New Acquisitions

Donatus Buongiorno - "Shoeshine Boy with his Dog" - Oil on canvas - 12" x 9" - Signed lower right <br> <br>Donatus Buongiorno was a late-19th- and early-20th-century Italian and American artist of Naples and New York. He was a skilled artist and artisan who had a successful career in both countries. <br> <br>His works are a window into the mind of a man who emigrated to America in the late 1800s. His images express appreciation for the opportunity to make the U.S. his home, while also recalling memories of the people and landscapes of his native southern Italy. <br> <br>He was born in Solofra, Italy. Studied at the Royal Academy of Naples. He emigrated to New York in 1892 and became a naturalized American citizen in 1895. In the early 1900s through the 1920s, he painted commissioned murals in Italian-American Catholic churches in New York, Boston, Indianapolis and Brattleboro, Vermont. In Italy, in 1909, he worked on the restoration of La Collegiata di San Michele Arcangelo, an important 17th-century church in his hometown of Solofra, Avellino, and he had an exhibition of paintings there. <br> <br>In 1911 in Italy, he attended an international art congress of art educators in Rome, while back in the U.S., he had work accepted in the prestigious, competitive annual exhibition of the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania. <br> <br>Throughout his life, he made easel paintings which he sold out of his studios in New York and Naples. He also imported paintings from Italy to the U.S. which he sold in New York, San Francisco and elsewhere, acting as a dealer for other artists. <br> <br>Source: Edan Hughes, Artists in California, 1786-1940; Online Research/Genealogy.
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Donatus Buongiorno
"Shoeshine Boy with his Dog"
c. 1920

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

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

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

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

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

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

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

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.
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Gunnar Widforss
"Ark in the Oakland Estuary"
1928

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).
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Gunnar Widforss
"Bright Angel Trail"
c. 1930

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