Wessel Catalog 2019_Final

Wessel Catalog 2019.qxp_Wessel Catalog 10/10/19 10:44 AM Page 1 

Cincinnati Art Galleries is pleased to offer paintings by 

Bessie and Herman Wessel 

from The Estate of Helen Wessel 

October 25 th - November 27 th , 2019 

DAV I D H AU S R AT H • RANDY S A N D L E R • MARGARET K L E I N • SARAH S C H M I T T 

C I NCINNAT I A RT G A L L E RIES, LLC 

225 E. SIXTH STREET | CINCINNATI, OHIO 45202 | 513.381.2128 

WWW.CINCYART.COM 

| ART@CINCYART.COM


Introduction 

This collection belongs in Cincinnati. That is what I was thinking after learning that Helen Wessel 

had passed away in Florida and that her collection of paintings by Herman and Bessie Wessel 

was going to be sold. Helen was the Wessel’s daughter-in-law. She married Herman and Bessie’s 

only child, Robert, who passed away in the 1990’s. Helen was an artist herself, and was especially 

close to Bessie Wessel. She was a former professor and Chair of Art Education at the University 

of Cincinnati, and engaged in many philanthropic endeavors during the course of her 

lifetime. 

Helen’s collection of 60 paintings by Bessie and Herman Wessel spans the breadth of their careers 

and showcases their significant artistic capabilities. It is the core of this exhibition which celebrates 

the Wessel legacy. 

Herman and Bessie Wessel were two of the most revered and loved artists from Cincinnati’s 

Golden Age. Their lifetime of dedication to their craft and Cincinnati’s artistic community, and 

their special relationship with Frank Duveneck, made them central figures in the Cincinnati art 

scene for over 50 years. In the accompanying article by Carol Cyran, you will learn more about 

this significant couple and their art. 

Cincinnati Art Galleries is especially pleased to bring this wonderful collection back home to 

Cincinnati. Our hope is that our regular gallery patrons as well as a new generation of art enthusiasts 

will appreciate what they are seeing—the work of two exceptional artists who remained 

true to their artistic instincts and yet developed and evolved over the course of their careers to 

leave a lasting impression on all who were privileged to know their art. 

And it is here in Cincinnati. The Wessels—all of them—would be pleased. 

David Hausrath 

Cincinnati Art Galleries 

2


The Golden Age Legacy of Herman and Bessie Wessel 

Essay by Carol A. Cyran 

For over sixty years, Herman and Bessie Wessel were an integral part of the Cincinnati art 

community. Both had trained in one of the finest art schools in America and under one of the 

most influential art instructors of the late 19th and early 20th centuries. Each went on to 

share, in their own unique way, their work, their knowledge and their lives with countless students, 

collectors and the community at large. Their landscapes, still lifes, portraits and other 

artistic genres spring forth from the poetic aesthetic and technical excellence of Cincinnati’s 

Golden Age, while offering fresh interpretations, compositions and a 

glowing color sense that are timeless in their appeal. 

Herman H. Wessel (1878-1969) came to Cincinnati at age 

seventeen from Vincennes, Indiana, after the death of his 

father. Wanting to become an artist, he sold some farmland 

he had inherited and enrolled in the Art Academy 

of Cincinnati. The academy was described as “the most 

thorough school in the United States for art education,” 

in an 1884 Courier article. It was designed by 

famed architect James W. McLaughlin and featured 

wonderfully functional north-lit studios modeled after 

the example set by Parisian ateliers. Students had to 

progress through several years of rigorous drawing instruction, 

then introductory painting before proceeding 

to more complex pieces. Herman was a promising novice 

and advanced through classes by Vincent Nowottny (1854- 

1908), Caroline Lord (1860-1927) - Portrait of Young Girl with 

Auburn Hair (page 53), and finally Frank Duveneck (1848-1919). 

