A few examples of appraisal values for
GEORGE INNESS

• SCHOOL OF GEORGE INNESS (AMERICAN
  SCHOOL OF GEORGE INNESS (AMERICAN 1825-1894), SUNSET Oil on canvas, bearing signature at lower left, presented in a period giltwood frame.
• ARTHUR TURNBULL HILL (AMERICAN,
  ARTHUR TURNBULL HILL (AMERICAN, 1868-1929) "SUNSET EAST HAMPTON" Oil on canvas. Signed 'Arthur Turnbull Hill' (lower center left). Signed and titled on stretcher. Catalogue Note: American painters in the final decades of the 19th century moved steadily into the transition heralded by George Inness from the heroic, nationalistic landscape into a phase more personally visionary. Their painting focused less on the exact replication of nature than on scenery, as a spiritual manifestation and it tended toward impressions and depictions of personal experience. Landscape painting tends to reflect changes of social and industrial growth, and was in one way escapist but the combination laid the foundation for a new realism. By the end of the 19th century landscape painting had come full circle and was burgeoning with new perspectives. The great 19th century artist, George Inness, was profoundly responsible for influencing the painters who where to follow him upon his contact with the Barbizon school. Originally, the work of Cole and Durand and Old Masters prints were his true models and taking hikes in the wild where he chose pastoral scenes close to home. A change took hold after a trip that Inness took to Europe, particularly France, where he came under the influence of the Barbizon School. Theodore Rousseau, Charles Daubigny and Camille Corot became his new idols and he decided to abandon the meticulous naturalism of the Hudson River School in favor of his own subjective expression of nature. He no longer portrayed what he saw literally, but tried to project his own vision into his paintings. Inness was seeking to capture the mood of the landscape through a lyrical and painterly style, his own personal Impressionism, for which he became famous. Inness also filled his canvases with the poetic atmosphere in the manner of Turner, whose work had impressed him and he combined this luminist approach with a pastoral quality derived from the Barbizon painters of France. Artist Collections: Brooklyn Museum, New York National Gallery of Art, Washington D.C. National Arts Club, New York Artist Memberships and Exhibitions: Artist Fund Society, New York Brooklyn Art Club, New York National Arts Club, New York Salmagundi Club, New York
• MARIE WEGER (GERMAN-AMERICAN,
  MARIE WEGER (GERMAN-AMERICAN, 1882-1980) "PEACE & PLENTY" (AFTER GEORGE INNESS) Oil on canvas. Signed (lower right). Catalogue Note: Marie Weger was born in Munich, Germany in 1882. She conducted her artistic training under the tutelage of her father, Max Weger, also a painter as well as Wilhelm von Dietz and Paul Nauren. She continued her studies in Paris. She made her first public appearance in 1907 at the Munich Art Society, and continued to show at the Munich Glaspalast and The Major Exhibit of Berlin, as well as other exhibitions in Vienna and Paris until her emigration to the United States in 1930. Throughout her career in the United States. she was actively involved with many prestigious galleries and museum organizations including the Brooklyn Museum of Art, the Allied Artists of America and the Kennedy Galleries in New York City. She was commissioned to do portraits of such important people as Eleanor Roosevelt, the young English princess Elizabeth and Margaret as well as Marian Anderson. It is for her floral still-lifes, however, that Marie is best cherished and remembered.
• ARTHUR PARTON (AMERICAN, 1842-1914)
  ARTHUR PARTON (AMERICAN, 1842-1914) Oil on canvas. Signed 'Arthur Parton 1882' (lower left). Catalogue Note: Arthur Parton was a successful artist from Hudson, New York who began his career as a Hudson River artist and became one of the few artists who was able to make the transition to the more fluid and poetic style initiated in this country by George Inness, commonly known as the Barbizon School. After the American Civil War, many American artists rejected the antebellum Hudson River School concept of landscape as an expression of God's bounty. Instead, they looked abroad for inspiration, especially to the Barbizon School of French landscape painting. With loose and heavily loaded brushstrokes they painted personal and romantic responses to the moods of the French countryside. The dominant tones of grey-blue and the darker greens were characteristic of this style.
• ATTRIBUTED TO GEORGE INNESS
  ATTRIBUTED TO GEORGE INNESS (1825-1894) Oil on canvas. Tonalist Landscape. Signature at lower right. Name plate affixed to frame. From Dobbs Ferry estate. (Has not gone through the Inness foundation). Dimensions: 11.5" h x 15.5" w Condition: Relined. Minor scuffs.
• ATTRIBUTED TO GEORGE INNESS, JR.
  ATTRIBUTED TO GEORGE INNESS, JR. (1853-1926) : LANDSCAPE WITH BARN AND HAYOil on board, signed 'Inness' lower left. 8 1/2 x 12 in., 13 1/2 x 16 1/2 in. (frame). Condition Several surface scrapes, two at center, one at bottom. Surface soiling.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• GEORGE INNESS (NY/MA/SCOTLAND,
  GEORGE INNESS (NY/MA/SCOTLAND, (1825-1894) Sunset over a Piney Riverbank, oil on canvas, signed lower right and dated 1857, in later matched corner gilt cove frame, OS: 21" x 27", SS: 15 1/2" x 21 1/2", overall craquelure.
