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Carmel

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Pacific Grove

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New Acquisition | Early California | American | Woodblocks, Etchings, etc. | Hawaiian

William Adam - "Wm. Adam's Garden" - Oil on board - 16" x 12" - Signed lower left
<br>Titled on reverse
<br>
<br>In 1902 he moved permanently to Pacific Grove and in 1906 he purchased a lot on Central Avenue where he built a studio/home for his new bride overlooking a view of Monterey Bay.
<br>
<br>Known as "Professor" Adam, he gave art lessons in his rose-covered cottage at 450 Central Avenue. With a bright and colorful palette of both oil and watercolor, he became most recognized for trees growing along the coastal dunes, the profuse gardens of the Hotel Del Monte, and flowers surrounding peninsula cottages.

"Wm. Adam's Garden"

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

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.

"Adobe Interior" - Monterey

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"

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

Samuel Bolton Colburn

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"

Samuel Bolton Colburn - "Fish Ranch" - Watercolor - 11 3/4" x 15 1/2" - Signed and dated lower right
<br>Titled on reverse

Samuel Bolton Colburn

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"

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

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

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.

Samuel Bolton Colburn

"Hatton Ranch" - Carmel Valley

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"

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"

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"

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"

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

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

Samuel Bolton Colburn

"Lonesome House"

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"

A landscape scene with colorful mountains and also with several miners cabins.

Samuel Bolton Colburn

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

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

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"

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"

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"

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"

Samuel Bolton Colburn - "Three Fishermen on the Wharf" - Oil on masonite - 19 1/2" x 21" - Signed and dated lower right: Sam Colburn '71
<br>
<br>
<br>Although Colburn was known for his watercolors, pastels and charcoals, he excelled in oil - a rarely painted medium by the artist.

Samuel Bolton Colburn

"Three Fishermen on the Wharf"

Samuel Bolton Colburn - "Valley Barn" - Watercolor - 11 3/4" x 15 1/2" - Signed and dated lower center
<br>Titled on reverse

Samuel Bolton Colburn

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"

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"

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"

Eyvind Earle - "California Hills" - Oil on masonite - 20" x 16" - Signed and dated lower right
<br>
<br>Evyind Earle was an American artist, author and illustrator. His career has encompassed many different fields. During his lifetime he created many paintings, sculptures, scratchboards, watercolors and drawings. His most famous paintings are of California mountains and valleys of western Canada. He was born in New York City, began painting when he was 10 years old, had his first solo show in France when he was 14, and his fame grew steadily.
<br>
<br>In 1951 Earle joined Walt Disney studios as an assistant background painter. Earle intrigued Disney in 1953 when he created the look of “Toot, Whistle, Plunk and Boom” an animated short that won an Academy Award and a Cannes Film Festival Award. Disney kept the artist busy for the rest of the decade, painting the settings for such stories as “Peter Pan”, “For Whom the Bulls Toil”, “Working for Peanuts”, “Pigs is Pigs”, “Paul Bunyan” and “Lady and the Tramp”. Earle was responsible for the styling, background and colors for the highly acclaimed movie “Sleeping Beauty” and gave the movie its magical, medieval look. He also painted the dioramas for Sleeping Beauty’s Castle at Disneyland in Anaheim, California.

"California Hills"

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"

Arthur Hill Gilbert, A.N.A. - "Marine" - Carmel Highlands - Oil on canvas - 25" x 30" - Signed lower right: Arthur Hill Gilbert, A.N.A.
<br>Titled, signed and dated on reverse canvas
<br>
<br>Arthur Hill Gilbert established a lasting reputation as an able interpreter of California’s rolling, oak-studded hills, and its rugged coastline.
<br>
<br>Arriving in California to study at the Otis Art Institute in Los Angeles about 1920, he would first earn recognition exhibiting through the Stendahl Galleries and the Laguna Beach Art Association.
<br>
<br>He moved north to Monterey in 1928 and became an active member of the newly formed Carmel Art Association. He was soon to win major national awards and was one of the very few California impressionists to be elected into the prestigious National Academy of Design receiving an associate membership in 1930.
<br>
<br>Gilbert continued exhibiting statewide and nationally, while playing a formative role in the art community of the Monterey Peninsula. As a member of the prestigious “Big Four”, Gilbert exhibited often with fellow resident academicians: Armin Hansen, William Ritschel, and Paul Dougherty.

Arthur Hill Gilbert, A.N.A.

"Marine" - Carmel Highlands

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"

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.

Depicts a seemingly cold winter day. Barren trees line up - the trunks obscuring most of the barn in the background on the left side of the etching and drypoint and the farm house on the right.

