I like a lot of different styles of painting. I have had an active interest in art for the past few years, and my tastes are still evolving as I learn and live with my growing collection. I do not collect as an investment but for the fun of it and to feed my enjoyment for doing research and learning. Here are some of my favorites. By the way, I am NOT the wildlife artist of the same name.
"Farmer's Market", Milton
Kemnitz, 12" x 20", oil on board
Milton Kemnitz was born was born on 31
March 1911 in Detroit, Michigan to William Hermann and
Amanda Neumann Kemnitz. He was a well known Ann Arbor
Michigan artist. For some reason the gallery label on
the back of this painting says it is a watercolor, but
it is either and oil or acrylic painting. Several
articles were written about him during his life and
there were at least three obituaries written at the
time of his death. I am including one very
lengthy obituary as an example:
Early Civil-Rights Leader and popular Michigan artist. Milton Neumann Kemnitz died peacefully in his sleep on 26 February 2005. He was born in Detroit, Michigan on March 31, 1911 to William Hermann and Amanda Neumann Kemnitz.
He graduated from the University of Michigan in 1933 and immediately took a job as a social worker in Washtenaw County. He was fired from that position in 1935 for his activities in organizing the welfare recipients. Although he was rehired, he was launched on a career of social, political, and union activism. He took part in the sit-down strike at the General Motors facility in Flint, shared a house with Walter and Victor Reuther and Norman Thomas when they founded the UAW, and became secretary of the Detroit-based Conference for the Protection of Civil Rights [CPCR].
Milton Kemnitz remained secretary when the CPCR grew into the National Federation for Constitutional Liberties [NFCL]. In June of 1941, he moved the NFCL to Washington, D.C. While many of the causes they took up were futile, all had to be fought, and they had many successes. Among them was getting an unconditional pardon in January of 1939 for Thomas J. Mooney who had been sentenced to death for bombings of the 1916 San Francisco Preparedness Day parade. A grateful Mooney sent the pardon to Milt Kemnitz with an inscription thanking him. In Natchitoches Parish, Louisiana, they won the freedom of an African-American farm labor union organizer named Clinton Clark. Their modus operandi was to win a case, and with each victory they put authorities throughout the country on notice to cease and desist practices that were as clearly unconstitutional as they were widespread.
In April of 1942, the NFCL held a National Action Conference for Civil Rights in Washington to protest Jim Crow, the poll tax, the internment of the Japanese, the suspension of the rights of labor to strike, and many other war-time measures. As secretary, Milton Kemnitz voiced from the podium his protest against the attempts to create a national unity at the expense of the constitutional liberties of all Americans. Time has endorsed the vision of the delegates to this conference. Every law that they said was wrong in 1942 has been repealed. Every action they protested in 1942 the country now regrets. Every right they said should be guaranteed in 1942 has been established as a right.
In 1942, the sources of support of the NFCL shifted, and Milt Kemnitz moved to New York City to continue to run the NFCL. He spent much of World War II as a merchant seaman on Liberty ships in the European theatre. During his time on board ship, he aided the National Maritime Union and was a delegate to its congress in 1945. The National Maritime Union had a program to teach seamen to paint, and Milt took advantage of the opportunity. After the war, he returned to New York to the NFCL, but now he had his eye set on a return to Ann Arbor and a career as an artist. His great friend Dashiell Hammett took him to Ben Shahns studio where they discussed how he might make a living as an artist in southeastern Michigan. In October of 1947, Milt moved his family back to Ann Arbor determined to spend as much of his life as possible making art.
Through the rest of his life, Milton Kemnitz painted the buildings, old homes and street scenes of Ann Arbor and University of Michigan; he did many paintings of ships-particularly the Great Lakes ships-and of birds and landscapes of Georgian Bay, and of trains and automobiles. Repeatedly, he painted, drew and made prints of the buildings he thought should be preserved, and he played a great part in efforts to preserve the character of Ann Arbor. He was always interested in learning and using new media: watercolors, oils, pen and ink, silk screen, collage, stained glass.
By a variety of means, Kemnitz managed to make his art widely owned. Among the books he produced are Michigan Memories, Ann Arbor Now and Then, and London and Back. His car drawings were collected in Cars That Caught My Eye, and lately his paintings have been extensively used in a series of grammar books called Grammar Island, Grammar Town, and Grammar Voyage.
He married Esther Lichtenstein on August 18, 1939, and she was the central focus of his life until her death in May of 2000. Thereafter, he moved to Monroe, New York where he lived in the house of his son. He is survived by his son Dr. Thomas Milton Kemnitz and his grandson Thomas Jr.
he's to Ann Arbor what Toulouse Lautrec is to Pigalle,
what Al Hirschfeld is to Sardi's, or what Norman
Rockwell is to romanticized Americana.
renderings--signature views of State St. and the
Michigan Central Depot, among countless others--thread
the fabric of this town like Ann Arborites you only
know by sight. His pictures are so much a part of how
Ann Arbor remembers itself that those who've lived
here long enough might be excused for taking them for
But like the unassuming uncle you're startled to learn was a bartender at Studio 54, there's so much more to Milt Kemnitz than his paintings. To peel back the layers of his life is to be continually astonished at the diversity--and historical significance--of his work. His is a Zelig-like tale in which famous names crop up with textbook regularity.
Kemnitz was involved in the earliest days of union organizing, sharing a house with UAW founders during the union's creation. In the earliest rumblings of the Red Scare, he was fired from his job as a Washtenaw County social worker. And, decades before the 1964 Civil Rights Act, he played a central role in the movement for racial equality.
an activist by nature and by profession. In later
years, while literally painting the town, he fought to
protect not just people but spaces, both open and
built--a beloved Ann Arbor of elm-lined streets and
Victorian gables that by the mid-twentieth century had
become increasingly endangered.
Peggy Kirk was a Washington
State artist. My painting has what appears to be a
gallery label verso that says "Kirkland Artists
Group Gallery", and information about the painting.
I have found no trace of this gallery or artists
group. Ms. Kirk may have been a member of this
Peggy's very informative obituary* appears on the web site of the Harrison Family Mortuary, 311 W. Market Street, Aberdeen, WA 98520:
Peggy Kirk (Puggy)
Our Beloved and Cherished wife, mother, grandmother, and great-grandmother of many, Peggy Kirk (Puggy) was called home by our Lord Jesus, with whom she dedicated her life and career, peacefully in the comfort of her own bed at home with her husband at her side on October 12, 2012. Peggy's life began in Everett, Washington on May 20, 1927. She grew up in Medford, Oregon with her parents Grover and Bea Corum, and her two siblings Jim and Dick Corum. Peggy was the wife of James Kirk, her husband of 43 years; and the mother of Tony, John, Heidi, Paul, Grace, Kristina, Cheryl, and Lynnell.
Peggy's educational accomplishments include Medford High School with honors, Northwest Bible College, B.A. Suma Cum Laude, B.A. in Counseling, Masters Degree in Practical Theology, Doctor of Biblical Literature and family counseling: Divinity School of Practical Theology in Evansville, Ind. GPA 4.0 with honors.
Peggy Kirk, a northwest marriage and family counselor, musician, and award-winning writer, has recently taught watercolor art at Grays Harbor. Along with her counseling, Peggy published a column "Grandma's Cupboard" in the Ocean Shores Journal. Her next writing adventure she became a columnist for "The Vidette" newspaper in Montesano, Wash. Peggy and her husband, Jim, were also known to be political activists which included being Charter Members of the State Board for the Christian Coalition in the State of Washington. Peggy was on-call as a counselor for Hearts and Hands Pregnancy Center, along with the Professional Resources of Celebrate Life Incorporated.
Peggy Kirk has won many prestigious art awards. She has illustrated magazine covers and booklets, and has paintings hanging in the Galleria d'Arce, Venice, Italy, Waterloobay, Bredon Teewkesbury Glos., England. A watercolor painting was chosen by the Bellevue Chamber of Commerce to presented to His Excellency, Gustav Petricciol, Ambassador of Mexico in 1991.
Peggy's true love and dedication to our Lord, patriotism for our country, and her love for the fellow man, opened her home to anyone interested in furthering their biblical knowledge by attending the bible classes therein. Another contribution to the local area was free instruction of watercolor lessons. Her grateful students who have grown to love and respect Peggy, consisted of beginning and advanced artists. Peggy was the recipient of prestigious awards. The Golden Key award by the Master of Divinity School. The Dream of Peace award from the Ocean Shores Lion Club. The Theodore N. Vail Medal in 1948 for self sacrificing her own safety to save others during the Bamport flood in Bamport, Ore. Many lives were saved when Peggy and a co-worker stayed behind the Exodus to continually alert people to leave the area and barely made it out on time to escape from the oncoming flood waters. Certificate of Ministerial License "Denomination of The Gospel Ministry".
Peggy put to use her Minor Degree in Music obtained from Sacramento State College, she taught piano, organ, and accordion. As an accomplished musician she started teaching lessons from her home. Through out Peggy's life she has directed many choirs, and helped build choirs. Jim and Peggy are accredited with establishing the first Cantata in Ocean Shores.
With all the above accomplishments, people who knew Peggy, could not help but admire one of her most admirable qualities of "Humility". Example: one of her many ministries was to create and handmake "get well" cards and send to people in need of support without identifying herself as the sender. Hand crocheted afghans were handled in the same manner. By not claiming her personal recognition, Peggy gave all credit to her Lord Jesus.
As a young girl, Peggy had polio and was unable to walk. Doctors said she would never walk again. Friends and family prayed for her and one day, she felt the need to walk to a tree in the family yard and she did. From then on, her ability to walk continued to improve.
A service will be held at 11:00 a.m. on Saturday, October 20, 2012, at Montesano Presbyterian Church.
*This obituary is copyrighted by the Harrison Family Mortuary.
There is another painting on
the reverse. The painting was cardboard backed and
may date from the 1960s-1980s. Whoever filled out
the label misspelled "glen".
I originally displayed this painting on one of
my Unknown Artist's pages until, with the help of
several folks, discovered her identity. For
instance, in October of 2010, I received the
"hello I may have
some info on the p kirk paintings I have 3 of them
that my great aunt had. 1 oil on canvas from peggy
kirk 1005 104th s.e. bellevue, Wa 98004 455-9466
painting is called california coast. also a small
framed mix of seven watercolors ocean theme, signed
on back to my great ant for being the best sunday
school teacher with her signature peggy kirch 1984.
also have one larger watercolor. hope this is a
start if you would like to find more info."
"I found these 2 watercolors by Peggy kirk Bellevue wa. her bio is on blue dolphin publishing website"
Sure I remember Peggy Kirk and by chance we still exchange Christmas cards. Her address is now as follows:
305 S 9th St.,
Montesano, WA 98563
Phone: 360 289 0288 (this goes back to when she liived in Ocean Shores .)"
Unfortunately, I just missed talking to her before her death.
"Montana Beaver Dam", Deborah Coperhaven Fellows,
5" x7", oil on canvas board
Fellows was born in Idaho. She was a competitor in the
rodeo circuit until attending fine art school at
Washington State University and Fort Wright College of
the Holy Names. She is primary known as a bronze
sculptor. She has been inducted into the National
Sculpture Society and the National Cowgirl Hall of
Fame. She currently (2016) lives in Arizona with her
husband, well know sculptor Fred Fellows. They have a
I will get a better image of this painting when time
"Along Ann Arbor Trail", Fintan L. Henk, 8" x 9", oil
Fintan Leo Henk was
born on 13 January 1892 in Detroit, Michigan, a son of
John and Johanna Helwig Henk. He was employed as a
stenographer for the Pullman Co. in Detroit in 1914, and
in 1915 was employed at the Michigan Central Railroad
Company. In 1916, he was employed as the Chief Clerk at
that company. He was still employed there in 1917, when
he completed his WWI Draft Registration card. He was
married by that time to a woman named Magdalen M. They
were living in Detroit during the 1920 census, and in
Grosse Point Park Village in 1930 and 1940. He was
employed as a "secretary, transportation" in 1920.
Fintan was employed as a real estate salesman in 1930
and as a real estate and insurance broker in 1940. He
was a founder and first president of the Grosse Point
Rotary Club, serving 1937-1938. According to his family,
he was an amateur artist and did not belong to any art
societies and did not exhibit his work. The painting in
my collection was exhibited in some way, according to
the sticker verso, but this may have been an informal
exhibition, or an exhibition of amateur art works.
Fintan Henk died on 4 September 1957. Magdalen Henk was born on 6 July 1891 and died in June 1975.
unnamed, Russ Stahr, 9.5" x 9.5", acrylic on
Russ Stahr is a
self taught artist from Kalamazoo, MI.
Jill C. Weisberg is a Florida artist who is best known as a muralist. She works both as a street artist and as a commercial muralist. She received a masters degree from Florida Atlantic University. This painting was exhibited in a local art show. It was painted in 1996 or 1997, according to the artist.
unnamed, C.S.J. Prince, 6.75" x 9.5", watercolor, '55 (1955)
CSJ Prince (signature)
c/o Rev. Z. S. Jeevaneson
United Theological College
17 Millers Road
This was most likely the address
of Zed Samuel Jeevanesan.
CSJ Prince signature from another watercolor
"1000 cats #472", Jack Larson, 16" x 20", acrylic
Jack Larson is an Albuquerque, NM artist who specializes in zombie art. The image above is from a series of 1000 zombie cat paintings he is doing. Many are ACEO sized works. Jack sells under the ebay id ev01z28 and also sells on Etsy. He has a blog. I really like his work, especially his cats. He also does zombie portraits of you and your loved one(s) from photographs, on a commission basis.
unnamed, J. M. Sosin, 14" x 17", watercolor on
Melanie Sosin was born about 1954 and is an attorney
and artist, living in the vicinity of Tucson, Arizona.
She received a Bachelor of Fine Arts degree in 1976
and a Masters of Fine Arts degree in 1978 from the
University of Arizona. She later worked as a police
officer and received a law degree from University of
Arizona in 2004. Several mentions of her
exhibitions and work as an artist can be found using a
Google search. A few mentions of her work
as an artist were found during the period from the mid
1970s through 2010, so she may have continued to work
as an artist concurrently with pursuing other
professional endeavors. Mentions of her work indicate
that she has worked in mixed media and watercolors.
J. M. Sosin signature
Carole D. Barnes was born in
1935 in Bellefonte, PA and is a resident of Boulder,
Colorado. She received a degree in Art
Education from Pennsylvania State University. She is
listed in Who's
Who in American Art and An
Encyclopedia of Women Artists of the American West.
Her work is in the collection of the Albuquerque
Museum. She is a member of the American Watercolor
Society and National Watercolor Society. Her later
work typically bears the "AWS" designation She has a
I found all three of
these paintings at a thrift shop about sixty
miles from where I live. They were all well
framed and matted, probably in the original
frames. I have not been able to get a decent
image of "Flowers of the Field", below. The
colors are much deeper than I have been able to
capture. Since all of these works are so well
framed and backed, I have not attempted to take
them out of the frame to photograph and examine
I was able to contact Ms.
Barnes and confirm that these paintings are her
Carole Barnes signature
unnamed, J. E. Cribbs, 20" x 24", oil on masonite
James Elias Cribbs was born on 25 March 1891 in Mercer, PA, a son of Austin Garfield Cribbs and Agnes Gray Shannon. Austin Cribbs was employed as a farmer during the 1900 and 1910 censuses. James Elias Cribbs received an A. B. degree in 1914 from Grove City College, PA and his Masters in Botany in 1916 and Ph. D. in 1918 from the University of Chicago. He was employed as a " school teacher, in academy" during the 1910 census, as a professor of biology in 1917 at Grove City College, Grove City, PA according to his WWI Draft Registration card, at the College of Emporia at Emporia, KS during the 1920 census and at Drury College in Springfield, MO during the 1930 census. He authored several books and journal articles on the subjects of botany and biology. J. E. Cribbs was the curator of the biology section of the Edward M. Shepard Museum on the Drury College campus in 1925 and 1932. Cribbs was married to Dorothy May Wing about 1920, probably in Chicago, which was Dorothy's home. Dorothy received an S.B. degree from the University of Chicago in1917 and was an instructor at the College of Emporia, according to the 1919 alumni directory of UC.
James Elias Cribbs
Cribbs was a painter in oils and watercolors. It is not known where James Cribbs obtained his artistic training, but Google reports several references to the Art Department at Drury College, so it is possible that he studied there. Cribbs was the President of the Ozark Artists' Association at the time of his death in 1942 and, since this organization was formed in 1938, this work was likely created between those two dates, as it bears an exhibition label associated with that organization. Cribbs is mentioned in Who's Who in American Education (1930). He is not mentioned in any art reference resource, excepting mentions in Arts Magazine Volume 16 (1941) and the Magazine of Art Volume 34 (1941), which announced an exhibition of his paintings spanning the month of December at the Springfield Art Museum, and mention of a memorial exhibition of his work in the month of December 1942 in Magazine of Art, Volume 35. James' brother, George A. Cribbs, was a well listed artist, so both brother's artistic abilities may have been nurtured in the family home. Three generations of James' descendants have been trained artists.
James Elias Cribbs
The painting in my
collection is not signed, but is identifiable as the
work of Cribbs because of the remnants of an
exhibition label for the "1th All-Ozark Annual
Exhibition". This was a very short lived series of
exhibitions that were sponsored by the Springfield
Art Museum. The backing is missing from this
painting, but the pattern of nail holes in the frame
and on the board where the painting was secured in
the frame prove that this board is the only one that
has ever resided in this frame.
Snake River location
in comparison to painting, nearly 75 years later
Additionally, several members of the family of Mr. Cribbs confirmed that this is his work, having accidentally been sold at the estate sale of his son-in-law, Dr. Clyde A. Kirkbride who died on 15 September 2011 in Souix Falls, SD. The Kirkbride's residence was in Brookings, SD, but they moved to Souix Falls to be near family in their later years, while maintaining their home in Brookings. The estate sale took place at the Kirkbride family home in Brookings where the painting was purchased by a seller there who later sold it on ebay. Dorothy Cribbs Kirkbride, widow of Clyde, confirmed that this is definitely one of her father's paintings. The family took two trips west to take Mary Louise (J. E. Cribbs daughter) to school at USC in about 1936. They took another trip later, no later than 1938, but she was not sure of the year. She was sure that JEC's inspiration for the painting was a canyon on the Snake River as viewed from one of these trips. She was certain that this painting is of the Snake River. I was able to locate a photograph of what is almost certainly the scene of this painting, from a slightly different vantage point.
From the News Leader, Springfield, MO, Sunday, Morning, August 2, 1942:
Funeral services for Dr.
James Elias Cribbs, 51, head of the biology department
at Drury college who died yesterday morning at his home,
986 Washington, will be at 10 o'clock Tuesday morning in
Christ Episcopal church. Officiating will be the rector,
the Rev. Sears F. Riepma, assisted by Dr. James Findlay,
president of Drury. Since commencement in June, Doctor
Cribbs had been ill of heart disease. Shortly after
graduation, he entered a hospital for a while, but he
was dismissed about a month ago and friends who saw him
as recently as Friday night thought he was looking
Born in Mercer county,
Pennsylvania, Doctor Cribbs took his A. B. degree at
Grover City college in Pennsylvania, and went on to take
his master's degree and his Ph. D. at the University of
Chicago. He went to Drury in 1920 as acting professor of
biology and became, the head of the department the
following year - a post which he had held ever since.
Few professors were more popular than Doctor Cribbs at
Drury college. His booming laugh and keen sense of humor
were fixtures at the college. Doctor Roland Neal, head
of Drury's chemistry department and close associate of
Doctor Cribbs, had this to say about him. "Though he was
always good humored and joked with his students a good
deal, he didn't lower the standards of his teaching. He
taught a good course." With Doctor Neal, Doctor Cribbs
handled the college's pre-medical courses.
In addition, Doctor
Cribbs had a number of hobbies all of which he entered
into with enthusiasm. He painted, both in oil and water
colors, and was president of the Ozark Artist'
Association. He was an amateur photographer. One of his
most recent projects was the planning and supervision of
new plantings of trees and shrubs on the Drury Campus.
Survivors include his widow, Dorothy May; a son, Tom, of
the home; three daughters, Dorothy Jane and Patricia May
Cribbs, both of the home, and Mary Cribbs, a teacher in
Englewood, Cal.; and a brother, George Cribbs of
Alliance, Ohio. Pallbearers will be Al Reed, Ted
Lippman, Sam Black, Dr. Roland Neal, W. A. Daggett,
Professor L. E. Meador, Dr. G. H. Benton and Albert L.
James Elias Cribbs died on 1
August 1942 in Springfield, MO. Dorothy May Cribbs
Riepma 7 December 1967 in Springfield. They are both
buried in the Greenlawn Cemetery, Springfield, MO.
"Vicky", Ranulph Bye, 11.5" x 7.5", watercolor
Ranulph DeBayeux Bye was born at Princeton, New Jersey
on 17 June 1916 a son of Arthur Edwin and Maria "Mary"
Catherine Heldring Bye. Arthur Bye's occupation in the
1930 Federal census of Swarthmore, Delaware County, PA
was "art expert". He is such a well documented artist
that I may not add more about him here. Note that Bye
exhibited this work at the Salmagundi Thumb Box
Exhibition in 1963.
Ranulph D. Bye died on 19 November 2003 in
Mechanicsville, Bucks County, PA.
unnamed, Mary Leath Thomas, 10" x 15", watercolor
Alice Leath was born on 25 February 1905 in
Hazelhurst, Jeff Davis County, Georgia, the daughter
of John William and Bessie Gill Leath. John was a
merchant in 1910 and 1920. Mary studied at the Georgia
State College for Women, Duke University and the
Women's College University of North Carolina where she
studied under Gregory Dowler Ivy. Mary was married to
a man named Stewart, probably before 1930. She wrote a
book titled Correlating
Art With Other School Subjects,under the name
Mary Leath Stewart, which was published by the Duke
University Press in 1935, so likely had been a teacher
for some time by then. She taught in Albemarle, North
Carolina Public Schools, Federal Women's College, NC,
University of Georgia, etc., and became an art teacher
in Greensboro, North Carolina schools in the Fall of
1936. Her art was part of an exhibition held by the
Fairmont Women's Fine Art Department in Lumberton, NC
in 1942 so she did work under the name Mary Stewart or
Mary Leath Stewart. A possible example of her work
under the name Mary Stewart may be viewed on
AskArt.com. The notice of the Lumberton exhibition
stated that she was assistant art professor at the
Womens College of the University of North Carolina.
Mary married Howard Wilber Thomas, also an artist,
about 1945. Mary exhibited widely under
both the name Mary Leath Stewart and Mary Leath Thomas
and won several awards for her work. It is
possible that she may also have done some work as Mary
Leath. Examples of signatures from her
work indicate that she did not use her maiden name in
her signature after her first marriage. She is listed
in Who Was
Who in American Art by Falk, several editions
Who in American Art, Davenports Art
Reference and Price Guide, Women Artists in
America by Collins, and other reference
works. She is "listed" on AskArt.com, ArtPrice.com,
Mary Leath Thomas died on 3 May 1959 in Athens, Georgia and is buried in the Lakeside Cemetery in Conway, South Carolina, near her parents.
Thomas' signature is very distinctive.
Howard Ashman Patterson was
born on 13 September 1891 in Philadelphia, PA, a son
of Thomas Elliot and Bertha Remington Patterson.
Thomas Patterson was employed as a Lawyer in
Philadelphia in 1900 and 1910. The family was living
at 4032 Green St. in 1910. Howard studied at the
Pennsylvania Academy of Fine Arts with Henry
McCarter. Howard was working as an artist as early
as 1914 when he applied for a passport in order to
travel abroad, noting that he intended to return to
the United States within 2 years. His destination
was not noted. No WWI Draft Registration Card was
found for him, so he may have still been abroad in
1917, or had enlisted. No records of military
service have been found for him, though and he was
listed on the membership roles of the Society of
Independent artists in 1917 with an address of 4032
Green Street, West Philadelphia, Pa. He
was living alone during the 1920 census, renting a
house at 514 Walnut St. in Philadelphia, and self
employed as a landscape artist. He married Elizabeth
Mary Perrigo on 13 June 1924 and they were living in
Villa Hermitage St. Paul, Villefrance, France in
1926 when their son, Remington was born. The family
returned to the US on 3 October 1927 and gave their
residence as 4032 Green St., Philadelphia. By the
time of the 1930 census the Pattersons were living
in Santa Fe, New Mexico, where Howard had a studio.
He was listed in the census next to several very
well known artists, and all were employed as
"artist, artist studio". Included were Andrew
Dasburg, William Penhallow Henderson, Fremont Ellis,
Willard A. Nash, Jozef Bakos, Datus Ensign Myers,
Lydia Cranton and Eugene Walker Callin. For the last
two artists in this list, I can find no information,
but list them as they appear nowhere else and were
in good company. By the time that Patterson
completed his WWII Draft Registration Card he was
residing in New York City.
Frank Eric Goddard was born
on 8 August 1930, in Manchester, England, a son of
Thomas and Amy Goddard. He was married to Maria J.