• MARK FISHER OIL ON CANVAS LANDSCAPE
  MARK FISHER OIL ON CANVAS LANDSCAPE W/ COWSWilliam Mark Fisher (Massachusetts/ United Kingdom, 1841 - 1923) impressionist landscape painting depicting cows resting on a hilltop by trees. Signed lower left, "Mark Fisher". Housed in a carved gilt wood frame with leaf border. Sight - 14 1/4" H x 17" W. Framed - 22" H x 24 3/4" W. Biography (Courtesy of AskArt): William Mark Fisher studied at the Lowell Institute in Massachusetts and in Paris with Charles Gleyre, but it was his study with George Inness that influenced him to become a landscape painter. In 1877, he went to England and rapidly became one of the foremost painters of realistic landscape and animals. Fisher achieved such a reputation in England that his fellow artists elected him to full membership in the Royal Academy, the New English Art Club, and president of the Essex Club. Fisher also exhibited in expositions in Chicago, St. Louis and Paris, winning medals. The artist's works are in the collection of the Museum of Fine Arts in Boston and the Tate Gallery in London. Condition: Overall very good condition.
• SARAH BLYTHE BEATTY OIL ON CANVAS
  SARAH BLYTHE BEATTY OIL ON CANVAS TITLED "STEUBENVILLE ...Sarah Downing Blythe Beatty (Pennsylvania, 1876-1943) oil on canvas titled STEUBENVILLE NIGHT BUS depicting a nursing and sleeping mother with her three sleeping children and other passengers on a bus. Exhibition label en verso reading, Sarah Blythe Beatty, The Butler Art Institute, Youngstown, OH, 1941 New Year Show, en verso. Housed in an elaborate carved gilt wood frame. Biography - Sarah Downing Blythe Beatty, of Pittsburgh, PA was born in Indianola, Iowa but spent most of her youth in Malvern, Iowa at BLYTHEWOOD, her grandfather's farm. She entered the Philadelphia Academy of Fine Arts around 1895 or 1896 where she studied with Robert Henri and George Inness, Jr. She was a founding member of The Associated Artists of Pittsburgh and won first place in the 1914 Pittsburgh show. The painting has a provenance from the estate of Ann Thomas Kern, Pittsburgh, PA. Sight: 23 1/2" H x 29 1/2" W. Framed: 36" H x 42 1/4" W x 4" D. (Higher-resolution photos are available at www.caseantiques.com) Condition: Some rubbing and pinprick to canvas on left margin and rubbing lower left margin by stretcher.
• CHARLES APPEL OIL
  CHARLES APPEL OIL LANDSCAPECharles P. Appel (American, 1857-1928) oil on canvas, laid down on panel. Tonalist landscape depicting a road leading by a small pond and grove of trees at sunset; a rooftop is visible in the background. Signed C.P. Appel lower left. Later giltwood frame with beaded rabbet edge. 9 3/4 x 6 3/4" sight, 13" x 10" framed. Biography (courtesy Askart): Born in Brooklyn, New York, Charles Appel is known for romantic landscapes and marine paintings in Tonalist and Impressionistic styles. He was a pupil of Francis Luis Mora and William Merritt Chase at the New York School of Art and of Frank Vincent DuMond at The Art Students League. The major influence on his career, however, was George Inness. Most of his life was spent in East Orange, New Jersey from where he was active in New York art circles and was elected a member of the Salmagundi Club in 1906. Provenance: Private collection, Nashville, TN. (Higher-resolution photos are available at www.caseantiques.com) Condition: Canvas has been laid down on panel, otherwise excellent condition.
• GEORGE INNESS "SOLITUDE" OIL ON
  GEORGE INNESS "SOLITUDE" OIL ON CANVASGeorge Inness (1825-1894). Oil on canvas titled "Solitude" depicting a river landscape. Signed along lower left. C. 1859. Provenance: Loaned to the Minneapolis Institute of Art by Mr. and Mrs. Harold H. Tearse (November 4, 1965-January 2, 1966). Literature: Catalogue Raisonne by Michael Quick, #138 p. 151 Dimensions: Unframed; height: 14 in x width: 12 in. Framed; height: 20 in x width: 18 in. SKU: 01060 Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email lia@revereauctions.com with any condition questions.
