Lots 26 through 50 - Detail

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	26 THOMAS GIBBS MOSES (American 1856-1934) Mount Shasta, 1900 Watercolor on paper Sight: 9.25 x 13.25 inches/23.5 x 33.7 centimeters Signed lower right and dated “Thos. G. Moses, 1900” Frame: 18.50 x 22 inches   Estimate: USD 100-200
	27 WILLIAM THOMAS McDERMITT (American 1884-1961) Winter Landscape, 1939 Watercolor on paper  Sight: 6 x 6.75 inches/15.2 x 17.1 centimeters Signed and dated lower left “W.T. McDermitt ‘39” Frame: 12.25 x 14 inches   Estimate: USD 200-300
	28 ED REEP (American b.1918) Circus Symphony, 1954 Watercolor on paper Image: 19 x 28 inches/48.3 x 71 centimeters Sheet: 21.50 x 29.75 Signed lower left “Reep” Verso:  Exhibition label reading “Pasadena Art Institute, Circus Symphony, Ed Reep, October 1954.” Frame: 28.50 x 37.50 inches   Estimate:  USD 400-600
	29 F. ALEXANDER (19th Century) Women with Cattle in Landscape Oil on canvas 9 x 11 inches/22.9 x 27.9 centimeters Signed lower right “F. Alexander” Frame: 10.25 x 12.25 inches   Estimate: USD 300-500
	30 JENKINS (AMERICAN SCHOOL) (20th Century) Foothills of the Catskills Oil on canvas panel 10 x 14 inches/25.4 x 35.6 centimeters Signed lower left “Jenkins” Verso: Titled in pencil “Foothills of Catskills” Frame: 11.50 x 15.50 inches   Estimate: USD 300-500
	31 IRWIN (AMERICAN SCHOOL) (Early 20th Century) Mission San Miguel Arcangel Oil on panel 5.75 x 9.50 inches/14.6 x 24.1 centimeters Signed lower right “Irwin” Frame: 8 x 12 inches   Estimate: USD 500-700
	32 AMERICAN SCHOOL (Early 20th Century) Landscape with Tree Oil on board 8 x 10 inches/20.3 x 25.4 centimeters Signed illegibly lower left Verso: Inscribed illegibly in pencil “Hengen”(?) Frame: 11.50 x 13.50 inches   Estimate: USD 100-200
	33 NELS HAGERUP (American 1864-1922) Breaking Waves Oil on canvas 14 x 24 inches/35.6 x 61 centimeters Signed lower right “N. Hagerup” Frame: 17.50 x 27.50 inches   Estimate: USD 1,000-2,000
	34 THOMAS GAINES (American, Early 20th Century) Poppies in Landscape Oil on board 7.75 x 12 inches/19.7 x 30.5 centimeters Signed lower right “Thos. Gaines” Frame: 12.25 x 16.50 inches   Estimate: USD 400-600
	35 IVY FAITH CONSTANCE (English/American 1895-1957) Grant and California, Chinatown, San Francisco Watercolor on paper Sight: 14.25 x 11 inches/36.2 x 27.9 centimeters Sheet: 15 x 11.50 inches/38.1 x 29.2 centimeters Signed lower right “Ivy F. Constance” Verso: Titled on back “Grant Ave and California” Frame: 22.50 x 18.50 inches   Estimate: USD 800-1,200
	36 AFTER FREDERIC REMINGTON (American 1861 - 1909) Downin' the Nigh Leader Oil on canvas 20 x 32 inches/50.8 x 81.3 centimeters Unsigned            Frame: 24 x 36 inches   Estimate: USD 3,500-4,500   NOTE:    Downin' the Nigh Leader was a painting created by the renowned Western artist, Frederic Remington (1861-1909) and reproduced in Collier’s magazine in April 20, 1903.  Remington’s depiction of a five in hand stagecoach under attack by Indians was received with extensive critical acclaim and the painting was reproduced in magazines and as a print.  The “Nigh Leader” is the foremost horse that “leads” the other four horses.  As depicted in the painting by bringing down the “Nigh Leader” the stagecoach is eventually forced to stop.   Downin' the Nigh Leader as offered here is a copy after Remington’s original and it appears to be from the 1900s through the early 1920s.  As an unknown work of art the artist has accurately copied all the elements and figures from Remington’s original work.  The Downin' the Nigh Leader offered here was submitted to the “Frederic Remington Catalogue Raisonne, Buffalo Bill Historical Center, Cody, Wyoming” as NOT an authentic work of art by Frederic Remington.
