Ripley AuctionsFine Art + Design Thursday, January 24, 2013 | 6 pm ESTSale Highlights
Lot # 1
George Winter(American/Indiana; 1810 - 1876)A Western Lake, 1867Oil on canvas20 x 23 ovalSignature verso
Estimate: $15,000 - 20,000
William Forsyth(American; 1854 - 1935)Winter Landscape, c. 1910Oil on board24 x 20Signed. Fine contemporary carved frame.
Ada Walter Shulz(Wisconsin/Indiana; 1870-1928)Grandma Barnes Cabin, c. 1920Oil on board24 x 27Signed. Original frame.
Exhibited: Chicago Galleries Assn and another exhibition in Wisconsin (labels verso)
This is a highly important landscape painting of one of Brown Countys most important landmarks.
Lot # 19
Achille Emile Othon Friesz(1879 - 1949)Winter sceneOil on canvas.23 1/2 x 28 3/4Signed LL.
Exhibited Musee Galliera, Paris November 1959. Exhibition label verso.Accompanied by exhibition poster for which this painting was highlighted.
Born in Le Havre, France to a family of navigators, Achille Friesz studied first at the lycee in his home-town on the Normandy coast, and at the Ecole des Beaux-Arts in Paris. Although he studied the great painters like Veronese, Rubens, Chardin, Delacroix and Corot and made copies of their canvases at the Louvre, he admired the work of the modernists, such as Raoul Dufy, Henri Matisse, George Braque and the Fauves.
Friesz collaborated with Dufy on the decoration of the Palace of Chaillot. A member of the Salon dAutomne, Friesz did portraits and landscapes of Brittany and Normandy, as well as other areas, including Germany, Italy and Portugal.
He painted in the United States, and in 1925, won the prestigious Carnegie Prize. Friesz painted, taught art students and illustrated books, including an edition of Ronsard. The artists work is in major museums throughout the world.
Konrad Cramer(American; 1888 - 1963)Two Dancers, 1954Casein on board16 x 20Estate Stamp, Date & Title verso.
A painter of abstraction including numerous still lifes and non-objective work, he became one of Americas earliest modernist painters who founded and directed the Woodstock, New York Art Association and the Woodstock School of Painting. In painting style, he was one of the more radical artists working there, adapting cubism to the local landscape.
He divided his time between Woodstock and Manhattan and was highly prominent in progressive art circles. He was a close friend of Alfred Stieglitz, who interested him in photography, and this led to Cramers directing and teaching at The Woodstock School of Miniature Photography. He was also a skillful illustrator and textile designer.
He was born in Wurtzburg, Germany, and was early influenced by the Munich expressionists called der Blaue Reiter, translated Blue Rider. The group was founded by Wassily Kandinsky and was the avant-garde art movement of its day. Cramer used oil, watercolor, and ink in a loose, free flowing style that depicted fish, nudes and other objects. From that subject matter, he switched to Cubism, inspired by Cezannes planes of light.
In 1911, he married an American art student and emigrated to America, where he began his distinguished career. In 1913, he established his American reputation with a pioneering series of abstract paintings. His post World War I style became a fusion of European modernism with imagery of American culture such as common household objects in his still lifes.
His work is in numerous museums including the Phoenix Art Museum in Arizona.
John Hauser(1858/59 - 1913)Four Indians on horseback, 1909Gouache on paper11 3/4 x 17 3/4Signed and dated LR.
Born in Cincinnati, Ohio, John Hauser was one of several early 20th-century Ohio artists known for paintings of Western Indians. His birth date is given as both 1858 and 1859. He is given credit for do-ing much to educate Americans about the culture of frontier Indians, including Apache, Navajo, Pueb-lo, and Sioux. He also did a series of portraits of Indian chiefs such as Sitting Bull, Red Cloud, Spotted Tail and Lone Bear.
Hauser was the son of a German cabinet maker and showed early aptitude for art. Before age 15, he studied at the Ohio Mechanics Institute and at the Cincinnati Art Academy, and he later studied with Thomas Noble at the McMicken Art School. In 1880, he enrolled in the Munich Royal Academy of Fine Arts as a student of Nicholas Gysis and then did further study in Dusseldorf and Paris, staying in Europe until 1891.
He taught drawing in the Cincinnati public schools, and in 1891, the same year he accepted that teaching assignment, he traveled to Arizona and New Mexico where he was captivated by the scenery and Indians. After this initial trip, he continued to make yearly visits to reservations where he did highly realistic depictions of Indian figures, genre, and animals.
