Iris Gardens, c. 1920 – 30s,   oil on board, signed lower right, 22 x 18 inches, notations verso includes title, artist’s name, and address $1750 Iris Garden is typical of Florence White Williams' approach to Impressionist painting. Williams was well regarded for her still life and landscape painting. Eleanor Jewett, art critic for the Chicago Tribune , wrote in 1931, "Florence White Williams is a painter with decided talent. Her work is fresh, vigorous, enthusiastic and ori

Moving Forms , c. 1947, oil on canvas, apparently unsigned, 23 ½ x 20 inches, exhibited The Twenty-Seventh Annual Exhibition of the Southern States Art League , Virginia Museum of Fine Arts, Richmond, VA, March 28 – April 23, 1947 (label verso) $8500 Beulah Barnes Weaver was a Washington DC-based painter, sculptor, and art instructor. Educated at the Art Students League and the Corcoran School of Art with Peppino Mangravite and Karl Knaths, Weaver deeply explored the American

Provincetown Landscape (Ptown Landscape) , 1942, oil on canvas board, signed lower left, 20 x 24 inches, titled and dated verso, labels verso read 1) “Provincetown Landscape / oil painting by Buelah Stevenson / 252 Fulton St. / Brkn / price $ [illegible] /” and 2) “New York Society of Women Artists”, perhaps exhibited: 1) Society of Independent Artists, American Society of Fine Arts, New York, NY, 1942 – 1944 under the title “Landscape", 2) 17th Annual Exhibition of the New Y

The Ditch , 1934, oil on board, signed and dated lower right, 18 x 24 inches, label verso has title, artist’s name, Colorado and New York addresses, and original price $4250 Virginia True painted The Ditch  during a key moment in her development as a Colorado Regionalist painter. She had moved to Colorado in 1929 to teach at the University of Colorado at Boulder and associated with a group of four other like-minded artists who dubbed themselves The Prospectors. Their goal was

Untitled (Farm) , c. 1930s, oil on canvas, oil on canvas, signed with estate stamp lower right, 20 x 25 inches $3250 Florence Smithburn is best known for Regionalist paintings of her native Indiana like Untitled (Farm) . Writing in 1938 about her thirty-nine-painting solo exhibition at New York’s Argent Gallery, a commentator noted, “The artist is not a stylist. In all her work she has fitted style to subject, and the result shows strength, originality and purpose. Some of th

Untitled (Likely Carmel – Point Lobos) , c. 1950, mixed media on silk, signed lower right, 16 x 20 inches (image) $1750 Carol Kushner Sideman was a California painter. Born in Oakland to Russian Jewish immigrants, Sideman studied art at the University of California Berkeley, graduating with a BFA degree in 1947. While there, she likely painted under, or at least became familiar with, Chiura Obata who had returned to his long-tenured professorship in October 1945. At Berkeley

Untitled (Modernist Landscape), 1950, watercolor on paper, signed and dated lower right, 21 x 14 inches (image) SOLD Dorothy Lowrey Vorhees' Untitled (Modernist Landscape) fits neatly into the mid-century impulse to depict the built landscape through a stylish, fresh set of eyes, as American Scene painters adapted to the new post-war environment. This work likely depicted an image of the St. Louis area, where Vorhees was living in the early 1950s. In it, she used bold strokes

Untitled (Carmel) , c. 1920s, oil on canvas, signed lower right, 18 x 24 inches, signed several times verso, illegible writing verso with the word “Carmel” and what appears to be “Rooms and Apts,” perhaps the title of the work $2750 Untitled (Carmel) is a pleasing example of California plein air painting from the early 20th century. Morgan's light touch and pastel-colored palette do a convincing job of capturing the unique California light falling over a downtown street in C

Untitled (Houses in the Hills) , 1946, watercolor on paper, signed and dated lower right, 14 x 20 inches (image), 24 x 30 inches (frame) $750 Dorothy Sklar was a popular and prolific Los Angeles painter who primarily worked with watercolors. Born in New York to Russian immigrant parents, Sklar’s family moved to Los Angeles in 1904. She studied at UCLA and the Chouinard Art Institute. She was a member of various art organization, including the California Art Club and the Arthu

The Summer House, 1941, oil on Masonite, signed and dated lower right, signed, titled, and dated verso, 16 x 20 ¼ inches $4500 Constance Coleman Richardson was a well-regarded Detroit-based painter. She achieved considerable critical recognition during the 1930s and 1940s for her paintings of the Midwest and West that celebrated the beauty of the American landscape. Unlike many of her contemporaries, Richardson employed classic fifteenth-century Flemish techniques. Her husban

