Franz A. Bischoff - "Still-Life with Roses" - Watercolor - 22 1/4" x 30 3/4" - Signed and dated 1890 lower right <br>Framed by Richard Tobey Fine Frames, Los Angeles, California <br> <br> <br>As a china painter, Bischoff was most famous for his roses, and became known as the "King of the Rose Painters". This watercolor was painted the year that he and Bertha Greenwald were married in Fostoria, Ohio.
Franz A. Bischoff
"Still-Life with Roses"
1890

Lester Boronda - "Adobe Interior" - Monterey - Oil on canvas - 36" x 30" - Signed and monogramed lower right <br> <br>Exhibited: National Academy of Design, NY; Art Institute of Chicago; Corcoran Gallery, Washington, D.C.; Pennsylvania Academy of Fine Art; <br>prestigious Braus Gallery in New York in 1914 with a successful one-man exhibit of his Spanish California paintings. <br> <br>Illustrated in Art in California, 1916, Plate No. 78. (This book was written as a tribute to the successful artists of the day illustrating artworks which were exhibited at the P.P.I.E./1915; however, deciding to also include "Adobe Interior" by Boronda, a significant tribute paid to him by fellow artists who were exhibitors). <br> <br>Although born in Reno, NV on July 24, 1886, Boronda was a member of an early California family (his great-grandfather was a member of the second Junipero Serra expedition into Alta California in 1770). He was raised on a Salinas cattle ranch where today the family home is a state historical landmark. <br> <br>His art studies began in San Francisco at the Mark Hopkins Institute under Arthur Mathews and continued at the ASL in NYC under Frank Vincent DuMond. The finishing touches to his art training were under Jean Paul Laurens in Paris and in Munich. <br> <br>Leaving California in 1913, he moved to New York where he established an important craftsman center which specialized in wrought iron. His painting specialty in California had been genre of old Monterey and, after moving to the East, he painted street scenes of New York. Boronda often spent summers in Mystic, CT before his death in New Canaan on Sept. 19, 1953. <br> <br> Member: Carmel Art Association; Mystic Art Association <br> Exhibited: Del Monte Art Gallery (Monterey), 1910; NAD; AIC; Carnegie Institute, 1912; CGA, 1914-1923; PAFA, 1924. <br> In: Monterey Peninsula Museum of Art; Salinas City Council; Nevada Museum (Reno); California Historical Society; PAFA; Rochester (NY) Mechanics Institute.
Lester Boronda
"Adobe Interior" - Monterey
c. 1913

Samuel Bolton Colburn - "Country Church" - Watercolor - 13 3/4" x 21 1/2" - Signed lower right <br>Double-sided: Abandoned Mining Town
Samuel Bolton Colburn
"Country Church"
c. 1938

Samuel Bolton Colburn - "Farm Houses" - Watercolor - 13" x 19" - Signed and dated lower left
Samuel Bolton Colburn
"Farm Houses"
1938

Samuel Bolton Colburn - "Farmer with Horse" - Watercolor - 21" x 14" - Signed lower right <br>Double-sided: Pheiffer's Beach - 1955 <br>Signed and dated lower right
Samuel Bolton Colburn
"Farmer with Horse"
c. 1940

Samuel Bolton Colburn - "Fishermen 'Confab' on the Wharf" - Oil on canvas - 12" x 16" - Signed and dated lower right <br> <br>Although known for his watercolors, pastels and charcoals, he excelled in oil - a rarely painted medium by the artist.
Samuel Bolton Colburn
"Fishermen 'Confab' on the Wharf"
1940

East coast scene in watercolor depicting four small boats in the harbor; with five structures of various sizes on stilts; with two houses in the near distance in a grove of trees.
Samuel Bolton Colburn
"Grey Boats"
c. 1942

Samuel Bolton Colburn - "Happy Farmer" - Watercolor - 14" x 20" - Signed lower right <br> <br> <br> <br>Reproduced in OLLI@CSUMB/Fall Catalogue-2022, page 22.
Samuel Bolton Colburn
"Happy Farmer"
1940

Samuel Bolton Colburn - "Hatton Ranch" - Carmel Valley - Oil on masonite - 16" x 43 1/2" - Signed lower right <br> <br>A masterwork of one of Colburn's early and rare oil paintings both in composition and color, and of exceptional size. <br> <br>This really is an outstanding painting by Colburn, great color and paint application, and the largest work in oil we’ve seen.
Samuel Bolton Colburn
"Hatton Ranch" - Carmel Valley
c. 1949

Samuel Bolton Colburn - "Hauling the Nets" - Watercolor - 12 1/2" x 13 1/4" - Signed and dated lower right <br> <br>Reproduced in OLLI@CSUMB/Fall Catalogue-2022, page 11.
Samuel Bolton Colburn
"Hauling the Nets"
1939

Samuel Bolton Colburn - "Hillside Farm with Water Tank" - Watercolor - 20 1/2" x 14" - Signed lower left <br>Double-sided: Cacti - 1944 <br>Signed and dated lower left <br> <br> <br>Reproduced in OLLI@CSUMB/Fall Catalogue-2022, FRONT COVER
Samuel Bolton Colburn
"Hillside Farm with Water Tank"
c. 1940

Samuel Bolton Colburn - "Hillside Houses" - Watercolor - 10 1/2" x 16 1/4" - Signed and dated lower right <br>Double-sided: Rocks and Water (unsigned) <br> <br> <br>Reproduced in OLLI@CSUMB/Fall Catalogue-2022, page 16.
Samuel Bolton Colburn
"Hillside Houses"
1942

Samuel Bolton Colburn - "Horse at the Ranch" - Watercolor - 8" x 9 1/2" - Signed and dated lower right <br> <br> <br>Reproduced in OLLI@CSUMB/Fall Catalogue-2022, page 13.
Samuel Bolton Colburn
"Horse at the Ranch"
1941

A large vat dominates this watercolor - on the wharf in Monterey - five fishermen are hard at work filling the vat with the nets used to catch the fish.
Samuel Bolton Colburn
"In the Vat" - Monterey
c.1940

Samuel Bolton Colburn - "Lonesome House" - Watercolor - 15" x 21" - Signed and dated lower right
Samuel Bolton Colburn
"Lonesome House"
1937

Samuel Bolton Colburn - "Mexican Street Singers" - Watercolor - 10 1/2" x 11 1/2" - Signed and dated lower left <br> <br>Reproduced in OLLI@CSUMB/Spring Catalogue-2019, page 30.
Samuel Bolton Colburn
"Mexican Street Singers"
1939

A landscape scene with colorful mountains and also with several miners cabins.
Samuel Bolton Colburn
"Mining Town"
1942

Samuel Bolton Colburn - "Net Menders" - Monterey Bay - Watercolor - 13 1/2" x 21" - Signed and dated lower right <br>Double sided: Sea and Land <br> <br>Sam Colburn gained his substantial reputation as a watercolorist and for his early paintings of the Monterey Peninsula in Northern California. He depicted the fisherman and activities around the wharf and in the canneries, and the hills and farm buildings around Salinas and Carmel Valley. His early figural works of Monterey fisherman at work in the sardine canneries made famous by John Steinbeck, reduce the figures to blocky forms in the manner of Diego Rivera. <br> <br>Reproduced in OLLI@CSUMB/Fall Catalogue-2022, page 3.
Samuel Bolton Colburn
"Net Menders" - Monterey Bay
1938

Samuel Bolton Colburn - "On the Wharf" - Watercolor - 13" x 19 1/4" - Signed and dated bottom center <br>Double sided: Hatton Ranch, Carmel Valley <br> <br>Sam Colburn gained his substantial reputation as a watercolorist and for his early paintings of the Monterey Peninsula in Northern California. He depicted the fisherman and activities around the wharf and in the canneries, and the hills and farm buildings around Salinas and Carmel Valley. His early figural works of Monterey fisherman at work in the sardine canneries made famous by John Steinbeck, reduce the figures to blocky forms in the manner of Diego Rivera.
Samuel Bolton Colburn
"On the Wharf"
1941

Samuel Bolton Colburn - "Railway Station and Storage Tanks" - Watercolor - 15" x 21" - Signed lower right <br>Double sided: Coastal Seascape
Samuel Bolton Colburn
"Railway Station and Storage Tanks"
c. 1937

Samuel Bolton Colburn - "Resting on the Pilings" - Watercolor - 12 1/2" x 11 1/2" - Signed lower right
Samuel Bolton Colburn
"Resting on the Pilings"
c.1941

Samuel Bolton Colburn - "Still Life with Fruit" - Watercolor - 14 1/4" x 20" - Signed lower right <br>Double-sided: Houses and Cypress <br> <br> <br>Reproduced in OLLI@CSUMB/Fall Catalogue-2022, BACK COVER
Samuel Bolton Colburn
"Still Life with Fruit"
c. 1942

A quiet composition begins with rowboats docked by the pier in the foreground, a fishing boat docked near the pier on the left. The rest of the composition are the tanks used and a rooftop view of the canneries in the background.
Samuel Bolton Colburn
"Tanks at the Canneries"
c.1941

Samuel Bolton Colburn - "Valley Farm Houses - Afternoon Light" - Watercolor - 15 1/2" x 22" - Signed and dated lower left <br>Double-sided: Trees and Hills -1938 <br>Signed and dated lower right
Samuel Bolton Colburn
"Valley Farm Houses - Afternoon Light"
1938

