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Art & Design
with
Tradition & Innovation
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Art & Design
with
Tradition & Innovation

Sunday, December 8
10 AM
Preview:
Monday, December 2 10 AM – 5 PM
Tuesday, December 3 10 AM – 5 PM
Wednesday, December 4 10 AM – 5 PM
Thursday, December 5 10 AM – 7 PM
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Toomey & Co. Auctioneers
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IL Lic. #444000195, #441001663, #441001222, #441001454

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Property from the Collections and Estates of:
A Prominent Michigan Collection
Important Chicago Collector
The Collection of Kazimir Karpuszko, Chicago, Illinois
A Prominent Chicago Collection
A Private East Coast Collection
Stahr Collection, Barrington, Illinois
The Collection of Richard Nickel, Chicago, Illinois
Private Collection, Kansas City, Missouri
The Estate of Candice B. Groot, Evanston, Illinois
A Midwest Collection
An Ohio Collection
The Collection of Wilbert and Marilyn Hasbrouck, Chicago, Illinois
The Collection of Rich and Patty Thumann, Tacoma, Washington
The Paul and Terry Somerson Collection of 20th & 21st Century
Metalwork and Jewelry
The Estate of Michael Rabkin, Los Angeles, California
A Private Colorado Collection
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Art
1
Lynn Russell Chadwick
(British, 1914-2003)
Walking Woman — Maquette VI, 1983
bronze with black patina
signed with artist’s monogram and numbered
C 26S under skirt
edition 7/9
8 7/8”h x 4 1/8”w x 6 5/8”d
$10,000-20,000
Provenance:
Property from a Prominent Michigan Collection
Literature:
Farr, Dennis, and Eve Chadwick, Lynn Chadwick.
Sculptor. With a Complete Illustrated Catalogue
1947-2005, Lund Humphries, 2006, C26S, p. 360
Lynn Chadwick was launched on the international stage as one of a new generation of British sculptors exhibiting at the British
Pavilion of the 1952 Venice Biennale. Here these young sculptors surprised the audience with their departure from previously
dominant sculptural traditions by embracing new materials, including iron structures with plaster filler and industrial compounds. They
presented jagged works concerned with the dematerialization of mass and the vitality of line.
Chadwick came of age as an artist after World War II, when a mood of existential anxiety converged with traditions of humanistic
representation and Modernist abstraction. In the 1960s, Chadwick became interested in both the abstract form in basic principles
and looking at the human form, and later looking at how a figure stands and moves.
This maquette, Walking Woman, is characteristic of his sculptures of human figures cast in bronze during this period. The figure
is clad in angular, rough drapery with a geometric, pyramidal head, blending Surrealism, the angst of Alberto Giacometti and the
monumentalism of Henry Moore. During the 1970s and 1980s, Chadwick started to standardize these figures, developing a visual
code. Eventually, most of the male figures had rectangular heads and the females had triangular heads, as exemplified here.
10
2
Damien Hirst
(British, b. 1965)
Studio Skull, 2009
color screenprint
signed and numbered
edition 8/10
co-published by Other Criteria and
Paul Stolper, London, England
26 1/4” x 36 1/4”
$3,000-5,000
Provenance:
Paul Stolper Gallery, London, England
Property from a Private Canadian
Collection
Treadway Toomey, 03 June 2017,
Lot 309
Acquired from the above sale by
present owner
3
Damien Hirst
(British, b. 1965)
Studio Skull, 2009
color screenprint
signed and numbered
edition 8/10
co-published by Other Criteria and
Paul Stolper, London, England
26 1/4” x 36 1/4”
$3,000-5,000
Provenance:
Paul Stolper Gallery, London, England
Property from a Private Canadian
Collection
Treadway Toomey, 03 June 2017,
Lot 309
present owner
11
4
Roger Brown
(American, 1941-1997)
False Image Decals $1.00 pkt., 1969
(complete set of four images on
individual sheets)
color silkscreen, commercially
manufactured
6” x 9 1/2”
$1,000-2,000
Catalog Note:
Color silkscreen on off-white wove
paper; double-sided decals printed
by the Chicago Decal Company
from stencils cut by Roger Brown
(American, 1941-1997) based on
original drawings by: Brown, Artist;
Eleanor Dube (American, b. 1946),
Map; Philip Hanson (American, b.
1943), Hearts Desire; and Christina
Ramberg (American, 1946-1995),
couple in embrace, woman tending
hair, woman lying down.
5 6
Robert Lostutter Robert Lostutter
(American, b. 1939) (American, b. 1939)
Untitled, 1972 Untitled, 1972
watercolor and graphite on paper watercolor and graphite on paper
signed and dated lower right signed and dated lower right
6 1/8” x 4 1/8” 5 3/4” x 7 1/4”
$1,000-2,000 $1,500-2,500
Provenance: Provenance:
Property from an Important Chicago Collector Property from an Important Chicago Collector
12
7 Catalog Note:
John Wilde John Wilde’s Work Reconsidered: Love after Murder (1989)
(American, 1919-2006) is a macabre journey through the artist’s mind, bringing
Work Reconsidered: Love After Murder, Series III, 1989 violence and sex together in a Wisconsin landscape of
oil on wood lustful destruction. Wearing a harlequin leotard, a man
signed in ink verso engages in foreplay with a woman who is pleasuring herself.
13 1/8” x 20 1/4” Did he (or they?) dismember the body that lies in pieces
$8,000-12,000 among numerous potential implements of murder and
mayhem? And what do the non-sequitur objects, which
Provenance: confuse and obfuscate, mean in the larger scheme of this
Perimeter Gallery, Inc., Chicago, Illinois (label verso) surrealism? Sometimes in Wilde’s work a murder scene
Schmidt-Bingham Gallery, New York, New York (label verso) is not literally a murder scene, but here it is nonetheless
disturbing and thought-provoking.
Exhibitions:
Wildeworld: The Art of John Wilde, Elvehjem Museum of Art, University
of Wisconsin–Madison, 13 November 1999 through 09 January 2000
Literature:
Panczenko, Russell, and Theodore F. Wolff, Wildeworld: the Art of John
Wilde, Hudson Hills Press, 1999
Wilde, John and Lisa Wainwright, Things of Nature and the Nature of
Things: John Wilde in the McClain Collection, Chazen Museum of Art,
University of Wisconsin–Madison, 2006, pl. 15
13
8
Joseph A. Burlini
(American, b. 1937)
Daddy Longlegs, 1976
steel with enamel
65 1/2”h x 32”w x 60”d
$4,000-6,000
Exhibitions:
From Rockets to Rainbows: Joseph A. Burlini Solo Exhibition, Museum of
Science and Industry, Chicago, Illinois, 15 March through 15 May 1977
Catalog Note:
Among Joseph Burlini’s most imaginative sculptures, Daddy Longlegs
is an important example of the work that he produced during his
kinetic do-nothing machine phase in the 1960s and 1970s. Like
other creations from this period, Burlini’s rolling vehicle ‘prototype’
is comprised of multiple colorful small discs, and other shapes, with
enamel ornamentation, all stemming from a main capsule, where
a small human figure might ride. A precursor to the Steampunk
movement, this whimsical sculpture combines a nod to the
nostalgic with a vision of the future. This work was part of the 1976
Bicentennial Fourth of July Parade in Arlington Heights, Illinois, and was
pulled by Burlini’s son, Christopher. In 1977, the Museum of Science
and Industry of Chicago featured more moving sculptures similar to
this in a 10-year retrospective.
14
9
Joseph A. Burlini
(American, b. 1937)
Triangulated Mobile, 1993
steel and paint
18”h x 48”w x 48”d
$1,500-2,500
10
Joseph A. Burlini
(American, b. 1937)
Ravi Shankar, circa 1980
steel and paint
23”h x 24”w x 2”d
$800-1,200
15
11
Hilton Brown
(American, b. 1938)
Sun II, 1963
oil on canvas
signed verso
28” x 28”
$1,000-2,000
Provenance:
The Collection of Kazimir Karpuszko, Chicago, Illinois
Property from a Prominent Chicago Collection
Exhibitions:
Art in Embassies Program (AIE), Mrs. Nancy P. Kefauver,
Advisor of Fine Art, Office of the Deputy Office of
Administration, Department of State, Washington DC (label
verso)
Catalog Note:
In 1963, President John F. Kennedy established, by executive
order, an Advisory Council on the Arts including Nancy
Kefauver, Art in Embassies first director, appointed by the
President in November that year. This work by Hilton Brown
was chosen and traveled as part of the Art in Embassies
program.
12
Ralph Moffett Arnold
(American, 1928-2006)
Untitled, circa 1970
graphite and acrylic on board
12" x 12"
$800-1,200
13
Lita Albuquerque
(American, b. 1946)
Quelle est la couleur de mon amour,
1982
mixed media and collage
signed and dated lower right
22 1/8" x 29 5/8"
$800-1,200
16
14
Herman Maril
(American, 1908-1986)
Oneness
oil on canvas
signed lower right
24” x 36”
$3,000-5,000
Provenance:
Babcock Gallery, New York,
New York (label verso)
Catalog Note:
“The sources of my work have
been a response to nature and
the world around me,” Herman
Maril once said. “I am interested
in the language of paint, and
my ideas must be expressed
in terms of space concept on
the plane of the canvas. I want
my paintings to have an organic
‘oneness’ which should be the
result of a constantly growing
understanding and feeling for
the lyricism possible in the
plastic units of the picture
struggle.”
15
Joseph Welna
(American, 1927-2007)
Variations, #6, 1973
acrylic on canvas
signed and dated verso
68 1/4” x 93”
$1,000-2,000
17
16
Harry Bertoia
(Italian/American, 1915-1978)
Untitled (765)
monotype
numbered ‘765’ lower left
25 5/8” x 19”
$4,000-6,000
Provenance:
Private Collection
Rago Modern Auctions, Lambertville, New Jersey, 17
June 2012, Lot 740
Property from a Private East Coast Collection
Catalog Note:
“Bertoia monotypes preceded all sculptures and were
the foundation of all of Harry’s work. Harry enjoyed
the monotype process because it was quick and direct,
rather than meticulously planned and belabored as
the metal forms necessitated. Most of his works are
untitled and undated. He compiled about 4,000 unique
monotypes during his career, possibly more than any
other type of work. The artist himself said it was a
window into his creative process, and a sort of journal
of his artistic development.
In his early imagery, influenced by Surrealism and

Constructivism, he created biomorphic, free-form
shapes and wandering lines; geometrics inflected
by straight lines, and combined to make lively
compositions.” — Celia Bertoia, Harry Bertoia
Foundation
This gold-toned work (765) is infused with a motif of

almost translucent triangles, ranging from dark to light,
some bearing traces of painterly texture. The triangular
forms float in an irregular vertical grid superimposed
on a hazy, opaque green surface. The layered quality
of this composition evokes the formal semblance of
sculpture and, quite likely, served as a rendering for a
later three-dimensional work.
17
Gerome Kamrowski
(American, 1914-2004)
Cluster, 1964
acrylic and mixed media on jute with
stones and gravel
30 1/2” x 25 3/4”
$7,000-9,000
Provenance:
Stahr Collection, Barrington, Illinois
18
18 Catalog Note:
Miyoko Ito Miyoko Ito’s painting provides a welcoming but challenging
(American, 1918-1983) visual cosmology of rectangular and square shapes floating in
Act One in the Desert, 1978 an atmospheric dreamworld. The paint here is thinly applied,
oil on canvas blurring blues, yellows and oranges. On the high horizon line,
unsigned an apparent sunset of muted light brown blends up the canvas
47” x 36” into light blue. Connections between the built and the ethereal
$15,000-25,000 world are punctuated with a square, suggesting a portal where
more may yet be imagined. Ito’s compositions are quite often
engaging enigmas.
19
19 20
Sewell Sillman Sewell Sillman
(American, 1924-1992) (American, 1924-1992)
The Ninth Orb, 1973 The Third Orb, 1973
collage collage
titled, dated and signed lower right titled, signed and dated verso
inscribed 21. VIII. 73 verso inscribed VII
11 1/2” x 8 3/4” 8 3/4” x 7 3/4”
$1,000-2,000 $1,000-2,000
21
Yogesh Rawal
(Indian, b. 1954)
Untitled 37, 2007
paper collage on wood
30” x 30”
$1,500-2,500
Catalog Note:
Yogesh Rawal animates what he calls
“indeterminate realms” by referring
to them as inner conversations.
Indeed, his art suggests the immaterial
world of the mind. While minimalist
in intention, Rawal’s concerns are
less cerebral and rigid. His work has
been compared to artists like Agnes
Martin who infuse their simple forms
with attitudes stemming from Zen
Buddhist philosophy.
20
22
Verma Akhilish
(Indian, b. 1956)
Touchably Untitled, 2007
acrylic and graphite on canvas
40” x 40”
$3,000-5,000
Catalog Note:
Based in Bhopal, India, Verma Akhilesh produces
paintings that feel as if they are unfinished and yet
they do not seem incomplete. It is impossible to look
at Akhilish’s work in terms of a beginning leading
to an end. Despite pronounced linearity, Akhilish’s
compositions seem to melt into his canvasses. His
paintings appear full of freshness and the colors
resonate with emotion. Akhilish is skilled at translating
familiar territory in an individualized way.
23
Bose Krishnamachari
(Indian, b. 1963)
Ghost, Music of the Cubes 3, 2006
watercolor on burnt Canson paper over acrylic mirror
signed lower left
68 5/16” x 42”
$5,000-7,000
Catalog Note:
Known for experimental, abstract works, Bose
Krishnamachari has lately turned toward more
conceptual ways of expressing himself, including
incorporating second-hand books and figures seen
through saturated lenses. His photography and multi-
media installations also use color as a dominant
force. Krishnamachari has stated: “I refine my color to
brightness. I have learnt this usage from the alternately
subdued and lavish color codes of Indian ceremonies
and ritual performances; the costumes, the gestures of
enactment.”
21
24 Baiju Parthan studied painting in Goa, India in the late 1970s, when it was especially
Baiju Parthan fashionable for Westerners to travel there on spiritual journeys. His education,
(Indian, b. 1956) therefore, was saturated in the world view of Western art. This gives Parthan a
Immeasurable Distance unique voice, and one with which he has struggled to come to terms. Inspired by
Between Us 4, 2006 Impressionism, Expressionism, and Cubism, Parthan claimed in the 1980s that he “felt
oil on canvas like a missionary for Western art.”
signed and dated top right
and verso Subsequently, Parthan took a hiatus from painting, studied comparative mythology in
72” x 72” Bombay, and then returned to art a decade later. He has tackled diverse subjects, from
$10,000-20,000 hardware engineering to philosophy, and his studied perspective takes the form of
digital media works and installations.
In his artist statement, Parthan describes his approach: “Speaking of the present, I
certainly hold the view that virtualization and relocation of our everyday social and
economic transactions into virtual data space is the most important marker that
identifies this present historic moment. Consequently, the art I produce currently
addresses the dematerialization or erosion of tactility of the real, and its effect on our
being and existence.”
22
25
Melissa Zink
(American, 1932-2009)
Fragments from a Lost Culture,
circa 1980
stoneware
unsigned
8”h x 12 1/4”dia
$400-600
26 27
Paolo Soleri Paolo Soleri
Ritual Celebration, circa 1965 Female Figure, circa 1965
cast aluminum cast aluminum
10 1/4”h x 13 1/4”w x 10”d 9 3/4”h x 7 1/4”w x 3”d
$1,000-2,000 $1,000-2,000
23
28
Toshio Shibata
(Japanese, b. 1949)
Grand Coulee Dam, Douglas County, WA,
1996
gelatin silver print
signed verso
edition 5/25
name stamped with copyright
17 1/4” x 21 5/8”
$1,000-2,000
29
Doug Fogelson
(American, b. 1970)
D.C. Landing, 2010
Lambda print
signed verso
edition 2/10
14” x 61”
$2,000-3,000
30
Luis González Palma
(Guatemalan, b. 1957)
Portrait, together with a book, Luis
González Palma: Poems of Sorrow
gelatin silver print, framed
book signed on title page
edition 92/100
8 7/8” x 8 7/8”
$1,000-2,000
24
31
Aaron Siskind
(American, 1903-1991)
San Luis Potosi, Mexico 16, 1961
vintage gelatin silver print laid to board
15 1/4” x 19 1/4”
$2,000-3,000
Exhibitions:
Siskind Recently, curated by John Szarkowski, The Edward
Steichen Photography Center, Museum of Modern Art,
New York, New York, 04 May through 27 June 1965,
catalog no. 65.403 (label verso)
Provenance for lots 31 - 33:

Thence by descent to nieces, Nancy Nickel and Susan
Nickel Brunson
32
Aaron Siskind
(American, 1903-1991)
Martha’s Vineyard, 1956
signed, dated and titled verso
19 1/8” x 15”
$2,000-3,000
33
Aaron Siskind
(American, 1903-1991)
Martha’s Vineyard, 1948
13 3/16” x 9 3/4”
$1,000-2,000
Catalog Note:
Richard Nickel became a student of Aaron Siskind
at Chicago’s Institute of Design in 1952. Siskind soon
became Richard’s creative mentor, which evolved into
a lifelong friendship. In the early years, Siskind was
generous in sharing his photographic prints with friends
and those who assisted him. Nickel retained his early
gifts from Siskind until his death in 1972. During the
1950s, Siskind, Nickel and other photographers at the
Institute of Design often chose to display their works
as frameless floating panels with the images cropped to
the edges and held out from the wall with concealed
wood blocking attached to the back. Without protective
glass and frames, many became damaged or lost over
the years. Nickel kept his Siskind panels in the safety
of a wooden wardrobe in the bedroom of his home.
An unmounted Siskind print of peeling posters was
given a protective glass covering and displayed over his
bed. These Siskind prints were retained by the Nickel
family until consigned to this auction. — Tim Samuelson,
Cultural Historian for the City of Chicago, 2019
25
34 35
Leonardo Nierman Purvis Young
(Mexican, b. 1932) (American, 1943-2010)
Moonlight Horses
oil on masonite paint on found wood
signed lower right signed top center
23 5/8” x 31 1/2” 16” x 32”
$1,000-2,000 $1,000-2,000
26
36
LeRoy Neiman
(American, 1921-2012)
Horse and Jockey, 1960
oil on masonite
inscribed For Vicki
Chicago painting
from the past
the good old days
Leroy Neiman 93
21 7/8” x 9 9/16”
$10,000-20,000
Provenance:
Frank J. Oehlschlaeger Gallery,
Chicago, Illinois (label verso)
27
37
Lee Godie
(American, 1908-1994)
Untitled
ballpoint pen and watercolor on canvas
signed lower right
52 3/4” x 28 3/4”
$2,500-3,500
Catalog Note:
Lee Godie (born Jamot Emily Godee) was an
American self-taught artist who was active
in Chicago from the late 1960s until the
early 1990s. Godie was prolific and known
especially for her paintings and modified
photos. A self-described French Impressionist,
Godie was particular about whom she sold
her art to and even to whom she talked,
preferring to interact with artists. Today
Godie’s work is part of the permanent
collections of the Museum of American Folk
Art in New York City, the Milwaukee Art
Museum, the Arkansas Arts Center in Little
Rock, the Smithsonian American Art Museum
in Washington DC and the Museum of
Contemporary Art in Chicago.
38
Lee Godie
(American, 1908-1994)
Profile of a Woman
watercolor and ballpoint
pen
signed left center
20” x 16”
$1,000-2,000
39
Lee Godie
(American, 1908-1994)
Prince Charming
watercolor and pencil on
canvas paper
signed lower left
28” x 22 3/4”
$1,000-2,000
28
40
Jenny Holzer
(American, b. 1950)
Inflammatory Essays, set of 10,
1979-1982
offset lithograph on colored
paper
one sheet signed verso
17” x 17”
$2,000-3,000
Provenance:
Young-Hoffman Gallery,
Chicago, Illinois
41
Leon Golub
(American, 1922-2004)
Cyber Man, 1994
color screenprint
signed lower right in pencil
8” x 7”; sheet: 12 3/8” x 11”
$200-300
Provenance:
Acquired directly from the
Artist by present owner
29
42†
Robert Arneson
(American, 1930-1992)
Brick Self-Portrait on Pedestal, 1981
terra cotta
stamped ARNESON on multiple bricks and date
stamped 1975 and incised 1979 on two different
bricks
68”h x 15”w x 15”d
$20,000-30,000
Provenance:
Private Collection, Kansas City, Missouri
George Adams Gallery, New York, New York
The Estate of Candice B. Groot, Evanston, Illinois
Catalog Note:
Well known for his ceramic sculptures and
numerous self-portraits, Robert Arneson’s body of
work has been described as an “autobiography in
clay.” He tests the boundaries of self-representation
with this self-portrait that depicts Arneson
symbolically, not pictorially. The base, a stylized
brick, trompe l’œil Doric column, provides solidity
to a stack of seemingly teetering bricks, topped
with what appears to be an actual brick. However,
on closer inspection, facial features appear with a
singular eye peering back at the viewer. In placing
his unconventional figure on a pedestal, Arneson
references the reverence of classical sculpture
through time, thus furthering his goal of establishing
himself as a major sculptor.
30
43
Claire Zeisler
(American, 1903-1991)
Untitled, circa 1970
jute
94” x 24”dia (variable)
$6,000-8,000
Provenance:
Property from a Midwest Collection
Catalog Note:
Noted Chicago artist Claire Zeisler was a sculptor who worked
off the loom and handled fiber as others handle wood, metal
or stone. In this work, a cascade of tightly knotted and wrapped
strands of natural jute falls into a whorl of loose ends that
form the base. Flawless craftwork enhances jute’s simplicity as
a material. Zeisler drew inspiration from Pre-Columbian textile
making techniques and the American Indian woven baskets that
she collected throughout her life.
Born in Cincinnati, Ohio in 1903, Zeisler attended the Institute

of Design in Chicago (now part of the Illinois Institute of
Technology), where she studied sculpture under Alexander
Archipenko and Chicago Bauhaus artist László Moholy-Nagy. In
the early 1960s, Zeisler began to turn away from the loom in
favor of knotting and wrapping fibers. Her three-dimensional,
freestanding works helped to create a fiber revolution by
liberating the medium from its dependence on the weaving
process.
31
32
44
Christo and Jeanne-Claude
(Bulgarian/American, b. 1935) (French/American, 1935-2009)
Packed Coast (Project for Little Bay, at Prince Henry Hospital,
Sydney, Australia), 1969
pencil, fabric, thread, twine, wax crayon, charcoal and map
collage
signed Christo and dated 1969 in graphite, lower left
43 13/16” x 27 7/8”
$60,000-80,000
Provenance:
Acquired directly from the Artist, 1969
Thence by descent to present owner
Literature:
Kaldor, John. Christo: Wrapped Coast, One Million Square Feet, Little
Bay, 1969, christojeanneclaude.net, 2019
Tolnay, Alexander, and David Bourdon, Christo and Jeanne-Claude:

