Ohio - Figurative Drawings and Watercolors

Frank Nelson Wilcox (American, 1887–1964) At Isleta, New Mexico, c. 1937 Watercolor on paper Signed lower right, titled verso 15 x 20 inches Frank Nelson Wilcox (October 3, 1887 – A...

Frank Nelson Wilcox (American, 1887-1964) Headland & Rocks, White Island, Maine, c. 1923 Watercolor on paper Signed lower left 15 x 19.5 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...

Paul Colin (French, 1892-1985) Josephine Baker, 1925 Watercolor on paper Signed and dated lower right 14 x 10 inches 27.25 x 23 inches, framed Paul Colin (27 June 1892 – 18 June 198...

Untitled (Young woman seen from the back) Sanguine crayon, charcola and watercolor on paper, c. 1910 Signed with the estate stamp, Lugt 5169 lower left corner Provenance: Estate of ...

Auguste-Louis Lepère (French, 1849-1918) Untitled Landscape, c. 1910 Watercolor Signed lower right 14 x 16.5 inches 20 x 22.5 inches, framed Auguste-Louis Lepère was a French painte...

Portrait of a resting young lady (Marjorie Organ) Black chalk on paper. c. 1907 signed in ink by Henri's nephew, John C. LeClair, the executor of the Henri estate "Robert Henri JLC" Note: The sitter for this portrait is depicted in two drawings of similar size, illustrated in Chapellier Galleries Inc., Robert Henri 1865-1929, 1976, nos. 15 & 16. Please see the attached photo of Marjorie Organ, Henri's second wife Condition: Excellent Image/Sheet size: 10 3/8 x 7 1/2 inches Provenance: Estate of the Artist John C. LeClair, Estate Adminitrator Private Collection, Pawling, New York Biography Robert Henri was born Robert Henry Cozad in Cincinnati, Ohio, on June 24, 1865, the son of a professional gambler and real estate developer. The family lived in Nebraska and Colorado, but fled east when the father shot and killed a rancher over a land dispute and was indicted for manslaughter. They changed their last name because of the ensuing scandal and eventually settled in Atlantic City, New Jersey, during the early 1880s. In 1886 Henri enrolled at the Pennsylvania Academy of the Fine Arts in Philadelphia, where he studied under Thomas Anshutz, Thomas Hovenden...

Double sided crayon drawing: Front: Study for "The Shoe" Reverse: Studies of Figures Blue crayon, red and black crayons Image size: 19.25 x 15.375 inches Frame size: 30 x 25 1/2 inch...

Preliminary drawing for Remy de Gourmont, Couleurs, published in Le Mercure de France (Colors, new tales follow old things), 1908 Graphite and colored pencil, 1926 Signed in pencil l...

George Gustav Adomeit (American, 1879-1967) Beachside Village, Maine Watercolor on paper Signed lower right 10 x 14 inches 17.75 x 21.75 inches, framed A major painter of American ...

Preliminary drawing for Remy de Gourmont, Couleurs, published in Le Mercure de France (Colors, new tales follow old things), 1908 Graphite and colored...

Jules Andre Smith (American, 1880-1959) In the Art Gallery, 1936 Watercolor and pen and ink Signed Andre Smith, 1936 lower right 10.75 x 8.5 inches 20.25 x 17.25 inches, framed Jule...

Tea at the Ritz, New York Colored chalk, 1912 Signed with the estate stamp verso. (see photo) Authenticated by the artist's daughter, Mme Paulette Johnston. Image size: 10 5/8 x 10 1...

Jane Peterson (American, 1876-1965) Parrot Watercolor on paper Signed lower left 25 x 19 inches 31.25 x 25.25 inches, framed Born in 1876 in Illinois, Jane Peterson would grow into ...

Untitled (Letitia, pregnant with Rising Sun) Graphite on paper, 2005 Signed: "Sedrick Huckaby III" lower right (see photo) In April 2008, Huckaby was awarded a Guggenheim fellowship ...

