Cleveland

Algesa O'Sickey (American, 1917-2006) Woman Painting Watercolor and ink on green paper Unsigned 9 x 12 inches 13.75 x 16 inches, framed Born Algesa D’Agostino on June 4, 1917, Alges...

Adam Lehr (American, 1853–1924) Still life with green apples and copper vessels, 1908 Oil on canvas Signed lower right 16 x 24 inches 27 x 35 inches, framed Exhibited: WOLFS Gallery...

Louis Armand Bardery (French, 1879-1952) Muse of Dance Bronze with green and brown patination Signed and stamped with foundry mark 18 x 6 inches Louis Armand Bardery was a student o...

Walter Sinz (American, 1881-1966) Mother and Child, 1949 Plaster Signed and dated on base 23.5 x 6 x 9 inches Walter A. Sinz was an American sculptor born in Cleveland, Ohio on Jul...

Sometimes the best things in life are the accents, the small gestures and textural pieces that add intentionality to our days. These Mini Formation Studs can pair well with larger earrings or stand well alone. The ethically mined Montana Blue Sapphire...

Kae Dorn Cass (American, 1901-1971) New England Coastal Town Watercolor on paper Signed lower right 9 in. h. x 11.5 in. w. 17 in. h. x 19 in. w., as framed Kae Dorn Cass was born...

Viktor Schreckengost (American, 1906-2008) Mayan Watercolor heightened with gouache over pencil on paper Signed lower right 39 x 29 inches 45.5 x 35.5 inches, framed Registered with The Viktor Schreckengost foundation, stock no. 6891 The son of a commercial potter in Sebring, Ohio, Viktor Schreckengost learned the craft of sculpting in clay from his father. In the mid-1920s, he enrolled at the Cleveland School of Art (now the Cleveland Institute of Art, or CIA) to study cartoon making, but after seeing an exhibition at the Cleveland Museum of Art he changed his focus to ceramics. Upon graduation in 1929, he studied ceramics in Vienna, Austria, where he began to build a reputation, not only for his art, but also as a jazz saxophonist. A year later, at the age of 25, he became the youngest faculty member at the CIA. In 1931, Schreckengost won the first of several awards for excellence in ceramics at the Cleveland Museum of Art, and his works were shown at the Metropolitan Museum of Art, the Art Institute of Chicago, the Panama-Pacific Exposition in San Francisco, and elsewhere. By the mid-1930s, Schreckengost had begun to pursue his interest in industrial design. For American Limoges...

Clarence Holbrook Carter (American, 1904-2000) Night Garden, 1972 Acrylic on scintilla Signed and dated lower right 21.5 x 21.5 inches 24.25 x 24.25 inches, framed Clarence Holbroo...

Ora Coltman (American, 1858-1940) Portrait of De Forest Mellon, 1922 Oil on canvas Unsigned 30 x 25 inches 35.5 x 30.25 inches, framed Ora Coltman was born in 1858 in Shelby, Ohio, ...

Cathy Diamond (American, 20th Century) Rain Garden II, 2023 Pigment dispersion and acrylic on paper Signed lower left, signed and dated verso 11 x 14 inches Cathy Diamond currently ...

F. Luis Mora (American, 1874-1940) Native American, c. 1930s Ceramic Stamped on bottom, Cowan Pottery 9 x 7 x 5 inches Francis Luis Mora was one of the better-known American artists...

The Interval Bar Necklace shifts from square to triangle end to end. Dynamic and easy, this necklace is a study in subtle motion. A delicate but sturdy 16”/ 1 mm Italian chain makes ...