Home to Thanksgiving , c. third quarter 20 th century, oil on Masonite, signed lower left, 26 ¼ x 20 inches $30,000 Priscilla Roberts was an American painter who rose to prominence in the 1940s. Home to Thanksgiving is a prime example of Arch Realism, the name Roberts gave to her variation on the more commonly used term Magic Realism.   Roberts imbued her work with a mysterious feeling of stillness, longing, and loss. The present work is a strong example not only of Roberts'

Untitled (New York) , c. 1930s, oil and mixed media on canvas, estate stamped verso, 30 x 25 inches $4250 Bena Frank Mayer was a New York-based painter. Together with her husband, fellow artist Ralph Mayer, she was also an art technologist. Born in Norfolk, Virgina, Bena studied at the Cooper Union, where she won awards for drawing, Hunter College, and at the Art Students League with Gifford Beal, Stuart Davis, and Kenneth Hayes Miller. She also studied portraiture with Cece

San Francisco Fog , 1952, oil on canvas, signed and dated lower right, 20 x 24 inches, label verso bears title and “#17”, Gumps (San Francisco) label verso, exhibited Paintings by Elizabeth Mailliard, Jean Paul and Edith Gaylor Mueller, Lucian Labaudt Gallery, San Francisco, CA, March 31 - April, 1953 $4250 Elizabeth Mailliard's San Francisco Fog is a prime example of mid-century abstraction that draws on objective concrete references, in this case, the Bay Area skyline, bri

Valley Farm , 1943, oil on canvas board, signed and dated lower right, 18 x 24 inches $850 Little is known about apparently untrained painter Elvie Viola Bolton Whited. A native of Arkansas, Whited lived in Oklahoma before arriving in Texas in the early 1920s. According to the 1940 census, she had a third-grade elementary school education and was a housewife and mother to at least five children. Whited's few known paintings are wonderfully naive affairs depicting the American

NY Skyline , 1942, oil on canvas, signed and dated lower left, 24 x 20 inches, dated and titled verso, together with Lewis’ address $6500 NY Skyline  depicts a typical array of Manhattan skyscrapers and the hustle and bustle of New York life, including an employment agency, a chop suey restaurant, and a pair of aircraft flying overhead. What separates Lewis’ painting from the ordinary WPA Era view of the city, is the presence of a corn field in the foreground, something that

Untitled  (perhaps New Jersey Factories) , c. 1940s, oil on board, signed lower left, 24 x 28 inches, perhaps exhibited Fifty-First Annual Exhibition , National Association of Women Artists, American Fine Art Galleries, New York, NY, April 4 – 24, 1943, no. 307, presented in its original frame $5500 Charlotte Kuclich Lermont was a New York-based American Scene painter who mainly worked during the 1930s and 1940s. She was a graduate of Smith College and exhibited nationally du

Untitled (Dallas Skyline) , likely before 1934, oil on canvas, signed lower right, 13 x 11 inches, labels verso with artist’s name, date and place of birth (Dallas) $950 In this rare work, Bessie Gage Larsen depicts the Magnolia Petroleum Building in downtown Dallas. Built in 1922, the Beaux-Arts style 29-story building was the tallest in Dallas for many years. In 1934, likely after Larsen painted this work, the oil company installed its neon Pegasus logo on the roof of the b

Spring Snowfall Seattle,  1937, watercolor on paper mounted on panel, signed lower right, 16 ½ x 17 ½ inches (image) 17 x 22 ½ inches (panel), ), title, measurements and Helder’s address (“Z. Vanessa Helder, 3827 Ronda Vista Place, Los Angeles 27”) written verso, also bears a more recent label (“V. H. #26 W. C.”), exhibited Helder’s first one-person show at Grant Studios, New York, NY, February 19 – March 7, 1938 (used as cover illustration for brochure); the brochure with a

Fiesta , by 1931, oil on canvas, signed lower left, 30 x 25 inches, exhibited Society of Independent Artists , Grand Central Palace, NY, March 7 – March 30, 1931, no. 366 (remnant of label verso and listed in catalog) $4500 Anna Franke Gonzalez was a New York City-based painter, who was born in Bound Brook, New Jersey. She married Pedro Manuel Gonzalez, a native of Cuba, in 1923. By 1928, she was living on Sullivan Street in Manhattan. Little is known about her art education,

Spring , c. late 1940s, oil on canvas, 26 x 16 inches, label verso with title, original price, and artist's name $3750 Spring is an early work, likely from the late 1940s, in which Martha Glogau simplifies landscape, architectural and other man-made forms to create a mysterious, almost Magic Realist, background for a group of girls playing in the backyard of a home. The colorful, partially abstract composition offers a narrative that is hard to make out and leaves the viewer