• GEORGE INNESS (AMERICAN, 1825-1984)
  GEORGE INNESS (AMERICAN, 1825-1984) LANDSCAPE OILGEORGE INNESS (AMERICAN, 1825-1984) LANDSCAPE OIL ON BOARD SIGNED & DATED LOWER LEFT 15"x19.5" TOTAL FRAMED 9.5"x14" CANVAS EF
• GUSTAVE COURBET (1819 - 1877)
  GUSTAVE COURBET (1819 - 1877) "CLIFF NEAR ORNANS"Gustave Courbet (French, 1819 - 1877) "Rock Cliff Near Ornans" Oil on Canvas. Signed and dated '73 lower left. Depicting cliffs of gray, rock reflected in the mirror-like surface of river Loue, with the grass grown summits forming a horizon before a growing cloudy sky; the water lapping a beach in the left foreground strewn with boulders. Provenance: - George Seney (1826-1893) NY, NY As president of the Metropolitan Bank (New York City), Seney was situated to become a financier of newly chartered railroads. Charters organized or financed by banker Seney and his Seney Syndicate included the East Tennessee, Virginia and Georgia Railway and the Nickel Plate Road. He was best remembered for amassing a substantial collection of pre-Impressionist 19th-century European and American paintings, some of which he gave to the Metropolitan Museum of Art. The donation included works by George Inness and Francis Davis Millet. - Charles S. Haight Sr.- Sold through Sotheby's Parke-Bernet Galleries January 17th, 1941. - Sotheby's Parke Bernet Galleries sold March 23, 1950 (lot 60- "Rock Cliff Near Ornans" Illustrated). - Private collection Philadelphia Pennsylvania until 2019. - Private collection, Washington DC. Literature: World Collectors Annuary, Vol II 1950 by Fred A. Van Braam, Amsterdamn, Entry # 827. See last images for Sotheby's Parke Bernet 1950 catalog entry. Sight Size: 39.5 x 59.5 in. Overall Framed Size: 47 x 67 in. Condition: - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. - All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
• GEORGE INNESS(American,
  GEORGE INNESS(American, 1824-1894) Homeward Bound, painted circa 1864-65, signed lower right "Geo Inness 1865", oil on canvas, 26 x 36-1/2 in.; fine period carved gilt wood and composition frame, 37-1/2 x 47-1/2 in. Literature: Ireland Leroy, Donald B Goodall and Robert G McIntyre. 1965. The Works of George Inness : An Illustrated Catalogue Raisonne . Austin: University of Texas Press, p. 70, #276, ill,; The Magazine Antiques , vol. 160, no. 1, July 2001, p. 41, color reproduction advertisement by M.S. Rau; Quick Michael. 2007. George Inness : A Catalogue Raisonne . New Brunswick N.J: Rutgers University Press, volume I, p. 240, #288., ill. Exhibited: Medfield, Massachusetts, Medfield Public Library, 1986 Provenance: Private Collection, New York; Parke-Bernet Galleries, New York, NY, May 16, 1951 lot 22; Bokmir Kryll, Chicago, Illinois; Parke-Bernet Galleries, New York, NY, January 28-29, 1970, lot 123; Coe Kerr Gallery, New York, NY (label verso); Don Purdy, Wilton, Connecticut; Michael N. Altman, New York, NY; Private Collection, Arizona; M.S. Rau, New Orleans, Louisiana, 2001; Collection of Brent and Kimberly Brown, 2002; Hawthorne Fine Art, Irvington, New York (label verso). This lot is accompanied by a copy of an appraisal from Hawthorne Fine Art.; Private Collection, Florida Condition: linen lined, areas of fluorescence; frame restored and sized to fit, minimal wear commensurate with age
• COUNTRY LANDSCAPE PAINTING SIGNED
  COUNTRY LANDSCAPE PAINTING SIGNED G. INNESS: Possibly George Inness, Senior. Oil/Canvas, 16.5'' x 14.75'', signed lower left, framed, 23'' x 21''. CONDITION: Relined, several scattered touches of inpaint, needs cleaning, scattered craquelure throughout.
• GEORGE INNESS, AMERICAN
  GEORGE INNESS, AMERICAN (1825-1894), "SUNSET OVER THE HUDSON", CA. 1880, OIL ON BOARD (CRADLED), 22 X 34 INCHESGEORGE INNESS, American, (1825-1894) "Sunset Over the Hudson", ca. 1880, oil on board (cradled) signed and dated lower left "G. Inness 1880", signed and dated lower right "188?" oil on board (cradled) Dimensions: 22 x 34 inches Provenance: Estate of the artist; (sale, Fifth Avenue Art Galleries, New York [George Inness Executor's sale] February 12-14, 1895, no. 41, as Sunset over the River); F. L. Leland, purchased at auction, 1895; With Newman E. Montross, New York; (sale, American Art Association, New York, February 8, 1923, no. 67, as Sunset, repro.); With R. C. and N. M. Vose, 1923-24, recorded first as Sunset, then as In the Gloaming; Gage Galleries, Cleveland, Ohio, 1924; Elizabeth Bingham Blossom, Cleveland, Ohio; Private collection by descent to 2022. Condition: in overall very good condition; a few small areas of craquelure; a few small areas of inpaint; additional UV photos available upon request; in a Carrig Rohane frame We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE.
