Growing up in Bremen, Germany, Carl von Hassler always knew he wanted to be an artist. But parents often have different ideas, and at age 14, Carl found himself enrolled in the German Naval Academy. Fortunately, the Academy offered elective art courses and the aspiring young artist was delighted to realize that he could obey his fathers wishes and learn to draw and paint at the same time.
Von Hassler experienced another life-altering event two years later when he attended a performance of Buffalo Bill's Wild West Show. His father, a prominent businessman, had helped bring the temporarily bankrupt troupe to Bremen. Thats when I first decided to go to America, he recalled. That opportunity to go abroad finally arrived in 1912 after he finished his naval service and also completed six years at the Düsseldorf Art Academy.
Von Hassler first settled in New York where he studied with members of the Ashcan Group. By 1917, as America prepared to enter World War I, several of the Ashcan painters were drawn to New Mexico, lured by the beauty of its landscape. Ironically, von Hassler heard a very different call. So great was his dedication to his new home he joined the U. S. Army in the fight against his homeland.
In Germany, von Hasslers brother also signed up to fight, literally pitting the family against itelf. When his brother was killed in the war, von Hasslers mother disinherited him, and he decided never to return to Germany. After four years of service he was released from the US Army and, in 1922, von Hassler moved to New Mexico. Instead of following his New York acquaintances to Santa Fe, however, he settled in the up-and-coming town of Albuquerque.
Von Hasslers enthusiasm for the Southwest and his fascination with his new surroundings fueled and renewed his artistic career. Ever the scholar, he threw himself into the exploration of the indigenous plants and animals, as well as the people, of New Mexico. In his early years in the state, von Hassler made careful study of Navajo culture, spending many days at the trading post in Manuelito, talking with residents of the area and sketching their likenesses. He took up this self-appointed task with such dedication that he eventually became proficient in the Navajo language.
The Indian Pueblos of New Mexico were another favorite subject for von Hassler, and he systematically sketched and painted each of the villages. In 1927, he used these studies as the basis for his first important commission: murals for the Pueblo/Deco styleKiMo theater in Albuquerque. The ten-panel painting depicts the legendary Seven Cities of Cibola which the Conquistadores thought were cities of gold but turned out to be native farming villages. The murals were restored in 1989 and still adorn the historic theater.
As von Hasslers career in New Mexico advanced, he concentrated more and more on painting the landscape he had come to love. By the 1930s he was widely known for his ability to capture the moods of the land as it changed through the seasons. He did this with a carefully controlled palette consisting of a limited range of finely modulated color. However, this technique was actually based in his knowledge of the natural world. His friends and students recalled that von Hassler was an expert on nature lore and could name almost any plant that grew in the state.
In a 1961 newspaper interview, von Hassler talked about the importance of thoroughly knowing the landscape before an artist can paint it effectively. Nature is a great teacher. To be a truly good artist, one has to be first a naturalist. Each area presents its own background and feeling. Arizona is quite different from New Mexico. Our state is very different from Colorado, and so it goes. Unless you get the feel of a place, your painting will lack strength and beauty. His goal was to evoke nature, not manipulate it, and he felt that it was not possible to elaborate on nature with success. “I want to place on canvas what I see in nature.”
Not only did von Hassler study and enjoy his subjects, but he also enjoyed the very act of painting and reveled in the feel of various media. He was equally skilled with different kinds of paint, his favorites being oil, egg tempera, and watercolor. At the Academy in Düsseldorf he had studied the chemistry of paint, and throughout his career was known for experimenting with new materials to achieve exactly the colors and textures he wanted.