Stadler, a native of Vienna, Austria, in 1954 in
Montreal, Canada. He attended McGill University in
Montreal. The Goddards moved to New York City in
1957, where Mr. Goddard studied at the Art Students
League. Mr. Goddard painted from a young age because
he enjoyed painting but did not strongly pursue a
career as an artist with the intent of making a
great deal of money, though he was quite talented
and painted prolifically. He often painted copies of
paintings at the Metropolitan Museum of Art, often
on commission, sometimes selling the paintings on
the spot to passersby and delivering them after they
had cured. It was not unusual for Mr. Goddard to
attract an audience as he worked, but he was not
distracted by this. He also did other commission
work. He was not a fan of modern painting styles but
did not criticize or denigrate styles that he did
not favor. Mr. Goddard conveyed an aura of
trustworthiness and was it was not unusual for his
patrons to do business with him without the benefit
of receipts or contracts. He is remembered as a very
kind person with a great love of animals. The
Goddards were not motivated by making a lot of money
and Mr. Goddard was not a businessman, but they
enjoyed their life together and life in general. The
painting in my collection, shown above, is signed in
block letters down one edge of the canvas,
"Goddard", but I have not had a chance to photograph
the signature. It also has the artist's address
label, verso, with name F. E. Goddard and a Rego
Park, New York address. Mrs. Goddard mentioned to me
in a telephone conversation that Goddard did not
always sign his work. Mr. Goddard is not listed in
any art reference resource and there are no auction
records for his work.
Mr. Goddard died on 20 June 2001 in Brunswick, North Carolina. He was buried in Vienna, Austria in his wife's family plot.
Faye Palao is a native New
Orleans artist. She is mentioned in Italians in New
Orleans by Joseph Maselli. This painting came with
her business card and biography attached.
There was a Washington State
artist name Olive Malstrom Carl and this painting was
purchased on ebay from a seller in Everett, Washington.
This may be her work, though all examples of works by
her that I have examined are fully signed. I have seen a
couple of loose watercolors like this by her, so it may
be her work. I am still researching this painting. Since
I have not found a thorough biography for her, here is
my stab at doing one:
Olive Evelyn Malstrom was born on
15 February 1903 in Tacoma, Pierce County, WA, a
daughter of Ryner Frederick and Hettie Grace Haynes
Malstrom. Ryner was employed as a druggist in 1910 and
as a pharmacist in 1920. Olive married Emil Henry Carl
about 1927, probably in Seattle, King County, WA. Emil
was a student at the University of Washington in 1917
when he filled out his WWI Draft Registration card, but
was employed as a coal truck driver in 1930. (Biography
A preliminary sketch, or "doodle", is on the back of this painting.
Carlton Daniel Ellinger was born on 8 November 1888 in Allegan, Michigan a son of Daniel J. G. and Amelia R. Ellinger. Daniel J. G. Ellinger was deceased by 1900 and Carlton and his mother were living with his grandparents, Daniel and Regina Ellinger in Allegan. Daniel Ellinger was a "preacher". Carlton was living in Detroit, Michigan in 1910 where he was a self employed "Designer, Book Cover". Carlton may have received his artistic training in Detroit, but no record has been found to support this. There are indications that he was employed in Grand Rapids, Michigan before moving to Detroit. He was living in Manhattan, New York on 5 June 1917 when he completed his WWI Draft Registration. His occupation was listed at "Artist, Self employed". His registration noted that he was the sole support for his mother and wife. Ellinger served as a private in Company 8, Ninth Coast Artillery Corps, during WWI. Carlton was married to Mary L. Snyder between 1910 and 1917, probably closer to 1910. Mary was also born in Michigan. The Ellingers were still living in Manhattan in 1920 where Carlton was employed as a "Commercial Artist". By 1930 Carlton and Mary had relocated to Bronxville, Westchester County, New York and Carlton was still employed as a "Commercial Artist". Carlton worked for several printing companies in Michigan and New York, starting before 1910. Mention of Carlton in printing trade journals and advertisements started before 1920. There are few mentions of his work as a fine artist.
Carlton was a member of the Salmagundi Club in 1925 and the Artists Guild of the Author's League of America (New York City). He is mentioned in Davenport's Art Reference and Price Guide, Who Was Who in American Art by Falk, William Morris: Ornamentation and illustrations from the Kelmscott Chaucer by William Morris and Some Examples of the Work of American Designers by Bowles.
The last reference to Carlton found using Google was a mention in 1947 in Financial World, Volume 88. He was employed by Sun Life Assurance of Canada.
Charles Arthur Failles, AKA
Carl Arthur Faille, was born on 17 February 1882 in
Detroit, Michigan, a son of Charles Arthur and
Cordelia Leduc Failles. The Faille family operated
the Faille Silk and Ostrich Feather Dye Works for
four generations, according to a Newport, Rhode
Island newspaper. The Faille family reportedly came
to Detroit about 1850 from Laprairie, Quebec,
Canada, though it was more likely after 1861, as
Charles Sr. and his father, also Charles, are listed
in the 1861 Canadian census. Charles and Cordelia
married on 13 December 1868 in a French Catholic
church in Detroit, Michigan. Charles is listed in
Detroit city directories as an "Ostrich Feather
Dyer" in 1881, with a notation that he had won a
First Premium Award at the State Fair in 1880. In
one instance, he is mentioned as Charles Failles
Jr., so his father may also have moved to Detroit.
The Failles relocated to Indianapolis, Indiana by
1884, where the family was still occupied in the
ostrich feather trade. Charles Failles was a charter
member of the Indiana Audubon Society in 1898. The
family name appears as both Faille and Failles in
The first record of Carl is in the 1900 census of Indianapolis, though he was still known as Charles. The first appearance of the use of the name of Carl was in the 1930 census. Carl was living in Chicago, Illinois during the 1910 census, where he was employed as a "designer, interior". His WWI draft registration card gave his profession as "Zoo Designer, self employed". Failles was living in Seattle, Washington at the time. Failles could not be located in the 1920 census, but was mentioned in the 1926 May issue of Dearborn Magazine as Charles Failles Jr. of Indianapolis, a "mountain painter" of great ability. The first appearance of Carl A. Faille was in the 1930 census of San Diego, California, where he was employed as an "artist, landscapes". According to a lengthy biography in Dictionnaire des artistes de langue francaise en Amerique du Nord by David Karel, Faille was living between Santa Cruz, CA and Brooklyn in 1925, in San Diego, CA and Columbus, OH in 1929 and Ocean Beach, CA in 1934. Faille was living in Newark, New Jersey in 1938, where he was employed as an artist. He was married to Joanne R. Mutschmann by this time. Faille taught at the Albany Institute of History and Art in 1943 and there are several mentions of the "Carl A. Faille Lecture Courses in Art Appreciation" in the late 1940s. The Failles relocated to Albany, New York by 1944 where he operated a business called Paint-O-Crayon-Crafts. By 1948 he was also operating the Faille Studios of Art in addition to his earlier business. The Failles were living in Gloucester, MA in 1953.
Faille exhibited his work at the Montclair Art Museum, Los Angeles Art Museum, Kansas City Art Institute, Detroit Art Institute, Maryland Art Institute, and J. B. Speed Museum in Louisville, Kentucky. He also exhibited at the McClees Gallery in Philadelphia in 1934 and at the Albany Annual Exhibition in 1941. He was a member of the Salmagundi Club, California Art Club and the American Artists Professional League. Faille is listed in The Salons of America, 1922-1936 by Marlor, Who's Who in American Art (1953), Index of Artists by Mallett, Who Was Who in American Art by Falk, Davenports Art Reference and Price Guide, Dictionnaire des artistes de langue francaise en Amerique du Nord by David Karel, Artists of the West by Dawdy and Artists in California by Hughes.
Faille died on 13 January 1956 in Newport, Rhode Island. His obituary appeared in the The News in Newport, RI on the day of his death.
Carl Arthur Faille,
Noted Marine Artist
Carl Arthur Faille,
72, marine painter, graver, lecturer and teacher,
died of a heart attack at his home on Ledge Road
Mr. Faille had been preparing for a show, by invitation, at the Eggleston Galleries in New York. He had permanent exhibitions in the Joslyn Memorial Art Gallery, the Detroit Institute of Art and the Albany Institute of History and Art. He also had exhibited in numerous other galleries in the country. He was a member of the Solomon Grundy Club of New York.
Mr. Faille was born in Detroit, Mich., on Feb. 17, 1883. He cam to Newport from Salem, Mass. about two years ago. During a chance visit to the city, he decided that this area was the best on the New England coast for marine painting. His Newport home was close to the ocean shore.
His wife, Mrs. Joan Mutschmann Faille, survives.
Services and burial will be held in Boscobel, Wis.
An article in The News in
1966 noted that Faille's widow had donated ten of
his works called the "Dream Sequence" to Vernon
Court Junior College. Around the same time, his
widow permitted a showing and sale of fourteen
paintings, all marine scenes, that were to be part
of the Eggleston Gallery Show.
The painting in my collection was part of a collection of Faille's work, fourteen paintings, that were sold at Cordier Antiques & Auctions at Camp Hill, PA on 8 November 2009. My work was described as from his "early naive period".
Robert Knox is a Denver, CO
artist. He attended the Art Student's League in New
York City in the 1980s.
was born on 22 November 1901 in Red Oak, Montgomery
County, Iowa, a daughter of William Lincoln and
Florence Byrkit Brenholtz. She attended the
University of California at San Diego and graduated
with a bachelor degree from Stanford University. She
continued her art studies at the California School
of Fine Arts and the Art Student League. She also
studied in Paris and Florence, Italy. She married at
least twice and painted under her married names of
Stauffer and Hay.
Dorothy died on 5 March 1974 in Tuscon, AZ. Her obituary appeared in the Santa Fe New Mexican on Friday 8 March 1974, page 11:
Friday, March 8,1974 DOROTHY HAY. Dorothy Hay, former SF painter, dies in Tucson A former Santa Fe resident and painter, Dorothy Stauffer Hay, 73, died Tuesday in Tucson Medical Center, Tucson, Ariz. Mrs. Hay first settled in Santa Fe in 1939 and moved to El Paso in 1951 where she married John Hay. They moved to Tucson in 1961. While in Santa Fe, Mrs. Hay was recognized for her work on the rooftop Christmas decorations around the Plaza and the nativity scene for St. Francis Cathedral. She also painted the murals in the children's room at Bishop's Lodge and the original murals in La Fonda Hotel. Mrs. Hay was graduated from Stanford University and studied at California School of Fine Arts before going to Paris in the 1920s to study at Academic d'Andre L'hote. She also studied in Florence, Italy, and with the Art Students League in New York. After returning to the United States, Mrs. Hay engineered Denver's first sidewalk art exhibit. Her works have been exhibited at Jacques Seligman Galleries in Paris, the American Artists Association and Delphic Studios in New York City, the Philadelphia Print Club, Springfield, Mass., museum and in many galleries in Tucson and New Mexico. The artist was founder and first president of the El Paso Artist Association and listed in Who's Who in American Art and a member of the Black Range Artists of New Mexico. No services arc scheduled for the former resident. Her remains were cremated as she had directed. Survivors include her husband, John Hay a son, Peter Stauffer, and a granddaughter.
Edward Joseph "Joe" McDonnell
was born about 1946. Joe studied at the Ecole des
Beaux Arts in Paris from 1964-1967. He also
apprenticed with Siegfried Hahn and Howard Wexler.
He was married first to Sallie Ann Dickinson and
second to Cynthia Jean "Cindy" (last name unknown).
Cindy is also an artist and they work together and
have a web site.
Joe won first place at the Peach Tree City Show and
Merit and Purchase Awards at the La Grange National
Convention in 1974. This last information comes from
a hand written card taped to the back of this
painting. I have been unable to discover any
information about the La Grange National Convention.
Originally, a painter in oils, McDonnell began to
work primarily as a sculptor. The McDonnells now
live in Rio Rancho, New Mexico and their art is
represented in galleries in Albuquerque and Santa
Fe, New Mexico and Scottsdale, Arizona.
Tom Valenti is a New Jersey
artist who was born in the South Bronx, NY. He is
listed in Who's
Who in American Art and Who's Who in
America. He graduated from the Newark
School of Fine and Industrial Art.
Jane Pickens Langley was born
on 10 August 1907 in Macon, Georgia. She was perhaps
best known as a member of a popular sisters singing
group, The Pickens Sisters, in the 1930s. She was a
solo singing artist in the 1940s on radio, in
theater and in movies. She studied music at the
Curtis Institute in Philadelphia, the Fontainebleau
in France, and at Julliard. She married twice, to
prominent businessmen, and became active in New York
society and charities. She was an artist in oils,
specializing in florals, notably roses, and sold and
exhibited her work. She is mentioned in Davenports
Art Reference and Price Guide.
This painting is unsigned but was part of a lot of Hovey's artwork and photographs sold at an estate sale. Other items in the lot are shown below.
Jane Hovey died on 21 February 1992 in Manhattan, New York.
Joan Beringer Pripps was born on 12 June 1913, in Wauwatosa, Wisconsin the daughter of George and Johanna Wupper Beringer. After studying at the Milwaukee Art Institute and Mount Mary College in Milwaukee, Joan established herself as a successful portrait painter, but was also a doll maker, landscape and still life painter, potter, illustrator, and arts and crafts artist. Beringer began making dolls depicting historic or ethnic costumes when she was seventeen years old, and by 1939 had complete d over 170 dolls. In October 1947 Beringer, conceived the idea of making doll figurines of prominent Wisconsin women as a way to celebrate the upcoming Wisconsin State Centennial. She made 70 of these dolls, some of which are now in the collection of the Wisconsin Historical Museum. During 1948, Beringer lectured on the prominent women of Wisconsin, using her dolls as an aid to illustrate her presentation. She married Norman Pripps, a heavy equipment operator, in 1949 and moved to his land in Springstead, Iron County, Wisconsin. Norman Pripps had a cabin on the land that they converted into "The Studio in the Woods", an art shop and tourist attraction. The Pripps built a small home next to the cabin and lived there for the next 46 years.
Ashlee Comerford was born in
1983 in St. Johns, New Foundland, Canada, but now
resides and works in Colorado. Ashlee studied under
Daniel Edmondson of Fort Collins, and Ron Hicks of
the Denver Art League. She is a member of the
Cheyenne Artists Guild and the American
Impressionistic Society. She has a web site
and a blog.
Al Barker was born in New
Jersey and grew up in the Metropolitan New York
area. He earned a bachelors and masters in Forestry.
He is a largely self taught artist, but well known
for his miniatures. I have a thing for laundry
hanging on a clothesline, flapping in the wind, so I
love this painting. It hangs just inside my back
door and it is the first thing I see when I get home
every day. I am generally not a huge fan of
miniatures, but this one is an exception.
I purchased this little
watercolor from an ebay seller located in Oak View,
California in August 2010. In an email, she told me:
"Thanks for your
message. I bought the pieces at an estate sale, from
the artist's daughter. She was moving to Mexico with
her husband, so they couldn't keep much. The other
pieces are at my friend's house now. They are black
and white, signed and titled, depicting European
buildings. I don't have pictures now, but I can get
them back from my friend if it's worth doing so.
The other pieces mentioned were two
lithographs by Zemp. A couple of mentions of
lithographs by Zemp may be found on the Internet. A
Johann Jakob Zemp is mentioned in Davenports Art
Reference and Price Guide, and on
AskArt.com. His dates are given as 1909-1996. No
biographical information is available for him and
there are no obvious American genealogical records.
It is possible that he did not emigrate to the US,
but his daughter did. Perhaps the inscription "An
Marli Zum" is his daughter's name and the date, 8
May 1982, the date that this painting was framed.
Ann Kennedy-Black is a
Melbourne, Australia artist. She has been a member
of the Brighton Arts Society and Malvern Art
Society. She served as president of the Brighton Art
M. Erb Hoffman was born on 13 April 1902 in Buffalo,
New York, a daughter of Lucius L. and Henrietta J.
Erb. Lucius was working in Buffalo as real estate and
insurance agent in 1910, 1920, and 1930. Ruth was
still living at home in 1930 working as a "teacher of
art, at home". She married Burton A. Hoffman before
1940 when they living in Buffalo. Henrietta Erb,
widow, was living with them. Burton was employed as a
dentist, as he had been in previous census records and
Buffalo city directories. The Hoffmans arrived in the
U.S. on 23 January 1937 from Vera Cruz, Mexico on the
ship Jamaica Merchant, possibly a honeymoon cruise.
The passenger list gives the birth dates and places of
the couple. Ruth was listed in Who's Who of American
Women several times in the late 1950s and early and
mid 1960s. Ruth received a B.A. from Wellesley
College, Wellesley, MA, in the 1920s. She
studied at the Child-Walker School of Fine Arts and
Crafts in Boston on a graduate fellowship from
Wellesley. She also studied with Norwegian
American sculptor Arthur Lee. She was a painter and
sculptor. She exhibited at the Art Institute of
Chicago, Carnegie Institute, Corcoran Gallery and
Metropolitan Museum of Art.
Ruth died in 1968 and is buried in the Forest Lawn Cemetery in Buffalo.
The back of this painting has
extensive information about this painting's history,
including Ruth E. Hoffman's signature. This painting
was part of Hoffman's personal collection and later
in the collection of Dr. Anthony J. Sisti.
Garnette M. Widdifield was
born 13 April 1914 in Indianapolis, Indiana, a
daughter of Alva "Alvy' and Mary Catherine Ernest
Rodenbarger. Alvy was employed as a "driver, auto
delivery" during the 1910 census and his 1918 WWI
draft registration card reported that he was
employed as a "motor truck driver for Citizens Gas
Co. Alvy was working as a "truckman, gas co." in
Indianapolis in 1920 and he was still employed for
Citizen's Gas Co. when he filled out his WWII draft
registration card in 1942. Garnette graduated from
Butler University and in the 1930s from The John
Herron School of Art with a DCA, Diploma in
Commercial Art/Advertising Art. She worked as a
professional artist after graduating. She married
John Widdifield and they traveled extensively before
settling in Phoenix, Arizona in 1963. She worked for
Frank Lloyd Wright at one time and also worked as an
art instructor. She served as president of the
Arizona Art Guild 1983-1985. She worked in oils and
watercolors. Though well trained and prominent in
the Phoenix art scene for many years, Widdifield is
not listed in any art reference resource.
Garnette Widdifield died on 28 February 2004 in Phoenix, Arizona. Her obituary appeared in a Phoenix newspaper.
Garnette M. Rodenbarger Widdifield passed away
on February 28, 2004 in Phoenix, Arizona at the age
of 89. She was born in Indianapolis, Indiana on
April 13, 1914. She was the daughter of Alvy
Rodenbarger and Mary Catherine Ernest Rodenbarger.
She received degrees from Butler University and the
John Herron School of Art in Indianapolis, where she
began her career as a drafting engineer, art
instructor, and professional artist. After marrying
her late husband, John Widdifield, she traveled
throughout Europe and Japan finally settling in
Phoenix in 1963. She worked for Frank Lloyd Wright
at Taliesin West and was an art instructor and past
president of the Arizona Artist Guild. She was a
renowned artist especially in water color and the
author of many books including her own
autobiography, A History of the Arizona Artist
Guild, and a complete genealogy of the
Rodenbarger-Redenbacher family in Germany and the
United States. She was working on a biography of her
father at the time of her death. She was a
brilliant, caring person who encouraged all who knew
her to be the best they could be. She is survived by
her sister, Mary H. Schultz; niece, Mary Lorraine
Claybrooke; and nephews, John Rodenbarger, Jerry
Rodenbarger, Richard Schultz, Raymond Schultz, and
Elmer Muesing, along with many great- and
great-great-nieces and nephews. Visitation will be
held at the G.H. Herrmann Madison Avenue Funeral
Home, 5141 Madison Ave., on Wednesday, March 3,
2004, from 6 to 8 p.m. with a service at the funeral
home at 10 a.m. on Thursday. Contributions may be
sent to the John Herron School of Art, 1701 N.
Pennsylvania St., Indianapolis, IN 46202.
Arrangements by Vandivier-Parsley Funeral Home,
Jack Murray is a difficult
artist to research. There is little documentation to
support various vague biographies found for him on
the Internet. His name is very common, and the fact
that Jack is likely a nickname for John does not
make it easier. His dates are generally given as
1889-1965, but I have not been able to confirm this.
There was a Jack Murray born on 12 May 1889 and died
in March 1965 in California, enumerated in the
Social Security Death Index, who may have been this
man. He seems to have had a prominent, national
career as an illustrator, so it would seem possible
that his death would have been mentioned in New York
Times, but it is not. These facts, and the generally
faded and toned condition of this painting, are
probably why it was first offered on ebay for $795,
marked down to $495, and finally purchased by me for
All of this being said,
there is no doubt that this Jack Murry was a
prominent illustrator, based on the signature on
this painting. The signature is distinct and matches
that on several of the covers the artist created for
the Saturday Evening Post in the 1930s and 1940s.
Murray changed his signature in 1936 in that he
started signing with his first name stacked on top
of his surname, as opposed to having both names on
the same line as in earlier works. This may help to
date this painting. The style of the signature was
unchanged, though. There are two newspaper or
magazine clippings of WWI scenes taped to the
reverse of this painting and a "Soldiers gratitude"
dedication, which may indicate that Murray was a
veteran. In addition to the Saturday Evening Post,
Murray also created illustrations for several boys,
sports, and fishing magazines and books with outdoor
themes. There are also several mentions of Jack
Murray working as "art director" for numerous
magazines in the 1940s, including Outdoors Magazine,
Saltwater Sportsman, Child Life, and Open Road for
Boys. Murray also designed at least one stamp for
the Federal Duck Stamp Program in the 1940s.
I purchased this from a
seller in Gladstone, New Jersey. When I queried
the dealer about the source for the painting, he
this painting from another dealer, the artist name
is Mary Hise, Mary Cathawne Hawley, formerly Mary
Hise 1910-1983, artist from South Wales/East
Aurora N. Y. area in western new York State. Mary
painted from the 50's-70's"
I queried the dealer about the
spelling of the name "Cathawne" and he replied that was
the spelling that was given to him. It is incorrect,
though. I was easily able to find records for Mary, but
nothing to indicate that she ever worked as an artist. I
was able to contact a relative to try to determine if
this identification is correct. This relative told me
that, coincidentally, she had just attended a family
reunion in July 2010, and was offered numerous paintings
by Mary, which she accepted. The paintings were found in
the basement of Mary's home which was being "vacated".
She is working with her family historian to provide
information about Mary's work as an artist.
Mary Catherine Hise was born on 17 August 1910 at Kenmore, Erie County, New York, a daughter of John Herman Hise and Mary Evelyn Hoskyns. John was working as a farmer in 1920 in East Aurora, New York. Mary married Robert Emmet Hawley on 7 May 1927 at East Pembroke, New York. Robert and Mary were living next door to her parents in 1930. Robert was employed in "General Farming". John Hawley was employed as "Superintendent, City Dains (Drains?)". Mary had two children by 1930. Records for Robert and Mary after 1930 are scarce, except for the Social Security Death Index. There are no records of Mary's work as an artist, and it is curious that she would have signed using her maiden name. The record of her death uses her married name, so she was not divorced from Robert. She was married at the age of 16 and had five children, so would not appear to be someone with the access to the education or time to become an artist. She would have been in her 40s in the 1950s, so would probably still have had children at home. I am taking this identification with a grain of salt, until I can find some documentation to support it.
All of this being said, I like this painting, both for the colors and the style. The dealer sold another painting, a 10" x 12" size, by the artist that was similar in style and colors, and equally well done. This artist was at least a talented amateur, and probably had some formal training.
Mary Catherine Hawley died on 15 December 1983 in South Wales, Erie County, New York. Robert died on 7 January 1962 in Buffalo, New York.
Velma Wallace Rayness was
born on 31 October 1896 in Davenport, Iowa, a
daughter of William W. and Eva Wallace. William was
employed as a "Painter" during the Des Moines, Iowa
1910 census, and a "Painter, House" there in 1920.
Velma was employed as an "Artist, School" in
1920. Velma married Gerard M. Rayness on 22
November 1929 in Des Moines, Iowa. Both were
students of Charles Atherton Cumming and taught at
the Cummings Art School in Des Moines. She
was living with her husband and her husband's
parents in Ames City, Iowa in 1930, employed as a
"teacher, private school". Gerard was employed
as a "teacher, public school". Velma and
Gerard moved to Ames City permanently in 1932 and
opened a studio near Iowa State College. Gerard was
also an artist. Andrew Rayness, Gerard's father, was
occupied as a "teacher, college" in 1930, which may
have influenced Gerard and Velma's choice. Gerard
and Velma taught art to adults and children, and
Velma continued to teach after Gerard's death. Their
studio was open for 23 years. Velma also worked
under Grant Wood in the Public Works of Art program
in 1933. Both Gerard and Velma were active in the
Iowa Art Guild.
