint. It was intended to evoke the anger she imagined was felt by women in her group as well as various public figures. There was Angry Marilyn, for Marilyn Monroe, and Angry Paula, for the gallerist Paula Cooper. And, of course, Angry Louise. After a trip to Central Europe in 1988 with a friend who was a Holocaust survivor, Ms. Fishman expanded on the Jewish and Holocaust themes that she had already begun to explore. For some of the works she made in that period, she mixed her paint with ash she had picked up in Auschwitz. These types of paintings set her apart from the original Abstract Expressionists. "Unlike Ab-Ex, which, despite its chest-thumping angst, was largely apolitical, Ms. Fishman hasn't hesitated to introduce topical experience into her canvases," John Goodrich wrote in The New York Sun in 2006

Lot: 86 - Nancy Grossman, New York (b. 1940), Untitled, 1965, ink on paper, 16 1/4"H x 13 1/4"W(sight), 20 1/2"H x 17 1/2"W(frame)

Nancy Grossman New York, (b. 1940) Untitled, 1965 ink on paper Signed and dated lower right. Biography from Michael Rosenfeld Gallery: Born in New York City to parents who worked in the garment industry, Nancy Grossman grew up on a working farm in Oneonta, New York. These early experiences shaped her artistic vision and influenced her choice of materials, which frequently include

Lot: 87 - Marthe Keller, New York (20th/21st Century), Untitled, watercolor on mylar, 1999, 10 1/2"H x 8"W(sight), 17"H x 14 1/2"W(frame)

Marthe Keller New York, (20th/21st Century) Untitled watercolor on mylar, 1999 signed verso.

Lot: 88 - Gary Komarin, New York, Connecticut. (b.1951), head, 1997, acrylic on paper, 22 1/4"H x 17"W

Gary Komarin New York, Connecticut., (b.1951) head, 1997 acrylic on paper Signed and dated to verso.

Lot: 89 - David Shapiro, New York (1944-2014), Chapter & Verse (30), 1982, acrylic on canvas, 64 1/4"H x 54"W

David Shapiro New York, (1944-2014) Chapter & Verse (30), 1982 acrylic on canvas signed and titled verso. Biography from Ebo Gallery: David Shapiro was born in 1944 in Brooklyn, New York. His paintings and prints, according to the author Mason Riddle, "comprise a highly personal language of signs and symbols. Circles, spirals, dots, wave and knot patterns, stylized flames and textures resonate on richly hued, tactile surfaces of Nepalese and Japanese papers, burlap, nylon screening, and canvas evoking a subtle mood of contemplation. Suggesting constellations of heavenly bodies, or human thoughts, these works appear to visually and psychologically, if not mythically, intersect, overlap, and merge with one another." Likened to be the visual equivalent of a mantra, Shapiro develops series of work based upon Eastern traditions and concepts, such as "Mudra" (Buddhist hand symbols) and "Savasan" (the lying-down posture in yogic practices). "Shapiro's shapes hum with a paradoxical energy, alternately attracting and repelling one another like magnets. That tension brings the colors to life, high-lighting the wealth of surface and sub-surface textures that Shapiro weaves together in his subtle, strange, mesmerizing works," writes Ferdinand Protzman in his Washington Post review. Shapiro's work is included in many public and private collections including The Museum of Modern Art, the Solomon Guggenheim Museum; the San Francisco Museum of Modern Art; the Cleveland Museum of Art, and the Kunsthalle der Stadt in Nuremberg, Germany.

Lot: 90 - David Shapiro, New York (1944-2014), "Crossing the Mirror 10", 1994, acrylic on canvas, 60 1/4"H x 60"W

David Shapiro New York, (1944-2014) "Crossing the Mirror 10", 1994 acrylic on canvas Signed, dated and titled to verso. Biography from Ebo Gallery David Shapiro was born in 1944 in Brooklyn, New York. His paintings and prints, according to the author Mason Riddle, "comprise a highly personal language of signs and symbols. Circles, spirals, dots, wave and knot patterns, stylized flames and textures resonate on richly hued, tactile surfaces of Nepalese and Japanese papers, burlap, nylon screening, and canvas evoking a subtle mood of contemplation. Suggesting constellations of heavenly bodies, or human thoughts, these works appear to visually and psychologically, if not mythically, intersect, overlap, and merge with one another." Likened to be the visual equivalent of a mantra, Shapiro develops series of work based upon Eastern traditions and concepts, such as "Mudra" (Buddhist hand symbols) and "Savasan" (the lying-down posture in yogic practices). "Shapiro's shapes hum with a paradoxical energy, alternately attracting and repelling one another like magnets. That tension brings the colors to life, high-lighting the wealth of surface and sub-surface textures that Shapiro weaves together in his subtle, strange, mesmerizing works," writes Ferdinand Protzman in his Washington Post review. Shapiro's work is included in many public and private collections including The Museum of Modern Art, the Solomon Guggenheim Museum; the San Francisco Museum of Modern Art; the Cleveland Museum of Art, and the Kunsthalle der Stadt in Nuremberg, Germany.