Carl Von Hassler 1887 - 1969 Autumn in Questa tempera on paper over offset sketch signed lower left: Von Hassler inscribed verso: "Autumn in Questa" (N.M.) / Acc [indecipherable] Tempera - by Von Hassler
Title is Santa Fe Mountain Landscape. 20" by 24" unframed. 25" by 29" framed. Oil on Board. Provenance: Zaplin Lampert Gallery, Adobe Gallery, Santa Fe Tribute to Carl Von Hassler 2009. Carl Von Hassler (1887 - 1969) was active/lived in New York, New Mexico. Carl Hassler is known for Portrait-Indian, landscape, mural. Growing up in Bremen, Germany, Carl von Hassler always knew he wanted to be an artist. But parents often have different ideas, and at age 14, Carl found himself enrolled in the German Naval Academy. Fortunately, the Academy offered elective art courses and the aspiring young artist was delighted to realize that he could obey his father's wishes and learn to draw and paint at the same time. Von Hassler experienced another life-altering event two years later when he attended a performance of Buffalo Bill's Wild West Show. His father, a prominent businessman, had helped bring the temporarily bankrupt troupe to Bremen. "That's when I first decided to go to America," he recalled. That opportunity to go abroad finally arrived in 1912 after he finished his naval service and also completed six years at the Dusseldorf Art Academy. Von Hassler first settled in New York where he studied with members of the Ashcan Group. By 1917, as America prepared to enter World War I, several of the Ashcan painters were drawn to New Mexico, lured by the beauty of its landscape. Ironically, von Hassler heard a very different call. So great was he dedication to his new home that he joined the US Army in the fight against his homeland. In Germany, von Hassler's brother also signed up to fight, literally pitting the family against itelf. When the brother was killed in the War, von Hassler's mother disinherited him, and he decided never to return to Germany. After four years of service he was released from the US Army and, in 1922, von Hassler moved to New Mexico. Instead of following his New York acquaintances to Santa Fe, however, he settled in the up-and-coming town of Albuquerque. Von Hassler's enthusiasm for the Southwest and his fascination with his new surroundings fueled and renewed his artistic career. Ever the scholar, he threw himself into the exploration of the indigenous plants and animalsas well as peopleof New Mexico. In his early years in the state, von Hassler made careful study of Navajo culture, spending many days at the trading post in Manuelito, talking with residents of the area and sketching their likenesses. He took up this self-appointed task with such dedication that he eventually became proficient in the Navajo language. The Indian Pueblos of New Mexico were another favorite subject for von Hassler, and he systematically sketched and painted each of the villages. In 1927, he used these studies as the basis for his first important commission: murals for the Pueblo/Deco style KiMo theater in Albuquerque. The ten-panel painting depicts the legendary Seven Cities of Cibola which the Conquistadores thought were "cities of gold" but turned out to be Native farming villages. The murals were restored in 1989 and still adorn the historic theater. As von Hassler's career in New Mexico advanced, he concentrated more and more on painting the landscape he had come to love. By the 1930s he was widely known for his ability to capture the moods of the land as it changed through the seasons. He did this with a carefully controlled palette consisting of a limited range of finely modulated color. But this technique was actually based in his knowledge of the natural world. His friends and students recalled that von Hassler was an expert on nature lore and could name almost any plant that grew in the state. In a 1961 newspaper interview, von Hassler talked about the importance of thoroughly knowing the landscape before an artist can paint it effectively. "Nature is a great teacher. To be a truly good artist, one has to be first a naturalist. Each area presents its own background and feeling. Arizona is quite different from New Mexico. Our state is very different from Coloradoand so it goes. Unless you get the feel of a place, your painting will lack strength and beauty." His goal was to evoke nature, not manipulate it, and he felt that it was not possible "to elaborate on nature with success. I want to place on canvas what I see in nature." Not only did Von Hassler study and enjoy his subjects, but he also enjoyed the very act of painting and reveled in the feel of various media. He was equally skilled with different kinds of paint, his favorites being oil, egg tempera, and watercolor. At the Academy in Dusseldorf he had studied the chemistry of paint, and throughout his career was known for experimenting with new materials to achieve exactly the colors and textures he wanted. Von Hassler once told a reporter that he had developed a technique for baking paint at up to 600 degrees so that it would take on a ceramic-like appearance and would be permanently colorfast. Since it was not possible to subject canvas to high temperatures, he also created what he called an "atomic substance" for use as the ground on which to paint. He was better known, however, for developing an "acid tempera" paint which bonded with a paper ground. Unfortunately, von Hassler was reluctant to divulge his various formulae, and now very little is known about the paint media he invented. By the 1940s, von Hassler was one of New Mexico's most popular painters and came to be called "The Dean of Albuquerque Artists." He seldom showed his work in galleries as he was able to sell most of his paintings privately. He took pride in the fact that they found homes in many countries around the world. Von Hassler also completed major commissions for such notable Albuquerque buildings as the 1939 Albuquerque Airport, Fred Harvey's Alvorado Hotel, the Franciscan Hotel, Bank of New Mexico, and First National Bank. Sadly, his ceiling decoration at the Airport is the only of these commissions that have not been removed or destroyed. When Carl von Hassler died in 1969, his students fondly remembered him as a stern and demanding teacher, but one who got results. " he was a disciplinarian as a teacher and an artist." "Most important, he demanded patience and self-discipline in our work," two students recalled. But this was no less than he demanded of himself, always reinforcing his art with his constant search for knowledge. Walter Bambrook, reminisced about von Hassler and his most famous student: "Ben Turner and I would go on sketching trips with Carl back in the early thirties . He was always learning something new about New Mexico. He never stopped learning."