Velma is mentioned in Dictionary of Women Artists by Pettys, Who Was Who in American Art by Falk, Davenports Art Reference and Price Guide, Index of Artists by Mallett, several editions of American Art Annual, and Who's Who of American Women by Marquis. She is also mentioned on ArtPrice.com and AskArt.com. Velma published a book called Campus Sketches of Iowa State College in 1949, and a second edition called Campus Sketches of Iowa State University in 1962. Velma also collaborated on Charles Atherton Cumming: Iowa's pioneer artist-educator in 1972 published by the Iowa Art Guild. She also illustrated a book called The Corn is Ripe in 1944. Velma exhibited at the Des Moines Women's Art Club, Iowa State Fairs, the Iowa Guild, Davenport Museum of Art, Souix City Art Center, Corcoran Gallery of Art, Joslyn Art Museum in Omaha, Souix City Art Center, Cornell College, and other places. She won numerous prizes for her work as an artist. The Rayness' papers are held by Iowa State University.
Velma Rayness died in April 1977. Gerald Rayness died in 1946. Both died in Ames City, Iowa.
I am still researching this
artist, as information about her personal life is
scarce and her name is fairly common, particularly
in New England where she lived. Luckily, an
extensive professional biography was attached to
this painting, along with a tag from a Rockport, MA
art exhibition. I believe that she is the Martha
Nickerson whose dates of birth are given in the
Social Security Death Index as 16 January 1914 and
11 March 2002. Her social security number was issued
in New York and she died in Needham Heights, MA.
Martha Nickerson lived at various addresses in
Rockport, MA, and I believe that Nickerson was her
married name and that her husband's name was Lewis.
extensive professional biography was
attached to the back of the painting.
Tag from painting
tag attached to the painting showed that this
painting was exhibited at a 1995 Rockport Art
Association exhibition. A couple examples of
Nickerson's work that I have seen are in a much more
impressionistic style, and better than the painting
in my collection, in my opinion. Nickerson would, I
think, have been in her early 80s when this painting
This is an example of Nickerson's business card from
another on line auction. The address agrees with
some city directory entries that also give the 16
January 1914 birth date, which I think is strong
evidence that the Social Security Death Index entry
is for Martha. A Massachusetts death record that
gives her spouse's name as Lewis also includes the
same birth date for her.
The painting above and the
painting below were sold together at a Vermont
estate auction. Each has a similar price tag from a
much earlier sale and appear to be by the same
artist. The first painting is on an unmounted canvas
and is noted to be a sketch of Picket Mt., which is
in Maine. It is also signed twice, M. A. Safford.
The second painting is an oil on board and is
unsigned. Unfortunately, the seller of these
paintings was negligent in packing them and both
were badly damaged in the mails. I kept them anyway,
so they would at least be preserved, since this
artist's work appears to be scarce, and because I
had spent a significant amount of time and effort in
researching this artist.
I believe that both paintings are
possibly the work of Martha Ann (Hayes) Safford, a well
known New Hampshire artist, who, in 1909, was living in
Rochester, New Hampshire 35 miles from Picket Mountain,
Maine. Since Mrs. Safford is not well documented, I am
including information about her that I have compiled.
Mrs. Martha A. Safford was born on 8 August 1850 in Farmington, Strafford County, New Hampshire, a daughter of Israel and Anne Freeman Edgerly Hayes. Israel was a shoemaker. Martha married James Fearing Safford about 1868. He was an optician and jeweler, and, with their son, Percival, was owner and proprietor of J. F. Safford and Son Jewelers in Farmington, NH. The earliest reference that I have found to Martha's work as an artist is in her biography in New Hampshire Women by Batterson, 1895:
It is obvious, from this
biography, that Martha was well established as an artist
by this time, 1895, when she was about 45 years old.
Despite this, I have not found any indication of where
she studied or taught art, or any mention of her showing
her work. Her occupation is given as artist in
Farmington city directories, from 1900 until 1905, when,
after the death of her husband, she and her son,
Percival, relocated to Rochester, NH. Percival retained
the name of J. F. Safford and Son for his business for
decades after the death of his father. Martha is
described as "artist in oil, crayon, and portrait" in
Rochester city directories. She is mentioned in Davenport's Art
Reference and Price Guide.
Martha died on 9 October 1912
in Rochester, New Hampshire, according to the 1917
Rochester City Directory.
John Jerome Tupa was born 16
February 1928 in Chicago, IL, a son of John and
Vlasta Porak Tupa. He attended the Academy of Fine
Arts in Chicago 1948-1950. He worked as a self
employed artist for 40 years. According to his
obituary, he was a member of several art leagues in
Chicago, Wisconsin, and Arizona. He was married to
Valerie Sadler in Chicago, IL on 27 August 1958. His
obituary appeared in a Grass Valley, Arizona
Daily News, The - (Jan/15/2004)
John Jerome Tupa
He was a resident of the Rhinelander area for
20 years. John was a longtime member of Saint
Mary's Catholic Church in Rhinelander and served
on the parish council. He also was a member of the
American Legion Post No. 66 and the Moose Lodge in
Berwyn, Illinois. John was active in sports, such
as tennis, bowling and golf. He took pride in his
family and was a devoted husband and father of six
children. John enjoyed family outings, camping and
In recent years, he and Val enjoyed their new home in Green Valley, Arizona, sharing time with family and friends. John also was a watercolor painting instructor at Green Valley Recreation Center. He was a member of Our Lady of the Valley Parish, Green Valley.
John is survived by his wife, Valerie; four
sons, Michael, John (Pam), David (Sharon) and
Charlie; two daughters, Lenore Tupa and Emily
(Anthony) Jarrett; and six grandchildren. Acacia,
Talia, Andrew, Marcus, Janelle and Nathan.
He was preceded in death by his parents.
Private funeral services will be held. Burial
will be in Northern Wisconsin Veterans Memorial
A Memorial Mass will be held at 11 a.m., Monday, January 19, at Saint Mary's Catholic Church, in Rhinelander. The Reverend James Jackson will preside.
Mr. Tupa is not listed in any
art reference book that I have examined.
The label above appeared on
the back of the painting in my collection. He
seems to have lived at several Rhinelander addresses
and also in Green Valley, Arizona.
Otto Henry Rothenburgh was
born on 29 October 1893 in Philadelphia,
Pennsylvania, a son of Henry and Margaret
Rothenburgh, German immigrants. Henry was working as
a "Sugar Boiler" in 1900 in Philadelphia and as a
"Foreman, Sugar Refinery" in Yonkers, New York in
1910. Otto Rothenburgh was living in Yonkers, New
York, when he completed his WWI draft registration
card. His occupation appears to be student, and
perhaps the name of the school, but I cannot make it
out. Otto applied for a passport in 1921 stating
that he was an artist and traveling to Holland to
study and visit relatives, and also traveling to
study in the British Isles, Italy, Belgium,
Switzerland, France, and Gibraltar. This passport
was later canceled. He applied for a new passport in
1925, stating he was traveling to Hungary and the
Balkan States. At the same time, his wife, Livia,
also applied for a passport, stating she was a
native of Budapest, Hungary and that she and Otto
were married in Budapest on 20 September 1922. She
noted that she had lived in Hungary, Austria,
Germany, and Switzerland. Otto was living in Middle
Valley, New Jersey in 1943 when he filled out his
WWII draft registration. He gave Mrs. Marguerite
Rothenburgh as his contact. I am not sure if this
was his mother or wife. His occupation was
Otto is listed in Who Was Who in American Art by Falk.
Rothenburgh died on 4 July 1992 in Califon, Hunterdon County, New Jersey.
The signature on the painting
above is not too clear on the front, but it is also
inscribed verso. I have seen claims that Rothenburgh did
not travel to Taxco until 1934, but the first painting
above is clearly dated 1933.
Dewitt Hardy was born in June
1940 in St. Louis, Missouri. He attended Syracuse
University. He is a well known Maine watercolor
artist. Hardy has a web site.
Italo George Botti was born
on 24 March 1923 in Greenwich Village, New
York a son of Ettore and Filomena Botti, Italian
immigrants. The Bottis immigrated to the US on 22
August 1920 from Agripoli, Italy on the S.S. Duca
Degli Abruzza. Ettore's occupation was give as
"Tailor" on the ship's passenger list and as
"Tailor, Clothing Co." on the 1930 census of
Brooklyn, New York. Several Botti men and their
families were his neighbors in 1930; James "boot
black, shoe shine parlor", Dominick "laborer,
railroad", and Biase "laborer, lithograph co". These
men may have been brothers of Ettore, as all were
near him in age.
Italo G. Botti was well known for his painting, stained glass, sculpture, and mosaic work. Botti attended the Brooklyn Academy of Fine Arts, Leonardo da Vinci School of Art, the Abracheff School of Fine Art, the National Academy of Design, and the Art Students League. He studied under Frank Vincent Dumond, Nicolai Abracheff, Reginald Marsh, and Bernard Lamott. An example of his mosaic work my be seen on the Botti Studio web site. He taught at the City College of New York, the Art Students League, and the Art Institute of Chicago. As it turns out Botti is listed in Davenports Art Reference and Price Guide, Who Was Who in American Art by Falk, and is also mentioned on a couple of the more popular on line art web sites.
Botti painted under
the pseudonyms "George Barrel" and "Barrel
Botti", before starting to use his birth name,
Italo Botti. This may have only been true while
he worked with Arts International and other
galleries. He seems to have signed his work
either Barrel or Botti in block letters. This
piece caught my eye as I skimmed ebay. I paid
very little for it, without researching it and
kind of kicked myself afterward, expecting it to
turn out to be an import or by an obscure
artist, though the seller claimed he was
"listed". The seller was completely
clueless as to the identity of the artist,
claiming it was by W. R. Barrel, despite the
fact the George Barrel's biography and the
original sales receipt were attached to the back
of the painting! Yes, hard to believe, but true.
I am including several images of
Botti's work as George Barrel, found on the
Internet, since he is something of a mystery
artist under the pseudonym Barrel. I am
reasonably certain that all of these works are
by the same artist. I was quite
surprised when an Internet search fairly easily
turned up several auction records for his work
and other sellers with his work for sale. All of
the works are largish, the smallest I have seen
listed was 24" x 36". A couple of the auction
houses who brought his work up for sale don't
sell junk, so his work seems to be considered of
value. He is frequently misidentified as W. R.
Barrel for some reason, though I had no
difficulty in determining that Botti painted
under other names. Of course the biography taped
to the back of the painting helped. It should
also be noted that there was an Argentinian
artist named Italo Botti (1889-1974) and there
also seems to be some amount of confusion
between these two artists. One of the
paintings shown above was attributed to the
elder Botti, but the style is more in keeping
with that of the younger artist.
Ruby Merle Mylar was born on 17 January 1900 in
Arnold, Custer County, Nebraska and she was living
there with her family during the 1900 and 1910
Federal censuses. She was a daughter of Joseph Otto
and Catherine Ethel "Etta" Hargraves Mylar. Joseph
was a farmer. Ruby, and several siblings, attended a
sod constructed school, Powell Canyon School, in
Custer County 1909-1910. Ruby was employed as a
"stenographer, Drug Co." in the 1920 census of
Pueblo County, CO where she was still living with
her family. She married James Ira Topping on 14
September 1922, in Cheyenne, Wyoming. James was born
on 9 May 1895 in Rio Grande, Gallia County, Ohio, a
son of James Alexander and Anna Martin Topping. He
was living in Raccoon, in Gallia County in 1920 and
his future wife was living in Pueblo, Colorado with
her parents, so Ruby and J. Ira, as he preferred to
be called, must have had a whirlwind courtship.
Ruby's brother, Wilbur K. Mylar, was a doctor and
coroner in Cheyenne, Wyoming and Ruby Mylar was
mentioned numerous times between 1917 and 1921 in
the social news section of various editions of the
Wyoming State Tribune, Cheyenne, Wyoming. Ruby
apparently often visited her brother, and in one
instance, it was noted that she was spending the
winter with his family and gave her residence as
Fowler, Colorado. Ruby and J. Ira Topping were
living in Cheyenne, Wyoming in 1930, where J. Ira
was employed as a lawyer in a "local firm" and Ruby
had no occupation. They had no children after eight
years of marriage. J. Ira Topping is mentioned in
the book Wyoming
from Territorial Days to the Present, by
Frances Birkhead Beard, 1933, Volume 3, page 471. He
was a WWI veteran. After J. Ira's death Ruby married
Oyer Saunders. Ruby did not have any biological
children, but she and J. Ira adopted Una Topping,
probably a relative of J. Ira.
Ruby and J. Ira were living in Dearborn, Wayne
County, Michigan between 1939 and 1943, where J. Ira
was employed as a lawyer for the Veteran's
Administration, according to Dearborn city
directories. I have found no mention of Ruby's work
as an artist. William Greason, a well known Detroit
artist, whose studio Ruby mentions on the back of
one of her paintings, died in Detroit in 1945, and
the painting in my collection is dated 1942. Greason
was a student of William Merritt Chase, Thomas
Anshutz, Hugh Breckenridge, and also attended
several prestigious art schools. It seems likely
that Ruby was a student of William Greason. It is
obvious from the quality of this painting that she
was at least an advanced amateur artist by the early
1940s. The dealer who sold this painting to me noted
that he had had several works by Ruby, and that this
was one of the best. Ruby also wrote poetry, and in
1953 published a 32 page volume of poetry about her
early life in Nebraska. This book may have been
privately published as the only record I have found
of it is the copyright notice. She was still using
the name Ruby Mylar Topping, so this may indicate
that J. Ira was still living at that time.
It is fortunate that this painting contains so many clues about the artist's background and training. I am always puzzled when I buy a painting from an artist or from a reseller and the artist's signature is illegibly scrawled on the front and no information is included verso, even if painted on a store bought medium that includes a place to include the title and information about the artist. This painting is a really nice example of a good artist who obviously devoted considerable time and effort to her craft, and whose work might have just become another anonymous junk shop painting about which nothing was known. If no other painting by this artist ever came to light, hopefully, as a result of her thoughtful inscription, she will not be forgotten. Identification of this artist would likely have been very difficult without this inscription since she signed it "Ruby Merle".
Ruby Mylar, ca 1920
Ruby died in May 1990
according to the Social Security Death Index, but no
place of death is given. Oyer Saunders died in
January 1983 in Evergreen, Jefferson County,
Colorado, and that may be where Ruby died, too.
Bruce Stam is an Arizona artist who works in watercolors and oils. He studied with Charles Reid, William Scott Jennings, and other contemporary artists.
I really like these small
desert scenes, and have a couple more that I have
not had time to photograph yet. Either my monitor or
Mr. Stam's camera fails to capture the vivid colors
of the paintings that he sells on ebay, so it is
always treat to receive one and see what they look
like "in the flesh".
I love desert scenes and I am
hooked on these little oils. There are worse addictions.
Taylor Lynde was born in Red
Lodge, Montana in 1970. He is the son of syndicated
cartoonist Stan Lynde. He was influenced and
mentored by artists Scott Switzer and Michael J.
Kosorok. Lynde attended the Pratt Institute in New
York for one year, where he studied drawing and art
history. Taylor has a web site.
works from mom and pop American pottery shops. It is
all nicely done, but this would be the gem of my
collection, and not something that I would not
ordinarily have collected due to the cost of it. This
one I have thanks to my Aunt Theda, who loved this
pot. I would guess that she acquired this pot in the
late 1990s, but she is gone now, so I can't ask her.
This came to me as a gift from her as part of her
downsizing prior to moving to an assisted living
facility. Thanks, again, Aunt Theda! I really miss
Antoinette Silas is a
member of the Kachina and Parrot Clan, of the Tewa
Village, Hopi Tribe. She learned her craft from
her mother. She has been making pottery since
1990. I believe that this is what is known as a
Butcher is a New Hampshire native, now living in
Wyoming. She has a bachelor degree in fine arts. She
also has a blog.
She sell exhibits her work and sells on ebay under the
This one reminded me a lot of
some of the remote landscapes painted by English
artist Thomas Collier RI. I think it is the wide
vista and cloudy sky. Collier was a master at
painting clouds, and I think Ms. Butcher is on her
way to emulating Collier, even if she never heard of
I am a sucker for cow and
kitten paintings. I like the unpretentious quality of
Butcher's work and the fact that she manages to put life
in her paintings, even when the subjects are at rest.
This is more of a pleine aire
sketch, perhaps a study for a larger painting. This
painting is not signed, but the frame is signed and
titled, along with a price of $45 on the back. The
signature is in pencil and very faint, and the title
is too faint to make out, but appears to be "Name:
Winter (illegible)". I messed with the images using
gimp but was not able to make much out of them. It
may be logical that he wrote on the frame, as the
painting is on a rough board that could not be
written on. The board is similar to a couple of
examples of board used for other paintings by Mr.
Knauth. Mr. Knauth is still living at age 91, so I
sent him some images of the painting, in an attempt
to see if he could confirm that this is his work and
maybe get some history for it. He responded to my
letter and informed that this is his work, "it is
exactly right". He could not, unfortunately,
remember when he painted it, or the title, not
surprising since it was painted perhaps fifty or
sixty years ago.
Arnold Whitman Knauth II was
born on 18 October 1918 in New York, New York, a son
of Oswald Whitman Knauth and Anna Dixwell Clements.
Oswald Knauth reported his employment as "Asst.
Prof. Economics, Princeton University" in his WWI
draft registration. He was employed as an
"Executive, Department Store" in 1930. Arnold Knauth
attended Harvard University, the National Academy of
Design, the Hibbard Summer School of Painting, the
Wellfleet Art School, and he studied with Xavier
Gonzalez. He was a member of the Salmagundi Club,
the American Watercolor Society, Philadelphia
Watercolor Club, Audubon Academy, Guild of Boston
Artists, Northshore Artists Association, and
Rockport Art Association. He exhibited widely,
including at the National Academy of Design,
Pennsylvania Academy of Fine Arts, John Herron Art
Institute, and Boston Museum of Fine Arts. He won
numerous awards for his work. He is listed in
several editions of Who is Who in American Art, Who Was Who in
American Art by Falk, and Davenports Art
Reference and Price Guide.
Knauth framed and
Dr. George Feldman was born
13 October 1897 in New York City, New York, a son of
Isaac and Fannie Feldman, Austrian immigrants. Isaac
Feldman owned a tailor shop. George gave his
occupation as "dental student" on his WWI draft
registration. He applied for a passport in 1923,
giving his occupation as dentist, and his intent to
travel to Germany, Switzerland, and France to
"study". There is no indication if he was studying
dentistry or art, or both. He was living alone
during the 1930 census of New York City, occupied as
a dentist. There are numerous mentions of him on
passenger lists for various ocean voyages to Europe.
He traveled frequently in the 1920s and 1930s.
Feldman is listed in Falk's Who Was Who in American Art, where it is noted that he was a painter, cartoonist, craftsperson, and graphic artist. He painted in both oils and watercolors. Feldman attended the Art Students League and New York University. He was a member of the American Watercolor Society. He exhibited at the 1939 World's Fair in New York City, and at the American Watercolor Society, Brooklyn Museum, Morton Gallery, and Chautauqua, NY. He was 89 when he painted the painting my collection. There is a bit of glare from the glass. I will get a better photo, by and by. This may not be his best work, but I like that he kept painting. His signature is very strong, so he may have retained his skills. I have not been able to find any other examples of his work for comparison.
George Feldman died on 9 April 1997 in Ithaca, NY at the age of 99.
Ruth Strickling was born 8
October 1922 in the Bronx, New York, a daughter of
Joseph and Elizabeth K. "Elsie" Meinberg Gorman. In 1930
Joseph was employed as a "Coal Co., proprietor". Ruth
married Harry Lenin Strickling on 5 August 1949 in the
Bronx, New York. They lived in the Bronx from 1949 to
1955 when they relocated Dumont, New Jersey. They moved
to Silver Bay, New York in 1970.
"Auditorium at Silver
Bay", Ruth Strickling, 8" x 10", watercolor
Ruth attended Hunter College
where she majored in biology. Her drawing ability helped
her grades and in her senior year she took a watercolor
class and got "hooked". After graduation, she studied at
the Art Students League in New York City, and went to
work in an advertising agency. She next went to work at
Famous Studios as an animator and her subjects included
Popeye, Casper the Friendly Ghost, and others. While
living in Dumont, she was a member of the Hackensack Art
Club where she entered juried shows and exhibited
locally. Her personality was very energetic, which is
why she liked to work in watercolors, according to her
Strickling was apparently thrifty as she painted on both sides of the paper when she created these watercolors. Unfortunately, whoever matted these paintings used scotch tape around all four sides to mount them to the mats. It would probably be very difficult to remove the tape without damaging the paintings.
Strickling, 8" x 10", watercolor
Ruth was an art teacher and
artist. She taught continuing education courses at a
local high school. She worked for many years as an
instructor of watercolor painting at the Watson Art
Center at the Silver
Bay YMCA of the Adirondacks. She became the head
of the Art Department there and was a well respected
member of the staff. She was a prolific artist in
watercolors and sold many watercolors while at Silver
Bay. She also taught at the Tenafly Adult School in
Tenafly, New Jersey and was active in the arts community
of Dumont and the vicinity.
Strickling, 10" x 8", watercolor
Ruth Strickling died on 20
January 2009 in Dumont, New Jersey. Harry Strickling
died on 31 July 2007.
Russel Whitten is a Maine
artist who was born 7 June 1962. He studied at the
Maine College of Art, the Art Student's League, and
with DeWitt Hardy, Norman West and Richard Brown
Latham at Heartwood College of Art in Kennebunk,
Maine. He has a web site.
Lynn Charles "Chuck" Foster
was born in 1949 in New York. He is a sculptor,
painter, and musician currently residing in
Louisville, Kentucky. He has a web site.
He is best known for his abstract sculpture
work, but I like his landscape paintings. I
also like that he signs his work on the back.
Jan Gendron was born on 11
November 1949 in New York City. He studied at the
Vesper George School of Art in Boston, with Henry
Henche at the Cape School of Art, and with Robert
Cormier. Gendron is mentioned in The New
Renaissance, Volume 6 by Louse T. Reynolds.
Jan has a blog.
Jim Hubbard worked for several
years with acrylics but later in life became a pencil
and digital artist. He has a web site. Mr. Hubbard
told me the title of the painting in my collection and
that it is coated in a material called Soluvar, a very
tough varnish, so that the painting would be well
protected. He told my that this finish also permits
cleaning of the painting with a damp cloth, though some
care must be taken as his signature is created with
India ink, though also protected by the Soluvar coating.
The locale of this painting is a farm between Kansas
City, Kansas and Lawrence, Kansas. Originally, the
painting was backed with paper and bore Mr. Hubbard's
studio label, but that has gone missing since the
painting left his possession and arrived in mine.
Mr. Hubbard studied geology at Kansas University. Later, in 1966 at the age of 35, he developed an interest in painting after receiving a watercolor set for Christmas. He later studied with Fred Leach, Paul Denis, and John Pike. After a successful career as a fine artist working in acrylics, during which he won many awards, Mr. Hubbard decided that he would rather pursue a less chaotic life, a more balanced career, and moved on to his current avocation as a pencil artist, after some time spent running his own gallery. At that time, his larger acrylics routinely fetched $1000-$5000, and despite offers of sponsorship by several wealthy patrons, he stuck to his dream of a less hectic life and is now quite fulfilled.
Mr. Hubbard's signature is quite distinctive, and he often dated his work. Mine is not dated. He routinely also hid his signature in the painting to avoid pirating of his work.