Untitled (Joe and Patsy LoGuidice at the Casa Luna) Pastel, charcoal and colored pencil on paper, 1970-1975 Signed lower right in pencil: Larry Rivers Inscribed on the rabbit of the ...

Carl-Henning Pedersen (Denmark, 1913 - 2007) The Blue Earth II, 1971 Watercolor on paper Signed and dated lower right, signed, dated and titled verso 30.5 x 21.5 inches Carl-Henning Pedersen was born in Copenhagen in 1913. At an early age he began taking part in politics, first in the youth association of social democrats and later in the youth association of communists, which better suited his revolutionary activist nature against fascism. In 1933, he attended the public high school of Humblebaek where he met the painter Else Alfelt, who he would marry in 1934 and with whom he would have two daughters. For many years the family divided its time between Copenhagen and the city of Bovbjerg, located on the North Sea, where Carl and Else had a studio. Between 1935 and 1940, Pedersen started to sketch and paint. He exhibited for the first time, together with his wife, in “Kunstnernes Efterårsudstilling” (The Artists' Fall Exhibition) in Copenhagen in 1936. Pedersen associated with the young painters close to abstract movements, and like them, worked under difficult conditions. He went to Paris in 1939, where he encountered the work of Picasso, Matisse and Chagall. Between 1940 and 1945, he contributed to the journal Helhesten. In the same journal, Pedersen published the text "Arte astratta o arte immaginaria," that supplied the most complete and precise definition, up to that point, of the work principles of the young generation of painters, of which he was a part. This definition, in many ways, was close to that which would be the program of the group Cobra. Between 1945 and 1960, the Danish artists went abroad and, along with Dutch and Belgian artists, founded the group Cobra, which was active between 1948 and 1951. During this period in 1948, Pedersen participated in the Biennial of Venice. He exhibited extensively with Cobra in shows such as its first important show which was held at the Stedelijk Museum of Amsterdam in 1949, “International Experimental Art.” Afterwords, Pedersen distanced himself from the group and began to travel frequently. His destinations included Greece, Italy, France, Switzerland, Norway, Lapland, Iceland, Turkey, Nepal, and Jerusalem. He received the Eckersberg Award in 1950 from the Royal Danish Academy of Art. In 1952, he participated in “Contemporary Drawings from 12 Countries, 1945/1952,” an exhibition held at the Toledo Museum of Art in Toledo, Ohio, the exhibition also traveled to other museums in the United States, while in 1955, he took part in the group exhibition “Expressionism 1900/1955,” at the Walker Art Center in Minneapolis (also a traveling exhibition throughout the United States). He participated in the 1952, 1955, 1958, 1961, 1964, and 1967 editions of “The Pittsburgh International Exhibition of Contemporary Painting and Sculpture” at the Museum of Art of the Carnegie Institute in Pittsburgh. The same museum also honored him with solo exhibitions in 1961 and 1968. In 1966, he exhibited at the Solomon R. Guggenheim Museum of New York in the show “European Drawings” that also traveled to Hawaii, Canada, Argentina, and Germany. In 1967, he showed at the “2. Internationale der Zeichnung” in Darmstadt, and then in 1968, he participated in the Premio Marzotto and the “Exhibition of Expressionist Art after 1950” at the Kunstmuseum of Lucerne, which then toured in Romania, Australia, Belgium, and Finland. Pedersen received the medal of Prince Eugen in 1980, and he participated in the exhibition “Danish Artists, Carl-Henning Pedersen, Else Alfelt, Egil Jacobsen...

Bull engaging the muleta (Bull Fight) Signed with the Estate stamp lower left (See photo) Provenance: Estate of the Artist Marbella Gallery Inc., NYC Refer...

Clarence Holbrook Carter (American, 1904-2000) Snow in the Forest, 1945 Watercolor on paper Signed and dated lower right 19 x 23.75 inches 24 x 29 inches, framed Clarence Holbrook C...