Early Works 1958-1969 (Taschen Specials), Taschen, 2001, p. 260,
pl. 396
Catalog Note:
Wrapped Coast
One Million Square Feet, Little Bay, Sydney, Australia
1968-1969
Little Bay, property of Prince Henry Hospital, is located 9 miles (14.5 kilometers) southeast of the center of Sydney,
Australia. The cliff-lined South Pacific Ocean shore area that was wrapped is approximately 1.5 miles (2.4 kilometers)
long, 150 to 800 feet (46 to 244 meters) wide, 85 feet (26 meters) high at the northern cliffs and was at sea level at
the southern sandy beach.
One million square feet (92,900 square meters) of erosion-control fabric (synthetic woven fiber usually manufactured
for agricultural purposes) were used for the wrapping. 35 miles (56.3 kilometers) of polypropylene rope, 0.6 inches
(1.5 centimeters) in diameter, tied the fabric to the rocks. Ramset guns fired 25,000 charges of fasteners, threaded
studs and clips to secure the rope to the rocks.
Major Ninian Melville, retired from Australia’s Army Corps of Engineers, was in charge of the climbers and workers at
the site. 17,000 labor hours, over a period of four weeks, were expended by 15 professional mountain climbers, 110
workers (architecture and art students from the University of Sydney and East Sydney Technical College), as well as a
number of Australian artists and teachers. All climbers and workers were paid, with the exception of 11 architecture
students who refused payment.
The project was financed entirely by Christo and Jeanne-Claude through the sale of their original preparatory
drawings, collages, scale models, early Packages and Wrapped Objects of the 1950s and 1960s and lithographs. The
artists have never accepted sponsorships of any kind.
The coast remained wrapped for a period of 10 weeks starting on October 28, 1969. Then all materials were removed
and recycled and the site was returned to its original condition.
— John Kaldor
33
45
Anna E. (Wilton) Keener
(American, 1885-1982)
Sanctum, 1967
acrylic on board
31 1/2” x 47 3/8”
$4,000-6,000
34
46 47
Rufino Tamayo Rufino Tamayo
(Mexican, 1899-1991) (Mexican, 1899-1991)
Frutero con Manzana, 1981 Hombre en Negro, 1976
mixografía in colors on handmade mixografía in color on Arches paper
paper signed lower right
signed lower right edition 13/140 with blindstamp
edition 67/100 Transworld Art, New York / Taller de Gráfica
35” x 24”; sheet: 39 1/2” x 29 1/2” Mexicana, Mexico D.F. lower left
$3,000-5,000 30 1/4” x 22 1/2”
$2,000-3,000
48
Donald Sultan
(American, b. 1951)
Peppers, 1989
color screenprint
signed, dated and titled left edge
edition 81/100
12” x 12”
$600-800
35
49 50
Günther Förg Dale Chihuly
(German, 1952-2013) (American, b. 1941)
Untitled, 1997 River Reeds, 2004
color lithograph color aquatint and lithograph with hand-
signed and dated lower right coloring in acrylic paint on paper
edition 14/50 signed lower center and numbered lower
35 5/8” x 25 1/2” right
$500-700 edition 29/175
37” x 25”
$800-1,200
51
Diane Simpson
(American, b. 1955)
Containers, 1977
color lithograph
edition 1/5
25 7/8” x 39 7/8”
$1,000-2,000
36
52 53
Peter Max Peter Max
(American, b. 1937) (American, b. 1937)
God Bless America with Five Liberties, Delta, 1999
2001 acrylic on color lithograph
acrylic on color lithograph signed in paint upper right
signed in paint lower right 29 1/2” x 24”
24” x 18” $800-1,200
$800-1,200
54
Richard Hunt
(American, b. 1935)
Untitled (three works together)
papercast and color lithograph
signed and numbered
edition 13/50; 16/50; 16/20 (first two
embossed)
published and printed by Lakeside Studio
18” x 23”; 15 1/2” x 20”; 15 1/8” x 15 1/8”
$600-800
37
55
Gregory C. Palmer
(American, 20th century)
Tiger, Tiger Burning Bright, 1969
oil on canvas
48” x 44”
$800-1,200
56
Glenn Olson
(Canadian, b. 1945)
Polar Bear on Iceberg, 1987
oil on board
15 3/8” x 27 1/4”
$800-1,200
38
57 58
Buky Schwartz Abbott Pattison
(Israeli, 1932-2009) (American, 1916-1999)
Tel Aviv / New York City, circa 1970 The Actress, 1983
chrome-plated steel bronze
signed Buky and numbered incised signature
edition 8/10 13 3/4”h x 23 3/4”w x 7”d
16”h x 13 1/2”w x 8 1/2”d $600-800
$800-1,200
59 60
John Kearney John Kearney
Penguin Youthful Bear, circa 2006
chrome-plated steel car bumpers chrome-plated steel car bumpers
initials welded lower proper right initials welded lower proper right leg
26”h x 17”w x 13”d 49”h x 24”w x 22”d
$1,000-2,000 $2,500-3,500
Purchased directly from the Artist by Purchased directly from the Artist by
present owner present owner
39
61
Darrell Austin
(American, 1907-1994)
Moonlight Dance, 1973
oil on canvas
signed lower left
10” x 8”
$1,000-2,000
Provenance:
Perls Galleries, New York, New York
(label verso)
Harmon-Meek Gallery, Naples, Florida
(label verso)
62
Lars-Birger Sponberg
(Swedish/American, 1919-2018)
Woman Reading, 1984
oil on canvas
signed center left
28 3/4” x 30 3/4”
$400-600
40
63
Fausto Giusto
(Italian, 1867-1941)
Grandpa’s Snuff
oil on canvas
signed lower left
21 3/4” x 33 5/8”
$800-1,200
64
William Aiken Walker
(American, 1838-1921)
Untitled
oil on board
signed lower left
5 7/8” x 11 5/8”
$5,000-7,000
Provenance:
ACA Galleries, New York, New York
65
Carl Philipp Weber
(American, 1849-1922)
Mountain Village by Lake
oil on canvas
signed lower left
21” x 36”
$1,000-2,000
41
66
Sophus Jacobsen
(Norwegian, 1833-1912)
Snowy Path, 1907
oil on canvas
signed and dated lower left
27 1/2” x 41 3/4”
$1,500-2,500
Provenance:
Leslie Hindman Auctions, Chicago, Illinois,
20 May 2015, Lot 76
Acquired from the above sale by the
present owner
67
Marie Løkke
(Norwegian/American, 1877-1948)
Snowy Landscape
watercolor under painted glass
signed lower right
inscribed verso ‘Til Margery og Einar
fra trist Helga’ (‘To Margery and Einar
from sad Helga’)
7” x 12 1/2”
$800-1,200
68
László Neogrady
(Hungarian, 1896-1962)
Alpine Winter
oil on canvas
signed lower left
15 7/8” x 19 3/4”
$700-900
42
69
Conrad Schwiering
(American, 1916-1986)
The Grand Teton Mountains
oil on canvas
signed lower right
17 3/4” x 26 5/8”
$5,000-7,000
Provenance:
Purchased directly from the Artist,
Jackson Hole, Wyoming
Thence by descent to current owner
43
70
Circle of Jan Dirksz Both
(Dutch, 1615/18-1652)
Landscape, circa 1650
oil on panel
16 1/8” x 14”
$1,000-2,000
Provenance:
M. A. Newhouse & Son Art
Importers, St. Louis, Missouri
(label verso)
71
Carl Wilhelm Barth
(Norwegian, 1847-1919)
Boats on the Shoreline
oil on canvas
signed lower left
16 1/2” x 24 3/4”
$1,000-2,000
Provenance:
Freeman’s Auction, 16 June 2015,
Lot 173
the present owner
72
Gilbert Munger
(American, 1837-1903)
Lake Marian, circa 1880
oil on canvas
signed lower right
10” x 20”
$1,000-2,000
44
73 74
Gioacchino La Pira Gioacchino La Pira
(Italian, 1839-1870) (Italian, 1839-1870)
Pozzuoli Fisherman in the Bay at Naples
gouache on paper gouache on paper
signed lower right 5 1/2” x 7 3/4”
8 5/8” x 12 7/8” $400-600
$500-700
75
Armand Guillaumin
(French, 1841-1927)
Study at the Dock, Newport, 1869
graphite and ink on wove paper
signed lower right
11 3/16” x 18 7/8”
$2,000-3,000
Provenance:
The Estate of Dr. Christopher Gray
Acquired from the above by present owner
Catalog Note:
Armand Guillaumin was a member of the
Impressionist group and worked with Berthe
Morisot and Frederic Bazille, who all exhibited
together and influenced one another. Guillaumin
painted views of Montmartre, Meudon, and the
Seine. This sketch is an example of his early work
and interest in ports and bridges. His passionate
feeling toward nature both impressed and
influenced Vincent van Gogh; they became friends
during van Gogh’s residence in Paris in 1887.
76
Romolo Pergola
(Italian, 1890-1960)
Sailboats
oil on panel
signed lower left
6 1/8” x 8 1/4”
$800-1,200
45
77 Exhibitions:
John La Farge Water Color and Oil Paintings by Mr. John La Farge on Exhibition and
(American, 1835-1910) Sale, Doll & Richards, Boston, Massachusetts, 10 through 22 March
A Chief's Tomb, 1890 1893, no. 8 (as Chief's Tomb. Samoa. Evening Study.)
watercolor on paper laid to board
signed 'La Farge Samoa -' and inscribed with title Paintings, Studies, Sketches and Drawings, Mostly Records of Travel
lower right 1886 and 1890-91 by John La Farge, Durand-Ruel Galleries, New
7 3/8" x 10 1/4" York, New York, 25 February through 05 March 1895, p. 21, no. 74
$30,000-50,000
Études, esquisses, dessins: Souvenirs et notes de voyage (1886 et
Provenance: 1890-91) par John La Farge, Société Nationale des Beaux-Arts, Paris,
The Artist France, 24 April through 31 May 1895, no. 73
[With] Doll & Richards, Boston, Massachusetts, 1893
Edward William Hooper, acquired from the above, La Farge Memorial Exhibition, Museum of Fine Arts, Boston,
1893 Massachusetts, 01 through 31 January 1911
Estate of the above, 1901
John Chipman Gray, Boston, Massachusetts, (probably) Literature:
1911 La Farge, John, "Passages from a Diary in the Pacific: A First Day in
Private Collection, by descent, 1970 the South Seas", Scribner's Magazine, June 1901, vol. 29, p. 683
Acquired by present owner from the above
46
78
Zarh Pritchard
(American, 1866-1956)
Squirrel Fish, 1925
oil on leather
28 3/4” x 23 1/4”
$1,000-2,000
Catalog Note:
Zarh Pritchard holds a unique place in the history of art. Developing
a highly original technique, Pritchard became the first artist to
literally work underwater.
Born in India, Pritchard grew up with two loves: art and the sea.
He was most influenced by Charles Kingsley’s fairy tale, The Water-
Babies (1863), and Jules Verne’s science fiction adventure, Twenty
Thousand Leagues Under the Sea (1873), both featuring human
beings living freely on the ocean floor. Inspired by visions seen while
submerged underwater during seaside holidays, Pritchard began
creating harmonious poetic works, which have been linked to the
American turn-of-the-century movement, Tonalism.
In this silent aquatic world, Pritchard created his dreamy

atmospheric images of an undersea paradise using only crayons on
oil-soaked paper taped to glass. These crayon images were later
recopied in his studio onto large leather sheets that were stretched
like canvas. Pritchard traveled extensively throughout the world,
creating exotic images from locations as diverse as the kelp-filled
caverns off the coast of Scotland to the coral-filled lagoons of Tahiti.
79 80
Arthur J. Rupert Arthur J. Rupert
(American, 19th/20th century) (American, 19th/20th century)
Landscape Landscape
oil on board oil on board
signed lower left signed lower right
21 7/8” x 18 3/4” 38 1/8” x 48”
$600-800 $1,000-2,000
47
81
Charles Partridge Adams
(American, 1858-1942)
Twilight, Near Denver, Colo
watercolor and gouache on board
signed lower left and titled verso
9 7/8” x 6”
$700-900
82
Franz Johnston
(Canadian, 1888-1949)
The Sapphire
oil on board
signed lower left
12” x 16”
$3,000-5,000
Catalog Note:
The location pictured is on the Rouge
River in Argenteuil, Quebec, a few
miles north of the Ottawa River in
late October.
48
83
Clarence Holbrook Carter
(American, 1904-2000)
Autumn, 1959
oil on canvas
signed and dated lower left
34” x 46”
$4,000-6,000
Provenance:
Hirschl & Adler Gallery
(APG Stock Number)
Corporate Art Collection,
Pennsylvania
Property from an Ohio
Collection
84 85†
Pierre T. de Clausade Saul Kovner
(French, 1910-1976) (American, 1904-1981)
La Seine au quai des Offèvres, 1970 Old New York
oil on canvas oil on canvas
signed lower right and titled and signed lower right and titled on stretcher
dated verso 20” x 26”
$1,000-2,000 $600-800
Merrill Chase Gallery, Chicago, Illinois By descent in the Artist’s Family
(label verso) Private Collection, North Hollywood, California
John Moran Auctioneers, Pasadena, California, 24 May 2015
Collection of Rich and Patty Thumann, Tacoma, Washington
49
86 87
Antoine Blanchard Antoine Blanchard
(French, 1910-1988) (French, 1910-1988)
Arc de Triomphe Notre Dame in Winter
oil on canvas oil on canvas
signed lower right signed lower right
13” x 18” 13” x 18”
$4,000-6,000 $5,000-7,000
Grable’s Gift and Art Galleries, Oak Park, Illinois, 1978 Grable’s Gift and Art Galleries, Oak Park, Illinois
Acquired from the above Acquired from the above
Thence by descent to present owner Thence by descent to present owner
Catalog Note: Catalog Note:

This painting comes with a Certificate of Authenticity. This painting comes with a Certificate of Authenticity.
50
88
Édouard Cortès
(French, 1882-1969)
Boulevard Montmartre et Théâtre des Variétés, circa 1965
oil on canvas
signed lower left
13” x 18 1/4”
$15,000-25,000
Provenance:
Wally Findlay Galleries International, Inc., Chicago, Illinois
Acquired from the above, 14 May 1966
Thence by descent to present owner
Catalog Note:
We would like to thank Nicole Verdier for confirming
the authenticity of this painting and including it in her
forthcoming (Winter 2019) Volume III of the Édouard
Cortès Catalogue Raisonné de L’Oeuvre Peint.
51
89†
Follower of Arthur Hughes
(British, 1832-1915)
Portrait of a Girl with
Golden Hair
watercolor and gouache on
paper
unsigned
20” x 15 1/2”
$2,000-3,000
Provenance:
The Collection of Wilbert
and Marilyn Hasbrouck,
Chicago, Illinois
90
Eugène Boudin
(French, 1824-1898)
Femmes en Crinolines,
circa 1865
watercolor
signed lower right
5 3/4” x 4”
$600-800
Provenance:
Leslie Hindman Auctions,
Chicago, Illinois,
19 February 2014,
Lot 2903
Acquired from the above
sale by the present owner
91
Pauline Palmer
(American, 1867-1938)
Woman in a Hat
oil on board
signed lower left
20” x 14 1/2”
$600-800
92
Abraham Baylinson
(American, 1882-1950)
Portrait of Mother
oil on canvas
signed lower right
inscribed verso MOTER
[sic] TO AARON From Abe
14” x 10”
$800-1,200
52
93†
Constant Montald
(Belgian, 1862-1944)
Portrait of Gabrielle Canivet, the Artist’s Wife, 1924
oil on canvas
28” x 35”
$6,000-8,000
Provenance:
The Collection of Wilbert and Marilyn Hasbrouck, Chicago, Illinois
Exhibitions:
Fifty Second Liverpool Autumn Exhibition 1924 (label verso)
Catalog Note:
While Montald’s first works were strongly influenced by the Pre-Raphaelites, he later
focused on integrating humanity with floral environments — trees with winding branches,
curtains of flowers and lawns strewn with surreal growths. Setting was the main subject
while the human form was relegated to the background. His subsequent works depict
Elysian dreamworlds with parks and fountains rendered in ornamental drawings. The
emphasis was on gold and blue hues, with a goal of introducing musicality into the art of
painting.
This portrait of Montald’s wife Gabrielle Canivet, whose gaze confronts the viewer directly
and whose posture leans forward and to the side, while her arm lengthens to the opposite
arm of the chair, captures her strength and confidence. In contrast to Montald’s ethereal
work, this canvas is saturated with deep green and dark tones, delineating the space into
geometric shapes, reflecting the character of the sitter.
53
94
Imogen Cunningham
(American, 1883-1976)
Frida Kahlo, Painter 3, 1931
gelatin silver print, printed later
embossed signature on mount with Chinese chop
lower right
14” x 11”
$2,000-3,000
Provenance:
Imogen Cunningham Foundation, IC-042206-03 (label
verso)
Photography West Gallery, Carmel, California (label
verso)
Catalog Note:
Mexican painter Frida Kahlo (1907–1954) met and
sat for Imogen Cunningham in 1931. The session
produced a handful of striking portraits. In this
particular image, Cunningham depicts the artist in a
starkly simple and powerful close-up.
Kahlo, known for her self-portraiture, was keenly

aware of how she wanted to be portrayed
photographically. She once said, “I knew a battlefield
of suffering was in my eyes. From then on I started
looking directly at the lens, unflinching, unsmiling,
determined to show I was a good fighter to the end.”
Wearing a traditional Mexican shawl and jewelry to

construct intentional symbolism, the contrast of light
against shadow not only creates an ethereal glow, but
also heightens the gravity of the artist’s calmly pensive
gaze into the camera. Cunningham captured the
essence of Frida Kahlo.
95
Bertha Evelyn Clausen Jaques
(American, 1863-1941)
Dandelion Seeds. A starry firmament, 1904
cyanotype
7 1/2” x 4 1/2”
$500-700
Catalog Note:
Bertha Evelyn Jaques is best known for her prints of
wildflowers and ferns, which grew out of a desire
to present something that was not only beautiful to
behold, but also to promote wildflower preservation.
She approached both subjects atypically. Her
botanical prints are scientifically precise and removed
from context or background.
This cyanotype is a remarkable example of how