Robert Brooks (American, 1922-1992) Portait of a Startled Woman Monumental oil on canvas Signed lower right 80 x 42 inches Born in Fall River, Massachusetts in 1922, Robert Brooks embarked on his art career by winning modeling clay as a reward for good attendance at primary school. He became known for embellishing the margins of his school books with sketches of his friends and maybe teachers. He operated his own sign making business as a teenager, which supplied little money but lots of experience. Brooks also entered every poster and drawing competition in sight. Saturday morning classes at the Swain School of Design provided him with sound instructions in the principles of art, and as a high school senior in 1941, Brooks was awarded a scholarship to Boston's Vesper George School of art in a annual state-wide competition. During this year in Boston, he specialized in design, color and the theater arts and discovered "watercolor" as his favorite medium. At the end of his year Brooks was awarded a scholarship to continue by the Vesper George School but returned to New Bedford before the second year was out in order to work in the design department of a large textile printing concern. He was called to serve his country and after basic training, casual detachments and port of embarkation, he made his own private beachhead on New Caledonia in 1943, where he served as staff artist for The South Pacific Daily News. Brooks painted sketches and watercolors of the local scene during his daytime off-duty hours and won fast acclaim for his crisp, clean paintings...

Richard Andres American, 1927-2013 L. S. F., 1980 acrylic and ink on paper mounted on canvas signed lower right, dated and titled verso 48 x 65 inches 48.75 x 65.75 inches, framed R...

I Know I'm Paranoid by The Connor Brothers

Maybe It's Not About A Happy Ending by The Connor Brothers Giclée, Screen Print, Acrylic, Oil and Hand Applied Varnish on Paper

Clarence Holbrook Carter (American, 1904-2000) Sleeping Cat, 1929 Watercolor on paper Signed and dated upper right 15 x 19 inches 21.25 x 25.25 inches, framed Clarence Holbrook Car...

Edris Eckhardt (American, 1905-1998) Vernal Equinox, c. 1975 Bronze Signed on base 16.5 x 4 x 3 inches Born in Cleveland, Ohio January 28, 1905, Edris was given the name Edythe Alin...

Julian Stanczak (American, 1928-2017) Twist and the Rain, 1975 acrylic on canvas signed verso 30 x 24 inches Julian Stanczak (American, b. November 5, 1928) was an American painter...

Mary Spain (American, 1934-1983) Sphinx and Moon (Self Portrait), c. 1980 Pastel on paper 9 x 16.5 inches 17. 5 x 25 inches, framed Set in a realm of fantasy, Mary Spain’s work ex...

Frank Nelson Wilcox (American, 1887-1964) Moraine Valley, Rocky Mountain National Park, Colorado, c. 1950 Watercolor on paper Unsigned 19 x 24 inches Provenance: From the Estate of Frank Nelson Wilcox Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer, and Frederick Gottwald. He also attended Keller's Berlin Heights summer school from 1909. After graduating in 1910, Wilcox traveled and studied in Europe, sometimes dropping by Académie Colarossi in the evening to sketch the model or the other students at their easels, where he was influenced by French impressionism. Wilcox was influenced by Keller's innovative watercolor techniques, and from 1910 to 1916 they experimented together with impressionism and post-impressionism. Wilcox soon developed his own signature style in the American Scene or Regionalist tradition of the early 20th century. He joined the Cleveland School of Art faculty in 1913. Among his students were Lawrence Edwin Blazey, Carl Gaertner, Paul Travis, and Charles E. Burchfield. Around this time Wilcox became associated with Cowan Pottery. In 1916 Wilcox married fellow artist Florence Bard, and they spent most of their honeymoon painting in Berlin Heights with Keller. They had one daughter, Mary. In 1918 he joined the Cleveland Society of Artists, a conservative counter to the Bohemian Kokoon Arts Club, and would later serve as its president. He also began teaching night school at the John Huntington Polytechnic Institute at this time, and taught briefly at Baldwin-Wallace College. Wilcox wrote and illustrated Ohio Indian Trails in 1933, which was favorably reviewed by the New York Times in 1934. This book was edited and reprinted in 1970 by William A. McGill. McGill also edited and reprinted Wilcox' Canals of the Old Northwest in 1969. Wilcox also wrote, illustrated, and published Weather Wisdom in 1949, a limited edition (50 copies) of twenty-four serigraphs (silk screen prints) accompanied by commentary "based upon familiar weather observations commonly made by people living in the country." Wilcox displayed over 250 works at Cleveland's annual May Show. He received numerous awards, including the Penton Medal for as The Omnibus, Paris (1920), Fish Tug on Lake Erie (1921), Blacksmith Shop (1922), and The Gravel Pit (1922). Other paintings include The Trailing Fog (1929), Under the Big Top (1930), and Ohio Landscape...