Lot: 91 - David Shapiro, New York (1944-2014), Savasan 54, 1997, acrylic on canvas, 12"H x 72"W

David Shapiro New York, (1944-2014) Savasan 54, 1997 acrylic on canvas Signed, titled and dated to verso. Biography from Ebo Gallery David Shapiro was born in 1944 in Brooklyn, New York. His paintings and prints, according to the author Mason Riddle, "comprise a highly personal language of signs and symbols. Circles, spirals, dots, wave and knot patterns, stylized flames and textures resonate on richly hued, tactile surfaces of Nepalese and Japanese papers, burlap, nylon screening, and canvas evoking a subtle mood of contemplation. Suggesting constellations of heavenly bodies, or human thoughts, these works appear to visually and psychologically, if not mythically, intersect, overlap, and merge with one another." Likened to be the visual equivalent of a mantra, Shapiro develops series of work based upon Eastern traditions and concepts, such as "Mudra" (Buddhist hand symbols) and "Savasan" (the lying-down posture in yogic practices). "Shapiro's shapes hum with a paradoxical energy, alternately attracting and repelling one another like magnets. That tension brings the colors to life, high-lighting the wealth of surface and sub-surface textures that Shapiro weaves together in his subtle, strange, mesmerizing works," writes Ferdinand Protzman in his Washington Post review. Shapiro's work is included in many public and private collections including The Museum of Modern Art, the Solomon Guggenheim Museum; the San Francisco Museum of Modern Art; the Cleveland Museum of Art, and the Kunsthalle der Stadt in Nuremberg, Germany.

Lot: 92 - David Shapiro, New York (1944-2014), FWMOA OS.279, 1984, mixed media on hand pressed paper, 31"H x 21 1/2"W

David Shapiro New York, (1944-2014) FWMOA OS.279, 1984 mixed media on hand pressed paper Biography from Ebo Gallery David Shapiro was born in 1944 in Brooklyn, New York. His paintings and prints, according to the author Mason Riddle, "comprise a highly personal language of signs and symbols. Circles, spirals, dots, wave and knot patterns, stylized flames and textures resonate on richly hued, tactile surfaces of Nepalese and Japanese papers, burlap, nylon screening, and canvas evoking a subtle mood of contemplation. Suggesting constellations of heavenly bodies, or human thoughts, these works appear to visually and psychologically, if not mythically, intersect, overlap, and merge with one another." Likened to be the visual equivalent of a mantra, Shapiro develops series of work based upon Eastern traditions and concepts, such as "Mudra" (Buddhist hand symbols) and "Savasan" (the lying-down posture in yogic practices). "Shapiro's shapes hum with a paradoxical energy, alternately attracting and repelling one another like magnets. That tension brings the colors to life, high-lighting the wealth of surface and sub-surface textures that Shapiro weaves together in his subtle, strange, mesmerizing works," writes Ferdinand Protzman in his Washington Post review. Shapiro's work is included in many public and private collections including The Museum of Modern Art, the Solomon Guggenheim Museum; the San Francisco Museum of Modern Art; the Cleveland Museum of Art, and the Kunsthalle der Stadt in Nuremberg, Germany.

Lot: 93 - David Shapiro, New York (1944-2014), Clearing, 2007, monotype on hand pressed paper, 12"H x 24"W

David Shapiro New York, (1944-2014) Clearing, 2007 monotype on hand pressed paper signed, titled, numbered AP 2/3, and dated verso, Biography from Ebo Gallery David Shapiro was born in 1944 in Brooklyn, New York. His paintings and prints, according to the author Mason Riddle, "comprise a highly personal language of signs and symbols. Circles, spirals, dots, wave and knot patterns, stylized flames and textures resonate on richly hued, tactile surfaces of Nepalese and Japanese papers, burlap, nylon screening, and canvas evoking a subtle mood of contemplation. Suggesting constellations of heavenly bodies, or human thoughts, these works appear to visually and psychologically, if not mythically, intersect, overlap, and merge with one another." Likened to be the visual equivalent of a mantra, Shapiro develops series of work based upon Eastern traditions and concepts, such as "Mudra" (Buddhist hand symbols) and "Savasan" (the lying-down posture in yogic practices). "Shapiro's shapes hum with a paradoxical energy, alternately attracting and repelling one another like magnets. That tension brings the colors to life, high-lighting the wealth of surface and sub-surface textures that Shapiro weaves together in his subtle, strange, mesmerizing works," writes Ferdinand Protzman in his Washington Post review. Shapiro's work is included in many public and private collections including The Museum of Modern Art, the Solomon Guggenheim Museum; the San Francisco Museum of Modern Art; the Cleveland Museum of Art, and the Kunsthalle der Stadt in Nuremberg, Germany.

Lot: 94 - David Shapiro, New York (1944-2014), Untitled, monotype on hand pressed paper, 60"H x 24"W

David Shapiro New York, (1944-2014) Untitled monotype on hand pressed paper Biography from Ebo Gallery David Shapiro was born in 1944 in Brooklyn, New York. His paintings and prints, according to the author Mason Riddle, "comprise a highly personal language of signs and symbols. Circles, spirals, dots, wave and knot patterns, stylized flames and textures resonate on richly hued, tactile surfaces of Nepalese and Japanese papers, burlap, nylon screening, and canvas evoking a subtle mood of contemplation. Suggesting constellations of heavenly bodies, or human thoughts, these works appear to visually and psychologically, if not mythically, intersect, overlap, and merge with one another." Likened to be the visual equivalent of a mantra, Shapiro develops series of work based upon Eastern traditions and concepts, such as "Mudra" (Buddhist hand symbols) and "Savasan" (the lying-down posture in yogic practices). "Shapiro's shapes hum with a paradoxical energy, alternately attracting and repelling one another like magnets. That tension brings the colors to life, high-lighting the wealth of surface and sub-surface textures that Shapiro weaves together in his subtle, strange, mesmerizing works," writes Ferdinand Protzman in his Washington Post review. Shapiro's work is included in many public and private collections including The Museum of Modern Art, the Solomon Guggenheim Museum; the San Francisco Museum of Modern Art; the Cleveland Museum of Art, and the Kunsthalle der Stadt in Nuremberg, Germany.

