American Art

<a href="https://www.sothebys.com/en/buy/interiors/hallock-du-pont" rel="noopener noreferrer" target="_blank">Property from the Estate of S. Hallock du Pont, Jr.</a>James A. Fetherolf (American, 1925-1994)

Canadian Spring

Henry Pember Smith (American, 1854-1907).Mounted in a carved giltwood frame.

The Mill Pond, Mid-Summer

Simka Simkhovitch (Russian-American, 1893–1949).Presented in a giltwood frame.

Naomi Seated

Olive Parker Black (American, 1868–1948)This work is offered in a giltwood frame with leaf tip carving at corners

Winter Landscape

Harry Leslie Hoffman (American, 1871–1964).This work is offered in a giltwood frame.

Bermuda Landscape

Lawton Parker (American 1868–1954)This work is offered in a Regence-style carved giltwood frame.

Sunlit Landscape

Gunnar Widforss (Swedish-American, 1879–1934).This watercolor painting is offered framed.

Yosemite

John Ross Key (American, 1837–1920)This work is offered in a fluted giltwood frame with shell carved corners Key was born in Hagerstown, Maryland, but was raised in Washington, D.C. by his famous grandfather, Francis Scott, who penned the lyrics to the U.S. national anthem. Key began his art career relatively late—he did not receive his formal training until 1873, when he traveled to Europe to study in Munich, Germany and Paris, France. His early training (~1857 to 1865) was as a draftsman with the United States Coast Survey, the oldest scientific organization in the United States. The Survey hired only the best scientists and naturalists, and Key served with artists James McNeill Whistler and Gilbert Munge, who made engravings of the features of the eastern United States seaboard. His employment with the Survey brought him off the coastline of Charleston, South Carolina, in 1863, where he witnessed and documented the siege of that city during the American Civil War. Following the war, Key moved to New York City for a brief stay. By 1867, he was in Baltimore, Maryland, and then in 1869, he was sent to California by Lois Prang (the Boston lithographer) to paint a series of landscapes that included the Golden Gate Bridge, Yosemite, the giant sequoia trees and Lake Tahoe. When Key returned from his studies abroad in 1875, he worked in Chicago, St. Louis, New York and Baltimore and finally in Boston, where he opened a studio. Key moved to Washington, D.C. in 1908 and stayed there until 1917, at which point he moved to Baltimore until his death in 1920. Key exhibited at the National Academy of Design, The Pennsylvania Academy of the Fine Arts, The Boston Athenaeum, Mechanics Institute (San Francisco), The Boston Art Club, Corcoran Gallery and the Society of Independent Artists.

A Country Garden 

Frederick Stone Batcheller (American, 1837–1889)This work is offered in a carved giltwood Regence-style frame. Batcheller was born in the fledgling industrial city of Providence, Rhode Island. As Providence was growing into a major industrial center, Batcheller, along with fellow artists (George Whitaker, Edward Bannister, James Lewin, John Arnold, Charles Stetson, Thomas Robinson and Marcus Waterman), were molding it into an eastern cultural center. Together they formed The Group of 1855 to promote art and culture in Providence. Known primarily for his beautifully detailed still-lifes, he had begun his career as a sculptor, having apprenticed as a youth with Providence marble cutters Tingley Brothers. His foray into painting apparently coincided with the inception of The Group of 1855. He was known for his “moodiness” and during periods of melancholy, he would confine himself to his studio with his violin, not unlike the fictional sleuth Sherlock Holmes. This quirk led his friend George Whitaker to call him “the “Romantic.” His mood swings did not hamper his art, but perhaps even enhanced it—his still-lifes are among the best of those produced during that time. Batcheller, with Sydney Burleigh and George Whitaker, among others, was a founder of the Providence Art Club in 1880, the nation's second-oldest art club, only after the Salmagundi Club in New York City. He exhibited his still-lifes there, in addition to some of his landscapes. A skilled artist and well respected by his contemporaries, Batcheller never attained the same level of recognition as his friends. Nonetheless, his paintings are treasures waiting to be rediscovered by those with a discerning eye.