Henry George Keller (American, 1869-1949) The Bug Gouache on illustration board Signed lower left 30 x 21 inches 39 x 31 inches, framed Keller, a leading painter in Cleveland, was b...

Theo Wilhelm Wolvecamp (Dutch, 1925 - 1992) Untitled Oil on canvas Signed and numbered 21 verso 15.75 x 19.75 inches Theo Wilhelm Wolvecamp was a Dutch artist and member of the COBRA group...

Frank Nelson Wilcox (American, 1887–1964) Home in the Village, Mt. St. Michel, France, c. 1926 Watercolor on board Signed lower right 21.75 x 28 inches 30.5 x 36.5 inches, framed Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer, and Frederick Gottwald. He also attended Keller's Berlin Heights summer school from 1909. After graduating in 1910, Wilcox traveled and studied in Europe, sometimes dropping by Académie Colarossi in the evening to sketch the model or the other students at their easels, where he was influenced by French impressionism. Wilcox was influenced by Keller's innovative watercolor techniques, and from 1910 to 1916 they experimented together with impressionism and post-impressionism. Wilcox soon developed his own signature style in the American Scene or Regionalist tradition of the early 20th century. He joined the Cleveland School of Art faculty in 1913. Among his students were Lawrence Edwin Blazey, Carl Gaertner, Paul Travis, and Charles E. Burchfield. Around this time Wilcox became associated with Cowan Pottery. In 1916 Wilcox married fellow artist Florence Bard, and they spent most of their honeymoon painting in Berlin Heights with Keller. They had one daughter, Mary. In 1918 he joined the Cleveland Society of Artists, a conservative counter to the Bohemian Kokoon Arts Club, and would later serve as its president. He also began teaching night school at the John Huntington Polytechnic Institute at this time, and taught briefly at Baldwin-Wallace College. Wilcox wrote and illustrated Ohio Indian Trails in 1933, which was favorably reviewed by the New York Times in 1934. This book was edited and reprinted in 1970 by William A. McGill. McGill also edited and reprinted Wilcox' Canals of the Old Northwest in 1969. Wilcox also wrote, illustrated, and published Weather Wisdom in 1949, a limited edition (50 copies) of twenty-four serigraphs (silk screen prints) accompanied by commentary "based upon familiar weather observations commonly made by people living in the country." Wilcox displayed over 250 works at Cleveland's annual May Show. He received numerous awards, including the Penton Medal for The Omnibus, Paris (1920), Fish Tug on Lake Erie (1921), Blacksmith Shop (1922), and The Gravel Pit (1922). Other paintings include The Trailing Fog (1929), Under the Big Top (1930), and Ohio Landscape...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Horseback Riders Pastel on brown paper Signed lower left 9.5 x 12.5 inches Joseph O'S...

Henry George Keller (American, 1869–1949) Shepherdess with Sheep and Dog, Munich, 1891 Oil on canvas Signed and dated lower left 19 x 24 inches 25 x 30 inches, framed Keller, a lead...