Jim Hubbard signature
Weitershausen was born on 20 April 1879 in Allegheny
County, Pennsylvania, a son of Charles R. and
Antonetta Weitershausen. Charles worked as a fire
insurance agent. A. W. Weitershausen
is listed in the 1902 Pittsburgh and Allegheny
directory as an employee of the Commercial
Glass Co., of Millvale, PA. Albert was listed as
"prest" of the Commercial Glass Co. in the 1903-1905
city directories. This may have been an abbreviation
for "president". Albert is listed as the
secretary-treasurer of the Pittsburgh Art Glass
& Mosaic Decorative Co. 1906-1910. He appears in
later directories at the same company with various
titles, including Superintendent, etc. Albert
married a woman named Mary Bertha about 1907,
probably in Allegheny County. The couple was living
in Millvale, PA in 1910 where Albert was employed as
a stained glass designer. I have not been able to
discover where Albert received his training. Albert
received a patent
for an improved technique in creating leaded glass
constructions in 1914. He was an employee of the
Pittsburgh Art Glass Company at the time. Albert
completed WWI and WWII draft registration cards and
in 1942 was still employed by the same company,
which had been renamed Pittsburgh Art Glass Studios
in 1924. This company was founded in 1903, so Albert
was certainly one of its longest serving employees
by 1942. Albert's profession was given as stained
glass artist in the art glass industry in 1930. The
Weitershausens had one daughter, Mary H., born about
have found several references to Albert's work as a
stained glass artist, but he seems to be completely
undocumented as a fine artist. Several contemporary
stained glass artists in Pittsburgh, and the
vicinity, were also well known fine artists. Judging
by the monogram on the front, and label attached to
the back of this painting, his lack of recognition,
may be attributable to the fact that he signed his
work using a monogram. The fact that a special label
was printed for this painting would seem to indicate
that Albert routinely created fine art. I found the
following definition of thumb-box sketches using
Google Books: "They were such sketches as an artist
commonly makes in the field, with a small box of
colors held on the thumb, and arranged, when open,
to serve both as palette and easel - hence the name
'thumb-box sketch.'" It was also noted in various
sources that such paintings tended to be miniatures,
so this painting would be a rather large example of
such a work. Mussini Oil Colors are still in
A. Leona Lindvig was born on 19
June 1915 and was an Arizona artist. I have not been
able to discover her maiden name or ancestry. Believe it
or not, there appear to have been at least three women
by this name living in the 20th century. Lindvig was a
member of the Co-op Fine Arts Gallery in Prescott,
Arizona in 1985. I have located several auction records
for her works dated in the early and mid 1980s. Leona
Lindvig was editor of a religious magazine called
Destiny Digest in 1994 in Phoenix. This magazine was
associated with Destiny Church in Phoenix. Leona was
married to Leslie M."Les" Lindvig and they resided in
Phoenix. Les was born in 1915, the son of Albert and
Nettie Lindvig. Memorials for both Leona and Les are
mentioned in a PBAC publication called Rooster Tails. It
appears to be the magazine for some type of automobile
club. Les Lindvig was a CBS TV vice president before
retiring. I have found several mentions of a Les Lindvig
Museum in Phoenix, which is described in the July 1981
edition of Popular Mechanics Magazine as the only US
automobile museum devoted exclusively to small cars. I
also found mentions of Les and Leona Lindvig as Director
and owner, and Assistant Director, respectively, of the
Jungle Park Zoo in Phoenix. The book Zoos and Aquaria
of the World by J Z de Mendoza (1960) lists L.
M. Lindvig and A. L. Lindvig as director and
superintendent of the zoo, which was founded in Tucson,
AZ in 1953.
Leona Lindvig is not listed in any art reference that I have examined but is mentioned at online sites like AskArt, FindArtInfo, and ArtPrice. Les Lindvig was listed in Phoenix telephone directories as late as 1999. I did not find Les listed in the Social Security Death Index.
The memorials Rooster Tails give Leona's death date as 4 October 1994 and Les' as 12 June 1992. The Social Security Death Index gives the death date for A. L. Lindvig as August 1994.
Robert Coombs is a Utah
artist who has exhibited widely, across the US. He
worked as an illustrator, before transitioning to
fine art. He has a web site.
Robert received a BFA from Utah State University. He
is member of Oil Painters of America. His list of
exhibitions and awards is lengthy and best viewed on
his web site.
Janet Staulcup Rontz
was born on 14 August 1919 in Trenton, New Jersey. Her
father was a fine and architectural artist. He died when
she was five months old. Janet studied at the Parsons
School of Design and Trenton School of Industrial Arts.
She worked for Sears as an Advertising and Art Director
in Brazil in the 1950s. She later worked for Abraham and
Strauss in Brooklyn, and Oppenheim Collins Co. She was a
member of the Watercolor Society of New Mexico and a
Signature Member of the Pastel Society of New Mexico.
She was married to Dietrich Rontz in 1960 in New York.
They completed 32 cruises around the world. They loved
cats and always had many at any one time. Janet often
put them in her paintings. Unfortunately, though, not in
this one. This painting has a 1940s or 1950s feel, but
appears to be an acrylic painting, so was done much
She won a Sponsor Award at the 2007 Encantada Exhibition and an Honorable Mention at the Midlands Art Association 2004 Spring Exhibition. She is mentioned in the March 2008 edition of the Pastel Society of New Mexico newsletter.
Helene Chatelain Judge was born
on 23 July 1907 in St. Leger Vauban, France. The
California Death Index reports that her father's surname
and mother's maiden name were Chatelain, so they may
have been cousins. Helene married Joseph Judge of
Carbondale, Pennsylvania in the late 1920s. I was able
to locate Joseph in the 1900-1920 censuses, but I have
not been able to locate Joseph or Helene in 1930. The
Judges traveled to France from the United States
numerous times between 1929 and 1954, singly and as a
family. In 1929, Helene gave her last permanent
residence as Fontainebleau, France on the ship's
passenger list. She gave her residence as New York City
on a 1930 passenger list and later, on other lists as
either Fontainebleau or New York City. The Judges may
have had homes in both cities. They may have been in
France in 1930, which may account for their absence in
the 1930 census. Their son, Bernard, was
born 3 June 1931, and is a well known Los Angeles
architect. Helene became a naturalized US
citizen on 28 August 1956, while residing in Brooklyn,
Helen studied at the Ecole d'art in Fontainebleau when she was 17 or 18 years old, and was also a model there. One of her professors was named Brunet. Helene's family lived across the street from the school at 35 Boulevard Magenta. I have found a few mentions of auctions of her work. She is mentioned in Who's Who in American Art, and in Davenport's Art Reference and Price Guide. She seems to have painted mainly landscapes and florals.
Helene died on 10 September 1984 in Los Angeles, California.
Carolyn Moline is a Florida
artist. She graduated with a BFA from Kent State
University. She also studied under Fran Larson,
Peter Rubino, and Bruno Lucassii. She works in oils,
watercolors, and pen and ink. She sculpts in terra
cotta, bronze, ceramic, and porcelain. Her works are
part of the collection of the Cleveland Museum of
Fine Art and Bonnet House Museum and Gardens. She is
a member of the National League of American Pen
Women, Miami Art League, Gold Coast Watercolor
Society, Broward Art Guild, Corona Art Association,
Plantation Art Guild, and Hollywood Art Guild. She
has judged art exhibitions at the Florida State Art
Institute and Broward Art Guild. She has a web site.
Donald W. Lambo was born on 3
December 1921 in Amsterdam, New York, a son of John
O. and Anna M. Lambo. John was an Italian immigrant
and Anna was a German immigrant. Both immigrated to
the US in the late 1880s. John was working as a
"loom fixer, rug mill" in 1930. Donald worked as an
illustrator for many years and I found numerous
books that he supplied the illustrations for. He
later started working as a fine artist. His wife was
also a fine artist.
This label was glued to the
back of the painting, and gives a brief biography of
Lambo. I am not sure if this painting falls under
the category of fine art or illustration. It may
have started as an illustration and later was sold
as fine art.
Lambo died on 9 January 2008 in
Croton on Hudson, Westchester, New York. His obituary
appeared in a local newspaper:
Olin Farrell Vought was born
in February of 1870 in Dover, Morris County, New
Jersey, the only child of William Allen and Emily
"Emma" Farrell Vought. Allen, as he seems to have
preferred using his middle name, was a druggist. He
died before 1894 and Olin was living with his mother
in Dover, Morris County, New Jersey 1900-1920. Emma
probably died before 1930, as Olin was living alone
in Roxbury, New Jersey in 1930. His occupation in
each census was given as artist, though the type of
artist varied from just plain artist, to " artist,
watercolors" and "artist, paintings". His name is
sometime spelled "Vaught" in census records. He is
listed as an artist in various Morris County, New
Jersey directories as early as 1894. There is a
permanent exhibit of his art at the Silas Riggs
Saltbox House Living Museum in Roxbury, NJ. Vought
was a well known local artist who worked in glass
plate photographs, drawings, pen and ink sketches,
and watercolors of the canal area in northern New
Jersey. He focused on the area from
Rockaway-Hibernia to Phillipsburg. His photographs
are prominent in the local histories of the canal,
including "The Morris Canal: across New Jersey by
water and rail" by Robert R. Goller, which is
available, in part, on Google Books. His photographs
were also used extensively in books by James Lee, a
New Jersey historian who specialized in the Morris
Canal. Vought was a member of the Dover Camera Club
in 1899 and exhibited his photographs at the Club's
I do not know where Vought trained as an artist. It is peculiar that an artist so well known is not listed in any art reference book, except for Mallett's Index of Artists and Davenport's Art Reference and Price Guide, where he is misidentified as "Olif" Vought. His death was reported in the New York Times on 12 July 1940:
Olin F. Vought
July 12 (AP) - Olin F. Vought, landscape and floral
painter, died at his home here today of a heart
ailment at the age of 70. He had been ill since
Carpen Alin Florin was born in
1970 in Mizil, Romania. He studied architecture at
University Ion Mincu in Bucharest. He has become more
interested in art, though, especially painting, and is
currently studying art. This work is not signed.
P. Heaney is a fifth generation Montana resident. He
is a watercolor artist, author, and illustrator. He
attended Montana State University and Western Montana
College where he received a BS with a major in art. He
taught art for fifteen years at the secondary level
and later taught art classes at Western Montana
College and Northeastern Nevada College. Kevin has a
He has exhibited widely and his work is part of
numerous private and public collections.
Kevin specializes in capturing
Western scenery, particularly ghost towns and abandoned
buildings. Check out his web site for a complete list of
his accomplishments. I am working on better images of
Marguerite Hall was a Seminole,
Pinellas County, Florida artist. She seems to have been
active in the late 1970s and early 1980s. I have not
been able to discover much about her. A showing of her
work was given at the Gulf Beach Public Library Art
Gallery in March of 1981.
, M. Hall, 8" x 10",
She received an Honorable Mention for a work at the Transparent Watercolor Show '82 held at the Beach Art Center, Indian Beaches, Florida. I purchased these two small watercolors on ebay. They are titled verso. Each also has Hall's business card attached to the back.
Peter Koster was born on 31
May 1891 in the village of Zaamslag, in the
Netherlands. He immigrated to the US in 1910, but
does not appear in the 1910 US census. His first
appearance in US records is the record of his
arrival in New York on the ship Potsdam from the
port of Rotterdam on 21 May 1910. He was apparently
traveling with two other men as all three were from
Holland and their destination was Grand Rapids,
Michigan. The other men were Cornelis A. Kaag, aged
16, a baker, and Johannes van Herp, aged 25, a
painter. Koster gave his occupation as "painter" and
his father's name as J. Koster. On 5 June 1917, he
supplied information for his WWI draft registration.
He was working as a sketch artist for Myercord Co.
in Chicago at the time, but residing in Grand
Rapids, Michigan. He was married, but did not give
the name of his wife. The 1930 census indicates that
Koster married about 1913. His status was given as
"Alien - First papers". Koster was still living in
Grand Rapids in 1920, working as an artist in a
furniture studio. The census that year reported that
he had become a naturalized citizen in 1917, but I
have not been able to locate his naturalization
papers. He was married to a woman named Nellie who
was born in Michigan of Dutch parents. They had a 1
1/2 year old daughter, Vivian. This marriage
apparently did not last as Koster was living as
lodger in a boarding house in Grand Rapids working
as an artist "at home" in 1930. His marital status
was reported as single. His ex-wife, Petronella E.,
had remarried to a man named Peter Bajema and they
were still living in Grand Rapids. Vivian J. Koster
was listed as Bajema's step-daughter. Peter Koster
traveled to the Netherlands and his arrival was
reported in New York City on 14 September 1930, on
the ship Rotterdam which had departed from the port
of Rotterdam on 6 September 1930. The address
recorded on the passenger list was 159 Bostwick St.,
Grand Rapids, Michigan, and once again gave his
naturalization year as 1917 in Grand Rapids. This is
also the same address he was residing at during the
1930 census. According to Koster's WWII draft
registration card, he was a resident of Bearskin
Neck, Rockport, Essex County, Massachusetts. He was
self employed in Rockport and then married to a
woman named Lena.
Koster's biography appears in American Landscape and Genre Paintings in the New York Historical Society by Koke. I have not yet been able to examine this book, but the snippet view on Google Books reveals that Koster received his training as an artist in the Netherlands. Koster was a member of the Rockport Art Association and North Shore Art Association. He is not listed in any art reference book that I have examined, though I suspect he appeared in one of the pictorial histories of the Rockport Art Association that this society periodically generated. A P. Koster, a 20th Century Gloucester, Massachusetts artist, is listed in Davenport's Art Reference and Price Guide. As this is the only artist I have encountered with this first initial and last name, I suspect they may be the same artist. Koster worked in oils and my paintings appear fairly typical of his work.
Koster biography and
A copy of Koster's biography
and application to the Rockport Art Association were
taped to the back of the Cape Ann painting.
Koster, 9" x 12", oil, 1975
The second painting is
likely Koster's work, as well. The signatures are
very similar, though the second painting is signed
"P. Koster". The painting is inscribed verso
"Bayshore 1975". Bayshore (Gardens) is in Sarasota,
Florida. Peter Koster died on 18 July 1978 in
Sarasota, Florida, so this is a very late work for
This was an ebay purchase. Kyle has a blog. Kyle is a self taught artist, and very talented. Check out his blog for some really nice paintings. This painting does not photograph well. It is very loose, and the close up image of it does not do it justice. It has nice depth and use of shadow when seen from an appropriate viewing distance.
Jason Cordula is a self
taught Canadian artist who works in oils. He was
voted the most popular landscape artist on ebay in
2009. He has a web site.
The last time I checked, he had closed his ebay
store and his blog was not active. I like his work a
Moreira Aguiar was born in 1947
in Portugal and lives in Lisbon. I purchased this
painting from a seller in Santa Cruz, California and he
could not remember the name of the artist and could not
read the signature. I could not read the signature,
either, but conjectured that it might me the work of Mr.
Aguiar. Luckily, Mr. Aguiar came across my web site and
contacted me, confirming that this is one of his early
works. Mr. Aguiar has exhibited all over the world, most
often in the US. He now works in oils and palette knife.
Though Davenports Art Reference and Price Guide says he is from Mexico, Mr. Aguiar assured me he is from Portugal. Moreira Aguiar has a brother, Armando, who is also an artist. Moreira Aguiar is listed on all major on line art sites. I really like this work. The artist did a really nice job catching a moment in time, and I really like the workaday subject matter. I hope to add more information about this artist.
Helen Marie Stockton was born on 18 April 1889 in
New Jersey, a daughter of John Potter and Lynda
Thorndyke Low Stockton. John was a lawyer and son of
a US Senator. John was a descendant of Richard
Stockton, a signer of the Declaration of
Independence. Helen graduated from Columbia
University Teachers College with a Special Diploma
in Fine Arts in 1908, and in 1912 with a Special
Diploma in Education. I have found several
references of her contributions of articles
to various art and educational journals,
the earliest in 1914. Helen was living with her
mother and sisters in Westfield, New Jersey during
the 1920 census. Her occupation was given as
"Supervisor of Training, Westfield Schools". Her
sister Margaret was occupied as "Supervisor of
Domestic School, Woodbridge, N.J.". Helen
contributed several articles to Industrial Arts
magazine in the 1920s. She was described as
Supervisor of Fine and Industrial Arts at the State
Normal School of Trenton, New Jersey in the credits.
Helen was living with her widowed mother in 1930 in
Westfield, New Jersey, employed as a school teacher.
Her occupation is listed as “artist" in the 1938
Polk's Directory of Westfield, New Jersey. She
contributed several articles to American Artist
magazine in the 1950s. She also wrote several books,
for instance one called Drawing and
Picture Making. She also collaborated on
several books intended for children and students.
Her younger sister, Janet, was also an artist who
painted in oils, and was a member of the Westfield
Art Association. Her sister, Edna Margaret,
graduated from the Columbia Teachers College in 1908
with a BS degree in Teacher of Household Arts.
The December 1920 edition of the New Jersey Education Bulletin reported:
succeed Miss Taylor, Miss Helen M. Stockton has been
appointed. Miss Stockton's special training was
taken at the New York School of Fine and Applied
Arts; at Teachers College, Columbia University; at
New York University, and through extension work at
Rutgers College. She has held the positions of
supervisor of art at Morgantown, West Virginia;
supervisor of art and hand work at Westfield for the
past eight years, and director of fine and
industrial arts at Rutgers College summer session
for the last five years. Miss Stockton has also been
engaged in various activities in the field of art
outside the schoolroom, having served as director of
a base hospital craft club, and president of the Art
Teacher's Association, and the Manual Arts
Association, of Union County.
(Note: “Miss Taylor” was instructor in the art department at the Trenton State Normal School. The New York School of Fine and Applied Arts was founded by William Merritt Chase and is now known as the Parsons school.)
She is mentioned several times for her work as an artist in the local Westfield newspaper. From The Westfield Leader, 8 December 1955:
Helen Stockton's Landscapes Exhibited
Several of the landscapes of Miss Helen M. Stockton of 117 North Euclid avenue, artist and author, will be among a display of her works this month sponsored by the Verona-West Essex Art Association in the Verona Public Library.
The Westfield artist recently exhibited her paintings in the Paper Mill Playhouse, Millburn. Several art centers in New Jersey and New York have presented her awards.
Miss Stockton also has written and illustrated a number of children's books and has taught at several art schools in the state.
was member of the Westfield Art Association. I have
found several mentions of showings of her work. One
reference also describes her as an illustrator, and I
have found one mention of a children's book illustrated
by Helen M. Stockton. I have not located her in any art
reference book and she does not appear to be listed as
an artist. She is mentioned and misidentified as Helen
R. Stockton on artprice.com and askart.com. She was
listed in the 1929 edition of Who's Who Among North
American Authors, and Who Was Who Among North American
book by Helen M. Stockton, 1930
Helen Stockton died in September 1981 in Westfield, New Jersey. She is buried in the Fairview Cemetery in Westfield, New Jersey.
Elizabeth L."Betty" "Liz" Widmayer
was born 28 January 1926 in Queens, New York, a
daughter of Walter and Bessie Widmayer. Walter was
occupied as a chauffeur in 1920 and a "hacksman,
taxical" in 1930. For many years Betty lived with
her sister, Joan Widmayer, at 333 57th St., New York
City, according to old telephone directories. This
relationship is proved by the obituary of their
brother, Walter J. Widmayer, who died in New Smyrna
Beach, Florida on 11 January 1997. This address is
written on the back of many of Betty's paintings,
along with her name. Joan used the pseudonym Walters
in the music business, and possibly in other
ventures. I have also found references to her as
Joan Walters Widmayer. One record for a Joan
Widmayer identifies her as a student at the
Frostburg State Teachers College. I have no
proof that this is the same woman. Joan was born in
November 1930. Betty and Joan copyrighted several
songs in the late 1970s and early 1980s as the team
of Walters and Widmayer.
Widmayer, 38" x 28", oil
A Betty Widmayer is mentioned
in "Savage Art: A biography of Jim Thompson". She
was identified as "a young graphic artist in charge
of layout and design" at the New York magazine
"Police Gazette" in 1951. An Elizabeth Widmayer of
New York was a patron member of the American Society
of Portrait Artists. I have seen claims that she was
a fashion model with an "outgoing and positive
personality", but cannot confirm that. A significant
number of her paintings were offered on ebay in late
2009 by several sellers, so it is possible they came
from her estate, or the estate of a relative. All of
the work by I have seen by Widmayer has been
figurative. She was an accomplished artist, but I
have not found listings for her in any art reference
book, any records of exhibitions of her work, and no
auction records for her work, except on ebay.
After her death, a lot of fashion illustrations, prints and proofs, signed by Elizabeth was purchased at a nearby 58th Street estate sale. The dated proofs and prints were from the late 1960s. The work was done for various New York fashion publications, including Bergdorf Goodman, the Ritz, Lord & Taylor and Abercrombie and Fitch. The work bore the Widmayer's 57th street address and some bear the name of Jane Walters as Elizabeth's representative.
Betty Widmayer died on 16 September 2008 in New York City.
Mrs. Catherine H. Gardner was
a member of the Dutchess County Art Association of
Poughkeepsie, New York. She served as Treasurer of
that organization. She was a frequent exhibitor at
the shows sponsored by the art association. She
exhibited oils and watercolors in the 1930s and
1940s. In 1942, one of her watercolors, "Manchester
Bridge Houses", was chosen for a WWII Victory
Calendar. Each month featured a painting by a
Dutchess County artist. Her painting was used for
the month of December. The announcement of the
winners of the calendar contest was made by Mrs.
Franklin D. Roosevelt. Mrs. Gardner is mentioned
several times in the Poughkeepsie Eagle News,
Poughkeepsie Daily Eagle, and the Harlem Valley
Times, in connection with her work as an artist. The
names of her paintings are often given, and the
themes of her work appear to be coastal scenes and
florals. Her works are often described as "brightly
colored". She is not mentioned in any art reference
book that I have examined, but I have found several
mentions of her works in auction records. I was not
able to locate her in census records or other
primary records. She resigned as Art Supervisor in
the Dutchess County public schools in December of
1936. I have found references regarding a Catherine
Gardner who was working as a teacher in various
parts of New Jersey in the 1920s, but cannot connect
them to this Catherine.
This painting was an ebay
find. An index card with the artist's name, title,
medium, and date was attached to the painting. This
was advertised as "prison art", which it appears to
be, but it is uncertain how Flagg was associated
with the prison. He could have been a prisoner,
guard, some other employee, or even a visitor. I
think it is an interesting example of mixed mediums
and styles, pointillism and impressionism.
I have not been able to
identify any other records pertaining to Flagg.
Research disclosed that Tappan was the medium
security unit of Sing Sing, but it is now closed.
Ron Kellen graduated with an MFA
from State University of New York at Stonybrook (SUNY)
about 1992. I do not know where he received his
undergraduate degree. I found a few mentions of his work
in the mid and late 1990s and a last mention of his work
in 2000 at an on-line art seller, paintingsdirect.com,
which closed in 2009. His later work seems to have
focused on nudes and still lifes. This painting has a
notation on back with his name and address at SUNY, so
this was likely painted while he was a graduate student
between 1989 and 1992. Kellen later worked as the
exhibits/fabrication manager at Conner Prairie
in Fisher, Indiana and as preparator at Long Island
Museum of American Art, History and Carriages. He is
currently an adjunct professor of Extended Education at
Ball State University where he teaches drawing and art
history in correctional facilities. Kellen has a web site.
I have no information on this
artist. I purchased it on ebay from a seller in
Michigan City, Indiana, who purchased it at an
estate sale. It is painted on a Craftint All Purpose
Panel. I like the whimsical nature of the painting,
the grace of the dancers, and the colors. It has a
surprising amount of depth, and in person the
dancers appear to dance out of the painting. It
reminds me of a cave painting, which is likely what
the artist intended. Any information about this
artist would be appreciated.
Alma Wilhelmina Monahan was born on 27 September
1888 in Marinette, Wisconsin a daughter of Herman
and Minnie Fiker Monahan. She was one of three
sisters. Her father worked as a bookkeeper. Herman
Fiker died in 1906. Minnie and two of her daughters,
Pearl E. and Iola A., were living in Oshkosh, WI in
1910. I have not located Alma in 1910. I suspect she
was attending or teaching school. Alma married
Arthur James Monahan about 1910. They were divorced
before 1930 when Alma was living with her mother and
sisters in Oshkosh. Alma and both of her sisters
were employed as public school teachers in the
Oshkosh school system. Alma was working as a teacher
by 1910, when she appears in the Wisconsin School
Directory, and spent the majority of her career
working as a science and art teacher at Roosevelt
Jr. High School in Oshkosh. She also worked as Vice
Principal of the school in the 1940s and 1950s. She
retired from teaching about 1954. I suspect that all
three sisters attended the Oshkosh Teachers College,
but have no proof of that.
After her retirement, Alma continued to be active in the Presbyterian Church, the Twentieth Century Club, and other civic organizations. She is mentioned 168 times in Oshkosh newspapers between 1923 and 1964. She founded the Oshkosh Public Museum Art Club. The Oshkosh Public Museum has 54 works by Monahan in their permanent collection. She was awarded an honorable mention at the Neville Art Museum in Green Bay. She exhibited her work in the Oshkosh vicinity, including one and two artist shows at the Oshkosh Public Museum. She painted in oils and watercolors and was known for painting scenes of the Marinette and Green Bay shore regions, sand dunes, quarries, farms, flowers, and snow scenes. She also taught at the Oshkosh Public Museum, Paine Art Center and Arboretum, and the Rose C. Swart Campus School. She continued to teach art to children and adults for many years after her retirement. She was served as a judge at many art exhibitions.
This painting has two labels on the back, the first with the title of the painting and Alma's name and address, and the second with historical information about this scene, "Golden Girl, the boat on the left, was a rum runner during the prohibition days. Shine On, the boat on the right, was a fisherman's boat".
Alma died on 17 January 1983 in Oshkosh, Wisconsin and is buried in the Riverside Cemetery in Oshkosh.
Mercedes Garcia was born in Mexico and moved to Santa Monica, CA at the age of 12. She has an art web site. I like the colors in this painting. Judging by the other work on her web site, she does not appear to be a formally trained artist, and does not mention any art education in her biography. I bought this at a charity auction.
K. Silkman was born on 15 July 1919 in New York City,
a son of William and Mildred "Millie" Harris Silkman.
William and Mildred were born in London, England.