A landscape scene beginning with a tree in the foreground, a winding road pasing houses, and a water tower taking you up to the final destination - a house on the hilltop.
Samuel Bolton Colburn
"Water Tower and Houses"
1942

Three fishermen dominate this scene - they are on the deck of a fishing boat and are working the nets in perfect harmony. Another fishing boat can be seen in the far distance.
Samuel Bolton Colburn
"Working the Nets"
1938

E. Charlton Fortune - "Portrait of a Young Lady" - Pastel - 23 3/8" x 21 1/2" - Signed and dated lower left <br> <br>Exhibited: <br> "E. Charlton Fortune, 1885-1969" - Carmel Art Association/August 2 - September 5, 2001. Illustrated. in accompanying catalogue, plate 23, page 54 <br> <br>"E. Charlton Fortune: The Colorful Spirit" - <br>Pasadena Museum of California Art (PMCA)/Aug. 20, 2017 - Jan.7, 2018; <br>Crocker Art Museum/Jan. 28 - April 22, 2018 <br>Monterey Museum of Art/May 24 - Aug. 27, 2018 <br> <br>Illustrated: E. Charlton Fortune: The Colorful Spirit by Scott A. Shields, PhD., page 58. Published on the occasion of the exhibition.
E. Charlton Fortune
"Portrait of a Young Lady"
1919

A coastal landscape with cypress trees in the foreground, the blue of the ocean on the right side and a view of Mount Doud dominates the background - with beautiful puffy clouds resting on the majestic mountain top.
Arthur Hill Gilbert, A.N.A.
"Mt. Doud, Big Sur"
c. 1928

Armin C. Hansen, N.A. - "Anchorage" - Etching - 5" x 6 3/8" - Plate: Signed and dated, lower left: Armin Hansen '21 <br>Titled in pencil lower left <br>Signed in pencil lower right <br> <br>Illustrated: 'The Graphic Art of Armin C. Hansen, A Catalogue Raisonne' by Anthony R. White/1986. Plate 37, page 49.
Armin C. Hansen, N.A.
"Anchorage"
1921

Armin C. Hansen, N.A. - "Coast Port" - Drypoint - 2 1/2" x 3 1/2" - Plate: Initialed and dated, lower left: A H 27. <br>Titled lower left in pencil; signed lower right in pencil. <br> <br>Plate 99, page 108 in 'The Graphic Art of Armin C. Hansen, A Catalogue Raisonne' by Anthony R. White/1986
Armin C. Hansen, N.A.
"Coast Port"
1927

Armin C. Hansen, N.A. - "Cowboy Sport" - Rodeo scenes were not new for Hansen. He began painting them in 1913, after a friend took him to see the Salinas rodeo. However, it was not until 1930 that Hansen began producing and exhibiting more paintings of the Salinas rodeo in an effort to diversify his offerings. <br> <br> <br>1. This is the original partial preliminary pencil sketch for the drypoint, 4" x 7". Initialed A.H. lower right. <br>Acquired directly from the estate of Armin C. Hansen <br>Estate Stamp on reverse <br> <br>2. Original finished graphite drawing for the drypoint, 5" x 7". <br>Signed, located and dated lower right: Armin Hansen, Salinas - 1930 <br>Acquired directly from the estate of Armin C. Hansen <br> <br>3. Original drypoint, 5" x7" <br>Plate: Initialed, dated, located lower right: A.H. '30. Salinas. <br>Titled lower left in pencil; signed lower right in pencil. <br>Illustrated in 'The Graphic Art of Armin C. Hansen, A Catalogue Raisonne' by Anthony R. White/1986. Plate 111, page 121. <br> <br>The original partial preliminary pencil sketch, the original finished graphite drawing and the finished drypoint for Cowboy Sport will be sold as a complete suite – an ultimate rarity for any serious collector of Armin Hansen.
Armin C. Hansen, N.A.
"Cowboy Sport"

Armin C. Hansen, N.A. - "Empire Builders" - Oil on board - 15 3/4" 19 3/4" - Signed lower left <br>Titled and signed on reverse <br>One of two paintings that Hansen exhibited <br>at the CAA's 1936 Christmas Show. <br> <br>A symbolic creation inspired by California’s Gold Rush era in the days of the Forty Niners <br> <br>The "Empire Builders" is one of three significant paintings that Thelma B. Miller, art critic for the Carmel Pine Cone, singles out as a “new” method of painting which Armin Hansen briefly and very successfully ventured into in 1936. <br> <br>The following is excerpted from: Jennie V. Cannon: The Untold History of the Carmel and Berkeley Art Colonies, Volume 1, East Bay Heritage Project, by Robert W. Edwards/2012, page 429: <br> <br>In the summer of 1936, Hansen completed for the new library at Carmel's Sunset School his WPA Federal Art Project mural entitled 'The Span of Life', a symbolical creation in light, bright colors…'. That fall at the Carmel Art Association's Exhibition of Oils, Miller observed: The Hansen painting, 'With the Wind', seems to mark further the emergence of a new method by this outstanding artist. He has never made finer use of color than in some of his recent paintings. Of his two entries at the Carmel Art Association's Christmas Show in 1936 Miller found that one was a "blue-water" canvas in his "old method," but the other was executed in the new "symbolism which he is currently practicing" with "a whole new palette full of colors…his 'Empire Builders' inspired by the covered wagon period, but not historic or genre in style." <br> <br> <br>The following is excerpted from: Armin Hansen: The Artful Voyage by Scott A. Shields, PhD. / 2015: <br> <br>"For decades, the American frontier symbolized the youth and potential of the new nation, but with development bridging the coasts and the country connected by iron rails and roads, the need to civilize the American wilds was waning, and the idea of the frontier was quickly becoming self-conscious, a sure sign that the era had passed. And yet the frontier did linger symbolically, making images and stories of humanity's interactions with nature appealing." Page 29. <br> <br>CHRONOLOGY: December/1936: Exhibits two paintings (a blue marine and Empire Builders) in a show of small paintings at the Carmel Art Association. Page 251. <br> <br>NOTE: Hansen painted a larger version of 'Empire Builders' in 1949, oil on canvas, 24” x 36”, commemorating the year of the Gold Rush. It is in the permanent collection of the Monterey Museum of Art.
Armin C. Hansen, N.A.
"Empire Builders"
1936

Armin C. Hansen, N.A. - "Fishermen on the Dock" - Drybrush painting on paper - 8" x 10 1/2" - Signed with initials lower right <br> <br> <br>From The Estate Collection of early California art historian, Betty Hoag McGlynn, the late daughter-in-law of early California artist, Thomas A. McGlynn.
Armin C. Hansen, N.A.
"Fishermen on the Dock"

Armin C. Hansen, N.A. - "Idle Fisher Fleet" - Oil on panel - 10" x 12" - Signed lower left: Armin Hansen N.A. <br>Titled and signed on reverse <br>Remnant of custom's label on reverse: Nieuport <br> <br>Exhibited: <br>Early California Masters: Paintings from the Katherine A. Norris Legacy Collection, American Legacy Fine Arts, Pasadena, California, November 12 - December 19, 2021. Illustrated in accompanying catalogue, page six. <br> <br>Published: <br>American Art Review Magazine, advertisement, November/December 2021 <br> <br>Western Art & Architecture, advertisement, November 2021 <br> <br>American Art Review Magazine advertisement, March/April 2020
Armin C. Hansen, N.A.
"Idle Fisher Fleet"
c. 1910

Hansen creates a quiet early morning on the ocean with one fishing boat and one rowboat along side. In the distant background are the docks and piers.
Armin C. Hansen, N.A.
"Morning"
1926

Armin C. Hansen, N.A. - "Over The Roofs" - Etching - 4 5/8" x 7 1/8" - Plate: Signed and dated lower right. <br>Titled lower left in pencil; signed lower right in pencil. <br> <br>Plate #31, pg. 43 in 'The Graphic Art of Armin C. Hansen-A Catalogue Raisonne' by Anthony R. White/1986.
Armin C. Hansen, N.A.
"Over The Roofs"
1918

Armin C. Hansen, N.A. - "Over the Top" - Etching and drypoint - 9" x 14 3/8" - Plate: Signed and dated, lower right: Armin Hansen '31. <br>Titled in pencil lower left; signed in pencil lower right. <br> <br>Illustrated: 'The Graphic Art of Armin C. Hansen, A Catalogue Raisonne' by Anthony R. White/1986. Plate 127, page 142. <br> <br>In the fall of 1931, Hansen accepted a commission from the Pebble Beach Riding Club for a painting of horses in a steeplechase, which would serve as inspiration for the etching and drypoint “Over the Top”. Not only did the print do well in terms of sales, but in the summer of 1932, it won an Honorable Mention in the Competition and Exhibition of Art held in conjunction with the Summer Olympic Games in Los Angeles; catalogue #911, page 58. For Hansen, the rodeo scenes and horse imagery harkened back to his father. “There’s only one way I can account for the horses,” he explained. “My father, who was a painter before me, made quite a success with frontier subjects.”
Armin C. Hansen, N.A.
"Over the Top"
1931

