Borg, Carl Oscar. Hopi Patriarch (Su-pe-la). [1923]. Woodblock print. Approximately 11-1/4 x 9-1/2 inches image area, matted, framed and glazed. Fine condition. One of 40 impressions. Signed in graphite lower right.

Carl Oskar Borg (March 3, 1879 - May 8, 1947) was a Swedish born, American painter who was known for themes of the Southwestern United States. Borg was born into a poor family in Vastergotland , Sweden. He moved to London at age 20 to assist portrait and marine artist George Johansen. In 1901, he sailed for the United States. Borg taught art at the California Art Institute in Los Angeles and at the Santa Barbara School of the Arts. He became a protege of American philanthropist and art patron Phoebe Hearst. She gave him the opportunity to return to Europe to study art.

Borg was influenced by the nature of the southwestern United States, especially the states of Arizona and New Mexico. He worked in various mediums including oil, watercolor, etchings, and woodblock. He was commissioned to paint posters for the railway company, Atchison, Topeka and Santa Fe Railway. His posters were put up on the company's sales offices and attracted attention. He was known for his dramatic paintings of the Grand Canyon.

Borg was a founding member of the Painter's Club of Los Angeles and the California Art Club. He was one of the first art directors for a major movie studio in Hollywood and he worked with the production of silent films in the years 1925-1928 with Sam Goldwyn, Douglas Fairbanks and Cecil B. de Mille. Examples of his art are on display at Brigham Young University, Harvard University, Smithsonian American Art Museum and the Fine Arts Museums of San Francisco.

[Laird: Carl Oscar Borg, p. 113]. $3,000.00. #29333

Borg, Carl Oscar. 'Mission Towers' Santa Barbara. [c. 1920]. Woodblock print. Approximately 10-1/2 x 8-1/2 inches image area, matted, framed and glazed. Fine condition. Signed in pencil lower right. Possibly one of 40 impressions.

$2,750.00. #29334

Borg, Carl Oscar. Su-Pe-La, Hopi Patriarch. [1934]. Etching and drypoint. Approximately 9-1/4 x 8-1/2 inches image area, matted, framed and glazed. Fine condition. Signed in pencil lower right.

[See Laird: Carl Oscar Borg, p. 113, for the woodblock of this image]. $3,000.00. #29332

Botke, Cornelis. Fish Wharf, Morro Bay. Etching and drypoint. Approximately 10-1/4 x 9-3/4 inches image area , matted, framed and glazed. Fine condition. Signed in pencil lower right. No. 15 of 50 impressions.

Cornelis Botke was born in Leewarden, Holland in 1887. He studied at the School of Applied Design in Haarlem before emigrating the United States in 1906, settling in Chicago. There he studied at the Chicago Art Institute. With fellow artist and new wife Jessie Arms now by his side, the duo began a life long joint career, at times collaborating on mural projects.

In 1919 Cornelis Botke and Jesse moved to Carmel, California, where Cornelis taught at Carmel Arts and Crafts. In 1920, they toured Europe. Returning home and finally settled in Santa Paula in Southern California in 1927, where they had a studio big enough to share. They were often commissioned together for very large works, usually murals.

Cornelis Botke was predominantly a landscape painter in his singular work, and his pieces were displayed at the Los Angeles County Museum as well as the Art Institute of Chicago. Surviving murals of Botke's also exist in the Kellogg factory in Battle Creek, Michigan and the Ida Noyes Hall at the University of Chicago

The Botkes were members of the California Art Club, the California Society of etchers, and the Foundation of Western Art. Cornelis exhibited his work at the Los Angeles County Museum of Art and at the Art Institute in Chicago. $2750.00. #29338

[California Historical Society] Californians Collect California Art. Printed poster. Approximately 21 x 13-1/2 inches image area , matted, framed and glazed. Fine condition. "Women's Board, California Historical Society Presents Early Paintings & Sculpture from private collections for the month of May ... ". #29342

Dixon, Maynard. Partredge, Roi. Indian Beating a Drum. 1920. Etching and drypoint. Approximately 6-1/2 x 4-1/2 inches image area , matted, framed and glazed. Fine condition. Signed in the plate by Dixon, and signed in pencil lower right by the etcher Roi Partredge.