Duveneck, was one of the most talented artists and influential teachers of the late 19th and 

early 20th centuries. He was also the driving force behind the Cincinnati academy’s outstanding 

reputation. Trained in Munich at the Royal Academy of Art, his teaching was based on 

truth to nature and a solid, three-dimensional interpretation of form. His paintings feature realistic 

imagery, bravura brushwork and often paint-laden canvases - East Gloucester (page 

52). With Duveneck’s guidance, Herman established a strong artistic foundation and graduated 

from the Art Academy of Cincinnati in 1904. He furthered his training in Europe at the 

Munich institution where Duveneck had studied, and then in Paris at both the Académies Julian 

and Colarossi. At the latter, he was honored with a medal for excellent draftsmanship and 

appointed part-time instructor. In 1908, Herman returned to Cincinnati and secured teaching 

positions in both drawing and anatomy at his alma mater. He would remain on staff there for 

almost 40 years. 

During his first years as a teacher and professional artist in Cincinnati, Wessel established himself 

in the art community. He joined several artists groups: the Society of Western Artists, the 

3


Duveneck Society of Artists and Sculptors and the Cincinnati Art Club and began to receive notice 

for his work. His Still Life with Crock and Fruit (page 12), is a classic old world still life, 

Chardin inspired and Velasquez in spirit. He also exhibited paintings at the San Francisco 

Panama-Pacific Exposition, the Corcoran Gallery of Art in Washington D.C., the Pennsylvania 

Academy of Fine Arts and the Cincinnati Art Museum’s annual presentation of American art. It 

was through these and similar venues in the U.S. and abroad that Herman became exposed to 

the full breadth of the Impressionist aesthetic. While the school year and art season ran from 

about mid-September to June, summers offered an opportunity to travel and paint. A Village 

Street in Brittany (page 12), was painted in 1914 when Wessel summered in Europe with fellow 

artist Jacob Kunz. It is an American Impressionist piece featuring a high key palette, flat 

light and plein-air observation. Besides Europe, Herman went to the seaside fishing towns of 

Rockport and Gloucester, MA, where he received inspiration from the scenic vistas, colorful 

boats and rustic fisher folk. Both villages were veritable artists’ havens. Other noted painters 

who frequented the area include John Twachtman, Edward Potthast, Childe Hassam, Jane Peterson, 

Frank Duveneck and starting in 1915 at the invitation of Duveneck’s 

sister Mollie, Bessie Hoover. Bessie in a Blue Dress 

(page 13) by H.H. Wessel. 

Like Herman, Bessie Hoover (1889-1973) was born in 

Indiana and moved to Cincinnati at a later date. 

Through the encouragement of her father and a high 

school teacher, she also decided to pursue a career 

in art. She enrolled in the Art Academy of Cincinnati 

in 1906, and first studied with Lewis H. Meakin 

(1850-1917), and then Herman Wessel. In 1909, 

she joined Frank Duveneck’s advanced class. Duveneck 

had a generous, warm personality and unique 

talent and teaching skill. Bessie enjoyed his class 

tremendously and stayed under his tutelage for another 

six years. While a student, she joined the Woman’s 

Art Club and took part in their annual displays frequently 

held at the Cincinnati Art Museum. Still Life with White 

Pitcher (page 13), is a work from this period. Another, Old-Fashioned 

Roses (page 14), exhibits crisp drawing with bold compositional elements and a 

painterly quality - an accomplished piece of American Impressionism. Dockside (page 15), is a 

marine scene painted on green window shade. Linen window shade as a painting surface was 

not a traditional choice for an artist. Bessie liked using it because she found the material readily 

available and easy to transport. It was to become an integral part of her future signature 

style. Another painting from this time frame, Chrysanthemums, won second prize in the 1919 

Southeastern Fair in Atlanta and was purchased by the Cincinnati Public Schools. Receiving 

second place at the Atlanta show was quite an accomplishment. Artists who had participated in 

4


the show included Robert Henri, George Bellows, and F.C. Frieseke among others. Bessie so 

treasured the award that she kept the ribbon and notification letter her entire life. 

In the fall of 1915, Bessie was hired to teach at the Art Academy of Cincinnati. She enjoyed 

teaching and thought it rewarding, but became too caught up in her students’ progress and resigned 

after two years. It was there, however, that she got to know her former teacher Herman 

Wessel on a professional and personal level. After a few years of dating, Herman and Bessie 

were married in Gloucester at the cottage of their friend, colleague and teacher Frank Duveneck. 

East Gloucester with Red Buildings (page 15), is one example of Bessie’s work at this 

time. It features bold coloration and a dynamic vantage point. Dockside View (page 17) and 

Becoming Seaworthy (page 16), two more, are transitional pieces to her developing signature 

style. In these paintings, Bessie begins to emphasize the decorative potential of varying shapes 

of light and shade and to allow the dark green linen surface to outline form. 