Armin C. Hansen, N.A. - "Pine Trees" - Monterey - Conte Crayon on paper - 19 1/2" x 19 1/2" - Signed lower right <br> <br>"Before Hansen, when artists painted Monterey scenes with workers, they most often depicted them in connection with the historic Carmel Mission or quietly performing agricultural chores in peaceful harmony with the land, evincing the lingering influence of the French Barbizon style that Tavernier introduced in the mid-1870s. Such paintings were popular because they were soothing and restful, offering an oasis of tranquility and escape. These evolved into pure landscapes focusing on the beautiful coast, with attention accorded to the wind-sculpted Monterey cypress trees clinging to rocky shores. <br> <br>Hansen, who saw himself as part of a new generation, painted pure landscapes infrequently and believed the indigenous and emblematic cypress to be overused. When he did depict the cypress or pine, he tended to organize the trees into abstractly patterned groups rather than depict them as single, arboreal curiosities, which by then had become ubiquitous on postcards and paintings made for tourists.” <br> <br>Source: Armin Hansen: The Artful Voyage/2015, Scott A. Shields, PhD. Page 24.
Armin C. Hansen, N.A.
"Pine Trees" - Monterey
c. 1935

Armin C. Hansen, N.A. - "Sailing Boats (Calm Sea) - Etching - 4 7/8" x 6" - Plate: No data in plate. <br>Signed in pencil lower right. <br> <br>Plate 27, page 39 in 'The Graphic Art of Armin C. Hansen, <br>A Catalogue Raisonne' by Anthony R. White/1986
Armin C. Hansen, N.A.
"Sailing Boats (Calm Sea)
circa 1916

Armin C. Hansen, N.A. - "Sardine Barge" - Etching - 12 7/8" x 14 5/8" - Plate: Signed & dated, lower left: Armin Hansen '22. <br>Titled in pencil lower left; signed in pencil lower right. <br> <br>In: 'The Graphic Art of Armin C. Hansen-A Catalogue Raisonne by Anthony R. White/1986; plate #43, pages 54, 55. <br> <br>THIS IS HANSEN'S SIGNATURE ETCHING - AND ICONIC COMPOSITION. <br>HIS GOLD MEDAL WINNER IN 1923 AT THE LA INTERNATIONAL EXHIBITION BY THE LOS ANGELES CHAMBER OF COMMERCE FOR BEST PRINT IN EXHIBIT.
Armin C. Hansen, N.A.
"Sardine Barge"
1922

In this small etching Hansen depicts two or three fishermen on the pier which occupies the left side of the etching. The remainder shows the water and the nets hoping for a large catch for the day.
Armin C. Hansen, N.A.
"The Little Pier"
1924

Pedro J. de Lemos - "Alley - New Orleans" - Pastel - 10" x 7.5" - Signed lower left <br>Titled lower right; dated on reverse
Pedro J. de Lemos
"Alley - New Orleans"
1913

Pedro J. de Lemos - "Chinatown Street" - Color lithograph - 4" x 4.5" - Titled lower left; signed lower right <br> <br> <br>Exhibited: <br>Stanford Art Gallery/Lasting Impressions of Pedro de Lemos - The Centennial Exhibition: October 3 - December 3, 2017 <br> <br>Exhibited: <br>Monterey Museum of Art/Lasting Impressions - Pedro de Lemos: April 30 - September 28, 2015 <br> <br>Illustrated: Pedro de Lemos/Lasting Impressions: Works on Paper, 1910-1945 (Edwards); plate 32a, page 104.
Pedro J. de Lemos
"Chinatown Street"

Pedro J. de Lemos - "Dolores Mission" - Mezzotint and aquatint - 3.75" x 4.5" - Titled lower left; signed lower right <br> <br>Exhibited: <br>Monterey Museum of Art/Lasting Impressions - Pedro de Lemos: 2015; <br> <br>Stanford Art Gallery/Lasting Impressions of Pedro de Lemos - The Centennial Exhibition: October 3 - December 3, 2017 <br> <br>Illustrated: Pedro de Lemos/Lasting Impressions: Works on Paper, 1910-1945 (Edwards); plate 20a, page 73. <br> <br>Reproduced in School Arts Magazine/May 1919, p.504. <br> <br> <br> <br>Titled lower left; signed lower right <br>Exhibited: MMA/2015; Stanford Art Gallery/2017; Illustrated: Pedro de Lemos/Lasting Impressions; plate 20a, page 73. Reproduced in School Arts Magazine/May 1919, p.504. <br> <br>Reproduced in School Arts Magazine/May 1919, p.504.
Pedro J. de Lemos
"Dolores Mission"

Pedro J. de Lemos - "Driftwood" - Color block print - 7" x 8" - Titled lower left <br>Signed lower right <br> <br> <br>Exhibited: <br>Stanford Art Gallery/Lasting Impressions of Pedro de Lemos - The Centennial Exhibition: October 3 - December 3, 2017 <br> <br>Exhibited: <br>Lasting Impressions - Pedro de Lemos/MMA from April 30, to September 28, 2015. <br> <br>Illustrated in book: <br>Pedro de Lemos/Lasting Impressions: Works on Paper, 1910-1945 <br>Plate 29a, page 101.
Pedro J. de Lemos
"Driftwood"

Pedro J. de Lemos - "Memorial Court" - Screenprint of etching - 6 1/4" x 4 3/4" - Printed title and signature
Pedro J. de Lemos
"Memorial Court"

Pedro J. de Lemos - "Old Custom House at Monterey" - Color block print - 6.75" x 9.25" - Titled lower left <br>Signed lower right <br> <br>Exhibited: <br>The Centennial Exhibition/Thomas Welton Stanford Art Gallery, Stanford University, October-December, 2017.
Pedro J. de Lemos
"Old Custom House at Monterey"

Pedro J. de Lemos - "Santa Barbara" - Graphite and charcoal drawing - 12.5" x 7.75" - Titled lower left <br>Signed and dated lower right <br> <br>Exhibited: <br>Monterey Museum of Art/2015: <br>'Lasting Impressions - Pedro de Lemos' <br> <br>Stanford Art Gallery/2017:' Lasting Impressions of Pedro de Lemos' - The Centennial Exhibition <br> <br>Illustrated in book: <br>Pedro de Lemos/Lasting Impressions: Works on Paper, 1910-1945 <br>Plate 5b, page 13.
Pedro J. de Lemos
"Santa Barbara"
1922

Pedro J. de Lemos - "Sleepy Heads" - Color block print - 8" x 11" - Titled lower left <br>Signed lower right
Pedro J. de Lemos
"Sleepy Heads"

Pedro J. de Lemos - "Spanish-Morrocan Church…" - Mixed media - 8.75" x 6.5" - Signed and dated lower left <br>Titled on original backing
Pedro J. de Lemos
"Spanish-Morrocan Church…"
1940

Pedro J. de Lemos - "Storm Trees" - Wood engraving - 8 3/4" x 7 1/2" - Plate: Signed with Pedro Lemos cartouche lower right <br>Titled in pencil lower left <br>Signed in pencil lower right
Pedro J. de Lemos
"Storm Trees"

This early 1920s color block print is dominated by four horizontal bands reminiscent of the contemplative registers of Mark Rothko. Here the eye ascends from the darkly cool mauve of the receding foreground through the belt of earth into a spectrum domina
Pedro J. de Lemos
"The Path to the Sea"

Pedro J. de Lemos - "The Sunset Mountain" - Color lithograph - 9 1/2" x 10" - Titled lower left <br>Signed lower right <br> <br>This painting is a view of Lake Merritt. Following his art training, Lemos established a studio overlooking Lake Merritt near Berkeley in the foothills above Oakland which is on the east bay. He soon after he began teaching at UC. <br> <br>Lake Merritt is a lake located in a large tidal lagoon basin in the center of Oakland, California, just east of Downtown. It is named after Samuel Merritt, Oakland's mayor in 1867–1869, who had the lagoon dammed turning the tidal lagoon into a salt water lake. It is surrounded by parkland and city neighborhoods. <br> <br>Edwards/page 61 <br>The extraordinary compositions and brash colors in Lemos' "The Green Cove" (pl.30a), "Sleepy Heads" (pl.31a), and "The Sunset Mountain" (pl.32b) anticipate the psychedelic world of 1960s Pop Art. How many of his contemporaries were this inventive?
Pedro J. de Lemos
"The Sunset Mountain"

Pedro J. de Lemos - "Top o' The Hill" - Color block print - 8 1/2" x 12" - "Top o' The Hill" - 1934 <br>Color block print, 8 1/2" x 12" <br>Titled in pencil lower left <br>Signed and dated in pencil lower right <br>1/3 <br> <br>"Lemos's prints also reflect the style and vocabulary of the Arts and Crafts movement. In 'Top O' the Hill', as in many works in this manner, the design of the bold, linear key block is contained by a heavy border line. The synoptic simplicity of design, the use of silhouettes and outlines, and the decorative flourishes are also characteristic of the style." <br>A Spectrum of Innovation - Color in American Printmaking- 1890-1960 by David Acton, page 94. <br> <br> <br>"The key block in 'Top o' The Hill' is far more dominant with heavy outlines, shadows, and foliage, but the printing of colors over the black mitigates this intensity, as with the orange-tan, which converts the shadows in the foreground into a distinct tonality." <br>Edwards/2015, page 70.
Pedro J. de Lemos
"Top o' The Hill"
1934