Joseph Glasco (American, 1925-1996) Seated Figure 1970 India ink on paper 16 x 11.5 inches Signed and dated lower right Joseph Glasco was born in Paul’s Valley, Oklahoma and grew up...

Family Group Drawing in Chinese white, sepia and bistre ink, c. 1790 Signed lower left: G. Morland (see photo) The present work appears to be a preliminary study for two Morland paintings where the artist uses portions of this preliminary study in finished exhibition paintings. The strongest association is with the painting entitled The Cottage Door (1790), now in the collection of Royal Holloway College, University of London. Morland uses the same small girl (on left side of this sheet) holding a doll on a chair in the exact same pose. The second painting entitled The Tea Garden (Tate Gallery, London, c. 1790) incorporates similar poses and gestures of the three other figure studies on this sheet. Provenance: Colnaghi, London (Stock # D25924, see photo) Maynard Walker Gallery, New York ( see photo of label) Davis Galleries, New York, their Eagle stamp and stock number (see photo) Ms. Gloria Kaplan (1930-2011) New York City Regarding Maynard Walker: Maynard Walker New York Times obit: "Maynard Walker, an art dealer in New York City for nearly 40 years who was among the first to show the works of leading American regionalist painters, died of pneumonia Tuesday at St. Joseph's Hospital in Carbondale, Pa. He was 89 years old and lived in Lake Ariel, Pa. In 1933, while working at the Ferargil Gallery in New York, Mr. Walker organized an exhibition for the Kansas City Art Institute that for the first time brought together the work of the regionalist painters Grant Wood, Thomas Hart Benton and John Steuart Curry. After Mr. Walker opened his own gallery, at 108 East 57th Street, in 1935, these artists joined him and showed regularly there. The gallery was also among the first to show the work of George Grosz, the German painter and caricaturist, who moved to the United States in 1932. The gallery moved to 117 East 57th Street after the war." Condition: Aging to paper Slight fading to ink Tiny spotting in image All consistent with the age of the drawing Image size: 6 3/8 x 9 1/2 inches Frame size: 14 1/4 x 17 1/4 inches George Morland was born in London on 26 June 1763. He was the son of Henry Robert Morland, and grandson of George Henry Morland, said by Cunningham to have been lineally descended from Sir Samuel Morland, while other biographers go so far as to say that he had only to claim the baronetcy in order to get it. Morland began to draw at the age of three years, and at the age of ten (1773) his name appears as an honorary exhibitor of sketches at the Royal Academy. He continued to exhibit at the Free Society in 1775 and 1776, and at the Society of Artists in 1777, and then again at the Royal Academy in 1778, 1779 and 1780. His talents were carefully cultivated by his father, who was accused of stimulating them unduly with a view to his own profit, shutting the child up in a garret to make drawings from pictures and casts for which he found a ready sale. The boy, on the other hand, is said to have soon found a way to make money for himself by hiding some of his drawings, and lowering them at nightfall out of his window to young accomplices, with whom he used to spend the proceeds in frolic and self-indulgence. It has been also asserted that his father, discovering this trick, tried to conciliate him by indulgence, humouring his whims and encouraging his low tastes. He was set by his father to copy pictures of all kinds, but especially of the Dutch and Flemish masters. Among others he copied Fuseli's Nightmare and Reynolds's Garrick between Tragedy and Comedy. He was also introduced to Sir Joshua Reynolds, and obtained permission to copy his pictures, and all accounts agree that before he was seventeen he had obtained considerable reputation not only with his friends and the dealers, but among artists of repute. A convincing proof of the skill in original composition which he had then attained is the fine engraving. It is said that before his apprenticeship to his father came to an end, in 1784, Romney offered to take him into his own house, with a salary of £300, on condition of his signing articles for three years. But Morland, we are told, had had enough of restraint, and after a rupture with his father he set up on his own account in 1784 or 1785 at the house of a picture dealer, and commenced that life which, in its combination of hard work and hard drinking, is almost without a parallel. Morland soon became the mere slave of the dealer with whom he lived. His boon companions were "ostlers, potboys, horse jockeys, moneylenders, pawnbrokers, punks, and pugilists." In this company the handsome young artist swaggered, dressed in a green coat, with large yellow buttons, leather breeches, and top boots. "He was in the very extreme of foppish puppeyism", says Hassell; "his head, when ornamented according to his own taste, resembled a snowball, after the model of Tippey Bob, of dramatic memory, to which was attached a short, thick tail, not unlike a painter's brush." His youth and strong constitution enabled him to recover rapidly from his excesses, and he not only employed the intervals in painting, but at this time, or shortly afterwards, taught himself to play the violin. He made also an effort, and a successful one, to free himself from his task-master, and escaped to Margate, where he painted miniatures for a while. In 1785 he paid a short visit to France, whither his fame had preceded him, and where he had no lack of commissions. Returning to London, he lodged in a house at Kensal Green, on the road to Harrow, near William Ward, intercourse with whose family seems for a time to have had a steadying influence. It resulted in his marriage with Miss Anne Ward...

