Gallery of the Masters Paintings

Site Size: 20 x 15 inches Framed Size: 28.5 x 24 inches Donald Spaulding's artistic talents were recognized early. Encouraged by his high school teachers to pursue formal art traini...

Boulevard des Capucines et Rue de Madelaine Edouard Cortes (French, 1882-1969) Signed Lower right 18 x 22 inches 25 x 29 inches with frame Cortès was born in Lagny, France on April ...

Spring Constantin Kluge (Russian, Latvian, 1912-2003) Signed Lower Right 29.5 x 36.5 inches 36.5 x 44 inches framed He was born in Riga, Latvia, on January 29, 1912 to Russian paren...

Edward Brian Seago (1910-1974) "The Bure Valley" 1938 Oil on Artist's Board Monogrammed and Dated Lower Right Estate Stamped and Titled Verso Panel: approx 11 x 14 inches Framed: a...

Vittorio Reggianini (Italian, 1858-1938) Il Concerto di Pianoforte Signed Lower Right 28 x 39.5 inches 35 x 47 inches with frame Vittorio Reggianini specialized in genre subjects including elegant scenes of bourgeois life, figure compositions particularly women's heads and child studies as well as more humble interiors with peasants. Reggianini combined fantasy with reality, sensuality with sensibility and above all, like many of the Florentine historical genre painters furnished his costume pieces in luxury. Reggianini was born in Modena, north Italy, in 1853. He studied at the Modena Academy of Fine Arts where he later became a professor. Like many of his contemporaries, Reggianini migrated south, to Florence, where in 1900 he participated in the Alinari Corcorso with a painting entitled Tristis Matris Nati Presaga Finis. Reggianini also exhibited with the Florentine Art...

Laverne Nelson Black (American, 1887-1938) "The Deer Hunters" Signed Lower Left Canvas: 24 x 22 inches Framed: 30.5 x 28.5 inches Born in Viola,...

Abstract Arthur Okamura (American, 1932-2009) Signed and Dated Lower Right 36 x 42 inches 37 x 43 inches with frame Arthur Okamura was born in Long Beach, California, February 24, 1932. He was interned at the Santa Anita Race Track "Assembly Center" soon after Pearl Harbor was bombed by Japan, on December 1, 1941. After 6 months, he and his family were transferred to Amache Relocation Center in Colorado, where they lived for three years. After the war ended in 1945, Arthur and his family relocated to Chicago, Illinois. There he attended grammar school, high school and the School of the Art Institute of Chicago. It was in Chicago that he got married and started off in his formative years as an artist. Arthur had always planned to be an artist and began working after school at a silkscreen poster studio when he was fifteen years old. He worked there for twelve years and became the main layout artist and stencil cutter. Upon graduating from the Art Insititute in 1945, he received the Edward L. Ryerson Foreign Travel Fellowship and went, with his wife, to Mallorca in the Balearic Islands to paint. It was in Mallorca that he first met Robert Creeley. Creeley became a close friend who offered him inspiration and influenced his work. Back again in Chicago in 1956, Arthur, his wife and his first child packed up their car and moved to San Francisco, at the suggestion of Arthur's Chicago art dealer, Charles Feingarten, who was opening a gallery in San Francisco. Subsequently, Feingarten opened other galleries in Carmel, Los Angeles and New York. For years Arthur Okamura painted and exhibited prodigiously. In 1959, now with four children, Arthur moved from San Francisco to Bolinas. He and his wife at that time divorced and have since remarried. In 1997 Arthur retired from teaching at the California College of Arts and Crafts in Oakland, California, where he taught for 31 years. Education: The Art Institute of Chicago, 1950-54 Yale University Summer Art Seminar, 1954 University of Chicago, 1951, 1953, 1957 Teaching: The School of the Art Institute of Chicago, 1957 Central YMCA College of Chicago, 1956, 1957 Evanston Art Center, Evanston, IL, 1956, 1957 North Shore Art League, Winnetka, IL, 1957 Academy of Art, San Francisco, CA, 1958 California College of Arts & Crafts, Professor of Fine Arts, 1958, 1959, 1966-1997 San Francisco Studio of Art, Director, 1958 Saugatuck Summer Art School, Saugatuck, MI, 1959, 1962 University of Utah, Guest Lecturer, 1964, 1972 Fort Wright College, Spokane, WA, 1976 University of California, Santa Cruz Humboldt State College, 1977 Watercolor Painting in Tahiti, 1987 Watercolor Painting in Bali (Sponsored by Wilderness Journeys/Art Trek & University of California, Santa Cruz), 1989, 1991 Professor Emeritus: California College of Arts & Crafts, 1997 Exhibitions: The Art Institute of Chicago Annuals, 1951-1954 Museum of Modern Art, NY, 1954 Downtown Gallery, NY Pennsylvania Academy of Fine Art University of Washington, Seattle, 1955 Ravinia Art Festival, Highland Park, IL American Exhibition, Art Institute of Chicago Contemporary Americans, LA County Museum Art In Asia and the West, San Francisco Museum Contemporary American Painting, Art Institute of Chicago Society of Contemporary Art, Art Institute of Chicago West Coast Painters, American Federation of Art San Francisco Annual, San Francisco Museum Contemporary Americans, University of Nebraska Recent Acquisitions, Denver Museum Drawings of California Artists, Sponsored by U.S. Information Center, Berlin, Cologne, Germany, 1958-1959 New Talent, American Federation of Art, 1959 Dallas Museum of Art Fresh Paint, De Young Museum, San Francisco, 1958 Knoedler Gallery, NY, 1959 Winter Invitational, California Palace of the Legion of Honor 1959 Whitney Museum, NY, 1960 Sculpture and Drawing, San Francisco Museum of Art, 1961 Great by Greats, Time Life Building, NY, 1961 Whitney Annual, 1962,1963,1964 Forty Artists Under Forty, Whitney Museum, 1962 Bay Area Artists, San Francisco Museum, 1962 Recent Collections by Friends of the Whitney, Whitney Museum 1964 Ravinia Art Festival, Lake Forest, IL 1964 Corcoran Gallery, Washington, D.C. 1964 Pacific Heritage, LA County Museum 1965 SECA Exhibit, San Francisco Museum of Art, 1966 Crocker Art Museum, Sacramento, CA, 1966 Painters Behind Painters, California Palace of the Legion of Honor, 1967 Pittsburgh International Carnegie Institute, 1967 Takashima 1970 Exposition, Osaka/Tokyo, Japan, 1970 Bay Area Art Faculties, College of Marin, 1970 Asian Artists, Oakland Museum, 1971 Imaginary Painting from S.F. California State, University of San Jose, 1972 "A Sense of Place" Exhibit, Joslyn Nebraska Art Museum, 1973 Four from CCAC, Berkeley Art Center, 1974 Falkirk Connnunity Cultural Center, San Rafael, CA, 1975 Two-Person Show with Joan Rosenbaum, Walnut Creek Art Center, 1975 "Zen Gardens", San Jose State University, 1976 Tropical Visions, St. Mary's College, 1989 Tropic Exotic, TransAmerica Pyramid, SF, 1986 "On The Trail," Claudia Chaplin Gallery, Stinson Beach, CA, 1987 "Opening Show," Bolinas Museum, 1988 "Miniature Show," Bolinas Museum, 1990 "In The Garden," Bolinas Museum, 1991 "60 Plus: Older Artists of West Marin," Bolinas Museum, 1993 Gallery Route One, Pt. Reyes Station, CA, 1993 "Sea Fever," Transamerica Pyramid, 1993 "Cats," Bolinas Museum, 1993 "With New Eyes," San Francisco State University, 1995 "As Seen At The Beach," Bolinas Museum, 1997 "Miniature Show," Bolinas Museum, 1997 Solo Exhibitions: Frank Ryan Gallery, Chicago, IL, 1953 La Boutique, Chicago, IL, 1953,1954 Feingarten Galleries, Chicago, New York, San Francisco, LA, 1956-1976 Santa Barbara Museum of Art, 1958 California Palace of the Legion of Honor, 1961 Calhoun Gallery, Dallas, TX, 1962 University of Utah, 1964 M. Knoedler & Company, NY, 1965 Hanson Gallery, San Francisco, 1964-1968 College of Holy Names, Oakland, 1966 Drawings, San Francisco Museum of Art, 1968 Hanson Fuller Gallery, San Francisco, 1971 Govett Brewster Gallery, New Zealand, 1971 University of Southern Idaho, 1972 California College of Arts & Crafts, Oakland, 1972 Kent State University, Kent, OH, 1973 Honolulu Academy of Arts, 1973 Conunonweal, Bolinas, CA, 1980 Stinson Beach Art Center, 1983 Ruth Braunstein Gallery, SF, 1981, 1982, 1984, 1986, 1987, 1988, 1990, 1994 Retrospective: "Selections From a Lifetime of Art," 1995. Concurrently at the Bolinas Museum and at the Claudia Chaplin Gallery, Stinson Beach, CA "Early Paintings," Vorpal Gallery, San Francisco, CA, 1996 "Recent Bolinas Landscapes," Commonwealth - 20th Anniversary Celebration, Bolinas, CA, September 1996 Prizes: Religious Arts, University of Chicago, 1st Prize 1953 Contemporary American Paintings, Art Institute of Chicago, Martin Cahn Award, 1957 University of Illinois, Purchase Award 1957 79th Annual, San Francisco Museum, Schwabacher-Frey Award 1960 Whitney Museum of Art, Neysa McMein Purchase Award 1960 National Society of Arts & Letters, New York, $1,500 Purchase Award San Francisco Art Commission, Purchase Prize 1976 Public Collections: Rockefeller Chapel, University of Chicago Santa Barbara Museum Art Institute of Chicago Whitney Museum of Art San Francisco Museum of Art University of Illinois Borg Warner Collection, Chicago, IL Phoenix Art Museum Illinois State Normal Container Corporation of America National Society of Arts and Letters Johnson Wax Collection Joseph Hirschhorn Collection U.S. Steel Service Institute Corcoran Museum Whitney Museum Miles Laboratory Auchenbach Foundation California Palace of the Legion of Honor California College of Arts & Crafts Kalamazoo College National Collection of Fine Arts Smithsonian Institution Illinois Bell...