Armin C. Hansen, N.A.

Depicts a seemingly cold winter day. Barren trees line up - the trunks obscuring most of the barn in the background on the left side of the etching and drypoint and the farm house on the right.

Armin C. Hansen, N.A.

Armin C. Hansen, N.A. - "Fishermen on the Dock" - Monterey - Black & white dry brush - 8" x 10 1/2" - Signed with initials lower right

Armin C. Hansen, N.A.

"Fishermen on the Dock" - Monterey

Hansen focused on the beautiful coast, with attention accorded to the wind-sculpted Monterey cypress trees clinging to rocky shores…one on the left and one on the right creating a window to the rocky coastline and out to the ocean beyond. This etching wa

Armin C. Hansen, N.A.

"Monterey Cypress"

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.

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

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"

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"

Armin C. Hansen, N.A. - "The Mate" - Drypoint - 4" x 3" - Plate: Initialed and dated, lower left: A H '30
<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 120, page 133.

Armin C. Hansen, N.A.

Hansen is a story teller. In this dramatic scene he portrays three women - wives waiting on the pier - anxiously watching the rough waters for a sign of a fishing boat and wanting their husbands to come home safely.

Armin C. Hansen, N.A.

William F. Jackson - "Along the Sacramento River" - Oil on canvas/board - 7 3/4" x 10 3/4" - Signed lower right
<br>
<br>"…Sacramento's leading painter during the late nineteenth and early-twentieth century. Jackson launched into a career as a landscape painter, whose early works show the influence of his friend William Keith. His paintings often depict subjects near his favorite retreat in the Sierra Nevada, the Soda Springs/North Fork of the American River area.
<br>
<br>In 1885 he became the curator of the newly-founded Crocker Art Gallery in Sacramento and served in that role for the next fifty years."
<br>
<br>Excerpt from: Meadows and Mountains/The Art of William F. Jackson by Alfred C. Harrison, Jr. - The North Point Gallery, San Francisco, 2009.

William F. Jackson

"Along the Sacramento River"

Pedro J. de Lemos - "Alley - New Orleans" - Pastel - 10" x 7.5"

Pedro J. de Lemos

"Alley - New Orleans"

Pedro J. de Lemos - "Chinatown Street" - Color lithograph - 4" x 4.5" - Titled lower left; signed lower right
<br>
<br>Exhibited:
<br>Monterey Museum of Art/Lasting Impressions - Pedro de Lemos: April 30 - September 28, 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 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, 18.9, May 1919, p.504.

Pedro J. de Lemos

"Dolores Mission"

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 - "Monforte de Lemos, Spain" - Pastel - 12.5" x 10" - Titled, signed and dated lower left

Pedro J. de Lemos

"Monforte de Lemos, Spain"

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"

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

Pedro J. de Lemos

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

Pedro J. de Lemos

"Spanish-Morrocan Church in Evening"

The sculpted cypress tree clinging to the side of a cliff. The bright white of the trunk and braking waves is overlaid with the key block's outlines, which are in turn softened by the subsequent application of the russet background; large patches of reddi

Pedro J. de Lemos

"The Cliff Dweller"

Pedro J. de Lemos - "The Golden Hour" - Color block print - 10.25" x 5.25"

Pedro J. de Lemos

"The Golden Hour"

Pedro J. de Lemos - "The Hillside Harvest" - Color block print - 7.25" x 6.5" - Titled lower left
<br>Signed lower right

Pedro J. de Lemos

"The Hillside Harvest"

Pedro J. de Lemos - "The Path to the Sea" - Color block print - 10" x 7 1/2" - Titled in pencil lower left
<br>Signed in pencil lower right
<br>
<br>Exhibited:
<br>Carmel Art Association/'95 Years' - A Commemorative Exhibition Catalog of Selected Works Honoring Late CAA Artist Members: 1927/2022
<br>
<br>Illustrated page 10, plate 35-B.

Pedro J. de Lemos

"The Path to the Sea"

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

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

This drypoint was executed from drawings inspired by her trip to Mexico in 1936. She has captured grazing time on a cold and bleak day for 6 or 7 goats trying to find food on a hillside. At the top of the hill are two barren trees rooted in the ground - w

Jeannette Maxfield Lewis

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

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"

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

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>Illustrated on page 17 of exhibition catalogue: Jeannette Maxfield Lewis: A Centennial Celebration: MPMA/1994.