Frank Nelson Wilcox (American, 1887-1964) Oxen on Road, Gaspé, Canada, 1932 Watercolor on board Signed and dated lower right 15.25 x 21 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer, and Frederick Gottwald. He also attended Keller's Berlin Heights summer school from 1909. After graduating in 1910, Wilcox traveled and studied in Europe, sometimes dropping by Académie Colarossi in the evening to sketch the model or the other students at their easels, where he was influenced by French impressionism. Wilcox was influenced by Keller's innovative watercolor techniques, and from 1910 to 1916 they experimented together with impressionism and post-impressionism. Wilcox soon developed his own signature style in the American Scene or Regionalist tradition of the early 20th century. He joined the Cleveland School of Art faculty in 1913. Among his students were Lawrence Edwin Blazey, Carl Gaertner, Paul Travis, and Charles E. Burchfield. Around this time Wilcox became associated with Cowan Pottery. In 1916 Wilcox married fellow artist Florence Bard, and they spent most of their honeymoon painting in Berlin Heights with Keller. They had one daughter, Mary. In 1918 he joined the Cleveland Society of Artists, a conservative counter to the Bohemian Kokoon Arts Club, and would later serve as its president. He also began teaching night school at the John Huntington Polytechnic Institute at this time, and taught briefly at Baldwin-Wallace College. Wilcox wrote and illustrated Ohio Indian Trails in 1933, which was favorably reviewed by the New York Times in 1934. This book was edited and reprinted in 1970 by William A. McGill. McGill also edited and reprinted Wilcox' Canals of the Old Northwest in 1969. Wilcox also wrote, illustrated, and published Weather Wisdom in 1949, a limited edition (50 copies) of twenty-four serigraphs (silk screen prints) accompanied by commentary "based upon familiar weather observations commonly made by people living in the country." Wilcox displayed over 250 works at Cleveland's annual May Show. He received numerous awards, including the Penton Medal for as The Omnibus, Paris (1920), Fish Tug on Lake Erie (1921), Blacksmith Shop (1922), and The Gravel Pit (1922). Other paintings include The Trailing Fog (1929), Under the Big Top (1930), and Ohio Landscape...

Richard Andres (American, 1927-2013) Untitled, c. 1949 oil on canvas 18 x 32 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

William Zorach (American 1891-1966) First Steps, 1918 Bronze 8.5 x 5 x 4 inches, including base Born in 1887 in Lithuania, William Zorach immigrated with his family to the United States when he was just four years old, settling in Cleveland, Ohio. Zorach displayed an exceptional artistic talent at a young age and, at the recommendation of his seventh-grade teacher, began studying lithography at night at the Cleveland School of Art. It was not long before he was apprenticing at a lithography company in Cleveland. It was there that he realized he wanted to become an artist - to escape the commercial end of the field in which he was suddenly immersed. In 1907, Zorach saved enough money to move to New York and study art at the National Academy of Design, where he received several awards for his paintings and drawings. He continued his studies in Paris in 1910 at La Palette. This year abroad would turn out to be quite fruitful because in Paris he was greatly influenced by the Cubist and Fauvist movements and had several paintings exhibited at the Salon d'Automme. This influence and subsequent success fueled his career back in the states where he was honored with his first one-man exhibition. Due to this new-found stability, he married a young woman he met at school in Paris, and they moved to New York and set up a studio. Shortly after, their work was accepted into the famous 1913 Armory Show. For the next nine years, Zorach continued to think of himself as a painter, although he had already begun to experiment in sculpting. He was experiencing modest success with his painting and was therefore reluctant to abandon it completely. However, he was impelled toward sculpting, and in 1922, he painted his last oil. Zorach's involvement with sculpture began largely be accident. While he was working on a series of wood-block prints, Zorach suddenly became more interested in the butternut panel than the print and turned the panel into a carved relief. With no formal training as a sculptor, Zorach's first sculptures were of wood and his carving tools were primitive, such as a jack-knife. I n fact, his early works have a certain stylized look, suggesting the influence of various primitive arts such as African and American folk. Zorach found his sculptural direction by instinct, but was not unaware of what other sculptors were doing, both here and abroad. He soon allied himself with a growing number of modern sculptors who believed in the esthetic necessity of carving their own designs directly in the block of stone or wood rather than modeling them in clay. From the beginning he found a deep satisfaction in the slow and patient process of freeing the image from its imprisoning block, watching the forms emerge and appear. "The actual resistance of tough material is a wonderful guide," Zorach said in a lecture on direct sculpture in 1930. The sculptor "cannot make changes easily, there is no putting back tomorrow what was cut away today. His senses are constantly alert. If something goes wrong there is the struggle to right the rhythm. And slowly the vision grows as the work progresses." Zorach also found that the material itself had a constantly modifying effect on the artist's vision. The grain of the wood, the markings in the stone, the shape of the log or boulder all set limits and suggested possibilities. He was always sensitive to the characteristic qualities of his material and occasionally let them play a major role in determining his forms. In works such as these, the feel of the original material is preserved in the finished piece and is often heightened by leaving parts of the original surface untouched and other areas roughly marked by the sculptors tools...