A Day at the Beach Gaston Sebire (French, 1920-2001) Signed Lower Right 29 x 36 inches 36.5 x 44 inches with frame Gaston Sebire was born August 18, 1920, in Saint-Samson Calvados. ...

Floral Still Life in Cameo Pot Franz Leitgeb (Austrian, 1911-1997) Signed Lower Right 33 x 27 inches 40.5 x 34.5 inches

Floral Still Life in Fluted Bowl Franz Leitgeb (Austrian, 1911-1997) Signed Lower Right 33 x 27 inches 38.5 x 32 inches

The Andalusia John Frederick Herring (English, 1795-1865) Signed Lower Right 14 x 18 inches 18 x 22 inches with frame Provenance: Frost &Reed, Ltd., London 1984 Herring, born in London in 1795, was the son of a London merchant of Dutch parentage, who had been born overseas in America. The first eighteen years of Herring's life were spent in London, where his greatest interests were drawing and horses.[2] In the year 1814, at the age of 18, he moved to Doncaster in the north of England, arriving in time to witness the Duke of Hamilton's "William" win the St. Leger Stakes horserace. By 1815, Herring had married Ann Harris; his sons John Frederick Herring Jr., Charles Herring, and Benjamin Herring were all to become artists, while his two daughters, Ann and Emma, both married painters. When she was barely of age in 1845 Ann married Harrison Weir. In Doncaster, England, Herring was employed as a painter of inn...

La Peche a la Ligne Henry-Gabriel Ibels (French, 1867-1936) Signed Lower Left 25.75 x 20 inches 35 x 29 inches Henri-Gabriel Ibels (30 November 1867 Paris – February 1936 Paris), wa...

Mad River, 1996 Julio Larraz (Cuban, 1944) Signed and Dated Lower Right 41 x 49 inches 43 x 51 inches with frame Provenance: Atrium Gallery, 1999 Accomplished painter, sculptor, and...

Daniel Ridgway Knight "A Thoughtful Moment" Oil on Panel Signed Lower Left "Ridgway Knight, Paris" Framed Size: 12.5 x 14.5 inches Site Size: 8.5 x 11.5 inches Daniel Ridgway Knigh...