Frank Nelson Wilcox (American, 1887-1964) The Entertainment, c. 1955 Watercolor on paper Signed lower right 20 x 30 inches Exhibited: 1955 May Show, Cleveland Museum of Art "The first district schools were log houses...

Woman with Bicycle: Two Views Graphite on paper, c. 1890 Unsigned Graphite study of standing female nude verso Provenance: Rookwood Pottery Factory Collection, Cincinnati Spanierman Gallery, New York (label) Drawings from the sketchbook are in the collections of the Munson Williams Proctor Institute in Utica, New York and the Picker Art Gallery, Colgate University, Hamilton, New York. A sister drawing from the same sketchbook was sold at Cowman’s Auction, Cincinnati, October 6, 2018. Accompanied by a letter from the Spanierman Gallery, dated 1997, stating that the drawing is from a sketchbook that was held in the Rookwood Factory Collection. Sister drawing provenance: Provenance: Terry DeLapp...

Clarence Holbrook Carter (American, 1904-2000) Study for Worlds Beyond, 1980 Graphite, collage and white heightening on illustration board Signed and dated lower right 10.75 x 4.5 in...

Getting Ready for the Revolution - Learning How to Ride in the Subway Litho crayons on illustrator’s board, c. 1932 Signed: Adolf Dehn (VED) lower right corner (signed by Virginia Dehn, the artist’s widow) Tilted along the upper edge of the recto in pencil by the artist Verso inscriptions: “VF 3168.D” in a circle, also annotated in red pencil “32” in a circle and “699 Provenance: Mary Ryan Gallery, exhibition entitled Adolf Dehn Lithographs, 1927-1940, Nov. 16 to Dec. 12, 1982. The original exhibition notice us affixed to the backing board of the frame Note: A drawing intended or used in the publication Vanity Fair, for whom Dehn worked in the mid 1920’s to the 1930’s. Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs...

William Gould (American, 1930-2017) Bridge in the Flats, 1990 Watercolor on Arches paper Signed and dated lower right 21 x 28.5 inches 28 x 35.5 inches, framed Cleveland Arts Prize ...

Academic Nude Study by E. Rantz Charcoal on laid paper signed in charcoal Lalanne Watermark, c. 1880-1900 Image: 24 3/4 x 18 3/4"

Nude Female Torso Charcoal on paper, c. 1920 Stamped and initialed in pencil "Asa Cheffetz/A.D.C" Estate signature by wife, A.D.C. Exhibited: Museum of F...

The Mouth of Honey Lithographic crayon and mixed media on paper mounted to support paper Initialed by the artist "GB" bottom center on image. (see photo) Titled in pencil in bottom m...

Recruits on a March Ink and watercolor on paper, mounted on support Unsigned Condition: watercolor sheet laid down on paper, moderately faded Original Ackermann frame and matting Ima...