Jaques isolated a dandelion from its environment,
simultaneously evoking a surreal image and an
abstract composition, which retains a contemporary
quality.
54
96
Edward T. Hurley
(American, 1869-1950)
River View from Dayton, Kentucky, 1930
etching
signed and dated in graphite lower
right
8 1/2” x 10 7/8”
$400-600
97
Robert Pious
(American, 1908-1983)
Poster for the American Negro Exposition
in Chicago, Illinois, 1940
serigraph
signed in plate lower left
21 7/16” x 13 3/4”
$2,000-3,000
Catalog Note:
A similar example is in the Collection
of the Smithsonian National Museum of
African American History and Culture in
Washington D.C.
55
98 99
Charles Schreyvogel Charles Schreyvogel
Indian Studies, circa 1890 Return from Hunt and War, circa 1890
ink and watercolor on paper ink and watercolor on paper
8” x 13 1/4” titled lower right
$2,000-3,000 8” x 13 1/4”
$2,000-3,000
Provenance:
Mongerson Gallery, Chicago, Illinois Provenance:
(label verso) Mongerson Gallery, Chicago, Illinois
(label verso)
56
100
Grant Speed
(American, 1930-2011)
Stampede over the Cutback, 1972
bronze with patina
signed, dated and editioned on base
edition 13/20
21 3/4”h x 34”w x 7 3/4”d
$3,000-5,000
57
58
59
Design
101
Edward Sheriff Curtis
(American, 1868-1952)
Vanishing Race — Navajo, circa 1904
orotone
signed in negative lower right, Curtis no. 984,
held in original Curtis Studio frame
10 1/2” x 13 1/4”
$10,000-15,000
Catalog Note:
Curtis’ wide variety of silver prints were most frequently goldtones or orotones, sometimes called “Curt-tones.” These
comprise less than half of one percent of his extant work. In size, they range from 4” x 5”, called a salesman’s sample,
to 18” x 22”. The larger sizes are quite rare. Based on current data, goldtones used a gelatin silver emulsion, which was
suspended on glass (versus paper), and after development were backed with gold-hued bronzing powders. Curtis’
goldtone prints are almost always framed in one of several original styles, most typically in a bat-wing gesso and compo
over wood, as exemplified here in its original frame.
Curtis captured over 40,000 images from over 80 tribes. In addition to photographs, Curtis produced 10,000 wax
cylinder recordings of Native American languages and captured the first film footage of American Indians.
In total, The North American Indian project included over 2,200 of Curtis’ photographs and thousands of pages of
anthropological research, organized into 20 volumes accompanied by bound portfolios of oversize gravures. This
project spanned over 25 years would not have been possible without the financial support and encouragement of
influential figures such as Theodore Roosevelt, J.P. Morgan, and members of European royalty.
60
102†
(American, 1868-1952)
Canyon de Chelly, 1904
platinum print
signed in ink lower right
marked Copyright 1904
By E.S. Curtis
1013
13” x 16 1/2”
$4,000-6,000
Provenance:
Flury & Company, Seattle,
Washington
The Collection of Rich and Patty
Thumann, Tacoma, Washington
Literature:
Curtis, Edward Sheriff, The North
American Indian, The University
Press, 1907-1930, supplement, v.
1, pl. 28
103†
(American, 1868-1952)
Homeward, circa 1898
platinum print
signed lower right and
numbered 321-98 lower left
12” x 16”
$3,000-5,000
Provenance:
Skinner, Inc., Boston,
Massachusetts
Literature:
Curtis, Edward Sheriff, The North
Press, 1907-1930, supplement, v.
9, pl. 318
61
104†
(American, 1868-1952)
Vanishing Race — Navajo, circa
1904
platinum print
signed lower right and
numbered 378-04 lower left,
held in original mahogany-
veneered frame
14 3/4” x 20 9/16”
$5,000-7,000
Provenance:
Flury & Company, Seattle,
Washington
Literature:
This print was later published
as a photogravure in: Curtis,
Edward Sheriff, The North
Press, 1907-1930, supplement,
v. 1, pl. 1.
105†
Carl Moon
(American, 1878-1948)
Chief Gray Hawk, Taos, circa 1910
hand-tinted gelatin silver print
signed lower left, impressed
stamp Fred Harvey Tovar Studio by
Karl Moon lower right
stamped verso:
GRAY HAWK
TAOS
A.T. & S.FE. R.Y.
F. HARVEY HOTEL
CASTANEDA
LAS VEGAS
N.M.
held in original frame
19 5/8” x 15 5/8”
$800-1,200
Provenance:
62
106
William Seltzer Rice
(American, 1873-1963)
Pastoral
color woodcut
titled and signed in pencil
4 3/4” x 4 1/4”
$1,500-2,500
Catalog Note:
William Seltzer Rice not only
gained national recognition for his
printmaking, but he embodied the
Craftsman spirit by exploring a variety
of media. In addition to painting
with watercolor and oil, he worked
in ceramics, hammered copper,
leathercraft and photography. He
was also an innovative printmaker
exploring the techniques of
monotype, etching and lithography.
107
Pedro Joseph de Lemos
(American, 1882-1954)
Where Tree and Ocean Meet
color woodcut
titled and signed
8 3/4” x 8 7/8”
$1,000-2,000
Catalog Note:
The career of Pedro Joseph de
Lemos was multifaceted and he had
a profound influence on the Arts &
Crafts Movement in California in the
early 20th century. de Lemos was an
architect, writer, art theorist, lecturer,
painter and illustrator, who produced
a limited number of innovative
woodblock prints.
63
108
Margaret Jordan Patterson
(American, 1867-1950)
Cape Cod House, 1914
color woodcut
signed lower left
6 15/16” x 10”
$1,500-2,500
Catalog Note:
For a complete biography, refer to
page 251 of this catalog.
109
(American, 1867-1950)
The Swan
color woodcut
9” x 6 3/8”
$1,500-2,500
Catalog Note:
64
110†
(American, 1867-1950)
Main Street, Nantucket,
1910
color woodcut
signed and dated lower
right, graphite
7 1/8” x 10 1/2”
$2,000-3,000
Provenance:
The Collection of Rich and
Patty Thumann, Tacoma,
Washington
Catalog Note:
For a complete biography,
refer to page 251 of this
catalog.
111†
(American, 1867-1950)
Spring in Italy, circa 1920
color woodcut
signed lower left on image in
graphite
numbered, titled and signed
on sheet
edition 24/100
image: 7 3/8” x 10 7/16”
$1,500-2,500
Provenance:
The Collection of Rich and
Patty Thumann, Tacoma,
Washington
Catalog Note:
For a complete biography,
refer to page 251 of this
catalog.
65
112†
(American, 1867-1950)
Windblown Trees, 1918
color woodcut
signed in graphite lower right
image: 7” x 10”
$1,500-2,500
Provenance:
Marion Antique Auctions, Marion,
Massachusetts, 07 September 2013, Lot 104
The Collection of Rich and Patty Thumann,
Tacoma, Washington
Catalog Note:
An impression of this print is in the
Collection of the Metropolitan Museum of
Art in New York City (accession number
21.59.3). For a complete biography, refer to
113
Elizabeth Norton
(American, 1887-1985)
Beach, Provincetown, 1922
color woodcut
inscribed, signed, stamped and dated
11 1/8” x 6 5/8”
$500-700
Catalog Note:
Elizabeth Norton, originally from Chicago,
attended the School of the Art Institute,
the Art Students League, the National
Academy of Design and the Chase School
in New York before making her home
in San Francisco. On both coasts, she
had a significant role in the printmaking
community.
66
114†
Bertha Lum
(American, 1869-1954)
Land of the Blue Bird, 1913, #141
color woodcut
numbered, dated and signed in
graphite lower edge
16 1/4" x 9 3/4"
$400-600
Provenance:
Steven Thomas, Inc. Fine Arts and
Antiques, Woodstock, Vermont (label
verso)
Literature:
Illustration for an article in: The
American Magazine of Art, August
1917; and, International Studio, January
1921
Catalog Note:
An edition of this print is in The
Library of Congress Prints and
Photographs Division.
115† 116†
Bertha Lum Bertha Lum
Lanterns or Bridge, 1908 Cherry Blossoms, 1908
color woodcut color woodcut
signed, dated and numbered in signed lower middle in graphite
graphite 16 7/8" x 11 7/8"
edition 193 $400-600
image: 9 3/8" x 4 7/8"
$600-800 Provenance:
Hill Tolerton: The Print Rooms, San
Provenance: Francisco, California, 1919 (original
The Collection of Rich and Patty label)
Thumann, Tacoma, Washington Steven Thomas, Inc. Fine Arts and
Antiques, Woodstock, Vermont
Catalog Note: The Collection of Rich and Patty
This impression of Lanterns has very Thumann, Tacoma, Washington
subtle coloration and an overall blue
tonality in contrast to the saturated Catalog Note:
color with which Lum normally Published as the frontispiece to
experimented. Orange adds flames to California Design 1910.
the white lanterns and the reflections An impression of this print is in
of the lanterns in the water are The Library of Congress Prints and
unprinted. Photographs Division.
67
The Craftsman, April 1902
68
117† 118†
Gustav Stickley (1858-1942) Gustav Stickley (1858-1942)
tall case clock, #3 dining chairs, seven, #322 and 322-A
Eastwood, New York, circa 1903 Eastwood, New York
oak, copper, brass oak, leather, brass
signed with early red decal marked with red decal
This clock is considered by many to be the best example This exceptional set of chairs are in original condition,
of a grandfather clock designed by Gustav Stickley. including the finest original leather we have ever seen.
21 1/2”w x 13”d x 70 3/4”h armchair: 26 1/4”w x 21 1/2”d x 37 1/2”h
$30,000-50,000 $25,000-35,000
Bingham Family, Massachusetts, 1904-1990 Treadway Toomey Auctions, Oak Park, Illinois,
Richard Withington Auction, 1990 23 November 1997, Lot 269
Charles and Jane Kaufmann, 1990-1996 The Collection of Rich and Patty Thumann, Tacoma,
The Collection of Rich and Patty Thumann, Washington
Tacoma, Washington
Literature:
Literature: Stickley, Gustav, The 1912 and 1915 Gustav Stickley
Maher, Thomas K., The Kaufman Collection: The Early Craftsman Furniture Catalogs, Dover, 1991, p. 10
Furniture of Gustav Stickley, A Presentation by the John
Toomey Gallery in Association with Treadway Gallery, Inc.,
1996, pp. 14-15.
69
119†
Gustav Stickley (1858-1942)
five-light electrolier
Eastwood, New York
iron, original frosted glass, original oak
ceiling plate
unmarked
21”dia x 24 1/8”h
$10,000-15,000
Provenance:
Tacoma, Washington
70
120†
lanterns, pair, #830
Eastwood, New York
copper, iron, glass
unmarked
each: 6 1/4”sq x 17 1/2”h
$2,000-3,000
Provenance:
Tacoma, Washington
121†
lanterns, pair, #830
Eastwood, New York
copper, glass
stamped mark
6 1/8”sq x 17 3/4”h
$3,000-3,000
Provenance:
Tacoma, Washington
71
122† Provenance:
Gustav Stickley (1858-1942) Cathers & Dembrosky
chest of drawers, #614 The Collection of Rich and Patty Thumann,
Eastwood, New York Tacoma, Washington
oak, cedar, iron
marked with early red decal Literature:
This important early form rarely comes to Gray, Stephen, The Early Work of Gustav Stickley,
auction and is in excellent condition. Turn of the Century Editions, 1987, p. 104
45”w x 23 1/4”d x 61 1/4”h (1902 retail plates)
$40,000-60,000
72
123† Provenance:
buffet, #955 The Collection of Rich and Patty Thumann,
oak
a great example of this important early form Cathers, David, Furniture of the American Arts &
59 1/4”w x 23 1/2”d x 44 1/4”h Crafts Movement, Plume, 1982, p. 50
$15,000-25,000
73
124† Provenance:
Gustav Stickley (1858-1942) The Collection of Rich and Patty Thumann,
three-panel screen Tacoma, Washington
Eastwood, New York
oak, leather Literature:
signed with black ink mark Mayer, Barbara, In the Arts & Crafts Style,
This rare screen features a unique pierced cutout design. Chronicle Books, 1993, p. 197
each panel: 22”w x 68 1/2”h; overall: 66”w
$10,000-15,000
74
125†
willow chair, #56
Eastwood, New York
willow
unmarked
32”w x 32”d x 36”h
$1,500-2,500
Provenance:
Tacoma, Washington
126†
willow chair, #60
Eastwood, New York
willow
unmarked
31”w x 27 1/2”d x 38”h
$1,000-2,000
Provenance:
Tacoma, Washington
75
127† Provenance:
four-lantern electrolier, similar to #670 Tacoma, Washington
Eastwood, New York
oak, iron, glass Literature:
unmarked Gray, Stephen, The Early Works of Gustav Stickley,
overall: 30 1/2”sq x 34”h Turn of the Century Editions, 1987, p. 164
$7,000-9,000 (Craftsman Willow Furniture, supplement to
Catalog D)
76
128†
large one-light electrolier, #766
Eastwood, New York
copper, glass
stamped mark
This is a desirable rare oversized lantern.
12”sq x 22”h
$7,000-9,000
Provenance:
Tacoma, Washington
Literature:
Gray, Stephen, The Early Works of Gustav
Stickley, Turn of the Century Editions,
1987, p. 171 (Craftsman Willow Furniture,
supplement to Catalog D)
129†
two-drop sconce with two Heart lanterns
Eastwood, New York
hammered copper, glass
unmarked
overall: 13”w x 8 1/2”d x 15”h
$2,000-3,000
Provenance:
Tacoma, Washington
77
130†
standard mirror, #908
Eastwood, New York
oak, silvered glass, copper
branded mark
24"w x 7"d x 21 1/2"h
$700-900
Provenance:
Tacoma, Washington
Literature:
Stickley, Gustav, The 1912 and 1915 Gustav
Stickley Craftsman Furniture Catalogs, Dover,
1991, p. 46
131†
chest of drawers, #913
Eastwood, New York
oak, iron
marked with red decal
Harvey Ellis influenced nine-drawer form
36"w x 19 3/4"d x 50 1/2"h
$5,000-7,000
Provenance:
Important Private Collection
Cathers & Dembrosky
Tacoma, Washington
Literature:
Gray, Stephen, and Robert Edwards, Collected
Works of Gustav Stickley, Turn of the Century
Editions, 1989, p. 113 (1904 furniture catalog)
Mayer, Barbara, In the Arts & Crafts Style,

Chronicle Books, 1993, p. 35
78
132† Provenance:
Gustav Stickley (1858-1942) Treadway Toomey Auctions, Oak Park, Illinois,
china cabinet, similar to #815 02 May 1993, Lot 240
Eastwood, New York The Collection of Rich and Patty Thumann,
oak, glass, iron Tacoma, Washington
This is a wider version of #815 and the only such
example we have seen; it was probably a custom
piece that is excellent for display.
52”w x 15 1/4”d x 64 1/2”h
$6,000-8,000
79
133† Provenance:
Gustav Stickley (1858-1942), Cathers & Dembrosky
designed by Harvey Ellis (1852-1904) The Collection of Rich and Patty Thumann,
single-door bookcase, #700 Tacoma, Washington
Eastwood, New York
oak, glass, brass Literature:
marked with red decal Gray, Stephen, and Robert Edwards, Collected
36”w x 14”d x 58”h Works of Gustav Stickley, Turn of the Century
$6,000-8,000 Editions, 1989, p. 92 (1904 furniture catalog)
80
134† 135†
early costumer, #192 magazine cabinet, #548
Eastwood, New York Eastwood, New York
oak, iron oak
unmarked marked with early red decal
22”w x 13 1/2”d x 65 3/4”h 15 1/4”w x 15”d x 43 3/4”h
$1,500-2,500 $2,000-3,000
The Collection of Rich and Patty Thumann, The Collection of Rich and Patty Thumann,
Tacoma, Washington Tacoma, Washington
Literature: Literature:
Gray, Stephen, The Early Work of Gustav Stickley, Gray, Stephen, The Early Work of Gustav
Turn of the Century Editions, 1987, p. 99 (1902 Stickley, Turn of the Century Editions, 1987, p.
retail plates) 99 (1902 retail plates)
81
136†
one-light electric desk lamp, #56
Eastwood, New York
hammered copper, original Japanese willow
shade, silk
14”dia x 18 1/2”h
$1,500-2,500
Provenance:
Tacoma, Washington
137†
Charles Rohlfs (1853-1936)
Rush Light candlestick, #10
Buffalo, New York, 1903
oak, copper
branded mark, dated
6”w x 7”d x 14”h
$1,500-2,500
Provenance:
Tacoma, Washington
82
138†
early chalet desk, #505
Eastwood, New York
oak
unmarked
desirable example with pierced cutout to back
closed: 23 1/2”w x 16 1/2”d x 46 1/2”h
$2,000-3,000
Provenance:
Tacoma, Washington
Literature:
Gray, Stephen, The Early Work of Gustav
Stickley, Turn of the Century Editions, 1987,
p. 27 (1902 retail plates)
139†
table, #441
Eastwood, New York
oak
trumpeted stacked stretcher with a central
finial
40”dia x 29 3/4”h
$1,500-2,500
Provenance:
Cathers & Dembrosky
Tacoma, Washington
Literature:
p. 114 (1902 retail plates)
83
140†
hall mirror, #68
Eastwood, New York
oak, silvered glass, iron
signed with black ink mark
47 1/4”w x 7 1/4”d x 29 1/4”h
$2,000-3,000
Provenance:
Tacoma, Washington
Literature:
Gray, Stephen, and Robert Edwards,
Collected Works of Gustav Stickley, Turn of
the Century Editions, 1989, p. 99 (1904
furniture catalog)
141† Provenance:
settle, #188 The Collection of Rich and Patty Thumann,
oak, leather
desirable ‘knock down’ form Gray, Stephen, The Early Work of Gustav Stickley,
84 1/2”w x 35”d x 35 1/2”h Turn of the Century Editions, 1987, p. 74 (1902
$10,000-15,000 retail plates)
84
142†
flat-arm Morris chair, #2342
Eastwood, New York
oak
marked with early red decal
This earlier version of the classic flat-arm
Morris chair is considered one of Gustav
Stickley’s best designs.
31 1/2”w x 36 1/4”d x 39 1/4”h
$7,000-9,000
Provenance:
Tacoma, Washington
85
143† Provenance:
chest of drawers, similar to #627 Tacoma, Washington
Eastwood, New York
oak, brass
marked with red decal and paper label
40”w x 21 3/4”d x 53 1/4”h
$5,000-7,000
86
144† Provenance:
two-door bookcase, #718 Tacoma, Washington
Eastwood, New York
oak, copper, glass Literature:
signed with red decal Gray, Stephen, and Robert Edwards, Collected
54 1/4”w x 13”d x 56”h Works of Gustav Stickley, Turn of the Century
$3,500-4,500 Editions, 1989, p. 92 (1904 furniture catalog)
87
145†
serving table, #802
Eastwood, New York
oak, iron
signed with red decal
Harvey Ellis influenced form
42"w x 17 3/4"d x 39"h
$2,000-3,000
Provenance:
Literature:
Gray, Stephen, and Robert Edwards,
Collected Works of Gustav Stickley, Turn
of the Century Editions, 1989, p. 101
(1904 furniture catalog)
146†
manor hall seat, variation of #154
Eastwood, New York
oak, cloth
unmarked
37"w x 19"d x 29"h
$500-700
Provenance:
Literature:
Gray, Stephen, The Early Works of
Gustav Stickley, Turn of the Century
Editions, 1987, p. 19
88
147†
lantern, #830
Eastwood, New York
iron, copper, hammered amber glass
unmarked
overall: 6”sq x 21 3/4”h
$800-1,200
Provenance:
Tacoma, Washington
148†
Marie A. Seaman (b. 1868) for Grueby
vase with overlapping leaves, #166
Boston, Massachusetts
matte green glazed ceramic
circular Faience mark, artist signed
6”dia x 8 1/2”h
$2,000-3,000
Provenance:
Tacoma, Washington
149†
chambersticks, pair, #74
Eastwood, New York
hammered copper
each with stamped marks
7”dia x 9”h
$600-800
Provenance:
Tacoma, Washington
89
150
Ellen R. Farrington (1877-1919) for
Grueby
vase with leaves
matte ochre glaze
circular Pottery mark and paper labels
10”dia x 9”h
$8,000-12,000
90
151
Mary Chase Perry Stratton (1867-
1961) for Pewabic Pottery
vase with dandelion decoration
Detroit, Michigan, circa 1904
two impressed signatures
This large important vase is a rare
example of the early work being done
at the Pewabic Pottery.
10”dia x 16”h
$20,000-30,000
Exhibitions:
A similar example is in the permanent
collection of the Metropolitan
Museum of Art in New York City.
Literature:
A similar example can be found in:
American Art Pottery: The Robert A.
Ellison Jr. Collection, The Metropolitan
Museum of Art, 2018, p. 278
Catalog Note:
This particular model was exhibited
at Pewabic Pottery’s public debut at
the 1904 St. Louis World’s Fair and
then prominently featured in a review
by Ceramic Studios.
91
152
Tiffany Studios / Grueby Faience Company
Acorn table lamp
New York, New York / Boston, Massachusetts
Favrile glass, bronze, carved green glazed
ceramic
base: faint impressed mark, shade: marked
Tiffany Studios, New York, #35
This lamp is a great example of the successful
collaboration between Grueby and Tiffany Studios.
16”dia x 19 1/2”h
$20,000-30,000
92
153
Elizabeth Eaton Burton (1869–1937)
jewelry casket
Santa Barbara, California
leather, brass, abalone
20”w x 9 7/8”d x 12 1/2”h
$10,000-20,000
Literature:
My Santa Barbara Scrapbook: A Portrait of
the Artist, Elizabeth Eaton Burton, Santa
Barbara Historical Museum, 2011, p. 75
Catalog Note:
For a complete biography, refer to page
247 of this catalog.
93
154
Grueby
turtle tiles, set of three
matte glazed ceramic
two marked ‘MD’
6”sq x 1”d
$3,000-5,000
155 156
Addison B. LeBoutillier (1872-1951) Grueby
for Grueby purple tulip tile
yellow tulip tile Boston, Massachusetts
Boston, Massachusetts matte glazed ceramic
matte glazed ceramic marked ‘KL’
marked ‘AD’ 6”sq x 1”d
6 1/4”sq x 1”h $1,000-2,000
$1,000-2,000
94
157 Catalog Note:
Robert Riddle Jarvie (1865-1941) This jardiniere is excellently executed with various scenes incorporated from
Alice’s Adventures in Wonderland jardiniere Lewis Carroll’s Alice’s Adventures in Wonderland. The novel, very possibly a
Chicago, Illinois coincidence, was published the same year Jarvie was born, in 1865. While we
copper suspect this jardiniere was produced for a special commission, it is interesting to
stamped signature note that Jarvie’s wife, Lillian Gray Jarvie, was a children’s bookseller and author.
extremely rare example by The Jarvie Shop On one side, the jardiniere depicts Alice talking to the caterpillar on a mushroom,
11 1/2”dia x 7”h the grinning Cheshire cat in a tree, a dormouse, a flamingo and a hopping frog.
$9,000-12,000 On the other side, an oversized Alice is talking to a bird in a tree, a pig trotting
in a dress and the March Hare. All of these encounters take place amongst a
teeming array of realistic foliage decoration. The vine-like leaves are reminiscent of
other known works by the The Jarvie Shop, including trays and bookends.
For a complete biography, refer to page 249 of this catalog.

95
158
The Kalo Shop
rectangular serving tray with repoussé
linear and morning glory decoration
Chicago, Illinois, circa 1905
copper
stamped mark
large, early and rare example
23 1/8”w x 14 7/8”d
$4,000-6,000
159
serving tray, #354
Eastwood, New York
copper
stamped marks
25”w x 10 5/8”d x 1 1/2”h
$1,500-2,500
96
160
The Kalo Shop
important Arts & Crafts desk box
with repoussé lid
Chicago, Illinois, 1906
copper
stamped mark
further incised inscription to bottom:
Kalo Shop / Made 1906 / For Mr.
George S. Welles / Husband of Clara
Barck Welles
9 5/8"w x 4 3/4"d x 3 1/16"h
$6,000-8,000
Provenance:
The Paul and Terry Somerson
Collection of 20th & 21st Century
161
Robert Riddle Jarvie (1865-1941)
Beta candlesticks, pair
Chicago, Illinois
brass
impressed marks
5 3/16"dia x 12 3/8"h
$2,000-3,000
97
162
L. & J. G. Stickley from the Onondaga Shops
early carved bench
Fayetteville, New York
oak, leather
unmarked
41”w x 18”d x 28”h
$4,000-6,000
Provenance:
Charles M. Kessler, Fayetteville, New York
Catalog Note:
Charles M. Kessler
was the Secretary/
Treasurer in 1902 for
the Stickley Furniture
Co. of Fayetteville,
New York. He also
served as Mayor of
Fayetteville beginning
in 1933.
163
L. & J. G. Stickley
center table, similar to #563
oak
signed The Work of ...
54”dia x 29 1/4”h
$4,000-6,000
Catalog Note:
This is the only example with a round
top over this base that we have seen.
98
164
work cabinet
Eastwood, New York
oak, iron
signed with red decal
rare form
20”w x 15”d x 36”h
$8,000-12,000
Literature:
The earlier version of this form is illustrated in The
Craftsman, November 1901.
Gray, Stephen, and Robert Edwards, Collected Works of

