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Artist
|
Title | Thumbnail |
Notes old |
Media |
Signature status |
| George Jo Mess |
Untitled (Sailing Ships) |
 |
|
Etching |
Signed Lower Right |
| George Jo Mess |
Drift Wood |
 |
|
Etching |
Signed Lower Right |
| George Jo Mess |
Ice House |
 |
|
Etching |
Signed Lower Right |
| George Jo Mess |
Fisheries |
 |
|
Etching |
Signed Lower Right |
| George Jo Mess |
Wishing Gate in Winter |
 |
|
Aquatint Etching |
Signed Lower Right |
| Wilbur Meese |
Winter Farmstead |
 |
Nicely presented in acid-free materials and hanging in the gallery |
Watercolor on paper |
Signed lower right |
| Wilbur Meese |
Grist Mill |
 |
|
Watercolor on paper |
Signed lower right |
| Wilbur Meese |
Gray Barn |
 |
|
Watercolor on paper |
Signed lower right |
| Otto Stark |
Early Morning |
 |
This work was featured in our 2nd Annual Curated Sale of Historic Indiana Art, April 8th, 2018 at the Indianapolis Art Center.
This painting was featured in our weekly email on 3/22/17 along with the following gallery comments:
We have a late addition -- Otto Stark's Early Morning (imaged above) was just inserted into the sale. It's an interesting piece -- very tonal! Of historic note is that Stark and J. Ottis Adams traveled to New Smyrna, FL at the end of 1920 and painted there in the winter of 1921. This would have surely come from that trip. |
Oil on Canvas |
Signed Lower Right |
| Hallie Pace Prow |
The Fodder is in the Shocks |
 |
|
Oil on board |
Signed lower right |
| Kenneth Reeve |
Covered Bridge in Winter |
 |
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This painting was featured in our weekly email on 5/19/17 along with the following gallery comments:
Gallery Comments
Kenneth Reeve moved to Brown County from Chicago where he had been a commerical illustrator. Once relocated to the Peaceful Valley, he studied etching under George Jo Mess and became a very good printmaker. Today's paintings are two cute little watercolors -- Reeve's other preferred medium. Very Brown County! |
Watercolor on Paper |
Signed Lower Left |
| Kenneth Reeve |
A January Day |
 |
SOLD
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This painting was featured in our weekly email on 5/19/17 along with the following gallery comments:
Gallery Comments
Kenneth Reeve moved to Brown County from Chicago where he had been a commerical illustrator. Once relocated to the Peaceful Valley, he studied etching under George Jo Mess and became a very good printmaker. Today's paintings are two cute little watercolors -- Reeve's other preferred medium. Very Brown County! |
Watercolor on Paper |
Signed Lower Right |
| Frank Vietor |
Nickel Plate Berkshire, Class S |
 |
|
Acrylic on Board |
Signed Lower Right |
| Dale (Philip) Bessire |
Spring Stream |
 |
This painting was featured in our weekly email on 4/28/17 along with the following gallery comments:
Gallery Comments
Dale Bessire had a pretty predictable formula -- large, pallete knife (and certainly brush) landscapes depicting simple, pastoral Brown County landscapes. Many of these reflect Autumn. Spring Stream (Bessire's title) breaks rank with what we often see -- a cute little vernal landscape. It could be today in Brown County with the dogwood and the redbud just showing their colors. And I think, off to the left is that secret grove of morel mushrooms by the fallen Elm tree! Clean, perfect condition, original frame -- a nice compact work. |
Oil on Board |
Signed Lower Left |
| Varaldo Guiseppe (V.J.) Cariani |
Still Life with Zinnia |
 |
This painting was featured in our weekly email on 2/3/17 along with the following gallery comments:
V. J. Cariani spent nearly his entire adult life in Nashville, IN. He was the lifetime partner of famous portraitist Marie Goth and a very accomplished painter himself. While he painted many landscapes, his specialty was floral still lifes. They typically featured flowers from his garden, often feature a blue damask table cloth and the floral output was nearly always large and tightly rendered. Today's example is straight from that playbook. |
Oil on Canvas |
Signed Lower Right |
| Paul Randall |
Studebaker 1945 Manual 'Car and Maintenance of your Farm Truck' |
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Included with Paul Randall original 19x25 painting, used as the cover art for the Studebaker manual. |
publication |
na |
| Frank Vietor |
Southern Indiana Railroad |
 |
|
Acrylic on Board |
Signed Lower Right |
| Wilbur Meese |
Lighthouse |
 |
|
Watercolor on Paper |
Signed Lower Right |
| John (Jan) Zwara |
Central State Hospital |
 |
This painting was featured in our weekly email on 1/20/17 along with the following gallery comments:
We featured a piece by Jan Zwara last week (since sold) and we’re doubling down with another this week. By way of summary, Zwara was a Hungarian immigrant trained in art. He settled in Indianapolis around 1930 and was essentially an itinerate painter. This wandering was likely the result of his mental health condition – untreated schizophrenia. Patronized by the Vonnegut family and at their urging, he spent six months at Central State Hospital in 1938. While there, he continued to paint at his typically ferocious pace. The output was entirely watercolor and gouache – no oils. Most of these paintings, which were landscapes featuring the hospital grounds, are now part of the Indiana Medical History Museum (still on the Central State property). Ten years ago, we had one outstanding Zwara Central State piece. And now we have another. Today’s work, Central State Hospital by Jan Zwara is a watercolor depicting the main hospital building and dated June, 1938 -- coinciding with Zwara’s period of internment at that facility. The painting is strong. But of even more significance is the timing and the subject. As mentioned above, the Central State works by Zwara are extremely rare as most still reside at the Indiana Medical History Museum. And he was only a resident of the facility six months.
The anguished artist seems to so have our sympathy – Van Gogh, Gaugin, Pollock, etc. Zwara falls squarely into this paradigm. He painted to live and lived to paint. Without painting, his life would have been unordered and unintelligible (as it largely was anyway). Today’s work is extremely important in the context of his artistic career. A singular artistic document capturing all of the man, Jan Zwara.
The piece features quite a bit of pencil scribbles and notation (very typical of Zwara). It’s in flawless shape and is being sold unframed and loose. I understand the price is salty. If there is one Zwara to have in a collection of Indiana art, this is it. |
Watercolor on Paper |
Signed Lower Center-Right |
| Louise Zaring |
Still Life |
 |
SOLD
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This work was featured in our 2nd Annual Curated Sale of Historic Indiana Art, April 8th, 2018 at the Indianapolis Art Center.
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This painting was featured in our weekly email on 2/17/17 along with the following gallery comments:
I’m winging editorial content today because I have very little, tangible information about Zaring’s life and career. She had early classical influences studying under the likes of Twachtman, Hawthorne and Chase and I believe her earlier work reflects this. I’m very drawn to the few early pieces I’ve seen. I do know she spent the end of her life in Miami and I understand that the Miami Art League has her artistic estate. To that I’d say: Free Louise Zaring! Not enough stuff on the market and she was a good painter. Today’s piece is early and clearly shows that classical influence. Very reminiscent of the work of Winnifred Brady Adams who often incorporated chargers and textures into her still lifes. Wish there were more like this out there! |
Oil on Board |
Signed Lower Left |