Lot: 95 - David Shapiro, New York (1944-2014), Birnham Wood 4, 1981, monotype / monoprint / mixed media on hand pressed paper, 35"H x 30 3/4"W

David Shapiro New York, (1944-2014) Birnham Wood 4, 1981 monotype / monoprint / mixed media on hand pressed paper signed, dated, titled verso. Biography from Ebo Gallery David Shapiro was born in 1944 in Brooklyn, New York. His paintings and prints, according to the author Mason Riddle, "comprise a highly personal language of signs and symbols. Circles, spirals, dots, wave and knot patterns, stylized flames and textures resonate on richly hued, tactile surfaces of Nepalese and Japanese papers, burlap, nylon screening, and canvas evoking a subtle mood of contemplation. Suggesting constellations of heavenly bodies, or human thoughts, these works appear to visually and psychologically, if not mythically, intersect, overlap, and merge with one another." Likened to be the visual equivalent of a mantra, Shapiro develops series of work based upon Eastern traditions and concepts, such as "Mudra" (Buddhist hand symbols) and "Savasan" (the lying-down posture in yogic practices). "Shapiro's shapes hum with a paradoxical energy, alternately attracting and repelling one another like magnets. That tension brings the colors to life, high-lighting the wealth of surface and sub-surface textures that Shapiro weaves together in his subtle, strange, mesmerizing works," writes Ferdinand Protzman in his Washington Post review. Shapiro's work is included in many public and private collections including The Museum of Modern Art, the Solomon Guggenheim Museum; the San Francisco Museum of Modern Art; the Cleveland Museum of Art, and the Kunsthalle der Stadt in Nuremberg, Germany.

Lot: 96 - David Shapiro, New York (1944-2014), Origin and Return, 1981, Tandem Press Monoprint/Monotype / Hand Pressed Paper, 15"H x 72"W

David Shapiro New York, (1944-2014) Origin and Return, 1981 Tandem Press Monoprint/Monotype / Hand Pressed Paper Pencil signed, titled, dated, and numbered AP 6/8. Biography from Ebo Gallery David Shapiro was born in 1944 in Brooklyn, New York. His paintings and prints, according to the author Mason Riddle, "comprise a highly personal language of signs and symbols. Circles, spirals, dots, wave and knot patterns, stylized flames and textures resonate on richly hued, tactile surfaces of Nepalese and Japanese papers, burlap, nylon screening, and canvas evoking a subtle mood of contemplation. Suggesting constellations of heavenly bodies, or human thoughts, these works appear to visually and psychologically, if not mythically, intersect, overlap, and merge with one another." Likened to be the visual equivalent of a mantra, Shapiro develops series of work based upon Eastern traditions and concepts, such as "Mudra" (Buddhist hand symbols) and "Savasan" (the lying-down posture in yogic practices). "Shapiro's shapes hum with a paradoxical energy, alternately attracting and repelling one another like magnets. That tension brings the colors to life, high-lighting the wealth of surface and sub-surface textures that Shapiro weaves together in his subtle, strange, mesmerizing works," writes Ferdinand Protzman in his Washington Post review. Shapiro's work is included in many public and private collections including The Museum of Modern Art, the Solomon Guggenheim Museum; the San Francisco Museum of Modern Art; the Cleveland Museum of Art, and the Kunsthalle der Stadt in Nuremberg, Germany.

Lot: 97 - Victor Vasarely, France, Hungary (1906-1997), op art composition, screenprint, 27 1/4”h x 27 1/4”w (frame)

Victor Vasarely France, Hungary, (1906-1997) op art composition screenprint Signed and numbered '193/267' in pencil. Has artist's blindstamp. Biography from Setdart Considered the father of Op Art, Victor Vasarely began his artistic training at the Muheely school, founded in Budapest by a student of the Bauhaus. He settled in Paris in 1930, where he created what is considered today as the first Op Art work, "Zebra" (1937). In Paris he worked as a graphic designer for advertising agencies. During this period his artistic style varied from figurative expression, towards a type of constructive and geometric abstract art, interested in the representation of perspective without vanishing points.between 1936 and 1948 he participated regularly in the Salon des Surindependents and in the Salon des Nouvelles Réalités. From 1948 he exhibited regularly at the Denise René Gallery. In the fifties his work approached the use of new materials and supports such as aluminum or glass. In the same way he began to make works of integration with space, such as Homage to Malevich. In the sixties he participated in numerous group exhibitions, such as The Responsive Eye at the Museum of Modern Art in New York, as well as solo exhibitions in Europe and America. Among the numerous awards he received throughout his life, the Guggenheim Prize (1964), the Art Critics of Brussels and the gold medal at the Milan Triennial stand out. In 1970 he was also named Knight of the Order of the Legion of Honor. He is represented in the museums dedicated to him in Aix-en-Provence, Pécs and Budapest, but also in the most important centers of contemporary art in the world, such as the Tate Gallery in London, the MoMA in New York, the Guggenheim in Venice or the Reina Sofia in Madrid.