Carl von Hassler (1887-1969) Autumn Glory signed 'Von Hassler' (lower center) and signed again, dated and titled on the original mat (affixed to the backing) mixed media on paperboard 21 3/4 x 27 3/4 in. Executed in 1939.
Carl Von Hassler 1887 - 1969 Untitled (Northern New Mexico Scene) oil on panel signed lower right: Von Hassler inscribed verso: Von Hassler / ProperTy of Fred Fulton
Carl Von Hassler 1887 - 1969 Sunset in the Foothills, 1940 oil on canvas signed and dated lower left: Von Hassler · 40 inscribed verso: (Region Sangre de Christo Mountain) / "Sunset on the Foothills" / by Von Hassler - 42. / N.M.A.L. - 3 First Pr. / S.W.A.G. - 2 " " / A.A.P.L. - 1 " " / I.I.A. Recog. / A.A.E.S. Honorary Memb.
Carl Von Hassler 1887 - 1969 Two Native Portraits oil on canvas Portrait of a Woman signed lower right: Von Hassler 11 3/4 x 9 5/8 in. (29.8 x 24.4 cm.), frame: 19 1/2 x 17 1/2 x 1 3/4 in. (49.5 x 44.5 x 4.4 cm.) Portrait of a Man signed lower left: Von Hassler 12 1/2 x 10 3/4 in. (31.8 x 27.3 cm.), frame: 20 1/4 x 10 3/4 x 1 3/4 in. (51.4 x 27.3 x 4.4 cm.)
Title is Fall Glow. 24" by 28" unframed. 29" by 34" framed. Oil on Board. Carl Von Hassler (1887 - 1969) was active/lived in New York, New Mexico. Carl Hassler is known for Portrait-Indian, landscape, mural. Growing up in Bremen, Germany, Carl von Hassler always knew he wanted to be an artist. But parents often have different ideas, and at age 14, Carl found himself enrolled in the German Naval Academy. Fortunately, the Academy offered elective art courses and the aspiring young artist was delighted to realize that he could obey his father's wishes and learn to draw and paint at the same time. Von Hassler experienced another life-altering event two years later when he attended a performance of Buffalo Bill's Wild West Show. His father, a prominent businessman, had helped bring the temporarily bankrupt troupe to Bremen. "That's when I first decided to go to America," he recalled. That opportunity to go abroad finally arrived in 1912 after he finished his naval service and also completed six years at the Dusseldorf Art Academy. Von Hassler first settled in New York where he studied with members of the Ashcan Group. By 1917, as America prepared to enter World War I, several of the Ashcan painters were drawn to New Mexico, lured by the beauty of its landscape. Ironically, von Hassler heard a very different call. So great was he dedication to his new home that he joined the US Army in the fight against his homeland. In Germany, von Hassler's brother also signed up to fight, literally pitting the family against itelf. When the brother was killed in the War, von Hassler's mother disinherited him, and he decided never to return to Germany. After four years of service he was released from the US Army and, in 1922, von Hassler moved to New Mexico. Instead of following his New York acquaintances to Santa Fe, however, he settled in the up-and-coming town of Albuquerque. Von Hassler's enthusiasm for the Southwest and his fascination with his new surroundings fueled and renewed his artistic career. Ever the scholar, he threw himself into the exploration of the indigenous plants and animalsas well as peopleof New Mexico. In his early years in the state, von Hassler made careful study of Navajo culture, spending many days at the trading post in Manuelito, talking with residents of the area and sketching their likenesses. He took up this self-appointed task with such dedication that he eventually became proficient in the Navajo language. The Indian Pueblos of New Mexico were another favorite subject for von Hassler, and he systematically sketched and painted each of the villages. In 1927, he used these studies as the basis for his first important commission: murals for the Pueblo/Deco style KiMo theater in Albuquerque. The ten-panel painting depicts the legendary Seven Cities of Cibola which the Conquistadores thought were "cities of gold" but turned out to be Native farming villages. The murals were restored in 1989 and still adorn the historic theater. As von Hassler's career in New Mexico advanced, he concentrated more and more on painting the landscape he had come to love. By the 1930s he was widely known for his ability to capture the moods of the land as it changed through the seasons. He did this with a carefully controlled palette consisting of a limited range of finely modulated color. But this technique was actually based in his knowledge of the natural world. His friends and students recalled that von Hassler was an expert on nature lore and could name almost any plant that grew in the state. In a 1961 newspaper interview, von