Early California

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

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
"The Cove"

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

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"

William F. Jackson - "Wood Interior along Sacramento River" - Oil on canvas/board - 6 7/8" x 9 7/8" - Signed lower left <br>Artist's title on reverse <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. 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>In the early twentieth century, Jackson expanded his repertory to include the newly-popular 'poppy paintings.' He was lauded by a San Francisco newspaper critic as having become an 'absolute master' of that subject." <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.
NEW
William F. Jackson
"Wood Interior along Sacramento River"

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"

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.
Carl Sammons
"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.
Carl Sammons
"Moonlight" Carmel by the Sea

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.
William Adam
"Wm. Adam's Garden"
circa 1915

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"

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

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

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
"Farm House"

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"

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"
c. 1910

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

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

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 - "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"
1912

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

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 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

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

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

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

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"
c. 1912

Catherine 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 Seideneck
"Road through the Orchards"
c.1935

Catherine 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 Seideneck
"Orchards in Springtime"

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

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

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
"Winter Trees"

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 - "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

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

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"

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

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 - "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"

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
"Sierra Trees"

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
1935

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 - "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 - "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"

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.
S.C. Yuan
"Point Lobos from Highlands Inn"
1952

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

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.
Will Sparks
"Moonlit Adobe"
August 25, 1927

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"

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.
"Three Wives"
1918

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"
1912

Catherine 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 Seideneck
"China Cove at Pt. Lobos"

Catherine 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 Seideneck
"Portrait of a Young Woman"

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
"Carmel Coast"

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.
S.C. Yuan
"Conway Summit #2"

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

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 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"
1925

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

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

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

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 - "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"

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"

Gunnar Widforss - "Bright Angel Trail" - Watercolor - 16" x 20" - Notarized estate provenance on reverse <br>With title plaque <br> <br>Will be included in 'Gunnar Widforss Catalogue Raisonne' <br>by Alan Peterson <br>Catalogue entry #420 <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).
NEW
Gunnar Widforss
"Bright Angel Trail"
c. 1930

Gunnar Widforss - "Ark in the Oakland Estuary" - Watercolor - 16" x 20" - Notarized estate provenance on reverse <br> <br>Will be included in 'Gunnar Widforss Catalogue Raisonne' <br>by Alan Peterson <br>Catalogue entry #616 <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.
NEW
Gunnar Widforss
"Ark in the Oakland Estuary"
1928

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
NEW
Thomas A. McGlynn
"Cypress"

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"