R. Gentile (Italian, c. 1880-1930) *Dates are approximate* "Card Players" Oil on Canvas Signed Lower Left "R. Gentile" 22 x 28 inches (site) 35 x 42 inches (framed) Painted late 19t...

*See VIDEO included in pictures. Can send additional if requested. approx. 19 x 25 inches framed. *This work is included in The Thomas Moran Catalogue Raisonne Project (See Steve G...

Johann Berthelsen (Danish, American, 1883-1972) Blizzard Uptown, New York City Signed Lower Right 20 x 16 inches 28 x 24 inches with frame He was born in Copenhagen in 1883, the 7th of seven sons, to Conrad and Dorothea Karen Berthelsen. The parents moved in artistic and professional circles. His father was a tenor with the Royal Opera and his mother was a nurse affiliated with a prominent physician. A year before Johann's birth, his parents visited the United States, but the marriage was in trouble and they returned to Denmark to divorce. In 1890, his mother brought the children to America, settling in Manistee, Michigan, with her sister's family. They would eventually live in Manitowoc, Wisconsin, a city on the shore of Lake Michigan. As a teenager, Johann was actively involved in choirs and singing groups. And always, he loved to draw and paint. Though obviously intelligent and curious, he was too impatient to take well to schoolwork and never went beyond the 5th grade. It was not uncommon for boys to start working at an early age, and Johann tried several careers with mixed results. Although he worked at several trades, Johann's mind and heart were always with the arts. As his voice matured, his always pleasant sound evolved into a rich and powerful baritone. Having always wanted to be an actor, at the age of 18, the young man moved to Chicago where he reconnected with an old friend who was studying voice at the Chicago Musical College. When he mentioned his theatrical ambitions, his friend laughed. "With your voice, you should be studying singing," he said. Eventually, he convinced Johann to audition at the Chicago Musical College, owned and operated by Broadway producers, Flo and Willie Ziegfeld. Willie auditioned young Berthelsen and, on the spot, offered him a full scholarship. He was awarded the school's Gold Medal on two occasions, and after graduation he earned a job as the lead baritone with the newly formed Standard Opera Company which was owned by the Schuberts. For the next five years, Johann Berthelsen enjoyed a rich and varied career, touring the U.S. and Canada in operas, concerts, Gilbert...

Peaceful Day in the Mountains Hermann Herzog (American, German, 1832-1932) Signed Lower Left 17 x 15 inches 25 x 22 inches with frame A centenarian, Hermann Herzog was known for his...

Aldro T. Hibbard (American, 1886-1972) Winter Wonderland Signed Lower Right 26 x 36 inches 32 x 42 inches with frame Born in Falmouth, Massachusetts, Aldro Hibbard was an Impression...

Ramsay R. Reinagle (English, 1775-1862) Portrait of Lord George, Duke of Gordon, G.C.B., Founder of the Famous Scottish Regiment of "Gordon Highlanders" in 1795, 1828 27 x 22 inches ...

Charles Chambers (American, 1880-1964) Young Lady Picking Wildflowers Signed Lower Right 10 x 13 inches 16.5 x 16.5 inches with frame C. Bosseron Chambers was known for figurative works in an illustrative manner, with many of them being either portraits or works with religious themes. An illustrator and teacher as well as painter, Chambers was born in St. Louis, Missouri on May 1882. His father, a young Irish captain in the British Army, was a convert to the Catholic Church, and his mother was the daughter of a French family long established in St. Louis. Charles, the youngest of several children, was sent to the Preparatory and Grammar Schools connected with St. Louis University in his earliest years, and his education in his chosen art was begun under Louis Schultz of the Berlin Royal Academy, with whom he spent six years. His next master was Aleis Hrdliczka of the Royal Academy of Vienna, and he later studied with Johannes Schumacher of Dresden for six years. After matriculating at St. Louis University, Chambers began his professional career at Palm Beach, Florida, a place chosen because of his mother's failing health. From this period in his artistic productions date the fantastic figure compositions exhibited at the St. Louis Exposition, together with portraits of Colonel Mitchell for the Missouri Historical Society; Joseph Jefferson, the great American actor; young Master Haven; Henry Phipps; Henry M. Flagler; Mrs. Voorhis and others. In 1916, he moved to New York City, and established himself in the Carnegie Studios, Carnegie Hall, where he occupied a splendid atelier. Here he produced the Light of the World, the most popular religious painting of the early 1900s in the USA. He was a member of the Society of Illustrators, established in 1901 in New York City, and the Salmagundi Club, an early important art club in New York City. He illustrated Sir Walter Scott's, Quentin Durward, in the Scribner Classics for Young People. His work was exhibited at the well-known John Levy Galleries in New York City in the 1930s, and his work is now in several public collections in St. Louis and Chicago, including Chicago's St. Ignatius's Church, Missouri Historical Society in St. Louis, and the Osceola Club in St. Augustine, Florida. Chambers is listed on p. 145 of Currier's Price Guide to American Artists at Auction, 6th ed. 1994, written & compiled by William T. Currier, Currier Publication, Stoneham, MA. Reviews of his artwork have appeared in various publications, including the following: "Chambers' Seven Dolors criticized by Emily Genauer" Art Digest v. 13 March 15, 1939, p. 58. "From Angels to men: Recent portraits, John Levy Galleries" Art Digest v. 10 Nov. 15, 1935, p. 12. "Exhibition, John Levy Galleries" Art News...

Robert Philipp (American, 1895-1981) Russian Tea Room, 1975 Signed Top Right Dated Reverse 18.5 x 14.5 inches 27 x 23 inches Robert Philipp was born Moses Solomon Philipp on February 2, 1895 in New York City. He showed early talent and grew up in a family atmosphere that fed and cultivated his creativity. At age of 15, he entered the Art Students League for four years and then continued his training at the National Academy of Design. His teachers at the League included George Bridgeman and Frank DuMond, and at the National Academy he studied with Douglas Volk...

Joseph Henry Hatfield (American, 1863-1928) Making Bubbles Signed Lower Right 16 x 13 inches 23 x 19 inches At the turn of the century, Joseph Henry Hatfield was well known around C...