Lot: 98 - Rufino Tamayo, New York / Mexico (1899 - 1991), Hombre, 1972, color lithograph, 36"H x 24"W

Rufino Tamayo New York / Mexico, (1899 - 1991) Hombre, 1972 color lithograph pencil signed and numbered 96/100. Biography from Artistic Gallery Rufino Tamayo moved to Mexico City following the death of his mother in 1911, and began studying art at Escuela Nacional de Bellas Artes, in 1917. While studying, Tamayo experimented with and was influenced by Cubism, Impressionism and fauvism, among other popular art movements of the time, but with a distinctly Mexican feel. With his paintings, Tamayo expressed what he believed was traditional Mexico, refusing to follow the more political trend that many of his contemporaries did. In 1926, he decided to leave Mexico and move to New York. Tamayo returned to Mexico in 1929 to have a solo show, and was met with high praise and media coverage. Tamayo and Lea Remba were the first artists, who created a new type of printed artwork called "mixografía". It was artwork printed on paper, with depth and texture. Tamayo also painted murals, some of which are displayed iin the Palacio Nacional Opera House in Mexico City. From 1937 to 1949, Tamayo and his wife Olga lived in New York, becoming widely recognized. He had his first show in New York City at Valentine Gallery and went on to show at the Knoedler Gallery and Marlborough Gallery. In 1948 his first major retrospective was done at the Palacio de Bellas Artes in Mexico City, and while he was still controversial, his popularity was high. Still uncomfortable with the political differences and controversy, Tamayo and Olga moved to Paris in 1949, where he was welcomed by the artists of Europe. He remained in Paris for 10 years. In 1959, Tamayo and his wife returned to Mexico permanently, where Tamayo built an art museum in his home town of Oaxaca. The Tamayo Contemporary Art Museum, located in Mexico City, was opened in 1981 for the collections that Rufino Tamayo and his wife acquired during their lifetimes, and ultimately donated to the nation.

Lot: 99 - Dale Rayburn, Mississippi, New York (B.1942), "Native Stalls" ???, 13 3/4”h x 19 3/4”w (sight) 22 1/4”h x 28 1/4”w (frame)

Dale Rayburn Mississippi, New York, (B.1942) "Native Stalls" ??? Signed, titled and numbered '28/90' in pencil to bottom.

Lot: 100 - Friedrich Meckseper, Germany (1936-2019), Probe, 1964, color etching, 8 3/4”H x 14 1/4”W (plate) , 16 3/4”H x 21 1/2”W (frame)

Friedrich Meckseper Germany, (1936-2019) Probe, 1964 color etching Titled lower left, signed in pencil lower right. Biography from the Archives of askART The German painter, designer, drawer, and draftsman Friedrich Meckseper was born in 1936 in Bremen, Germany. He spent his childhood in Stuttgart and did an apprenticeship as a mechanic at Robert Bosch GmbH from 1952 until 1955. In the year he started at Bosch, he began his course of studies, first at the State Academy for Visual Arts in Stuttgart under Professor Karl Rössing. He continued his studies at the College for Visual Arts in Berlin from 1957 until 1959 under Professor Wolf Hoffmann. Meckseper's first engravings were completed during this time. In 1963, he received the German Rome Prize from Villa Massimo; in 1965, he received a culture circle stipend from the Association of German Industry; in 1970, he was honored with the prize of the 7th Biennial Exhibition of Prints in Tokyo. He was influenced in his artistic works by Anton Heyoer, Bosch, Leonardo, Saul Steinberg, and Hamaguchi, among others. He created oilprints, engravings, collages, and objects which produce a mysterious tension in the observer. The minimalistic arrangement of objects in his works was supported by his technical precision, and the gears and springs one finds in his works belie his interest in technology. Moreover in 1972, he designed and built a steamboat, and he crossed the Alps many times in a hot air balloon. He was a guest professor at the comprehensive college in Wuppertal in 1977 and 1978 and took over the engraving class from 1977 until 1979. Meckseper was honored at the 6th Norwegian International Print Biennale in Fredrikstad in 1982 and received the prize of the First and Second International Kochi Triennial Exibition of Prints in Japan in 1990 and 1993. From 1961 until 1984, Meckseper lived and worked in the artist colony of Worpswede. He then moved to Berlin, where he still lives and works. Biography from Ketterer Kunst Source: Annex Galleries

Lot: 101 - Rene Magritte, Belgium (1898-1967), A Seductive Ship of Sea Water (Un séduisant navire d'eau de mer), c. 1967, color lithograph on BFK Rives paper, 12 3/4"H x 17 3/4"W (print), 18 1/4"H x 23 1/2"W (mat)

Rene Magritte Belgium, (1898-1967) A Seductive Ship of Sea Water (Un séduisant navire d'eau de mer), c. 1967 color lithograph on BFK Rives paper Signed by Magritte in plate and signed by Fernand Mourlot, director of Mourlot Studios (Paris), in pencil lower right. Numbered 328/350 in pencil lower left. Excellent impression with strong colors Watermark present and paper deckled on two sides.

Lot: 102 - Charles Meryon, France (1821-1868), Le Petit Pont, etching on cream Chine collé on support paper, 9 1/2"H x 7 1/4"W (impression), 20"H x 16 1/2"W (mat)

Charles Meryon France, (1821-1868) Le Petit Pont etching on cream Chine collé on support paper Catalogue: Schneiderman 20. Monogram in plate. Printed by Imprimerie Auguste Délâtre. "Duplicate" stamp from the Brooklyn Art Museum verso. A few short notes in pencil recto and verso. Label with detailed description from the William Weston Gallery in London verso of matting. Slight toning outside print. Strong, ink-rich, clean impression

Lot: 103 - Edouard Vuillard, French (1868 - 1940), Petites Croquis Dans Le Square, etching, 6 1/4"H x 4 1/4"W(sight), 14 1/4"H x 13 1/4"W(frame)