Pedro J. de Lemos - "Waiting for the Breeze" - Color block print - 8.25" x 7.75" - Titled and signed in pencil. <br> <br>Exhibited: Lasting Impressions - Pedro de Lemos - <br>Monterey Museum of Art/04/30/15 to 09/28/15. <br> <br>Illustrated: Pedro de Lemos/Lasting Impressions: Works on Paper, 1910-1945. Plate 29b, page 101. <br> <br>Exhibited: Stanford Art Gallery/Lasting Impressions of Pedro de Lemos - The Centennial Exhibition: October 3 - December 3, 2017. <br> <br>This color block print is one of a very few by Pedro de Lemos, and which he exhibited in 1915 at the California Society of Etchers Fourth Annual. <br> (Edwards/page 107). <br> <br>Edward's page 8… <br>The dominant yellow tonality in the dockside scene "Waiting for the Breeze" is masterfully articulated with outlines of swirling clouds and waves that serve as dramatic counterpoints to a pair of static sailboats at the pier.
Pedro J. de Lemos
"Waiting for the Breeze"

The artist chooses pastel in shades of purple and bluish green as the medium to portray the Walls of Lugo - an old Roman capitol - he dipicts the guardsman's house which also had a stairway down to city streets.
Pedro J. de Lemos
"Walls of Lugo"

Pedro J. de Lemos - "Wind Swept Oaks" - Drypoint - 4" x 6 3/4" - Titled lower left <br>Signed lower right
Pedro J. de Lemos
"Wind Swept Oaks"

This is an etching by the artist depicting fishing boats at anchor where there is hardly any movement of the water but for the soft ripples caused by the slight motion of the fishing boats. The largest of the fishing boats dominates the center of the etch
Jeannette Maxfield Lewis
"At Anchor"
1945

A drypoint done in 1937. Throughout the composition is the undulating, shadowed water of the Monterey Bay near Cannery Row. On the right side the shacks are lined up. A softened edge is added to the hardened daily work-life of the weather-beaten fishermen
Jeannette Maxfield Lewis
"Bay Shore"
1937

Jeannette Maxfield Lewis - "Callas" - Etching - 10 1/4" x 9 7/8" - Plate: Signed and dated lower right <br>Titled and signed in pencil <br>Edition: 21
Jeannette Maxfield Lewis
"Callas"
1959

This drypoint was executed from drawings inspired by her trip to Mexico in 1936. Here she has captured a typical day in the village. Activity includes a woman walking hope carrying a bucket in her left hand; a man relaxing against the stucco wall of a hou
Jeannette Maxfield Lewis
"Calleja en Mexico"
1936

Jeannette Maxfield Lewis - "Carmel Valley Farm" - Watercolor - 13 1/4" x 17" sight size - Signed lower right <br> <br> <br>Lewis attended the CSFA in San Francisco where she was greatly influenced by Gottardo Piazzoni. She studied with Hans Hofmann in NYC; and locally with Armin Hansen.
Jeannette Maxfield Lewis
"Carmel Valley Farm"

Jeannette Maxfield Lewis - "Chitchat" - Etching - 2 7/8" x 1 3/8" - Plate: Signed and dated lower right <br>Titled and signed in pencil <br>Edition: 14
Jeannette Maxfield Lewis
"Chitchat"
1963

Jeannette Maxfield Lewis - "Encounter" - Etching - 11 7/8" x 8 7/8" - Plate: Signed and dated lower right <br>Pencil signed and titled. Edition: 36 <br> <br> <br>Exhibition Catalogue: Jeannette Maxfield Lewis: A Centennial Celebration, Monterey Peninsula Museum of Art/1994. #196 in Catalogue Raisonne: 'The Complete Etchings' by Anthony R. White. Illustrated on page 17 of exhibition catalogue. <br> <br>Illustrated: 'Emerging from the Shadows'/A Survey of Women Artists Working in California, 1860-1960 Volume III, page 658; by Maurine St. Gaudens/2015.
Jeannette Maxfield Lewis
"Encounter"
1960

Jeannette Maxfield Lewis - "Field's Landing" - Etching - 7 5/8" x 9 3/4" - Signed and dated lower right in plate <br>Titled and signed in pencil <br>Edition: 16
Jeannette Maxfield Lewis
"Field's Landing"
1947

Jeannette Maxfield Lewis - "Fishermen's Taxies" - Drypoint - 8 7/8" x 11 7/8" - Plate: Signed and dated lower left <br>Titled in pencil lower left <br>Signed in pencil lower right <br> <br>Provenance: <br>Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #99 in Catalogue Raisonne: The Complete Etchings by Anthony R. White <br> <br> <br>Lewis attended the CSFA in San Francisco where she was greatly influenced by Gottardo Piazzoni. She studied with Hans Hofmann in NYC; and locally with Armin Hansen. <br> <br>Jeannette Maxfield Lewis began experimenting with printmaking under Armin Hansen in 1931, first with small drypoints, later moving into etching. She and her husband soon began a collaborative effort in the production of her prints; under the initial supervision of Hansen, Mr. Lewis became Jeannette's printer and chief critic. Working on-site continued to be an integral part of creating the etching or drypoint and Lewis' reputation in this medium grew rapidly.
Jeannette Maxfield Lewis
"Fishermen's Taxies"
1938

Jeannette Maxfield Lewis - "Fishermen's Wharf" - Drypoint - 4 7/8" x 6 7/8" - Signed and dated lower left. <br>Pencil titled and signed <br>Edition: 15 <br> <br> <br>In: Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #19 in Catalogue Raisonne: The Complete Etchings by Anthony R. White. <br> <br>Jeannette began experimenting with printmaking under Armin Hansen in 1931, first with small drypoints, later moving into etching. She and her husband soon began a collaborative effort in the production of her prints; under the initial supervision of Hansen, Mr. Lewis became Jeannette's printer and chief critic. Working on-site continued to be an integral part of creating the etching or drypoint and Lewis' reputation in this medium grew rapidly. <br> <br>Her first exhibition of etchings took place at the Society of American Etchers 1932 Annual; she submitted four prints, and "Fisherman's Wharf" was accepted.
Jeannette Maxfield Lewis
"Fishermen's Wharf"
1932

Jeannette Maxfield Lewis - "Low Tide" - Drypoint - 5" x 7" - Plate: Signed and dated lower right <br>Titled lower left <br>Signed lower right <br>Edition: 31
Jeannette Maxfield Lewis
"Low Tide"
1933

Jeannette Maxfield Lewis - "Mexican Village" - Drypoint - 6" x 6 7/8"
Jeannette Maxfield Lewis
"Mexican Village"
1942

Jeannette Maxfield Lewis - "Old Women" - Etching - 10 3/4" x 13 3/4" - Plate: Signed and dated middle right <br>Titled and signed in pencil <br>Edition: 37 <br> <br>'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #164 (Catalogue Raisonne by White).
Jeannette Maxfield Lewis
"Old Women"
1954

Jeannette Maxfield Lewis - "Perugia" - Etching - 6 7/8" x 9 1/2" - Plate: Signed lower right <br>Titled and signed in pencil <br> <br>Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #167 in Catalogue Raisonne: The Complete Etchings by Anthony R. White <br> <br>PROVENANCE: <br>As relayed by previous owner: "It has been in my family for 70 years. My mother owned this etching and passed it on to me. My parents were neighbors and good friends of the Lewis' in Fresno, California." <br> <br>Perugia is the charming capital city of Umbria, the green and hilly region in the heart of Italy. This medieval city is still an under-the-radar Italian destination for many international travelers. Yet, Perugia has captivated countless visitors throughout the centuries.
Jeannette Maxfield Lewis
"Perugia"
1955

Jeannette Maxfield Lewis - "Storm A-Head" - Drypoint - 5" x 6 7/8" - Plate: Signed and dated lower left <br>Titled and signed in pencil <br>Edition: 25
Jeannette Maxfield Lewis
"Storm A-Head"
1933

Jeannette Maxfield Lewis - "Stormy Weather" - Etching - 5 7/8" x 8 3/4" - Plate: Signed and dated lower right <br>Titled in pencil lower left <br>Signed in pencil lower right <br>Edition: 31 <br> <br>Exhibition Catalogue: Jeannette Maxfield Lewis: A Centennial Celebration, Monterey Peninsula Museum of Art/1994. #174 in Catalogue Raisonne: 'The Complete Etchings' by Anthony R. White. Illustrated on page 15 of exhibition catalogue.
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Jeannette Maxfield Lewis
"Stormy Weather"
1955

Jeannette Maxfield Lewis - "Vegetable Gardens" - Drypoint - 5 1/4" x 7" - Plate: Signed lower left <br>Signed in pencil lower left <br>Titled in pencil lower right <br>Edition: 16 <br> <br>Provenance: <br>Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #101, page 45 in Catalogue Raisonne: The Complete Etchings by Anthony R. White <br> <br> <br>Lewis attended the CSFA in San Francisco where she was greatly influenced by Gottardo Piazzoni. She studied with Hans Hofmann in NYC; and locally with Armin Hansen. <br> <br>Jeannette Maxfield Lewis began experimenting with printmaking under Armin Hansen in 1931, first with small drypoints, later moving into etching. She and her husband soon began a collaborative effort in the production of her prints; under the initial supervision of Hansen, Mr. Lewis became Jeannette's printer and chief critic. Working on-site continued to be an integral part of creating the etching or drypoint and Lewis' reputation in this medium grew rapidly.
Jeannette Maxfield Lewis
"Vegetable Gardens"
1939

Jeannette Maxfield Lewis - "Village Scene in Old Mexico" - Conte Crayon on paper - 18 3/4" x 24 1/2" sight size - Signed lower right <br> <br>Provenance: <br>As relayed by the previous owner... <br>"Jeannette Maxfield Lewis was my father's aunt. She lived a few blocks from him in Fresno. This conte crayon was a wedding gift to my parents and has remained in the possession of the family until sold to Trotter Galleries". <br> <br>A 1947-1948 trip to Mexico inspired prolific drawings, etchings, and paintings which were later shown in exhibitions both in Mexico and in California.
Jeannette Maxfield Lewis
"Village Scene in Old Mexico"
c. 1950