Haystacks with Pumpkins

John Ellsworth Weis (American, 1892–1962)This work is offered in a fluted giltwood frame Cincinnati artist John Weis was born in Powell County, Indiana. While John was young, the family moved first to Higginsport, Ohio, and later to Norwood, Ohio. At the age of 14, his father died, and to help support his family and his art study, he worked at various jobs, including a sign painter, soda fountain jerk and an electric coil winder, while attending night classes at the Cincinnati Academy. He was eventually able to enroll full-time, and in 1917 was offered a faculty position. A Cincinnati newspaper said of Weis in 1917, that he “is more at home in the painting of snow than in any other field.” Although Weis is best known for his impressionist landscapes, he was also an accomplished portraitist and painted local luminaires. During World War I, Weis had served with the One Hundred and Fifty-Ninth Artillery unit in France. After the war, he returned to teach at the Academy, but was determined to return to France to paint its scenic coasts and picturesque villages. In the summer of 1921, Weis, along with student John Myers, fulfilled his dream and left for a three-month sojourn in France, exhibiting at the Paris Salon. Upon their return to Cincinnati, his work was exhibited at the Art Museum in 1921 and 1923. Weis also traveled widely in the United States, including Taos, New Mexico; Woodstock, New York; Rockport, Gloucester and Provincetown, Massachusetts; and Booth Bay Harbor, Maine. In 1957, he retired from the Academy after 38 years. Weis was a member of the Cincinnati Art Club (president, 1927–1928) and Cincinnati MacDowell Club. He exhibited at the Cincinnati Art Club; Pennsylvania Academy of the Fine Arts Annual (1925, 1926, 1927, 1930, 1933); Art Institute of Chicago (1926, 1928, 1930); and Corcoran Gallery biennial (1928, 1932).

Easter

Charles Henry Eaton (American, 1850–1901)This work is offered in a 19th-century Neoclassical giltwood frame with Greek key carving and husk garland ornament. Charles Henry (Harry) Eaton was born in Akron, Ohio, but the Eaton family moved to Cleveland and finally to Detroit, Michigan. Largely self-taught, Eaton studied briefly with John Mix Stanley in Detroit. He had received an inheritance after the death of his father in 1869, which he poorly invested, and this is speculated to be the reason he formed a partnership with another student of Stanley’s, portraitist James F. Maxfield, in 1874. He remained in Detroit as a landscape painter until 1878, at which time he moved to Holly, Michigan. In 1880, another move found him in Chicago, Illinois, where he remained until 1882. Exploring other opportunities, Eaton moved to New York City, which was to be his home base for nearly 10 years. He never severed his ties with Detroit, having sent artwork to the Detroit Art Loan Exhibition in 1883. In fact, he visited Detroit every summer to sketch, and completed paintings from his sketches in his New York studio. He is known to have painted along the Detroit River, near Monroe, along Shiawassee River, also in Michigan, and Conesus Creek and Conesus Lake (westernmost Fingerlake), New York. Eaton made one last move to Leonia, New Jersey, in the 1890s. His painting style is reminiscent of the French Barbizon School. “Last Days of Summer” marvelously captures this lower-toned style. Eaton exhibited widely, including Exposition Universelle; World’s Columbian Exposition; American Water Color Society; Boston Art Club, Brooklyn Art Association; Lotos Club; National Academy of Design and the Western Art Association. Eaton was a member of the Salmagundi Club, the Boston Art Club, the Detroit Artists Association, the Western Art Association and the American Art Association. Eaton was elected to the National Academy of Design (1893), and was President at the time of his death in 1901. He was Secretary of the American Watercolor Society for 14 years and was President at the time of his death. Eaton exhibited at the Boston Art Club (1887, silver); American Art Association (1888, gold); American Watercolor Society (1898, Evans Prize); Philadelphia Art Club (1900, gold); Exposition Universelle, (Paris, 1889); World’s Columbian Exposition (Chicago, 1893); The Pennsylvania Academy of the Fine Arts; and the Art Institute of Chicago.

Apple Orchard

Franklin Edward Morris (American, 1938–2009)This work is offered in a beveleld giltwood frame with art nouveau-style carvings. Morris lived in Mansfield, Ohio, but was active in New York, Maine, Connecticut, Pennsylvania and Washington, D.C. as well. As a youth, Morris spent some time in the western United States and western panoramas and mountain paintings comprised his earliest works. He was largely self-taught, but with natural skill, a keen eye and under the influence of early 20th century American Impressionism, Morris produced many wonderful paintings, including the gardens at Kingwood Center in Mansfield; the Krohn Conservatory in Cincinnati (OH); the steel mills along the Ohio River and snowy New York City street scenes. Morris exhibited at the Vixsebose Gallery (Cleveland, OH); Cincinnati Art Galleries; Cooley Gallery (Old Lyme, CT); Griffith Gallery (Pittsburg, PA); and Swain Galleries (Morristown, NJ).