Jeannette Maxfield Lewis

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"

Jeannette Maxfield Lewis - "Fishermen [No. 2] - Drypoint - 5 7/8" x 6 7/8" - Plate: Signed and dated upper left
<br>Titled in pencil lower left
<br>Signed in pencil lower right
<br>Edition: 51
<br>
<br>Provenance:
<br>Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #63 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 [No. 2]

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"

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

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

Jeannette Maxfield Lewis

"Mexican Village"

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

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

Jeannette Maxfield Lewis - "To Market, To Market" - Etching - 2 1/2" x 3" - Plate: Signed lower right
<br>Titled in pencil lower left
<br>Signed in pencil lower right
<br>
<br>Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #188 in Catalogue Raisonne: The Complete Etchings by Anthony R. White

Jeannette Maxfield Lewis

"To Market, To Market"

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"

Thomas A. McGlynn - "Coast Range Homestead" - Oil on board - 16" x 20" - Estate signature lower right
<br>Titled and signed on reverse
<br>Directly from the estate of Thomas A. McGlynn

Thomas A. McGlynn

"Coast Range Homestead"

Thomas A. McGlynn - "Cypress" - Oil on canvasboard - 18" x 16" - Estate signed lower left
<br>Titled and signed by the artist on reverse
<br>From the estate of Thomas A. McGlynn
<br>Estate inventory #205 on reverse

Thomas A. McGlynn

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 - "Farm House" - Pastel - 6" x 8" - Retains original Myron Oliver frame.
<br>
<br>Thomas McGlynn was an early member of the Carmel Art Association, serving twice as President as well as serving on the Board and becoming a lifetime member.
<br>
<br>His paintings are among the most lyrical of the school of California Luminists. Almost completely a landscapist, his paintings convey the poetry, the sense of majesty and tranquility which he sensed in nature.

Thomas A. McGlynn

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

Thomas A. McGlynn - "The Cove" - Oil on canvas - 25" x 30" - Estate signature lower right
<br>Directly from the estate of Thomas A. McGlynn. Letter of Authenticity to accompany painting.

Thomas A. McGlynn

Thomas A. McGlynn - "Wendy's House" - Oil on panel - 8 1/4" x 11" - Exhibition label on reverse
<br>Directly from the estate of Thomas A. McGlynn
<br>
<br>In the hills of Duncan Mills along the Russian River...
<br>
<br>"Wendy's House" was painted and exhibited during the years that McGlynn worked for Arthur Mathews in San Francisco.
<br>
<br>McGlynn’s initial training began in 1899 where he entered the Mark Hopkins Art Institute- California School of Design in San Francisco, graduating in the same class as his close friend, Armin Hansen.
<br>
<br>At that school Arthur Mathews became his mentor and later appointed him chief designer for Mathews' Furniture Shop from 1906-18.

Thomas A. McGlynn

"Wendy's House"

Thomas A. McGlynn - "Winter Light" - Carmel Valley - 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" - Carmel Valley

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

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"

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>
<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

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"

Joseph Jacinto Mora - "Evolution of the Cowboy" - Color lithograph - 30 1/4" x 22 3/4" - 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"

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

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

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 triibute show to Jo Mora.

Joseph Jacinto Mora

"Indians of North America" -

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"

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

Mary DeNeale Morgan - "Carmel Coast with Cypress" - Oil on wood panel - 11" x 9" - Signed lower right
<br>On back panel: E.E. Snook Art Company/Billings, Montana
<br>
<br>The Snook Art Company was opened in Billings in 1913 by Earl and Elianor Snook. Earl Snook had been a good friend of Chief Plenty Coups of the Crow Nation, as well as artist Will James. The Snook Art Company was in business in Billings for over 100 years.
<br>
<br>The historic Snook Art Company building, frequented in its early days by literary genius' such as Ernest Hemingway and cowboy artist and author Will James, is now home to the newly renovated Snook Art Gallery, located at 2420 2nd Avenue North in downtown Billings Montana.

Mary DeNeale Morgan

"Carmel Coast with Cypress"

Charles Rollo Peters - "Grazing Sheep" - Oil on panel - 13 3/4" x 10 1/2" - Dedicated lower left; signed lower right.
<br>
<br>Provenance: From the Estate of Stanley Worth, great nephew of Charles Rollo Peters.
<br>
<br>Exhibited: Monterey Peninsula Museum of Art/ "The Peters Heritage". Exhibition dates: February 7 - March 29, 1987.
<br>
<br>By the late 1880s, while still in his twenties, Peters was exhibiting widely both in the States and abroad, and was winning acclaim and praise along with many silver and bronze medals. After marrying Kathleen Murphy in 1891, they left for Europe for several years, returning to Monterey in 1900. Upon his return to California, he settled in Monterey where he built a 30-acre estate called "Peters Gate." His home was a haven for other artists and he entertained lavishly until the money ran out. Following tragic losses of both his wife and small daughter, Peters remarried in 1909. The Monterey house was sold and the family went to Europe for two years.