William was of Russian/Jewish and English ancestry and
Mildred of Polish ancestry. The Silkmans immigrated to
the US in 1908 and the Harris family immigrated in
1912. William and Millie were married on 6 October
1918 in New York City. Both became naturalized US
citizens in the 1920s. William was employed as a
painter in 1910 and 1917, usually working for building
contractors. He was employed as a furniture
upholsterer in 1920. I have not been able to locate
the Silkman family in 1930. William did fill out a
draft registration form in 1943, giving Millie as his
next of kin. They also had a daughter, Jacqueline who
was born 7 May 1922 and died unmarried on 25 December
2005 in Queens Village, Queens, New York. Millie and
her children traveled to England in 1929 and 1937.
William did not accompany them. Jacqueline testified
before a Congressional committee in 1959 regarding the
difficulty in finding adequate nursing home care for
her mother and aunts. She was employed by the
Department of Health at the time.
I have not been able to find out much about Arthur's education and work as an artist. This painting likely came from an auction of New York City storage liquidations of Benson Seto and Arthur Silkman held at the Gary R. Wallace auction house in Parsonfield, Maine in July 2008. I do not have any information regarding the story of the sale. According to the seller of this painting, Arthur Silkman received the Grumbacher Art Award at the Arts Interaction 9th Annual Spring Show in 1987. I have not been able to confirm this. Other information I have seen suggests that Silkman exhibited at the Salmagundi Club and was associated with the Knickerbocker Artists. I contacted the Salmagundi club's curator, and he informed me that they have no record of Silkman exhibiting there and no one there has ever heard of him. The curator is attempting to locate members of the Knickerbocker Artists, a surprisingly elusive group. Silkman seems to have been a formally trained and accomplished artist but is not listed in any art reference resource. I am still researching him.
For some reason, a search for Arthur Silkman on www.whitepages.com shows that his household was made up of Marvin P. Scilken, Mary P. Scilken, and Gertrude Silkman, though the telephone number is disconnected. The address listed is 330 W. 28th Street, Apt 9F, New York, New York. Marvin H. Scilken was a noted librarian and his wife was named Mary. I was able to contact Mr. Scilken's sister and she told me she had never heard of Arthur Silkman. This is probably just a mix up of old directory service information.
Silkman enlisted as a private in the US Army on 9 December 1941, his occupation recorded as "photographers, marital" and his education as high school graduate. He returned to the US on 19 September 1945 a member of the 272nd Infantry Regiment. His arm of service was listed as "Engineers".
Arthur Silkman died on 15 November 2005 in New York City.
Arthur Silkman signature
Sandra Saunders was born in 1941
in Wisconsin and has lived there all of her
life. She attended the University of
Wisconsin-Milwaukee, St. Scholastica College, and
the Layton School of Art. Her work has been shown at
numerous galleries in Wisconsin, Arizona, and
Florida. A selection of her art may be viewed on
line. One of her paintings is part of the
permanent collection of the Paine Art Center and
Arboretum in Oshkosh, Wisconsin.
Blondheim is a Florida artist. She received a BFA from
the University of Tampa and also studied at the
University of South Florida. She is a co-founding
member of Plein Air Florida, and member of the Florida
Artists Group, Plein Air Georgia, Alabama Plein Air
Artists, and Fresh Air. She has been painting for 30
years and works in acrylics, oils, and gouache. The
painting above was painted en plein air in March 2009
at the Epcot Center at Disney UK where Ms. Blondheim
is invited to paint three days of each year.
"Santa Fe River" was
painted en plein air on location. Ms. Blondheim is
mentioned in "Who's Who in American Art" and is
represented in galleries in Florida, Virginia, and
Alabama. She also sells some of her small
paintings on ebay as plein air12. She has a web site
and blog. Both of these paintings are likely
studies for larger works. Ms. Blondheim has an
"I explore the
farms and ranches of North Florida, enriching my
life with the culture and history of the region.
My mission is to record this beautiful land while
it is still with us, unmarred by development. I
believe in order to paint a subject well, an
artist must have a deep respect for the land and
the people who own and nurture it. The North
Florida culture is deeply embedded in my soul. My
effort is to speak to others about my love for
rural Florida through my oil and acrylic
Erisa Yuki is a New York artist. There are a couple of women by this name involved in the art scene in New York City. One of these women exhibited her paintings at the School of Visual Art in 2008. The other is a fashion designer who was active from the mid-1990s to the present and seems to have been known for her wedding dress designs. I am not sure which artist's work this is, if there is a third woman by this name, or if the two artists are the same person.
Mrs. Nellie Stoneham was born
on 3 September 1879 in Sherman, Grayson County,
Texas. She was the daughter of Dr. Elijah Evans Winn
and Medora F. Stith. Medora was Dr. Winn's third
wife and Nellie was the youngest of his children.
Nellie attended the North Texas Female College and
Music Conservatory, also known as Kidd-Key College,
in Sherman. At the time she attended there, this was
a very well known and prestigious finishing school
for women. This is likely where she received her
artistic training. After graduating, she worked as a
teacher and cared for her father and mother during
their last illnesses. About 1920 Nellie married
David Jenner Stoneham who was 20 years her senior.
At some time prior to her marriage Nellie moved to
Dallas where she attended business school and later
sold insurance and may have met her future husband
while pursuing this work in Sherman, Texas. Some of
this information comes from Nellie's daughter Dora
Evelyn Colley, an artist, and member of the San
Antonio Watercolor Society.
Dora Colley knew that her
mother had done some work as an artist, primarily
charcoal portraits, but also remembered that she had
worked at home for a company during the Depression.
This company would send prints to Nellie which she
would then paint using oil paints. Nellie did this
in the hopes of making some money for her family,
but her daughter had the impression that Nellie did
not make much money doing this work. These three
paintings are likely represent this endeavor. Nellie
also worked as Postmaster of Stoneham, Texas which
is in Grimes County.
All three of these paintings bear
a stamp verso that says "Received <date>
Answered". All are dated 1932 or 1933. All three
paintings also bear Nellie's married name and "Stoneham,
Texas". This may further support the identification of
these paintings as the output of a commercial operation.
It is not clear how this company operated or what
latitude their artists were given in completing the
paintings. I do not know if this was the "paint by
numbers" of the 1930s, etc. Any information on how this
company operated would be appreciated.
Nellie Stoneham died on 7 June 1956 in Grimes County, Texas. David Stoneham died in 1959 at the age of 100 years.
George Knecht was born on 31
October 1926 in Philadelphia, PA, a son of Elmer and
Marie E. Church Knecht. He graduated from the
Hussian School of Art. Knecht was the founder and
Chairman of the Graphics Art Department at Temple
University until he retired in 1987.
George Knecht died on 15 January 1998 in Meadowbrook, PA. His obituary appeared in a local newspaper:
George Knecht died January 10, 1998 at his home in Meadowbrook. He was 71. Born in Philadelphia, he was the son of the late Marie E. Church and Elmer Knecht. He was a graduate of the Hussian School of Art in Philadelphia. An accomplished artist, he started and headed the Graphic Arts Department at Temple University until his retirement in 1987. Mr. Knecht was an Army veteran of World War II, having served in the Philippine Islands. He is survived by his wife, Henrietta W. Dotterer Knecht; a brother, William Knecht of Philadelphia; a sister, Betty Fidler of Philadelphia; stepchildren, Scott S. Dotterer III of Tokyo, Japan and Susanna E. Lipscomb of Catlett, Va.; and a step grandson, Thomas Lipscomb. A memorial service will be held Friday, January 16 at 1:30 p.m. in the Baron Rowland Funeral Home, 1059 Old Yord Rd., Abington. The family will receive friends after 1 p.m. Interment will be private. Remembrances may be sent to the charity of the donor's choice
He was also mentioned in the
Temple University staff and alumni publication:
George Knecht, a retired senior graphic artist and a founder and former chairman of the graphic arts department, died January 10 of a heart attack at his home in Meadowbrook. He was 71.
Knecht, retired since 1987 after 28 years of employment in Audiovisual Services, contributed countless and diverse works for use on Temple campuses—from portraits in oil or watercolor, to meticulous pen-and-ink illustrations of owls and campus buildings. From his basement studio in Annenberg Hall, he also produced brochures, posters, diagrams and notebook covers.
Outside of Temple, the multi-media artist’s work has received numerous showings and acclaim, including a commissioning to design and produce more than 150 directional and informational signs for the 1986 convocation of Bishop Tutu.
“A bit of love for Temple” was in each completed project, said Dennis P. Leeper, director of instructional services who once worked closely with Knecht.
“He was an outstanding and very talented artist whose absence was greatly felt” at Temple when he retired, recalled Leeper. “There was no media at which he wasn’t quick and proficient.
Knecht exhibited and sold
his work, as evidenced by the label on the back
of this painting. The Hussian School of Art web
site emphasizes that the instructors there are
also active professionals in the world of
graphic design. Knecht may have incorporated
this into the Graphic Arts Department at Temple
University. This work is not dated, and it may
also have been painted after his retirement. I
have not found many mentions of his professional
work and none of his fine arts work. Knecht is
not listed in any major art reference source.
from this painting
William Reginald "Reggie"
Watkins was born on 11 November 1890 in Manchester,
England. His birth was recorded in early 1891 in
Chorlton, a suburb of Manchester. Watkins declared
his intent to become an American citizen on 12
November 1914. His declaration form indicated that
he arrived in New York City on 12 November 1907 on
the ship "Columbia". He last resided in Bristol,
England and departed the UK from Glasgow, Scotland.
His address in 1914 is listed as 800 Williams St.,
Baltimore, MD. His 17 July 1917 petition for
naturalization listed his wife's name as Catherine
A., born 24 October 1891, and their child as Viola
Laura, born 26 January 1916. They were residing at
801 Williams St., Baltimore. Watkins took the oath
to become a naturalized US citizen on 27 November
1917. I have not been able to locate Watkins in the
1910 census. He completed his WWI draft
registration form in 1917. According to the form, he
was living with his wife and child in Baltimore,
Maryland where he was employed as a draftsman. The
name of his employer is hard to read but appears to
be H. P. Printing Co. Watkins and wife Catherine
were living at 801 Williams St. in Baltimore in
1920, with their children Viola L., and William P.
Watkins was employed as a commercial artist at that
time. The Watkins family was still living in
Baltimore at 801 Williams St. in 1930 where he was
employed as an artist for "Tin Dec. Co.", the Tin
Decorating Company. Another child, a son named
Bryan, was born about 1926. Watkins' WWII draft
registration indicates that he was living at 3120
Weaver Ave. in Baltimore, then married to a woman
named Laura M. He was working at Owens-Illinois Can
Co., but his occupation is not given. It was noted
that his right arm "cannot be fully extended". His
signatures from both draft registration forms are
very similar to that of his estate stamp signature.
Gilda Leila Lozito was born 20
December 1918 in New York City, possibly a daughter of
Italian immigrants Maxim and Concetta Greco. Both were
naturalized US citizens by 1920, Maxim immigrating in
1906 and Concetta in 1908. By 1920 the Grecos were
settled in Boston, where Maxim was occupied as a
clothing designer. His, brother, John, was living with
them and occupied as a tailor, so they may have been
operating a family business. Gilda married R. Jerome
Lozito on 19 August 1941. They moved to West Palm Beach
Lozito studied at the Brooklyn Museum Art School, the Boro Hall Academy of Fine Arts, the Art Student League, private study in Italy and with instructors including Eliot O'Hara. She is mentioned American Artists of Renown by Avery. I am still researching her life and work as an artist.
Lozito seems to have signed
some of her work more than once. For instance the
painting above is signed both "Gilda" and "Gilda
Lozito. All four of these works, particularly this
work and the two below suffered from what was
apparently poor storage and are dirty and stained
with some tears and fraying at the corners. I hope
they can be cleaned. The two below were seem to have
suffered the most. Both are half sheet size (15" x
22.5") and are watercolors.
This painting is my favorite,
but has suffered the most damage. It is signed with
These watercolors could
almost be mistaken for California style watercolors.
I wonder if Lozito was influenced by California
artists? Lozito died in Palm Beach, FL on 12
February 2010, and her obituary appeared in the Palm
Lozito's signature from the still life shown above.
Katherine M. Mallett Howe was
born in Norwich, Connecticut in February 1895 a
daughter of James W. and Jennie A. Mallett. James
was employed as a sign painter in 1900-1910. Though
aged 63 in 1920 and 73 in 1930, his occupation was
listed as "Awning Maker, Awning Shop" and
"Manufacture, Awnings". James was born in Nova
Scotia and Jennie in Maine. James was a naturalized
US citizen who came to the US in 1860. Katherine's
name is sometime spelled with a "C" in census
records and her middle initial is consistently given
as "M.", though it appears as "L." in other records.
She was an artist, illustrator, and author. She
studied at the Norwich Academy Art School, the
Boston Museum Fine Arts Academy School, the Art
Students League and with Philip Hale, Henry Hunt
Clark, George Brant Bridgman, and John Bindrum.
Katherine received a scholarship from the Boston
Museum Fine Arts School in 1915. It was noted that
she resided in Norwich. Her occupation in 1920 was
"Art Teacher, Public School". She was a teacher at
the Norwich Art School in 1928. Katherine married
Marshall Victor Howe on August 25, 1928 in Norwich.
The Howes were living at 504 West 136th Street in
New York in 1930. Marshall's occupation was "Artist
Designer, Stained Glass" and Katherine was not
employed. Both later worked as artists and designers
for the Norcross Company, a New York City greeting
card company. Katherine also authored and
illustrated children's books. I have found
numerous references to Katherine's work as an
illustrator and watercolor artist. One reference
notes that her work is part of the permanent
collection of the Slater Museum, Norwich.
Howe was a member of the National Association of Women Artists and the Mystic Art Association. She is mentioned in Who's Who in the East (1962), Who's Who in America (1950), Artists Directory (1928), Who Was Who in American Art by Falk, Artists as Illustrators by Castagno, and Davenport's Art Reference and Price Guide. Falk cites Mallett as a reference, but I could not find Katherine listed under either her maiden or married name.
Katherine died on 23 September 1957 and I have found a reference to her obituary in the New York Times, though I have not been able to locate it.
Judi Coffey is a well known
Texas artist. (Bio in progress)
Marjorie Mae "Marge" Roberts
Boysen Hart was born in Kansas on 3 July 1916 a
daughter of Emmett C. and Clara M. Roberts. Emmett
Hart was a farmer but also very involved in rodeo
and was the founder of the Strong City, Kansas
Rodeo. Two of their sons, Kenneth and Gerald were
World Champion rodeo cowboys. At the age of 13 Marge
Roberts joined the Clyde Miller Wild West Show for
the summer and returned full time after graduating
from high school. She won the Woman's Bronc Riding
prize at Cheyenne, Wyoming in 1940. This feat later
equated to a World Championship, but took place
before such a title existed. Marjorie Roberts Hart
was posthumously inducted into the Cowgirl Hall of
Fame in Hereford, Texas. There are several web sites
that commemorate the Roberts family pioneering work
in the rodeo.
Where Marjorie received her training as an artist is not known, but she had a distinctive style. Her subject matter was typically landscapes, probably of Chase County, Kansas. All of her work that I have seen was in oils.
It is not known if she
exhibited her work or was known as an artist.
The works that I have seen have been very well
done. One had a label verso that aided in her
identification. She is not listed in any art
reference book that I have examined, and was
probably an amateur artist.
Marjorie Hart died on 23 April 1982 in Strong City, Kansas and is buried in the Strong City Cemetery. Her tombstone bears the inscription, "World Champion Cowgirl". She signed her work in at least two ways.
Emilie Stearns Perry was born
18 December 1873 in New Ipswich, New Hampshire a
daughter of John P. and Emma R. Perry. John was a
retired clergyman during the 1880 census and born in
New Hampshire. Emma Perry was born in Denmark.
Emilie had two brothers, John and Chauncy. John P.
Perry died between 1880 and 1900 when his widow,
Emma, and daughter Emilie were living together in
Boston, Mass. Emilie's occupation was listed as
"student". Emilie Perry studied at the Boston Museum
of Fine Arts School, the Massachusetts Normal Art
School, and under Max Broedel. Emma and Emilie Perry
were in the 1910 Federal census of Los Angeles, CA.
Emilie's occupation was listed as "Artist (Painter
& Modeler). She lived and worked in Los Angeles,
CA from 1909-1916 and exhibited her work at several
societies and galleries. Perry copyrighted a
sculpture, "Ruins of City Hall, San Francisco,
Cal.", in 1914. She won silver and bronze medals at
the Panama-California International Exposition in
1915. She was employed to create a bust of prominent
Los Angeles educator and founder of the Los Angeles
Shakespeare Club, Mrs. Kate Tupper Galpin, to
commemorate her work in Shakespearian studies. The
bust was placed in Stratford, England.
Emilie was living alone in a boarding house in Baltimore, MD in 1920, occupied as a "Reconstruct Aide USA Hospital". Perry worked as a sculptor and illustrator. Her illustration work included sketches of operations during surgery at the Fort McHenry War Hospital during WWI. She was appointed the Illustrator of Clinic Publications at the University of Michigan at Ann Arbor in 1921 with an annual salary of $2000. She was listed as "Medical Illustrator, University Hospital" in the General Register of the University of Michigan in 1927.
This painting is in the original frame and has the label from the Ann Arbor Art Association annual exhibition verso, containing the title of the painting, name of the artist, and price, $8. The painting is not signed. Emilie was a member of the Ann Arbor Art Association. Her biographical information appears in the Dictionary of Women Artists by Pettys, Who Was Who in American Art by Falk, Index of Artists by Mallett, Artists in California 1786-1940 by Hughes, Artists of Early Michigan by Gibson, American Art Directory 1927, Artists as Illustrators by Castagno, Women Artists in America: 18th Century to the Present by Collins, Dictionary of American Sculptors by Opitz, A Dictionary of American Artists, Sculptors and Engravers by Young, and Davenport's Art Reference and Price Guide.
Emilie Perry never married. She died on 16 July 1929 in Ann Arbor, Michigan.
Francois Blin is a French
artist who specializes in naturalist subjects. He
attended the Ecoles des Beaux-Arts de Rouen et de
l'Ecole Camondo de Paris, from which he received a
diploma. He is best known for his paintings of
birds. As of mid-2009 there have been nearly 100
exhibitions of his work worldwide, including France,
Japan, Canada, Korea, and the US. Mr. Blin has a web
site. He is
a member of the Society of French Artists. I will
get a better image when time permits. The detail of
this painting is incredible.
Charles Ernest Pont was born on 6 January 1898 in St. Julien, France the son of Francoise Pont and an unknown father. His mother came to America with him on 16 May 1898 on the ship SS La Gascogne. She gave her nationality as Swiss, her occupation as teacher, and it was noted that her father had paid for her fare. Francoise reportedly abandoned her son to a German couple shortly after her arrival and in 1900 was living in Tuxedo, New York working as a "ladies maid" for a "Capitalist" couple named Walker and Maude Smith. She was born in Dec 1874, according to the census. Charles Pont was raised by the German couple until the age of 17 when he was told of his adoption, at which time he returned to using his birth name. There is an extensive biography of Pont on Wikipedia, though I have not been able to confirm all of it. It contains numerous citations of source information, though.
I am not sure what the
notations on the back of Pont's paintings mean. Of
the three fields he used the third is obviously the
title, though in the case of the painting above the
first two fields may have provided more helpful
description information. He obviously had a system
for cataloging his work.
Both of these paintings came from a seller on ebay who purchased them at an auction in Plainville, CT. They were among several lots from the estate of Joan D. Pont, the daughter of Charles Ernest and Dorothea Ford Pont. She apparently did not marry and died in the home her father built in Wilton, CT. Charles Pont died
Mary Elizabeth Kable was born
9 June 1911 in Portland, Oregon, the only daughter
of Charles H. and Ethel M. Mackey. Her father was an
architect and her mother a public librarian. She
graduated from the University of Washington in 1936
with a BA in Art. She worked as a photogrammetrist
for the US Army Map Service during WWII. She is
mentioned in two classified books, Photogrammetric
Engineering and Remote Sensing and Photogrammetric
Engineering, both published by the American
Society of Photogrammetry. She returned to Oregon
and married Ernest J. Rubin in 1947.
According to her family Mary was a close friend of famous chef James Beard. This watercolor came from the portfolio of Mary Kable from her daughter, Mollie Hunt. I do not know the extent of her work as an artist.
Mary Elizabeth Kable Rubin died on 2 October 2002 in Portland, Oregon. Her obituary appeared in the Portland Oregonian on 29 October 2009:
Mary Elizabeth Rubin
Mary Elizabeth Rubin died Oct. 2, 2002, at age 91.
Mary Elizabeth Kable
was born June 9, 1911, in Portland. She graduated
from Washington High School and
the University of Washington. During World War II, she was a photogrammetrist for the U. S. Army Map Service
in Washington, D.C., and then was a homemaker. In 1947 she married Ernest J.
Survivors include her
husband; daughter, Mollie E.R. Hunt; one grandchild;
and two great-grandchildren.
Arrangements by Family Memorial.
Frances Ruth Keating Buell was
born on 10 June 1900 in Buffalo, New York. She was the
daughter of Francis Root and Grace H. Brayley
Keating. Francis' occupation in 1900 was "Manufacturer".
He was a prosperous businessman in Buffalo, NY as shown
by the 8 servants in his household that year. He died in
1901. His father and grandfather were also successful
businessmen in Buffalo. Keating's wife,
Grace H. Brayley, too, came from a family of successful
Buffalo manufacturers. The advantages of her birth
likely gave Frances the ability to pursue her work as an
artist. She had no occupation in 1920, but was listed as
head of her household in 1930, which included her mother
and sister, and was occupied as a "Decorator,
Interior-Artist". Caryl was employed as a "Teacher,
Montessori Method". Frances and Caryl hosted a speaker
on the Montessori Method, Anna Eva McLin, in their home
in Buffalo in 1922, and Caryl was employed as a
"Teacher, Montessori-Kintergarten" in 1920. Frances
traveled with her sister Caryl (born Mary Carolyn) to
Italy in 1930 and France in 1931. Coincidentally Caryl
had the same birthday as her sister, though she was born
in 1898. Neither woman was married as late as 1931.
Frances attended the Rochester Art School, probably in
the 1920s and later the Paris Conservatory.
Frances married Fisher Ames Buell
between 1933 and 1939. He was already married in 1930
and traveled abroad with his wife in 1933. Frances
traveled extensively, including Europe and South
America, both before and after her marriage. She and her
sister opened a playhouse in Madison, Connecticut, and
she worked as a set designer in New York, and in summer
stock theater. She is mentioned in Davenport's Art
Reference and Price Guide and Who Was Who in
American Art by Falk.
I think these paintings came from the estate of a friend or relative of Buell's and were not among the better works offered. I did not spot these until the seller was at the bottom of the barrel. These were probably practice or preliminary works for more finished works. Still interesting to see. I have two more that are really not worth including, one on the back of the scene of the creek, another but different creek scene. It looks as though Buell did plein air watercolor work.
Frances Keating Buell died on 5 January 1980 in Stonington, Connecticut. Fisher Ames Buell died on 1 August 1956 in Middletown, Connecticut.
Serge E. Rossolowsky was born
18 August 1895 in St. Petersburg, Russia. He arrived
in New York City in October of 1951 aboard the USNS
General W. G. Haan. Though technically a US Navy
ship, the Haan was operating under control of the
International Refugees Organization from 1950-1953,
carrying displaced East Europeans from northern
European ports to the U.S. Rossolowsky gave his
destination in New York as 150 5th Avenue, as did
several other passengers. This was probably some
kind of temporary housing for refugees. Rossolowsky
became a naturalized U. S. citizen on 8 November
1957. He was residing at 1412 Wilkins Avenue, Bronx,
NY at the time. Sometime after this date Rossolowsky
moved to Portland, Maine.
Photographs of four of Mr. Rossolowsky's paintings are part of the collection of the Photographic Archives of the Smithsonian American Art Museum. One of these paintings is untitled but the other three are titled, "Old City - France", "Old Street - France", and "France - Am Rheine". This may indicate that Rossolowsky traveled to France before or after coming to the U. S. Rossolowsky is one of only two Russian artists mentioned as examples of prominent Russian-American artists in Russian Americans by Paul Robert Magocai. This book was part of the Gale Encyclopedia of Multicultural America and was published 14 years after the death of Rossolowsky.
Rossolowsky overcame a very
tragic life to become a prominent New York and
Portland, Maine artist, though largely forgotten
today. A story about his life was published in The
Portland Evening Express on 11 February 1964:
Russian-Born Portland Artist Has Exhibit Here
by Harrison Brown, Staff Reporter
new art media is fascinating traditionalist old
timer Serge Rossolowsky, 69-year-old Portland
artist who opened a showing of about 55 of his
works yesterday at the YWCA on Spring St.
The exhibition will be open to the public from 2 to 8 p.m. daily through Sunday.
Acrylic polymer pigments recently developed paints similar to those applied to do large surfaces by do-it-yourself householders are what is exciting Rossolowsky these days and several of the works he is showing are in this medium. Others include oils, watercolors, black-and-whites and mixed media.