Edouard Vuillard French, (1868 - 1940) Petites Croquis Dans Le Square etching Biography from the Archives of askART: A post-impressionist French painter who was one of the revolutionaries of the Nabis movement that paved the way for abstraction, Edouard Vuillard had a long career spanning the late 19th and nearly half of the 20th Century. His work, often with luminosity, became increasingly abstract and colorful, which some art historians link to Henri Matisse and the Fauves. Among his subjects were figures in interiors, landscapes, portraiture and large-scale decorations, and methods included drawings, graphics, folding screen painting, theatre-program designs, ceramics and photographs as well as oil painting. Of his five panel screen, Place Vintimille, he completed in 1911 and that is an elaborate depiction of city life around a park, he wrote: "Voilà: Place Vintimille, so green with spring and full of life! I love this view from my apartment window. Do you see the narrow brown buildings across the park and the double-decker cart in the street below? Look, there is a boy checking his bicycle tire, and nearby, a man sleeping against the fence. Of course, you can always find all sorts of vendors and nannies walking with their little ones. For me, the sidewalk winds around the park like a creamy ribbon, wrapping everything in a package of sparkling color." (National Gallery of Art) The availability of Kodak cameras and their portability to get lasting images from which to model was a big enhancement to Vuillard and other painters of his era, especially the Nabis that included Pierre Bonnard, Maurice Denis and Felix Vallotton. When Vuillard began using the camera frequently at the turn of the century, his output of landscape paintings increased, one of the reasons being that he loved staying in the countryside to take photos. Born in Cuiseaux in Saone-et-Loire with the full name of Jean-Edouard Vuillard, he spent his childhood in Paris and attended the Lycée Condorcet where Maurice Denis was a fellow student. In 1885, when he was seventeen, he joined the studio of Diogene Maillart (1840-1926) and received the basics in art training. At that time he began a pattern of frequently visiting the Louvre and filling his journals with sketches, particularly of the Dutch and Italian Old Master. Unlike most of his male peers who joined the army, he determined to become an artist. He remained unmarried and lived with his mother, a dressmaker, until he was age sixty. He died in La Baule, France in 1940. In January to May, 2003, an exhibition of work by Vuillard opened at the National Gallery in Washington DC and then traveled to collaborating museums: Montreal Museum of Fine Arts, the Réunion des musées nationaux/Musée d'Orsay, Paris, and the Royal Academy of Arts, London. Sources include: http://www.nga.gov/cgi-bin/pbio?32500 http://www.nga.gov/exhibitions/vuillardinfo.shtm http://www.nga.gov/programs/abstracts/vuillard.shtm http://en.wikipedia.org/wiki/Edouard_Vuillard

Lot: 104 - Luigi Lucioni, Italy / New York City (1900-1988), old farm scene landscape / pastoral scene, etching, 9 3/4”H x 12 3/4”W (plate), 16 1/4”H x 19 3/4”W (frame)

Luigi Lucioni Italy / New York City, (1900-1988) old farm scene landscape / pastoral scene etching Signed in pencil lower right. Biography from the Archives of askART Born in Malnate, Italy, in 1900, Luigi Lucioni became one of America's well-known landscape painters, whose work has been noted for its heightened realism and photographic attention to detail. Lucioni immigrated to the United States with his family in 1911. In 1915 he won a competition which allowed him to attend Cooper Union, and he began studying there with William Starkweather. In 1920, he studied with William Auerbach Levy at the National Academy of Design, and in 1922 was the recipient of a Tiffany Foundation Scholarship. The Fellowship enabled him to go back to his homeland in 1924 to study Italian primitives. He responded immediately to the realism of early Renaissance painting, which left a lasting impression on his work. As he incorporated realism into his own work, Lucioni's paintings became more meticulous. His crisp, somewhat flat pattern and detail have been likened to the microscopic approach of the fifteenth-century Flemish masters. Lucioni's attention to detail can also be traced to his early work as an etcher in 1922, when he mastered that technique which stresses sharp linear precision, a skill instrumental in developing his precise painting style. Beginning in 1929, he spent part of each year in Manchester Depot township in Vermont, where he painted still lifes and landscapes of the hills and barns. In the 1930s, while European modernism was gaining momentum in the United States, Lucioni remained committed to realism. His painting Long Island Landscape (oil on canvas, 1930) depicts a nation that has tamed its wilderness. The image shows a field that has been cultivated for decades, a deeply rutted road, and a tired fence; all depictions of a country in the midst of the Depression. He later taught at the Art Students' League in New York, and maintained a studio in that city's picturesque Washington Square. He also had a longstanding love of the opera, and corresponded with various opera singers, including Giovanni Martinelli, Gladys Swarthout, Cesara Valletti, and others. He won many honors during his distinguished career. He took first prize in 1939 at the Carnegie International Exhibition for a portrait of Ethel Waters. His 1941 portrait of John La Farge was voted best painting by visitors to the Corcoran Biennial in Washington, D.C. Lucioni was a member of the Society of American Etchers (Brooklyn), and the Allied Art Association. Despite his lack of conscious effort toward the experimental or avant-garde, Lucioni's work has always been popular. He spent his last years in Union City, New Jersey and died in 1988.