Sunny Day Ogunquit, Maine

George Cochran Lambdin (American, 1830–1896)This work is offered in a beveled giltwood frame George Cochran Lambdin, the son of famous portraitist James Reid Lambdin, was born in Pittsburgh, Pennsylvania. He learned about art and painting from his father and his father’s circle of artist friends. In 1838, his family moved to Philadelphia, where he lived until his death. He studied at the Pennsylvania Academy of the Fine Arts. As typical of many American artists of the time, he traveled to Europe to further develop his skills, and studied in Munich, Paris and Rome. During his lifetime, Lambdin was known for his skill in depicting sentimental genre subjects; however, it is his paintings of roses from his own garden for which he is best known. He also painted portraits of many Philadelphia women, which usually included roses whose hues matched the complexion of the subject. During the Civil War, Lambdin depicted the sentimental and psychological aspects of warfare rather than battles scenes as was typical. Many of of his paintings of flowers, especially roses, were printed as chromolithographs. Lambdin exhibited at the Pennsylvania Academy of the Fine Arts and the 1867 Paris Universal Exposition. He was elected to the National Academy of Design in 1868.

The Little Helper

Emory Ladanyi (Hungarian-American, 1902–1986).This work is offered unframed. Born in Hungary, Emory Ladanyi first attended the University of Budapest Medical School. During his medical residency in Berlin, he was especially influenced by the works of Edvard Munch, forerunner of German Expressionism. During a second residency in Vienna, he was also exposed to the works of Gustav Klimt, Egon Schiele and Kokoschka who were influential in his further development. In 1929, Ladanyi arrived in New York and began to practice medicine, which enabled him to continue painting. Outside of his professional work, he moved exclusively in the avant-garde artistic circles of New York City, becoming close friends with the composer Edgard Varese, the poet Kenneth Patchen and the writers Anais Nin and Henry Miller. After Pearl Harbor, Ladanyi volunteered for service in the US Army and was commissioned as a captain in the Medical Corps. During the duration of the war, he gave up his medical practice and, in 1945, he resumed both his medical practice and painting. He exhibited widely and with success, including in Budapest, Berlin, New York, Chicago and the Massachusetts Museum of Art. This painting is accompanied by a first edition of the hardcover book titled Ladanyi, published by Abaris Books, Inc. (1977), in which this work is illustrated on p.132.

Passacaglia (The Dance)

Dorothy Ebenstein&nbsp;(American).This work is offered unframed. A substantial Expressionist figural oil showing a group of figures at a masked ball, engaged in a dynamic inter-relationship. Ebenstein has accomplished a boldly composed work painted with bravura alla prima brushwork in strong primary colors.

Seduction

Leonebel Jacobs (American, 1883–1967).This work is offered in a giltwood frame. Writer, sculptor, teacher and portrait painter Leonebel Jacobs first studied under Brush and Charles Hawthorne at the University of Oregon. A well-traveled artist, Jacobs lived and painted in China, Hawaii, New York City and Los Angeles. She was a member of the American Watercolor Society, the American Federation of Arts, the Municipal Art Commission of New York, the National Association of Women Artists, the New York Watercolor Club and the Pen &amp; Brush Club. Jacobs spent her early years in the Foreign Colony in Peking, China, as a portrait artist to nobles and visiting foreigners, including Rabindranath Tagore. Notably, Jacobs painted several portraits of the Emperor and Empress after they fled to Tianjin when Christian general Feng Yu-Hsiang came to power. Additionally, Jacobs's paintings include Hawaiian notables, former First Ladies Grace Coolidge and Lou Henry Hoover, Sir John Lavery, Mrs. William B. Meloney, Dr. Frances Carter Wood and Gutzon Borglum among others. Jacobs exhibited widely and with success, including in Paris, New York City and Boston, and in 1937, she authored "Portraits of Thirty Authors."