James Reeve Stuart (American, 1834-1915) El Capitain, 1870 Signed Lower Left 36 x 46 inches 46 x 56 inches James Reeve Stuart, well-trained portrait painter and teacher, was born in Beaufort, South Carolina, to one of the wealthiest families in the Antebellum South. Ancestors fled from Scotland, and one of them, John, was Superintendent of Indian Affairs of the Southern Colonies. The Stuart family owned several of the wealthiest plantations in the sea island area of South Carolina, and Stuart's parents owned the Ferry Plantation and it's Mansion "Roupelmonde" on Port Royal Island, adjacent to the Port Royal Ferry. Stuart's father, Colonel Middleton Stuart, died in 1840, and young Jimmie's education and upbringing was left to his many uncles. His uncle, Bishop Stephen Elliott...

Edward Cucuel (American, 1875-1954) Summer Idle, 1918 Signed Lower Right 35 x 43 inches 43 x 51 inches with frame Born in San Francisco, Edward Cucuel was an Impressionist painter o...

Edouard Cortes (French, 1882-1969) Place De La Bastille Signed Lower Left 18 x 22 inches 29 x 33 inches with Frame Cortès was born in Lagny, France on April 26, 1882. During his early lifetime, Paris was the center of the art world. Artist from across the globe traveled there to study and paint it's beautiful countryside and cities; views of Paris, or as it became known 'the City of Lights', were in great demand by both collectors and tourists. Édouard Cortès, along with other artists like Eugene Galien-Laloue (1854-1941), Luigi Loir (1845-1916) and Jean Beraud (1849-1936) answered their call. Specializing in Paris street scenes, each of these artists captured the city during its heyday and continued with these scenes well into the 20th century.Édouard was the son of Antonio Cortès - the Spanish Court painter - who was himself the son of the artisan André Cortès...

Benton Clark (American, 1895-1964) The Signing of the Winfield Scott Treaty Signed Lower Right 24 x 36 inches 31.5 x 43.5 inches with frame Born in Coshocton, Ohio, Benton Clark bec...

Victor Gabriel Gilbert (French, 1847-1933) A Playful Afternoon Signed Lower Left 18 x 22 inches 25 x 28.5 inches with frame Victor Gilbert's natura...

Edward Henry Potthast (American, 1857-1927) A Family Outing Signed Lower Left 12 x 16 inches 18 x 22 inches framed A painter most remembered most for his beach scenes of carefree at...

Charles Craig (American, 1846-1931) Tracking the Enemy 20 x 24 inches 26.5 x 30.5 inches with frame Inspired by Western and Indian life, Charles Craig d...

Benton Clark (American, 1895-1964) Davey Crockett at the Alamo 24 x 36 inches 31.5 x 43.5 inches with frame Signed Lower Right Born in Coshocton, Ohio, Benton Clark became an easter...

Dane Clark (American, b. 1934) "Southwest Village" Signed Lower Right 18.5 x 33.5 inches 21.75 x 36.5 inches with frame It’s no wonder that Clark’s paintings look happy. The New Mexico artist...

Severin Roesen (1815-187) "Nature's Bounty" c. 1860s Oil on Canvas 30 x 40 (Canvas) approx 37 x 47 (Framed) Signed Lower Center *This work's authenticity has been confirmed by Judith...

Paul Cornoyer (American, 1864-1923) "Afternoon, Madison Square" (New York City) 1908 Oil on Canvas Signed/Titled Verso on Stretcher Bar Unframed: 22 x 27 inches Framed: 32.5 x 38 inches Exhibition Label Verso (Presumably Newhouse Galleries, St. Louis...

The Avenue Lights (5th Avenue, New York City) By. Gerald Harvey Jones (American, 1933-2017) Signed Lower Left 20 x 16 inches without frame 30.5 x 26.5 inches with frame G. Harvey (G...

The Old Courthouse, 1968 By. Charles Quest (American, 1904-1993) Signed and Dated Lower Left 32 x 44 inches 38.25 x 50.25 inches with frame Born in Troy, New York, Charles Quest was...

Millhouse, Autumn, 1973 By. Charles Quest (American, 1904-1993) Signed and Dated Upper Left 33.5 x 45.5 inches 38 x 50.5 inches with frame Born in Troy, New York, Charles Quest was ...

Nick Schleicher (American, b. 1988) MKW-003, 2019 Acrylic, Fluorescent Pigment, Iridescent Pigment, & Gel Gloss on Panel 36 x 26 inches Signed, Dated, ...

Nick Schleicher (American, b. 1988) GMA-HLK 2019 Acrylic, Fluorescent Pigment, Iridescent Pigment, & Gel Gloss on Panel 36 x 26 inches Signed, Dated, a...

Nick Schleicher (American, b. 1988) SLM-350, 2019 Acrylic, Fluorescent Pigment, Iridescent Pigment, & Gel Gloss on Panel 36 x 26 inches Signed, Dated, ...

Nick Schleicher (American, b. 1988) STM-HMS, 2019 Acrylic, Fluorescent Pigment, Iridescent Pigment, & Gel Gloss on Panel 36 x 26 inches Signed, Dated, ...

Nick Schleicher (American, b. 1988) CLY-350, 2019 Acrylic and Matte Medium, Gel Gloss, & Glazing Medium 20 x 18 inches Signed, Dated, and Titled Verso ...

Nick Schleicher (American, b. 1988) DLM-125, 2019 Acrylic and Matte Medium, Gel Gloss, & Glazing Medium 20 x 18 inches Signed, Dated, and Titled Verso ...

Nick Schleicher (American, b. 1988) PNK-BRN, 2019 Acrylic and Matte Medium, Gel Gloss, & Glazing Medium 20 x 18 inches Signed, Dated, and Titled Verso ...