Lot: 105 - Luigi Lucioni, Italy / New York City (1900-1988), Pattern of Trees, etching, 7 1/2”h x 11 3/4”w (plate) 14 1/4”h x 18 1/2”w (frame)

Luigi Lucioni Italy / New York City, (1900-1988) Pattern of Trees etching Signed lower right Biography from the Archives of askART Born in Malnate, Italy, in 1900, Luigi Lucioni became one of America's well-known landscape painters, whose work has been noted for its heightened realism and photographic attention to detail. Lucioni immigrated to the United States with his family in 1911. In 1915 he won a competition which allowed him to attend Cooper Union, and he began studying there with William Starkweather. In 1920, he studied with William Auerbach Levy at the National Academy of Design, and in 1922 was the recipient of a Tiffany Foundation Scholarship. The Fellowship enabled him to go back to his homeland in 1924 to study Italian primitives. He responded immediately to the realism of early Renaissance painting, which left a lasting impression on his work. As he incorporated realism into his own work, Lucioni's paintings became more meticulous. His crisp, somewhat flat pattern and detail have been likened to the microscopic approach of the fifteenth-century Flemish masters. Lucioni's attention to detail can also be traced to his early work as an etcher in 1922, when he mastered that technique which stresses sharp linear precision, a skill instrumental in developing his precise painting style. Beginning in 1929, he spent part of each year in Manchester Depot township in Vermont, where he painted still lifes and landscapes of the hills and barns. In the 1930s, while European modernism was gaining momentum in the United States, Lucioni remained committed to realism. His painting Long Island Landscape (oil on canvas, 1930) depicts a nation that has tamed its wilderness. The image shows a field that has been cultivated for decades, a deeply rutted road, and a tired fence; all depictions of a country in the midst of the Depression. He later taught at the Art Students' League in New York, and maintained a studio in that city's picturesque Washington Square. He also had a longstanding love of the opera, and corresponded with various opera singers, including Giovanni Martinelli, Gladys Swarthout, Cesara Valletti, and others. He won many honors during his distinguished career. He took first prize in 1939 at the Carnegie International Exhibition for a portrait of Ethel Waters. His 1941 portrait of John La Farge was voted best painting by visitors to the Corcoran Biennial in Washington, D.C. Lucioni was a member of the Society of American Etchers (Brooklyn), and the Allied Art Association. Despite his lack of conscious effort toward the experimental or avant-garde, Lucioni's work has always been popular. He spent his last years in Union City, New Jersey and died in 1988.

Lot: 106 - George Jo Mess, American (1898-1962), Self Portrait, 1940, etching, 11”H x 9”W (plate), 19”H x 17”W (frame)

George Jo Mess American, (1898-1962) Self Portrait, 1940 etching Titled in pencil lower left, "artist proof" lower center, signed in pencil lower right. Biography from the Archives of askART: An Indiana etcher, painter and teacher, George Joseph Mess studied art at Columbia University, the John Herron Art School, the Modern School of Design, Chicago, and at the Ecole des Beaux Arts, Paris. He also received scholarships for further studies at the Louis Tiffany Foundation, New York City. Along with his brother Gordon, an Indiana Landscape painter, George Jo Mess founded the commercial art business, the Circle Art Company, in downtown Indianapolis. He married Evelynne Bernloehr Mess (b. 1903), who became an accomplished printmaker in her own right. The two artists founded and taught at the Circle Art Academy from 1927 to 1932. In1937, George and Evelynne Mess moved to Chicago. George Jo Mess worked as a commercial artist on the staff of both Esquire and Coronet until he returned to Indianapolis in 1940. Back in Indianapolis, he taught at both the John Herron Art School and the Indianapolis Art League. In 1949, George Jo Mess became professor of art at Indiana University and held that post until his death in 1962. During his career, George Jo Mess exhibited his fine paintings, etchings and engravings at such institutions as the Metropolitan Museum of Art, New York, the Pennsylvania Academy of Fine Arts and the Chicago Art Institute, as well as at international expositions in Paris, Rome and Stockholm. Both George and Evelynne were very active in the Indianapolis area, as well as in the Nashville, Indiana art community.

Lot: 107 - George Jo Mess, American (1898-1962), Winter in the Hills, etching, 8 1/4”H x 5 3/4”W (plate), 17 1/2”H x 14 3/4”W (frame)

George Jo Mess American, (1898-1962) Winter in the Hills etching Titled in pencil lower left, signed in pencil lower right. Biography from the Archives of askART: An Indiana etcher, painter and teacher, George Joseph Mess studied art at Columbia University, the John Herron Art School, the Modern School of Design, Chicago, and at the Ecole des Beaux Arts, Paris. He also received scholarships for further studies at the Louis Tiffany Foundation, New York City. Along with his brother Gordon, an Indiana Landscape painter, George Jo Mess founded the commercial art business, the Circle Art Company, in downtown Indianapolis. He married Evelynne Bernloehr Mess (b. 1903), who became an accomplished printmaker in her own right. The two artists founded and taught at the Circle Art Academy from 1927 to 1932. In1937, George and Evelynne Mess moved to Chicago. George Jo Mess worked as a commercial artist on the staff of both Esquire and Coronet until he returned to Indianapolis in 1940. Back in Indianapolis, he taught at both the John Herron Art School and the Indianapolis Art League. In 1949, George Jo Mess became professor of art at Indiana University and held that post until his death in 1962. During his career, George Jo Mess exhibited his fine paintings, etchings and engravings at such institutions as the Metropolitan Museum of Art, New York, the Pennsylvania Academy of Fine Arts and the Chicago Art Institute, as well as at international expositions in Paris, Rome and Stockholm. Both George and Evelynne were very active in the Indianapolis area, as well as in the Nashville, Indiana art community.