Gustav Stickley, Turn of the Century Editions, 1989, p. 23
99
165
Teco, Harald Hals (1876-1959), designer
vase, #259
Chicago, Illinois
impressed three times
7 1/2”sq x 13 1/2”h
$15,000-25,000
Provenance:
Property from an Important Chicago Collector
100
166
Dirk van Erp (1862-1933)
large Warty jardiniere
San Francisco, California
hammered copper
open box mark with ghost of D’Arcy Gaw
14 1/2”dia x 9 3/4”h
$10,000-15,000
Catalog Note:
For a complete biography, refer to page 254
of this catalog.
101
167 168
L. & J.G. Stickley Gustav Stickley (1858-1942)
single-door bookcase, #641 lamp table, #440
Fayetteville, New York Eastwood, New York
oak, copper, glass oak, leather, brass
marked with Handcraft decal marked with early red decal
earlier form with chamfered 30”dia x 28”h
board back $1,500-2,500
32”w x 12”d x 55”h
$2,500-3,500
169
The Roycrofters
piano bench, #071
East Aurora, New York
oak
signed
carved HWW initials
36”w x 17”d x 21 1/2”h
$2,000-3,000
102
170
The Roycrofters
magazine pedestal, #080
oak
carved orb and oak leaf
18”sq x 64”h
$5,000-7,000
171
The Roycrofters
waste basket, #023
birdseye maple
signed with carved orb
12”sq x 13”h
$900-1,200
103
172 173
floor lamp, #510 single-door china cabinet, #820
copper, oak, willow, silk oak, copper, glass
unmarked marked with red decal
overall: 30”dia x 56”h 36”w x 15”d x 63”h
$1,500-2,500 $2,500-3,500
Literature:
p. 159 (Craftsman Lighting, supplement to
Catalog D)
104
174
bow-arm Morris chair, #336
Eastwood, New York
oak, leather
marked with red decal and
paper label
30 1/2”w x 37”d x 37”h
$2,000-3,000
175
Stickley Brothers
drink stand, #2615
Grand Rapids, Michigan
copper, oak
Quaint metal tag
18”dia x 28”h
$700-900
176
Lakeside Craft Shop
magazine stand, #B1
Sheboygan, Wisconsin
oak
marked with paper label
18 1/2”w x 13”d x 31 1/2”h
$300-500
105
177 178
Anna Frances Simpson (1880-1930) Elizabeth McDermott (1875-1944)
for Newcomb College for Rookwood Pottery
transitional vase with moon and pine scenic Vellum landscape plaque
trees Cincinnati, Ohio, 1916
New Orleans, Louisiana, 1922 matte glazed ceramic
(MO24) impressed marks
matte glazed ceramic plaque: 5 1/4”w x 9 3/8”h;
impressed marks frame: 10 7/8”w x 15 1/8”h
6 1/8”dia x 13 5/8”h $2,500-3,500
$6,000-8,000
106
179
Teco, Holmes Smith, designer
Roman salad bowl. #400
Chicago, Illinois
matte green and high glazed
white ceramic
impressed mark
11 7/8”dia x 5 7/8”h
$1,000-2,000
180
Teco, W.B. Mundie (1863-1939),
designer
large four-handled gourd vase /
lamp base, #287A
Chicago, Illinois
four impressed marks
10 1/4”sq x 12 3/8”h
$3,000-5,000
107
181
Frank Lloyd Wright (1867-1959) for the Edwin H. Cheney House
window
Oak Park, Illinois, 1903
leaded glass
39”w x 33 1/4”h
$6,000-8,000
Catalog Note:
The story of the Cheney House is a truly fascinating one, which had profound implications for architect Frank Lloyd
Wright. In 1895, Wright completed his home and studio in Oak Park, Illinois. He went on to build 60 residences in the
area in the next five years. After translator Mamah Borthwick met Wright’s wife Catherine at a local social club, she and
her husband Edwin H. Cheney, an electrical engineer, commissioned Wright to design their home. From the outside,
the house appears to be a single-story bungalow, but, in fact, the surrounding brick wall hides an elevated basement
where Mamah Borthwick’s sister lived. To counterbalance the impression of isolation and mystery caused by the
brick wall, Wright added lightly colored iridescent glass to the ground-floor windows, suggestive of Japanese bamboo
curtain designs. In 1909, Mamah Borthwick and Wright became romantically involved and went on a year-long trip to
Europe, much to the dismay of their families, friends and high society. Prior to the Cheneys divorcing in 1911, Wright
designed his grand estate, Taliesin, in Spring Green, Wisconsin with the intention of Mamah Borthwick joining him there
permanently. Tragically, in 1914, a mentally unstable servant went on a killing spree at Taliesin after setting the property
on fire while Wright was in Chicago. Mamah Borthwick died in the incident along with her children. This original Wright
window on offer dates to 1903 and was removed from the Cheney House during renovation by a subsequent owner.
108
182
Samuel Yellin (1884-1940) for the
J. Walter Thompson Company
gate and transom
New York, New York, 1927-1938
wrought iron
unsigned
37”w x 5”d x 101 1/2”h
$8,000-12,000
Catalog Note:
Samuel Yellin was commissioned by Helen
Lansdowne Resor, famous advertising copywriter
and executive, to create grillwork for the executive
wing of J. Walter Thompson’s new offices in the
Graybar Building at 420 Lexington Avenue in New
York City. This elaborate gate and transom were
subsequently installed. The period photo shows this
gate design in the executive offices.
109
183
Prairie School, probably designed by
Marion Mahony Griffin (1871-1961)
student lamp
circa 1910
bronze, glass
23”w x 11”d x 19”h
$2,000-3,000
184
Alfonso Iannelli
(American, 1888-1965)
Design for Christmas Box
graphite on board
signed bottom right
inscribed #2 top left
9 1/2” x 8”; sheet: 12” x 14 3/8”
$400-600
110
185
Alfonso Iannelli (1888-1965) and Barry Byrne (1883-1967) for
the William F. Tempel House
barrel chair
Kenilworth, Illinois, 1918
oak
22”w x 25 1/2”d x 32”h
$3,000-5,000
Literature:
For a period photograph with an example of this chair in situ,
see: Jameson, David, and Tim Samuelson, Alfonso Iannelli: Modern
by Design, Top Five Books, 2013, p. 116
Catalog Note:
For a complete biographies, refer to page 247 and 249 of this
catalog.
111
186 187
Dirk van Erp (1860-1933) Dirk van Erp (1860-1933)
shell vase shell vase
San Francisco, California San Francisco, California
brass brass
stamped marks stamped marks
11 1/8”dia x 25 9/16”h 9 7/16”dia x 18 3/4”h
$1,000-1,500 $800-1,200
112
188
Dirk van Erp (1862-1933)
vase
San Francisco, California
copper
open box mark
6 3/4”dia x 4 3/4”h
$2,000-3,000
189†
Albert Berry (1878-1949)
Sailboat bookends
Seattle, Washington
copper
stamped marks
4 1/2”w x 3 1/4”d x 5 5/8”h
$150-250
Provenance:
190
rare table lamp with reed shade,
similar to #611
Eastwood, New York
wood, copper, wicker, silk
14”dia x 22”h
$2,000-3,000
113
191
Ed Diers (1871-1947) for
Rookwood Pottery
scenic Vellum landscape plaque
Cincinnati, Ohio, 1912
impressed marks
plaque: 9”w x 14 1/2”h;
frame: 14 5/8”w x 19 7/8”h
$3,000-5,000
192
Mary Chase Perry Stratton
(1867-1961) for Pewabic Pottery
early All by Myself I Have to Go tile
Detroit, Michigan
glazed ceramic, original redwood
frame
signed Perry
phrase from the poem “Land of
Nod” by Robert Louis Stevenson
(1850-1894)
tile: 11 3/4”sq; frame: 15 3/4”w x
15 5/8”h
$2,000-3,000
Literature:
To view an illustration of the
signature, see: Pear, Lillian Myers,
The Pewabic Pottery: A History of Its
Products and Its People, Wallace-
Homestead Book Co., 1976, p. 34
114
193
The Handel Lamp Co.
hanging three-light fixture with shades
Meriden, Connecticut
bronze, obverse glass
shades signed: Handel 5208, rg
overall: 14”dia x 18”h
$1,000-1,500
194
The Handel Lamp Co.
hanging four-light fixture with shades
hammered copper, obverse glass
signed
together with an extra shade
$2,000-3,000
115
195 196
desk chair, #398 desk, #720
oak, leather oak, iron
marked with red decal signed with black ink mark
low H-back form 40 1/4”w x 23”d x 38”h
17”w x 16”d x 32”h $1,000-2,000
$200-300
197
L. & J. G. Stickley
trestle table, #594
oak
unmarked
This massive form is the largest of the
trestle table designs.
72”w x 45”d x 29”h
$1,500-2,500
116
198
Charles P. Limbert Co.
dining table, #441
oak
branded mark and numbered
with two 11” quartersawn leaves
48”dia x 29”h
$1,000-1,500
199
Gustav Stickley (1858-1942),
designed by Harvey Ellis (1852-1904)
side chairs, set of eight, #353
Eastwood, New York
oak, original rush
marked with red decal and paper
label
16 1/2”w x 16 1/2”d x 40”h
$3,000-5,000
117
200
Anna Frances Simpson (d. 1930) for
Newcomb College
scenic vase with moon, live oaks and
Spanish moss
New Orleans, Louisiana, 1927
(QO25)
blue matte glazed ceramic
impressed marks
4 1/4”dia x 7 3/4”h
$2,000-3,000
201
Sadie Irvine (1887-1970) for
Newcomb College
transitional vase with moon and trees
New Orleans, Louisiana, 1931 (SX84)
impressed marks
3 1/4”dia x 6 3/8”h
$1,500-2,500
202
Henrietta Bailey (1874-1950) for
Newcomb College
transitional vase with flowers
New Orleans, Louisiana, 1925 (OK23)
impressed marks
4”dia x 8”h
$1,000-2,000
118
203 204
Sadie Irvine (1887-1970) for Sadie Irvine (1887-1970) for
Newcomb College Newcomb College
transitional vase with flowers transitional trivet with floral motif
New Orleans, Louisiana, 1921 (LJ63) New Orleans, Louisiana, 1931 (ST84)
matte glazed ceramic matte glazed ceramic
impressed marks impressed marks
3 1/4”dia x 3 1/4”h 6”dia x 1/2”h
$1,000-2,000 $800-1,200
205 206
Sadie Irvine (1887-1970) for Henrietta Bailey (1874-1950) for
Newcomb College Newcomb College
Espanol vase transitional mug and saucer with pine
New Orleans, Louisiana, 1933 cones
(UQ34) New Orleans, Louisiana, 1924 (NS85)
matte blue glazed ceramic matte glazed ceramic
incised marks impressed marks
4”dia x 3 1/4”h mug: 3 1/8”w x 2 5/8”d x 3 5/8”h;
$800-1,200 saucer: 5 13/16”dia x 7/8”h
$700-900
119
207 208
Elizabeth Overbeck (1875-1936) and Overbeck Pottery
Mary Francis Overbeck (1878-1955) vase with incised design
for Overbeck Pottery Cambridge City, Indiana
bowl with carved band of stylized matte glazed ceramic
birds incised marks
Cambridge City, Indiana 4 3/4”dia x 5 1/4”h
matte glazed ceramic $900-1,200
incised marks
together with a matching flower frog
5”dia x 3 1/8”h
$2,000-3,000
209 210 211

Arequipa Pottery Frans J.R. Gyllenberg (1883-1974) / Grueby
vase Handicraft Shop scarab paperweight
Fairfax, California square trivet with Grueby tile Boston, Massachusetts
matte blue glazed ceramic Boston, Massachusetts, 1905 butterscotch matte glazed ceramic
mark partially obscured sterling silver circular Faience mark
2 7/8”dia x 5 3/4”h stamped marks 3 7/8”w x 2 3/4”d x 1 3/8”h
$400-600 4 1/8”sq x 1”h $200-300
$400-600
Provenance:
The Paul and Terry Somerson
Collection of 20th & 21st Century
120
212 213
Teco, W.D. Gates (1852-1935), designer Teco, Fritz Albert (1865-1940),
three-handled vase, #278 designer
Chicago, Illinois two-handled vase, #283
matte green glazed ceramic Chicago, Illinois
two impressed signatures matte brown glazed ceramic
7”dia x 6 1/4”h two impressed marks
$1,000-1,500 5 1/4”w x 5”d x 9 1/4”h
$400-600
Provenance:
Property from an Important Chicago Collection
214 215 216

Teco Teco, N. Forester, designer Van Briggle Pottery
advertising sign mug, #298 vase with stylized flowers
Chicago, Illinois Chicago, Illinois Colorado Springs, Colorado, 1915
painted wood, iron matte green glazed ceramic glazed ceramic
for Shreve & Co. San Francisco two impressed signatures incised marks
10”w x 7/8”d x 6 1/4”h 5”w x 3 3/4”d x 5 3/4”h 3”dia x 7”h
$500-700 $300-500 $300-500
Provenance:
Property from an Important Chicago Collection
121
217
stand, #602-15
oak, cane
branded marks, numbered
15”w x 10”d x 34”h
$400-600
Provenance:
Treadway Toomey Auctions, Oak Park,
Illinois, 10 September 2006, Lot 0187
218
drop-front desk, #602-25
oak, copper, cane
branded marks, numbered
26”w x 12 1/4”d x 46 1/2”h
$1,000-2,000
219
bookcase with side shelves, #342
oak, glass, copper
numbered, paper label
30”w x 12”d x 45”h
$1,500-2,500
122
220
cafe chair, #500
oak, leatherette, brass
branded signature
26”w x 22”d x 34”h
$4,000-6,000
221 222
Charles P. Limbert Co. Charles P. Limbert Co.
smoker’s foot stool, #225 Morris chair, #517
Grand Rapids, Michigan Grand Rapids, Michigan
oak, leather, copper oak, upholstery
branded signature branded and numbered
18 1/4”w x 12 1/2”d x 12 1/2”h 31”w x 40”d x 35”h
$300-500 $1,000-1,500
123
223 224
Charles P. Limbert Co. Charles P. Limbert Co.
rocker, #848 rocker, #844
Grand Rapids, Michigan Grand Rapids, Michigan
oak oak
branded signature 31 1/4”w x 36”d x 35 3/8”h
32”w x 39”d x 31 1/2”h $800-1,200
$800-1,200
225
settle, #567 1/2
oak, leather
branded signature, retailer label: G.A.
Wellman & Sons, Boston
large even arm form
85”w x 33”d x 38 1/2”h
$2,000-3,000
124
226
table lamp, #507
copper, caramel slag glass, brass
unmarked
fleur-de-lis and lattice overlay decoration
23”dia x 22”h
$3,000-5,000
Literature:
Marek, Don, Grand Rapids Art
Metalwork, Heartwood, 1990, p. 135
227
Arts & Crafts,
possibly Stickley Brothers
table lamp
copper, willow
unmarked
22 1/2”dia x 32”h
$900-1,200
125
228 229 230
Roseville Pottery Co. Roseville Pottery Co. Rookwood Pottery
Carnelian vase Della Robbia vase with carved flowers production vase with floral
Zanesville, Ohio Zanesville, Ohio design, #2489
matte drip glaze ceramic glazed ceramic Cincinnati, Ohio, 1922
unmarked Rozane Ware button matte blue-green glaze
11 1/4”dia x 13 1/2”h 5 1/4”dia x 10 1/4”h impressed marks
$500-700 $1,500-2,500 4 1/2”dia x 11 5/8”h
$250-350
231
Roseville Pottery Co.
Chloron ship window box
Zanesville, Ohio
unmarked
21 5/8”w x 6”d x 6 3/8”h
$1,000-2,000
126
232†
Fulper Pottery Co.
four-handled vase covered in Chinese
Blue Flambé glaze
Flemington, New Jersey, 1917-1927
glazed ceramic
incised racetrack mark, remnant of paper
label
12”dia x 13”h
$300-500
Provenance:
Tacoma, Washington
233
California Art Tile Co.
landscape tile
Richmond, California
matte brown glazed ceramic
impressed marks
set in an oak frame
tile: 5 3/4”sq; frame: 11 1/8”sq
$150-250
234
Shearwater Pottery
vase with incised bird motif
Ocean Springs, Mississippi, 1940s
high glazed ceramic
impressed circular mark and Iowa Art
Center sticker to base
7”dia x 7”h
$800-1,200
235
Kataro Shirayamadani (1865-1948)
for Rookwood Pottery
frog (or toad) on a cluster of
mushrooms bookends, #2603, pair
matte glazed green and brown
ceramic
impressed marks
each: 5 1/2”w x 4 3/16”d x 4 1/2”h
$500-700
236
Marie Zimmerman (1878-1973)
shell dish
New York, New York
bronze
unmarked
6”w x 3 1/2”d x 1/2”h
$400-600
Literature:
For similar examples, see: Waters, Deborah
Dependahl, Joseph Cunningham, and Bruce
Barnes, The Jewelry and Metalwork of Marie
Zimmermann, Yale University Press, 2011,
p. 160
127
237
Edward T. Hurley (1869-1950) for
Rookwood Pottery
Sea Green vase with fish, #906B
high glazed ceramic
impressed marks
7 3/4”dia x 6 7/8”h
$3,000-5,000
Provenance:
Rago Auctions, Lambertville, New
Jersey, The Toni Schulman Collection
of Rookwood Pottery, 06 March
2004, Lot 0130
238
Sallie Coyne (1876-1939) for
Rookwood Pottery
scenic Vellum landscape vase, #946
impressed marks
4 1/2"dia x 10 7/8"h
$1,000-2,000
Provenance:
Rago Auctions, Lambertville, New Jersey,
The Toni Schulman Collection of Rookwood
Pottery, 06 March 2004, Lot 0131
239 240 241

Lenore Asbury (1866-1933) for Kataro Shirayamadani (1865-1948) Kataro Shirayamadani (1865-1948)
Rookwood Pottery for Rookwood Pottery for Rookwood Pottery
Venetian Vellum vase, #1653D scenic Vellum banded landscape vase, scenic Iris banded landscape vase,
Cincinnati, Ohio, 1909 #1858D #1369E
matte glazed ceramic Cincinnati, Ohio, 1912 Cincinnati, Ohio, 1911
impressed marks matte glazed ceramic high glazed ceramic
4”dia x 8”h impressed marks impressed marks
$700-900 4 7/8”dia x 8 7/8”h 4 1/4”dia x 7 1/2”h
$1,000-2,000 $800-1,200
128
242 243
Irene Bishop (1881-1925) for Matthew A. Daly (1860-1937) for
Rookwood Pottery Rookwood Pottery
floral Iris vase with daffodil, #614E Standard Glaze Native American vase,
Cincinnati, Ohio, 1903 #614E
high glazed ceramic Cincinnati, Ohio, 1897
impressed marks high glazed ceramic
4”dia x 8”h impressed marks
$600-800 4 1/2”dia x 7 7/8”h
$3,000-5,000
244 245 246

Caroline Steinle (1871-1944) for Katherine Jones (active 1924-1931) Ed Diers (1871-1947) for
Rookwood Pottery for Rookwood Pottery Rookwood Pottery
scenic Vellum landscape vase, #732C floral Vellum hexagonal vases with lids, scenic Vellum vase
Cincinnati, Ohio, 1921 pair, #2750 Cincinnati, Ohio, 1921
matte glazed ceramic Cincinnati, Ohio matte glazed ceramic
impressed marks matte glazed ceramic impressed marks, numbered
3 1/2”dia x 7 1/2”h impressed marks #1065C
$600-800 3 1/4”w x 3”d x 7 1/4”h 4 1/4”dia x 9”h
$400-600 $700-900
129
247 248 249
Elizabeth Barrett for Rookwood Jens Jensen (1898-1978) for Wilhelmine Rehm (active 1927-
Pottery Rookwood Pottery 1948) for Rookwood Pottery
Lagoon Green vase decorated with Jewel Porcelain vase decorated with Double Vellum floral vase, #1929
ducks, #6189F swan, #6400 Cincinnati, Ohio, 1929
Cincinnati, Ohio, 1944 Cincinnati, Ohio, 1933 matte glazed ceramic
high glazed ceramic high glazed ceramic impressed marks
impressed marks impressed marks 7 1/4”dia x 4 5/8”h
4”dia x 4 1/2”h 3 1/2”dia x 5 7/8”h $400-600
$400-600 $600-800
250 251
Kataro Shirayamadani (1865-1948) Jens Jensen (1898-1978) for
for Rookwood Pottery Rookwood Pottery
floral Vellum vase, #2077 Jewel Porcelain vase with figures,
Cincinnati, Ohio, 1940 #6325
matte glazed ceramic Cincinnati, Ohio, 1946
impressed marks high glazed ceramic
4 1/2”dia x 6 1/8”h impressed marks
$600-800 3 3/8”dia x 7 1/2”h
$500-700
130
252 253
Lenore Asbury (1866-1933) for Lorinda Epply (1874-1951) for
Rookwood Pottery Rookwood Pottery
scenic Vellum vase, #946 Grey-tinted vase with floral design
Cincinnati, Ohio, 1916 Cincinnati, Ohio, 1925
glazed ceramic high-glazed ceramic
impressed marks impressed marks
together with an original Rookwood 5 1/4”dia x 10 1/2”h
Pottery brochure $300-500
4 3/8”dia x 10 3/4”h
$1,000-1,500
254 255 256

Edith Noonan for Rookwood Elizabeth Lincoln (1876-1957) for Constance A. Baker (1860-1932) for
Pottery Rookwood Pottery Rookwood Pottery
cylindrical Vellum vase Double Vellum vase, #2969 Painted Mat vase with flowers
Cincinnati, Ohio, 1907 Cincinnati, Ohio, 1930 Cincinnati, Ohio, 1901
matte glazed ceramic glazed ceramic matte glazed ceramic
impressed marks, numbered #952E impressed marks impressed marks
unusual grapevine decoration 6 3/4”dia x 7 3/8”h 3 3/8”dia x 9 1/2”h
3 1/4”dia x 7 1/2”h $500-700 $600-800
$400-600
131
257
Heintz Art Metal Co.
table lamp
Buffalo, New York
bronze, silver, fabric
unmarked
9 7/8”dia x 10 1/2”h
$400-600
258
The Roycrofters
tray
copper
stamped mark
17”w x 14 3/4”d x 1 1/14”h
$300-500
259
Joseph Heinrichs (b. 1866)
chafing dish with tray
New York, New York
copper, sterling silver, oak
stamped marks
overall: 21”w x 13”d x 12”h
$600-800
132
260 261
Attributed to Bradley & American Arts & Crafts
Hubbard Manufacturing Co. square leaded glass lamp
large octagonal paneled table bronze, leaded glass
lamp: shade, #T9365 on base, unmarked
#18 872 shade decorated with a flowering vine
Meriden, Connecticut on a geometric field
bronze, patinated metal, slag glass 20 1/8”sq x 32”h
applied stamped tags $1,500-2,500
24”w x 21”d x 36”h
$1,000-2,000
262
Bradley & Hubbard Mfg. Co.
Aesthetic Movement lamp
patinated mixed metals
paper label remnant to underside
base: 8”dia x 8 1/2”h
$300-500
263
The Pittsburgh Lamp, Brass & Glass
Co.
Moonlit Landscape table lamp
Pittsburgh, Pennsylvania
reverse painted glass with obverse
additions, bronze
unsigned
15 1/2”dia x 21 3/8”h
$600-800
133
264 265
Adolf Loos (1870–1933) Austrian Secessionist
coat rack, designed for Café Capua chunk jewel table lamp
Vienna, Austria, 1913 patinated metal, copper, opalescent
cast iron and brass glass
unmarked unsigned
19”dia x 79 1/4”h 12 3/4”dia x 22 1/4”h
$2,000-3,000 $800-1,200
Literature:
Gravagnuolo, Benedetto, Adolf Loos:
Theory and Works, Art Data, 1995,
p. 153
Ottillinger, Eva B., Adolf Loos,