Antoine Blanchard (French 1910-1988) "Avenue des Champs-Elysses, Paris" Oil on Canvas Signed approx 18 x 22 (site) approx 26.5 x 30 (framed) Antoine Blanchard (c.1910-1988) was a prolific and successful Neo-Impressionist painter who specialized in nostalgic scenes of Fin de Siècle Paris. Inspired by the subjects as well as the success of earlier painters of Parisian life like E. Galien Laloue (1854-1941), Edouard Cortès (1882-1969), Jean Béraud (1849-1935) and Luigi Loir (1845-1916), Blanchard painted hundreds of views of the “City of Light.” In the late 1950s, his street scenes were exported to the United States and the United Kingdom, where they were sold briskly to collectors. By the1960s, Blanchard paintings were bringing several hundred dollars in galleries, so while they were not inexpensive, they were affordable to collectors who loved Parisian scenes but who could not afford the works of Cortes or one of the other French painters known for their views of Paris in Belle Époque. Eventually Blanchard’s more delicate, feathery pastel-toned scenes of rain-swept Paris became sought after in their own right and, when he died, he was considered the last of what the dealers described as the École de Paris or “School of Paris” painters. The most salient fact about the life and career of the painter Antoine Blanchard was that he was actually born Marcel Masson, the son of a furniture maker who lived in the scenic Loire Valley, south of Paris, where the French nobility had their chateaus. The date that is usually given for Blanchard’s birth is November 15, 1910. However, there has been some speculation that he was born even later, perhaps in 1918, but some of the facts of his life have always been clouded by early biographies that claimed even earlier dates for his birth, so that he would seem to be seen as a contemporary of the famous Belle Époque painters rather than a post-war interpreter of Paris. Blanchard grew up in the hardscrabble years following the First World War. Because he was artistically talented, he was sent first to the nearby city of Blois, the capital of the Loir-et-Cher Département, for artistic training and then to the École des Beaux-Arts in Rennes, on the Brittany peninsula, where he received a classical art education. By some accounts Blanchard also studied in Paris, where the historic École des Beaux-Arts is located, but the depth of his study and the style of his earliest work will require further research. Marcel Masson was married in 1939, as war clouds gathered on the French horizon. He was drafted for service in the French Army and participated in the short and futile struggle against the invading German Panzers before returning to his family and his art during the Nazi occupation. A daughter, Nicole, was born in 1944 with a second daughter, Eveline, who eventually came to the United States, following in 1946. Masson’s early art career was interrupted, first by World War II and later by the necessity of keeping his father’s workshop running in the years after his death. By the late 1940s, though, Masson returned to his art and moved to Paris in order to further his career. Exactly when Marcel Masson adopted the pseudonym Antoine Blanchard is not known, nor are we aware of his motivations for adopting a nom de plume, but the practice was not unusual for French painters. In most cases a pseudonym was adopted because the artist had contractual obligations with more than one agent or dealer. Another motivation could be to obscure the scope of a sizable artistic production. Dealers in that era also liked to keep an artist under their thumb, so a pseudonym was a way for Blanchard’s dealers to tuck him away, out of the sight of their competitors. Like many painters before him Masson may have initially painted different subjects under different names. Marcel Masson neé Blanchard would have been well aware that the famous and prolific French painter E. Galien Laloue (1854-1941) painted under no less than four names – three pseudonyms in addition to name he was christened with – and so the adoption of another name was probably not seen as a liability to him. However, he apparently never took the step to register his pseudonym, which was possible in France, to legally restrict its use. In any event, by the 1950s Marcel Masson had become “Antoine Blanchard,” a painter of Parisian views. With the aging Edouard Cortès (1882-1969) as a model, Blanchard began to specialize in romanticized scenes of la ville des lumières, or the “City of Light.” However, instead of painting contemporary Paris, the crowded metropolis of his own time, which he may have felt was lacking in romance, he chose to look at the French capital through the rear-view mirror. So Blanchard became known for his depictions of the hurly-burly life of Paris in the Belle Époque. For inspiration, he is said to have collected old sepia-toned postcards of life in La Belle Époque (“The Beautiul Era”), the long period of peace and relative prosperity between the end of the Franco-Prussian War and the horrors of the Paris Commune in 1871 and the start of the mass bloodshed of the First World War in August of 1914. In addition, however, the paintings of Loir, Baraud, Laloue and Cortès could be found and studied in the flea markets of Paris as well as the auctions at the l’Hôtel Drouot. Reminders of the Belle Epoch were thus all around Blanchard, and of course the architecture that he painted had survived the Second World War intact, because Paris was spared bombing or a siege by the allies. Soon he was painting the horse-drawn omnibuses that took turn-of-the-century Parisians on longer trips throughout the city as well as the tradesmen, children and fashionably dressed ladies that populated Baron Haussmann’s Grand Boulevards. Blanchard’s early work was clearly modeled after the paintings of Edouard Cortès, but he was always his own man and never a slavish copyist. These paintings were darker in palette than the later Blanchard paintings most American collectors have become familiar with, and his red and blue tones were often bolder than those of Cortès. He never adopted the heavy “impasto,” the build-up of paint on the highlights of Cortes’ work, leaving that artistic trademark to the master. Blanchard’s brushwork was painterly, but the buildings in the paintings were always well rendered, for he had an excellent command of composition and perspective. By the late 1950s, agents began to purchase Blanchard’s paintings and then to export them to the United States, selling them to commercial galleries in far away Houston, Los Angeles, San Francisco, Chicago and New York. By the early 1960s, his work was already well known enough to be in reproduced by print publishers and the Donald Art Company published a number of popular prints that are now often mistaken for original paintings. By the end of the 1960s, Blanchard had begun to develop his own mature style by employing a lighter, brighter, palette and a deft, almost calligraphic style of brushwork. This helped him step out of Cortès’ shadow and become a sought-after painter in his own right. Blanchard worked through agents, essentially brokers, who purchased his work and created a demand for it in the United States and Canada. By the 1970s Blanchard’s paintings were being sold by galleries across the United States, and the American market absorbed virtually all of his work. In 1969, with the passing of Edouard Cortès, he became the last of the long series of prolific French painters of Parisian life. Blanchard’s later works were usually daylight scenes, with Paris seen awash in rain or with a mantle of soft snow, and so collectors no longer confused him with Cortes, whose Parisian clock seemed to always be set at twilight. These paintings were rendered in softer, pastel tones and he used his brush with a light touch. These qualities gave Blanchard’s work of the 1970s and 1980s a lighter, more decorative appearance. In the late 1970s, the French agent Paul Larde published a lavish book that was claimed to be an authorized biography of Antoine Blanchard by his “exclusive” dealer. Today, this book is almost impossible to find, because it was apparently the subject of a lawsuit in France. Some of the information in the Larde book was contested and found to be inaccurate and so it was withdrawn from publication. One claim that Larde made was that Blanchard’s production was extremely limited. While he was not as prolific as Cortès or Laloue, he was a hard-working painter who managed to supply a long list of galleries with his work. He produced thousands of paintings during his career. When the motivation for a monograph is marketing rather than art history, accuracy and detail can be swept aside by exaggeration, hyperbole and claims of exclusivity that were meant to discourage collectors or galleries from buying Blanchard’s from other representatives. Blanchard’s legitimate paintings were sold by several agents, who dealt directly with the artist, at least one of whom was American, one Austrian and a few French dealers. The details of Antoine Blanchard’s life are not well known because he never sought the limelight. He was content to work in his studio and ship his paintings to his agents who sold them abroad. Eventually both his daughters – Nicole and Evelyn – followed in his footsteps and became painters themselves. Evelyn (1946-2008) was savvy enough to adopt the Blanchard nom de plume, and she began painting street scenes that closely resembled her father’s later work. Antoine Blanchard passed away in 1988, leaving hundreds of paintings of Belle Époque Paris– the Notre Dame Cathedral, the Opera, the Arc de Triomphe and Place Concorde – as his lasting legacy. Notes on the Authentication of Antoine Blanchard’s Paintings: The vast majority of Blanchard’s paintings were smaller works, which were sent to the United States in tubes and stretched and framed by the galleries that sold them. Virtually all of these Blanchards were painted in European centimeter sizes, which convert to 13” x 18” or 18” x 21 1/2?, but on very rare occasions he painted much larger works in American sizes – such as 24” x 36” – on commission for dealers such as Howard Morseburg in Los Angeles or the dapper Wally Findlay, who had a chain of galleries. The first way to assess the authenticity of a Blanchard...