Frank Duveneck’s untimely death in 1919 brought much sorrow to the Wessels. In a memorial 

service held at the Cincinnati Art Museum, Herman and Bessie, other artists and former Duveneck 

students, publicly vowed to uphold the principles of painting that he had espoused. For 

Herman, the next decade became a period of professional expansion. Besides teaching fulltime 

at the academy, he became dean of the school’s painting faculty, an artist representative 

on the city of Cincinnati’s Committee for City Planning, and Curator of Painting at the Cincinnati 

Art Museum - a position he held for thirteen years. Bessie’s concerns centered more on 

their home and new family, with son, Robert, born in 1921. Both still found time to paint however, 

with Herman exhibiting pieces at museum shows including those for the Art Museum of 

Toronto, the Chicago Art Institute, the Dayton Art Institute and the Cincinnati Art Museum, 

and in smaller group displays and solo exhibits. His Summer Afternoon, c.1924, a masterful 

painting in easy harmony with the full flowering of American Impressionism, was purchased 

by the Cincinnati Art Museum. Bessie continued her involvement with the Cincinnati Woman’s 

Art Club and presented one or two pieces a year at their annual member’s show. She also displayed 

paintings at the Ohio State Fair. In 1927, Herman and Bessie had their first joint exhibition 

at Cincinnati’s Traxel Gallery. 

Much of the Wessels’ work for these shows was created during their annual summer vacations 

to New England. Herman’s Harbor Scene with Sailboat Rigging (page 16) and Floating 

Clouds (page 18), are freely and thickly painted and exhibit his extraordinary facility with the 

brush. In On the Veranda (page 18), he provides a glimpse of an elegant party at Gloucester’s 

Harbor View Hotel. Bessie painted many marine scenes and landscapes in a decorative and individualistic 

style, which newspapers of the time described as “mosaic.” Today it is the approach 

for which she is most recognized. Beach Bonnets, Beach Houses, Drying the Nets, and 

Fishermen at First Light (pages 19-21), all beautifully exemplify this style. Bessie would start 

these mosaic-like paintings by carefully drawing a chosen scene onto a green window shade 

canvas, typically in white chalk. Next, she would apply deliberate, single strokes of paint 

which followed the planes of light, while leaving parts of the canvas uncovered to outline 

5


form. A powerful grasp of the essential was a necessary prerequisite. Starting with a strong design 

and a careful drawing, each stroke had to be right in shape, value and hue and in proper 

relationship to the whole - an exceedingly difficult thing to do. The end result was a scintillating 

symphony of color, shape, texture and form. Fish Stories, Front Beach-Rockport, Gloucester 

Waterway, In a Row, and Low Tide Near Stone Quay-Rockport (pages 21-24). The 

critics lauded this style. A 1931 review exclaimed, “here is the very essence of color - color 

that is studded like jewels in all sorts of shapes that 

make veritable color chords. It is Mrs. Wessel’s skill 

with pigment that makes her work attractive, but it is 

skill that is charged with feeling for an ensemble.” 

And a 1933 critique praised how Bessie’s application 

of “colors by their juxtaposition scintillate and glisten 

like burnished jewels.” On the Line, Rockport 

Rooftops, Rockport Steeple, View of Mt. Adams, 

Cincinnati and When the Day is Done (pages 25- 

27). 

Herman also enjoyed the complex problems involved 

in mural painting. He competed for and undertook 

several mural commissions throughout the city and 

beyond. By 1929, the financial success made possible 

by these commissions gave the Wessels the means to 

build a one and one-half story studio with tall northfacing 

windows onto their home near Eden Park. It 

also allowed for a fifteen month sabbatical to Europe. 

This encompassed visits to Munich, Partenkirchen, 

Venice, Florence, Rome, Barcelona, Cancale, and St. 

Tropez, and eight months in Paris where they lived in 

a sculptor’s studio on the Left Bank. Paintings during 

this period include Herman’s Stone Passageway, St. 