• GEORGE INNESS, (AMERICAN,
  GEORGE INNESS, (AMERICAN, 1825-1894), LANDSCAPE, OIL ON CANVAS, 12 X 18 IN., FRAME: 23 X 29 IN.GEORGE INNESS, (American, 1825-1894) Landscape, oil on canvas signed G. Inness l.r. 12 x 18 in., frame: 23 x 29 in. Provenance: Formerly in the collection of the Art Institute of Chicago; a Massachusetts collector. Literature: Michael Quick, George Inness, A Catalogue Raisonne, 2007, vol. 1, no. 524, p. 468. Condition: UV examination reveals area of inpainting extending vertically approx. 5 1/2 in. from lower edge, center; scattered restoration; surface dirt and grime; unlined.
• GEORGE INNESS, (AMERICAN,
  GEORGE INNESS, (AMERICAN, 1825-1894), THE ROMAN CAMPAGNA (SOUVENIR OF ITALY), 1874, OIL ON CANVAS, 20 3/4 X 30 3/8 IN., FRAME: 32 X 42 IN.GEORGE INNESS, (American, 1825-1894) The Roman Campagna (Souvenir of Italy), 1874, oil on canvas signed and dated G. Inness 1874, l.r. 20 3/4 x 30 3/8 in., frame: 32 x 42 in. Provenance: Thomas Wigglesworth, Boston; with Vose Galleries, Boston, 1901; Thayer A. Gaskill, 1901; George A. Gaskill by 1914; with Goodspeed's Book Shop, Boston, 1940; a New England Collection. Exhibitions: - Boston, Doll & Richards, ca. May 12, 1875, no. 11, as The Roman Campagna. - Worcester, Massachusetts, Worcester Art Museum, Exhibition of Contemporary American Paintings Owned in Worcester County, 1914, no. 27, lent by Mr. George A. Gaskill. Literature: - Ireland, LeRoy. The Works of George Inness: An Illustrated Catalogue Raisonne. Austin, Texas, 1965, cat. no 657 (illus). - Quick, Michael. George Inness: A Catalogue Raisonne. Rutgers University Press, New Jersey, 2007. Vol. 1, p. 426. cat. 461 (illus.). - Vance, William L. America's Rome, vol. 1 (Classical Rome). Yale University Press, 1986, p. 73, 125, illus p. 74. Other Notes: Inness was based in Rome from 1870-1874, and spent the summer of 1875 in Paris before moving back to Boston in early 1875. Condition: Condition: Aluminium lined; very minor scattered restoration throughout. Stable craquelure, concentrated along lower edge and in sky. Sideways v-shaped surface abrasion to lower right of ruin (visible in photo).
• GEORGE INNESS, (AMERICAN,
  GEORGE INNESS, (AMERICAN, 1825-1894), EDGE OF THE WOODS, OIL ON CANVAS, 8 X 11 IN., FRAME: 12 X 15 1/2 IN.GEORGE INNESS (American, 1825-1894) Edge of the Woods oil on canvas possibly signed indistinctly lower right 8 x 11 in., frame: 12 x 15 1/2 in. oil on canvas Dimensions: 8 x 11 in., frame: 12 x 15 1/2 in. Provenance: Property of a Connecticut Family Collection. Condition: Scattered restoration throughout. Lined, canvas stiff and somewhat warped. Yellowed vanish, in need of a cleaning, but with thinned paint in some areas. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• GEORGE INNESS, (AMERICAN,
  GEORGE INNESS, (AMERICAN, 1825-1894), LANDSCAPE, OIL ON CANVAS, 10 X 14 IN., FRAME: 21 1/2 X 25 1/4 IN.GEORGE INNESS (American, 1825-1894) Landscape oil on canvas signed G. Inness lower right 10 x 14 in., frame: 21 1/2 x 25 1/4 in. oil on canvas Dimensions: 10 x 14 in., frame: 21 1/2 x 25 1/4 in. Provenance: The Collection of a Massachusetts Family. Condition: Canvas lined (old restoration); two small (approx. 1 in.) streaks of inpainting, lower right. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• SEVEN BOOKS ON ARTISTS,
  SEVEN BOOKS ON ARTISTS, COMPRISING EXAMPLES ON MAYNARD DIXON, DIETZ EDZARD, GEORGE INNESS, EL GRECO, ABRAHAM MANIEVICH, GILBERT STUART, ROMARE BEARDEN AND HARRY HENDERSON. (7)SEVEN BOOKS ON ARTISTS Comprising examples on Maynard Dixon, Dietz Edzard, George Inness, El Greco, Abraham Manievich, Gilbert Stuart, Romare Bearden and Harry Henderson. (7)
• ARTHUR PARTON (AMERICAN,
  ARTHUR PARTON (AMERICAN, 1842-1914), "SUNSET ON THE HUDSON" Oil on canvas. Signed and dated Arthur Parton '74 (lower right). Catalogue Note: Arthur Parton was a successful artist from Hudson, New York who began his career as a Hudson River artist and became one of the few artists who was able to make the transition to the more fluid and poetic style initiated in this country by George Inness, commonly known as the Barbizon School. Parton was fortunate to have been born in a town with a number of eminent painters as neighbors: Thomas Cole was just across the river, Frederick Church had settled on a nearby hill, Sanford Robinson Gifford was a resident of Hudson. Arthur may well have known these artists in his childhood. At the age of 17, Parton went to the Pennsylvania Academy of Fine Arts to study with William Trost Richards who had developed his style under the influence of Church