Maurice Logan, N.A. - "Early Morning - Point Lobos" - Oil on canvas - 36" x 40" - Signed lower left <br> <br>The original paper label for this exhibition is on reverse: <br> <br>Exhibited: M.H. de Young Memorial Museum, San Francisco <br>22nd Annual Exhibition of the Society of Western Artists/1962. Maxwell Galleries,(SF). Labels on reverse. <br> <br>In 1957 Maurice Logan had a solo show in the former Saint Mary's College Art Gallery. The Hearst Art Gallery presents this rediscovery of the entire career of this very important artist: <br> <br>Maurice Logan/Artist and Designer - A Retrospective of Paintings from the "Society of Six" years to the 1960s: Hearst Art Gallery-Saint Mary's College of California/1991. Number 81. in Exhibition Checklist, page 14.
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Maurice Logan, N.A.
"Early Morning - Point Lobos"
c. 1939

Evelyn McCormick - "Spanish Bungalow, Hotel Del Monte" - Oil on canvas - 26" x 30" - Authentication on reverse by artist/friend Myron A. Oliver <br> <br>The setting for this painting is on the grounds of the Hotel Del Monte depicting one of several individual cottages referred to as Spanish Bungalows. Artist, Francis McComas, was given residence in one such bungalow by his patron and close friend, S.F.B. Morse.
Evelyn McCormick
"Spanish Bungalow, Hotel Del Monte"
c. 1928

Thomas A. McGlynn - "Edge of the Forest" - Oil on canvasboard - 16" x 20" - Signed lower right <br>Signed, titled and with studio address on reverse. <br>Directly from the estate of Thomas A. McGlynn.
Thomas A. McGlynn
"Edge of the Forest"

Thomas A. McGlynn - "Silhouette" - Oil on masonite - 16" x 20" - Estate signature lower left <br>Titled, Estate Inventory #206 and signed on reverse <br>by Thomas A McGlynn Jr.
Thomas A. McGlynn
"Silhouette"

Thomas A. McGlynn - "Winter Light" - Oil on canvas - 34" x 36" - Signed lower right <br> <br>From the estate of Thomas A. McGlynn <br>Estate Inv. #166 on reverse stretcher
Thomas A. McGlynn
"Winter Light"

Thomas A. McGlynn - "Wood Indigo" - Oil on board - 16" x 20" - Signed lower right <br>Signed and titled on reverse <br>Directly from the estate of Thomas A. McGlynn <br> <br>"Wood Indigo" is painted in a much more colorful palette closer to post impressionism and dates from the mid to latter 1930s. The technique incorporates both palette knife and brushwork - very skillfully rendered. There are a lot of nuances in color and texture that can only be appreciated in person.
Thomas A. McGlynn
"Wood Indigo"

Joseph Jacinto Mora - "Carmel-By-The-Sea" - Color lithograph - 18 3/8" x 24 1/4" - Copyright: 1942 Jo Mora Publications - <br>Monterey, California lower right image <br>Published: 1942 Jo Mora Publications <br>Signature: Made by Jo Mora - lower right image <br> <br>NOTE: Jo made this map for the people of Carmel with a general history and current (1942) events, activities, and local people. Jo was also quite a dog lover and he included some of the town's dogs, gifted with personality, including his own dog Mike Mora. An unknown quantity of these maps had an advertising line added to the lower right margin in blue ink "50c with mailing tube - Jo Mora Publications, Monterey, Ca." was added for stores and places of business that had them on display. <br> <br>PROVENANCE: <br>Ex-Collection of Mrs. Betty Hoag McGlynn, California art historian and late daughter-in-law of early California artist, Thomas A. McGlynn (1878-1966). <br> <br>EXHIBITED/PUBLICATION: <br>Jo Mora - Artist and Writer/Monterey Museum of Art, 1998 <br>Jo Mora: Spokesman for the Old West - Abstracted from an essay by Betty Hoag McGlynn.
Joseph Jacinto Mora
"Carmel-By-The-Sea"
1942

Joseph Jacinto Mora - "Carmel-By-The-Sea" Past and Present - Color lithograph - 18 3/8" x 24 1/4" - Copyright: 1942 Jo Mora Publications - <br>Monterey, California lower right image <br>Published: 1942 Jo Mora Publications <br>Signature: Made by Jo Mora lower right image <br>Exhibited: <br>CARMEL MISSION MUSEUM <br>Retrospective exhibition: <br>The Carmel Mission in Art: <br>-1786-2008- <br>June 1, to November 30, 2008 <br>In the Mora Chapel Gallery <br> <br>NOTE: Jo made this map for the people of Carmel with a general history and current (1942) events, activities, and local people. Jo was also quite a dog lover and he included some of the town's dogs, gifted with personality, including his own dog Mike Mora. An unknown quantity of these maps had an advertising line added to the lower right margin in blue ink "50c with mailing tube - Jo Mora Publications, Monterey, Ca." was added for stores and places of business that had them on display.
Joseph Jacinto Mora
"Carmel-By-The-Sea" Past and Present
1942

Joseph Jacinto Mora - "Evolution of a Cowboy" - Color lithograph - 30 1/4" x 22 3/4" - Copyright 1933 Jo Mora Lower right image <br>Published 1941; 1947; 1952; Jo Mora Publications, Monterey, California Lower left margin <br>Signature: Jo Mora Lower center image <br> <br>Directly from the estate of early California artist, <br>Thomas A. McGlynn (1878-1966) <br> <br>NOTE: For this second version, the map of Salinas on either side of the "Sweet Heart of the Rodeo" was changed to black silhouettes of cowboys on horses following a chuck wagon. This was on a bright yellow background.
Joseph Jacinto Mora
"Evolution of a Cowboy"
c. 1941

Joseph Jacinto Mora - "Evolution of the Cowboy" - Color lithograph - 30 1/4" x 22 3/4" - -with horses and chuck wagon- <br>Copyright: 1933 Jo Mora - Lower right image <br>Published: 1941 - Jo Mora Publications, Monterey, California Lower left margin <br>Signature: Jo Mora - Lower center image <br> <br>NOTE: For this second version, the map of Salinas on either side of the "Sweet Heart of the Rodeo" was changed to black silhouettes of cowboys on horses following a chuck wagon. This was on a bright yellow background.
Joseph Jacinto Mora
"Evolution of the Cowboy"
1941

Joseph Jacinto Mora - "Grand Canyon" - Color lithograph - 14" x 18" - Copyright: 1931 Jo Mora lower left image <br>Published: 1959 <br>Jo Mora Publications, Monterey, California, lower left margin <br>Signature: Jo Mora lower left image <br> <br>NOTE: This map was published 28 years after the first black and white version (1931) and reduced in size with all the details the same except for the items listed below. This version was colored in by Ferdinand Burgdorff one of many close friends Jo had in Carmel. <br>1. Scenic Airways became Grand Canyon Airlines, and the reference was changed on the airplane. The reference in the bottom left of the image was also struck out, but is still readable. <br>2. The Harvey Garage in the lower left image was changed to the "Fred Harvey" Garage.
Joseph Jacinto Mora
"Grand Canyon"
1959

Joseph Jacinto Mora - "Grand Canyon" - Color lithograph - 14" x 18" - Copyright: 1931 Jo Mora lower left image <br>Published: 1959 <br>Jo Mora Publications, Monterey, California, lower left margin <br>Signature: Jo Mora lower left image <br> <br>NOTE: This map was published 28 years after the first black and white version (1931) and reduced in size with all the details the same except for the items listed below. This version was colored in by Ferdinand Burgdorff one of many close friends Jo had in Carmel. <br>1. Scenic Airways became Grand Canyon Airlines, and the reference was changed on the airplane. The reference in the bottom left of the image was also struck out, but is still readable. <br>2. The Harvey Garage in the lower left image was changed to the "Fred Harvey" Garage.
Joseph Jacinto Mora
"Grand Canyon"
1959

Joseph Jacinto Mora - "Indians of North America" - - Color lithograph - 30" x 22 3/4" - Copyright: 1936 - The Jo Mora Maps, Carmel, California lower center image <br>Published: 1942 - Jo Mora Publications, Monterey, California lower right margin <br>Published: 1950 - Jo Mora Publications, Monterey, California lower right <br> <br>Directly from the estate of early California artist, <br>Thomas A. McGlynn (1878-1966) <br> <br>NOTE: The original cartes were dedicated to Lorenzo Hubbell (Nakai Tao) Jo's pal and trader from the Navajo Reservation. An interesting point about the Indian items, drawn on each side of the cartes were items owned by Jo which he collected while living in Mokiland from 1904 through 1906. The cartes were printed by Arthur Fey in San Francisco on uncoated paper. <br> <br>In 1950 Arthur Fey again printed this carte but this time decided to print it on semi-glossy paper which was popular then and helped keep these wonderful colors longer. This printing was chosen for the 1998 Monterey Museum of Art catalogue for the tribute show to Jo Mora.
Joseph Jacinto Mora
"Indians of North America" -
1950