Tropez (page 28) and Village Street in St. Tropez 

(page 28), both which capture the high key and luminescent, 

light-filled shadows of the searing 

Mediterranean sun. Another, Bavarian Biergarten 

Band (page 29), is among his most spontaneous 

works, full of life, light and gesture. Breton Villagers 

(page 29) and Sidewalk Cafe, Paris (page 29), offer 

spirited glimpses of French village and café life. 

Bessie’s Young Girl with Dark Hair, Young Lady in 

Blue Shawl, and Profile of Young Lady in Blue 

6


Shawl (page 30), are small, fresh portrait studies she likely completed on this trip. While in St. Tropez, 

her signature “mosaic” style peaked in myriad scenes of colorful boats, sails, and glistening water. The 

sum total created a wondrous effect of brilliant light and color. The Wessels’ return to Cincinnati in the 

fall of 1930 was triumphant. Newspapers described their stay in Europe, Herman’s subsequent lectures 

to the Cincinnati Art Club and Cincinnati MacDowell Society and his views on contemporary European 

art. A solo exhibit of Herman’s artwork from the trip was held that winter, and a joint show with 

Bessie’s paintings the following year, both to considerable acclaim. 

With over a year’s exposure to current European art 

trends, the Wessels’ work during the 1930s, after their voyage, 

hint at a more modern expression. The Cincinnati art 

academy’s new emphasis on creative expression and the 

avant-garde tendencies in the work of some of Herman’s 

colleagues also influenced their individual creative development. 

In Five Pound Island (page 31), Herman simplifies 

forms to geometric planes of rich color with bold 

outline. His View of Mt. Adams, Cincinnati (page 32), is 

a woodblock-like study of mass in greens and reds. And 

Florence (page 32), is a characterization of a popular 

artist’s model that exhibits a remarkable brevity. Bessie 

was not fond of “the moderns,” but this did not preclude 

her from experimenting at times. In Autumn Still Life 

with Green Jar (page 34), she employs her mosaic paint 

handling to not only follow the planes of light but to break 

up the shadows into different values. In Main Street, 

Rockport (page 33), she pushes this approach further to 

its limits with broader and more interpretive strokes. The 

result is an almost stained glass effect. And in Vase with Tulips (page 34), her emphasis is less on naturalism 

but on decorative pattern, bold coloration and simplification of form. Every now and then, for 

“sport,” Herman and Bessie would paint a model or scene at the same time. The Red Rose (page 35), is 

one such example. Painted in Paris in 1929, both artists challenged themselves to work in a manner unlike 

their own. On other occasions, the Wessels would tackle the same scene or even try to paint like 

each other. When asked how they managed to paint together without difficulty, Bessie was known to 

have responded, “we keep our mouths closed.” 

Towards the late ‘30s and early ‘40s, Bessie produced several informal portraits or character studies 

that recall Regionalist and other impulses then active in American art. Abandoning the subtlety of light 

and paint handling that marks much of her earlier naturalist work, Bessie's approach was bolder and 

painterly and the transitions from light to dark more abrupt. One such example, Aunt Jenny, is found in 

the Indianapolis Museum of Art. Another example, Young Lady Wearing a Kerchief (page 36), has 

7


Bessie tackling a face centrally shadowed with a dual light source. (The Wessels’ studio in 

Cincinnati had windows on three sides. By opening or closing the window shades, the light 

could be carefully controlled.) Herman continued his interest in murals and undertook commissions 

for the Ohio State building in Columbus, the Springfield, Ohio, post office and the 

Mariemont theater in Cincinnati. And well into the 1940s, he completed portrait commissions 

of notable Cincinnatians. Vacations included a trip to Canada in 1939 as depicted in his 

quickly sketched watercolors Quebec Peninsula and Coastal Scenes (page 36), and in the 

more vigorously painted Rocks at Percé, Gaspé Peninsula- Quebec, 1939 (page 37). Both 

Herman and Bessie displayed their work from this period through museums, galleries and 

newly formed independent organizations that emerged to allow local artists greater control 

and flexibility in showing their work. Nationally, Herman was chosen to exhibit in the 1936 

Municipal Art Show in New York, an international display of American Painting and Sculpture, 

and Bessie took part in the 1933 Women’s National Exposition at Cincinnati’s Music Hall. 