	37 DICK OLDDEN (American, 20th Century) At the Risk of Being Obvious (Laborer Holding Hand Shovel Speaking to Two Other Laborers Digging in Ground While Three Huge Earth Movers Idle Unused in Background) Ink and charcoal on paper Image: 11.50 x 12 inches/29.2 x 30.5 centimeters Sheet: 17 x 14 inches/43.2 x 35.6 centimeters Signed lower right “Oldden,” caption written below image, with artist’s circular embossment stamp lower right; Verso: Artist’s ink stamp Frame: 20.50 x 17.50 inches   Estimate: USD 300-500   NOTE: This is an original illustration commissioned by The New Yorker magazine, but not published.
	38 DICK OLDDEN (American, 20th Century) At First I Thought it was Just Another Cockeyed Theory (Lobster Monger Speaking to Sailor as Lobsters Walk out of the Ocean into a Boiling Barrel) Ink and charcoal on paper Image: 14.75 x 12.25 inches/37.5 x 31.1 centimeters Sheet: 17 x 14 inches/43.2 x 35.6 centimeters Signed lower right “Oldden,” caption written below image, with artist’s circular embossment stamp lower right; Verso: Artist’s ink stamp Frame: 20.50 x 17.50 inches   Estimate: USD 300-500   NOTE: This is an original illustration commissioned by The New Yorker magazine, but not published.
	39 DICK OLDDEN (American, 20th Century) Untitled Three-Part Illustration (1. Caveman with Club Looking Around 2. Caveman Dragging Cave Woman into Cave 3. Cave Woman Modeling for Caveman as He Paints Wall) Ink and charcoal on paper Image: 15.50 x 12.75 inches/39.4 x 32.4 centimeters Sheet: 17 x 14 inches/43.2 x 35.6 centimeters Signed lower right “Oldden,” with artist’s circular embossment stamp lower left; Verso: Artist’s ink stamp Frame: 20.50 x 17.50 inches   Estimate: USD 300-500   NOTE:  This is an original illustration commissioned by The New Yorker magazine, but not published.
	40 PHIL INTERLANDI (American 1924-2002) I Feel Like I’m in a Cartoon (Man Lying on Couch in Psychiatrist’s Office) Mixed media on illustration board Image: 8 x 10.75 inches/20.3 x 27.3 centimeters Board: 12.50 x 14 inches/31.8 x 35.6 centimeters Signed lower left “Interlandi,” caption written below image, stamp lower left edge “Not For Reproduction” Frame: 15.50 x 17.50 inches   Estimate: USD 700-900   NOTE: This is an original illustration by the artist commissioned for Playboy magazine, unknown publishing date.
	41 DICK OLDDEN (American, 20th Century) Untitled Ski Jump Illustration (Ski Jump Fans Watching Ski Jumper) Ink and charcoal on paper Image: 12.25 x 11.50 inches/31.1 x 29.2 centimeters Sheet: 17 x 14 inches/43.2 x 35.6 centimeters Signed lower right “Oldden,” with artist’s circular embossment stamp lower right; Verso: Artist’s ink stamp Frame: 20.50 x 17.50 inches   Estimate: USD 300-500   NOTE: This is an original illustration commissioned by The New Yorker magazine, but not published.
	42 PHIL INTERLANDI (American 1924-2002) Now, Officer Kilmer, I’m going to throw a lot of shit at you and I don’t want you to take it personally (Attorney in Court Speaking to Police Officer on Witness Stand) Mixed media on illustration board Image: 10 x 9.50 inches/25.4 x 24.1 centimeters Board: 15 x 11 inches/38.1 x 27.9 centimeters Signed lower right “Interlandi,” caption written below image, with Playboy stamp upper left and “Not For Reproduction” stamp upper right Frame: 18.50 x 14.50 inches Estimate: USD 700-900   NOTE: This is an original illustration by the artist commissioned for Playboy magazine, unknown publishing date.