Wohnkonzepte und Möbelentwürfe,
Residenzverlag, 1994, p. 131 (interior
model)
266
The Handel Lamp Co.
table lamp
obverse painted glass, copper
patinated metal
impressed HANDEL
11 1/2”dia x 18 1/4”h
$400-600
134
267
Susan Jacobs Lockhart (b. 1935)
Mid-Summers Nights Dream folding screen
Scottsdale, Arizona
stained wood design on mahogany veneer
an edition of five
45 3/4”w x 75 1/2”h
$2,000-3,000
Provenance:
Illinois, 03 March 2002, Lot 885
Catalog Note:
For a complete biography, refer to page 250
of this catalog.
268
Frank Lloyd Wright (1867-1959) for the
Robert D. Winn House
lounge chair
Kalamazoo, Michigan, 1950
pine
unmarked
24”sq x 28”h
$2,000-3,000
Provenance:
The Collection of Mary Fons, daughter of
Robert D. Winn
DuMouchelles, Detroit, Michigan, 20
October 1996, Lot 2317
Private Collection
135
269
Richard Riemerschmid (1868-1957) for
Vereingte Werkstätten für Kunst unt Handwerk,
retailed by Liberty & Co.
side chair
Munich, Germany
bog oak, leather, brass
unsigned
19”w x 22 1/2”d x 37 1/4”h
$4,000-6,000
Provenance:
John Jesse, London, England, 14 September 1994
Exhibitions:
Similar examples are in the collections of the Art Institute of
Chicago, the Museum of Modern Art in New York City and the
Victoria and Albert Museum in London.
Literature:
Neumann, Peter-Christian, Take a Seat: Masterpieces of Chair Design,
Chart-Gallery, 2005, pp. 42-43
Catalog Note:
For a complete biography, refer to page 252 of this catalog.
136
270
Augustus Saint-Gaudens
(American, 1848-1907)
Portrait of Jules Bastien Lepage
bronze
inscribed, dated and signed JULES
BASTIEN-LEPAGE AETATIS XXXI ·
PARIS · MDCCCLXXX · AVGVSTVS
·/ SAINT-GAVDENS · FECIT
made by Magee Furnace Company of
Chelsea, Massachusetts
14 1/4” x 10 1/8”
$10,000-15,000
271
French Antique
intertwined serpents encrier
bronze
unsigned
10 1/4”w x 5 1/2”d x 2 1/8”h
$500-700
137
272 273 274
Liberty & Co. Liberty & Co. Liberty & Co.
Tudric vase with handles Tudric vase with handles, #0927 Tudric biscuit jar, #0193
London, England London, England London, England
pewter pewter pewter
impressed marks impressed marks impressed marks
4 3/4”w x 3 3/4”d x 5 3/4”h 5 3/4”w x 4 3/4”d x 11 1/2”h 4 5/8”dia x 4 7/16”h
$300-500 $400-600 $500-700
275
English Arts & Crafts
Thebes stool
mahogany, cotton
14 5/8”sq x 14 7/8”h
$600-800
138
276
Nikolaus Kannhäeuser for Riessner,
Stellmacher & Kessel
Amphora-Werke vase, #586
Turn-Teplitz, Austria, circa 1895
hand-painted ceramic
impressed and stamped marks
decorated with a profile bust of a young
maiden with flowers in her flowing hair,
before a landscape
4 1/8"w x 3 1/4"d x 5 7/8"h
$400-600
277
*Gallé
tapered reniform Daffodil vase
Nancy, France
cameo glass
signed in cameo
4"w x 3"d x 11"h
$600-800
278
*Gallé
large Grapevine vase
Nancy, France
cameo glass
signed in cameo
7"dia x 18 5/8"h
$1,000-2,000
279
Gallé
small foliate vases, two
Nancy, France
cameo glass
each signed in cameo
larger: 3 1/4"w x 2 7/8"d x 6 1/4"h
$300-500
280
Gallé
Clematis vase
Nancy, France
fire polished cameo glass
signed in cameo
3 1/8"dia x 7 3/4"h
$800-1,200
139
281
Gallé
mountainous landscape vase
Nancy, France
cameo glass
signed in cameo
4 3/8"dia x 7 3/8"h
$600-800
282
Gallé
Chrysanthemum vase
Nancy, France
cameo glass
signed in cameo
3"dia x 8"h
$500-700
283
Gallé
scenic landscape vase with a man
crossing a bridge
Nancy, France
cameo glass
signed in cameo
3 3/8"dia x 10 1/2"h
$600-800
284
Gallé
large Iris vase
Nancy, France
cameo glass
signed in cameo
6 3/4"dia x 18 1/2"h
$1,000-2,000
285
Gallé
Beech Branches vase
Nancy, France
cameo glass
signed in cameo
6"dia x 15 3/4"h
$1,000-2,000
140
286
Gallé
Morning Glory vase
Nancy, France
cameo glass
signed in cameo
3 1/4"dia x 11"h
$500-700
287
Gallé
Fuchsia vase
Nancy, France
cameo glass
signed in cameo
4 1/4"dia x 11 3/4"h
$800-1,200
288
Gallé
banjo Floral vase
Nancy, France
cameo glass
signed in cameo
3 1/4"w x 2 1/2"d x 6 3/4"h
$400-600
289
Gallé
banjo Currant vase
Nancy, France
cameo glass
signed in cameo
3 1/4"w x 2 1/4"d x 6 3/4"h
$400-600
290
Gallé
large Poppy vase
Nancy, France
fire polished cameo glass
signed in cameo
6"dia x 18"h
$1,000-2,000
141
291
*Gallé
red currant vase
Nancy, France
red/yellow/semitranslucent cameo
glass
signed in cameo
3 1/4"w x 2 3/4"d x 7 1/8"h
$400-600
292
Gallé
Bellflower vase
Nancy, France
purple/semitransulcent cameo glass
signed in cameo
2 9/16"dia x 10 3/4"h
$500-700
293
Gallé
Freesia vase
Nancy, France
deep purple/yellow cameo glass
signed in cameo
4"dia x 9 1/2"h
$500-700
294
Gallé
mountainous landscape vase
Nancy, France
cameo vase
signed in cameo
5"dia x 9 7/8"h
$1,000-2,000
295
Gallé
Iris vase
Nancy, France
cameo glass
signed in cameo
5 1/2"dia x 9 5/8"h
$1,000-2,000
142
296
Gallé
small floral vases, two
Nancy, France
cameo glass
each signed in cameo
larger: 2 1/4"dia x 6 1/4"h
$300-500
297
Gallé
Periwinkle vase
Nancy, France
cameo glass
signed in cameo
2 3/4"dia x 8"h
$500-700
298
Gallé
Violet vase
Nancy, France
cameo glass
etched signature
4 3/4"dia x 4 5/8"h
$500-700
299
Gallé
Cherry Blossom ovoid box
Nancy, France
red/yellow cameo glass
signed in cameo, original paper
label
4"dia x 8"h
$500-700
300
Charles Schneider (1881-1953) /
Le Verre Français
Mûriers verts large round and
footed center bowl
Épinay-sur-Seine, France
red/mottled green cameo cut glass
tri-color cane thread signature
12 3/8"dia x 6 1/8"h
$700-900
143
301
Amalric Walter (1870-1959)
Honeysuckle compote
Nancy, France
cast pâte-de-verre glass
cast signature
5 1/8"dia x 3 1/16"h
$600-800
302
Daum
Chardon (Thistle) vase
Nancy, France
green cameo glass with gilt additions
embossed signature, Cross of
Lorraine in cameo
3 3/8"w x 2 3/4"d x 7 1/2"h
$300-500
303
Daum
scenic landscape vase
Nancy, France
cameo glass
signed in cameo
4 1/2"dia x 9"h
$1,000-2,000
304
Daum
Nancy, France
cameo glass
signed in cameo
5 1/4"dia x 12 5/8"h
$1,000-2,000
305
Daum
Nancy, France
cameo glass
signed in cameo, original retailer's
sticker
4 3/4"dia x 12"h
$1,000-2,000
144
306
Daum
Poplar Branches footed center
bowl
Nancy, France
cameo glass
signed in cameo
11 5/8"dia x 5 7/8"h
$1,000-2,000
307
Daum
floral vase
Nancy, France
enameled cameo glass
signed in enamel
3 1/2"dia x 6 1/4"h
$600-800
308
Daum
scenic vase decorated with trees
and sailboats on a lake
Nancy, France
cameo glass
signed in cameo
4 3/4"dia x 5 7/16"h
$800-1,200
309
Daum
Paysage d'Automne (Fall
Landscape) vase
Nancy, France
enameled cameo glass
unsigned
4 3/4"dia x 15 7/8"h
$3,000-5,000
310
Daum
floral hanging light fixture
Nancy, France
cameo glass, iron, bronze
signed in cameo
hanging: 16 5/8"dia x 26 3/4"h
$2,000-3,000
145
311
Daum
boudoir lamp
Nancy, France
frosted glass, wrought iron
etched signature
7 1/8"dia x 14 1/2"h
$500-700
312
Daum
Blackberries and Grapes boudoir lamp
Nancy, France
cameo glass, wrought iron
signed in cameo
6 1/2"dia x 13"h
$800-1,200
313
Daum
Eucalyptus boudoir lamp
Nancy, France
cameo glass, wrought iron
signed in cameo
9 1/4"dia x 13"h
$2,000-3,000
314
Arsall / Gadek
Orientalist table lamp: cameo glass
shade on a figural base
France / Austria
cameo glass, bronze
each signed
the shade decorated with figures,
camels, palm trees and pyramids; the
base decorated as an Arabian soldier
holding a spear while riding a horse
11 1/8"dia x 25 1/4"h
$2,000-3,000
146
315
Franz Xaver Bergmann (1861-1936)
group of figures, three
Austria
cold-painted bronze
each with cast signatures
tallest: 3 1/2"w x 2 7/16"d x 3 1/4"h
$500-700
316
praying Arab kneeling on a prayer rug
Austria
cold painted bronze
cast mark
4 3/4"w x 2 1/2"d x 4"h
$400-600
317
rug seller
Austria
cold-painted bronze
unsigned
7"w x 6"d x 8 3/8"h
$500-700
318
pocket watch holder and lamp
Austria
cold-painted bronze, glass
cast marks
designed as a clock tower with a man
holding a lantern in an arched opening
5"w x 3 1/2"d x 12 3/4"h
$800-1,200
147
319
American Antique
octagonal hardware store
72-drawer nuts and bolts
revolving cabinet
circa 1880
pine, porcelain
22 1/4"w x 21 7/8"d x 32 3/4"h
$700-900
320
John Danner (1823-1918)
Danner's revolving lawyer's
bookcase
Canton, Ohio, circa 1890
walnut, porcelain
stenciled marks
26 1/2"sq x 55"h
$700-900
321
Spanish Antique
varqueno top
Spain, 17th/18th century
walnut, bone, iron
43"w x 15"d x 27 3/4"h
$2,000-3,000
148
322
Art Deco
frieze / panel decorated with a
reclining nude holding a fan
1920s
plaster
framed
99”w x 27 3/4”h
$2,000-3,000
323 324
Art Deco Art Deco
floor lamp rug
USA, 1930s China, 1930s
steel, nickel-plated brass hand-knotted full-pile wool
unmarked unmarked
16"dia x 65"h 11’ 4 1/4” x 9’ 1/4”
$1,000-2,000 $1,000-2,000
149
325 326
Daum Oscar Bruno Bach (1884-1957)
torchiere torchieres, pair
France, circa 1930s New York, New York, circa 1930s
iron fixture, mouth blown glass patinated brass, iron, marble, glass
etched ‘Daum Nancy France’ to etched signatures
glass shade each: 18”dia x 66”h
15 1/4”dia x 67 3/4”h $1,000-2,000
$1,000-2,000
327
Art Deco
hall tree with mirror
European, 1930s
wrought iron, marble, silvered glass
unmarked
39 1/2”w x 8 1/2”d x 73”h
$500-700
150
328
American Rustic
horn chair
Southwest, USA
steer horns, leather
unmarked
27"w x 23"d x 34"h
$300-500
329
Pierre Emmanuel Guérin (1833-1911)
Ostrich Leg lamp
France, circa 1900
bronze, red glass, clear glass
unsigned
converted to electricity
9"dia x 43"h
$1,000-2,000
330
Pierre Emmanuel Guérin (1833-1911)
Ostrich Leg pedestal
France
bronze
unsigned
13 1/2"dia x 30 5/8"h
$500-700
331
After Johann Heinrich von Dannecker
(1758-1841)
Ariadne on the Panther sculpture
Italy, last half 19th century
carved white marble
unsigned
21”w x 9”d x 25 1/2”h
$3,000-5,000
332
French Antique
Diana the Huntress encrier
bronze, granite
feet signed Virlet
21"w x 8 1/2"d x 9 7/8"h
$400-600
151
333 334
K.P.M. (Konigliche Porzellan- After Evgeny Aleksandrovich Lansere
Manufaktur), retailed by Tiffany & Co. “Lanceray” (Russian, 1875-1946)
large mantel clock, #V/341 bronze figural group: Cossack holding
Berlin, Germany, 19th century a flag while on horseback
hand-painted porcelain Russia / France
impressed marks, artist signed bronze
decorated with various figural allegories cast and stamped marks
and flowers Chopin foundry mark in Cyrillic, further
14”w x 7 1/2”d x 25 1/2”h stamped ‘Made in France’
$2,000-3,000 17 1/2”w x 7”d x 24 3/4”h
$5,000-7,000
335
Chinese
garden planter with frogs
bronze
stylized lily pad with figural frogs and
flower forms
18 1/2”w x 17”d x 10”h
$600-800
152
336
Possibly Quezal or Kew-Blas
boudoir lamp with pulled feather
decoration
USA
white and iridescent gold glass,
brass
unsigned
8"dia x 19"h
$800-1,200
337
Attributed to A. Douglas Nash
Corp.
boudoir lamps, pair
Corona, New York
gold iridescent glass, copper and
brass patinated metal
unmarked
3 1/16"dia x 9"h
$600-800
338
Steuben Glass Works
vase, #2683
Corning, New York
blue Aurene glass
etched signature
9 3/4"dia x 11 1/8"h
$1,000-2,000
339
Tiffany Studios
round lily pad centerpiece with
flower frog insert
New York, New York
gold and green Favrile glass
etched signature
with flower: 9 7/8"dia x 4 1/4"h
$800-1,200
340
Tiffany Studios
Favrile compote with a ruffled rim
New York, New York,
gold Favrile glass
etched signature
6 1/4"dia x 4"h
$500-700
341
Louis C. Tiffany Furnaces
bowl, #413
New York, New York
dore bronze, enamel
stamped marks
8"dia x 1 1/4"h
$400-600
153
342
Louis Comfort Tiffany (1848-1933)
ovoid vase with vine and millefiori
decoration, #3668P
New York, New York
blue and green Favrile glass
etched signature
3 1/2"dia x 5 1/2"h
$1,000-2,000
343
Tiffany Studios
round bowl, #X102
New York, New York
blue Favrile glass
etched signatures
9 1/4"dia x 2 3/8"h
$500-700
344
Tiffany Studios
round bowl
New York, New York
blue pastel Favrile glass
etched signature
9 3/4"dia x 3 11/16"h
$500-700
345
Tiffany Studios
cabinet vase, #Q9284
New York, New York
blue Favrile glass
etched signature
4"dia x 4"h
$500-700
346
Louis C. Tiffany Furnaces
hexagonal dresser box
New York, New York
dore bronze, blue Favrile glass
stamped marks
5 3/4"w x 4 15/16"d x 2 1/16"h
$800-1,200
154
347
Tiffany Studios
Jack-in-the-Pulpit vase, #M8212
New York, New York
Favrile glass
etched signature
early example
8”w x 5 1/2”d x 16 1/8”h
$2,000-3,000
348 349
Tiffany Studios Louis C. Tiffany Furnaces
bulbous vase with horizontal trumpet vase, #166A
bands, #1862 New York, New York
New York, New York dore bronze, enamel
dore bronze stamped marks
stamped marks 4 1/2”dia x 10 15/16”h
6”dia x 6 5/16”h $300-500
$500-700
155
350 351
Tiffany Studios Tiffany Studios
Art Deco inkwell Zodiac perpetual desk calendar,
New York, New York #943
bronze, enamel New York, New York
marked Louis C. Tiffany dore bronze, paper, glass
Furnaces, Inc., #357, stamped marks
monogram standing: 8 1/8”w x 3 1/2”d x 6 3/4”h
3 3/4”sq x 2 1/2”h $500-700
$700-900
352 353
large rectangular desk tray, #1739 desk clock, #1870
New York, New York New York, New York
patinated bronze dore bronze, enamel
stamped marks stamped marks
15”w x 12”d x 1/2”h 10 3/4”w x 3 1/2”d x 9 1/2”h
$500-700 $1,500-2,500
156
354
Tiffany Studios
Nautical blotter ends, pair, #1840
New York, New York
patinated bronze
stamped marks
19 1/4”w x 2 3/8”d x 1/2”h
$500-700
355
Tiffany Studios
Grapevine small carriage clock, #5
New York, New York
bronze, glass
marked Tiffany Studios, New York,
#5
French Movement
4 1/2"w x 2 1/2"d x 5 1/2"h
$2,000-3,000
356
Tiffany Studios
Grapevine glove box
New York, New York
patinated bronze, green slag glass
stamped marks
13 5/8"w x 4 1/2"d x 3"h
$1,000-2,000
357
Tiffany Studios
Grapevine round top mantle clock,
#879
New York, New York
bronze, glass, enamel
#879
with key and pendulum; French
Movement
6 1/2"w x 4 3/4"d x 10 1/2"h
$4,000-6,000
157
358
Tiffany Studios
Grapevine beaded picture frame,
#947
New York, New York
bronze, glass
#947
standing: 8"w x 4"d x 9 1/2"h
$800-1,200
359
Tiffany Studios
Abalone thermometer
New York, New York
dore bronze
#1167
$1,000-2,000
360
Tiffany Studios
Abalone magnifier, #1178
New York, New York
dore bronze, glass
#1178
4 1/2"w x 9"l
$600-800
361
Tiffany Studios
large round tray, #1728
New York, New York
patinated bronze, mother-of-pearl
stamped marks
14"dia x 3/4"h
$400-600
158
362
Tiffany Studios
Pine Needle pen
New York, New York
bronze
unmarked
3/8"dia x 7 1/4"l
$300-500
363
Tiffany Studios
Pine Needle thermometer, #1013
New York, New York
bronze
marked Tiffany Studios, New York, #1013
$700-900
364
Tiffany Studios
Pine Needle picture frame, #916
New York, New York
dore bronze, caramel slag glass, glass
stamped mark, numbered
12"w x 14"h; opening: 7 7/8"w x 9 7/8"h
$1,000-2,000
159
365 366
Pine Needle picture frame Pine Needle picture frame
New York, New York New York, New York
bronze, glass dore bronze, caramel slag glass
marked Tiffany Studios, New York stamped mark
standing: 7 3/4”w x 4”d x 9 1/2”h 14 1/4”w x 12 1/4”h; opening: 10 1/4”w x 8 1/4”h
$1,000-2,000 $1,500-2,500
Provenance:
Christie’s East, New York, New York, 08 December 1998,
Sale 8183, Lot 384
Acquired from the above by the present owner
367
Tiffany Studios
Turtleback student lamp, #413
New York, New York
blue/green Favrile glass, patinated
bronze
stamped marks
11 1/2”w x 4 1/2”d x 7 3/4”h
$3,000-5,000
160
368 369
Tiffany Studios / Steuben Tiffany Studios
counterbalance floor lamp: base, harp floor lamp, #682, with an
#619 and Intarsia shade associated shade
New York, New York / Corning, New New York, New York
York bronze, shell
bronze, green and gold Aurene glass stamped marks
base with stamped marks overall: 11 3/4”dia x 55 3/4”h
base: 16 1/2”w x 3 1/4”d x 53”h; $1,500-2,500
shade: 10”dia x 5 1/2”h
$4,000-6,000
161
370
Tiffany Studios
twelve-light Lily table lamp, #382
New York, New York
bronze, Favrile glass
base: marked Tiffany Studios, New
York, #382; shades: marked LCT
$20,000-30,000
162
371
Tiffany Studios
Linen Fold shade and Harp floor lamp
New York, New York
bronze with gold dore patina
base: marked Tiffany Studios, New York, #423-H
overall: 15”w x 16”d x 58”h;
shade: 9 1/2”dia x 5 1/2”h
$7,000-9,000
372
Tiffany Studios
Acorn table lamp, #28608
New York, New York
bronze, leaded glass
base: marked Tiffany Studios, New York, #28608;
shade: marked Tiffany Studios, New York
14”dia x 20 1/2”h
$5,000-7,000
Provenance:
Thence by descent to nieces, Nancy Nickel and