The 1940s brought considerable change to both artists’ level of activity. Herman still taught at 

the Art Academy of Cincinnati, and in 1943, celebrated his thirty-fifth year there. He hoped to 

make forty years, but ill health forced his retirement in 1947. Now in his sixties, his interest 

centered on more personal work - etchings, monotypes and paintings which he exhibited 

widely. These mark a return towards a more naturalist expression. Tennessee (page 37), was 

8


shown at the Cincinnati Art Museum’s 1945 Critics 

Choice of American Painting. Winter (page 39), 

evokes a sunny but cold winter landscape, and 

Eden Park, Autumnal Landscape (page 38), displays 

beautifully simplified forms and rich color. 

Boats at Harbor (page 38), exemplifies a form of 

expression Herman particularly enjoyed and one 

which combined his skills as a painter and printmaker, 

the monotype. To create a monotype, Herman 

would paint directly onto a copper plate, top it 

with wet blotting paper, then feed it through a 

printing press (sometimes even Bessie’s washing 

machine wringer), to produce a single unique print. 

Herman also enjoyed sketching comical cartoons, 

frequently sending them to family and friends. One 

such cartoon is Lawn Mower (page 38). Bessie 

found more time for painting since their son was 

now an adult, and eagerly pursued still lifes, landscapes 

and portraiture. In Still Life with Duveneck Vase (page 40), she uses bold coloration, 

heavy patterning and a medley of texture and form to beautifully set off a vase that Frank Duveneck 

had given her from Italy. Her Poppies in Red (page 42), appears almost stark in contrast 

with a limited palette and more graphic approach. 

As the years passed, Herman’s lessening mobility found him referring back to sketches and 

slides taken on previous trips from which to paint. Isle of Capri (page 41), was rendered from 

color studies and photographs taken on one such visit. Catch the Wind (page 42), Coastal 

Waterway with Sailboats (page 43) and September Sunrise, Gloucester (page 44), were also 

likely painted around this time from studies, and show his continual interest in color and light. 

Drying the Sails, Gloucester (page 43), he made as a wedding gift to daughter-in-law Helen. 

Peonies (page 44), painted from life, is full of vitality and exhibits delicate subtlety of hue in 

the dexterous passages within its white flowers. An invitation to Florida in 1955 provided Herman 

with new scenes to paint such as White Fishing Boat Alongside a Wood Dock (page 45), 

and resulted in solo shows in Cincinnati the next two years. Bessie, meanwhile, received increasing 

acclaim for her portraiture. She had her first solo portrait show at Cincinnati’s Loring- 

Andrews Gallery in 1949. More exhibitions followed. She became especially proficient in children’s 

portraiture, and many Cincinnatians made arrangements for depictions of loved ones. 

Bessie maintained an active portrait business well through the 1960s, eventually painting over 

200 likenesses. Portrait of Helen (page 45), portrays her soon to be daughter-in-law whom 

Robert married in 1952. Mannequin in Green Fedora (page 45), was painted a short time 

later for Helen when she worked in retail window displays. Also through these years, Bessie 

9


continued her brightly colored, painterly still lifes typically arranged with items she collected 

on her travels mixed with fruit, flowers or vegetables. Many of these still lifes were joyous and 

lavishly rendered, indicative of her obvious delight with the genre and the opportunity it afforded 

for pictorial expression. Examples include Basket of Roses and Daisies (page 46), Lobster 

Dinner Still Life (page 46), Still Life with Coffee Pot and Fruit (page 47), and Vase of 

Yellow Roses (page 47). 

In the mid-1960s, cataracts clouded Herman’s eyes, yet fearing an operation would leave him 

blind, he refused treatment. Continuing to paint, he often chose scenes close by. His work from 

this period features an exuberance of execution untrammeled by his advancing years. Examples 

include Mt. Adams from Eden Park, Summer (page 48), Winter Along the Ohio (page 

49), and A Windy Day (page 48). In 1967, Herman was awarded the Cincinnati MacDowell 

medal for distinguished service in the arts. On April 13, 1969, at the age of 91, he passed away. 

His death was greatly felt in the area: newspapers reported his passing as the last of “the Duveneck 

Boys,” many former students paid him tribute, and an art scholarship fund was established 

in his name. 

After Herman’s death, Bessie stayed busy with primarily one project - a series of Indian portraits. 

