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Artist
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Title | Thumbnail |
Notes old |
Media |
Signature status |
| George Jo Mess |
In the Garden of Paradise |
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This painting was featured in our weekly email on 8/22/13 along with the following gallery comments:
George Jo Mess channels his inner Maxfield Parish. We’re pleased to offer one of the most significant pieces to ever come to market by this Indiana treasure. The theme, that of water nymphs (or ‘girls on rocks’ as Parish is quoted) was quite popular from 1910-1930. This masterwork highlights Mess’ inimitable treatments as well as his broad artistic range. We would place this painting’s creation at c. 1930. It has been in the same family since purchased from the artist and is completely fresh to market.
–Curt Churchman, Fine Estate Art
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Oil on Canvas |
Signed Lower Right |
| John (Jan) Zwara |
Bison in the Big Horns |
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This painting was featured in our weekly email on 8/26/13 along with the following gallery comments:
Zwara’s body of work features more than a few pieces containing Western subject matter like this week’s Painting of the Moment. He was retained by the rail lines to paint pieces to hang in the passenger trains which traveled to the West Coast. That said, it’s also possible this was painted from a magazine image as he was also known to do. In viewing the painting, barely visible is the ‘grid’ that Zwara began with on the panel to keep the elements of the composition properly arranged and in perspective against themselves. It’s a common technique but interesting to view it here – an insight into the artist’s technique.
–Curt Churchman, Fine Estate Ar |
Oil on Board |
Signed Lower Left |
| Harry Engel |
Rag Rug |
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This painting was featured in our weekly email on 9/5/13 along with the following gallery comments:
Harry Engel enjoyed a 42 year career as a professor of painting at Indiana University in Bloomington and counted among his friends such noted art luminaries as Thomas Hart Benton, Robert Laski, Robert Motherwell , John-Paul Darriau and many others. His watercolor work tends to be traditional and representational. Yet his oils and encaustic pieces are fantastic abstractions featuring bold elements, screwed perspectives and often verge entirely into abstract expressionism. Rag Rug, which was exhibited in a 1971 IU retrospective of his work, is a classic example of his oil technique with the stilted interior and the playful treatment of the central figure and of course, that rug. Engel was vastly prolific and it’s somewhat of a mystery to me where his paintings are hiding. Though we’ve had a handful, I anticipate over time more will find their way to market and significantly raise the profile of Harry Engel – a true Hoosier treasure.
–Curt Churchman, Fine Estate Art |
Oil on Board |
Signed Lower Right |
| John Elwood Bundy |
Winter on the Whitewater |
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original hand-carved frame re-leafed in 22K gold
This painting was featured in our weekly email on 9/13/13 along with the following gallery comments:
Winter on the Whitewater, painted in 1914, depicts one of Bundy’s favorite subjects, the Whitewater River running through Eastern Indiana. Downstream on the same river, the subject was famously portayed by T.C. Steel and J. Ottis Adams from various perspectives in Brookville, IN.
Contrasting with the more literal interpretation of interior beech forests, this very impressionistic winter piece shows Bundy painting at the height of his power, rendering his beloved Whitewater Valley in the full splendor of the season.
A very similar, larger painting, also created in 1914 and depicting the same scene and season is part of the Indiana University art collection and is currently displayed behind the registration desk at the IU Memorial Union (See end of this email to view). The IU painting is referenced in William Gerdts’ monograph on the artist:
Although autumn may have been his favorite season of all, many of Bundy's paintings are truly winter scenes, in which he concentrated on streams flowing between snowy banks, such as his 1903 Winter Afternoon (private collection) and his Winter on the Whitewater and Wane of Winter, both of 1914. In fact, Bundy's earliest contributions to the shows of the Richmond Art Association were pictures of "winter time." Bundy surely would have enjoyed, with John Burroughs, "the warmth that lurks in the frost" and might have agreed with him that "Winter has its own beauty, but let us admit it is not the beauty of life, of the leaf and the petal, but the beauty of the crystal or the gem."
(William H. Gerdts, “A Walk in the Woods: The Art of John Elwood Bundy” (1853-1933); Quoting from John Burroughs, "The Tonic of Winter," Country Life in America 19 (December Mid-Month, 1910))
A very important work by one of the most acclaimed painters in the history of Indiana art.
–Curt Churchman, Fine Estate Art |
Oil on Canvas |
Signed Lower Left |
| Anthony Buchta |
Bean Blossom Overlook |
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Exhibited in the 1948 Hoosier Salon(tag, verso) |
Oil on Canvas |
Signed Lower Right |
| Anthony Buchta |
Church in the Valley |
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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 3/20/15 along with the following gallery comments:
Anthony Buchta hails from Iowa and studied at the Chicago Art Institute. He worked in Chicago for many years thereafter, teaching and doing commercial art work. He began traveling to Brown County in the late 1920s and moved there permanently in 1936. Church in the Valley is a very nice example of his work which I find straddles the line between painterly and ‘illustratorly’. The painting has been cleaned and conserved and the original frame has been re-leafed. A strong example from one of Brown County’s ‘second generation’ of artists.
- Curt Churchman, Fine Estate Art |
Oil on Canvas |
Signed Lower Right |
| Glenn Cooper Henshaw |
New York |
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|
Pastel on Paper |
Signed Lower Right |
| Glenn Cooper Henshaw |
Flat Iron Building |
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|
Pastel on Paper |
Signed Lower Left |
| Frederick Polley |
Brown County Landscape |
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numbered 9/100 |
Etching on Paper |
Signed Lower Right |
| Frederick Polley |
Untitled |
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numbered 12/50 |
Etching on Paper |
Stamped with Signature Lower Right |
| Frederick Polley |
Untitled |
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numbered 14/50 |
Etching on Paper |
Signed Lower Right |
| Frederick Polley |
Pastoral Landscape |
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numbered 8/50 |
Dry-Point Etching |
Signed Lower Right |
| Kenneth Reeve |
Duckling |
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(SOLD) This Reeve etching was featured in our weekly email on 6/28/14 along with the following gallery comments:
Our modest 'Etching of the Moment' is an homage to some current events here at Gallery Two. Over a month ago a mother duck chose our front planters for her nest site. Between the boxwoods and heather and in the shadow of the terrifying College Avenue traffic, she diligently sat on her eggs and brought five ducklings into the world (pictured below). Our paternal feelings were abound as we saw the family start the long journey to the Canal in Broad Ripple. Wishing our little duck family the best we offer to you this quaint aquatint etching, Duckling by Kenneth Reeve.
– Michael Sinon, Fine Estate Art |
Aquatint Etching |
Signed Lower Right |
| Kenneth Reeve |
Cocker Puppy |
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|
Aquatint Etching |
Signed Lower Right |
| Kenneth Reeve |
Wintertime |
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|
Aquatint Etching |
Signed Lower Right |
| Kenneth Reeve |
Autumn Evening |
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|
Aquatint Etching |
Signed Lower Right |
| Kenneth Reeve |
Bean Blossom Bridge |
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SOLD
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Aquatint Etching |
Signed Lower Right |
| Kenneth Reeve |
Goldfinch |
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|
Colored Serigraph |
Signed Lower Right |
| Kenneth Reeve |
Indigo Bunting |
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|
Colored Serigraph |
Signed Lower Right |
| Kenneth Reeve |
Junco |
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|
Colored Serigraph |
Signed Lower Right |