Susan Nickel Brunson
163
373
Tiffany Studios
Linen Fold table lamp: 12-panel shade,
#1927; on candelabrum base, #580
New York, New York
Favrile glass, patinated bronze
stamped marks
overall: 19”dia x 23 1/2”h
$15,000-25,000
164
374
Tiffany Studios
Junior floor lamp with geometric
shade and Moorish-influenced heat
cap
New York, New York
bronze, stained glass
base: marked Tiffany Studios, New
York, #379, shade: Tiffany Studios,
New York, #1501
$20,000-30,000
165
The following pieces are from the Rabkin House in West Los Angeles, California, originally
designed in 1937 by architect Lloyd Wright (eldest son of Frank Lloyd Wright) for the English
cellist Walker Evans. Most prominently featured in the collection is the work of Gilbert Rohde,
including furniture designs from his Paldao, East India Laurel and Executive Office Group lines.
Beginning in 1930, Rohde led the transition at Herman Miller away from historicist furniture
towards modern design, and this offering represents that important stage in the company’s
development. Similarly, David Robertson Smith’s now uncommon Dynamique line of furniture
from 1928, which echoes Paul Frankl’s “skyscraper” designs from the same period, began
Johnson Furniture Company’s shift to modern design. Generally considered Art Deco in style, this
collection was featured in the July 1995 issue of Architectural Digest, and it also includes notable
works by Donald Deskey, Russell Wright, Warren McArthur and Paul Frankl.
166
375
Paul Frankl (1886-1958) for
Frankl Galleries
Skyscraper coffee table
USA, circa 1927
lacquered and painted wood
unmarked
30”w x 29 3/4”d x 18”h
$2,000-3,000
Provenance:
The Estate of Michael Rabkin,
Los Angeles, California
376
Paul Frankl (1886-1958) for
Frankl Galleries
Speed chair
USA, circa 1934
upholstery, wood
unmarked
42”w x 40”d x 30”h
$3,000-5,000
Provenance:
167
377 378
Paul Frankl (1886-1958) Attributed to Paul Frankl (1886-1958)
D lounge chair for Frankl Galleries
USA, circa 1927 Club sofa
walnut, upholstery USA, circa 1934
unmarked upholstery, wood
24 1/4”w x 31”d x 27”h unmarked
$1,000-1,500 90”w x 40”d x 29”h
$2,000-3,000
Provenance:
The Estate of Michael Rabkin, Provenance:
Los Angeles, California The Estate of Michael Rabkin,
168
379 380
Attributed to Paul Frankl (1886-1958) Attributed to Paul Frankl (1886-1958)
for Frankl Galleries for Frankl Galleries
Club sofa Club lounge chair
USA, circa 1934 USA, circa 1934
upholstery, wood upholstery, wood
unmarked unmarked
89”w x 40”d x 30”h 42”w x 40”d x 31”h
$2,000-3,000 $2,000-3,000
The Estate of Michael Rabkin, The Estate of Michael Rabkin,
Los Angeles, California Los Angeles, California
169
381
David Robertson Smith (d. 1940)
for Johnson Furniture Co.
Dynamique tiered vanity cabinet
Grand Rapids, Michigan, circa 1928
mahogany, figured mahogany,
aluminum
Johnson Furniture Co. metal tag
finished on all sides
46”w x 15”d x 64”h
$1,500-2,500
Provenance:
382
David Robertson Smith (d. 1940) for
Johnson Furniture Co.
Dynamique vanity and swivel stool
Grand Rapids, Michigan, circa 1928
mahogany, figured mahogany,
aluminum, Bakelite, glass
Johnson Furniture Co. metal tag
vanity: 49 1/2”w x 18 3/4”d x 52”h;
stool: 18”w x 20”d x 20”h
$800-1,200
Provenance:
170
383 384
David Robertson Smith (d. 1940) David Robertson Smith (d. 1940)
for Johnson Furniture Co. for Johnson Furniture Co.
Dynamique dresser Dynamique tall dresser
Grand Rapids, Michigan, circa 1928 Grand Rapids, Michigan, circa 1928
mahogany, figured mahogany, mahogany, figured mahogany,
aluminum aluminum
Johnson Furniture Co. metal tag Johnson Furniture Co. metal tag
finished on all sides finished on all sides
25”w x 16”d x 34 1/2”h 27”w x 17 1/2”d x 61”h
$800-1,200 $800-1,200
171
385
Donald Deskey (1894-1989)
cabinet
USA, circa 1940
burl maple, chrome-plated steel
unmarked
38”w x 16”d x 56”h
$2,000-3,000
Provenance:
172
386
Wolfgang Hoffman (1900-1969) for
Howell
coffee table, #816
St. Charles, Illinois, circa 1935
chrome-plated steel
unmarked
36”w x 21 1/2”d x 17”h
$1,000-1,500
Provenance:
387
Wolfgang Hoffman (1900-1969) for
Howell Company
console and mirror
St. Charles, Illinois, circa 1935
chrome-plated steel, high-gloss black
lacquer, glass
Howell Company label to underside
31”w x 14 1/4”d x 71 1/2”h
$800-1,200
Provenance:
173
388
Gilbert Rohde (1894-1944) for Herman Miller
Paldao Group two-piece compact, #4160
Zeeland, Michigan, circa 1941
paldao, imitation leather, brass
both marked 4160
lower cabinet: 52”w x 15”d x 34”h;
upper cabinet: 48”w x 13 1/2”d x 46”h
$2,000-3,000
Provenance:
174
389 390
Gilbert Rohde (1894-1944) for Herman Gilbert Rohde (1894-1944) for
Miller Herman Miller
Paldao Group Ectoplastic coffee table, Paldao Group double pedestal desk,
#4186 #4115
Zeeland, Michigan, circa 1941 Zeeland, Michigan, circa 1941
paldao, acacia burl, leatherette paldao, leatherette, brass
Herman Miller foil tag marked 4115 to underside
41”w x 26 1/2”d x 15”h 56”w x 28”d x 29 1/4”h
$1,500-2,500 $1,000-1,500
175
391
Gilbert Rohde (1894-1944) for
Herman Miller
Paldao Group end tables, pair, #3461
paldao
Herman Miller foil tag to one
example
15”w x 33”d x 24 1/2”h
$1,000-1,500
Provenance:
392
Herman Miller
Paldao Group coat rack
USA, circa 1941
mahogany, leatherette
Herman Miller paper label
handwritten on Herman Miller label
‘Warren McArthur Corp / 1 Park Ave. /
New York City’
19”dia x 69”h
$800-1,200
Provenance:
393
Herman Miller
Paldao Group single-door cabinet,
#4114
paldao, acacia burl
marked 4114 to back
21 1/4”w x 17”d x 41 3/4”h
$500-700
Provenance:
176
394 395
Gilbert Rohde (1894-1944) for Gilbert Rohde (1894-1944) for
Herman Miller Herman Miller
Paldao Group occasional table, #4123 Paldao Group occasional table, #4187
Zeeland, Michigan, circa 1941 Zeeland, Michigan, circa 1941
paldao, acacia burl, leatherette paldao, acacia burl, leatherette
Herman Miller sticker label stamped 4187
24”dia x 27”h 27”w x 23”d x 27”h
$800-1,200 $800-1,200
396 397
Gilbert Rohde (1894-1944) for Gilbert Rohde (1894-1944) for Troy
Mutual Sunset Lighting Corporation Sunshade
torchieres, pair, #3489 chairs, pair, #36
USA, circa 1940 USA, circa 1930
enameled aluminum, chrome-plated chrome-plated steel, upholstery,
steel, aluminum, chrome-plated brass imitation leather
unmarked paper label to each
14”dia x 67 1/2”h 19”w x 18 1/2”d x 32”h
$4,000-6,000 $300-500
177
398
Herman Miller
Executive Office Group desk
walnut, brushed chrome, brass
Herman Miller foil tag
This desk was part of the first
integrated office system in the United
States, Herman Miller’s Executive Office
Group.
46”w x 24”d x 29 1/4”h
$1,000-1,500
Provenance:
399
Herman Miller
Bedroom Group vanity, #3770
rosewood, brass, steel, glass
marked 3770
56”w x 18 1/2”d x 60”h
$1,500-2,500
Provenance:
178
400
Herman Miller
East India Laurel Group end
tables, pair, #3461
laurel, chrome-plated steel
metal tag to one example
15”w x 33”d x 21”h
$1,500-2,500
Provenance:
401
Herman Miller
East India Laurel Group desk,
#3548
laurel, chrome-plated steel,
black lacquer
unmarked
This desk has a finished back,
pull-out writing surface, two
storage drawers and a file
drawer.
44”w x 22”d x 29”h
$1,500-2,500
Provenance:
179
Rohde’s Combination Chairs represented the first modular furniture system introduced to the
American market, along with his important East India Laurel Group pieces. (Lots 400-406)
402 403
Gilbert Rohde (1894-1944) for Herman Miller Gilbert Rohde (1894-1944) for Herman Miller
Combination Chairs, #3700, #3701 and #3702 Combination Chairs, #3700, #3701 and #3702
Zeeland, Michigan,1930s Zeeland, Michigan,1930s
mohair, upholstery, wood mohair, upholstery, wood
unmarked unmarked
This set consists of one corner piece, a settee and This set consists of one corner piece, two settees
three single chairs. and a single chair.
corner: 37”sq x 31”h; corner: 37”sq x 31”h;
settee: 45”w x 35”d x 31”h; settees (each): 45”w x 35”d x 31”h;
chairs (each): 24”w x 35”d x 31”h chair: 24”w x 35”d x 31”h
$1,500-2,500 $1,500-2,500
180
404
Herman Miller
East India Laurel Group desk cabinet,
#3425
laurel, chrome-plated steel, black
lacquer
marked 3425
32"w x 15"d x 41"h
$800-1,200
Provenance:
405
Herman Miller
East India Laurel Group bookcases, set
of three, #3634, #3633, #3632
unmarked
each: 32"w x 11"d x 39"h; overall: 8'w
$3,000-5,000
Provenance:
181
406
Herman Miller
East India Laurel Group dinette
chest, #3435
unmarked
48”w x 16”d x 30”h
$800-1,200
Provenance:
407
Russel Wright (1904-1976) for
Mutual Sunset Lamp Company
torchieres, pair
USA, circa 1946
spun aluminum, brass, Bakelite
unmarked
11”dia x 65 1/4”h
$800-1,200
Provenance:
182
408
Warren McArthur (1885-1961) for
Warren McArthur Corporation
chairs, pair
New York, New York, 1930s
aluminum, upholstery
unmarked
17"w x 19"d x 32"h
$700-900
Provenance:
409
Mayfair Industries Inc.
folding chairs, pair
Yonkers, New York, 1930s
aluminum, upholstery, rubber
paper label and sticker to underside
'Mayfair Industries Inc. / A Warren
McArthur Product'
24 1/4"w x 27"d x 31"h
$400-600
Provenance:
410
armchairs, pair
aluminum, upholstery
unmarked
pull-out ashtrays within each arm
26"w x 25"d x 33 1/2"h
$700-900
183
411
prototype tall chest
New York, New York, 1934
white birch, machined and tubular
anodized aluminum
green decal
34”w x 18”d x 43 7/8”h
$7,000-9,000
Provenance:
Illinois, 02 December 2001, Lot 924
184
Early mid-century furniture designer Warren McArthur has experienced a renaissance in the last few decades.
His tubular aluminum furniture with internal steel supports is now appreciated for its originality and durability.
McArthur ingeniously developed lightweight yet sturdy furniture with pronounced joints that are incorporated
into the overall aesthetic. These McArthur prototype chests were designed as part of The Schafer Collection in
1934 once the Warren McArthur Corporation had moved from Los Angeles to Rome, New York. According to
Nicholas Brown, a 20th century art and design dealer and McArthur expert in Camden, Maine, "Don Schafer
was Warren's upholstery foreman and the only one of four salaried employees to have his relocation paid for by
the company." Part of Schafer's compensation package for moving was that McArthur would personally design
a bedroom suite, writing desk and four occasional tables for the Schafer family. These chests belonged to the
bedroom suite and were fashioned from "select-grade Adirondack white mountain birch and glazed in translucent
lightly tinted lacquer." Brown further notes that the Schafer prototypes are especially rare since their "anodized
aluminum frames, while typical in construction, are dissimilar to all other pieces" given their thicker "rectilinear
tubing for horizontal structuring."
412
prototype low chest
New York, New York, 1934
white birch, machined and tubular
anodized aluminum
green decal
48”w x 21”d x 35”h
$7,000-9,000
Provenance:
Illinois, 02 December 2001, Lot 925
185
413
K.E.M. Weber (1889-1963)
Airline armchair
Disney Studios, Burbank, California, 1934
manufactured by Airline Chair Company, Los Angeles,
California
birch veneer, ash, naugahyde, steel
24 3/4”w x 34”d x 31”h
$8,000-12,000
Catalog Note:
Designed in 1934 during the Great Depression, K.E.M.
Weber’s iconic Airline armchair was never produced
on a large scale despite being both attractive and
functional. Ultimately, fewer than 300 armchairs were
constructed and most were purchased by Disney
Studios for use in their Burbank headquarters.
186
414
Pattyn Products
table lamps, pair, #310
USA, circa 1935
aluminum, Bakelite, brass
sticker labels to underside ‘Pattyn
Products, Detroit, Mich., Model 310’
8”dia x 19 3/4”h
$5,000-7,000
415
Phoenix Glass Company and W.H.
Howell Company
Ruba Rombic fishbowl / aquarium
Monaca, Pennsylvania / Geneva, Illinois,
circa 1928
Vaseline glass, iron
engraved and cast marks: Patented Sept
4 1928 P G Co / W. H. HOWELL CO.
GENEVA, ILL., PAT. APPL’D FOR
bowl: 14”dia x 8”h; overall: 14”dia x 32”h
$5,000-7,000
Exhibitions:
A similar example is exhibited at the
Museum of Fine Arts in Boston.
187
416
After Waylande Gregory
sculpture
USA, 20th century
composite
signed
14 1/2”w x 8”d x 12”h
$300-500
417
Gustav Jensen (1898-1950) for
E.I. du Pont de Nemours and
Company
rare three-piece vanity set
comprising hand mirror, brush and
covered box
Leominster, Massachusetts,
circa 1928
Lucite, mirrored glass and bristle
impressed mark and ‘Lucite’ to each
handle
mirror: 6 1/8”w x 1/2”d x 9 1/2”h
$800-1,200
188
418 419 420
Franklin Booth (1874-1948) Walter von Nessen (1889-1943) for Walter von Nessen (1889-1943) for
table lamp base Nessen Studios, Inc. Chase Brass and Copper
USA, 1929 rare smoking stand supper bell
cast iron New York, New York, 1930s USA, 1930s
incised signature to base chrome-plated steel, painted brass cast bronze, nickel-plated steel
This lamp received United States Patent unmarked unmarked
No. D78189 S in 1929. 12 1/4”w x 8 1/4”d x 24 1/2”h 2”dia x 2 1/2”h
7 1/4”sq x 18 1/4”h $700-900 $700-900
$700-900
421
Donald Deskey (1894-1989) for
Widdicomb
desk
Grand Rapids, Michigan, 1930s
curly mahogany, aluminum
Widdicomb label
44”w x 18 1/2”d x 31”h
$1,500-2,500
189
422 423
William Archibald Weldon (1900-1970) Attributed to Gilbert Rohde (1894-1944)
for Revere desk lamp
cocktail set USA, 1930s
Rome, New York, circa 1938 chrome-plated steel, painted aluminum
chrome, Bakelite unmarked
marked Revere 16”w x 8”d x 12 1/4”h
includes serving tray, pitcher and six cups $700-900
tray: 16”w x 13 1/4”d x 1”h;
pitcher: 7”w x 3”d x 12 1/2”h;
cups (each): 2 3/4”dia x 3 3/4”h
$500-700
424
Wolfgang Hoffmann (1900-1969) for
Howell
smoking stand
St. Charles, Illinois, 1930s
chrome-plated steel, laminate
sticker label
15 1/2”w x 11”d x 24 1/4”h
$300-500
190
425
Troy Sunshade Company
Double-Decker coffee table
USA, 1930s
chrome-plated tubular steel,
laminate, aluminum
unmarked
33 3/4"w x 16"d x 21"h
$400-600
426
easy chair, #163
USA, 1930s
chrome-plated steel, upholstery
unmarked
24 1/4"w x 35"d x 32"h
$500-700
427
two-tier end tables, pair
USA, 1930s
black laminate, chrome-plated
tubular steel, aluminum
one table marked 'Genuine Cafolite
Muskegon Mich'
17 3/4"w x 28"d x 22 1/4"h
$700-900
191
428 429
Gilbert Rohde (1894-1944) for Gilbert Rohde (1894-1944) for
Troy Sunshade Company Troy Sunshade Company
sofa, #163-66 sofa, #163-66
USA, 1930s USA, 1930s
chrome-plated tubular steel, vinyl chrome-plated tubular steel, vinyl
upholstery upholstery
unmarked unmarked
68 1/2”w x 35”d x 31”h 68 1/2”w x 35”d x 31”h
$700-900 $700-900
192
430
easy chair, #163
USA, 1930s
chrome-plated tubular steel, vinyl
upholstery
unmarked
25"w x 35"d x 31"h
$500-700
431
desk and chair
USA, 1930s
laminate, chrome-plated tubular
steel, aluminum, vinyl upholstery
unmarked
chair: 20"w x 20"d x 32"h;
desk: 48"w x 23 3/4"d x 29 1/4"h
$500-700
432
dinette set: table with nesting
chairs, four, #172
USA, 1930s
steel, aluminum, vinyl upholstery,
wood
impressed mark to seats of each
chair 'Design Pat. 106,898 Troy
Sunshade Co. Troy, O'; table retains
partial sticker label
All four chairs may be stacked.
chairs (each): 16"w x 18"d x 34"h;
table: 30"sq x 29 1/4"h
$700-900
193
433
armchairs, pair
USA, 1930s
upholstery
unmarked
20"w x 20"d x 32"h
$400-600
434
dinette set: table with nesting
chairs, four, #172
USA, 1930s
steel, aluminum, vinyl upholstery,
wood
impressed mark to seats of each
chair 'Design Pat. 106,898 Troy
Sunshade Co. Troy, O'; table
retains partial sticker label
All four chairs may be stacked.
chairs (each): 16"w x 18"d x 34"h;
table: 30"sq x 29 1/4"h
$700-900
435
lounge chairs, pair
USA, 1930s
upholstery, beech
unmarked
24"w x 33"d x 32"h
$700-900
194
436 Exhibitions:
Ennio Lucini (1934-1997) for DH Guzzini Rad Light: The Radical Lighting Collection of Jim Walrod, 31 March
Cespuglio di Gino table lamp through 19 April 2015, Patrick Parrish Gallery, New York, New York
Recanati, Italy, circa 1968
acrylic, enameled aluminum, aluminum Literature:
signed with decal retailer's label to underside: Branzi, Andrea, Il Design Italiano: 1964-1990, Electa, 1997, p. 113
'Modernariato'
15 1/2"dia x 12 1/2"h Ferrari, Napoleone, and Fulvio Ferrari, Light — Lamps 1968-1973:
$3,000-5,000 New Italian Design, Umberto Allemandi & Co., 2004, p. 95
Provenance: Rad Light: The Radical Lighting Collection of Jim Walrod,