and Cole as well as the English Pre-Raphaelites. He remained there until 1861. Richards frequently used the typical Cole devices of framing a scene with trees, a body of water dominating the middle ground and a panoramic view of an axial mountain in the background. All of these elements are clearly visible in this particular painting. By 1862, Parton was regularly exhibiting at the National Academy of Design in New York City. By 1864, Parton had moved to New York City, and continued to exhibit regularly at the National Academy of Design. He was able to spend the years 1869 to 1874 in Europe, first in Paris and then England and Scotland, where he experienced the work of the Barbizon artists for the first time and also encountered the Ruskin Pre-Raphaelites. This was a style that was to supplant the Hudson River School in America. After the American Civil War many American artists, rejected the antebellum Hudson River School concept of landscape as an expression of God's bounty. Instead they looked abroad for inspiration, especially to the Barbizon School of French landscape painting. With loose and heavily loaded brushstrokes they painted personal and romantic responses to the moods of the French countryside. The dominant tones of grey-blue and the darker greens were characteristic of this style. Upon his return in 1874, he was sufficiently successful to be able to afford a studio at the famous Tenth Street Studio Building, the hub of late nineteenth-century artistic entrepreneurism. Summers were spent either in the Catskill Mountains or the Adirondack region around Keene Valley. Here again Parton was fortunate to share his painting trips with his brother Ernest who was also a painter, and William Hart. Upon his return from Europe, Parton became known as "the American Corot." Lake George owes a great deal to the two traditions that most influenced Parton: the Cole-like framing devices of the Hudson River painters as well as the luminous sunset effects of light upon the clouds in the background, and the characteristic Barbizon palette. Although Parton stopped exhibiting his work by 1900, partly due to a change in public taste in favor of a more flamboyant Impressionism, he continued to paint for the remainder of his life and died in 1914 after a short bout with pneumonia.
• GEORGE NELSON CASS (AMERICAN,
  GEORGE NELSON CASS (AMERICAN, 1831-1882), "NEW JERSEY MEADOWS" Oil on canvas. Signed and dated 'G.N.C. 1864' (lower left). Catalogue Note: George Nelson Cass was, in his day, a major exponent of the Barbizon landscape aesthetic and a still life painter of note. In the 1860's and late 1870's Cass was a neighbor of George Inness in Medfield, Massachusetts and studied with this highly regarded and influential American landscape artist. Cass highly regarded Inness and often sent aspiring young artists such as Mark Fisher and John Austin Sands Monks to Inness for tutelage. During the time when Cass was living in Medfield, the town briefly assumed an important artistic identity, particularly due to Inness moving there in 1860. Due to its proximity to Boston, the pastoral lanscapes, and Inness' depiction of the landscape, Medfield became known as America's Barbizon. Several Boston artists flocked to Medfield to work with Inness, including George Cass. George Cass exhibited his works during the 1860's, when this particular painting was executed, at the National Academy of Design and Boston Athenaeum. During the 1870's he primarily exhibited at the Boston Art Club. The influence George Inness had on Cass can clearly be seen in his painting New Jersey Meadows. As with Inness' works, such as Evening Landscape, 1863, Cass creates a spirituality and romance to the landscape by washing the trees and meadow in the warm, red glow of the sun. The painting truly depicts all of the elements which made Cass such a major exponent in the American Barbizon movement.
• MANNER OF GEORGE INNESS (AMERICA,
  MANNER OF GEORGE INNESS (AMERICA, LATE 19TH CENTURY), FIGURES BENEATH A LARGE TREE., OIL ON PANEL, 12” X 15”. UNFRAMED.MANNER OF GEORGE INNESS, America, Late 19th Century, Figures beneath a large tree. Unsigned. Numbered 194 verso. Label verso for E.C. Babcock, New York. Dimensions: Oil on panel, 12" x 15". Unframed.
• GEORGE INNESS, JR. (NEW
  GEORGE INNESS, JR. (NEW YORK/FLORIDA/FRANCE, 1854-1926), MEADOW LANDSCAPE WITH HOUSE., OIL ON CANVAS, 26" X 32". FRAMED 34" X 40".GEORGE INNESS, JR., New York/Florida/France, 1854-1926, Meadow landscape with house. Signed lower left "Innes Jr.". Dimensions: Oil on canvas, 26" x 32". Framed 34" x 40".