Hassler talked about the importance of thoroughly knowing the landscape before an artist can paint it effectively. "Nature is a great teacher. To be a truly good artist, one has to be first a naturalist. Each area presents its own background and feeling. Arizona is quite different from New Mexico. Our state is very different from Coloradoand so it goes. Unless you get the feel of a place, your painting will lack strength and beauty." His goal was to evoke nature, not manipulate it, and he felt that it was not possible "to elaborate on nature with success. I want to place on canvas what I see in nature." Not only did Von Hassler study and enjoy his subjects, but he also enjoyed the very act of painting and reveled in the feel of various media. He was equally skilled with different kinds of paint, his favorites being oil, egg tempera, and watercolor. At the Academy in Dusseldorf he had studied the chemistry of paint, and throughout his career was known for experimenting with new materials to achieve exactly the colors and textures he wanted. Von Hassler once told a reporter that he had developed a technique for baking paint at up to 600 degrees so that it would take on a ceramic-like appearance and would be permanently colorfast. Since it was not possible to subject canvas to high temperatures, he also created what he called an "atomic substance" for use as the ground on which to paint. He was better known, however, for developing an "acid tempera" paint which bonded with a paper ground. Unfortunately, von Hassler was reluctant to divulge his various formulae, and now very little is known about the paint media he invented. By the 1940s, von Hassler was one of New Mexico's most popular painters and came to be called "The Dean of Albuquerque Artists." He seldom showed his work in galleries as he was able to sell most of his paintings privately. He took pride in the fact that they found homes in many countries around the world. Von Hassler also completed major commissions for such notable Albuquerque buildings as the 1939 Albuquerque Airport, Fred Harvey's Alvorado Hotel, the Franciscan Hotel, Bank of New Mexico, and First National Bank. Sadly, his ceiling decoration at the Airport is the only of these commissions that have not been removed or destroyed. When Carl von Hassler died in 1969, his students fondly remembered him as a stern and demanding teacher, but one who got results. " he was a disciplinarian as a teacher and an artist." "Most important, he demanded patience and self-discipline in our work," two students recalled. But this was no less than he demanded of himself, always reinforcing his art with his constant search for knowledge. Walter Bambrook, reminisced about von Hassler and his most famous student: "Ben Turner and I would go on sketching trips with Carl back in the early thirties . He was always learning something new about New Mexico. He never stopped learning."
Carl Von Hassler (1887-1969): Fall Glow Dimensions: 24 x 28 1/2 Framed/base dimensions: 29 1/4 x 34 3/8 x 1 7/8 Signature: signed lower left: Von Hassler
Carl Von Hassler (German/American, 1887-1969) Winter in San Antonio, N.M. oil on board signed Von Hassler (lower left) 20 12 x 25 1/2 inches. Property from the Estate of Monroe Wingate This lot is located in Denver.
Carl Von Hassler (1887 - 1969) Ge-Showah of Taos oil on linen signed lower left: Von Hassler inscribed verso: "Ge-Showah" of Taos / [indecipherable] / by Von Hassler
Carl Von Hassler (1887 - 1969) Springtime in Tres Ritos, New Mexico, ca. 1942 oil on canvas signed lower left: Von Hassler inscribed verso: Harris Hampton / Canyon TX / asked for this / (Sangre de Cristo Mountains) / Springtime in Tres Ritos (NM) / by Von Hassler - 42 / Price 400
Title: Carl Von Hassler (1887-1969), Fall in Rural New Mexico Dimensions: 14 1/8 x 20 Framed Dimensions: 24 1/2 x 30 1/2 x 3/4 Signature: signed lower left: Von Hassler
Carl Von Hassler (American, 1887-1969) New Mexico Village in Late Fall oil on canvas signed Von Hassler (lower edge) 12 x 16 inches Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico
Carl Von Hassler (Germany, 1887 - 1969) Autumn on the East Slopes of the Christos, 1935 acid tempera on paper inscribed lower left: (Acid Tempera) titled, signed, and dated lower center: "Autumn on the East Slope if the Christos" NM / by Von Hassler -35 inscribed lower right: from my private collection - 35 / To my dear Friend Gordon Stevenson / From your Friend Carl Von Hassler inscribed verso: Roriada bridge. The last time I / crossed this bridge I was riding / with Catherine Kavanaugh on Laddie. / We ate a picnic lunch under the / aspens.