Wright, Furniture Pimp: The Collection of Jim Walrod, Patrick Parrish Gallery, 2015, p. 26
03 May 2018, Lot 122
195
437
Mario Minale (b. 1973) for Droog
Red Blue LEGO chair
Netherlands, 2004
plastic, aluminum
applied tag to underside ‘Droog
Mario Minale 4/5’
This chair is number 4 from a limited
edition of 5.
26 1/2”w x 33”d x 33”h
$10,000-15,000
196
438
Archizoom Associati for Poltronova
Mies chair and ottoman
Italy, 1969
chrome-plated steel, rubber, leather
sticker label
chair: 29”w x 51”d x 30 1/2”h; ottoman:
41”w x 9”d x 14”h
$4,000-6,000
Catalog Note:
Anti-Design: Archizoom Associati was
an active design collective based in
Florence and Milan from 1966 until
disbanded in 1974. Their best-known
furniture design, the ‘Mies’ chair and
ottoman, was largely a reaction to
the unadorned rationalist ideas of
designers such as Mies van der Rohe.
Both welcoming and oddly disruptive,
its over-simplification of modernist
geometries and materials exemplifies
many of the groups motivations,
deliberately challenging pervasive
understandings of functional space.
439 Literature:
Studio Tetrarch for Bazzani Designed for Delight: Alternative Aspects of Twentieth-Century Decorative Arts, Montreal Muse-
Tovaglia coffee table um of Decorative Arts, 1997, p. 276, fig. 188
Italy, 1969
lacquered fiberglass Gramigna, Giuliana, Repertorio 1950/1980, Mondadori, 1985, p. 295
unmarked
43”sq x 15”h Catalog Note:
$3,000-5,000 In 1995, Enrico De Munari, one of the Studio Tetrarch designers, explained the rationale
for the Tovaglia table in a letter to the Montreal Museum of Decorative Arts. De Munari
and his collaborators wanted to highlight "the incapacity prevalent among the majority
of designers of that particular period [the late 1960s] to interpret correctly the use of a
new material like plastic." Intending to present "a friendly admonition and a lighthearted
reproach" with the Tovaglia table, De Munari asserted that in "imitating the 'ways' of wood
and iron, one could end up not only confusing one material with another, taking away their
own semantic identity, but even mixing up form and content, that is to say, in our case,
tablecloth and table." 197
440
Gaetano Pesce (b. 1939) for
Fish Design
Amazonia vase
Italy, 1995
resin
dated
13”w x 9”d x 14”h
$1,000-2,000
441
Gaetano Pesce (b. 1939)
locker doors, three
Italy, 1996
hand-applied acrylic emulation over
shaped fiberboard support
unmarked
custom designed for the Chiat/Day
Advertising agency’s virtual office in
New York City
largest: 12”w x 1”d x 72”h
$2,000-3,000
198
442
Alessandro Mendini (1931-2019) for
Zabro for Studio Alchimia
Attelabo cabinet, #MDD 954
Italy, 1981
lacquered wood, enameled steel
lacquered signature to side
‘Alessandro Mendini’
30”w x 16 3/4”d x 40 1/4”h
$7,000-9,000
Catalog Note:
Among many roles played throughout
his influential career, Alessandro
Mendini was a leading figure in the
Radical Design movement in the
1970s. He joined Studio Alchimia in
1978, where he worked alongside
Ettore Sottsass and Michel de Lucchi.
His Attelabo cabinet from 1981 is an
important expression of his playful
postmodern style.
199
443
Old Timer Ferrari ‘OTF’
Toucan lamp
Verona, Italy, 1968
plastic
unmarked
example in a rare color combination
7”w x 3 1/4”d x 9”h
$200-300
444
Claudio Salocchi (1934-2012) for
Skipper
Riflessione floor lamp
Italy, circa 1973
marble, chrome-plated steel,
enameled aluminum
impressed mark to rubber stopper
22”w x 64”d x 87”h
$5,000-7,000
Catalog Note:
Although trained as an architect,
Claudio Salocchi also became an
important furniture and industrial
designer. This broad perspective
allowed him to produce versatile
pieces for a range of settings.
Incorporating cutting-edge aluminum
alloys, Salocchi configured his furniture
and lighting designs in a creative yet
practical manner.
200
445
Gino Sarfatti (1912-1985) for
Arredoluce
Triennale floor lamp
Italy, 1950s
chrome-plated steel, aluminum,
leather
impressed mark ‘Made In Italy’
as shown: 33”dia x 73”h
$4,000-6,000
446
After Fabio Lenci for Mirox
lounge chairs, pair
Belgium, 1960s
glass, upholstery, teak
sticker label to one example
36”w x 36”d x 29 1/2”h
$2,500-3,500
201
447
Sergio Mazza (b. 1931) for Artemide
Delta sconces, pair
Italy, 1960s
glass, nickel-plated steel
unmarked
10"w x 18"d x 25 1/2"h
$1,500-2,500
448
Ernesto Gismondi (b. 1931) for
Artemide
Sintesi lamp
Italy, 1970s
steel, aluminum, plastic
sticker label
34"w x 10"d x 19"h
$300-500
449
Gino Sarfatti (1912-1985) for
Arteluce
halogen table lamp, #607
Italy, 1971
lacquered aluminum
sticker label
9 3/4"w x 15 1/4"d x 12 1/4"h
$1,000-1,500
450
Achille Castiglioni (1918-2002) &
Pier Castiglioni (1913-1968) for Flos
Taccia lamp
Italy, 1970s
steel, glass, aluminum
sticker label
20"dia x 24"h
$1,000-1,500
202
451
Contemporary
club chairs
Italy, 2000s
mohair upholstery, brass
unmarked
29"w x 32"d x 26 1/4"h; seat: 18"h
$700-900
Provenance:
Barneys, Chicago, Illinois
Acquired by the current owner when
the above store closed in August
2019
452
Paolo Piva (1950-2017) for B&B Italia
Alanda coffee table
Italy, 1970s
steel, glass
unmarked
47 1/4"w x 23 5/8"d x 10 1/2"h
$700-900
453
Marco Zanuso (1916-2001) for
Arflex
Lady chair
Italy, circa 1951
upholstery, steel
fabric Arflex label
31"w x 33"d x 31"h
$1,500-2,500
203
454
Attributed to Renato Toso (b. 1940)
for Leucos
lamp
Murano, Italy, 1970s
glass
sticker ‘I Tre’ distributor label
20"dia x 17"h
$600-800
455
Rico Baltensweiler (1920-1987) &
Rosmarie Baltensweiler (b. 1927)
articulating lamp, #60 T
Switzerland, circa 1950
chrome-plated steel, enameled
aluminum
unmarked
21 1/2"w x 8 3/4"d x 22"h
$500-700
456
Pierre Paulin (1927-2009) for
Artifort
lounge chair, #F-444
Netherlands, 1990s
saddle leather, chrome-plated steel
sticker label
31"w x 29"d x 38 1/2"h
$2,500-3,500
204
457
Pierre Paulin (1927-2009) for
Artifort
Ribbon chair
Netherlands, 1960s
upholstery, steel, lacquered wood
Artifort label
40"w x 30"d x 27"h
$1,000-1,500
458
Antonio Citterio (b. 1950) for
B&B Italia
side tables, two
Italy, 2000s
steel, laminate
unmarked
23 1/2"sq x 18"h
$500-700
459
Roberto Lazzeroni (b. 1950) for
Ceccotti
Seaview chaise
Italy, 1990s
walnut, aluminum, upholstery
labeled
62"w x 27 1/2"d x 32"h
$3,000-5,000
205
460
Mario Bellini (b. 1935) and Giorgio
Origlia for Artemide
Area Curvea table lamps, pair
Italy, circa 1974
steel, plastic, fiberglass shade
unmarked
21"w x 18"d x 22 1/5"h
$700-900
461
Joe Colombo (1930-1971) for
Ostuni O-luce
Coupe floor lamp
Italy, 1960s
chrome-plated and enameled steel,
plastic
early paper label
11"w x 14"d x 57 1/4"h
$700-900
462
Gino Vistosi (1925-1980)
lamp
Italy, 1960s
glass
unmarked
22"dia x 23"h
$800-1,200
463
Goffredo Reggiani (1929-2004)
Egg lamp
Italy, 1960s
brass, glass, aluminum
sticker labels
13"dia x 18"h
$800-1,200
206
464
Ico Parisi (1916-1996) &
Luisa Parisi (1914-1990) for
Cassina
coffee table, #751
Italy, 1960s
rosewood, glass
sticker label to base
55”w × 29 1/4”d × 9 3/4”h
$700-900
465
Franco Albini (1905-1977) for
Poggi
Luisa dining chairs, six
Italy, 1950s
walnut, upholstery, steel
unmarked
awarded the Compasso d’Oro in
1955
22"w x 22"d x 30 1/2"h
$4,000-6,000
207
466
Tommaso Barbi
lamps, two
Rome, Italy, 1970s
brass
unmarked
wall lamp: 13"w x 5"d x 61"h;
desk lamp: 17"w x 9"d x 14"h
$300-500
467
Attributed to Archimede Seguso
(1909-1999)
bowl
Italy, 1950s
glass with gold inclusions
unmarked
11 1/4"w x 8"d x 5 1/2"h
$600-800
468
Attributed to Pietro Chiesa
(1892-1948) for Fontana Arte
library ladder
Italy, 1940s
brass, glass
unmarked
20"w x 20"d x 47 1/2"h
$1,000-1,500
469
Lorenzo Burchiellaro (b. 1933)
wall mirror
Italy, 1970s
aluminum, glass
unmarked
21 3/4”w x 2”d x 35”h
$1,500-2,500
470
Antonio Da Ros (1936-2012) for
Gino Cenedese
Clessidra Quadrato vase
Italy, 1964
Sommerso glass
unmarked
3 5/8”dia x 9 1/8”h
$500-700
208
471 472
Ercole Barovier (1889-1974) for Napoleon Martinuzzi (1892-1977)
Barovier & Toso for Cenedese Scavo
Evanescenti vase Scavo vase
Venice, Italy, circa 1954 Italy, 1950s
glass Corroso glass
unmarked unmarked
5”dia x 9 1/4”h 7”w x 5”d x 10 1/2”h
$1,000-1,500 $1,000-1,500
473 474
Guido Gambone (1909-1969) Attributed to Flavio Poli (1900-1984)
bowl for Seguso Vetri d’Arte
Italy, 1950s Sommerso Corroso vase
glazed ceramic Italy, circa 1960
signature to base glass
9”w x 7 1/2”d x 5”h unmarked
$400-600 6”w x 3”d x 11 1/8”h
$1,000-1,500
209
475
Aldo Tura (1909-1963)
console table
Murano, Italy, 1960s
lacquered goatskin, wood
sticker label
72 1/4”w x 20”d x 29 1/4”h
$3,000-5,000
476 477
Aldo Tura (1909-1963) Aldo Tura (1909-1963)
carafes, three lamp
Italy, 1960s Italy, 1960s
lacquered goatskin, wood, brass, glass lacquered goatskin, stained
impressed marks, sticker labels mahogany, glass, brass, plastic
together with serving tray unmarked
tallest: 5”w x 5 1/2”d x 12 1/2”h; 18 7 1/2”w x 5 1/4”d x 31 1/2”h
tray: 18”w x 9”d x 1 3/4”h $1,500-2,500
$500-700
210
478 479
Pietro Chiesa (1892-1948) for Modern
Fontana Arte shell lamp
candelabrum Italy, 1970s
Italy, 1940s fiberglass, wood, aluminum
brass illegibly signed
impressed MADE in ITALY 14”w x 12”d x 37 1/2”h
13”w x 5 1/2”d x 3 1/4”h $400-600
$300-500
480
Richard Blow (1904-1983)
Melon pietra dura plaque
Italy, 1950s
semi-precious stone, marble, wood
signed with ‘M’ cipher
11 3/4”w x 8 1/2”h
$800-1,200
481
Alessandro Albrizzi (1934-1994)
fireplace set
Italy, 1960s
brass, leather, slate, plastic
unmarked
tools: 13”w x 7”d x 36 1/2”h;
log holder: 18”w x 16”d x 5 1/2”h
$300-500
211
482
Piero Fornasetti (1913-1988)
Camini lamps, pair
Milan, Italy, 1950s
silkscreened brass
sticker label to base of each
4 1/2"dia x 16"h
$1,000-1,500
483
Julia lamp
Milan, Italy, 1950s
silkscreened brass
sticker label to base
4 1/2"dia x 16"h
$700-900
484
Neoclassical Cameo coffee table
Italy, 1970s
lithographic transfer print on
lacquered particleboard, steel, brass
sticker label to underside
39 1/4"w x 19 3/4"d x 17 1/4"h
$1,500-2,500
212
485
Pansy occasional table
Italy, 1960s
lacquered particleboard, brass
14"dia x 21 3/4"h
$1,000-1,500
486
Pansy occasional table
Italy, 1970s
lacquered particleboard, brass
23 1/2"dia x 21"h
$1,000-1,500
487
occasional tables, pair
Italy, 1970s
acrylic, brass
impressed marks and sticker label
18 1/4"sq x 24"h
$1,000-1,500
488
lidded jar
Milan, Italy, 1960s
porcelain, gold and black decoration
marked
7 3/4"dia x 12"h
$200-300
489
Archimede Seguso (1909-1999)
Latticino bowl
Italy, 1954
glass
unmarked
6 7/8"dia x 2 1/4"h
$300-500
213
490
Arne Jacobsen (1902-1971) for
Fritz Hansen
Sevener desk chair, #3117
Denmark, 1970
teak, chrome-plated steel, plastic
sticker label and embossed
markings to plastic
21 1/2”w x 19 1/2”d x 33”h
$600-800
491
Arne Jacobsen (1902-1971) for
Fritz Hansen
Sevener desk armchair, #3217
Denmark, 1970
teak, chrome-plated steel, plastic
embossed markings to plastic
25”w x 19 1/2”d x 33”h
$1,000-1,500
492
Preben Fabricius (1931-1984) and
Jørgen Kastholm (1931-2007) for
Alfred Kill
chairs, pair, and ottoman
Denmark, 1960s
matte-chromed steel, leather
unmarked
chairs: 32”w x 30”d x 32”h;
ottoman: 32”w x 18”d x 15”h
$3,000-5,000
214
493 494
Uno Kristiansson (b. 1925) & Kaare Klint (1888-1984) for Rud.
Östen Kristiansson (1927-2003) Rasmussens Snedkerier
for Luxus Vittsjö Propeller stool
table mirror Denmark, 1960
Sweden, 1960s oak, linen
teak, steel unmarked
unsigned 22 1/2”w x 19”d x 17”h
18 1/2”w x 12”d x 20”h $2,000-3,000
$800-1,200
495 Catalog Note: Early in his career, Danish