ROSSOLOWSKY likes his water-soluble acrylic polymers because he can use them in three ways - transparent like watercolors, opaque like tempera and they can be laid on heavily with a knife like oils. For sketching they are no messier than oils, once you get used to them, according to Rossolowsky, and they dry quickly, saving the painter the trouble of having to get home with his wet canvas intact.
An exhibitor for eight seasons at the Washington Square Outdoor Art Exhibition in New York, Rossolowsky has won a first and other prizes there and other shows. There's a weather hazard in outdoor exhibits, he said. He watches the barometer closely and has never had a painting ruined by rain. But other and "more optimistic" artists have not been so lucky.
Born in St. Petersburg, now Leningrad, Russia in 1895, he studied at the Imperial Academy of Fine Arts there from 1914 to 1917 and finished up in Moscow. He also studied in Germany.
ROSSOLOWSKY has spent much of his life as a political prisoner. From 1918 to 1921 the Bolsheviks put him to work on the White Sea-Baltic canal project. He was rearrested in 1935 an spent three and one half-years at hard labor in the Murmansk area. From 1941-1945 he was in concentration camps under the German occupation and after the liberation he finally went to work as a free man for the U. S. Army in a Heidelberg post exchange. His wife, a piano teacher at the Moscow conservatory, and his daughter both died in concentration camps. But despite his sorrows and long hardships Rossolowsky is not an embittered man.
Rossolowsky came to the United States in 1951 and settled in New York as a commercial artist. He had been in this country for several years when he got in touch with a Russian school classmate, Dr. Nikolai Sergeff of the Augusta State Hospital, who urged him to come to Maine. Rossolowsky finally did that last November and now has an apartment at 105 West St.
He loves Maine, he said. The air, he explained, is much better than New York and easier on the lungs. And despite his long experience as a prisoner with the cruel Russian winters he still loves winter in Maine.
"No more moving for me." Rossolowsky said. "I finish my life in Maine."
He looks forward to spring and summer outdoor sketching and also to photography. He has five cameras and his work keeps him happily busy, he said, "about 15 hours a day".
The newspaper article contains a
photograph of Rossolowsky straightening one of his hanging
works at an exhibition. The photograph shows two of his
hanging works. Neither is framed, but are both double
matted, though they are oils. All three of my paintings
are similarly displayed. Which leads me to wonder if he
preferred that his paintings not be framed.
E. Rossolowsky, 81, of 463 Cumberland Ave., died
Sunday in a Bath hospital after a long illness.
He was born in St. Petersburg, Russia, Aug. 18, 1895, the son of Evgeny and Maria Rossolowsky. he studied classical languages and literature at the Historical Philology Institute in St. Petersburg. At the same time he studied art. In 1914 he married Princess Elizabeth Gagarin, the daughter of a wealthy wine merchant. They had a daughter, Marina.
During the Russian revolution he was arrested for opposition to the Red Army and spent four years in Butryski Political Prison in Moscow. Following his release, he and his family made their home in Moscow. During the Stalinist purges in the 1930s, he was again arrested for his opposition to Stalin and was sentenced to hard labor on the Belomor-Baltic canal. He spent the years of 1935 to 1939 working on a remote island in the north. His wife and daughter were arrested and taken to Karaganda Prison for women where they died.
After his release for the second time, he became a scenic designer for small theater and opera companies in Russia. At the outbreak of World War II, he was impressed into the Soviet army and was captured by the Nazis. He was put into forced labor at a German truck factory in Breslau, Poland. After the war he made his way to the American occupied zone and until 1951 worked in the U. S. Army PX in Heidelberg, Germany.
In 1952 he emigrated to the United States and worked in New York and Maine as an art restorer and commercial designer. He was an artist of the impressionist school and had shows in Boston, Portland and Augusta. He was a frequent prize-winner at the Washington Square Art Show in New York City.
He leaves no known relatives.
Funeral services will be at 10 a.m. Wednesday at 749 Congress St. with the Rev. James Rousakis officiating. Interment will be in Forest City Cemetery.
I am including the frame in
the image of this painting as most of the works I
have seen by Serge were only displayed in a mat. Not
sure if the frame is original, but this painting
came from the same source as the other paintings, so
my guess is that it is original. It is also not an
oil like the others but seems to be ink, gouache,
and possibly acrylic.
Jo Myers-Walker was born an
Carol Jo Clymer in 1944 in Holland, Michigan. She
started painting when she worked as a television
illustrator at the U.S. Naval Base at Quantanamo
Bay, Cuba. She graduated from Iowa State University
at Ames with a BA in Art Education in 1971 and an
M.S. in Art Education from Iowa State in 1980. She
works in watercolor, paper, fabric, wood, and clay.
This is a very early work by Myers-Walker, probably
dating to about 1976, just after her divorce from
her first husband, as she started painting to
support herself and her three children. I spoke with
her about this painting and she said it was done
during a very "empty" time in her life, hence the
ruined house with views through the windows to the
opposite side of the house. This painting is nicely
framed and backed so I have not taken it apart to
photograph it, and have not been able to get a photo
of it that I have been satisfied with. The colors
are much brighter than shown here. Myers-Walker
operates her own studio and has an extensive web site,
and is also featured on the Iowa Women Artists Oral
History web site.
This oral history site is very cool. It contains
mp3s of female artists talking about their art and
their lives. As a collector I find this fascinating,
as I often wonder what motivates the artists whose
work I include in my collection.
Arthur Lyall Lush was born 29
July 1907, possibly in Adelaide, Australia. He was
an illustrator and painter and also did ink line
drawings. All of the works by Lush that I have seen
are watercolors or ink and watercolors, though I
have been contacted by other people who have works
by him in oil. It is also possible the he painted in
acrylics. Lush was married to Edith Jean Hilton
about 1938 in Adelaide, Australia. Lush had a
business there and also worked as a minister. A.
Lyall Lush operated Lush Studios in Adelaide in the
1930s and 1940s, publishing children's books and
Christian children's comics, which he illustrated.
The Lushes moved to Seattle, Washington in the late
1940s and both were involved in Christian ministries
there. Both became published authors, though Jean
Lush was more prominent in that respect, writing
several self-help books for women.
Lush continued to work as an
illustrator and artist in Seattle, though was
primarily occupied in Christian ministries. He was
in some way connected with both Seattle Pacific
College, now Seattle Pacific University, and CRISTA
Ministries. I have seen one reference to him as A.
Lyall Lush D.D., no doubt Doctor of Divinity. One
reference suggests that he was a professor at
Seattle Pacific College and another that he was a
"Bible college president". One of Jean Lush's books
mentions his work as a minister in Australia during
WWII. Lyall and Jean Lush were well known
citizens of Seattle during the time I resided there
from 1979-1992, though I was not familiar with them
then. I lived within walking distance of
Seattle Pacific University for 11 years.
I was contacted by both a
daughter and granddaughter of Lush, who found this
web site. I was told that Mr. Lush exhibited his
work in numerous public shows and also exhibited at
a gallery in Seattle. His home also had a gallery
and people came to his home to view and purchase
artwork. Lush created the drawing above while on a
trip to Alaska with his son, David. They found an
abandoned Russian community where this church was
located. Lush is not mentioned in any major art
A. L. Lush died on 11 April 1991 in Edmonds, WA. Jean Lush died on 4 June 1996 in Edmonds, WA.
Angela Moulton is a artist
who recently moved from Chicago to the Pratt Creek
Ranch in Salmon, Idaho. She has been plaiting for
about five years. She paints a lot of small but
lively paintings like the one above.
Her preferred medium is oils. but she also works in watercolor, fabric, and wood. She sells her work on ebay using the id prattcreekart.
Phyllis E. Blair was born in
New York in 1923. She is a teacher and painter in
oils, acrylics, and watercolors and studied at the
Art Student's League in New York City, Skidmore
College, and Westminster College. She first worked
as an illustrator for General Electric and later as
a fine artist and sculptor in bronze and marble. Her
artist statement says, in part, "my main objective
is to transmit a mood which in turn determines the
techniques and medium". She was living in New
Castle, PA in the 1990s and early 2000s where she
served on the board of the Hoyt Institute of Fine
Arts. Blair donated a large oil painting titled
"Midtown Manhattan, 1975" to the Butler Institute of
American Art in 1983. This painting and her
biography were used in a series of art books for
grade school children. She helped to found the
National Museum of Women in the Arts in Washington,
D. C. Blair exhibited at The Butler Institute of
American Art, Hoyt Institute of Fine Arts, and
Westminster College. Blair moved to the Sweetwood
Retirement Community in Berkshire County, MA about
2004, where she continues teach and pursue her art.
Blair was active as late as 2006 when her
work was exhibited at museums and galleries in
Delray Beach and Palm Beach, Florida. This
painting was framed by M. Thomas framers in New
Castle, PA according to the label verso.
Patt Hammond is a Florida
artist who works in oils. She is a member of the
Tampa Bay Plein Air Painters and of Plein Air
Florida. She told me that most of her work is
fanciful. Note how the tree in the yard in the
painting above grows into the house. The painting
below, she said, is one of her few "straight" works.
Gerard "Jerry" Salinas was
born in East Chicago, Indiana in 1967. He attended
the Art Institute of Chicago briefly, before
attending the American Academy of Art where he
studied painting and illustration. He graduated with
a Fine Arts degree. He subsequently worked as a
storyboard artist and illustrator for several
Chicago agencies. He kept his interest in fine art
alive by joining the Palette and Chisel Academy of
Fine Arts. There, he painted with artists including
Romel del la Torre, Clayton J. Beck III, and others.
Jerry has a web site
He currently lives and works in Scottsdale, Arizona.
John Thomason was born on 14 December 1903 in the Bronx, New York City of an English father and a German mother. His parents were Samuel and Hedwig A. “Hattie” Koch Thomason. Samuel was a successful bricklayer who died between 1920 and 1930. The family was well off enough to have a live-in maid in 1910 and 1920. John was still living at home in 1930, the oldest son in the household. He was a laborer working as a bricklayer at the time as were his two younger brothers. This identification is possible because, in addition to signing his name on the back of one of his oils, he also included his address, 1559 Undercliff Avenue, an address found in the Bronx, New York. The family was residing there in 1920 and 1930 during the censuses.
So far, I have seen only four examples of Thomason's work; an oil painting dated 1930, my watercolor painting dated 1944, another undated oil painting, the one with the address written on back, and an example of an oil painting in a book. Thomason signed all three oils in block letters on the front, but also signed two in cursive verso. He also wrote the titles of the paintings and other descriptive information on the back of two of the oil paintings. The watercolor is signed in cursive on the front. Luckily, Thomason’s cursive signature was consistent and distinctive. He always continued the horizontal line of the letter “T” in his last name to create the letter “h’ and then the rest of the letters of the name in one stroke of the pen. I was contacted by a gentleman from Rochester, New York who also has several of his paintings and Monroe Community College in Rochester, New York also has a large collection of his work.
is sometimes confused with John William Thomason
Jr., a career Marine Corps officer who was also a
writer, artist, and illustrator. I sent images of
these paintings and signatures to the Special
Collections Librarian at the Newton Library at Sam
Houston State University, JWT Jr.’s alma mater. The
Library has over 2,000 examples of his work in their
collection. The librarian assured me that the work
and signature of John Thomason were very different
than that of JWT Jr. Judging by the examples that I
have seen, the work of John Thomason, the subject of
this biography, is much more sophisticated than the
work of JWT Jr., who's art seems to be mostly
drawings, illustrative sketch work, and a small
amount of watercolors mostly used as cover art for
his books. To further confuse identification, both
men studied at the Art Students League in New York
Homes", John Thomason, 15" x 9.5", oil
John Thomason is
listed in Davenport’s Art Reference and Price Guide
as a 20th Century New York artist. John Thomason is
mentioned in Falk’s Who Was Who in American Art, 3
volumes edition, but I have not yet had the
opportunity to examine Falk’s work, so do not known
which John Thomason it is. John Thomason was one of
six artists who were featured in an exhibition of
oils and watercolors called “Exhibition of Paintings
by a Group of Six” at a New York gallery,
Barbizon-Plaza Art Galleries in 1941. The other
artists were David Jacobson, T. Oscar Maine, Arthur
Tilgner, Oscar Ralph Weidhass, and Edward Sunquist.
This show ran from 22 September – 20 October 1941.
All of these artists were active in New York City in
the 1940s, though none seem to have gained enduring
Thomason received his early training as an artist in New York City high schools. He also studied at the National Academy of Design, Art Students League, Rochester Institute of Technology, and University of Rochester Memorial Art Gallery under Fritz Trautman. In 1963 Thomason went to Rochester, NY to teach at the newly opened Monroe Community College. He later became the Director of Art there and retired in 1970. His home and studio were on Conesus Lake in Geneseo, NY. His biography appears in Scenes of Monroe and Ontario Counties Past and Present by Anne Peacock-Jacobs. Thomason was active in the Rochester Art Club and Geneseo artists' groups. He exhibited in Rochester and New York City.
John Thomason died in January of 1985 in Geneseo, New York.
Tom Cox is a watercolor
artist and resident of Sunapee, New Hampshire. He is
a native of North Carolina where he graduated from
North Carolina State University with a degree in
Architecture. Tom has a web site and also
sells his art on ebay under the id of onefamilyart.
Radek Vizina is a painter who
lives in London, Ontario, Canada. He is an
instructor at The
ARTS Project in London and for the continuing
education program at the University of Western
Ontario. He was profiled in the September issue
a monthly London art magazine. His art varies from
abstract to surreal to realism. He describes himself
as primarily a contemporary realist who is still
searching for his voice. He strives to "provoke
thought in the viewer, have them question what is
being said". That is what attracted me to this
Elayne Moseley was born in
Texas and attended Texas Christian University where
she graduated with a BFA in Secondary Art Education.
She taught junior high school and high school art in
Houston, Texas for five years before relocating to
Aurora, Colorado where she continued to teach as a
substitute art teacher for eight years. She is a
member of the Plein Air Artists of Colorado and a
member and past President of the Colorado Artists
Guild. She has a web site
and is represented in several galleries. I really
like the colors in the top painting and the way the
artist captured the grace and mood of the subject.
When I went back and read artist's comment she wrote
"I liked the elegance and simple beauty of the
model", so I guess I "got it".
The artist had the following to say about her motivation for the painting below:
Sylvia Belle Maxey was born 16 June 1921 in Springfield, Missouri, a daughter of Lloyde Edwin and Anna Belle Wilson Maxey. She was an artist and art educator. She received a Bachelor of Art degree from Southwest Missouri State University in 1942 and a M. S. Ed. degree from the University of Kansas in 1948. She worked as an art teacher and administrator from kindergarten through the university level. Maxey was the Art Coordinator for the Poudre School District in Colorado for 28 years and also at Colorado State University for 3 years. She was a member of the National Art Education Association and received the Colorado State Educator award from that organization in 1982. She was a charter member of the Poudre Valley Art League, which later became the Northern Colorado Art Association of which she was an honorary member. Maxey was a life member of the Colorado Art Education Association. In retirement she continued to teach art classes.
Maxey is mentioned in American Art
Directory (1980), Patterson's
American Education (1954), and Art Theory and
Practice by Bayles.
Maxey died 11 August 2008 at her home in Ft. Collins, CO. Her obituary appeared in the Ft. Collins Coloradoan:
Sylvia Belle Maxey, 87, of Fort Collins, died Aug.
11, 2008, at her residence.
Sylvia was born June 16, 1921, in Springfield, Mo., to Lloyde Edwin Maxey and Anna Belle Wilson Maxey. Sylvia received her Bachelor's Degree in Art from Southwest Missouri State College in Springfield, Mo., in 1942. She then received her Masters Degree from the University of Kansas in Lawrence, Kan., in 1948.
Sylvia was an art teacher and administrator for 40 years from kindergarten through college. She was the Art Coordinator for the Poudre School District for 28 years and three years at Colorado State University.
She was a charter member of Poudre Valley Art League (now the Northern Colorado Art Association,) a life member of the Colorado Art Education Association, and National Charter Member of Alpha Delta Kappa in Fort Collins. Sylvia was also a member of American Baptist Church. Sylvia was a volunteer at The Worthington Apartments, leading a painting class. She enjoyed traveling, photography, water color painting, and spending time with nature in the "Great Outdoors."
Survivors include a sister, Charlotte Braly of Sedona, Ariz. Preceding Sylvia in death are her parents and two sisters, Barbara Embry and Rosemary Thompson. A Memorial Service will be held at 10 a.m. today at American Baptist Church, 600 S. Shields. A Private Interment will be held at Grandview Cemetery. Pastor Bill Prather will officiate at the service.
Robert "Bob" Karsten was born
17 April 1943 in New York, a son of Erna Karsten. At
22 Karsten earned a Bachelor of Fine Arts degree
from the Maryland Institute College of Art in
Baltimore, majoring in painting with a minor in
sculpture and intaglio printmaking. He graduated Cum
Laude in 1965, then in 1967 earned a Masters degree
at the Maryland Institute College of Art Huffberger
School of Painting, again majoring in painting with
a minor in intaglio printmaking. Karsten was a tall
man, about six foot four, and slender of build at
about 220 lbs. He was an Olympic-style weightlifter
and much of the information below comes from a
weightlifting acquaintance who met Karsten in
Louisiana and became a friend of both Karsten and
his mother for many years.
Karsten, 14" x 11", oil on masonite panel, 1965
Karsten was as an Associate
Professor in the School of Art at Louisiana Tech
University, starting in 1968, teaching painting and
including figure drawing and anatomy, as well as graduate courses in painting. About 1984 he relocated to Red Lion, Pennsylvania where he worked as an fine artist. Karsten was a painter in oils and pastels, and an illustrator. He had a "massive fascination" with trucks, trains, and horse racing and painted those things. Among other subjects, he created a series of semi truck paintings in pastels and lithographs that were created from his original oil paintings. He was commissioned by a hobby shop, Trainmaster of Montgomery, located in Montgomery, Alabama, to paint a series of paintings for lithographs of well known trains. These lithographs are now very sought after by train afficianados. He was also commissioned by Wither's Publishing to do covers for two books about trains, Norfolk & Western Volume 1 and Volume 2. Karsten did a book cover for a book about Seaborn Air Lines trains for an author named Warren Calloway. The first painting above reminds me a bit of the "flatscape" style of Harold Gregor.
"Study for 'In
Harmony'", Robert Karsten, 8" x 12", casein on
masonite panel, 1966
Karsten did not marry and his
only relatives were his mother and a childless aunt
and uncle on his mother's side. His mother and
sister came to the US about 1918 from Germany at the
end of WWII. They all settled in York, PA. Karsten
did not know his father. Karsten's aunt and uncle
died in York County, and later his mother died
there, too. Karsten lived with his mother for many
years both in Pennsylvania and Louisiana. Robert
Karsten apparently became despondent upon the death
of this mother and possibly due to a diagnosis of
macular degeneration which resulted in him taking
his own life.
Robert Karsten died 16 August 1996 in York, PA.
Examples of Karsten's signature
Walter Lynn Mosley was born
in 1960 in Hattiesburg, Mississippi and now lives in
Brooklyn, NY. He received a BA in Art from San Jose
State University and attended the Art Student's
League. He studied under Bob Gerbracht, Maynard
Stewart, and Frank Mason. He is a member of the
Salmagundi Club, fellow of the American Artists
Professional League, and a signature member of the
New York Plein Air Painters. I like that
every painting he does seems to be personal and
unique to him, and he explains the location,
context, and intent of the work as he did for this
"This was painted last summer, 2008. It is a Stowe, Vermont painting done along the Recreation Path that is very popular among hikers, rollerbladers, bicyclers, etc. It is an excellent hike and offers wonderful views along the way. Besides the path this is a classic Vermont painting, lush in greens and showing mountains and trees of the type that I associate with Vermont. The painting was done looking east at sunset. A tree by the hillside casts a long shadow in the foreground. My friend and fellow artist, Mary Poerner is seen painting in the foreground in the shade. You can see all the accouterments of the artist, an easel and pack chair and she is wearing a large white floppy hat to shade her eyes for the purpose of painting the landscape."
Mr. Mosley has a website
and a blog.
He sells his work under the ebay id of wlmartist. He
does daily paintings and sells them on ebay, many of
them plein air, as the painting above is. Capturing
light is one of his motivations and one of the
things that strongly draws me to his work.
"Painted en plein air• in 2004 on Mt. Desert
Island, near Bar Harbor, in Acadia National Park. This
scene is of a beach called "Little Hunters Beach"
which is slightly off the beaten path, in fact it does
take a short hike to get there, and then there are
large cobblestones on the beach, so off the beaten
path is a fairly accurate description. But it is a
beautiful, peaceful spot and worth the effort of
getting there I feel. I saw no one else there while I
was there which was nice, and a contrast from the more
popular Sand Beach. Swimming at "Little Hunters Beach"
might not be recommended because, as I said, there are
cobblestones rather than a sandy beach and the waters
and rocks seem a bit treacherous. However, it is
really a lovely, scenic spot and one well worth
The painting below attracted me
because of the way the artist captured light and I also
liked the little splash of motion from the figures in
the middle of the painting.
Mosley also included a short
paragraph about his motivation for this painting
which is another thing that attracts me to his work.
Even though these are plein air oil, which he paints
every day, he takes the time to share his
motivations and other interesting information. It is
easy to see that he cares about his work and is just
not cranking out "a painting a day":
"This was painted
just this past summer, in Hyde Park, a National
Park, and once the estate of the Vanderbilt family.
On the grounds are some of the most exceptional
trees to be found in the United States. Prior to the
Vanderbilts taking over the area, another wealthy
land owner landscaped the area, therefore the trees
are several hundred years old and are among the
largest of their species in the United States. To
read more about the history of the grounds and there
trees, and to see a picture of the purple beech tree
in the painting itself, click
The purple beech
gets it's name by the fact that the leaves can take
on a deep hue of red-purple. I was drawn to this
scene, the composition, by the majesty of the tree
itself. In the background, a family of Indian origin
picnic on the ground, a standing female figure can
be seen with a colorful long flowing pink gown that
the women of India are known for. The figures were
quickly jotted down in the field (with no further
manipulation later in the studio.)"
Walter Mosley, 11" x 14", oil, 2007
example of a winter painting without snow. WLM had
this to say about this one:
"Winter Shadows" was painted last year in winter (2007). It was painted in upstate New York in Brewster, NY, the name of the street is Seven Oaks Lane. This is a late morning painting in which my aim was to capture the moment of sunlight on a clear sunny, albeit wintry day. Aside from the various greens, mostly warm in tone by the sun, the painting is chiefly made up of a subtle interplay between blues, red-violets and blue-violets. The house and its tones intermingle with those of the trees behind and in front, yet clearly stands out because of the warmer tones which face the morning sunlight. A human presence is indicated (almost inconspicuously) by the parent and child walking along the street. There is a variety of textures used throughout the painting from thin washes for the sky and street to thick impastos for the trees, grass and house.
I really like Walter's still
lifes. This one seems jump off of the wall. I like that
the bottle and flowers are slightly off center in the
image. Like the colors, too. I happened to have a
wide mission-style frame in forest green that was
perfect for this painting. Walter said about this one:
"This is a still life painting done in my north light studio in 2007. It is a painting of white flowers (shaped like small lilies) in an old antique glass bottle (before the screw-top was invented) with a maroon or wine colored backdrop."
"This was a demonstration for a student and has the quality of spontaneity of a work done in one sitting, all at once - "alla prima". It is a copy of a work by John Singer Sargent, his portrait of Jean Joseph Marie Carries. In the original Sargent signed his name along withe sitter's on the top of the canvas (with the back of the brush) and I likewise signed my copy with "Mosley a/Sargent" in the upper right."
It is interesting to see the
breadth of Mr. Mosely's work and his associations in the
New York art community.
"This was painted recently, in March 2010. It was painted in Washington Square Park in downtown New York city (Manhattan) on a clear, sunny day in the afternoon looking in a southern direction (away from the arch.)"
Saul Hanig was born 3 November 1914 in Scranton, Pennsylvania the son of Hungarian Jewish immigrants Benjamin and Matilda Feuerstein Hanig. Benjamin Hanig worked as cap maker in Scranton for many years after immigrating to the US by way of New York City on 15 June 1902. Saul was in his family's home in 1920 and 1930. His name was given as "Solomon" in 1930. He had four sisters. Mr. Hanig married a woman named Theresa who was 2 years his senior. She died in Wilmington, Delaware on 15 December 2005. The paintings in my collection came from a sale of her possessions that was held at Kemblesville, PA. Prior to this sale the family donated about thirty of Hanig's paintings to the University of Delaware.
Saul Hanig, New
Castle, Delaware, ca 1968
(photo by Harvey
I was able to locate the son of Saul and Theresa Hanig who has provided information that I am including in this biography. I have not been able to discover where Hanig trained as an artist, but he studied under Nicolo Cortigilia, Roy C. Nuse, and Rosell Weidner according to his biography from an exhibition at the Delaware Art Museum in 1966. According to Hanig's son, his father had a scholarship to a university to study art, but did not attend. Mr. Hanig's son believes that his father was largely self taught, though I suspect he did attend some institution where he received formal training, but he probably did not graduate. Saul Hanig moved to Wilmington, Delaware about 1941 where he was employed as a sign painter in the advertising department of the Hercules Powder Company. He exhibited at the Everhart Museum, Delaware Art Museum, Baltimore Museum of Art, the Warehouse Gallery, and the University of Delaware. Mr. Hanig's son remembers that his father also had several one man shows. Hanig's work is part of the permanent collection of the University of Delaware. A 1942 edition of American Artist magazine notes that Hanig had won second prize in a pencil drawing competition.