Robert Kushner (American, b. 1949) Alphonsine, 1983 30 x 22 inches without frame 32.75 x 25 inches with frame Titled Lower Left Signed and dated Mid Lower Right A member of the Patt...

Nudes By. Salcia Bahnc (Polish, American, 1898-1976) Signed Lower Middle Unframed: 14 x 18 inches Framed: 23 x 26 inches Painter, illustrator, printmaker, teacher. Born in Dukla, Poland. Though she was born in Dukla, a town in south-eastern Poland, she moved to Prsemysl, one of the largest and most ancient cities of southern Poland, at a young age. Her mother was reportedly descended from the "Van Ast" family, a Dutch dynasty that produced several artists, including Balthasar van der Ast (1593/4 - 1657). According to one art historian she came to New York at the age of five (c. 1903), and another, at the age of eight (c. 1906). Her family was Jewish and reportedly quite wealthy. Why they would have left imperial Austria, under whose sovereignty either of her proposed birth cities were under, is unknown. However, while these areas did not suffer the pogroms typical in neighboring imperial Russia, the Austro-Hungarian empire had become much more anti-Semetic, which may have hasten there departure. How, according to one source, they ended up living in the Jewish ghetto of New York is extremely puzzling. Did they loose their wealth to some business disaster? Where they forced to leave it behind? Was there some familial tragedy? We may never know. In her youth she lived first in New York City and then in Boston, Massachusetts, where her family had relatives. It is reported that when she was in fourth grade she was found to be so competent in drawing that for the next two years she taught a drawing class after school for the other children. In Boston, Bahnc's mother eventually remarried and moved the family to Chicago where the young artist was primarily raised. In Chicago she worked during the days as a sales clerk in a department store. At night she put herself through school at the School of the Art Institute of Chicago (SAIC) and taught at her former alma mater after her graduation during the years 1923-1929. She also studied at the Chicago Academy of Fine Art. She took up design work and began exhibiting painted silk creations at a private Chicago gallery (probably Thurber, see below). The first museum exhibitions she is known to have participated in were held at the Art Institute of Chicago. During this period she became known for her portraits. Originally a resident alien, she was naturalized at the district court of Chicago, Illinois in July of 1913. In 1920 she lived on East Ontario Street in Chicago in a neighborhood filled with art studios and artists, including James Allen Saint-John (1872-1957), Paul Bartlett (1881-1965), Pauline Palmer (1867-1938), and George Ames Aldrich (1872-1941). It is in Chicago that she saw her greatest success as an artist. In 1927, Chicago art dealer Chester H. Johnson said of her work: "The Art of Salcia Bahnc is a sincere manifestation of the spirit we know as 'Modernism' . . . . . . She is the spirit of the Age, not its Fashion." Local reviewers agreed, one going as far to say that her exhibition was " . . . the most interesting one man show by a young artist that has ever been presented to Chicago, and I keep telling myself that New York will get her if we don't watch out." She was apparently a favorite and friend of art critic Clarence Joseph Bulliet (1883-1952), who authored a number of books and articles that praised Bahnc's work. Bulliet was central in introducing and popularizing modern art in the mid-western United States. In his book Apples and Madonnas: Emotional Expression in Modern Art (1935) he called Bahnc a "A thorough Expressionist." A year later in his book The Significant Moderns and Their Pictures (1936) he noted that one of her paintings of a nude was ". . . powerful in its elemental brutality." During this period other critics reported positively on the work she was producing. Ida Ethelwyn Wing reported in a volume of the Delphian Text (1930) that Bahnc, was without doubt, ". . . the most vigorous and intensively original of the American Expressionists." Paul Masserman and Maxwell Baker said of her in their work The Jews come to America (1932) that she was part of a group of artists that were "Chief among modern Jewish painters. . . " Salcia Bahnc traveled back and forth to Europe during the late 1920s and into the 1930s, a period when she faced the rise of totalitarianism. She wrote about this fact to a fellow artist to whom she commented " . . . about the difficult art scene in Paris . . . . . . and the growing power of fascism." In 1930 she was maintaining a studio in New York City at 1218 East 53rd Street and a residence in Brooklyn, Long Island. She returned to France where she married a French citizen and writer named Eugene Petit (b. 1901) and bore a son there named Alain Petit (b. 1934). She again returned to the United States in November of 1937 and traveled back to France after a brief stay in America. During her stay she continued to exhibit in Chicago, where Quest Galleries gave her a solo show. Like so many ex-patriot authors and artists who were living in Paris, she found herself trapped in France (first in Paris, then in Mayenne) following the German invasion in 1940. Being of Jewish extraction the situation could prove to be quite dangerous if she were reported or discovered by German authorities. She and her husband were able to obtain passports and escape to Portugal where in August of 1941 they boarded the S. S. Escambion to return to America. In 1940, American Export Lines, owners of the Escambion, discontinued its normal Mediterranean routes and placed their ships into service sailing from Lisbon, Portugal to New York City. Over the next two years (1940 - 1941) their ships played an important role in transporting thousands of people who were trying to escape the Nazi regime before America's own entry into World War II. One survivor, Ludwig Lowenberg, who sailed on the Escambion on the same day that Bahnc did, reported the ordeal his family endured getting to Lisbon to his own descendants: "[The family] received their American visa on May 28, 1941, only three days before the U.S. consulate in Stuttgart closed for the duration of World War II. They left Berlin on June 23, 1941, traveling for 27 hours on a locked train to Paris. There they were forced to spend an additional night in the locked train until their coach was attached to a train headed for San Sebastian in Spain. After an overnight hotel stay in San Sebastian, the train (now no longer locked) continued to Lisbon. All in all it took six days from Berlin to Lisbon. They remained for four weeks in Lisbon until they embarked on the Excambion for New York." Bahnc had given up her citizenship during her time in France and was forced to reapply for naturalization once again upon her return. She was living in New York City at 101 West 85th Street when she was re-naturalized in April of 1947. Exactly how much of her artwork was lost in Europe is not known. Clearly, she would not have been able to bring much, if anything, with her during her escape. One writer had noted that between 1930 and 1934 she had worked hard to prepare a large group of new works for a show in Paris. Between those, and what she would have produced during the next six years, the actual amount of the loss might have been staggering. Bahnc's 1942 exhibition with Julio de Diego included works recalling the suffering going on in Europe. One work in the exhibition was a portrait of the painter Katherine Dudley, who, at the time, was reportedly interned near Paris. In the later years of her career she worked extensively as a teacher and illustrator of children's books. In 1950 she taught at the Evanston Art Center, where she lead a demonstration in portrait painting. She authored or illustrated a number of works during and after World War II, including: The House in the Tree and Other Stories of Places, People and Things (1941); Claude Of France: The Story Of Debussy For Young People (1948); Time for Poetry (1951); Hidden Silver (1952); From Many Lands - The Children's Hour, Volume 9 (1969); and That Boy (no date). She returned to teach at the School of the Art Institute of Chicago during 1943-44 and 1947-53; and taught later at the Garrison Forest School in Garrison, Maryland, from 1955-57. Bahnc was known to have exhibited widely, both in Europe and in America. Her known lifetime exhibitions include: The Art Institute of Chicago, Chicago, IL, 1919-29, 1942 (The 53rd Annual; and Room of Chicago Art: Exhibition of Paintings by Salcia Bahnc and Julio de Diego), 1943; Chicago Architectural...