• CAROL STROCK-WASSON, AMERICAN
  CAROL STROCK-WASSON, AMERICAN (B.1958), KOI FEEDING #2, IMPRESSIONIST PASTEL ON PAPER, 13 1/2"H X 17 1/2"W (SIGHT), 16 3/4"H X 20 3/4"W (FRAME)Carol Strock-Wasson, American, (b.1958) Koi Feeding #2, impressionist pastel on paper signed lower right, inscribed verso; "Painted at my koi pond, Union City, Indiana" Biography from the archives of AskArt: The following is submitted by Steve Zimmerman, Indiana art collector and scholar, who is curating a museum exhibition titled Quest for the West, opening 2006. "It doesn't matter what you paint, but rather what you feel about what you paint. I have a strong feeling for everything I paint." In her own words, the essence of what Carol is striving to convey is said. Devoted to plein air painting, and always venturing forth into new areas with her box of pastels, Carol Strock-Wasson is focused on painting with spontaneity and freshness. In her opinion, studio painting is always viewed as Plan B and a sanctuary to reflect upon what she has created in the field and a rendezvous point for her thoughts and aspirations. At the end of the day, though, she returns to the weather forecast and where she is headed next. Carol Strock-Wasson is a product of the Indiana soil and co-owner of a large landscaping and design nursery right on the Indiana-Ohio border. She was born there in Union City and still calls it home though her many friends and supporters are more likely to see her heading for a new locale to paint in her SUV filled with paint boards and every color of pastel imaginable. Strock-Wasson trained at Vincennes College and Ball State University and has persistently sought workshops and the counsel of established artists throughout Indiana and surrounding states. The landscape is her church and the willingness to explore all of Mother Nature's expressions is embodied in her work. Prolific to a fault and never quite satisfied, Carol is constantly moving toward her next project. Along the way she is ever mindful of her favorite artists such as George Inness, Charles Hawthorne, and John Fabian Carlson, yet never tempted to copy them. Rather, she embraces every opportunity to meet other artists and view the work of all ranges of successful painters to extend her base into new territory. Now in her 25th year of painting professionally, she is stretching to paint both in watercolor and oil. Her reasons are simple. Until a painter has experimented with all media, the career remains too narrow and her reputation perhaps too narrowly defined. The fact that she has won numerous awards and exhibited in a wide range of paints outs, juried shows, and invitational events is proof that she is confident of her own status. Memberships include the Randolph County Art Association, Hoosier Salon, Indiana Artist Club, Indiana Plein Air Painters Association, and an associate of the Pastel Society of America. Carol has received numerous awards including Hoosier Salon Purchase Award, Arts for the Parks, Pastel Society of America, Indiana Heritage Arts, and the Pastels USA International Open Exhibition. impressionist pastel on paper Dimensions: 13 1/2"H x 17 1/2"W (sight), 16 3/4"H x 20 3/4"W (frame)
• RACHEL V. HARTLEY, NEW YORK
  RACHEL V. HARTLEY, NEW YORK (1884-1955), UNTITLED, 1932, OIL ON BOARD, 19 1/2"H X 23 1/4"W (SIGHT), 28"H X 31"W (FRAME).Rachel V. Hartley, New York, (1884-1955) untitled, 1932, oil on board Signed and dated lower right. Exhibited: PPOW Gallery, NY Biography from the Archives of askART: Born into a family of artists in New York City on January 4, 1884, Rachel Hartley was the daughter of sculptor Jonathon Scott Hartley and Helen Inness Hartley. Her grandfather was George Inness, one of America's greatest 19th century painters. She was raised in Montclair, New Jersey, and educated in private schools there. At age 17, and with a letter of recommendation from her famous grandfather, Miss Hartley entered the Art Students League in New York City as a special student. After her studies at the League were over, she worked in a studio next to her father's and devoted herself to portraits. In 1916, she was invited to accompany her botanist brother on the first William Beebe expedition to South America. Hartley was the official artist on the expedition organized by the American Museum of Natural History. The team spent six months at the Tropical Research Station of the New York Zoological Society in British Guiana. During the trip, Hartley perfected a loose representational style and developed a keen interest in the pure landscape expressed through natural colors and dramatic use of light. An important untitled Florida painting of a large and impressive tree that dominates a riverine landscape, now in the Percy-Geiger Collection in Tallahassee, Florida, is representative of this phase in her career. Here, Hartley also reflects the influence of the independent movement in American art led by Robert Henri and John Sloan but in a Florida-based landscape with possible religious reference to the Tree in the Garden of Eden. This painting hovers between 19th century academic painting and the work of the 20th century Realists. Rachel Hartley often said that her "artistic career really began on a train bound for Tarpon Springs, Florida, with her grandparents," who maintained a vacation home there. Florida was to play an important role in the life of this suffragette artist throughout her long and prolific career. Hartley maintained residences in New York City and Southampton, Long Island. Typically, she spent summers partly in Southampton and partly in Provincetown, Gloucester, or elsewhere in New England. She also spent part of the year painting in Florida and other southern states, especially Virginia and the Carolinas. She exhibited her popular works, including Florida-themed works, principally in the Northeast in Boston and New York, including exhibitions at the Ainslie and MacBeth Galleries. Her paintings are included in many North and South American collections, including the National Gallery in Georgetown, British Guiana, and the Museum of Arts and Sciences in Daytona Beach, Florida. Hartley is included in a number of standard reference works including Modernism in the South, Impressionism and Post-Impressionism Transformations 1885-1945, the Dictionary of American Artists, and Reflections II :Watercolors of Florida 1835 – 2000. Hartley's important "Peacock paintings" are based on a well-known farm located at the southeast corner of Haines Road or U.S. 19 and Gulf to Bay Boulevard in Clearwater, Florida. The Seville Farm produced peacocks that eventually inundated the area of Greenbriar in north Clearwater where this farm was founded and run by African-American farmers in the 1920s who collected the peacock feathers to sell for use in the fashion industry. The Great Depression signaled the end of the Seville Farm and the fowl were released into the area. Over the years many of the peafowl have been trapped and relocated, yet many still roam the area today. In the painting represented here, Hartley unites the African-American farmers with their fowl. She presents a marginal location and cultural moment previously ignored as inappropriate for the subject of a painting until the revolution prompted by the so-called Ashcan Group of painters at the Art Students League prior to the Armory Show of 1913 where a new style of relaxed realism and personal expression was formally introduced to contemporary American art. In doing so, she creates a canvas of visual interest in her characteristic style of relaxed realism and local color, as she captures a bit of Black ethnic life and history which was a subject of great interest to northern artists and thinkers working in the South because of the exotic and symbol-laden peacock with its rich associations of sainthood, vice, and the mysteries of the East. Excerpt from essay submitted to askART titled Out of the Shadows: Women and the Florida School of Art, by Gary R. Libby, Art Historian and author of book Reflections II: Watercolors of Florida 1835-2000. oil on board Dimensions: 19 1/2"H x 23 1/4"w (sight), 28"H x 31"W (frame).
