Peter Lanz Hohnstedt (American, 1872-1957) was born in Cincinnati, Ohio, where he received his early art training from Frank Duveneck. About 1914, Hohnstedt moved to New Orleans, where he was asked to do a painting for the Delgado Museum. The results were immediate and profitable. A wealthy man provided him with a room on his yacht so he could find greater opportunity to visit and study the swamp areas of Louisiana. Hohnstedt and artist Clarence Millet painted together in Louisiana and Mississippi.
In the mid 1920s, he also painted in Seattle, Washington and exhibited with the Seattle Fine Arts Society. Hohnstedt moved to Comfort, Texas in 1928 and had a studio in San Antonio. Later Hohnstedt moved his home and studio to downtown Comfort, Texas, where his studio was open daily to visitors. His guest book included visitors from around the country. Peter Hohnstedt preserved on canvas many of the beautiful surroundings of Comfort, Texas in the heart of the Hill Country. His paintings included the twisting oaks, cypress and hillsides surrounding the small community.
He exhibited at the Witte Museum (Edgar B. Davis Competition) in 1929 and won two awards, with such competition as Dawson Dawson- Watson, E. Martin Hennings, O.E. Berninghaus, Jose Arpa and a host of others. He continued to exhibit throughout the 30's and 40's with several one-man shows.
His preferred medium for his landscapes was oil. Occasionally his name appears as Holmstedt.
Source: Kurt Meisenbach, The Grey Art Gallery Peter Falk, "Who Was Who in American Art"
Mr. Hohnstedt's oil paintings sell for thousands of dollars. His high public sales price was $16,000.00 in 2013. I am listing two of his paintings, both of which I consider examples of his best works.
Artist: Peter Lanz Hohnstedt (American, 1872-1957)
Country of Origin: U. S. A.
Medium: Oil on board.
Title: "Winter Scene"
Size: 8 by 10 inches (20.3 by 25.4 cm); framed 12 by 14 by 1 1/2 inches.
Signed lower right: P. Hohnstedt
Condition: Minor surface grime and frame wear with a flake of loss at center top edge. Under UV exam, there appears to be no inpaint.
Provenance: David Dike Fine Art, October 22, 2005, lot 274.
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