Woman in a Fur Wrap Pen and ink heightened with white, c. 1920 Signed in ink lower right (see photo) Estate stamp verso (see photo) Provenance: estate of the artist ...

Eileen Lake Crayon on paper, early1930's Initialed in pencil lower right (see photo) Titled and annotated verso "Eileen Lake, early 1930s girlfriend" Note: Eileen Hall Lake was an American poet and Adolf Dehn's girlfriend in the early 1930s. Provenance: Estate of the artist By descent Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...

The Dark Aspect of the Great Goddess Devi Pigment on paper (unfinished), 19th century Unsigned as is usual Condition: Good color Voids at edges of the sheet Image s...

Interior Scene with Figures Ink and watercolor on paper, c. 1930's Signed with the Estate stamp lower center Condition: Loss upper right corner; two small tears lower margin ...

Frank Nelson Wilcox (American, 1887-1964) Fisherman's Island, Boothbay, Maine, c. 1925 Watercolor on paper Signed lower left 15 x 20 inches 20.75 x 25.75 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...

Clara Deike (American, 1881-1965) Capri, 1927 Watercolor on paper Signed and dated lower right 11 x 10 inches 14.25 x 13.25 inches, framed A graduate of the Cleveland School of Art ...

Turn of the century drawing signed E. Rantz on laid paper. Watermark: Lalanne Frame: 29 3/4 x 24 Image: 24 3/4 x 18 3/4"

Untitled (Musician with clarinet) Watercolor on paper, c. 1844 Created on J Whatman Turkey Mill Watermarked paper Signed lower left: Gavarni (see photo) Condition: very fresh colors ...

Head of a Deco Woman (recto) Standing Male Model (verso) Graphite on paper, 1925 Signed with the artist's initials "PW" and dated 1925 Created while the artist was studying at the Art Institute of Chicago in 1925. This is a preliminary drawing to a series of class assignments. From a sketch book Image/Sheet size: 7 5/8 x 4 7/8 inches Condition: Excellent Slight syrface dirt Provenance: Estate of the Artist Winchell Heirs Paul H. Winchell (1903 – 1971) was a printmaker, illustrator, teacher, and gilder according to Crump, 2009 (Minnesota Prints and Printmakers, 1900- 1945, Minnesota Historical Society Press). He was the son of Mrs. Looman Winchell of Shepherd Rd as noted in a 1937 newspaper article (Painsville, O. Telegraph). Winchell grew up in North Perry, Ohio and then studied and worked as an instructor at the Art Institute of Chicago. He studied with Leon Kroll (1884 – 1974), Boris...

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...

Isadora Duncan Graphite with grey wash on paper mounted to cardstock Signed and dated in pencil lower right (see photo) Provenance: Charlotte Bergman, f...

Quick Change Watercolor on paper, 1930-1931 Signed lower right: Honore Guilbeau Illustrated in American Art Review, August 2014, page 84 in an article by Dr. M...

Impossible Solutions at The Fountain of Youth Collage on paper, 1987 Signed with the artist's initials and datedlower left Condition: Good, with the ...

Frank Nelson Wilcox (American, 1887–1964) Beaver Pond near Longs Peak, Rocky Mountain National Park, Colorado, c. 1950 Watercolor on Paper 19 x 24 inches 21 x 26 inches framed Frank...

Frank Nelson Wilcox (American, 1887-1964) Moraine Valley, Rocky Mountain National Park, Colorado, c. 1950 Watercolor on paper 19 x 24 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...

Lets Find the Way #1 Watercolor on Arches wove paper, 2021 Signed with the artist's initials lower right Signed, titled and dated in pencil verso This watercolor is related to the ar...

Clarence Holbrook Carter (American, 1904-2000) Pappy (Study for Over and Above: Gorilla), c. 1973 Colored pencil on paper Signed and dated lower left 7 x 7 inches 20.75 x 19 inches, framed Clarence Holbrook Carter achieved a level of national artistic success that was nearly unprecedented among Cleveland School artists of his day, with representation by major New York dealers...