Richard Andres (American, 1927-2013) Erie Shore, c. 1975 acrylic on canvas signed lower right, signed and titled verso 50 x 72 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller...

The Flow Cuff Bracelet in solid sterling silver begins as a triangle and evolves into a square at its opposite end. This elegant bracelet can blend seamlessly into any style or becom...

Clarence Holbrook Carter (American, 1904-2000) Departing from the System, 1961 Mixed media on paper Signed and dated lower right 36 x 24 inches A surrealist mid-century figural abst...

George Mauersberger (American, 20th Century) Veg 4, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed th...

Walter Sinz (American, 1881-1966) Zinnia, c. 1930 Plaster Signed on base 9 x 8 x 4 inches Walter A. Sinz was an American sculptor born in Cleveland, Ohio on July 13, 1881. Sinz’s fa...

Marcello Fantoni (Italian, 1915-2011) Faces Vase Ceramic Signed on bottom 10.5 x 5.5 x 6 inches Marcello Fantoni was an Italian sculptor, ceramicist, metalworker, multi-media artist...

Jacobson (20th Century) Portrait Vase, 1949 Ceramic Signed and dated on bottom 13 x 6 x 6 inches

Venetian Canal, c. 1910-11 Tempera on board Signed lower right 24 x 30 inches 30 x 36 inches, framed Frank Nelson Wilcox (October 3, 1887 – April 17, ...

John Teyral (American, 1912-1999) Marrakech, 1937 Watercolor on paper Signed, dated and titled upper right 12 x 14 inches 19 x 21.5 inches, framed John Teyral was one of Cleveland'...

The Medium Flow Hoop earrings begins as a square and smoothly transforms into a triangle. These earrings are a versatile and elegant statement, a timeless reimagining of a classic. ...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Sunflowers in Field Watercolor on paper Signed lower left 12.5. ...

Max Sandor (Austrian, 1897-1945) Native American Chief, 20th Century Bronze Signed on base 11 x 6 x 4.5 inches

Frank Nelson Wilcox (American, 1887-1964) Frosty Dawn, Upstate New York, c. 1916 Watercolor and gouache on board Signed lower right 21 x 30 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters". In 1906 Wilcox enrolled from the Cleveland School of Art...

Beni E. Kosh/Charles Elmer Harris (American, 1917-1993) Untitled Oil on canvas board Estate stamped #611 verso 24 x 18 inches Charles Elmer Harris was born in 1917 in Cleveland, Oh...

Frank Nelson Wilcox (American, 1887-1964) Cormorant Rock, Gaspé, Canada Watercolor on Whatman board Signed lower right 22 x 30 inches 29 x 37.5 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer...

Joseph Glasco (American, 1925-1996) Untitled 1978-81 Acrylic on canvas collage initialed verso and dated ‘81 48 x 51 inches Joseph Glasco was born in Paul’s Valley, Oklahoma and gre...

Frank Nelson Wilcox (American, 1887-1964) Fog over North Beach, Percé Rock, Gaspé, Canada, c. 1929 Watercolor on paper Signed lower left 13.75 x 20 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer...