Born on a ranch near Fresno, California in the San Joaquin Valley on January 24, 1875, Maynard Dixon (1875 - 1946), originally named Henry St. John Dixon which later changed to Lafayette Maynard Dixon on September 8, 1875, became a noted illustrator, landscape, and mural painter of the early 20th-century American West, especially the desert, Indians, early settlers, and cowboys.

Maynard Dixon's mentor, Charles Lummis, encouraged Dixon early in his painting career to leave California, and "travel East to see the real West". Maynard Dixon did just that, traveling the many roads that crisscrossed the West: Montana, Utah, Nevada, Arizona, and New Mexico. Lasting weeks, to even months, these trips provided Maynard Dixon with the inspiration to create. He was forever drawn to the vistas and peoples inhabiting these remote western lands.

When Maynard Dixon first visited Arizona, at the turn of the 20th century, it was wild, open territory, inhabited primarily by Hispanics and Native Americans. In 1902, he made his first visit to Lorenzo Hubbell's Ganado trading post, and came away with wonderful sketches he would use as inspiration for many years to come. Viewing these works, one can imagine the awe Maynard Dixon felt in the raw beauty of the landscape and its inhabitants. He would return to Arizona many times, ultimately making Tucson his final home.

The time Maynard Dixon spent in New Mexico from September 1931 through January 1932 was a happy, contented time for Dixon. Living with wife Dorothea Lange, and children John and Dan, in a house provided by his dear friend Mabel Dodge Luhan, Maynard Dixon completed some of his most productive, and inspired paintings. During the five-month stay, Maynard Dixon was very prolific, painting more than forty canvases of all sizes. Many of these paintings told a story about the interaction between the land and its people. At that time, Northern New Mexico was the heart of a thriving art community.

The Taos Society, a group of well-trained and respected artists invited Maynard Dixon to join their exclusive alliance. True to form, Maynard Dixon declined the offer, finding their bylaws on which paintings could be exhibited too confining and rigid. Dixon, the self-taught, highly individualistic painter, had great inner strength and distinctiveness. The New Mexico period represents some of Maynard Dixon ‘s finest works, ones in which his special qualities are clearly imparted.

The people Maynard Dixon depicted in his paintings reflect the cultural mix of the American West of the early 20th century. Maynard Dixon was delighted to live among all the peoples of the region, and his portrayals of the Hispanic, Native American, and Anglo inhabitants are without comparison. Maynard Dixon also used the human form to allude to more ethereal subjects. Some of his most poignant and gripping works were the handful of Great Depression-era paintings done in 1934 and 1935. Maynard Dixon's wife, famed photographer Dorothea Lange, was devoted to chronicling the plight of the migrant workers and the San Francisco maritime worker's strike. Her involvement undoubtedly influenced Maynard Dixon's choice of this atypical subject matter. The images of expressionless men done in somber grays and blues show skillful use of light and shadow to accentuate the distress in the subjects he portrayed. $1,500.00. #29339

Hansen, Armin. "Sardine Barge". 1936. Etching and drypoint. Approximately 13-1/2 x 15-3/8 inches image area , matted, framed and glazed. Fine condition. Signed in pencil lower right, titled in pencil lower left.

Armin Hansen (1886–1957), native of San Francisco, is prominent American Painter of the En plein air school, best known for his marine canvases. His father Hermann Hansen was also a famous artist of the American West. The younger Hansen studied at the Mark Hopkins Institute of Art and the Academy of Fine Arts, Munich, and achieved international recognition of his scenes depicting man and the sea off the California northern coast. He was elected to the National Academy of Design in the year 1926.