	43 ARTHUR LONERGAN (American 1906-1989) European Bridge Scene Oil on canvas 16 x 20 inches/40.6 x 50.8 centimeters Signed lower left "Arthur Lonergan" Frame: 23.50 x 27.50 inches   Estimate: USD 600-800   NOTE: Born in New York City, Lonergan studied architecture at Columbia University.  The artist moved to Paris learning painting and watercolor techniques and after an extended sketching trip in Mexico, he settled in Los Angeles in 1935. For many years he was an art director for MGM, Paramount, and Universal Studios. His early works exemplify the regionalist style of the 1930s. Due to his background in architecture, he often included buildings in his paintings. Lonergan died in Long Beach, CA on Jan. 23, 1989.
	44 ROBERTA ASSELN HANSEN (American 1907-2003) Along The Creek (View from the bridge, Cayucos, California) Oil on masonite 18 x 24 inches/45.7 x 61 centimeters Signed lower right "Roberta Asseln;" Verso: Titled in brown and black ink and inscribed with artist's name and address Frame: 26.50 x 30.50 inches Verso gallery label reading: "Duncan, Vail Company”   Estimate: USD 1,000-2,000   NOTE:   Roberta Asseln Hansen was born in Camp Hill, Pennsylvania on November 12, 1907. Her painting style and subject matter varied widely. She was known for her modernist, almost abstract landscapes and figurative works, and as a brilliant colorist. At the age of 15 (1922) she moved to Los Angeles, California with her family. While studying art at the Chouinard Institute she was employed in the commercial art business. Throughout her career she was the winner of many awards in both advertising and the fine arts. After her graduation from Chouinard she became affiliated with Allied Advertising Artists (AAA). She turned completely to fine art after a 30-year career in advertising. Asseln Hansen's works were exhibited at the Los Angeles County Museum of Art, the Orange Show, California State Fair, Los Angeles County Fair, Chouinard Art Institute Alumni Exhibit, The California Art Club, Glendale Public Library, Laguna Beach Art Gallery, Southern California Festival of the Arts, the Greek Theatre in Los Angeles, the LA Centennial Exhibition, the Balboa Bay Club, the Glendale Art Association, and the San Clemente Arts & Crafts Club. She was a member of the California Art Club, San Clemente Arts & Crafts Club, and the Glendale Art Association. In 1958 she was the President of the Glendale Art Association.   Cayucos is a small beach town in San Louis Obispo County, California known for its surfing.
	45 GEORGE OSCAR BAKER (American 1882-1948) Lady on the Grass, 1911 Oil on canvas 29 X 23.75 inches/73.7 x 60.3 centimeters Signed lower right and dated - "George O. Baker, Paris, 1911" Frame: 37 x 31.50 inches   Estimate: USD 5,500-7,500   NOTE:   George Oscar Baker lived most of his life between Chicago and Paris.  The artist studied at the Academie Julian in Paris under the tutelage of the renowned J.P. Laurens.  Baker also studied with the American Impressionist Richard E. Miller and he exhibited at the Art Institute of Chicago in 1911-12.
	46 JESSIE HAZEL ARMS BOTKE (American 1883-1971) The Girl in the Yellow Shawl Pastel on paper 17.50 x 13.50 inches/44.5 x 34.3 centimeters Signed lower right "Jessie Arms Botke" Frame: 28.25 x 24.25 inches   Estimate: USD 6,000-8,000   NOTE:   Painter, illustrator, printmaker and muralist, Jesse Arms was born in Chicago on May 27, 1883. She began her studies at the Art Institute of Chicago and exhibited at the A.I.C. from 1904 through 1927 winning many prizes and awards.  In 1911 she obtained employment with the famed artist Albert Herter at his Herter Looms in NYC and assisted him with the mural in the St. Francis Hotel in San Francisco. She met her husband, Cornelius Botke in Chicago and they moved to Carmel, California in 1919. After an extended trip to Europe in 1927 they settled on a ranch in Santa Paula, CA where she remained until her death on Oct. 2, 1971.  Botke was one of the first American artist’s to employ gold and silver leaf foil into her works of art and she specialized in elaborate and decorative renditions of birds.  The Girl in the Yellow Shawl appears to relate to her early career when she was creating works of art for illustrated children stories.  A selected list of her lifetime exhibitions include shows at the Art Institute of Chicago, the National Academy of Design, the Pennsylvania Academy of Fine Arts, the Los Angeles County Museum of Art, the National Association of Women in the Arts, the Corcoran Gallery and the Chicago Society for Sanity in Art in 1938.  The artist won many prizes, awards and medals during her career, particularly during the 1920s.
	47 NO LOT
	48 NO LOT
	49 NO LOT
	50 NO LOT
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