Joseph Jacinto Mora - "The Seventeen Mile Drive" - Color lithograph - 30 1/2" x 22 1/2" - Copyright: 1927 The Del Monte Properties Co. lower right margin <br>Published: 1927 The Del Monte Properties Co. <br>Signature: "This Map by Jo Mora" lower left image <br> <br>This is the second map that Jo drew, and the first printing. This second map was also commissioned by the Del Monte Properties Company to advertise the 17-Mile area and its tourist attractions. The copyright was done after the first printing and like the Monterey Peninsula map, the copyright did not show up until the second printing in 1928-29.
Joseph Jacinto Mora
"The Seventeen Mile Drive"
1927

Joseph Jacinto Mora - "Yosemite" - Color lithograph - 21 3/4" x 16 7/8" - Copyright: 1996 Yosemite Association lower right margin <br>Published: 1996 Yosemite Association <br> <br>This map was available from the Yosemite Association and they came with a short history of the map. A short quote from the paper follows. "This reprint of Jo Mora's cartoon-style map of Yosemite Valley is made from the original artwork in the museum. The poster illustrates many historical features of the valley which no longer exist but were left as originally done in 1931. The art from which this poster is rendered is quite faded but through the use of the computer technology the color approaches its earlier appearance."
Joseph Jacinto Mora
"Yosemite"
1996

S.F.B. Morse - "View towards Carmel Bay from Pebble Beach" - Watercolor - 17" x 22 1/2" sight size - Signed and dated lower right
S.F.B. Morse
"View towards Carmel Bay from Pebble Beach"
1944

John O'Shea - "Seascape and Rocks, Point Lobos" - Oil on canvas - 30" x 36" - Signed lower left <br> <br> <br>"Seascape and Rocks - Point Lobos" is a forcefully executed canvas representing the best of his early work off the coast near Carmel. O'Shea employs loaded brushwork, deep saturated colors, and bold rhythmic patterns to create a work reminiscent of the powerful canvases of his peers - George Bellows, Armin Hansen and William Ritschel. <br> <br>This painting is a rare early work by O'Shea, one of Carmel's most distinguished artists. With its view of Point Lobos, and of exhibition size, it is the finest O’Shea we have owned and one of the best he has ever painted of the California coast.
John O'Shea
"Seascape and Rocks, Point Lobos"
c. 1921

William Ritschel, N.A. - "Rocky Coast - Carmel Highlands" - Oil on board - 5 1/2" x 7" - Signed lower left <br>With Provenance: Directly from the estate of Mrs. Robert James Ramsey, Sr., owner of the Highlands Inn. <br> <br> <br>"A painter of any good reputation and talent would be able to render a small format painting to express the same emotions as a large exhibition canvas". William Ritschel
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William Ritschel, N.A.
"Rocky Coast - Carmel Highlands"
c.1918

William Ritschel, N.A. - "Rocky Cove - Carmel Highlands" - Oil on board - 6" x 8" - Unsigned with provenance: Directly from the estate of Mrs. Robert James Ramsey, Sr., owner of the Highlands Inn. <br> <br> <br>"A painter of any good reputation and talent would be able to render a small format painting to express the same emotions as a large exhibition canvas". William Ritschel
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William Ritschel, N.A.
"Rocky Cove - Carmel Highlands"
c.1918

Carl Sammons - "PG Municipal Golf Course Holes 5-6" - Oil on canvasboard - 12" x 16" - Signed lower right <br>Titled on reverse <br> <br>The Pacific Grove Municipal Golf Course, the Peninsula's only municipal golf course, is often called the "poor man's Pebble Beach." It is a public 18-hole golf course owned by the city of Pacific Grove, California. <br> <br>Originally designed by Chandler Egan in 1932, the first nine holes are laid out through the forested areas of Pacific Grove. The back nine was designed by Jack Neville, original designer of the Pebble Beach Golf Links in Pebble Beach, California, and overlook Point Pinos, where the Pacific Ocean and Monterey Bay meet on the northern tip of the Monterey Peninsula. The golf links is also site of the Point Pinos Lighthouse.
Carl Sammons
"PG Municipal Golf Course Holes 5-6"

Carl Sammons - "The Wave" - Pastel - 5" x 7" - Signed lower right <br>Directly from the estate of Thomas A. McGlynn
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Carl Sammons
"The Wave"
1921

Karl Schmidt - "Cabin at Dusk" - California - Oil on board - 30" x 72" - Signed and dated lower left <br>Artist signed on reverse <br>Artist's hand-carved arts & crafts frame with name plaque <br> <br>Partial Maxwell Galleries label on reverse <br> <br>Karl Schmidt was a leading proponent of the Arts and Crafts movement. Traveling to England from his native city in Worcester, MA he likely came under the influence of the arts and crafts painter Frank Brangwyn; and later the teachings of Arthur Wesley Dow. <br> <br>In 1915 he moved to Santa Barbara joining a group of painters in the mission-style studio of California artist, Alexander Harmer. His paintings were displayed at the Panama Pacific International Exposition in San Francisco (PPIE), 1915. He further exhibited at the Los Angeles County Museum of Art (LACMA), the Art Institute of Chicago, National Academy of Design, and the Cincinnati Museum of Art, among many other venues.
Karl Schmidt
"Cabin at Dusk" - California
1919

Catherine Comstock Seideneck - "China Cove at Pt. Lobos" - Oil on board - 14" x 18 3/4" - Estate signed lower right <br> <br>~An accomplished artisan and teacher ~ <br> <br>Catherine and George Seideneck were married in 1920 and made Carmel their home, establishing studios and becoming prominent members of the art community. Both artisans and teachers - she was recognized for her equal skill in oil, watercolor, pastel, and oil washes; as well as perfecting the art of sculptured leather.
Catherine Comstock Seideneck
"China Cove at Pt. Lobos"

Catherine Comstock Seideneck - "Fishing Boats at Rest" - Oil on canvas - 36" x 42" - Signed lower right
Catherine Comstock Seideneck
"Fishing Boats at Rest"
c.1927

Catherine Comstock Seideneck - "Road through the Orchards" - Oil/masonite - 27 1/2" x 32 1/2" - Signed lower right <br> <br>~An accomplished artisan and teacher ~ <br>Equally skilled as a painter of oil, watercolor, pastel, and oil wash
Catherine Comstock Seideneck
"Road through the Orchards"
c.1935

George Joseph Seideneck - "Bad Schandau on the Elbe" - Oil on canvas - 25" x 30" - Signed lower left <br> <br>~An accomplished artisan and teacher ~ <br>Won recognition as a portraiture, photographer and landscape painter <br> <br>As a youth, he had a natural talent for art and excelled in drawing boats on Lake Michigan. Upon graduation from high school, he briefly became an apprentice to a wood engraver. He received his early art training in Chicago at the Smith Art Academy and then worked as a fashion illustrator. He attended night classes at the Chicago Art Institute and the Palette & Chisel Club. <br> <br>In 1911 Seideneck spent three years studying and painting in Europe. When he returned to Chicago he taught composition, life classes and portraiture at the Academy of Fine Art and Academy of Design. <br> <br>He made his first visit to the West Coast in 1915 to attend the P.P.I.E. (SF). Seideneck again came to California in 1918 on a sketching tour renting the temporarily vacant Carmel Highlands home of William Ritschel. While in Carmel he met artist Catherine Comstock, also a Chicago-born Art Institute-trained painter. They married in 1920 and made Carmel their home, establishing studios in the Seven Arts Building and becoming prominent members of the local arts community.
George Joseph Seideneck
"Bad Schandau on the Elbe"
c.1925

George Joseph Seideneck - "Bad Schandau on the Elbe" - Pastel - 11 1/4" x 8 1/2" - Estate signed lower left <br>PROVENANCE: From the estate of: <br>GEORGE J. SEIDENECK <br>Carmel Valley, Dec. 1, 1972 <br>Arne Halle – Trustee <br> <br>~An accomplished artisan and teacher ~ <br>Won recognition as a portraiture, photographer and landscape painter <br> <br>As a youth, he had a natural talent for art and excelled in drawing boats on Lake Michigan. Upon graduation from high school, he briefly became an apprentice to a wood engraver. He received his early art training in Chicago at the Smith Art Academy and then worked as a fashion illustrator. He attended night classes at the Chicago Art Institute and the Palette & Chisel Club. <br> <br>In 1911 Seideneck spent three years studying and painting in Europe. When he returned to Chicago he taught composition, life classes and portraiture at the Academy of Fine Art and Academy of Design. <br> <br>He made his first visit to the West Coast in 1915 to attend the P.P.I.E. (SF). Seideneck again came to California in 1918 on a sketching tour renting the temporarily vacant Carmel Highlands home of William Ritschel. While in Carmel he met artist Catherine Comstock, also a Chicago-born Art Institute-trained painter. They married in 1920 and made Carmel their home, establishing studios in the Seven Arts Building and becoming prominent members of the local arts community.
George Joseph Seideneck
"Bad Schandau on the Elbe"