Carl Von Hassler American, 1887-1969 Near Taos Signed Von Hassler (lr) Oil on canvas 22 x 28 inches (55.9 x 71.1 cm) Provenance: Enthios Gallery, Santa Fe, NM C
Carl Von Hassler (1887 - 1969) "New Mexico Autumn" Oil on Board. Inscribed and titled on reverse (Region Sangre de Christos N.M.) / (Village Rociada) / "New Mexico Autumn" / By Von Hassler - 43." Growing up in Bremen, Germany, Carl Von Hassler always knew he wanted to be an artist. Von Hassler experienced a life-altering event when he attended a performance of a 1903 Buffalo Bill's Wild West Show in Bremen. That's when he first decided to go to America. Von Hassler first settled in New York in 1912 where he studied with members of the Ashcan Group. As the United States prepared to enter World War I, Von Hassler Joined the US Army in the fight against his homeland. After four years of service he was released from the US Army and, in 1922, Von Hassler moved to New Mexico. Instead of following his New York acquaintances to Santa Fe, however, he settled in the up-and-coming town of Albuquerque, he would go on to be known as the "Dean of the Albuquerque Art Colony." In his early years in the state, Von Hassler made careful study of Navajo culture, spending many days at the trading post in Manuelito, talking with residents of the area and sketching. He would eventually become proficient in the Navajo language. The Indian Pueblos of New Mexico were another favorite subject for Von Hassler, and he systematically sketched and painted each of the villages. By the 1930s he was widely known for his ability to capture the moods of the land as it changed through the seasons. He did this with a carefully controlled palette consisting of a limited range of finely modulated color. But this technique was actually based in his knowledge of the natural world. His friends and students recalled that Von Hassler was an expert on nature lore and could name almost any plant that grew in the state. Generally, the artist did his sketch on location, returning to the studio to execute the painting. He taught privately, and among his better known former pupils are Sam Smith, Ben Turner, Walter Bambrook, Novella King, and Betty Sabo. Artist: Carl Von Hassler Title: "New Mexico Autumn" Medium: Oil on Board Circa/Year: 1943 Signature Type: Hand Signed Signature Location: Lower Left Site Measurement: 23" x 27.75" Keywords: Southwest, Western, Painting, OriginalArt; Ref: BD1676
Carl Von Hassler (1887 - 1969) "Spanish Mountain Ranch" Oil on Canvas. Inscribed and titled on reverse "Spanish Mountain Ranch / By Von Hassler - 42." Growing up in Bremen, Germany, Carl Von Hassler always knew he wanted to be an artist. Von Hassler experienced a life-altering event when he attended a performance of a 1903 Buffalo Bill's Wild West Show in Bremen. That's when he first decided to go to America. Von Hassler first settled in New York in 1912 where he studied with members of the Ashcan Group. As the United States prepared to enter World War I, Von Hassler Joined the US Army in the fight against his homeland. After four years of service he was released from the US Army and, in 1922, Von Hassler moved to New Mexico. Instead of following his New York acquaintances to Santa Fe, however, he settled in the up-and-coming town of Albuquerque, he would go on to be known as the "Dean of the Albuquerque Art Colony." In his early years in the state, Von Hassler made careful study of Navajo culture, spending many days at the trading post in Manuelito, talking with residents of the area and sketching. He would eventually become proficient in the Navajo language. The Indian Pueblos of New Mexico were another favorite subject for Von Hassler, and he systematically sketched and painted each of the villages. By the 1930s he was widely known for his ability to capture the moods of the land as it changed through the seasons. He did this with a carefully controlled palette consisting of a limited range of finely modulated color. But this technique was actually based in his knowledge of the natural world. His friends and students recalled that Von Hassler was an expert on nature lore and could name almost any plant that grew in the state. Generally, the artist did his sketch on location, returning to the studio to execute the painting. He taught privately, and among his better known former pupils are Sam Smith, Ben Turner, Walter Bambrook, Novella King, and Betty Sabo. Artist: Carl Von Hassler Title: "Spanish Mountain Ranch" Medium: Oil on Canvas Circa/Year: 1942 Signature Type: Hand Signed Signature Location: Lower Left Site Measurement: 25" x 30" Keywords: Southwest, Western, Painting, OriginalArt; Ref: BD1676