Self Portrait with Orchids

Laura Coombs Hills (American, 1859–1952).This work is offered unframed. Laura Coombs Hills first studied at the Cowles Art School in Boston, the New York Art Students League and with Helen Knowlton. Coombs was active in several Boston art organizations, including the Boston Art Club and Watercolor Club, as well as the American Society of Miniature Painters, the Copley Society (from 1892), the Pennsylvania Society of Miniature Painters, the American Federation of Artists, Society of American Artists (from 1897) and was made an Associate of the National Academy of Design in 1906. Although now best known for her floral works in pastel, Laura Coombs Hills was also a key figure in the revival of miniature painting in America. In 1904, she was awarded a Gold Medal for her miniatures at the St. Louis Exposition, and in 1916, she received the first Medal of Honor to be awarded by the Pennsylvania Society of Miniature Painters. In the 1880s, Hills worked as a designer for Louis Prang and Company and also illustrated children's books. Her first solo exhibition took place at the Eastman Chase Gallery in Boston (1889), and was composed entirely of pastels. Hills soon established a routine of spending the winters at her Boston studio on Chestnut Street and summering in Newburyport at “The Goldfish,” a house that she had designed and built in 1900 on the bank of the Merrimack River. Over the course of a long career, Hills exhibited widely and with success, including in Boston with Eastman Chase Gallery (1889, 1893), New York, the Paris Exposition Universelle (1900), the Art Institute of Chicago (1902–1930), San Francisco Panama-Pacific Exposition (1915), the Worcester Art Museum (1908), the Rembrandt Gallery in London (1908), the Portland Museum of Art (Maine, 1912) and the Philadelphia Academy of Fine Art (1898–1904, 1916, 1920, 1934). Coombs was the recipient of numerous prizes, medals and juried awards, including from the Philadelphia Academy of Fine Art (1916, 1920), a bronze medal at the Exposition Universelle (1900), silver medals at the Pan American Exposition, Buffalo (1901) and the Charleston Exposition, South Carolina (1902), and the Gold Medal at the 1904 St. Louis Exposition. Hills also won medals of honor at the 1915 Panama-Pacific Exposition and second place prize at Corcoran (Washington, 1901). Laura Coombs Hills's work can be found in the private and public collections worldwide including the permanent collection of the Metropolitan Museum in New York.

Still Life of Tea Roses

Jean Kalisch (American, 1912–1955).This work is offered unframed. Born in Japan, Jean Kalisch started her art training early and, when she was seven years old, began to receive additional instruction in Chinese brush and ink calligraphy. This early discipline allowed her to develop intuitive brushwork. Her training in pencil drawing of landscapes and oil painting continued until she was 17. She then moved to Tokyo to study chemistry, with the intention of becoming a pharmacist. After World War II, she married an American serviceman and moved to California, where she resumed her career as an artist, exhibiting widely and with success.

Still Life, Coral and Jade

Property of a Private Collector, Palm BeachRichard Edward Miller (American, 1875-1943)Executed in Provincetown, circa 1925. We wish to thank scholar Marie Louise Kane for providing the following essay: This subject, a decoratively dressed comely woman in a sunroom, was one of Miller's most popular. He introduced the subject while working in France, where he studied and lived from 1899 to 1914. In his early years Miller painted pictures of old women or young serving maids in dark interiors. By 1908 he was painting fashionable women, often reflected in mirrors, in elegant interiors. In the 1910s, having spent several summers painting in Giverny and in Brittany, Miller heightened the light and color of his palette and began placing his alluring female models, colorfully clad and decorously posed, in boudoirs and sunrooms. With the outbreak of World War I, Miller returned to the United States, staying for a short time in California, before finally settling in Provincetown, Massachusetts in 1917. There he continued his practice of setting his models in studio-designed sunrooms. Seating his models in front of the windows and doors of his studio, opening to his garden, Miller then added assorted furnishings kept in his studio, such as textiles, apparel, a few key pieces of furniture and various knick-knacks, to suggest a sunroom setting. The composition of&nbsp;Portrait of a Seated Woman Before a Mirror&nbsp;is similar to a number of other works Miller painted in Provincetown in which the model is seated in profile, facing left, dressed in a white, tiered skirt - with the blue chaise, rectangular mirror, and writing desk often included. This characterized Miller's method of working from his earliest days in Paris. He would use the same objects, kept in his studio, repeatedly. They were convenient props which he would vary by color, placement, and reaction to light, just as he altered his figures' poses slightly. He might also change the color of his models' hair to suit his color scheme. Miller was after decorative effect, not unvarnished reality. It should be noted that while the model in this painting is unknown, she is definitely not Miller's wife, or his daughter. Miller paid his models, some of whom he knew socially, such as Marjorie Ball, wife of his former student Robert E. Ball, who has been described as one of Miller's favorite models, or Josephine Young, daughter of William H. Young, a friend of Miller's and founder (1914) of the Provincetown Art Association.