Charles Green Shaw (American, 1892-1974) By the Dawn's Early Light, 1955 Oil on masonite Signed lower left, dated and titled verso 35.5 x 23.75 inches 38 x 26.25 inches, framed Provenance: The estate of the artist to Charles H. Carpenter Charles Green Shaw, born into a wealthy New York family, began painting when he was in his mid-thirties. A 1914 graduate of Yale, Shaw also completed a year of architectural studies at Columbia University. During the 1920s Shaw enjoyed a successful career as a freelance writer for The New Yorker, Smart Set and Vanity Fair, chronicling the life of the theater and café society. In addition to penning insightful articles, Shaw was a poet, novelist and journalist. In 1927 he began to take a serious interest in art and attended Thomas Hart Benton's class at the Art Students League briefly in New York. He also studied privately with George Luks, who became a good friend. Once he had dedicated himself to non-traditional painting, Shaw's writing ability made him a potent defender of abstract art. After initial study with Benton and Luks, Shaw continued his artistic education in Paris by visiting numerous museums and galleries. From 1930 to 1932 Shaw's paintings evolved from a style imitative of Cubism to one directly inspired by it, though simplified and more purely geometric. Returning to the United States in 1933, Shaw began a series of abstracted cityscapes of skyscrapers he called Manhattan Motifs which evolved into his most famous works, the shaped canvases he called Plastic Polygons. The 1930s were productive years for Shaw. He showed his paintings in numerous group exhibitions, both in New York and abroad, and was also given several one-man exhibitions. Shaw had his first one-man exhibition at the Valentine Dudensing Gallery in New York in 1934, which included 25 Manhattan Motif paintings and 8 abstract works. In the spring of 1935 Shaw was introduced to Albert Gallatin and George L.K. Morris. Gallatin was so impressed with Shaw's work, he broke a policy against solo exhibitions at his museum, the Gallery of Living Art, and offered Shaw an exhibition there. In the summer of 1935 Shaw traveled to Paris with Gallatin and Morris who provided introductions to many great painters. Shaw regularly spent time with John Ferren and Jean Hélion. The following year Gallatin organized an exhibition called Five Contemporary American Concretionists at the Reinhardt Gallery that included Shaw, Ferren, and Morris, Alexander Calder, and Charles Biederman...

Clarence Holbrook Carter (American, 1904-2000) King Tut No. 2, 1968 Gouache on paper Signed and dated upper right 11.25 x 8.25 inches 25.5 x 20.5 inches A surrealist mid-century fig...

Frank Nelson Wilcox (American, 1887-1964) Circus Lot at Toledo, c. 1920 Watercolor on Whatman board Signed lower right 22 x 30 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer, and Frederick Gottwald. He also attended Keller's Berlin Heights summer school from 1909. After graduating in 1910, Wilcox traveled and studied in Europe, sometimes dropping by Académie Colarossi in the evening to sketch the model or the other students at their easels, where he was influenced by French impressionism. Wilcox was influenced by Keller's innovative watercolor techniques, and from 1910 to 1916 they experimented together with impressionism and post-impressionism. Wilcox soon developed his own signature style in the American Scene or Regionalist tradition of the early 20th century. He joined the Cleveland School of Art faculty in 1913. Among his students were Lawrence Edwin Blazey, Carl Gaertner, Paul Travis, and Charles E. Burchfield. Around this time Wilcox became associated with Cowan Pottery. In 1916 Wilcox married fellow artist Florence Bard, and they spent most of their honeymoon painting in Berlin Heights with Keller. They had one daughter, Mary. In 1918 he joined the Cleveland Society of Artists, a conservative counter to the Bohemian Kokoon Arts Club, and would later serve as its president. He also began teaching night school at the John Huntington Polytechnic Institute at this time, and taught briefly at Baldwin-Wallace College. Wilcox wrote and illustrated Ohio Indian Trails in 1933, which was favorably reviewed by the New York Times in 1934. This book was edited and reprinted in 1970 by William A. McGill. McGill also edited and reprinted Wilcox' Canals of the Old Northwest in 1969. Wilcox also wrote, illustrated, and published Weather Wisdom in 1949, a limited edition (50 copies) of twenty-four serigraphs (silk screen prints) accompanied by commentary "based upon familiar weather observations commonly made by people living in the country." Wilcox displayed over 250 works at Cleveland's annual May Show. He received numerous awards, including the Penton Medal for as The Omnibus, Paris (1920), Fish Tug on Lake Erie (1921), Blacksmith Shop (1922), and The Gravel Pit (1922). Other paintings include The Trailing Fog (1929), Under the Big Top (1930), and Ohio Landscape...

Paul Riba (American, 1912-1977) Driftwood and Fish Oil on panel Signed lower right 9.25 x 23.5 inches 14 x 28.25 inches, framed Paul Riba was a painter of Magic Realism. He explore...