Charles Rollo Peters

"Grazing Sheep"

Carl Sammons - "Carmel by the Sea" - Oil on canvasboard - 6" x 8" - Signed lower right
<br>Titled on reverse
<br>
<br>A talented pastelist early on, Sammons chose to paint in oils primarily by the mid-1920’s.
<br>
<br>Inspired by the compelling aesthetic beauty of canvases by a somewhat older generation of early California artists such as Granville Redmond (1871-1935), John Gamble (1863-1957) and Percy Gray (1869-1952), Carl Sammons was also attuned with artists of his generation such as Edgar Payne (1883-1947), Albert DeRome (1885-1959), and Paul Grimm (1892-1974). It is worth noting that Sammons was actively painting California imagery in the same locales and during the years overlapping all six of these artists.

"Carmel by the Sea"

Carl Sammons - "Moonlight" Carmel by the Sea - Oil on canvasboard - 6" x 8" - Signed lower right
<br>Titled on reverse
<br>
<br>A talented pastelist early on, Sammons chose to paint in oils primarily by the mid-1920’s.
<br>
<br>Inspired by the compelling aesthetic beauty of canvases by a somewhat older generation of early California artists such as Granville Redmond (1871-1935), John Gamble (1863-1957) and Percy Gray (1869-1952), Carl Sammons was also attuned with artists of his generation such as Edgar Payne (1883-1947), Albert DeRome (1885-1959), and Paul Grimm (1892-1974). It is worth noting that Sammons was actively painting California imagery in the same locales and during the years overlapping all six of these artists.

"Moonlight" Carmel by the Sea

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.

"PG Municipal Golf Course Holes 5-6"

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>Equally skilled as a painter of oil, watercolor, pastel, and oil wash

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"

Catherine Comstock Seideneck - "Orchards in Springtime" - Oil on canvas - 20" x 24" - Signed lower left
<br>
<br>~An accomplished artisan and teacher ~
<br>Equally skilled as a painter of oil, watercolor, pastel, and oil wash

Catherine Comstock Seideneck

"Orchards in Springtime"

Catherine Comstock Seideneck - "Portrait of a Young Woman" - Pastel on board - 13" x 10 1/4" - Estate signed lower left
<br>
<br>~An accomplished artisan and teacher ~
<br>Equally skilled as a painter of oil, watercolor, pastel, and oil wash

Catherine Comstock Seideneck

"Portrait of a Young Woman"

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"

George Joseph Seideneck - "Adriatic Fishing Boats, Venice" - Oil on canvas - 10" x 12 1/2" - Signed and dated lower left: Geo. J. Seideneck 1912
<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

"Adriatic Fishing Boats, Venice"

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"

George Joseph Seideneck - "Bad Schandau on the Elbe" - Oil on canvas/board - 10 1/4" x 12 3/4" - Signed lower left
<br>Titled and dated on reverse
<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 Elbe" -Germany- - 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" -Germany-

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"

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 - "Carmel Coast" - Oil on canvas - 10 1/2" x 13" - 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

George Joseph Seideneck - "Church in the Countryside" - Oil on canvas/board - 10" x 12 3/4" - Signed and dated 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

"Church in the Countryside"

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

George Joseph Seideneck - "Houses on the Hillside" - 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

"Houses on the Hillside"

George Joseph Seideneck - "Landscape near Carmel" - Oil on board - 10 1/4" 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>~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 near Carmel"

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 - "Resting Boats at Monterey" - Oil on board - 9 1/4" x 7 3/4" - 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

"Resting Boats at Monterey"

George Joseph Seideneck - "Rocky Coast - Carmel" - Oil on canvas/board - 9" 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>
<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

"Rocky Coast - Carmel"

George Joseph Seideneck - "Rocky Cove, Pt. Lobos" - Oil on board - 10 3/4" x 13" - 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

"Rocky Cove, Pt. Lobos"

George Joseph Seideneck - "Storm Clouds" - near Pt. Lobos - Oil on board - 10 1/2" x 12 3/4" - Signed lower left
<br>Signed and titled on reverse
<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

"Storm Clouds" - near 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"

George Joseph Seideneck - "Venetian Boats" - Oil on canvas - 20" x 24"

George Joseph Seideneck

"Venetian Boats"