Portrait of a Seated Woman Before a Mirror

Marie Stobbe (American, 1909-2003)This work is offered in a foliate carved giltwood frame Marie B. Stobbe studied painting at numerous accredited schools and institutes, including the Pratt Institute and the Grand Central School of Art with Ogden Pleissner, Wayman Adams and Howard Hildebrandt. She also studied in Madison, Connecticut, under Robert Brackman and earlier with George Bruestle and Emile Gruppé. Marie’s accolades include being the first woman inducted into The Pastel Society of America and was also inducted into The International Society of the Artists. Marie drew sketches for The New York Herald Tribune and designed select book covers for Dodd Mead, one of the pioneer publishing houses of the United States.&nbsp;

The Gardens of Tuilleries

Lyell Carr (American, 1857–1912)This work is offered in a fluted carved giltwood frame. Lyell Carr was born in Chicago, Illinois, in 1857. By the time he was 23, he had a studio in that city, but in late 1880 or early 1881, he moved to New York, which he would make his home for the rest of his life. There, he would become associated with artists of the National Academy of Design and the Society of American Artists. For one year, in 1884, Carr studied in Paris. He enrolled in the École des Beaux-Arts, where his teachers were Jules Joseph Lefebvre and Gustave Boulanger. These masters emphasized the importance of drawing to good painting. The effect of their training on Carr was such that his style throughout his career was characterized by the firm definition of form and a realistic handling of space. Returning to New York, regularly exhibited his paintings in the large annuals at the National Academy of Design and The Art Institute of Chicago. His paintings entered many fine collections. A Ride Home at Sunset (1891) was purchased from Carr by Thomas Benedict Clarke of New York, who was at that time the leading patron of contemporary American artists. In the Clarke home, Carr’s painting hung with those of Winslow Homer, Frederic E. Church and Thomas Moran. Carr was at the height of his popularity when he died quite suddenly in his studio on February 17, 1912.

Spaniel Profile

Jonas Joseph LaValley (American, 1858-1930) Jonas Joseph LaValley was born in Rouse Point, New York. His early eclectic “career” runs contrary to what one would expect from someone with an artistic nature. His youth was spent toiling on the family farm in New York. He later migrated to Chicopee, Massachusetts where he worked in the cotton mills. A later move to Springfield Massachusetts found him working as a professional barber. It was during this latter time, that he began honing his skills as an artist, first pencil sketches and pastels, then progressing toward oil painting. LaValley studied with Willis Seaver Adams, Edmund Case and George Newell Bowers. He eventually turned to painting full-time, opening a studio on Main Street in Springfield. LaValley enjoyed a successful art career as a painter of still-lifes, finding markets in Boston, Springfield and New York City. LaValley admits that his favorite subjects were succulent peaches and luscious raspberries. The color red figures prominently in his pallet as observed in the above painting and many of his other works. He eventually moved to Westfield, Massachusetts, where he bought a home at the base of Mount Tekoa, a stunning geologic feature carved by ancient glaciers, the West Field River and Moose Meadow Brook. LaValley spent his summers here painting landscapes and his winters painting still-lifes.

Roses in a Glass Vase

Robert Emmitt Owen (American, 1878-1957)This work is offered in a carved giltwood frame Owen, a noted Impressionist landscapist, was born in North Adams, Massachusetts. He studied at the Eric Pape Art School (Boston), Art Students League of New York, National Academy of Design School and the New York School of Art. His education included instruction under noted Impressionists Frederick Mulhaupt and Leonard Ochtman. His later style was particularly influenced by noted American Impressionists Willard Metcalf, J. Alden Weir, and Childe Hassam. Before his New York studies, he was already established as an illustrator, selling illustrations to the Boston Globe, National Magazine, and Brown Brook Magazine. Later, his illustrations would appear in Scribner’s Magazine, and Harper’s Monthly. It was only after he moved to New York City in 1901 to further his art training that he was exposed to and enamored of the Impressionist manner of painting. Owen traded in the tight precision drafting style that characterized his illustrations, for a style executed with loose, vigorous brush strokes, using a vivid palette. In 1910, he moved to Bagnall, Connecticut to concentrate on painting New England landscapes. Owen’s landscapes of the New England countryside have been likened to the poetry of Robert Frost, as both realistically depicted scenes of rural American life. In 1919, he was commissioned by Temple Gwathmey, former president of the New York Stock Exchange, to paint a series of 20 paintings. In 1923, he was commissioned by Stephen H.P. Pell, founder of the Fort Ticonderoga Museum for another series of images. Later commissions included those for Edward Stettinus,Jr., former U.S. Secretary of State and Percy Rockefeller. In 1920 Owen, moved back to New York City and opened the Robert Emmett Owen Landscape Gallery, where he exhibited and sold his own work. The business operated until America’s involvement of World War II, after which, he closed the gallery. Owen moved to New Rochelle, NY and became the artist in residence at the Thomas Paine Memorial Museum. Owen exhibited widely, including at the former Corcoran Gallery of Fine Art, the Pennsylvania Academy of the Fine Arts and the Art Institute of Chicago, among many others.