George Joseph Seideneck - "Bad Schandau on the River Elbe" - Oil on canvas/board - 10 1/2" x 13" - Estate signed lower right <br>PROVENANCE: From the estate of: <br>GEORGE J. SEIDENECK <br>Carmel Valley, Dec. 1, 1972 <br>Arne Halle – Trustee <br> <br>~An accomplished artisan and teacher ~ <br>Won recognition as a portraiture, photographer and landscape painter <br> <br>As a youth, he had a natural talent for art and excelled in drawing boats on Lake Michigan. Upon graduation from high school, he briefly became an apprentice to a wood engraver. He received his early art training in Chicago at the Smith Art Academy and then worked as a fashion illustrator. He attended night classes at the Chicago Art Institute and the Palette & Chisel Club. <br> <br>In 1911 Seideneck spent three years studying and painting in Europe. When he returned to Chicago he taught composition, life classes and portraiture at the Academy of Fine Art and Academy of Design. <br> <br>He made his first visit to the West Coast in 1915 to attend the P.P.I.E. (SF). Seideneck again came to California in 1918 on a sketching tour renting the temporarily vacant Carmel Highlands home of William Ritschel. While in Carmel he met artist Catherine Comstock, also a Chicago-born Art Institute-trained painter. They married in 1920 and made Carmel their home, establishing studios in the Seven Arts Building and becoming prominent members of the local arts community.
George Joseph Seideneck
"Bad Schandau on the River Elbe"
c.1925

George Joseph Seideneck - "Cargo Boat - Venice, Italy" - Oil on canvas - 13" x 10" - Signed lower right <br> <br>~An accomplished artisan and teacher ~ <br>Won recognition as a portraiture, photographer and landscape painter <br> <br>As a youth, he had a natural talent for art and excelled in drawing boats on Lake Michigan. Upon graduation from high school, he briefly became an apprentice to a wood engraver. He received his early art training in Chicago at the Smith Art Academy and then worked as a fashion illustrator. He attended night classes at the Chicago Art Institute and the Palette & Chisel Club. <br> <br>In 1911 Seideneck spent three years studying and painting in Europe. When he returned to Chicago he taught composition, life classes and portraiture at the Academy of Fine Art and Academy of Design. <br> <br>He made his first visit to the West Coast in 1915 to attend the P.P.I.E. (SF). Seideneck again came to California in 1918 on a sketching tour renting the temporarily vacant Carmel Highlands home of William Ritschel. While in Carmel he met artist Catherine Comstock, also a Chicago-born Art Institute-trained painter. They married in 1920 and made Carmel their home, establishing studios in the Seven Arts Building and becoming prominent members of the local arts community.
George Joseph Seideneck
"Cargo Boat - Venice, Italy"

George Joseph Seideneck - "Gypsy Woman" - Oil on canvas - 12 3/4" x 9 1/2" - Signed lower right <br>Illustrated: Carmel Art Association/Ninety Years, page 47 <br> <br>~An accomplished artisan and teacher ~ <br>Won recognition as a portraiture, photographer and landscape painter <br> <br>As a youth, he had a natural talent for art and excelled in drawing boats on Lake Michigan. Upon graduation from high school, he briefly became an apprentice to a wood engraver. He received his early art training in Chicago at the Smith Art Academy and then worked as a fashion illustrator. He attended night classes at the Chicago Art Institute and the Palette & Chisel Club. <br> <br>In 1911 Seideneck spent three years studying and painting in Europe. In England he studied with the Canadian painter, Harry Britton, under whom he developed a penchant for portraiture. When he returned to Chicago he taught composition, life classes and portraiture at the Academy of Fine Art and Academy of Design. <br> <br>He made his first visit to the West Coast in 1915 to attend the P.P.I.E. (SF). Seideneck again came to California in 1918 on a sketching tour renting the temporarily vacant Carmel Highlands home of William Ritschel. While in Carmel he met artist Catherine Comstock, also a Chicago-born Art Institute-trained painter. They married in 1920 and made Carmel their home, establishing studios in the Seven Arts Building and becoming prominent members of the local arts community.
George Joseph Seideneck
"Gypsy Woman"

George Joseph Seideneck - "Landscape with Houses and Hills" - Oil on canvas/board - 10 1/2" x 13" - Estate signed lower left <br>PROVENANCE: From the estate of: <br>GEORGE J. SEIDENECK <br>Carmel Valley, Dec. 1, 1972 <br>Arne Halle – Trustee <br> <br> <br>~An accomplished artisan and teacher ~ <br>Won recognition as a portraiture, photographer and landscape painter <br> <br>As a youth, he had a natural talent for art and excelled in drawing boats on Lake Michigan. Upon graduation from high school, he briefly became an apprentice to a wood engraver. He received his early art training in Chicago at the Smith Art Academy and then worked as a fashion illustrator. He attended night classes at the Chicago Art Institute and the Palette & Chisel Club. <br> <br>In 1911 Seideneck spent three years studying and painting in Europe. When he returned to Chicago he taught composition, life classes and portraiture at the Academy of Fine Art and Academy of Design. <br> <br>He made his first visit to the West Coast in 1915 to attend the P.P.I.E. (SF). Seideneck again came to California in 1918 on a sketching tour renting the temporarily vacant Carmel Highlands home of William Ritschel. While in Carmel he met artist Catherine Comstock, also a Chicago-born Art Institute-trained painter. They married in 1920 and made Carmel their home, establishing studios in the Seven Arts Building and becoming prominent members of the local arts community.
George Joseph Seideneck
"Landscape with Houses and Hills"

George Joseph Seideneck - "Pinnacle Rock" Pt. Lobos - Oil on board - 18" x 20" - Estate signed lower left <br>PROVENANCE: From the estate of: <br>GEORGE J. SEIDENECK <br>Carmel Valley, Dec. 1, 1972 <br>Arne Halle – Trustee <br> <br> <br>~An accomplished artisan and teacher ~ <br>Won recognition as a portraiture, photographer and landscape painter <br> <br>As a youth, he had a natural talent for art and excelled in drawing boats on Lake Michigan. Upon graduation from high school, he briefly became an apprentice to a wood engraver. He received his early art training in Chicago at the Smith Art Academy and then worked as a fashion illustrator. He attended night classes at the Chicago Art Institute and the Palette & Chisel Club. <br> <br>In 1911 Seideneck spent three years studying and painting in Europe. When he returned to Chicago he taught composition, life classes and portraiture at the Academy of Fine Art and Academy of Design. <br> <br>He made his first visit to the West Coast in 1915 to attend the P.P.I.E. (SF). Seideneck again came to California in 1918 on a sketching tour renting the temporarily vacant Carmel Highlands home of William Ritschel. While in Carmel he met artist Catherine Comstock, also a Chicago-born Art Institute-trained painter. They married in 1920 and made Carmel their home, establishing studios in the Seven Arts Building and becoming prominent members of the local arts community.
George Joseph Seideneck
"Pinnacle Rock" Pt. Lobos

George Joseph Seideneck - "The Old Philosopher" - Oil on canvas - 24" x 20" - Signed upper right <br>Signed and dated lower right <br> <br>Exhibited: Carmel Art Association's Members Exhibition at the Stanford Art Gallery in 1929. “The Old Philosopher” was chosen as one of the thirty-five best paintings for inclusion in a traveling exhibition with stops at the Oakland Art Gallery and the East-West Gallery. At the latter, this painting was admired for its "conservative character." <br> <br>Seideneck also exhibited “The Old Philosopher” in 1932 at the Carmel Art Association’s Sixteenth Exhibition. <br> <br> <br>~An accomplished artisan and teacher ~ <br>Won recognition as a portraiture, photographer and landscape painter <br> <br>As a youth, he had a natural talent for art and excelled in drawing boats on Lake Michigan. Upon graduation from high school, he briefly became an apprentice to a wood engraver. He received his early art training in Chicago at the Smith Art Academy and then worked as a fashion illustrator. He attended night classes at the Chicago Art Institute and the Palette & Chisel Club. <br> <br>In 1911 Seideneck spent three years studying and painting in Europe. In England he studied with the Canadian painter, Harry Britton, under whom he developed a penchant for portraiture. When he returned to Chicago he taught composition, life classes and portraiture at the Academy of Fine Art and Academy of Design. <br> <br>He made his first visit to the West Coast in 1915 to attend the P.P.I.E. (SF). Seideneck again came to California in 1918 on a sketching tour renting the temporarily vacant Carmel Highlands home of William Ritschel. While in Carmel he met artist Catherine Comstock, also a Chicago-born Art Institute-trained painter. They married in 1920 and made Carmel their home, establishing studios in the Seven Arts Building and becoming prominent members of the local arts community.
George Joseph Seideneck
"The Old Philosopher"
1913

George Joseph Seideneck - "Venetian Boats" - Oil on canvas - 20" x 24" - Signed lower right <br>Signed and titled on reverse <br> <br> <br>~An accomplished artisan and teacher ~ <br>Won recognition as a portraiture, photographer and landscape painter <br> <br>As a youth, he had a natural talent for art and excelled in drawing boats on Lake Michigan. Upon graduation from high school, he briefly became an apprentice to a wood engraver. He received his early art training in Chicago at the Smith Art Academy and then worked as a fashion illustrator. He attended night classes at the Chicago Art Institute and the Palette & Chisel Club. <br> <br>In 1911 Seideneck spent three years studying and painting in Europe. When he returned to Chicago he taught composition, life classes and portraiture at the Academy of Fine Art and Academy of Design. <br> <br>He made his first visit to the West Coast in 1915 to attend the P.P.I.E. (SF). Seideneck again came to California in 1918 on a sketching tour renting the temporarily vacant Carmel Highlands home of William Ritschel. While in Carmel he met artist Catherine Comstock, also a Chicago-born Art Institute-trained painter. They married in 1920 and made Carmel their home, establishing studios in the Seven Arts Building and becoming prominent members of the local arts community.
George Joseph Seideneck
"Venetian Boats"