• DANIEL KOTZ, NEW YORK, NEW
  DANIEL KOTZ, NEW YORK, NEW JERSEY, INDIANA (1848 - 1933), SPRING PASTURE, 1911, PASTEL ON PAPER, 19 1/2"H X 24 1/2"W (SIGHT), 28 3/4"H X 33 3/4"W (FRAME)Daniel Kotz, New York, New Jersey, Indiana, (1848 - 1933) Spring Pasture, 1911, pastel on paper Signed and dated lower left. Biography from the Archives of askART: Daniel Kotz, painter, etcher, and engraver, was born in a log cabin in South Bend, Indiana, near Notre Dame, on March 21, 1848. He spent much of his youth working on the family farm, where he enjoyed nature and the countryside around him. In his spare time, he discovered he had an interest in drawing and sketching his surroundings, including trees, open meadows, hayfields and more. On the advice of Dr. Buchtel, the family physician, he began to devote himself to studying art. While he traveled around the area of the St. Joseph River and the Lake Michigan area, his interest in landscapes grew, as did his ability to capture it on paper and canvas. Daniel went to Northwestern College in Napiersville, Illinois, where he wrote a column called "Kotz's Mite" for their monthly publication. In 1870, he went to Chicago where he studied under Henry F. Spread, and in 1875 he worked with Henry Arthur Elkins. Kotz was a charter member of the Chicago Art League. In the 1880s, he was commissioned by then Vice-President Schuyler Colfax, to execute a painting for his wife. Around 1890, he went to New York City, where he opened a studio. He was the cover story of the American Art Journal, March 22, 1890, and there in 1886 at the National Academy of Design, he exhibited the first painting he had ever exhibited in Chicago. In the 1890's, Daniel Kotz built a commodious studio and home on a New Jersey hillside at Park Ridge, overlooking the beautiful Pascack Valley with New York in the distance. He was one of the originators of the Salmagundi Club in New York around the turn of the century. He was a member of the Salmagundi Club, the Nanuet Painters, the American Artist Professional League, and the Beachcombers' Club in Provincetown. He is known to have exhibited at the New York Etching Club, the National Academy of Design 1909, the Salmagundi Club, the Boston Art Club 1889, 1892, 1896, 1898, 1899, the Art Institute of Chicago 1889, 1894, 1896, 1897, 1904, 1905, 1908, 1909, 1911, 1917, the Pennsylvania Academy of Fine Arts 1895, 1898-1900, and the American Art Association. In May of 1948, Kotz's daughter, the Countess Eleanor Kotz Savorgnan Di Brazza, held an exhibition for two weeks of about 20 of her father's works. The exhibition was in Chicago and at the Progress Club, which is associated with the Art Institute of Chicago. He found more and more of his favorite subject matter throughout the New England area, where he painted until his death in 1933. His contemporaries and friends included Thomas Eakins, J. Francis Murphy, Alexander Schilling, Max Bohm, John Noble, and George Inness. Daniel Kotz died in Park Ridge, New Jersey in 1933. Submitted August 2007 by Michael R. Perez, Art Collector and Historian, The Artisfun Gallery Sources include interviews with Steve Bentrup, art collector who knew the family; Peter Hastings Falk, Editor, Who Was Who in American Art, copies of exhibition catalogues. pastel on paper Dimensions: 19 1/2"H x 24 1/2"W (sight), 28 3/4"H x 33 3/4"W (frame)
• GEORGE INNESS NA, (1825-1894), "A
  GEORGE INNESS NA, (1825-1894), "A SUMMER LANDSCAPE," C. 1880, OIL ON CANVAS, 12" H X 16" WGeorge Inness NA, (1825-1894) "A Summer Landscape," c. 1880, Oil on canvas Signed lower left: G. Inness; titled verso; titled secondarily on letter of authenticity Oil on canvas Dimensions: 12" H x 16" W Provenance: Sold: Susanin's Auctioneers & Appraisers, Chicago, IL, September 20, 2019, Lot 6247 Private Collection, Los Angeles, CA
• AFTER GEORGE INNESS, THE LACKAWANNA
  AFTER GEORGE INNESS, THE LACKAWANNA VALLEY, 1856, OIL ON BOARD, CANVAS: 11 1/2 X 15 1/2 IN. (29.2 X 39.4 CM.), FRAME: 17 X 21 IN. (43.2 X 53.3 CM.)AFTER GEORGE INNESS, THE LACKAWANNA VALLEY, 1856, Oil on board After the painting in the National Gallery of Art, Washington D.C. Acc. no. 1945.4.1 Oil on board Dimensions: Canvas: 11 1/2 x 15 1/2 in. (29.2 x 39.4 cm.), Frame: 17 x 21 in. (43.2 x 53.3 cm.)