Hemlocks in Snow

Daniel Strain (American, 1847–1925).This work is offered in a giltwood frame.

Untitled (Woman Leaning)

Ernest Lawson (Canadian-American, 1873-1939).This work is offered in a Regence style carved giltwood frame.

Kennedy House, Pulaski

Property from the Brooklyn Museum, Sold to Support Museum CollectionsArthur Bowen Davies (American, 1862-1928)This work is offered in a carved giltwood frame The present work was originally owned by Charles A. Schieren (1842-1915), an established politician and banker in New York. Schieren immigrated from Germany in 1856 at the age of fourteen. He settled in Brooklyn and began working for his father’s cigar manufacturing business. Schieren became a prominent figure of the New York Republican Party, which culminated in his election as Mayor of Brooklyn in 1893.

Landscape with Pigs

Michael Theise (American, b. 1959).This work is offered in a gilt frame.

View of the Hudson River

Boston School (19th century).This work is sold in a fine giltwood frame. A fine Boston School&nbsp;portrait&nbsp;of Edward Breck, brother of important American Impressionist artist John Leslie Breck. Edward Breck was a colorful character who at various points in his life was a champion archer and golfer, and a secret agent in South America.

Portrait of Edward Breck

John Francis Murphy (American, 1853–1921).This work is offered in a beveled giltwood frame. Known for his Tonalist-style landscape paintings, John Francis Murphy was referred to as the “American Corot” because of his similarity to the painting style of Camille Corot (1796–1875), one of the original Barbizon painters in France. Murphy was born on December 11, 1853 in Oswego, New York.&nbsp;Completely self-taught, he kept his studio for many years in New York City.&nbsp;His work was first exhibited at the National Academy of Design in 1876, where he was inducted eleven years later. He won numerous prizes, medals and honors for his landscape paintings, which are said to rank with those of George Inness, Alexander Wyant and Homer Martin. Although his world was a limited one, his landscapes captured the forms of nature and the subtle nuances of the scene.

Untitled (Snow Scene)

Nick Eggenhofer (American, 1897-1985)This work is offered in a carved giltwood frame

The Watchers, Dakota Indians

Joseph Pollet (American, 1897-1979)This work is offered in a parcel giltwood frame

Portrait 

Robert Emmett Owen (American, 1878-1957)This work is offered in a carved giltwood frame

Oak Tree in October

Stanley Wingate Woodward (American, 1890-1970)This work is offered in a carved giltwood frame

Barn Scene

Maxim Bugzester (Polish-American, 1909-1978).This work is offered framed.

Untitled

George Ames Aldrich (American, 1872-1941).This work is offered in a gilt frame.

River in Winter

George Albert Frost, (American, 1843-1907).This work is offered in a gilt frame.

American Art

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James A. Fetherolf

Henry Pember Smith

Simka Simkhovitch

Olive Parker Black

Harry Leslie Hoffman

Lawton Parker

Gunnar Widforss

John Ross Key

Frederick Stone Batcheller

John Ellsworth Weis

Charles Henry Eaton

Franklin Edward Morris

George Cochran Lambdin

Emory Ladanyi

Dorothy Ebenstein

Leonebel Jacobs

Laura Coombs Hills

Jean Kalisch

Richard Edward Miller

Marie Stobbe

Lyell Carr

Jonas Joseph LaValley

Robert Emmett Owen

Daniel Strain

Ernest Lawson

Arthur Bowen Davies

Michael Theise

Boston School

John Francis Murphy

Nick Eggenhofer

Joseph Pollet

Robert Emmett Owen

Stanley Wingate Woodward

Maxim Bugzester

George Ames Aldrich

George Albert Frost