He did many portraits of famed Indian chiefs including Lone Bear, Spotted Tail, and High Horse. His love and sympathy for the Indians was recognized in 1901 when he and his wife were adopted into the Sioux nation, and he was given the name Straight White Shield and his wife was named Bring Us Sweets.
His last work was a mural titled Perrys Victory for the Cincinnati Yacht Club, of which he was one of the founders.
Ralph Albert Blakelock(American; 1847 - 1919)Indian EncampmentOil on board8 3/4 x 15 3/4Signed R.A. Blakelock LR.
Verso: University of Nebraska-Lincoln #376
Born in NYC on Oct. 15, 1847, the son of a prominent physician. His father offered to finance his art studies in Eu-rope; however, at age 22 Blakelock embarked on a six-year horseback trip through the West. He lived among the Plains Indians and sketched across the Rockies and Sierra Nevada While in California, he painted scenes of Oakland, San Francisco, the redwoods, and coastal scenes. From San Francisco he journeyed south toward Mexico and then returned to NYC. He remained a self-taught artist and ultimately was elected to the National Academy. Blakelock was not successful in selling many of his paintings during his career and lived in poverty with his wife and nine children. The strain of supporting such a large family led to a mental breakdown in 1899. The remaining years of his life were spent in a mental institution in Middletown, NY. Recognition came soon after his confinement and paintings he had sold for very little were then resold for thousands. He died on Aug. 9, 1919. Exh: NAD and Society of American Artists, 1879-88; Paris Expo, 1900; PPIE, 1915; Newhouse Gallery (LA), 1927 (retrospective). In: Oakland Museum; Newark (NJ) Museum; St Louis Museum; Worcester (MA) Museum; Whitney Museum (NYC).
Oscar Bluemner(German/American; 1867 - 1938)Longhill, New Providence, NJ, c. 1915Colored pencil on paper4 1/2 x 5 3/4
Provenance: Hirschl & Adler.
An early modernist painter, Oscar Bluemner was trained as an architect in Berlin. A disagreement over art with Empo-rer William II led to his emigration to America (Chicago) in 1892. After moving to New York City, he won a competition in 1900 for the design of the courthouse in Bronx, New York, but his partner stole the commission from him. Eventu-ally he won a lawsuit against him, but by then he had turned to painting and away from architecture. Bluemner first adopted the impressionist style and urban subject matter of Maurice Prendergast, but after a trip to Europe, his style changed drastically to that which was geometric and reflected Cubism and Futurism.
His work was well received by the critics, especially when he was endorsed and promoted by Alfred Stieglitz who sponsored Bluemners first American exhibition. However, sales were not strong during most of his career. As he suf-fered increasing poverty and poor health, he became more and more depressed and committed suicide in 1938.
During his career, he exhibited at the Royal Academy of Berlin, 1892 (medal); Gurlitt Galleries, Berlin, 1912 (solo); Armory Show, NYC, 1913; 291 Gallery, NYC, 1915 (solo); Forum Exhibition of Modern American Painters, 1916; Bourgeois Gallery, NYC, 1917-1923; The Intimate Gallery, NYC, 1928 (solo); Whitney Museum of American Art, 1932; Salons of America; University Gallery, University of Minnesota, 1939 (retrospective).
His work can be found in the Whitney Museum of American Art; Philadelphia Museum of Art; Metropolitan Museum of Art; the Fogg A. Museum, Harvard University; and the University Gallery, University of Minnesota, Minneapolis.
Lot # 60
Carl Hoeckner(American; 1883 - 1972)Untitled (War Series), c. 1920Oil on canvas40 x 30Signed. Original frame.
After arriving in America in 1910, he worked in Chicago at Marshall Fields department store in their advertising depart-ment and stayed there throughout the war, while at the same time pursuing his interest in fine art. Becoming increas-ingly political and protesting of war as a result of World War I, he painted a piece called War, which was exhibited in 1918 at the Architectural League, New York. Between 1918 and 1927, he sent his protest paintings on exhibition throughout the states, meeting with some success. One of them, The Homecoming of 1918, showed a crowd of gaunt, wounded people with nightmarish expressions marching towards the viewer. Bulliet described the painting as perhaps the most powerful indictment of war ever painted in America. Hoeckner was a founding member of an avant-garde group of Chicago artists known as the Cor Ardens (Ardent Hearts) along with Raymond Jonson and Rudolph