At some point, she had obtained over forty glass negatives of Native Americans that 

camped in Cincinnati in 1896. Inspired by their noble appearance, she embarked on what was 

to become her last series of paintings. Yet with age creating uncertainty in her own artistic ability, 

Bessie was afraid the paintings would not sell at the upcoming show. Within a week of the 

exhibit’s opening, nearly everything had been purchased. Indian with Long Braids (page 50), 

is a fine example from this display featuring a simplified background and color scheme. White 

Feathered Headdress (page 50), she left unfinished. After this project, Bessie painted a few 

more canvases, primarily florals and still lifes, and one final portrait commission. She passed 

away on January 29, 1973, at the age of 84. 

In March 1975, a retrospective of the Wessels’ work was held at Cincinnati Closson’s Gallery. 

The show was sold out before the paintings could be hung on the walls. The Cincinnati Art 

Club held a major exhibition of Herman and Bessie’s work complete with a biographical catalog 

after Robert Wessel’s passing in 1996. Robert’s widow, Dr. Helen Wessel, made some of the 

paintings available for purchase, and proceeds helped to fund the Cincinnati Art Club’s newly 

named Wessel Gallery. The work in this current exhibition represents the last of the Wessel familial 

collection. Most of the paintings included are from the personal collection of Dr. Helen 

Wessel, who passed away this past January. Many have not been seen in over 50 years. 

Herman and Bessie Hoover Wessel’s art and lives exerted an influence on Cincinnati and the 

art world that is still being felt today. Their insightful portraits, still lifes and outdoor scenes 

burst with life and hang in many public and private collections. As instructors at the Art Acad- 

10


emy of Cincinnati, their artistic principals, aims and methods influenced the next generation of 

artists and beyond. And their former home and studio still remains in use as a working artist’s 

studio. Future plans include its possible development into a historic “artist’s house museum.” 

The Wessels’ work continues to be of local, national and international significance. Their art 

and lives are a valuable and important part of the Queen City’s history. 

- Carol A. Cyran 

Carol A. Cyran has worked for over 25 years in the art field. Her experience includes 

teaching at the University of Cincinnati and Thomas More College, free-lance writing, and 

work at museums, auction houses and private galleries. She holds a BS in Design and an 

MA in Art History from the University of Cincinnati. In the late ‘90s, Carol and artist-husband 

Carl Samson moved into the Wessels’ former home and studio with their twin daughters. 

In addition to writing about art, Carol assists her husband in a flourishing portrait 

painting business. Both Carol and spouse maintain a special interest in turn-of-the-century 

American art. 