Hanig is not listed in any
major art reference book that I have searched.
Judging by the list of his teachers I believe that
Hanig may have attended the Pennsylvania Academy of
Fine Arts for a time. If so, he probably attended
between 1935 and 1940. I really like the colors that
he uses, and the sense of motion in some of his
works. I normally do not like seeing pencil lines in
watercolors, as they are usually just a guide for
the artist, but in Mr. Hanig's work I feel they are
part of the action of the works.
Zaidee Lincoln Morrison was
born 12 November 1872 in Skowhegan, Maine, the
daughter of Lucius L. and Stella E. Morrison. Her
father was a merchant and rug manufacturer and her
mother a teacher. Her mother was deceased by 1900
and she was living with her father, brother, and
sister and already occupied as a artist. Her sister
was a school teacher and her brother was attending
college, so she apparently had financial advantages
that allowed her to pursue a career as an artist.
Lucius Morrison was aged 78 in 1910, still living in
Skowhegan and still proprietor of a rug factory,
with all three of his children and an unmarried
sister in his home. It does not appear that any of
the Morrison children married. Zaidee was still
listed as an artist, her brother a violin instructor
and her sister an "accompanist, piano". Zaidee was
on her own in 1920, living at the Art Students
League on West 57th in Manhattan, New York City. Her
immediate neighbors were William J. Whittemore, Ilse
Bischoff, Charles Avery Aiken, Margery Hawley, and
several other well known artists. Many successful
artists were her student peers in 1920.
Morrison worked as a painter and illustrator. She studied at the Cooper Union Art School, National Academy of Design, Art Students League, and was a student of Frank DuMond, John Henry Twachtman, William Merritt Chase, and R. H. Nichols. She exhibited widely and her work is part of the permanent collections of Mt. Holyoke College, the History House of Skowhegan, the Smithsonian Institute, Boston University, and the Municipal Gallery in New York City. She is listed in Dictionary of Women Artists by Petteys, Who Was Who in American Art by Falk, Mallett's Index of Artists, Dictionary of American Painters, Sculptors, and Engravers by Fielding, and Davenports Art Reference and Price Guide.
I am guessing at the title of
this painting. There is a partial label attached to
the back of the painting with just enough of the
title remaining to suggest it is "Morning Glories".
Morrison also wrote her name and address on the back
of the painting which appears to be in the original
frame. Zaidee Morrison died on 29 August 1953.
James W. House is a
watercolor artist who lives in West Memphis,
Arkansas which is near Memphis, Tennessee. I found
this small painting on ebay. I like small paintings
and am a sucker for winter scenes. I like the way
that the background seems to disappear into the snow
and darkness in this one. There is a business card
taped to the back that has the artist's name,
address and telephone number, and the text
"Paintings by Commission". The telephone number
contains an old area code, but the same number with
a new area code was in whitepages.com. I was able to
contact Mr. House and spoke briefly with him about
my interest in his career and desire to obtain
biographical information about him for this web
site. I gave him the URL for my home page and my
email address, but he did not contact me again. Mr.
House is not listed in any major art reference book
and a Google search did not yield any information
about his work as an artist. He may no longer be
active. He is listed as over the age of 65 in
various on line directories. I have not had a chance
to take this out of the frame to re-mat and re-back
it yet. I'll get a decent photo when I do.
Mayo Sorgman was born 29
March 1912 in Brockton, Massachusetts, the son of
Swedish immigrants Max and Lena Sorgman. He was a
watercolor painter, designer, teacher, and art
educator. Sorgman graduated from the Massachusetts
College of Art (MCA), and studied at the Parsons
School of Design and Kansas Art Museum, before
obtaining a Masters degree at New York University.
After graduating from MCA, he took a teaching job
with the Stamford Connecticut School Systems and
later became the head of the Art Department there.
After completing his Master's degree he wrote an art
education book, Brush and Palette: Painting Techniques
for Young Adults, which became a popular
high school text book which was reprinted five
times. I have a copy in my library.
He is mentioned in Contemporary Authors by Gale Research, Davenports Art Reference and Price Guide, and Who Was Who in American Art by Falk. Sorgman was member of the Connecticut Watercolor Society, Rockport Art Association, and Eastern Art Association. He exhibited widely.
Sorgman died on 13 September 2006 in Harwich, Massachusetts. His obituary appeared in the 22 September edition of the Cape Cod Times, Hyannis, MA:
Mayo Sorgman, 94
Well-known painter; influential arts educator
- Mayo Sorgman, 94, died in his home Sept. 13.
He was the husband of Eleanor Rashbaum Sorgman for 58 years.
Born and raised in Brockton, Mr. Sorgman was a veteran of World War II. After the war he became an influential arts educator. He taught and lectured at Silverman College of Art in Stamford, Conn., as well as in adult education programs.
In 1965 he published a book of painting techniques for young adults, ''Brush and Palette: Painting Techniques for Young Adults,'' which became a popular high school text. Mr. Sorgman's paintings were widely shown, most notably in San Miguel de Allende, Mexico; Santa Fe, N.M.; and throughout New England.
His most recent museum exhibition showcased his watercolors from the 1940s and 1950s at the Cape Ann historical Association in Gloucester. In 2003, a retrospective of Mr. Sorgman's work was displayed at the Cape Cod Museum of Fine Arts in Dennis.
In 1997, Mr. Sorgman and his wife began living year-round in their Harwich summer house. He was painting lyrical, semi-abstract Cape Cod landscapes at the time.
Besides his wife, survivors include a son, Bram Sorgman of Chapel Hill, N.C.; a daughter, Dara Mark of Lamy, N.M.; three grandchildren and six nieces.
Betty K. Walker is a Clinton,
South Carolina artist who works in watercolors. She
is a signature member of the American Watercolor
Society, National Watercolor Society, Georgia
Watercolor Society, South Carolina Watercolor
Society, and other societies. She has exhibited at
all of the societies listed above and also at the
South Carolina State Fair and other places. She is a
well known South Carolina artist. I am attempting to
contact her to obtain more complete biographical
I have not had time to make a decent image of this painting. What I used above was heavily modified image supplied by the seller. It was not square so I used GIMP to alter it. I'll get a better image when I can. Any information about this artist would be appreciated.
Nathan "Nate" Dunn was born 4
July 1896 in Pittsburgh, Pennsylvania to
Polish/Russian parents, Israel and Edith "Ida" Dunn.
Israel Dunn was a dry goods peddler in 1900 and
immigrated in 1890, becoming a naturalized US
citizen in 1895. Nate was painter in oils and
watercolors and began his career in Uniontown, PA
and later settled in Sharon, PA before 1930. He
taught for ten years at the Girls Buhl School in
Sharon. He was an early member of the Associated
Artists of Pittsburgh and a member of the Royal
Society of Art. He studied at the Carnegie Institute
of Technology with Arthur Sparks, Alfred Taylor, and
George Sotter. Dunn was known as a Pennsylvania
Modernist and is thought to have been associated
with the Pennsylvania Impressionists of the New Hope
School. His teacher, George Sotter, was definitely
associated with the Pennsylvania Impressionists.
Dunn exhibited widely, including yearly at the
Carnegie Museum of Art in Pittsburgh, and his work
is part of the permanent collections of the Butler
Institute of American Art in Youngstown, Ohio and
the Carnegie Institute of Technology. His work was
included in the Vincent Price Collection.
Dunn is mentioned in Who's Who in American Art (1973-1984), Who Was Who in American Art by Falk, and Davenport's Art Reference and Price Guide.
Dunn was in the habit of going to Cape Cod to paint for two or three weeks each summer. He was married to a woman named Beatrice who died in January of 1983. Nate Dunn died in November 1983 in Sharon, PA. I found a record of the arrival of Nate and Beatrice Dunn from Hamilton, Bermuda on 8 February 1926, a trip that may have been their honeymoon.
Mark Matson is a Maine artist
who was born in Massachusetts. He is a painter in
oils and watercolors, and also draws in pen and ink,
and pencil. He works as a historical artist and
illustrator. Some his Native American illustrations
were used in a Smithsonian exhibition in 2004.
Matson received a degree in scientific illustration
and museum exhibition from the University of Alaska
Anchorage where he studied under Hugh McPeck
and Dee Boyles. I like his use of color and
knowledge of anatomy that allows him to really imbue
his work with a sense of life and motion.
Brandon Newton is a
Fredericksburg, Virginia artist who was born in
Clearwater, Florida. He paints in oils. Brandon
attended Virginia Commonwealth University where he
was a student of Durwood Dommisse. In addition to
painting, he operates an interior design and home
improvement business in Fredericksburg. More of his
work may be seen at his business web site
and his painting-a-day web site.
painting was a commentary on an incident in April 2008
in Texas in which about 200 women and children were
removed from a ranch that was housing a polygamist
sect. The artist talked to one of the children who had
been removed and was inspired to create this painting.
Miriam Schulman is a New York
artist who works in oils and watercolors. She
received a BA from Dartmouth and a Masters degree
from M.I.T. She studied under New Jersey artists
Elise Morenon and Mel Stabin. Miriam works as a
professional artist and is a member of The
Connecticut Society of Portrait Artists, Mamaroneck
Artists Guild, the Scarsdale Art Association, and
Greenwich Art Society. She has participated in
numerous solo and group exhibitions. More of her
work may be viewed on her web site.
What first attracted me
to these watercolors were the colors and the
loose style of them, though I also struggled a
bit with the same looseness. Then I felt that
they captured a sense of life and vitality that
contradicts the suspended motion of the subjects
in them. I like that.
Harriett Curtin Ermentrout
was born 26 November 1915 in Philadelphia, PA the
daughter of Allen Sheldon and Theresa B. Ermentrout.
Her father worked in the leather trade for many
years. Her mother died between 1920 and 1930 and her
father remarried and moved to Bucks County, PA.
Harriet is an artist in watercolors, oils, pastels,
pen, and pencil but prefers watercolors. She studied
interior design at the Moore Institute of Art, and
also studied with Roy Nuse, John Pike, Ranulph Bye,
and Ed Whitney. Ermentrout is a member of the
Philadelphia Sketch Club and exhibited at the
Woodmere Art Museum and other places. She is a
resident of Bucks County, PA and best known for
painting Bucks County scenes of buildings and
landscapes. She was still exhibiting her work in her
nineties. Her signature is very consistent on all of
the paintings I have seen, and I suspect that she
uses a stamp.
Louis Kinney Harlow was born 28 March 1850 in
Wareham, MA, son of Ivory Hovey Harlow and Mary
Kinney. He was educated at the Pierce Academy,
Middleboro, MA and Phillips Academy, Andover, MA. He
married Julia A. Coombs in 1873 in Middleboro, MA.
Harlow worked as a watercolor artist from 1875. He
also worked as an illustrator and book designer,
most notably for the L. Prang & Co., Fine Art
Publishers of Boston. His works were reproduced by
many leading publishing houses of the time in
England and Germany. Harlow resided in Newton, MA,
Dedham, MA and Brooklyn, MA with offices in Boston,
MA. He traveled and painted extensively in the US
and Canada. He seems to have signed his work several
ways, i.e., monogram LKH, L. K. Harlow, Louis K.
Harlow, Louis Kinney Harlow, etc.
Harlow was mentioned in Marquis' Who's Who in America 1903-1905. John W. Leonard ed., Marquis' Who Was Who in America 1943, Who Was Who in American Art by Falk, and Davenport's Art Reference and Price Guide. Harlow exhibited at the Boston Art Club from 1883 through 1894, the Jordan Gallery (Jordan Marsh Department Store), and at the Newton Club in Newtonville, MA.
Harlow may have changed the spelling of his name, as it is spelled “Lewis” in the 1850-1870 censuses. Harlow died before 1920. His wife was a widow in 1920 census. I have seen one death date of 1913 for him. The style of his work seems to have varied greatly. I have seen everything from very loose impressionist style watercolors to those done in a realistic, almost photographic style.
This painting has a bit of mat burn that I may or may not mat out. It came in an amazing period frame and wavy glass, but it is so huge that I have decided to re-frame it. I show it mat burn and all here.
It appears that someone may have been cranking out counterfeit Louis K. Harlow paintings like the one shown below. The work is very crude compared to that of Louis Kinney Harlow. I purchased the painting below for a small amount on ebay and sent an image of it to a knowledgeable collector of his work and his opinion was that it was definitely not by Louis Kinney Harlow, though it is signed "L. K. Harlow, Loretto, Toronto '10". After looking at many of Louis Kinney Harlow's works, I have to agree. At first I thought maybe this was a coincidence of names, but later several other nearly identical paintings surfaced, some signed "Louis K. Harlow", "Louis Harlow", etc. Other paintings in the same style and with some variation of signatures have also surfaced. Most appear to be old so are probably not recently created. I now believe that these are outright fakes meant to fool buyers.
Paulo J. Mendes was born in
Porto, Portugal in September 1965. He worked as a
layout illustrator at a phone book company until
2001 when he began to work as a ceramic wall tile
painter. He started to paint in watercolors in his
spare time in 2001, usually large paintings of
abandoned traditional Portuguese houses which are a
passion of his. The complex, battered surfaces of
these old houses challenged him to learn techniques
for realistically reproducing them in watercolor.
While rewarding, these larger paintings were very
time consuming to complete, usually amounting to
only a handful of paintings each year as they were
done in his spare time and very detailed. Starting
in late 2007 Mr. Mendes began painting smaller
paintings, typically of fanciful scenes created from
his memory and imagination. He especially likes to
reproduce the types of architecture and scenes that
are rapidly disappearing from his country due to
modernization. He decided to try selling his work on
ebay and has been very successful.
As you can see from the paintings in my collection Mr. Mendes' work remains detailed and charming. I like his work very much. Each one seems to tell a story, to provide a glimpse into every day Portuguese life. I discover something new I hadn't noticed before almost every time I examine one of these paintings. I also like the color palette that he uses. I will get more detailed photographs of these paintings as time permits.
Mr. Mendes has a blog though it is primarily devoted to photographs of the types of scenery that inspires him to paint. His ebay id is pjorge1808, in case you would like to see more of his work.
Fred Mancuso was a Canadian
artist who worked in Mississauga, Ontario. He was
married to Agnes Mary Chinery, also an artist and
a graduate of the Ontario College of Art, Toronto
and also of Beaux Arts, Montreal. This suggests
that Mr. Mancuso may also have been a
formally trained artist. Information about him is
scarce, however, and I found only two mentions of
him, one of he and Agnes in a scrapbook in the
Mississauga Library and the other in the 2005
obituary of his wife. She had remarried to a Mr.
John Cosgrove and Mr. Mancuso is described as
deceased at the time of her death in Hantsport,
Nova Scotia. Mr. Mancuso died some time before
February 2005. I am still researching this artist.
Written on the back of the painting in the
artist's hand is the "title" listed above and the
further description, "from East to West Canada in
full Color come fall", and a label with the
artist's name and city. A further notation may be
the artist's catalog number or merely a part
number for the frame used.
I was able to locate the daughter of Fred and Agnes Mancuso, using information from Agnes' obituary, and spoke with her on the telephone. She agreed to consider providing biographical information about her father for my records and this web site and sent me one email requesting specifics about my request, but did not contact me again. I remain hopeful that she will provide further information about her father's life and career as an artist.
This painting is an
experiment. I frequently browse through ebay
painting auctions to learn about different artists,
styles of painting, look for sleepers and bargains,
etc., and one of the things that I am forced to wade
through are the thousands of paintings from China
and other places. I typically just blow by them but
became curious and spent a couple of hours going
through a fraction of the 3,000 paintings on the
ebay site of one of the companies that sell Chinese
art. These paintings start at $9.99, so I thought
I'd satisfy my curiosity and buy one and see if a)
these are a scam and b) if there are any good
paintings to be had for little money. I finally
settled on this artist out of the many that the
company was selling. Though you can not see it in
this painting the artist does a very nice job of
painting hands. What you can see is that he also
does a nice job with torsos and often, but not
always, with faces. I really liked the play of light
and shadow in this one, and also the colors. Oh
yeah, and the naked chick.
This artist is named Zhangbo and the web site says that he is a 1996 graduate of the Art Department of the Academy of Art and Design of Tsinghua University in Beijing. I checked and this school really exists and has an extensive web site to boot. The ebay site says that Zhangbo is contracted to the company and is a professional artist with 15 years of experience. I have not received this painting yet, but I hope it will be worth the $9.99 I paid for it and the $20 shipping. The site swears that this is a hand painted oil painting signed by the artist, and I hope to be pleasantly surprised, but expect to get what I paid for. I'll add an update when I receive the painting. Oh, by the way, this seller has perfect feedback and several hundred completed auctions. Wish me luck!
UPDATE: Above are the images of the painting
pictured on the ebay auction site on the left and
the painting I received on the right. The colors in
the painting I received are closer to the ebay image
than I captured with my camera. I may try to get
another image to show this. The first thing I noted
when the painting arrived was that it was not on a
stretcher, but rolled up in a triangular box. Upon
opening it, it became obvious that this was a new
painting, the smell of oil paint was overpowering
and it had obviously not cured. Next I noticed that
the painting was not on canvas but what appeared to
be burlap. There was a layer of some type of clear
plastic over the painting to keep the rolled
painting from sticking to the burlap. At first
glance it appeared to be very similar to the
original, but I decided to have it stretched before
making a close examination (Hobby Lobby did a fair
job for $32 including tax). After it was stretched,
I took a photo so that I could compare it in detail
to the original.
There are some marked differences between the original and the copy that I received. Most notable is the fact that there is considerably less detail in the copy. This is most noticeable in the flowers, shadows, and eyes. The woman's features are different, possibly more Caucasian in the copy, and there is a muscular vertical line down the copy's stomach and a more pronounced crease at the pelvis. There are other small differences. Because the painting was not cured there were numerous small pieces of debris embedded in the painting, most of which I have been able to remove. A few are too deeply embedded, and I fear that I will remove paint if I try to remove them. I am going to try again when the painting has cured more. All in all, I think this painting is striking and worth what I paid for it, though I am not sure that it suits my tastes, yet. I'll start looking for a thrift shop frame, since this is on a standard sized stretcher, and hope to put less than $75 total into this painting. I am struggling with the fact that this is a very large painting compared to what I normally buy. I tend to like smaller paintings and I am not sure if I am going to like this painting in the long run, but am going to give it a chance. I wish it was about half the size that it is or less.
I contacted the seller to express my concerns that their description of this item did not include the fact that it was not on a stretcher and that it would be copy. I also expressed concern about whether or not it was copied by the original artist. I received a very contrite reply apologizing for the omissions, assuring me that the copy was created by the original artist and that they would not omit this information in future item descriptions. I am monitoring their auctions to see if they comply. This seller has a wide range of offerings from landscapes, ethnic scenes, and both tasteful and somewhat raunchy nudes. Most of the paintings seem to be large. Perhaps it is easier to copy these large paintings? If you are looking for sofa art or inexpensive large original art this may not be a bad option.
Larsen was born in Chicago, IL in 1937 and is a
Southwest artist who works in watercolors and
acrylics. This is probably one of her earlier works,
maybe from the 1960s or 1970s, as most of the images
of her work that I found on the Internet were
brilliantly colored and this is what she seems to be
best known for. Luckily, I love winter and landscapes
that appear bleak at first glance so this small
painting is just my cup of tea. I particularly like
the subtle shifts in the subdued colors Ms. Larsen
used in this painting. Larsen is a 1959 graduate of
Michigan State University and later studied at Hope
College and the Kalamazoo Institute of the Arts. She
is a member of the Watercolor USA Honor Society,
National Watercolor Society, and Rocky Mountain
Watermedia Society. She has published several books
about painting and is the author of many articles on
the same topic. She also teaches and is a well known
juror for art exhibitions. Some information that I
found indicated that her husband and son are also
artists. I am working on a better image of this
Mrs. Ruth Lotan was born in
1917. Her maiden name is not known. She attended the
Indiana State Teacher's College, working her way as
a commercial artist. She was a member of the
Illinois Art Association where she exhibited in
Chicago. While in Chicago she studied under
Frederick Mizen and Phil Schroeder of the
Chicago Art Institute. It was probably in Chicago
that she met her future husband artist Lotan
Welshans, also known as Lotan Lotan. The Lotans
moved to Arizona where she committed suicide at Cave
Creek in 1971.
Lotan Lotan was born Lotan
Welshans 19 June 1905 in Danville, Hendricks County,
Indiana the only child of Samuel Alfred Welshans and
Anna L. Jenkins. The Welshans relocated to Bayonne,
New Jersey where Samuel was employed in a mail order
house. By 1918 the Welshans were living in Maywood,
Cook County, IL and Samuel was a sales and office
manager for the Reuben A. Donnelly Corporation where
he worked until at least 1930. His mother was an
invalid by 1930 and Lotan's occupation at that time
in the census was given as "takes care of mother".
Lotan attended the Chicago Academy of Fine Arts,
though he did not graduate. I have seen a claim that
he completed 2500 hours of coursework in two years,
though that is hard to believe. He may have worked
as a commercial artist in Chicago as examples of
advertising art signed Lotan Welshans are known to
exist as are some WPA era paintings. He made many
false claims about his life before moving to Arizona
in 1952 but it is thought that he served in the Navy
during WWII and briefly operated an art school in
Chicago. He arrived in Arizona with his girlfriend,
Ruth, and they were later married and used the last
name Lotan. When Ruth became terminally ill in 1971
they made a suicide pact which Ruth kept and Lotan
failed to keep. He lived in Prescott, AZ until 1985
teaching painting and painting. He died in the
Pioneers Home in Prescott.
The Lotan painting in my collection may have been a study for a larger work as there is a notation on back scaling this painting to a size nearly four times a big. Most of his work that I have seen is much more surreal than this painting. Lotan was sometimes called "the Dali of the Desert".
Herman Rednick was born Hyman
Rednick in Philadelphia, PA on 2 March 1902 a son of
Russian Jewish immigrants, Joseph and Anna Rednick.
Joseph and Anna were married about 1896 and moved to
England by 1898 where their first child, Meyer, was
born. The Rednicks emigrated to the US in 1898 or
1899 but do not appear in the 1900 census which may
indicate that Rednick is an Anglicized version of
the original family name. The Rednick family moved
to the Bronx, New York by 1918 and Hyman started
using the name Herman there. He graduated with
honors from the National Academy of Art in New York
City and worked as a commercial artist. Rednick is
listed in Who Was Who in American Art by Falk, and
in Davenport's Art Reference and Price Guide. Later
in life Rednick developed an interest in meditation
and spiritualism for which he became well known. He
often created paintings meant to assist his students
in meditation as I suspect was the case with the
painting above. Rednick died in April of 1985 in
Taos, New Mexico.
Albert Hopkins was
born in New Jersey in 1947 and is a New Mexico
artist who paints in oils. Hopkins studied at the
New York Art Student's League and Pennsylvania
Academy of Fine Art. To me his paintings really
capture the vibrancy of nature using light and
color. Check out his web site for
some really beautiful southwest paintings.
"Rio Grande Gorge
Late Afternoon Sunset", Albert Hopkins, 18" x 24",
His work was recently featured in Southwest Art Magazine, so I am not alone in my my appreciation for his paintings. I found the small painting, "Cloud Shadows", on ebay in a very low key presentation with no reference to Mr. Hopkins name, training, or resume and was immediately struck by the quality of the work. After purchasing it I was not surprised to find out that the artist is so accomplished. This was painted in Portugal. I'm sorry that my old digital camera can not do it justice. I'll copy this one and the paintings below from my collection again when I upgrade my camera. I was lucky enough to have the opportunity to be able to collect several of Mr. Hopkin's paintings at one time.
The image of the Rio Grande
gorge shown here was reproduced by Mr. Hopkins after
I admired the original. They were both done en plein
air but in different seasons so ended up being quite
different in composition.
There was a bit of glare on
the paintings when I photographed them that was not
apparent until I started working on them with the
Gimp, so I'll get some better images of them when
time permits. One nice thing about the size of the
8x10s is that it is very easy to find thrift shop
frames for them!
Robert E. "Hans" Kline was
born 4 Oct 1924. He studied at Assumption
College, Windsor, Ontario (BA), Wayne State
University, Detroit, Detroit Society of Arts and
Crafts, and Cranbrook Academy of Art (MA). Kline
studied under Sarkis Sarkisian and Zoltan Zepeshy.
He exhibited widely from the 1960s into the 1990s.