• AFTER GEORGE INNESS: LANDSCAPE WITH
  AFTER GEORGE INNESS: LANDSCAPE WITH FIGURESoil on canvas; signed lower right; 18 x 24 inches; 25 1/2 x 31 3/4 inches frame Condition:
• GEORGE INNESS (AMERICAN,
  GEORGE INNESS (AMERICAN, 1825-1894)George Inness (American, 1825-1894) , "Dawn", 1888, oil on canvas, signed and dated lower right, "The Oakland Museum, Oakland, CA", "The Santa Barbara Museum of Art, Santa Barbara, CA" exhibition labels and "Ollendorf Fine Arts" label on stretcher, 22 in. x 36 in., original frame with brass artist plaque. Provenance: Collection of James William Wellsworth (1849-1925), Chicago and New York, c, 1989; Sloan & Roman, Inc., New York, 1968; Meredith Long and Company, Houston, TX; Estate of James H. Stone , New Orleans, LA. Exh.: "George Inness Landscapes: His Signature Years, 1884-1894", The Oakland Museum of Art, Oakland, CA, Nov. 28, 1978 - Jan. 28, 1979; "George Inness Landscapes: His Signature Years, 1884-1894", The Santa Barbara Museum of Art, Santa Barbara, CA, Feb. 10 - Apr. 15, 1979. Ill.: Quick, Michael. George Inness: A Catalogue Raisonné. New Brunswick: Rutgers University Press, 2007, pp. 228-29, no. 934.
• GEORGE INNESS, AMERICAN
  GEORGE INNESS, AMERICAN (1825-1894), "LIGHT TRIUMPHANT," 1862, OIL ON CANVAS, 11 X 18 INCHESGEORGE INNESS, American, (1825-1894) "Light Triumphant," 1862, oil on canvas signed and dated lower right "G. Inness 1862" oil on canvas Dimensions: 11 x 18 inches Provenance: The artist; the Reverend Henry Ward Beecher; by descent to Mrs. H.B. Beecher; James P. Silo Auctioneer, February 13-14, 1896, lot 164; Senator Frederick S. Gibbs, New York, by 1899; American Art Association, New York [Gibbs Sale], February 24-26, 1904, lot 226; with Scott & Fowles, New York, purchased at auction, 1904; Alexander R. Peacock, Pittsburgh; American Art Association, New York [Peacock Sale], January 10, 1922, lot 6; with Scott & Fowles, New York,1922; C.C. Stillman, New York, New York, 1924; Sotheby's, New York, New York, April 11, 2013, lot 52; Private Collection, Alabama. Condition: in overall good condition; old wax lining; fine crazing in the center; minor scattered restoration mostly in the sky; a 4-inch thin line repair along bottom edge, likely to cover frame abrasion; additional UV photos available upon request Condition
• GEORGE INNESS OIL ON CANVAS
  GEORGE INNESS OIL ON CANVAS LANDSCAPEGeorge Inness (American 1825-1894) , oil on canvas landscape with castle in rolling hills and rooftop in foreground, signed lower right, appears to retain its original giltwood frame, 21" x 30". Provenance: A Bucks County collection. Condition: Illegible date lower right. Old lining. Craquelure. Flake in center. Minor scattered small touch ups 2%.
• GEORGE INNESS JR. (AMERICAN,
  GEORGE INNESS JR. (AMERICAN, 1853-1926) LANDSCAPE, 1886 OIL ON CANVAS: 30 X 40 IN.GEORGE INNESS JR., (AMERICAN, 1853-1926) LANDSCAPE, 1886, Oil on canvas: 30 x 40 in. Framed; lower right signed: G. Inness 1886; verso inscribed: To Margaret / for one who hopes she / will always have Gods blessings /Inness / 1886
• GEORGE INNESS PRINTED
  GEORGE INNESS PRINTED LANDSCAPEGeorge Inness printed landscape, The Lackawanna Valley , frame - 34 1/2" x 48 1/4". NO in-house shipping for this lot. Condition: Good condition. No apparent damages or repairs.