George Joseph Seideneck - "Winter Trees" - Oil on canvas/board - 11 1/2" x 9" - 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

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 - "Moonlit Adobe" - Oil on canvas - 20" x 28" - Signed and dated lower left
<br>Dated August, 1927 on reverse
<br>
<br>Exhibited:
<br>Mary Porter Sesnon Art Gallery/UC Santa Cruz at Porter College
<br>'Mary Porter Sesnon and Pino Alto', April 12 to May 12, 2018.
<br>An exhibition celebrating the life of Mary Porter Sesnon (1868-1930) and her influences on the arts in Santa Cruz County, originating with her historic home, Pino Alto, where they hosted cultural salons from 1911 to 1927.
<br>
<br>The exhibition contained many sketches and watercolors from a scrapbook made during these salons, calligraphy by Ms. Sesnon, along with paintings by California artists Will Sparks, Ferdinand Burgdorff, Haig Patigian, Frank Unger, Charles Dickman, Margaret Rogers, Leonora Penniman, and Cor de Gavere.

"Moonlit Adobe"

August 25, 1927

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,

Paul Whitman - "Cypress" - Etching - 5 3/4" x 3 3/4"

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.

"Fisherman's Wharf"

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

"Fuller's Blind"

Paul Whitman - "Monterey Bay" - Etching - 4 1/2" x 7 3/4"

Paul Whitman - "Morning Calm" - Etching - 6" x 8 7/8"

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 - "Pier's End" - Etching - 4" x 6" - Plate: Paul Whitman '27 lower right
<br>Artist Proof lower bottom
<br>Titled lower left; signed lower right
<br>Directly from the estate of Paul Whitman

Gunnar Widforss - "Ark in the Oakland Estuary" - Watercolor - 16" x 20" - Notarized estate provenance on reverse
<br>
<br>This work is recorded and illustrated in the online catalogue raisonné of Gunnar Widforss’ work by Alan Petersen as catalogue entry #616. The online catalogue raisonné is available at www.gunnarwidforss.com.
<br>
<br>
<br>
<br>In a letter to his mother, Blenda, dated December 5, 1928, Widforss referred to painting the harbor and old houses in Oakland. The improvised community of houseboats and "arks," as they were referred to, was home to artists, musicians, and bohemians in general.

Gunnar Widforss

"Ark in the Oakland Estuary"

Gunnar Widforss - "Bright Angel Trail" - Watercolor - 16" x 20" - Notarized estate provenance on reverse
<br>With title plaque
<br>
<br>This work is recorded and illustrated in the online catalogue raisonné of Gunnar Widforss’ work by Alan Petersen as catalogue entry #420. The online catalogue raisonné is available at www.gunnarwidforss.com.
<br>
<br>"Although it isn't one of his "classic" Canyon paintings it is a great document of his practice of hiking in the Canyon to paint in remote locations." (excerpted from email from Alan Petersen/05/04/2022).
<br>
<br>"Gunnar painted it near the mouth of Bright Angel Canyon, about a mile from Phantom Ranch, near the Colorado River, looking downstream. He probably would have been near the trail, but not really on it. In the painting, the river is hidden by the diagonal slope that cuts across the view from the right (north). The Bright Angel Trail itself is just out of the view to the right, further downstream."
<br>
<br>"Since the painting has been known by that title (Bright Angel Trail) for some time, I think I'd stick with it. It maybe isn't the most accurate, geographically, but it's also not inaccurate. I'm going to change the title in the catalogue. (Grand Canyon: Inner Canyon).
<br>
<br>(excerpted from email from Alan Petersen/06/03/2022).

Gunnar Widforss

"Bright Angel Trail"

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.

"Marshland near Monterey"

S.C. Yuan - "Conway Summit #2" - Oil on board - 10" x 36 1/2" - Signed lower right
<br>
<br>Exhibited: Carmel Art Association/1994 -
<br>a retrospective exhibition;
<br>illustrated in accompanying book - plate #1, page 75.
<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.

"Conway Summit #2"

S.C. Yuan - "Moonlit Surf" - Oil on canvas - 18 1/2" x 23" - Signed lower right

S.C. Yuan - "Point Lobos from Highlands Inn" - Oil on canvas - 22" x 28" - Signed lower left: Wellington S.C. Yuan
<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>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.

"Point Lobos from Highlands Inn"

S.C. Yuan - "Sierra Trees" - Oil on masonite - 16" x 20" - Signed lower right
<br>Titled on reverse
<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 - "Still Life with Mangos" - Oil on panel - 21 1/4" x 26 1/2" - Signed lower right

"Still Life with Mangos"

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