Afternoon Sun By. William Wendt (German, American, 1865-1946) Signed and Dated Lower Right Unframed: 18 x 22 inches Framed: 25 x 28.5 inches Referred to as "the Dean of California artists" William Wendt's paintings epitomize the plein-air style for which California impressionists are so revered. His best-known works demonstrate the feathery brushstrokes and attention to light that are considered the hallmark of a great impressionist painting. These pivotal canvases from the height of Wendt's career are the very definition of a California Impressionist landscape...

Afternoon In The Hudson River Valley, 1854 By. John William Hill (English, American, 1812-1879) Signed and Dated Lower Left Unframed: 20 x 30 inches Fra...

Oscar E. Berninghaus (American, 1874-1952) "Winter Pasture" Oil on Canvas Unframed: 20 x 24 inches Framed: 25.5 x 29.5 inches Provo: Noonan-Kocian Gallery, St. Louis, Missouri, Dec. 23, 1954 (Copy of Original Receipt Included) * Will be included in Kodner Gallery's upcoming Oscar E. Berninghaus Research Project on the artist A founder in 1898 of the Taos Society of Artists, Oscar Berninghaus excelled at drawing animals and figures in contemporary garb in Southwestern landscapes. Many of his early paintings were Impressionistic, "suffused with color and light". (Gerdts 254) He was born in St. Louis, Missouri and developed an interest in art through his family's lithography business. He attended night classes at the St. Louis School of Fine Art. In 1898, he was on an illustration assignment for "McClure's" magazine, which took him for the first of many times into New Mexico and Arizona. He had heard of the special beauty of Taos and there met Bert Geer Phillips, who was already a resident, and Phillips invited him to return. This visit began a tradition of spending the winter months in St. Louis and the summers in Taos. He remained active in both communities, and for many years designed the costumes and floats for the Veiled Prophet parade, a famous annual event in St. Louis. He also did a series of western scenes commissioned by the Anheuser-Busch Brewing Association to promote a manly, ruggedness theme in their products and to enhance their image as good Americans, an image that was being attacked by suffragettes. In this capacity and without visiting the area, Berninghaus did a painting titled "Old Faithful, Yellowstone" in 1914, which was used as a calendar illustration in the series. Berninghaus was a sketch artist for the Denver and Rio Grande Railroad to depict landscape of Colorado...

Mother and Daughter, Santa Fe, 1919-20 By. John French Sloan (American, 1871-1951) Signed Lower Right Unframed: 20 x 24 inches Framed: 27 x 31.5 inches Born in Lock Haven, Pennsylva...