He was born Carl Armin Hansen in San Francisco on October 23, 1886 and learned much from his father regarding portraiture and genre scenes of the old west. At the Mark Hopkins Institute he studied under Arthur Frank Mathews from 1903 to 1906. Moving to Germany, he became the student of Carlos Grethe at the Stuttgart Royal Academy and also studied at the Academy of Fine Arts, Munich. He also had exposure to the art centers at Paris, Amsterdam and Brugges. Wishing to see the world through marine eyes, he became a deck hand on a number of commercial vessels, one being a Norwegian steam fishing trawler. $3,000.00. #29345

Hebert, Marian. Evening Prayer, Mission Santa Barbara. 1936. Lithograph. Approximately 8-1/4 x 10-1/8 inches image area , matted, framed and glazed. Fine condition. Signed in pencil lower right. No 11 of 35 impressions.

Marian Hebert was born in Spencer, Iowa on June 5, 1899. Hebert graduated from the University of Montana with a B.A. degree in physics and mathematics. Recovering from tuberculosis, she moved California in 1923 and soon settled in Santa Barbara. There she graduated from the State Teacher's College in 1929 and then studied art with Edward Borein and Frank M. Fletcher. From 1946 to 1957 she was head of the art department at Mary Hardin-Baylor College in Belton, Texas. She died in 1960. $1,000.00. #29344

Millier, Arthur. Old Los Angeles. 1922. Etching and dry point. Approximately 6 x 6 inches image area , matted, framed and glazed. Fine condition. Signed and dated in pencil lower right. No. 32 of 50 impressions.

Arthur Millier (1893-1975) was an etcher and watercolorist. Born in Somerset, England on Oct. 19, 1893. Millier immigrated to California in 1908 and, after graduating from Los Angeles High School, studied at the local ASL. His art pursuits were interrupted by WWI in which he served in France with the First Canadian Pioneers and was wounded at the Battle of the Somme. Following the war he lived in San Francisco where he attended the CSFA and etched a series of street scenes. Upon returning to Los Angeles in 1922, he taught part time at the Chouinard School, Otis Art Institute, USC, and Pasadena Art Institute. Millier's art output was minimal after becoming an art critic for the Los Angeles Times in 1926. His last three years were spent in Hackensack, NJ where he died on March 30, 1975. $400.00. #29336

Perceval, Don. Indian encampment scene in double windows. Ink drawing. Approximately 5-5/8 x 6-3/4 inches image area for each opening in the mat, matted, framed and glazed. Fine condition. Signed in pencil lower right.

This drawing was an illustration in the book "General Crook and the Apache Wars" by Chas Lummis, pp. 38-39.

Don Louis Perceval was born to an artist mother in Woodford, Essex, England in 1908. He was raised in Los Angeles, where Don Perceval attended the Pasadena Military Academy and Chouinard Art Institute. By the age of 19 Don Perceval had begun taking sketching trips to the desert, reaching Arizona first in 1927 and becoming taken with the way of life of the Hopi and Navajo.

Perceval returned to England for a time, studying at the Royal Academy in London and becoming exposed to classical art for the first time. From there he went to Spain and then back to the American southwest on a commission to create advertisements for the Rio Grande Oil Company. During the Second World War, Perceval served with the Royal Navy on a patrol boat in the Thames Estuary and by creating a cartoon manual to teach gunnery to cadets.

The end of the war meant a return to the States, and Don Perceval settled in California again, teaching at the Chouinard Art School and Pomona College. In the 1950s he traveled extensively in Arizona, living with Hopi tribes in 1952 and in Tucson from 1954 to 1959. Don Perceval's final years were in Santa Barbara, California, where he died in 1979. $750.00. #29335

Rollins, W[arren]. E[liphalet]. (1861-1962). Seated Indian smoking a Pipe [Study - for consecrating - Bahos - Oraibi]. 1905. Pencil drawing. Approximately 9-3/4 x 7.5 inches image area , matted, framed and glazed. Fine condition. Signed and dated in pencil lower right. Illustrated in "Western Americana" by Harmsen.