He resided in Michigan and later was a long time
resident of East Hampton, NY. A retrospective of his
work was held at the Blue Heron Arts Center in New
York City in 1999. His work is part of the permanent
collections of several museums including the Safaad
Museum, Israel; Flint Art Institute; Cranbrook
Academy of Art; Hecksher Museum of Art, and the
Guild Hall Museum of East Hampton. His work is also
included in numerous corporate and private
Hans Kline died on 18 March 1994 and is buried in the Green River Cemetery, Springs, East Hampton, Suffolk County, NY. Several notable artists are also buried in this cemetery including Jackson Pollock and his wife Lee Krasner.
Hagop K. Kasparian is self
taught artist who lives in Hassocks, Sussex,
England. He is an art teacher and a member of the
Attic Club in Mid Sussex. He has exhibited at the
Mall Galleries, London and in local art shows. I am
not sure of Mr. Kasparian's ethnicity or if he is a
citizen of the UK so I have not listed him in the
section of my web site devoted to British artists. I
did find a snail mail address for Mr. Kasparian as I
was curious about the medium used for these small
paintings, but there was no reply to my letter via
snail or email. These small paintings are very
nicely framed in a single frame and have been
hanging over my desk at work for many months. A nice
escape from the "salt mines" from time to time.
Cooper Dragonette is a
painter in oils from Cape Elizabeth, Maine. He holds
a BFA from the University of Southern Maine and a BA
from Prescott College. He moved to Maine in 1996 and
pursued a career in teaching art while operating his
own studio before becoming a full time artist in
2006. His first exhibition was in 1998. He has been
a member of the Provincetown Artists Association,
co-president and founder of the Midcoast Artists
Association, and member of the Maine Art Educators
Association. He still teaches painting and drawing.
Cooper has both a web site and a blog site. I like his use of color and light and the ruggedness of Maine landscapes that he paints.
Marguerite Clark Druet was born on 24 June 1906 in
Council Grove, Morris County, Kansas the daughter of
William B. and Fanny L. Schmidt Clark. Her father was
a locomotive conductor. Marguerite appeared in the
1910 census as Fanny M. Clark. She worked as a public
school teacher in Kansas before marrying Kenneth L.
Druet about 1933. Audrey Druet, sister of Kenneth
Druet, was a rural school teacher and she may have
introduced Marguerite to Kenneth. The Druets arrived
in New York City on the ship American Importer from
Glasgow, Scotland in 1939, the only record I have
found of their travels. The ship's passenger manifest
notes that Marguerite was born 24 June 1905 and that
the Druets lived in Salina, Kansas. Kenneth was a
physician as were his father, grandfather, great
grandfather, and son Robert Lewis Druet who died in
2007. The paintings in my collection came from
Robert's estate which was settled in Springfield,
Mrs. Druet was a painter in watercolors and oils. She is not mentioned in any of the major art reference books that cover the period that she was active. She studied at the Kansas City Art Institute as a young woman where she was a student of Birger Sandzen. She later studied with several other artists. She was a charter member of the Table Rock Art Guild in Kimberling City, MO. Druet showed and sold her work through a gallery in Reed's Spring, MO near Branson.
Marguerite Clark Druet died on 20 January 1997 in Springfield, Missouri.
I think this is my favorite. I
found this place using an Internet search, but now
forget exactly where it is. The coast of New England,
This painting arrived at the
same time that I happened to have a frame to fit it,
and I have it hanging above my desk at work. I had
discarded the frame as it did not suit anything art
work that I had. It had actually come with a
watercolor in it that had been damaged by broken
glass due to poor packing and the whole mess was in
a box on my back porch waiting for the garbage man,
when I remembered it. It suits this painting
The Maine art dealer that I
bought this painting from was selling it as a French
painting, but I think it is probably by an English
artist of a scene in France. The seller also
interpreted the signature as Y. B. Mathews, but I
think it may actually be L. B. Mathews and possibly
by Mrs. Lydia B. Mathews who was active about this
time. This church is much painted and photographed
but typically not from this odd angle which is why I
like it. The frame and glass also appear to be
original and are very nice, too. The painting is
thoroughly glued to a card so we will never know if
there are any clues on the back of the painting.
Until I can find some justification for putting it
in the "British Artists" section, I will leave it
here. Opinions on the signature and origins are
Nganga Ndeveni is a Kenyan
artist who works in watercolors and acrylics. He is
a member of the Akamba Tribe and known for images
showing details of Akamba life and for his paintings
of nature.This painting is thought to have been
painted Amboseli Game Park, judging by the view of
Mount Kilmanjaro in the background. I like his work
and the amazing detail. This is the first painting
by an African artist that I have added to my
collection. The shadows at the edges of the painting
are there because it is on heavy paper and may have
spent part of it's life in a shipping tube so the
sides of the painting are rolled up a bit. I have
not found a frame for this one, yet.
Richard J. Van Wagoner was born in Midway, Utah on 14 March 1932. He is a painter in oils and watercolors and was a teacher both in the public schools and Weber State University in Utah, where he retired from as a professor. Mr. Van Wagoner holds Master degrees in both printmaking and painting. He was a founding member of the Utah Watercolor Society. He is listed in Artists of Utah, and various editions of Who's Who in American Art.
William Robert Shulgold was born in Kamenietz,
Russia on 10 July 1897, a son of Bernard and Ada
Reisberg Shulgold. The Shulgolds were Jewish and
lived in what was called Russian Poland, emigrating
to America in 1898 where they settled in Pittsburgh,
PA. Bernard worked as a watchmaker in a jewelry
store there. By 1920 his father had passed away and
William was a naturalized
US citizen working as the proprietor of a bottling works company. Fielding notes that he was a painter and etcher and a student of Arthur Watson Sparks, George W. Sotter, and Charles Webster Hawthorne. Falk notes that, in addition to the aforementioned artists he also studied with Levy, probably Alexander Oscar Levy or William Auerbach Levy, and that he was also a teacher. Shulgold was a student and then teacher at Carnegie University and also studied at the National Academy in New York City, the Art Students League, the Academie de la Grande Chaumiere in Paris, and in Florence, Italy. Shulgold was a member of the Pittsburgh Art Association.
He is mentioned in Fielding's Dictionary of American Painters, Sculptors, and Etchers, Who Was Who in American Art by Falk, Mallett's Index of Artists, Davenport's Art Reference and Price Guide, and various editions of Who's Who in American Art and American Art Directory. He was also mentioned at least once in Who's Who in American Jewry. His works have been exhibited at the Corcoran Gallery of Art, New York in 1957, the Los Angeles County Museum in 1951, Carnegie International in Pittsburgh, the Chicago Institute of Fine Arts, and the National Gallery, Toronto. Two of his works are part of the permanent collection of the Westmoreland Museum of American Art and his work is part of the collection of the Carnegie Museum. He was awarded the Carnegie Prize, Pittsburgh Associated Artists Prize, a Tiffany Foundation Scholarship, and other awards and prizes. He painted many portraits for Hollywood and celebrities including Ronald Coleman for his Oscar winning movie "A Double Life", Helen Hayes, and Bud Abbott.
Shulgold seems to be best remembered as a portrait artist in oils. The watercolor from my collection may be an example of his early work. Shulgold is listed on a passenger record of a ship arriving in New York from Southampton, England on 19 September 1928, and this watercolor was actually painted in Toledo, Spain, not Ohio as one would assume for a Pittsburgh artist. The scene is looking out to the east from the city of Toledo across the Puente de Alcantara with the Castillo de San Servando on the hill in the background. The Puente de Alcantara bridges the Tagus River at the east entrance to Toledo.
east below the Puente de Alcantara
east from the Toledo city walls
with the Castillo de San Servando in the background
Above left is an etching
of a self portrait of William Shulgold. The
Westmoreland Museum of American Art also has a
copy of this etching in their collection.
The self portrait above right is also from my
collection. Below is an example of Mr.
Shulgold's landscape work in oil.
William R. Shulgold, 16" x 20", oil
I was contacted by
Mr. Shulgold's son and he gave me the
picture of his father shown below. I was
also able to purchase "Lumber Yard" and an
oil self portrait from him as he has many of
his father's paintings. I would be happy to
put anyone interested in obtaining one of
Mr. Shulgold's paintings in contact with his
William Robert Shulgold died on 1 October 1989 in Los Angeles, CA.
Norwood Bartle was born in 1858 in Washington, D.C.,
a daughter of George and Miranda Ellis Bartle.
George Bartle worked as a clerk at the State
Department. Sara was listed as an artist in census
records starting in 1880 through 1930. She had
several brothers and sisters and her family employed
servants in each census. She and her sister,
Missouri Bartle were house mates for many years.
Sara seems to have remained in Washington,
D.C. during most of her career as a painter of
landscapes and miniature portraits in oil on ivory.
She studied art in New York with Carroll Beckwith,
at the Art Students Leagues in New York, and also in
Washington DC. Sara also painted and studied in
Europe. She was a member of the Washington Water
Color Club and exhibited there as well as at the Art
Institute of Chicago in 1916. Her miniature
portraits were unique in that they often had
landscape backgrounds. She reportedly took up water
color painting late in her career. She also worked
as an illustrator as I have found several examples
of her illustrations dating from the 1870s on.
Below is an example of one of her miniatures. This one is of Jay Cooke, a famous Civil War financier. No landscape background in this one, however.
Sara Bartle is mentioned in Paul Sternberg, Sr.'s Art by
American Women, Who Was Who in
American Art by Falk, Women Artists
Born Before 1900 by Pettys, The Artists of
Washington, D.C., 1796-1996 by McMahan and
various art directories of her time. She was also
listed in The
North Shore Blue Book, a yearly listing of
notable people who were summer residents of the
principle resorts of the northern shore of
Massachusetts. Bartle was listed as an exhibitor in
Gloucester Art and Loan Exhibition in the book Memorial of
the Celebration of the Two Hundred and Fiftieth
Anniversary of the Incorporation of the Town of
Gloucester, Mass in 1892. She showed two
paintings, titled "Rocky Pond" and "Roses".
Ms Bartle died on 13 January 1931 and her death was reported on 16 January 1931in the Washington Post. She is buried with her parents and siblings in the Glenwood Cemetery in Washington, D.C.
Thomas Mower Martin was born
in London, England on 5 October 1838. He came to
Canada in 1862 where he became one of Canada's early
prominent artists, founding member of the Ontario
Art Union, the Ontario Society of Artists, the Royal
Canadian Academy of Arts, and founder and first
president of the Ontario School of Art. He is the
first Canadian represented in my collection and is
going to be a tough act to follow. I was quite lucky
to get this painting, probably because it has a
couple of condition problems, which I believe can be
corrected. In the mean time I am happy to be able to
care for this painting until it can reach it's
potential. More on TMM's biography later, after I
have had time to go through all of the information
available for this artist.
Bristol was born 2 October 1892 in Piedmont, Wyoming,
the daughter of Albert and Carrie H. Payne. She was a
painter and art teacher in Seattle, Washington. She
married first Frank E. Pigort about 1913 in Snohomish
County, WA, and second Carl Bristol after 1930. She
was living with her daughter, Elsie, in Snohomish
County, WA in 1930, while her husband, Frank, and sons
Albert and Lyle, were living in Shelton, Mason County,
WA, though they were still listed as married. Frank
Pigort died in 1966 in Stanwood, Snohomish, WA, so it
would appear that Olive and Frank divorced some time
after 1930. Olive began painting at the age of forty.
She received her training at the Art Student League,
New York, and studied under Eustace Ziegler, Edgar
Paul Forkner, and Leon Derbyshire. She was a charter
member of the Seattle Art League and was a member of
Women Painters of Washington from 1940-1960. Mrs.
Bristol taught art classes in Seattle, Bothell,
Everett, and Yakima, Washington. She donated many of
her paintings to Seattle public schools, where she
Bristol exhibited in several Pacific coast cities,
including Oakland, CA and also in Washington, D. C.
She is mentioned in Artists of the American West. A
Biographical Dictionary. Volume III, Artists Born
before 1900 by Doris Ostrander Dawdy, Who Was Who in
American Art. 400 years of artists in America
by Falk, Davenport's
Art Reference and Price Guide, and Artists of the
Pacific Northwest by Sharylen.
I was contacted by Mrs. Bristol's granddaughter, who along with her aunt, Olive's niece, filled in some details of Olive's life and work as an artist. Olive was spiritual, intelligent person. She was progressive in her thinking, open-minded, and liberal in her views. She was a very independent woman, who was ahead of her time. She was divorced during the Depression and left to fend for herself and her daughter. She worked in several jobs, a cook in a logging camp, a live-in domestic for wealthy families in Seattle, and later as a house mother and cook in a boarding house that catered to students in the University District of Seattle. She, her daughter, and her son became lifelong friends with some of the students who lived there.
Art was one of the greatest pleasures in her life and in the late 1940s Olive moved alone to New York to study art at the Art Student's League. She later traveled alone to Europe. She loved being in nature and traveled in her car to paint, sometimes with a female friend. They would pull off the road to sleep in sleeping bags. One of her granddaughter's first memories of Olive was when she was barefoot on the roof of her house fixing roofing tiles. After her second husband died, Olive made her living as an artist and teacher. She was active as an artist until the last year of her life, when she suffered a severe stroke that ended her life.
Olive died on 10 June 1976 in Monroe, Washington and her obituary appeared in the 12 June edition of the Seattle Times. I lived in Seattle for 12 years and this painting reminds me of Lake Union.
John Clifford Huffington was
born 5 February 1864 in Brooklyn, New York and died
3 May 1929 in Darien, Connecticut on his houseboat
on Five Mile River. He is an interesting guy. His
father, John Worthington Huffington, was an art
dealer and John associated with artists who came
into his father's store and through that association
became a self taught artist. At the height of his
career he became blind, but about 1925 his vision
was somehow restored and he resumed painting. I
found him employed as an artist in the 1900-1920
Federal censuses and employed as a clerk in 1880.
His father's occupation in 1880 is indecipherable,
but does not appear to be "art dealer", so John C.
must have started painting between 1880 and 1900.
John Clifford Huffington was a marine painter, illustrator, and teacher. Who Was Who in American Art notes that he exhibited at the National Academy of Design while still a school boy. He was member of the New York Watercolor Club and Connecticut Academy of Fine Arts and exhibited at both places. He is also listed in Mallett's Index of Artists.
Charles Jewett Page was born
6 August 1837 in Boston, MA, the son of a prosperous
mason, Gilman Page and his wife Louisa Robinson.
Page had many occupations, bank teller in 1861, cap
and hat salesman in 1870, etc., before settling on
real estate around 1880, which occupation he pursued
for many years. He was listed as both a real estate
and insurance agent in Boston City Directories from
1882 through 1893. He was also listed as an
auctioneer and Treasurer of the Real Estate and
Building Co. several times.
When Page developed an interest in art or where he received his training is not known, though he was a subscriber to the Boston Museum of Fine Arts in 1890. He was listed as a member of the Boston Art Club in 1908 (Clark's Boston Blue Book) and by 1910 he appeared in the artist category of the Boston City Directory. I have been unable to locate him in the 1910 Federal census, which may show if that was his primary occupation then.
Charles married Kate Chase Norcross on 26 December 1859 in Boston and they had one son, Walter Gilman Page, who later became a prominent professional artist and writer. The 1880 census lists Walter G. Page as an invalid, which may be why he pursued a career as an artist. This may also be why his father developed an interest in painting. The first mention of Walter Gilman Page as an artist is in the 1890 Boston City Directory, and he was a member of the Boston Art Club in 1893, and was occupied as an artist while living in his parent's home during the 1900 Boston Federal census. Both Walter and his father were listed as painters in the 1908 American Art Annual Volume VI, which was published by the American Federation of Artists, New York. Walter Gilman Page attended the Boston Museum of Fine Arts School, studied in Paris, and served on the Massachusetts Art Commission in the 1920s. I was also unable to locate Walter Page in the 1910 census, though he married about 1901. It may be that father and son were traveling together when the census was taken.
Charles Jewett Page was a member of the Boston Watercolor Society, Boston Art Club, and is mentioned in Who Was Who in American Art by Falk and Davenport's Art Reference and Price Guide. One of his paintings sold at auction for nearly $4000. Page died on 5 July 1916 in Boston, MA and his death was reported in the New York Times.
Elizabeth Rupp Withington
was a Rockport, Massachusetts illustrator and artist
in watercolors, gouache and oils. She was born on 6
September 1883 in Roxbury, Massachusetts to John
Rupp and Emily Wiswell Wilder Withington. Her father
was a long time Jamaica Plains, Boston resident who
worked for several decades as a Boston customs house
clerk. The Withington family came to Massachusetts
in the 1630s. Elizabeth was attending art school
while residing at her parent's home at 22 Burroughs
Avenue, Jamaica Plain, Boston, MA during the 1900
census. By 1910 she was employed as an artist and
illustrator and was thus occupied in the 1920 and
1930 censuses. She was listed in Rockport city
directories as an artist residing at 105 Main Street
in Rockport from the 1930s until her death in 1962.
It is not known, for certain, where Elizabeth was a student in 1900, but by 1903 she was listed in the American Art Directory as a teacher at Pape's School of Art in Boston and was listed as an assistant there in 1905. Eric Pape started his school in Boston in 1898, so it is possible that Elizabeth was enrolled there in 1900. Such famous artists as N. C. Wyeth attended Pape's school at the time that Elizabeth was there. Pape was a well known and successful educator, artist, and illustrator. Elizabeth must have continued her training while at Pape's school as she was also listed as a student there in 1905 and won an award for "Composition Sketches".
Elizabeth became a member of the Rockport Art Association in 1923 and was a member until 1960. She was also a member of the American Watercolor Society. She exhibited her paintings frequently at the Rockport Art Association, and also at the American Watercolor Society and Art Institute of Chicago. She illustrated many books. Most of these books were published by the Boston publishers Lothrop, Lee, and Shepard (LLS) and L. C. Page & Co. (LCP). I have included a list of all of these books I have been able to identify at the end of this biography. The last credit for her as an illustrator that I can find was in 1930, when she would have been 47. She continued working as an artist for many years, so may have continued as an illustrator, as well, but without credit for her work.
One book that may or may not have been her work is different from all of the others. This book, Lullabies of Many Lands, was published by the H. M. Caldwell Co., New York and Boston, in 1908. What makes this book atypical is that it was completely the work of Elizabeth Withington, drawn and compiled by her. It is not a large book, only 30 pages, but contains 13 beautifully done, full page illustrations and many smaller illustrations. I have a copy of this book but I have not been able to determine if it was done by Elizabeth Withington of Boston and Rockport, MA. I obtained a copy of Mr. Tuckerman's Nieces, which was illustrated the year before this book was published and the illustrations are done in the same style. In my opinion, the book is her work.
Elizabeth's paintings appear frequently at the yearly Rockport Art Association Auction, and at auction houses and galleries in Essex and Suffolk counties. She is mentioned in Lost Colony: The Artists of St. Augustine, 1930-1950 by Torchia, Who Was Who in American Art by Falk, Davenport's Art Reference and Price Guide, Index of Artists by Mallett, Who's Who in American Art, and other art reference books.
The painting in my collection was titled under the mat, but I was unable to decipher Withington's writing. A visitor to my web site identified the location depicted in the painting and it is now easy to understand the title.
One of Withington's illustrations:
Anne of Green Gables by Elizabeth Withington, 1925
Books illustrated by Elizabeth:
Those Thornton Girls (LLS,
1930), The "Icicle" Melts (LLS, 1929), Barbara
Winthrop Abroad (LCP, 1927), Barbara Winthrop at Camp
(LCP 1926), Homer Bright's New Adventure (LCP,
1925), Anne of Green Gables (LCP, 1925), The
Adventure's of Joan (LLS, 1924), Nan's Christmas
Boarder (LCP, 1924), Denise of the Three Pines (LCP,
1922), Blue Bonnet Keeps House (LCP, 1921), Marjorie's
House Party (LCP, 1921), When Gretel was Fifteen (LLS,
1921), Blue Bonnet: Debutante (LCP, 1921), The
Independence of Nan (LLS, 1916), A Real Cinderella
(LLS, 1915), Making Mary Lizzie Happy (LLS, 1914),
Laddie: The Master of the House (Little, Brown &
Co., 1913), The Long Way Home (LLS, 1912), Hester's
Wage Earning (LLS, 1912), Girl from Arizona (LLS,
1911), Lost on the Trail (LLS, 1911), Maisie's Merry
Christmas (LLS, 1911), Victorine's Book (LLS, 1911),
Dorothy Brown: A Story for Girls (1909), Mother
Tucker's Seven (LLS, 1909), The Browns at Mt. Hermon
(LLS, 1908), Mr. Tuckerman's Nieces
(Houghton Mifflin, 1907), Four Girls at Chautauqua
(LLS, 1904), Little Queen Esther (LLS, ?), Ester Reid
Samuel B. Chapman was
born about 1866 in Wayne Township, Wayne County,
Indiana. He and his brother Charles E. Chapman, b.
ca 1857, worked as professional artists for more
than 30 years, painting in Wayne County, Indiana,
New Orleans, and Lexington, MA. The
brothers were sons of George A. and Annie B.
Chapman, born in Scotland and England, respectively.
They moved to New Orleans about 1903. While in New
Orleans, both men first appear in censuses with the
trade of "painter". Charles is also listed as a
"Decorator". According to a descendant, Charles had
an architectural business in New Orleans, and
numerous of his architectural paintings and drawings
survive. The brothers moved to Lexington, MA before
1918 when Samuel was listed as a farmer and Charles
as an architect in the Lexington city directory.
Both brothers were listed as managers of Ryder's
Stock Farms in the 1922 city directory. The 1924
directory lists Charles as an architect and
assistant manager at Ryder's Stock Farms and Samuel
as manager. The 1928 directory shows both men and
their wives living at the same address as they had
for several years, but occupied with "The New
England Fruit & Rural Development Co.".
Both men were thusly occupied in 1932 and were
living at the same address in 1942. Charles had a
studio in Lexington for many years and gave his
occupation as "artist" in the 1920 and 1930
censuses. Where the brothers received their training
as artists in not known.
A large number of works by both artists was passed down in the family until they were sold by a grandson in 2006. Neither artist is listed in any of the major art reference books, but must have achieved some measure of success in order to have worked for so long as professional artists. They may have enjoyed good reputations locally. Both men seemed to have worked almost exclusively in watercolors. The painting above was probably painted in Indiana.
Antonio DeVity painted what I call "sofa art" because in the '50s and 60's his Paris and Venice street scenes must have hung over half of the sofas in the US of A, judging by the number of his paintings I see for sale. I really like his work, however, and think it has a bit more going for it than the typical "sofa art" of that period. I love the sense of motion and warmth of color in his paintings along with his unmistakable style. Many of his paintings are huge, almost murals on canvas. Some of his early works were done using watercolors.
Antonio DeVity was born in
1901 in Reggio-Calbria, Southern Italy. He lived
in Naples and later moved to Rome where he studied
with Giacomo Balla, creator of futurism. He spent
time in Paris and was heavily influenced by
Impressionism. DeVity opened a studio in Naples,
and his works have won many international awards
and he is recognized for his modernist street
scenes of Paris and Italy as well as landscape
scenes of Venice. He was also a student of Antione
Blanchard. DeVity died in 1993.
David E. Garrison was born in Jacksonville, Illinois and is a painter in oils, pastels, and watercolors. He has also painted a significant number of murals on commission. Early in his career his chosen medium was conte crayon whose use he learned from Bill Parks at the American Academy of Art. Mr. Garrison received a BA from Iowa Weslyan University and is a 1968 graduate of the American Academy of Art in Chicago, IL. While at the AAAC he also studied under Joseph Vandendrouke and Irving Shapiro. He resides in Burlington, Iowa where his family moved when he was a child, and France. Mr. Garrison has a web site. He is a signature member of the Pastel Society of America, National Society of Mural Painters, American Artist Professional League, and Hudson Valley Art Association. He has been listed in Who's Who in American Art for over 20 years.
The signatures on the paintings displayed on Mr. Garrison's web site are quite different from the signature on my painting. They are signed simply "Garrison", while mine is signed "D. Garrison", with the "D" and "G" made with one stroke, and with the artist's thumb print superimposed over the signature. I was told by a gallery owner in Burlington, Iowa, however, that Mr. Garrison has signed his work in that fashion in the past and I was contacted by the owner of a conte drawing by Garrison who purchased a similarly signed work from one of the galleries that represented him. The owner sent me a copy of the brochure that accompanied their conte crayon drawing and it includes a copy of his signature which is identical to the one on my drawing.
What attracted me to this drawing, aside from the obvious beauty of the subject, was the artist's obvious skill and knowledge of the human anatomy. It is very difficult to correctly proportion and show the musculature of a nude especially in such an unusual pose, and this artist has done a nice job. It was noted in the brochure that Garrison received 122 hours of anatomy training from Bill Parks during his studies at the AAAC. I found this painting in a Springfield, Illinois antique shop where it had been purchased as part of an estate sale. I believe it is what is known as a sanguine toned drawing.
Another ebay artist who
also sells on her own web site. Shonda paints lots
of different types of flowers in this style and
also paints angels. She sells a lot of both types
of paintings. Another one I picked up because of
the rich colors. This makes a nice splash of color
in one corner of my office at home.