All photos courtesy of the Wessel House Archives 

11


Herman Wessel 

Still Life with Crock and Fruit 

ca. 1910 

Oil on Canvas on Board 

19 x 22 inches 

Signed Lower Left 


A Village Street, Brittany 

Oil on Canvas 


Signed Lower Right 

12



Bessie in a Blue Dress 

Oil on Board 



Bessie Hoover Wessel 

Still Life with White Pitcher 

Oil on Board 



13



Old Fashioned Roses 

Oil on Canvas 



14



Dockside 

Oil on Window Shade on Board 

10 x 8 inches 



East Gloucester with Red Buildings 




15



Becoming Seaworthy 


8 x 10 inches 



Harbor Scene with Sailboat Rigging 

Oil on Board 

8 x 10 inches 


16



Dockside View 




17



Floating Clouds 

Oil on Canvas 

8 x 10 inches 



On the Veranda 

Gouache on Board 

12 x 9 inches 

Unsigned 

18



Beach Bonnets 


6 x 8 inches 


19



Beach Houses 


8 x 9 3/4 inches 



Drying the Nets 


8 x 10 inches 


20



Fishermen at First Light 


8 x 10 inches 



Fish Stories 


10 x 8 inches 

Unsigned 

21



Gloucester Waterway 




22



Front Beach, Rockport 


14 1/2 x 18 1/2 inches 


23



In a Row 


8 x 10 inches 



Low Tide Near Stone Quay, 

Rockport 


10 x 8 inches 

Unsigned 

24



On the Line 


7 1/2 x 9 1/2 inches 



Rockport Rooftops 


8 x 10 inches 


25



View of Mt. Adams, Cincinnati 


8 x 10 inches 



When the Day is Done 


7 x 9 inches 


26



Rockport Steeple 


15 1/2 x 13 1/2 inches 


27



Stone Passageway, St. Tropez 

1930 

Oil on Board 




Village Street Scene in St. Tropez 

1929 

Oil on Board 



28



Bavarian Bier Garten Musicians 

ca. 1930 

Oil on Canvas 




Breton Villagers 

Oil on Board 

11 1/2 x 15 1/2 inches 



Sidewalk Cafe, Paris 

Gouache 

5 x 7 inches 


29



Portrait of Young Girl with Dark 

Hair Wearing Turban 


8 x 6 inches 

Unsigned 


Portrait of Young Lady in Blue Shawl 


10 x 8 inches 



Profile of Young Lady in Blue Shawl Collar 


8 x 6 inches 


30



Five Pound Island 

Oil on Canvas 



31



View of Mt. Adams, Cincinnati 

Oil on Canvas 

12 x 15 3/8 inches 



Florence 

Oil 



32



Main Street, Rockport 

Oil on Window Shade Canvas 



33



Autumn Still Life with Green Jar 


14 x 16 1/2 inches 



Vase with Tulips 

1935 


18 x 21 1/4 inches 


34



The Red Rose 

Oil on Canvas 

36 1/4 x 28 3/4 inches 



The Red Rose Paris 

1929 

Oil on Canvas 

36 1/4 x 29 inches 


35



Young Lady Wearing a Kerchief 





Pair of Quebec Peninsula and Coastal Scenes 

Watercolor 

8 x 11 inches 

Lower Right and Lower Left 

36



Rocks at Percé, 

Gaspé Peninsula - Quebec 

1939 

Oil on Canvas 




Tennessee 

Oil on Board 


Unsigned 

37



Eden Park, 

Autumnal Landscape 

Oil on Board 




Boats at Harbor 

ca. 1950 

Oil on Canvas 

6.5 x 8.75 inches 

Initialed Lower Right 


Lawn Mower 

Watercolor 

7 1/2 x 9 1/2 inches 

Unsigned 

38



Winter 

Oil on Board 



39



Still Life with Duveneck Vase 

ca. 1940’s 

Oil on Canvas 



40



Isle of Capri 

1954 

Oil on Canvas 



41



Poppies in Red 





Catch the Wind 

Watercolor and Gouache 

6 3/4 x 8 3/4 inches 


42



Drying the Sails, Gloucester 

1952 

Oil on Canvas 




Coastal Waterway with Sailboats 

Watercolor and Gouache 

10 1/2 x 14 inches 


43



September Sunrise - Gloucester 





Peonies 

1952 

Oil on Canvas 



44



White Fishing Boat Alongside a Wood Deck 

Gouache on Masonite 

8 1/2 x 11 inches 



Portrait of Helen 

Oil on Canvas 




Mannequin in Green Fedora 

Oil on Board 



45



Basket of Roses and Daisies 





Lobster Dinner Still Life 




46



Still Life with Copper Pot and Fruit 

Oil on Canvas 

21 1/2 x 27 1/2 inches 



Vase of Yellow Roses 

ca. 1967 




47



Mt. Adams from Eden Park, 

Summer 

1967 

Gouache 




A Windy Day 

ca. 1960 

Oil on Canvas 



48



Winter Along the Ohio 

1967 

Oil on Canvas 



49



Indian with Long Braids 

ca. 1971 

Oil on Canvasboard 




White Feathered Headdress 

ca. 1971 

Oil on Canvas 



Indian Papoose 

Oil on Canvas 



50



Red Coat 

Oil on Canvas 




The Old Fisherman 

Oil on Canvas 



51



Pansies 

Oil on Canvas 

11 1/2 x 9 inches 


Frank Duveneck 

East Gloucester 

ca. 1917 

Oil on Board 

8 x 10 inches 

Label Verso: "East Gloucester" Frank 

Duveneck, property of Robert Wessel 

52


Caroline A. Lord 

Young Girl with Auburn Hair 


14 x 11 1/2 inches 

Unsigned 

Carl Samson 

The Collector 

Giclee Print 


Signed Carl Samson 

53


Helen Wessel 

Eden Park View 

Watercolor 




Stream Near the Quarry 

Watercolor 




Rock Quarries 

Watercolor 



54

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