Mid-day, Zuni Village, 1897 By. Frank Reed Whiteside (American, 1866-1929) Unframed: 20" x 30" Framed: 28" x 38" Frank Reed Whiteside, born in Philadelphia on 20 August 1867, became a student of Thomas Anshutz at the Pennsylvania Academy of the Fine Arts (1888-92). He already began exhibiting there during his student years (1887-98). In 1893, he enrolled in the Académie Julian in Paris where he received instruction from Jean-Paul Laurens and Benjamin Constant. After his French academic training, Whiteside taught art in Philadelphia high schools. He took frequent trips to the Southwest between 1890 and 1928 to live with and paint the Zuni Indians. Whiteside depicted ceremonial dances, Zuni buildings, and other genre scenes, usually in blinding afternoon sunlight. He carefully observed the effects of light on vibrant color, using a finely crafted impressionist technique. He was fond of broad areas of color, subtle combinations of hues, and simplified shapes and silhouettes. Whiteside continued to exhibit at the PAFA (1905-15), at the Art Institute of Chicago (1896-1916), at the Carnegie International (1905 and 1907) and at the Corcoran Gallery (1907). He was a member of Philadelphia art societies and beginning in 1909 had a summer studio in Ogunquit, Maine, where he took part in Hamilton Easter Field's discussion groups. Frank's wife, Clara Walker Whiteside, who published Touring New England in 1926, was active in the Ogunquit Art Association. Like Stanford White, Frank Reed Whiteside was the victim of murder, on 19 September 1929, but Whiteside's case remains unsolved. One night, the sixty-three year-old painter answered the doorbell. Two witnesses...

Monsieur lisant a la lumiere de la fenetre By. Louis Mettling (French, 1847-1904) Signed Lower Right Unframed: 16" x 10" Framed: 28.5" x 23" Louis Mettling (French, 1847-1904) noted...

Sunrise, 1981 By. Jim Palmer (American, b. 1941) Signed and Dated Lower Right Unframed: 24" x 36" Framed: 30" x 42" Born in 1941 in Columbia, South Carolina, Jim Palmer attended the University of South Carolina in 1960 before going on to study at the Atlanta School of Art in 1964. In 1966 he and his wife moved to Hilton Head Island, the second artist to do so during the Island's early years. Since living here, he designed the cover of the Chamber of Commerce' Islander Magazine, has been a contributing artist to the Island Events Magazine, and has painted many Low Country scenes that grace homes and businesses throughout the country. Palmer was the illustrator for two books written by local authors: A Corner of South Carolina and Moonshadows. His work has been included in exhibits at the Hunter Museum in Chattanooga, TN; Mint Museum, Charlotte, NC; Southeastern Artists Exhibition, Atlanta, GA; Greenville County Art Museum, Greenville, SC; Callaway Gardens, Pine Mountain, GA; and Bay Hills Club, Orlando, FL. His paintings are part of the private collections of C&S National Banks in Columbia and Hilton Head Island; Banker's Trust Tower, Columbia, SC; Palmetto State Bank, Bluffton, SC, among others. Several paintings are also included in the collections of former Presidents Jimmy Carter and Dwight Eisenhower, former South Carolina Governor Robert McNair and singer John Denver.

Seagulls (Birds in Flight), 1982 By. Jim Palmer (American, b. 1941) Signed and Dated Lower Right Unframed: 32" x 36" Framed: 37" x 42.5" Born in 1941 in Columbia, South Carolina, Jim Palmer attended the University of South Carolina in 1960 before going on to study at the Atlanta School of Art in 1964. In 1966 he and his wife moved to Hilton Head Island, the second artist to do so during the Island's early years. Since living here, he designed the cover of the Chamber of Commerce' Islander Magazine, has been a contributing artist to the Island Events Magazine, and has painted many Low Country scenes that grace homes and businesses throughout the country. Palmer was the illustrator for two books written by local authors: A Corner of South Carolina and Moonshadows. His work has been included in exhibits at the Hunter Museum in Chattanooga, TN; Mint Museum, Charlotte, NC; Southeastern Artists Exhibition, Atlanta, GA; Greenville County Art Museum, Greenville, SC; Callaway Gardens, Pine Mountain, GA; and Bay Hills Club, Orlando, FL. His paintings are part of the private collections of C&S National Banks in Columbia and Hilton Head Island; Banker's Trust Tower, Columbia, SC; Palmetto State Bank, Bluffton, SC, among others. Several paintings are also included in the collections of former Presidents Jimmy Carter and Dwight Eisenhower, former South Carolina Governor Robert McNair and singer John Denver.

Landscape By Mark Kaplan (Russian, b. 1950) Signed Lower Right Unframed 7" x 9" Framed: 20.25" x 16.25" Mark Kaplan was born in 1950 in Saint Petersburg ...

Duck Family By. David Adolph Constant Artz (Dutch, 1837-1890) Signed Lower Left Unframed: 9" x 12" Framed: 17" x 18.5" David Adolf Constant Artz was a 19th-century Dutch painter an...

Searching for Clams with the Horse Cart By. Gerhard Munthe (German, 1875-1927) Signed Lower Left Unframed: 11" x 14" Framed: 19" x 23" Born in Dusseldo...

Village Under the Snow By. David Schulman (Dutch, 1881-1966) Signed Lower Right Unframed: 15.5" x 23.5" Framed: 23.5" x 31.5" David Schulman was a Dutch self-taught painter, draftsman and watercolorist. He was born in the city of Hilversum, in 1881. Schulman's father Lion was a painter himself and was known to be come an art dealer in subsequent years. Apart from this, he sold painting...

Autumn Idle, Catskills, New York, October 23, 1885 By. Jervis McEntee (American, 1828-1891) Unframed: 11.5" x 16" Framed: 20.5" x 25" Jervis McEntee was a landscape painter, born in 1828 in the Hudson River Valley in Rondout, New York. It was said that 'Nostalgia may well have been McEntee's middle name", and that he, always attempting to stir emotions in his viewers, often attached poetry to his paintings when exhibiting them. At a time when the Civil War and its after effects caused great disruption in America, McEntee's work may have provided a visual escape for the more educated. His works are rich with the colors of autumn and winter, and he, who often painted in the Catskill Mountains, preferred smaller views rather than panoramas. Usually detailed and simple, his works often reflect a sense of loneliness. As a youngster, McEntee would play in his parents attic, pretending it was an art studio. An unsuccessful attempt at business led McEntee back into the art profession where he studied in New York City under the influence of Frederic E. Church, master of the Hudson River Style, and soon had a showing of his own in the famous Tenth Street Studio Building by 1855. In about 1858, Mr. and Mrs. McEntee hired English architect Calvert Vaux to build a studio next to McEntee's fathers house in Rondout. There Jervis would spend most of his summers, painting the nearby Catskill Mountains, and returning to the city during the winter. At the outbreak of the Civil War, McEntee enlisted in the Union...