Carl Von Hassler (1887 - 1969) "Cottonwoods And Adobes" Oil on Board. Inscribed and titled on reverse "(Region San Antonio N.M.) Foot of Sangre de Cristos / "Cottonwoods and Adobes" / By Von Hassler - 41." Growing up in Bremen, Germany, Carl Von Hassler always knew he wanted to be an artist. Von Hassler experienced a life-altering event when he attended a performance of a 1903 Buffalo Bill's Wild West Show in Bremen. That's when he first decided to go to America. Von Hassler first settled in New York in 1912 where he studied with members of the Ashcan Group. As the United States prepared to enter World War I, Von Hassler Joined the US Army in the fight against his homeland. After four years of service he was released from the US Army and, in 1922, Von Hassler moved to New Mexico. Instead of following his New York acquaintances to Santa Fe, however, he settled in the up-and-coming town of Albuquerque, he would go on to be known as the "Dean of the Albuquerque Art Colony." In his early years in the state, Von Hassler made careful study of Navajo culture, spending many days at the trading post in Manuelito, talking with residents of the area and sketching. He would eventually become proficient in the Navajo language. The Indian Pueblos of New Mexico were another favorite subject for Von Hassler, and he systematically sketched and painted each of the villages. By the 1930s he was widely known for his ability to capture the moods of the land as it changed through the seasons. He did this with a carefully controlled palette consisting of a limited range of finely modulated color. But this technique was actually based in his knowledge of the natural world. His friends and students recalled that Von Hassler was an expert on nature lore and could name almost any plant that grew in the state. Generally, the artist did his sketch on location, returning to the studio to execute the painting. He taught privately, and among his better known former pupils are Sam Smith, Ben Turner, Walter Bambrook, Novella King, and Betty Sabo. Artist: Carl Von Hassler Title: "Cottonwoods And Adobes" Medium: Oil on Board Circa/Year: 1941 Signature Type: Hand Signed Signature Location: Lower Right Site Measurement: 12.75x18.5 in. Keywords: Southwest, Western, Painting, OriginalArt; Ref: BD1175
Carl Von Hassler (1887 - 1969) "Springtime in Chimayo" (New Mexico) Oil on Canvas. Growing up in Bremen, Germany, Carl von Hassler always knew he wanted to be an artist. Von Hassler experienced a life-altering event when he attended a performance of a 1903 Buffalo Bill's Wild West Show in Bremen. That's when he first decided to go to America. Von Hassler first settled in New York in 1912 where he studied with members of the Ashcan Group. As the United States prepared to enter World War I, Von Hassler Joined the US Army in the fight against his homeland. After four years of service he was released from the US Army and, in 1922, Von Hassler moved to New Mexico. Instead of following his New York acquaintances to Santa Fe, however, he settled in the up-and-coming town of Albuquerque, he would go on to be known as the "Dean of the Albuquerque Art Colony." In his early years in the state, Von Hassler made careful study of Navajo culture, spending many days at the trading post in Manuelito, talking with residents of the area and sketching. He would eventually become proficient in the Navajo language. The Indian Pueblos of New Mexico were another favorite subject for Von Hassler, and he systematically sketched and painted each of the villages. By the 1930s he was widely known for his ability to capture the moods of the land as it changed through the seasons. He did this with a carefully controlled palette consisting of a limited range of finely modulated color. But this technique was actually based in his knowledge of the natural world. His friends and students recalled that Von Hassler was an expert on nature lore and could name almost any plant that grew in the state. Generally, the artist did his sketch on location, returning to the studio to execute the painting. He taught privately, and among his better known former pupils are Sam Smith, Ben Turner, Walter Bambrook, Novella King, and Betty Sabo. Artist: Carl Von Hassler Title: "Springtime in Chimayo" Medium: Oil on Canvas Signature Type: Hand Signed Signature Location: Lower Left Site Measurement: 19.5x25.25 in. Keywords: Southwest, Western, Painting, OriginalArt; Ref: BD1175
Carl Von Hassler 1887-1969 Original Oil on Board, Title on back "Cottonwoods and Adobes 1941" Region San Antonio NM Foot of Sangrede Christo, Signed lower right Von Hassler
Carl von Hassler (1887-1962) Last Rays signed 'Von Hassler' (lower left), signed again, dated and titled '43' (on the reverse) oil on canvas 25 x 30 1/2in framed 30 1/2 x 35 1/2in Painted in 1943. For further information on this lot please visit the Bonhams website