George Joseph Seideneck - Pastel study for Village Castle on - Pastel - 6" x 5 1/2" - Estate signed lower right <br>PROVENANCE: From the estate of: <br>GEORGE J. SEIDENECK <br>Carmel Valley, Dec. 1, 1972 <br>Arne Halle – Trustee <br> <br> <br>~An accomplished artisan and teacher ~ <br>Won recognition as a portraiture, photographer and landscape painter <br> <br>As a youth, he had a natural talent for art and excelled in drawing boats on Lake Michigan. Upon graduation from high school, he briefly became an apprentice to a wood engraver. He received his early art training in Chicago at the Smith Art Academy and then worked as a fashion illustrator. He attended night classes at the Chicago Art Institute and the Palette & Chisel Club. <br> <br>In 1911 Seideneck spent three years studying and painting in Europe. When he returned to Chicago he taught composition, life classes and portraiture at the Academy of Fine Art and Academy of Design. <br> <br>He made his first visit to the West Coast in 1915 to attend the P.P.I.E. (SF). Seideneck again came to California in 1918 on a sketching tour renting the temporarily vacant Carmel Highlands home of William Ritschel. While in Carmel he met artist Catherine Comstock, also a Chicago-born Art Institute-trained painter. They married in 1920 and made Carmel their home, establishing studios in the Seven Arts Building and becoming prominent members of the local arts community.
George Joseph Seideneck
Pastel study for Village Castle on

Will Sparks - "Chapel near Fort Ross" - Oil on wood panel - 10" x 14" - Signed lower right <br>Signed, titled and dated on reverse <br> <br>Possible remnant of an exhibition at the SFAA on reverse. <br> <br>The Chapel was originally built in the mid-1820s. It was the first Russian Orthodox structure in North America outside of Alaska. The Fort Ross Chapel was found eligible for designation as a National Historic Landmark in 1969, architecturally significant as a rare U.S. example of a log church constructed on a Russian quadrilateral plan. <br> <br>An accidental fire destroyed the chapel on October 5, 1970. This loss of the original workmanship and materials of the chapel led to withdrawal of the Chapel's Landmark designation in 1971. <br> <br>A complete reconstruction of the chapel was undertaken in 1973 and the Fort Ross settlement, as a whole, retains its National Historic Landmark designation.
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Will Sparks
"Chapel near Fort Ross"
March, 1934

Will Sparks - "Docks on the Napa Slough" - Oil on panel - 8" x 6 1/2" - Signed lower right <br> <br> <br>This 'jewel like painting' demonstrates his broader artistic interests and the connections between his work and the region.
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Will Sparks
"Docks on the Napa Slough"

James Everett Stuart - "Wind Swept, Live Oaks and Redwoods, - Oil on canvas - 14" x 22" - "Wind Swept, Live Oaks and Redwoods, near Aptos, California" <br>Signed and dated March 19, 1892 lower left <br>Titled, signed and dated on reverse <br>Frame: Holton Studio Frame-Makers, Berkeley, California <br> <br> <br>Known for his panoramic landscapes from Maine to California to Alaska to the Panama Canal, but especially of the American West with focus on Northern California and Oregon. <br> <br>His family moved to San Francisco when he was eight where eventually he studied art with Virgil Williams, Raymond Yelland, Thomas Hill, and William Keith at the San Francisco School of Design. <br> <br>Stuart was highly successful and popular among his peers, underscored by his membership in the Bohemian Club. Many of the owners of old homes in California have his paintings on the wall, suggestive of a time of grandeur. One of his paintings is in the White House, and his work is in the historical societies of Oregon, Washington, and Montana.
James Everett Stuart
"Wind Swept, Live Oaks and Redwoods,
March 19, 1892

Paul Whitman - "Fisherman's Wharf" - Etching - 6" x 4.75" - Plate: Signed and dated lower left <br>Titled in pencil lower left <br>Signed in pencil lower right <br> <br>Directly from the estate of Paul Whitman <br> <br>Whitman would by intention prefer to challenge his considerable dawing skills by producing intricate scenes of piers and wharves.
Paul Whitman
"Fisherman's Wharf"
1927

Paul Whitman - "Fuller's Blind" - Stone lithograph - 11" x 15" - Titled lower left; signed lower right <br>Edition; 70/100 <br>Directly from the estate of Paul Whitman <br>Personal Collection of Paula and Terry Trotter
Paul Whitman
"Fuller's Blind"

Paul Whitman - "Picking Up" - Stone lithograph - 11" x 14" - Titled lower left; signed lower right <br>Edition: 25/100 bottom left <br>Directly from the estate of Paul Whitman
Paul Whitman
"Picking Up"

Sydney Yard - "Marshland near Monterey" - Watercolor - 10" x 14 1/2" - Signed lower right <br> <br>“A painter of California, one of the very few native-born, we have in Sydney Yard, who, from an early meticulous manner, developed a broader and decorative delineation of the northern California landscape. His medium was watercolor, and his sincerely studied and finely patterned small canvases are distributed through many California homes. His work is charming without being weak.” (The History & Ideals of American Art by Eugen Neuhaus, 1931). <br> <br>A pioneer Carmel artist, Sydney Yard established one of the first studios on Lincoln and Seventh Streets. <br> <br>Born 1855 in Rockford, Illinois, Yard began his art studies under George J. Robertson. He later studied in the British Isles where he mastered English watercolor techniques under the instruction of Royal Academician Sutton Palmer. <br> <br>In 1882, after achieving some recognition in New York, Yard moved to California. For the first three years he ran several photography studios in San Jose and Palo Alto with artist friend Andrew Putnam Hill. During this time, he exhibited several paintings at the San Francisco Art Association. <br> <br>Yard settled permanently in Carmel in 1906. He exhibited frequently at The Del Monte Gallery as well as at several galleries in the San Francisco Bay Area until his death in 1909. Best known for his watercolors, his works are primarily landscapes and coastal scenes of the Monterey Peninsula.
Sydney Yard
"Marshland near Monterey"

S.C. Yuan - "Floral Still Life" - Oil on masonite - 10" x 10" - Signed lower right <br>Exhibition label on reverse - Carmel Art Association/1974 <br>Retains Yuan's original shadow box frame <br>Price of $85.00 and signed by Yuan in red on inner frame. <br> <br>PROVENANCE: <br>We purchased "Floral Still Life" directly from a respected artist/member of the Carmel Art Association who purchased it at the CAA's September 1974 exhibition of the works of S.C. Yuan. <br> <br>In September 1974 Yuan installed his last show at the Carmel Art Association. Two days later he tragically committed suicide. After three days of shock and mourning, his fellow artists bought out the entire exhibition.
S.C. Yuan
"Floral Still Life"
06/74

S.C. Yuan - "Point Lobos from Highlands Inn" - Oil on canvas - 22" x 28" - Signed lower left: Wellington S.C. Yuan <br>Directly from the estate of Robert James Ramsey, Sr. owner of the <br> <br>After the war, Yuan returned to eastern China and by 1947 was living in Shanghai. Long a city of foreign concessions, Shanghai had a very western and cosmopolitan air. Here, as was often the custom, Yuan adopted an English name. He chose the name Wellington because he greatly admired the Chinese diplomat, Wellington Koo, who was Ambassador to the United States at the time. <br> <br>Provenance: <br>Directly from the estate of Robert James Ramsey, Sr. <br>"Yuan painted this painting from the driveway of the Highlands Inn, when he worked there as a cook. Yuan gave this painting to Robert James Ramsey, Sr., who at that time owned the Inn". <br> <br>Exhibited: <br>"Coastal Views: California and the Pacific Northwest" <br>organized by the Whatcom Museum, Bellingham, Washington, June 24 - October 29, 2023. <br> <br>Illustrated in the catalogue published in conjunction with the exhibition, page 19. Cover of post card announcement: "Members' Summer Exhibition Preview at the Whatcom". <br> <br>Exhibition label on reverse: CAA/1994 retrospective. Illustrated in accompanying book, page 188, plate 65. <br> <br>Yuan settled on the Monterey Peninsula in 1952 where he met, befriended and was influenced by artist Armin Hansen. <br> <br>During his lifetime he was honored with several one-man shows in San Francisco, Boston, and New York, where he showed his traditional as well as his more abstract works. Whenever he entered his paintings in juried shows, he won prizes and top honors. With profound dedication and discipline he created a legacy of paintings rich in beauty and tranquility.
S.C. Yuan
"Point Lobos from Highlands Inn"
1952

S.C. Yuan - "Rocks and Sea" - Oil on masonite - 8" x 10" - Signed lower left <br> <br>During his lifetime Yuan was honored with several one-man shows in San Francisco, Boston, and New York, where he showed his traditional as well as his more abstract works. Whenever he entered his paintings in juried shows he won prizes and top honors. <br> <br>Yuan was an artist who was not interested in self publicity as he was convinced that his work had to speak for him. With profound dedication and discipline he created a legacy of paintings rich in beauty and tranquility. <br> <br>Working in oil and watercolor, he produced still life, High Sierra snow scenes, European and Mexican scenes, harbor and beach scenes, and seascapes.
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S.C. Yuan
"Rocks and Sea"

S.C. Yuan - "Two Peddlers" - Oil on masonite - 16" x 20" - Signed lower right <br> <br>Inspiration came from his numerous trips to Europe which began in 1963, as well as two trips to Mexico while maintaining a home and studio in Carmel. <br> <br>He was a painter with the ability to paint what he saw as well as what he felt. Never satisfied with himself, he was constantly experimenting to find new ways of achieving freedom of expression and a definite individuality.
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S.C. Yuan
"Two Peddlers"