Lot: 108 - James Swann, American (1905-1985), Winter, Lake Shore Drive, 1946, etching, 9 1/2”H x 7 1/2”W (sight), 15 1/2”H x 13 1/4"W (frame)

James Swann American, (1905-1985) Winter, Lake Shore Drive, 1946 etching Signed in plate lower right. Biography from the archives of askART For almost half a century, James Swann was one of the Midwest's most respected printmakers. From 1931 until the mid-1960s, he produced more than 250 graphic works in a variety of media, including etchings, aquatints, drypoints, and lithographs. He was also a newspaper illustrator, and he created countless drawings—an activity he continued until his death in 1985. After moving to Chicago in 1936, he became a protégé and close friend of Bertha Jaques, one of the founders of the Chicago Society of Etchers. Until her death in 1941, Jaques continued to support and encourage Swann. He eventually assumed the position of secretary/treasurer of the Society, a position once held by Jaques. Eventually, Swann produced fewer prints himself and devoted most of his time and efforts promoting the work of other printmakers. He was an active member of the Prairie Print Makers group and sought to expand their exposure in the larger print community. Swann's subject matter ranged from picturesque views of trees and farms to energetic vistas of downtown Chicago. He also created numerous images of his extensive travels, from Japan to Scandinavia and Easter Island. The Cedar Rapids Museum of Art possesses more than 1,000 works by Swann, including preparatory drawings and various states for most of Swann's prints.

Lot: 109 - James Swann, American (1905-1985), Winter Evening, etching, 10 1/2”H x 4 1/4”W (plate) , 17 1/2”H x 10 1/2”W (frame)

James Swann American, (1905-1985) Winter Evening etching Signed in pencil lower right, titled in pencil lower left. Biography from the Archives of askART For almost half a century, James Swann was one of the Midwest's most respected printmakers. From 1931 until the mid-1960s, he produced more than 250 graphic works in a variety of media, including etchings, aquatints, drypoints, and lithographs. He was also a newspaper illustrator, and he created countless drawings—an activity he continued until his death in 1985. After moving to Chicago in 1936, he became a protégé and close friend of Bertha Jaques, one of the founders of the Chicago Society of Etchers. Until her death in 1941, Jaques continued to support and encourage Swann. He eventually assumed the position of secretary/treasurer of the Society, a position once held by Jaques. Eventually, Swann produced fewer prints himself and devoted most of his time and efforts promoting the work of other printmakers. He was an active member of the Prairie Print Makers group and sought to expand their exposure in the larger print community. Swann's subject matter ranged from picturesque views of trees and farms to energetic vistas of downtown Chicago. He also created numerous images of his extensive travels, from Japan to Scandinavia and Easter Island. The Cedar Rapids Museum of Art possesses more than 1,000 works by Swann, including preparatory drawings and various states for most of Swann's prints.

Lot: 110 - James Swann, American (1905-1985), Night in Chicago, 1940, drypoint etching, 6 1/2”H x 10 3/4”W (plate), 16 1/2”H x 20 1/4”W (frame)

James Swann American, (1905-1985) Night in Chicago, 1940 drypoint etching Titled in pencil lower left, signed in pencil lower right. Exhibited at the 31st Presentation Print of the Chicago Society of Etchers, 1940 Biography from the Archives of askART For almost half a century, James Swann was one of the Midwest's most respected printmakers. From 1931 until the mid-1960s, he produced more than 250 graphic works in a variety of media, including etchings, aquatints, drypoints, and lithographs. He was also a newspaper illustrator, and he created countless drawings—an activity he continued until his death in 1985. After moving to Chicago in 1936, he became a protégé and close friend of Bertha Jaques, one of the founders of the Chicago Society of Etchers. Until her death in 1941, Jaques continued to support and encourage Swann. He eventually assumed the position of secretary/treasurer of the Society, a position once held by Jaques. Eventually, Swann produced fewer prints himself and devoted most of his time and efforts promoting the work of other printmakers. He was an active member of the Prairie Print Makers group and sought to expand their exposure in the larger print community. Swann's subject matter ranged from picturesque views of trees and farms to energetic vistas of downtown Chicago. He also created numerous images of his extensive travels, from Japan to Scandinavia and Easter Island. The Cedar Rapids Museum of Art possesses more than 1,000 works by Swann, including preparatory drawings and various states for most of Swann's prints.

Lot: 111 - Kenneth J. Reeve, American (1910-2012), Snow Patterns, aquatint etching, 4 1/2"H x 7 3/4"W (plate), 13 1/2”H x 16 1/2”W (frame)

Kenneth J. Reeve American, (1910-2012) Snow Patterns aquatint etching Signed in pencil lower right, titled in pencil lower left. Biography from the Archives of askART Kenneth J. Reeve was born in Western Springs, Illinois, in 1910. He graduated from the Chicago Academy of Fine Arts in 1930. From then until 1949 he was associated with advertising agencies in Chicago as an artist and art director. In 1949, the Reeve family moved to Brown County, Indiana. Here Reeve established his studio-home and began his new career as a fine artist. In 1952 he became an artist member of the Brown County Art Gallery Association, which had been established in Nashville in 1926 and had thereafter made Brown County well-known as the largest art colony in the Midwest. Reeve served four years as president of the organization and many years on its board of directors, as well as in many other offices. He was also a member of the Indiana Artists Club, The Hoosier Salon, Indiana Heritage Arts, and The Twenty Club. His works have been exhibited with these groups over the years, as well as in many other regional and national exhibitions, winning numerous merit and purchase awards. Reeve is best known for his realistic watercolor landscapes. Although he has painted from coast to coast on a number of painting trips, most of his subjects are the old farm buildings found nearby in southern Indiana. In 1955, he began working in the aquatint etching process. Working on copper plates, he produced many etchings that have been acquired for personal and public collections both in the U.S. and abroad. The artist combined his interests in art and nature in many wildlife prints in both etchings and serigraphs. Reeve retired in 2000 and moved in 2005 to a retirement community in Richmond, Virginia. Information provided by the artist's daughter, Susan R. Cash