Warren Rollins (1861- 1962) was born and raised in California. He studied under Virgil Williams at the San Francisco School of Design, eventually becoming the Associate Director of the school. After studying in the East, Warren Rollins moved to San Diego, where he began to paint Indian scenes, basing his work on his travels in the western states.

These Indian scenes became quite popular and, in 1917, the Santa Fe Railroad gave him a studio in El Tovar where he could paint the Grand Canyon. Warren Rollins traveled extensively in New Mexico, being amongst the first white artists in Santa Fe. Warren Rollins' first painting show in Santa Fe were before 1910, and he moved there for the first time in 1915, encouraged to do so by his friend E.I. Couse.

Warren Rollins exhibited often in Santa Fe, having twenty-five exhibitions between 1916 and 1977. He was known as "The Dean of the Santa Fe Art Colony," and was commissioned for both commercial and consumer pieces, including a portrait of Calamity Jane that hung in the Billings Club until it was destroyed in a fire. Warren Rollins taught at the Palace of the Governors and served as the Santa Fe Art Club's first president. In the 1940s he spent time in Baltimore creating seascapes, predominantly in crayon. Warren Rollins died at the age of 100 in Winslow, Arizona. $3,000.00. #29337

Swinnerton, James. Three "vignette" watercolours of Indian children. Original watercolour. Approximately 8 x 10-1/2 inches image area, matted, framed and glazed. Fine condition. Signed by Swinnerton in ink lower right.

Considered to be the "Dean of Desert Artists," as well as one of the most influential cartoonists of his time, James Swinnerton's life spanned nearly a century. In addition to painting hundreds of Southwestern desert scenes, Swinnerton was America's first newspaper comic artist and was the creator of numerous series and characters. His long journey was in essence a story of two lives, both defined by distinctive and accomplished legacies –one of a cartoonist of historical significance and the other of a fine artist devoted to faithfully portraying the subject matter he loved best.

On September 19, 1871, the younger James Guilford Swinnerton married a "winsome, young" Canadian named Jennie Wise. Four years later their only child, James Guilford Swinnerton Jr., was born. When Jennie died fifteen months later young Jimmy was taken in by his grandparents in San Jose where he remained until his father remarried in 1879. By the age of fifteen Swinnerton's grandparents had become too old to care for him and his dislike for his stepmother too intense to live with. He decided to run away. In 1891 sixteen year old Jimmy Swinnerton enrolled in the Mark Hopkins School of Design, the San Francisco Art Association's art school. In retrospect the school's 1891 class was a remarkable lot. Swinnerton's classmates included eventual Western art icons Maynard Dixon and Edward Borein and landscape painter Xavier Martinez. Also present was Homer Davenport, who would later rise to fame as a political cartoonist. Dixon, unwilling to deal with the abrasive personality of the school's director Arthur F. Matthews, left after just a few months, but not before developing and maintaining a lifelong friendship with Swinnerton. The two frequently made sketching trips together into northern Arizona and the Colorado Desert.

By chance, some of his caricatures were seen by William Randolph Hearst. Impressed by what he saw, Hearst hired Swinnerton as a sketch artist for The San Francisco Examiner in 1892. After hearing that Swinnerton was going to work for a newspaper, William Keith allegedly refused to ever speak to him again. At The Examiner Swinnerton's caricature skills naturally led him to cartooning. Swinnerton's drawings soon appeared throughout the paper in sections ranging from the editorial to the sports pages, but his most well known figures were the "Weather Bears," sketches of bear cubs which appeared on The Examiner's daily weather report. Eventually Swinnerton began drawing images of small children to accompany the bears, and then began placing two frames together connected by a banner which spanned the page. $3,000.00. #29340

Swinnerton, James [Guilford]. Chee and the Tattle-Bird. Original watercolour, mixed media. Approximately 7 x 4-1/4 inches image area , matted, framed and glazed. Fine condition. Signed by Swinnerton in ink lower right.

$1,500.00. #29341