RICHARD ANDRES American, 1927–2013 Untitled, c. 1950 oil on canvas signed lower left 10 x 7 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Clevelan...

Clarence Holbrook Carter (American, 1904-2000) Volcano and Arch, Taormina, 1961 Watercolor on scintilla paper Signed and dated upper right 11 x 11 inches "My last year in art schoo...

Isidore Romain Boitel (French, 1812 - 1861) "Jeune fille aux colombes et à la corbeille de fleurs". Young girl with doves and basket of flowers Bronze ...

Clarence Holbrook Carter (American, 1904-2000) Reverberations, 1970 Acrylic on illustration board Signed lower left 20 x 30 inches Mid-century abstract surrealist black acrylic painting...

Mary Spain (American, 1934-1983) The Happy Couple Oil on canvas Signed middle right, signed and titled verso 22 x 26 inches Set in a realm of fantasy, Mary Spain’s work exhibits oddly distorted figures in a child-like manner with an underlying sense of absurdity. Through her toylike and primitive style, Spain created surrealistic dramas that puzzle and entrance the viewer. Born in Raleigh, North Carolina, Mary Spain studied art at Syracuse University and moved to Ohio in the 1960s to teach art at Chagrin Falls...

Clarence Holbrook Carter (American, 1904-2000) Medieval Heads, 1966 Acrylic on scintilla Signed and dated upper right 23.5 x 30 inches Clarence Holbrook...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) At the Stable, 2000 Oil on canvas Signed and dated lower right 29 x 36 inches Joseph ...

Frank Nelson Wilcox (American, 1887-1964) Crashing Waves on the Atlantic Coast, 1957 Watercolor and graphite on paper Signed and dated lower right 22 x 29 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer, and Frederick Gottwald. He also attended Keller's Berlin Heights summer school from 1909. After graduating in 1910, Wilcox traveled and studied in Europe, sometimes dropping by Académie Colarossi in the evening to sketch the model or the other students at their easels, where he was influenced by French impressionism. Wilcox was influenced by Keller's innovative watercolor techniques, and from 1910 to 1916 they experimented together with impressionism and post-impressionism. Wilcox soon developed his own signature style in the American Scene or Regionalist tradition of the early 20th century. He joined the Cleveland School of Art faculty in 1913. Among his students were Lawrence Edwin Blazey, Carl Gaertner, Paul Travis, and Charles E. Burchfield. Around this time Wilcox became associated with Cowan Pottery. In 1916 Wilcox married fellow artist Florence Bard, and they spent most of their honeymoon painting in Berlin Heights with Keller. They had one daughter, Mary. In 1918 he joined the Cleveland Society of Artists, a conservative counter to the Bohemian Kokoon Arts Club, and would later serve as its president. He also began teaching night school at the John Huntington Polytechnic Institute at this time, and taught briefly at Baldwin-Wallace College. Wilcox wrote and illustrated Ohio Indian Trails in 1933, which was favorably reviewed by the New York Times in 1934. This book was edited and reprinted in 1970 by William A. McGill. McGill also edited and reprinted Wilcox' Canals of the Old Northwest in 1969. Wilcox also wrote, illustrated, and published Weather Wisdom in 1949, a limited edition (50 copies) of twenty-four serigraphs (silk screen prints) accompanied by commentary "based upon familiar weather observations commonly made by people living in the country." Wilcox displayed over 250 works at Cleveland's annual May Show. He received numerous awards, including the Penton Medal for as The Omnibus, Paris (1920), Fish Tug on Lake Erie (1921), Blacksmith Shop (1922), and The Gravel Pit (1922). Other paintings include The Trailing Fog (1929), Under the Big Top (1930), and Ohio Landscape...

Clarence Holbrook Carter (American, 1904-2000) Mandala No. 15, 1969 Acrylic on paper Signed and dated verso 27.5 x 22 inches Clarence Holbrook Carter achieved a level of national ar...

Clarence Holbrook Carter (American, 1904-2000) Caged, 1971 Acrylic on paper Signed and dated lower right 24 x 20 inches A surrealist mid-century figural abstract painting. Clarenc...