Lot: 112 - Kenneth J. Reeve, American (1910-2012), Winter in Brown County, aquatint etching, 4 1/2”H x 7 3/4”W (plate), 12 1/2”H x 16”W (frame)

Kenneth J. Reeve American, (1910-2012) Winter in Brown County aquatint etching Titled lower left, signed in pencil lower right. Biography from the Archives of askART Kenneth J. Reeve was born in Western Springs, Illinois, in 1910. He graduated from the Chicago Academy of Fine Arts in 1930. From then until 1949 he was associated with advertising agencies in Chicago as an artist and art director. In 1949, the Reeve family moved to Brown County, Indiana. Here Reeve established his studio-home and began his new career as a fine artist. In 1952 he became an artist member of the Brown County Art Gallery Association, which had been established in Nashville in 1926 and had thereafter made Brown County well-known as the largest art colony in the Midwest. Reeve served four years as president of the organization and many years on its board of directors, as well as in many other offices. He was also a member of the Indiana Artists Club, The Hoosier Salon, Indiana Heritage Arts, and The Twenty Club. His works have been exhibited with these groups over the years, as well as in many other regional and national exhibitions, winning numerous merit and purchase awards. Reeve is best known for his realistic watercolor landscapes. Although he has painted from coast to coast on a number of painting trips, most of his subjects are the old farm buildings found nearby in southern Indiana. In 1955, he began working in the aquatint etching process. Working on copper plates, he produced many etchings that have been acquired for personal and public collections both in the U.S. and abroad. The artist combined his interests in art and nature in many wildlife prints in both etchings and serigraphs. Reeve retired in 2000 and moved in 2005 to a retirement community in Richmond, Virginia. Information provided by the artist's daughter, Susan R. Cash

Lot: 113 - Johnny Gotthard Friedlaender, Poland / France (1912-1992), Relation, 1976, aquatint etching, 29 1/2”H x 22 1/4”W (plate) , 40 1/2”H x 32 1/2”W (frame)

Johnny Gotthard Friedlaender Poland / France, (1912-1992) Relation, 1976 aquatint etching Marked EA lower left. Biography from RoGallery: Johnny Friedlaender was a leading 20th century artist, whose works have been exhibited in Germany, France, Netherlands, Italy, Japan and the United States. He has been influential upon other notable artists, who were students in his Paris gallery.

Lot: 114 - Henry Kallem, New York, Massachusetts (1912-1985), "Provincetown", woodblock print, 10 1/4"H x 22 1/2'W(sight), 17 1/4"H x 29 1/2"W(frame)

Henry Kallem New York, Massachusetts, (1912-1985) "Provincetown" woodblock print Signed, titled and numbered 25/100 in pencil to bottom. Biography from the Archives of askART: A printmaker and painter in abstract style who used wide brushmarks, Henry Kallem was born in Philadelphia. His father was Morris Kallem, a portrait painter, with whom he studied, and his brother was sculptor Herbert Kallem. Henry Kallem's studio was in New York City, and he and his associates were a part of a group of modernists who called themselves 'the 28th Street Group of Modernists' because they hung around the Henry and David Rothman Frame Shop on 28th Street. Kallem and others of this group also spent much time in the summers painting in Provincetown and Monhegan Island. He was a member of the National Society of Painters in Casein and exhibited widely including at the Pennsylvania Academy, the 1939 New York World's Fair, and the Pepsi Cola Exhibition of 1947, where he won first prize for his painting Country Tenement. This award caused consternation because of his abstract style, and Life magazine, August 1948, ran an article referencing the award with the headline "Freak Painting Prizes". Kallem was a teacher in his studio, in a private school in Roslyn, New York, and at the New York City YWCA.

Lot: 115 - Antonio Frasconi, Uruguay / American (1919-2013), Feeding Time, 1957, woodcut print, 10 1/4”H x 7 1/2”W (sight), 17 1/2”H x 14 1/4”W (frame)

Antonio Frasconi Uruguay / American, (1919-2013) Feeding Time, 1957 woodcut print Titled and numbered ed.50 in pencil upper left, signed and dated in pencil upper right. Biography from the Archives of askART An illustrator, painter and print maker, Antonio Frasconi would become best known for his book illustrations. He was born in 1919 in Montevideo, Uruguay but spent most of his career in America where he worked in New York City and lived in Norwalk, Connecticut. His parents had emigrated from Italy to Uruguay during World War I and Antonio Frasconi grew up in Montevideo. By age twelve he was apprenticing at a local print makers, and soon thereafter began publishing his cartoons in satirical newspapers. In the 1940s Frasconi began experimenting with woodcuts in the 1940s, and in 1945 he received a scholarship from the Art Students' League, and moved to New York to begin his formal education. He also studied at the New School of Social Research. By the 1950s he had become widely recognized as a leading graphic artist, especially in woodblock printing. He married artist Leona Pierce in 1951, and in 1955 published See and Say, A Picture Book in Four Languages, for their son. Over the course of the next fifty years he would illustrate and design over 100 books including the poems of Langston Hughes: Let America be America Again and Pablo Neruda's Bestiary/Bestiario; On the Slain Collegians, the images of America's Vietnam, A Whitman Portrait and Twelve Fables of Aesop. The dictatorship in Uruguay was long and hard, finally coming to an end in 1985, four years after the artist began work on his magnum opus, Los Desaparecidos, or The Disappeared, a series of woodcuts and monotypes. Dark, graphically strong, and echoing the book format, Frasconi's art successfully portrays the horrors of torture, incarceration, and killing while specifically preserving the memory of real people.