Original oil pastel figure drawing by celebrated, twentieth-century California landscape painter, Ronald Shap. Sketch of woman with glasses. 22.5x17.5 ...

Ora Coltman (American, 1858-1940) Julia Maud De Forest, 1898 Watercolor on paper Signed and dated upper left 9.25 x 12.75 inches 15 x 18.25 inches, framed Ora Coltman was born in 18...

Preliminary Study for the painting Rose and Gold, 1913 Graphite on paper, 1913 Signed in pencil lower left (see photo) Titlted "Lizzy Young" in pencil upper left (see photo) Lizzy was a modle that Paxton depicts numerous times. The painting that this drawing is related to, is illustrated in Lee & Krause, William McGregor Paxton, 1869-1941, Plate 32, text on page 132. The painting was formerly in the collection of Victor Spark and the Honorable Paul Buchanan. It is currently in a Texas Collection. Provenance: Private Collection, Florida William McGregor Paxton (June 22, 1869 – 1941) was an American painter and instructor who embraced the Boston School paradigm and was a co-founder of The Guild of Boston Artists. He taught briefly while a student at Cowles Art School, where he met his wife Elizabeth Okie Paxton, and at the Museum of Fine Arts School in Boston. Paxton is known for his portraits, including those of two presidents—Grover Cleveland and Calvin Coolidge—and interior scenes with women, including his wife. His works are in many museums in the United States. Early life He was born on June 22, 1869, in Baltimore to James and Rose Doherty Paxton. William's father moved the Paxton family and established a catering business in Newton Corner, Massachusetts, in the mid-1870s. Education Paxton attended Cowles Art School on a scholarship he attained at the age of 18. He studied with Dennis Miller Bunker...

Untitled (Seated Young Woman) Graphite on Veritable Papier d'Arches wove paper, 1970 Signed and dated lower right (see photo) Condition: Excellent Image/sheet size: 15 x 11 1/4 inch...

Watercolor on paper Most probably related to the artist's creation of images surrounding Haggadah (Passover) which he started in 1930 and finished with the publication of his book in...

Standing Woman in Profile Pen and ink drawing, c. 1900 Unsigned Estate authentication verso by Frances Frieseke Kilmer (Mrs. Kenton Kilmer, 1914-1998) (see photo) Condition: Excellen...

Frank Nelson Wilcox (American, 1887–1964) Silent Prayers at St. Malo, France, 1925 Watercolor and gouache on board Signed and dated lower right 19 x 24 inches Frank Nelson Wilcox (...

Frank Nelson Wilcox (American, 1887–1964) Boats off Concarneau, France, c. 1910-11 Watercolor on paper 12.5 in. h. x 8.5 in. w. 22 in. h. x 18 in. w., as framed Frank Nelson Wilcox ...

Frank Nelson Wilcox (American, 1887–1964) Two Old Pecan Trees, 1932 Watercolor on paper mounted on board Signed lower right 21 x 28.25 inches 27 x 35.25 inches, as framed Exhibited: 1932 May Show (1st Place) Cleveland Museum of Art; Poetics of Place: Charles Burchfield and His Contemporaries, 2001 Cleveland Artist's Foundation. 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...

Thelma Frazier Winter (American, 1905-1977) On the Balcony Pastel on paper Signed lower right 20 x 16 inches Thelma Frazier Winter was an American enamelist, ceramic sculptor, and p...

Head of a Woman (Margaret) conte on wove paper, 1925 Signed and dated lower right Annotated "Margaret" in ink verso A portrait of Margaret Cassidy Manship ( d. 2012), daughter in law...

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...

William Sommer (American, 1867-1949) Tyrannus, c. 1935 Watercolor and pen and ink on paper Signed lower right 7.5 x 9.5 inches 16 x 18 inches, framed William Sommer is seen as a ke...

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...