Jørgen Høj (1925-1994) for Niels Vitsoe designer Jørgen Høj shared a studio with Poul
dining chairs, set of six, #3 Kjærholm. As a result, both men went on to
Denmark, 1960s explore similar concepts and shapes in their
aluminum, leather, plastic design practice. Høj's sleek minimalism in
unmarked many ways rivals that of Kjærholm.
18”w x 18”d x 29 1/2”h
$4,000-6,000
215
496
Swedish
large Rya rug
Sweden, 1960s
hand-knotted wool
unmarked
11’ 6” x 8’
$1,500-2,500
497
Danish Modern
dining chairs, set of six
Denmark, 1960s
teak, rush
unmarked
18 1/2”w x 19”d x 31”h
$500-700
216
498 499
Einar Barnes for P.S. Heggen Herbert Hirche (1919-2002)
wastepaper baskets, pair for Christian Holzäpfel KG
Norway, circa 1970 DHS10 modular shelving unit
teak, plywood Germany, 1950s
branded signatures teak, painted steel
15 3/8”w x 8 1/2”d x 12 1/4”h sticker labels
$400-600 includes two cabinets, six shelves
and three uprights
65 1/2”w x 14 1/4”d x 72 3/4”h
$1,000-1,500
217
500
Poul Hundevad (1917-2011)
Guldhøj folding stool
Denmark, circa 1950
wenge, leather
unmarked
19 1/4”w x 17”d x 13”h
$500-700
501
Edmond Spence (1911-1986)
curved double dresser
Sweden, 1950s
walnut, beech
stamped ‘Made in Sweden Factory
No. 24’
78 1/2”w x 24”d x 34”h
$1,000-1,500
502
Torbjørn Afdal (1917-1999)
for Bruksbo / Mellemstrands
Trevareindustri
Krobo bench table
Norway, 1960s
teak, steel
paper label and marked ‘Made in
Norway’
47 1/2”w x 14 1/2”d x 13 1/4”h
$400-600
218
503
Stig Lindberg (1916-1982) for
Gustavsberg
decanter
Denmark, 1960s
glazed ceramic, cork
signed
6 1/4"w x 3 1/2"d x 12 3/4"h
$300-500
504
Erik Höglund (1932-1988) for
Boda Nova Glassworks
framed sculpture
Sweden, 1958
glass, concrete, steel
unmarked
15 3/4"w x 1 1/2"d x 22"h
$2,000-3,000
505
Erik Höglund (1932-1988) for
Boda Nova Glassworks
objects, group of five
Sweden, 1960s
glass
larger examples with etched
signatures
largest: 10"w x 7"d x 1 1/2"h
$300-500
219
506
Nils Landberg (1907-1901) for
Orrefors
Tulpan vase
Sweden, 1950s
blue glass
etched 'Orrefors Expo' signature
2 3/4"dia x 23"h
$700-900
507
Orrefors
Tulpan vase
Sweden, 1950s
yellow glass
2 1/2"dia x 18 3/8"h
$700-900
508
Orrefors
Tulpan vase
Sweden, 1950s
dark glass
6 1/4"dia x 10 3/4"h
$700-900
509
Wilhelm Kage (1889-1960) for
Gustavsberg
Farsta vessel
Sweden, 1950s
glazed ceramic
incised 'Farsta' and 'Kage', with The
Gustavsberg Studios insignia and date
code
10"dia x 12"h
$1,500-2,000
220
510
Mira Nakashima (b. 1942)
Minguren coffee table
New Hope, Pennsylvania, 1991
walnut, hardwood dovetail key
signed and dated with client name to
underside
68"w x 27"d x 15 1/2"h
$6,000-8,000
511
George Nakashima (1905-1990)
nightstand
New Hope, Pennsylvania, 1950s
cherry
unmarked
15 1/2"w x 19"d x 25"h
$3,000-5,000
221
512 513
Philip LaVerne (1907-1987) & John Vesey (1924-1992) for
Kelvin LaVerne (b. 1937) John Vesey Inc.
Chin Ying coffee table shelving unit
New York, New York, 1970s USA, 1950s
etched and enameled brass, aluminum, brass, glass
pewter, wood unmarked
signed 60”w x 18”d x 36 1/2”h
69 3/4”w x 30”d x 17”h $2,000-3,000
$10,000-15,000
222
514 515
Klaus Ihlenfeld (b. 1934) Ricardo Preciado
Pilzgarten (Mushroom Garden) horse sculptures, pair
sculpture Spain, 1960s
USA, 1990s mixed metals, glass
welded bronze and copper impressed signature
unmarked larger: 23”w x 3 1/2”d x 21”h
7”w x 6 1/2”d x 2”h $700-900
$400-600
516
Paul Evans (1931-1987) for
Paul Evans Studio
coffee table
USA, 1960s
patinated steel, glass
unmarked
base: 35”w x 18”d x 14”h;
with glass: 48”w x 25”d x 14 3/4”h
$3,000-5,000
223
517
Silas Seandel (b. 1937)
sculpture
New York, New York, circa
1973
steel
signed
sold with correspondence from
the artist
23 1/2"w x 4"d x 12"h
$500-700
518
Georges Jouve (1910-1964)
vase
France, circa 1950
matte glazed stoneware
signed to underside and
'Made in France'
11"dia x 7 3/4"h
$3,000-5,000
519
Pia Manu
unique mosaic coffee table
Flanders, Belgium, 1970s
slate, pyrite, iron
unmarked
38"dia x 12"h
$2,500-3,500
520
Silas Seandel (b. 1937)
side tables, pair
steel, glass
unmarked
24"dia x 20"h
$500-700
224
521
Claude Conover (1907-1994)
Helmat vessel
Cleveland, Ohio, 1960s
glazed stoneware
signed and titled to underside
16 1/2”dia x 17”h
$4,000-6,000
522
Claude Conover (1907-1994)
Tahlac vessel
Cleveland, Ohio, 1960s
glazed stoneware
signed and titled to underside
18”dia x 24”h
$5,000-7,000
225
523
John Anderson (b. 1928)
kinetic sculpture
USA, 1970s
aluminum
unmarked
14"w x 11"d x 18 1/4"h
$300-500
524
Carol Summers (1925-2016)
sculpture on stand
USA, 1998
sterling silver, pine
impressed signature 'Carol
Summers A.P.'
3 1/2"w x 3"d x 10 1/4"h
$700-900
525
Earl Hooks (1927-2005)
organic sculpture
USA, 1970s
glazed stoneware
signed 'Hooks'
6"dia x 10 1/4"h
$1,000-1,500
526
Don Reitz (1929-2014)
vessels, three
Marshall, Wisconsin, 1980s
matte glazed and unglazed ceramic
two signed
tallest: 6 1/2"w x 5 1/2"d x 14"h
$600-800
226
527
David Cressey (1916-2013)
monumental planter
California, 1970s
glazed ceramic
signed
18"dia x 24 3/4"h
$2,000-3,000
528
Rose Cabat (1914-2015)
Feelie vase
Tucson, Arizona, circa 1980
glazed ceramic
signed
3"dia x 3 3/4"h
$200-300
529
Rose Cabat (1914-2015)
Feelie vase
Tucson, Arizona, circa 1980
glazed ceramic
signed
2 3/4"dia x 2 7/8"h
$200-300
530
Gertrud Natzler (1908-1971) &
Otto Natzler (1908-2007)
vase
Los Angeles, California, 1950s
glazed ceramic
signed
6"dia x 3 3/4"h
$700-900
531
Gertrud Natzler (1908-1971) &
Otto Natzler (1908-2007)
vase
Los Angeles, California, 1950s
glazed ceramic
signed
4 1/8"dia x 5 1/8"h
$500-700
227
532 533
Henre for Tuskegee Institute Gordon Martz (1924-2015) &
vase Jane Marshall Martz (1929-2007)
Tuskegee, Alabama, 1950s for Marshall Studios
glazed pottery table lamp
artist signed ‘Henre’ and incised USA, 1950s
‘Tuskegee Institute Pottery’ glazed ceramic, original shade
incised and painted decoration of signed Martz
pictographic symbols and dancing base: 8”dia x 24”h;
figures with shade: 18”dia x 34”h
4 1/4”dia x 10”h $500-700
$700-900
534
Polia Pillin (1909-1992)
charger
USA, 1950s
glazed and painted ceramic
signed
16 1/4”w x 12 3/4”d x 1 1/2”h
$300-500
228
535
Vladimir Kagan (1927-2016) for
Preview
Tangent sofa
North Carolina, 1970s
upholstery, wood
sticker label
91"w x 38"d x 36"h
$4,000-6,000
536
In the Style of Vladimir Kagan
lounge chair
USA, 1950s
walnut, upholstery
unmarked
29"w x 36"d x 36 1/2"h
$1,000-1,500
537
Vladimir Kagan (1927-2016) for
Preview
Tangent sofa
North Carolina, 1970s
upholstery, wood
sticker label
91"w x 38"d x 36"h
$4,000-6,000
229
538 Catalog Note:
Dorothy Liebes (1897-1972) & Dorothy Wright Liebes was an influential textile design-
Attributed to Edward Wormley er from Santa Rosa, California who studied her craft at
(1907-1995) for Dunbar Chicago's Hull House and abroad. Known for incorporating
rare folding screen with fabric panels various materials such as leather, plastics and bamboo into
Berne, Indiana, circa 1940s her weavings, her work was often commissioned by archi-
bleached walnut, wool, wood woven tects and designers including Frank Lloyd Wright, Samuel
fibers Marx and Edward Wormley.
unmarked
41 1/4”w x 1”d x 65”h
$3,000-5,000
230
539
Edward Wormley (1907-1995) for 540
Dunbar Edward Wormley (1907-1995) for
commode, #6002 Dunbar
Berne, Indiana, 1940s magazine tree, #4765
walnut, olive burl, brass Berne, Indiana, 1950s
Dunbar metal tag figured oak
two interior shelves unmarked
35”w x 18”d x 33 1/4”h 28”w x 16 3/8”d x 24 3/4”h
$2,000-3,000 $2,000-3,000
541
Edward Wormley (1907-1995) for
Dunbar
lamp tables, pair, #5730
Berne, Indiana, 1950s
mahogany, cane
Dunbar paper labels
23 3/4”w x 16 1/8”d x 28 1/2”h
$1,000-1,500
231
542
Dunbar
desk, #912C
Berne, Indiana, circa 1957
rosewood, mahogany, brass
unmarked
features three drawers and two
tambour doors concealing open storage
74 1/2"w x 28"d x 35"h
$2,000-3,000
543
Dunbar
Mister cabinet, #4723
bleached mahogany, bent plywood
unmarked
48"w x 21 1/2"d x 36 1/4"h
$2,000-3,000
232
544
Dunbar
three-drawer chest
mahogany, brass
Dunbar metal tag
40"w x 19"d x 30 3/4"h
$1,000-1,500
545
Dunbar
coffee table, #5219
travertine marble, mahogany
Dunbar metal tag
48 1/4"dia x 13 1/2"h
$800-1,200
546
Dunbar
lounge chair and ottoman, #3444
upholstery, wood
unmarked
chair: 27"w x 38"d x 29"h; ottoman:
27"w x 24"d x 16 1/2"h
$700-900
233
547
Dunbar
nightstands, pair
mahogany, leather
unmarked
16"w x 13"d x 25 1/4"h
$500-700
548
Dunbar
armchairs, pair, #935
rosewood, walnut, upholstery
Dunbar metal tag
featuring fabric attributed to Jack
Lenor Larsen (b. 1927)
24"w x 21 1/2"d x 30 5/8"h
$800-1,200
549
Dunbar
commode dressers, pair
mahogany
unmarked
42"w x 19"d x 33 1/2"h
$1,000-1,500
234
550 551
Edward Wormley (1907-1995) for Edward Wormley (1907-1995) for
Dunbar Dunbar
cabinet with glass display case nightstands, pair
Berne, Indiana, 1950s Berne, Indiana, 1950s
bleached mahogany, leather, glass walnut, leather
paper label to back of top cabinet unmarked
48”w x 18”d x 45 1/2”h; 15”w x 16 1/2”d x 27”h
cabinet only: 31 1/4”h $700-900
$1,000-1,500
552
Dunbar
credenza, #5324
Berne, Indiana, circa 1953
mahogany, chrome-plated steel, brass
sticker label
81 1/2”w x 18 1/4”d x 32”h
$1,500-2,500
235
553
Dunbar
commode, #6300A
mahogany, red marble
Dunbar metal tag
includes three interior shelves
50”w x 16”d x 31 1/2”h
$1,000-1,500
554
Dunbar
coffee table / bench, #313
mahogany, brass, upholstery
metal tag
48”w x 18”d x 11”h;
with cushion (not pictured): 16”h
$700-900
555
Roger Sprunger (1920-2008) for
Dunbar
Roll armchairs, pair
mohair upholstery, walnut, steel
fabric label
spaghetti strapping on bottom
39”w x 34”d x 26 1/2”h
$1,000-1,500
236
556
Dunbar
cocktail table
chrome-plated steel, glass
unmarked
45"w x 28"d x 19 1/2"h
$500-700
557
Dunbar
coffee table
bronze, smoked glass, rosewood
unmarked
45"w x 28"d x 17 1/4"h
$600-800
558
Dunbar
Chanel sofa, #7140
mohair, walnut
Dunbar fabric label
89"w x 33"d x 26 1/2"h
$2,000-3,000
237
559 560
Roger Sprunger (1920-2008) for Roger Sprunger (1920-2008) for
Dunbar Dunbar
sideboard, #7111 dining table, #7110
Berne, Indiana, 1970s Berne, Indiana, 1970s
olive burl, brass olive burl
metal Dunbar tag metal Dunbar tag
80"w x 18"d x 32"h sold with two 18" leaves
$2,000-3,000 66"w x 42"d x 29"h;
extended: 102"w
$2,000-3,000
238
561
T.H. Robsjohn-Gibbings (1905-1976)
for Widdicomb
dining chairs, set of four
walnut, leather upholstery
paper labels and marked ‘4202
Sundra’
includes two armchairs and two side
chairs
22”w x 24”d x 34”h
$800-1,200
562
After T.H. Robsjohn-Gibbings
Klismos chairs, set of 10
USA, 1960s
walnut, leather
unmarked
21”w x 29 1/2”d x 35”h
$4,000-6,000
239
563
T.H. Robsjohn-Gibbings
(1905-1976) for Widdicomb
two door cabinet, #1731
USA, 1950s
maple
Widdicomb fabric label
54”w x 19 1/4”d x 42 1/2”h
$500-700
564 565
Arthur Umanoff (1923-1985) for Paul McCobb (1917-1969) for Calvin
Raymor Irwin Collection credenza, #7804
wine rack Grand Rapids, Michigan, 1950s
USA, 1960s mahogany, brass
steel, leather metal label
unmarked 48”w x 19”d x 34 1/2”h
14”w x 11”d x 66 3/8”h $700-900
$700-900
240
566
Paul McCobb (1917-1969) for Bryce
Originals
vanity
USA, circa 1954
enameled steel, white glass, mirrored
glass, painted maple
unmarked
features two drawers and adjustable
mirror
27 3/4”w x 10 1/2”d x 22”h
$800-1,200
567
Paul McCobb (1917-1969) for Calvin
Irwin Collection credenza, #8506
mahogany, brass
metal label
71 1/4”w x 18 1/4”d x 34 1/4”h
$900-1,200
568
Paul McCobb (1917-1969) for Calvin
Irwin Collection petite chest
mahogany, brass
metal label
29”w x 12 1/4”d x 12 1/4”h
$600-800
241
569
George Nelson (1908-1986) for
Howard Miller
Spike clock
Zeeland, Michigan, 1950s
wood, metal
unmarked
30"dia x 3 1/2"d
$700-900
570
Herman Miller
bench, #4692
birch, lacquered birch
unmarked
72 1/4”w x 18”d x 14”h
$800-1,200
571
Herman Miller
platform bench, #4693
ebonized birch
unmarked
102”w x 18 1/2”d x 14”h
$1,500-2,500
242
572
Herman Miller
Steel Frame dressers, pair
enameled steel, laminate, birch,
plywood
metal tags
33 1/2"w x 18 1/2"d x 29 5/8"h
$1,000-1,500
573
Herman Miller
Steel Frame desk
plywood
metal tag
42"w x 18 3/4"d x 29 1/2"h
$700-900
574
Herman Miller
Steel Frame cabinet and nightstand
plywood
metal tags to each
cabinet:
33 1/2"w x 19"d x 29 1/2"h;
nightstand:
16 3/4"w x 18 5/8"d x 24 5/8"h
$800-1,200
243
575
Herman Miller
Thin Edge full bed
birch, cane, enameled steel
unmarked
54”w x 85”d x 32”h
$1,500-2,500
576
Alexander Girard (1907-1993)
Two-Stripe fabric, approximately 26
yards
cotton
unmarked
36”w x 78’l
$500-700
577
Attributed to Alexander Girard
(1907-1993)
Fashion decorative wall assemblage
Grosse Pointe, Michigan, 1950s
plywood, walnut
unsigned
acquired from the Estate of Alexander
Girard in Grosse Pointe, Michigan
10”w x 1 1/2”d x 18”h
$300-500
244
578
Charles Eames (1907–1978)
& Ray Eames (1912–1988) for
Herman Miller Zenith Plastics
DAX shell chairs, pair
Venice, California, 1951
molded fiberglass, steel, rubber
unmarked
from second year of production with
large shock mounts and heavy x
base
25"w x 24"d x 31"h
$500-700
579
Charles Eames (1907–1978)
& Ray Eames (1912–1988) for
Herman Miller
Compact sofa
steel, upholstery
metal tag and upholstery label
upholstered in vintage Alexander
Girard fabric
72"w x 30"d x 35"h
$2,000-3,000
245
580
Clay Michie for Knoll International
desk lamp, #8
New York, New York, circa 1958
brass, painted aluminum
impressed patent numbers on arm
17”w x 12”d x 16”h
$700-900
581
Florence Knoll (1917-2019) for
Knoll Associates
T-Angle coffee table
walnut, steel
unmarked
60”w x 20”d x 15 3/4”h
$700-900
582
Hans Bellmann (1911-1990) for
Knoll Associates
Popsicle occasional table
USA, circa 1950
laminate, wood, aluminum
Knoll paper label
23 5/8”dia x 21 1/4”h
$700-900
246
583
Cedric Hartman (b. 1929) for
Cedric Hartman Inc.
Low Profile Luminaire floor lamps,
pair, #1U WV
Omaha, Nebraska, 1970s
chrome-plated steel, Lucite ball
switch
impressed signature and sticker
to base of each
11"w x 13"d x 37 3/4"h
$2,000-3,000
584
Ward Bennett (1917-2003) for
Brickell Associates
Sled lounge chairs, pair
USA, 1970s
wicker, chrome-plated steel
unmarked
29"w x 27"d x 29"h
$2,500-3,500
585
Ward Bennett (1917-2003) for
Geiger
Sled lounge chairs, pair
USA, 2008
chrome-plated steel, leather
paper labels
28 1/2"w x 30"d x 31 1/2"h
$2,500-3,500
247
586 587
Attributed to Milo Baughman (1923- Gardner Leaver (1921-1990) for
2003) for Thayer Coggin, Inc. Steelcase
dining table lounge chairs, two
USA, 1970s Grand Rapids, Michigan, 1970s
walnut, chrome-plated steel leather, stainless steel
numbered sticker labels
closed: 72”w x 28 1/4”d x 28 3/4”h; 24”w x 30”d x 32”h
open: 61”d $500-700
$800-1,200
248
588
Frank Gehry (b. 1929) for Easy
Edges, Inc.
Wiggle chair
USA, circa 1972
cardboard, masonite, birch
unmarked
14 1/2"w x 25"d x 34"h
$1,000-1,500
589
Robert Venturi (1925-2018) for
Knoll International
Queen Anne chair
USA, circa 1985
red laminate over plywood
unmarked
26 1/2"w x 23"d x 38 1/2"h
$2,000-3,000
249
SELECTED BIOGRAPHIES
Robert Arneson (American, 1930-1992)
Born in Benicia, California in 1930, Robert Arneson resided for many years in his beloved home city on the east side of the San Francisco
Bay. From an early age, Arneson showed great promise as an artist with pencil drawings and he also excelled painting watercolors. Initially,
Arneson hoped to become a cartoonist focusing on sports, and his comics were published on a weekly basis while he was still in high school.
Yet after earning a BFA at California College of the Arts and an MFA from Mills College, both in Oakland, Arneson began working as a high
school ceramics teacher and went on to spend 30 years as a professor of ceramics at UC Davis near Sacramento. In the 1960s, inspired by
modern ceramicists such as Peter Voulkos, Arneson established his identity as an artist by making non-functional, clay sculptures of everyday
objects. These early works include colorful plates, trophies, toasters, typewriters, bottles, and even toilets. By the 1970s, Arneson’s subject
matter shifted and he became heavily devoted to the self-portraits for which he is most famous today. These self-referential sculptures and
paintings were often humorous, irreverent, and even vulgar on the surface, but, above all, they express Arneson’s interest in the alternately
poignant and absurd human condition. Along with such California artists as Ken Price, William T. Wiley, and Roy de Forest, Arneson is
considered one of the progenitors of the Funk Art Movement in the 1960s and 1970s. Throughout the 1980s, Arneson shifted his artistic
focus in a more politically satirical direction. After a long battle with cancer, Arneson died in 1992 at home in Benicia. Arneson’s ceramic
sculptures and other artwork regularly achieve high prices at auction and can be found in museums and private collections all over the
country, including the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, the Museum of Modern Art in New
York City, the Hirshhorn Museum and Sculpture Garden in Washington DC, and the Yale University Art Gallery in New Haven, Connecticut.
Harry Bertoia (Italian/American, 1915-1978)
Harry Bertoia was born in Pordenone, Italy in 1915 and followed his older brother to Detroit, Michigan in 1930. At Cass Technical High
School, Bertoia trained in art, design, and jewelry making. He also spent time at the Art School of the Detroit Society of Arts and Crafts
(later renamed the College for Creative Studies). In 1937, Bertoia received a scholarship to study at the Cranbrook Academy of Art, where
he met Walter Gropius, Florence Knoll, Eero Saarinen, and Charles and Ray Eames. Bertoia later taught both jewelry design and metalworking
at Cranbrook, exploring ideas that would eventually appear in his sculpture. During World War II, Bertoia married Brigitta Valentiner and soon
the couple moved to Venice, California, where Bertoia worked with Charles and Ray Eames at the Evans Products Company to develop
new techniques for molding plywood. While in California, Bertoia learned welding at Santa Monica City College. In 1949, he was invited to
work with Florence and Hans Knoll. Bertoia’s collaboration with Knoll was memorable. His steel-wire furniture designs became very popular,
especially the Diamond Chair, which repurposed an industrial material into a gracefully sculpted form. By the middle of the 1950s, Bertoia’s
furniture line proved lucrative enough for him to focus exclusively on sculpture. In the years that followed, he created more than 50 pieces of
public sculpture. During the 1960s, Bertoia added the element of sound in his Sonambient sculptures with vertical rods that generate various
tones as they collide. He even recorded a series of albums featuring music produced by his Sonambient sculptures. Bertoia passed away at
age 63 due to lung cancer in 1978, leaving behind his wife, two daughters, and a son, Val, who now makes his own Sonambient sculptures.
Harry Bertoia’s work is part of the collections of several museums, including the Detroit Institute of Art, the Brooklyn Museum in New York
City, the Philadelphia Museum of Art, the Milwaukee Art Museum, the Smithsonian American Art Museum in Washington DC, and others.
Joseph A. Burlini (American, b. 1937)
With a special place in the public sphere, creating pieces of both large-scale and intimate sculpture, Joseph A. Burlini’s artistic identity exists
in tandem with the strong work ethic of Chicago. Thoughtfully clever in his execution and composition in relation to materials, Burlini’s
work has also remained accessible over time. Born in 1937, Burlini spent his youth in Morton Grove, Illinois. He studied industrial design at
the School of the Art Institute of Chicago from 1956 to 1960. To start his professional life, Burlini worked at Sears Roebuck and Co. for six
years designing toys, cameras, rifles, and other goods. In his spare time, Burlini began to experiment with drawing “Larger Than Life” celebrity
portraits and welding sculptures from steel rods. In 1965, Burlini entered a sculpture in the Chicago and Vicinity show at the Art Institute of
Chicago and won the John G. Curtis prize. Subsequently, Burlini told his new wife, Sue Ellen, that he planned to quit working in industrial
design to become a full-time artist and she encouraged him to pursue his passion. Throughout Burlini’s 50-plus years as an artist, his focus
has evolved in multiple directions. During his gallery years, Burlini had a 15-year machine phase and later a Man in the Box period. Burlini also
produced his Satin and Smoke polished bronze series and 24-carat gold Butterfly People. Perhaps most notably, Burlini had a 15-year stretch
in which he created kinetic do-nothing machines composed of metal rods, wheels, wings, and rudders. The Museum of Science and Industry
in Chicago held an early retrospective of Burlini’s work in 1977 entitled Rockets to Rainbows. In later years, Burlini was commissioned to
create bold public sculptures and innovative awards for various companies and organizations. His clients have included Walt Disney Studios,
McDonald’s, Standard Oil, the U.S. Pentagon, Chicago Symphony Orchestra, and many other Chicago-area institutions. From May 9 to June
14, 2019, the Koehnline Museum of Art at Oakton Community College in Des Plaines, Illinois held a major retrospective with examples of
sculpture and artwork from each phase of Burlini’s distinguished career.
250
Elizabeth Eaton Burton (American, 1869-1937)
Known for her keen sense of materials and unusual aesthetic, Elizabeth Eaton Burton was often influenced by the landscape of
her native Southern California and its rich history of local traditions. Burton was versatile in many mediums from leatherwork to
woodblock printing to painting and photography. Yet her use of shells within repoussé metalwork left a lasting impression. Burton
was born in 1869 in Paris, France to notable artist Charles Frederick Eaton (1842-1930) and Helen Justice Mitchell, who was also
artistically inclined. Mr. Eaton was from a prominent East Coast family and studied painting in Paris. Elizabeth spent her childhood
in France until her mother’s health declined and her father’s cramping ailment required him to give up painting. An avid antique
collector, Mr. Eaton eventually created his own metalwork, leatherwork, and woodwork. In her scrapbook, Elizabeth fondly recalled
spending time observing her father in the studio as cabinetmakers worked. She and her father shared a close bond and he influenced
her work tremendously. The family moved to Santa Barbara, California when Elizabeth was 17. This ended up proving essential to
Elizabeth’s creative development. She was captivated by the local craftsmen and drew inspiration from the Mexican leatherwork
traditions manifest in saddles, belts, bags, and other small goods. Elizabeth refined her skills with help from the craftsmen and began
creating her own leather and wood pieces. In 1896, she opened her first studio and continually experimented with new methods
of designing ornamental leatherwork. She also produced screens, friezes, boxes, cushions, and desk accessories. Her work was well
received by peers, including Gustav Stickley, one of the leaders of the American Arts and Crafts Movement. Elizabeth Eaton Burton’s
eclectic vision led to success in her own time and burnished her artistic reputation for posterity. Today her work is included in the
collections of the Los Angeles County Museum of Art, the Red Roses Foundation, the Santa Barbara Historical Museum, the Museum
of California Design, and in many private collections.
Barry Byrne (American, 1883-1967)
Francis Barry Byrne was born in Chicago, Illinois in 1883. Ultimately associated with the leading figures of the Prairie School, Byrne
led an eventful life as a dedicated architect from coast to coast. After his first encounter with Frank Lloyd Wright’s works at the
Chicago Architectural Club in 1902, Byrne grew enchanted with Prairie School architecture and design. Later that year, he began
his apprenticeship at the Frank Lloyd Wright Home and Studio in Oak Park, Illinois. Despite having no previous experience in the
field, Byrne assisted important members of the studio, including Walter Burley Griffin, in executing drawings for a number of iconic
buildings such as the Avery Coonley House and Unity Temple. Within five years, Byrne was considered a working member of the
studio rather than an apprentice. In 1908, Byrne left Wright’s studio and moved to Seattle, Washington, forging a business partnership
with Andrew Willatzen, one of Wright’s former employees. Together, they designed over 50 residential and commercial structures.
Once the partnership came to an end in 1913, Byrne stayed briefly in California with Wright’s sons looking for work. In 1914, Byrne
returned to Illinois to manage the Chicago architectural office of Walter Burley Griffin. This position lasted for three years until
Byrne started operating under his own name. After serving in World War I, Byrne returned to Chicago. In the 1920s, he developed
a distinctive style, steering away from the Prairie School aesthetics of Wright. Byrne was also influenced by Annette Cremin, his artist
wife whom he met through the sculptor Alfonso Iannelli; Byrne and Iannelli were frequent collaborators. During the height of Bryne’s
career, he designed multiple ecclesiastical and educational buildings for the Roman Catholic Church. His most recognized works are
the Church of Christ the King in Turners Cross, Cork, Ireland (1931), the Church of St. Francis Xavier in Kansas City, Missouri (1949),
and St. Benedict’s Abbey in Atchison, Kansas (1951-1957).
Lynn Russell Chadwick (British, 1914-2003)
Improvisational, abstract sculptor Lynn Chadwick was born in Barnes, west of London, in 1914. He learned architectural design at
Merchant Taylors’ School and then was a draftsman in various architectural offices. Visits to the salon of modernist architect Rodney
Thomas inspired Chadwick to pursue sculpture. His first attempts were reminiscent of Calder mobiles, with light woods like balsa
acting as a counterweight to copper and brass. During the early stages of World War II, Chadwick registered as a conscientious
objector. However, he did eventually become a pilot who accompanied military convoys as the Nazi threat intensified. Upon his
return to London, Chadwick threw himself into his work with more spirit than ever. Instead of starting from preliminary sketches,
Chadwick preferred to work without a set plan, allowing materials to dictate process. In addition to mobiles, Chadwick started
making small-form sculptures. After a gallery show at Gimpel Fils in London, significant critical attention elevated Chadwick such
that the Arts Council of Britain asked him to make a large sculpture for the Festival of Britain in 1951. The result was The Fisheater,
which the Tate Gallery exhibited through the following year. Chadwick acted as the British representative for the Venice Biennale in
1952 and 1956, becoming the youngest recipient of the International Sculpture Prize in 1956. As the 1960s began, Chadwick’s work
grew larger and more abstract, yet still regularly suggestive of human and animal forms. His first steel sculpture, Two Winged Figures,
appeared at an outdoor show in 1962. Chadwick was given the Commander of the Order of the British Empire distinction in 1962,
France’s Officier de l’Ordre des Arts et des Lettres in 1985, and became a Royal Academician of the United Kingdom in 2001. Today
Chadwick’s sculptures and mobiles are housed within the collections of important institutions on both sides of the Atlantic: the Royal
Academy of Arts in London, the Musée Rodin in Paris, the Art Institute of Chicago, the Philadelphia Museum of Art, and many others.
In early 2003, Tate Britain staged a major retrospective spanning Chadwick’s entire career not long after his death.
251
Christo Vladimirov Javacheff (Bulgarian/American, b. 1935) and Jeanne-Claude Denat de Guillebon (French/
American, 1935-2009)
The husband-and-wife artist team, Christo and Jeanne-Claude, enjoyed a 50-year partnership from their meeting in 1959 to Jeanne-Claude’s
passing in 2009 due to a brain aneurysm. Their work includes large-scale, temporary public art installations. The couple has proudly been
self-financed throughout their career, selling conceptual sketches and collages and designing storefronts for revenue. Until 1994, all work
was only credited to Christo, but the couple then revealed that they had always been working together. Christo was born on June 13, 1935
in Gabrovo, Bulgaria. After art training at the Sofia Academy, he fled Communism to settle in Paris, where he earned his living as a portrait
painter. Coincidentally, Jeanne-Claude was also born on June 13, 1935 in Casablanca, Morocco into a French family. She earned a degree in
Latin and philosophy from the University of Tunis before settling in Paris in 1957. The couple met when Christo painted a portrait of Jeanne-
Claude’s mother. After Jeanne-Claude became pregnant by Christo, she ended her engagement to another man. The couple’s son, Cyril,
was born in 1960. Christo and Jeanne-Claude began their joint artistic career in 1961, covering barrels with fabric in the port of Cologne,
Germany. The following year they created Iron Curtain, a road blockade in Paris made of stacked oil barrels. The couple moved to New York
City in 1964 and began showing work in galleries while also creating storefronts. Over the next four decades, Christo and Jeanne-Claude
would become world-famous artists as a result of high-profile public projects, such as: Wrapped Coast (1968-1969), which involved covering
a large portion of the coast of Little Bay in Sydney, Australia with synthetic fabric; Valley Curtain (1971-1972), which featured a massive red
cloth suspended amid the Rocky Mountains near Rifle, Colorado; Running Fence (1976), in which a fabric fence spanned 25 miles in Sonoma
and Marin Counties north of San Francisco; Surrounded Islands (1983), which saw 11 islands rimmed with pink fabric in Miami’s Biscayne Bay;
Wrapped Pont-Neuf (1985), in which Paris’ oldest bridge was wrapped with polyamide material; The Umbrellas (1991), which featured 3,000
huge yellow umbrellas set up in Southern California and Ibaraki, Japan; Wrapped Reichstag (1995), in which fabric and aluminum covered the
German Parliament building in Berlin; and The Gates (2005), which consisted of 7,503 gates draped with orange fabric in Central Park in
New York. Since Jeanne-Claude’s death in 2009, Christo has overseen The Floating Piers (2016), which included floating yellow walkways on
Lake Iseo between two villages near Brescia, Italy, and The London Mastaba (2018), which featured 7,506 oil barrels arranged into a mastaba,
or three-dimensional trapezoid, floating on the Serpentine in Hyde Park in London. Proposed plans also exist for The Mastaba, a gigantic,
permanent structure composed of 400,000 oil barrels in Al Gharbia in the United Arab Emirates.
Claude Conover (American, 1907-1994)
Mid-century American ceramicist Claude Conover was born in Pittsburgh, Pennsylvania in 1907. He received his education at the Cleveland
Art Institute and then settled in Cleveland, Ohio for the remainder of his life. For the first 30 years of Conover’s career, he was a commercial
graphic designer. In his spare time, Conover began to make pottery in a studio behind his home. Before long, he gravitated to working
with stoneware in an earth-tone palette. During his initial phase, Conover created animals, bowls, and lamps. Eventually, he found the form
for which he would become famous: large rounded vases that evoke the clay creations of antiquity. At age 55, Conover quit his day job to
pursue pottery on a full-time basis and dedicated himself to a seven-day routine. On Mondays, he rolled slabs of clay and shaped them
into vessels. Tuesdays involved evaluating the forms, further shaping, and adding necks. On Wednesdays, Conover completed the shaping
process by hand, without a pottery wheel. He started decorating his pieces on Thursdays with a sawtooth blade and scratched stripes or
small, prehistoric-looking scripts onto them. Over the weekend, Conover completed decorative work, including painting, so that he could
begin the process anew the following Monday. In this determined way, Conover generated around 250 works of pottery per year, some of
which remained in the Cleveland area, but the vast majority were sold to collectors elsewhere. With Conover’s rising reputation, he became
a prominent member of The Cleveland School, a group of artists active in various mediums who, from 1910 to 1960, helped found the
Cleveland School of Art (now Cleveland Institute of Art), the Cleveland Society of Arts, and the Cleveland Museum of Art. During Conover’s
time as a ceramicist, his pottery was shown in exhibits across America and abroad. Since his passing in 1994, appreciation for Conover’s
oeuvre has continued to grow. Today his vases and other forms are part of the collections of the Cleveland Museum of Art, the Columbus
Gallery of Fine Art, the Museum of Contemporary Crafts in New York City, and many other institutions. Likewise, demand for Conover’s
hand-shaped clay forms has increased among collectors, with examples regularly achieving impressive prices at auction and via private sale.
Edward Sheriff Curtis (American, 1868-1952)
In 1868, Edward Sheriff Curtis was born on a farm near Whitewater, Wisconsin. After working at a photography studio in St. Paul, Minnesota,
Curtis moved to Seattle, Washington, where he soon married Clara Phillips. With a newly purchased camera, Curtis bought into a local
studio. Edward and Clara had the first of four children in 1893 and lived above the thriving studio. Generally, Curtis photographed upper-
class women in a flattering style. However, in 1895, Curtis took pictures of Princess Angeline, daughter of Chief Sealth of the Duwamish tribe.
Three years later at Mount Rainer, Curtis met anthropologist George Bird Grinnell, who hired Curtis to photograph the Harriman Alaska
Expedition of 1899. On this trip, Curtis was introduced to both powerful scenery and Eskimos. Grinnell then invited Curtis to Montana
to photograph the Piegan tribe. This inspired Curtis to make documenting Native Americans and their customs his singular goal. Curtis
first exhibited his photography in Seattle and then lectured nationally. President Theodore Roosevelt admired Curtis’ work and J.P. Morgan
became Curtis’ primary patron in 1906. For 25 sets of 500-print volumes, Morgan paid Curtis $75,000 over five years. Curtis took an
extensive wagon tour of the American West with researchers and interpreters. En route, he photographed leaders like Geronimo, Medicine
Crow, and Chief Joseph. Curtis and his team also made wax recordings of native speech and songs. Most tribes trusted Curtis and he was
named “Shadow Catcher” for his high-contrast, golden-hued orotones. Upon Morgan’s death in 1913, Curtis’ funding dwindled, affecting his
photography and family. Clara filed for divorce in 1916 and won the Curtis Studio and home in the settlement. In the 1920s, Curtis revisited
various tribes and observed their dramatic cultural erosion. By 1930, Curtis issued the final volume of The North American Indian, his epic
collection of over 40,000 photographs. Yet the original sets only garnered $1,000 plus partial royalties. In 1952, Curtis died of a heart attack
in Los Angeles at 84. His vast trove of photos now offers a window into a largely lost world. While some have criticized Curtis for staging
certain scenes, the historical importance of his work is clear and, for his time, he was quite sensitive to and engaged with the plight of Native
Americans.
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Alfonso Iannelli (Italian/American, 1888-1965)
Alfonso Iannelli was born in Andretta, Italy in 1888 before immigrating to America when he was 10. Iannelli spent most of his life in
Chicago and is recognized for his creative achievements in conjunction with various noted architects, designers, and artists. Before
embarking upon his career, Iannelli was formally trained under Gutzon Borglum, who sculpted Mount Rushmore. In the early 1910s,
Iannelli designed advertisement posters for the Orpheum Theater in Los Angeles. Through this work, he befriended Frank Lloyd
Wright’s son, John, who promptly introduced Iannelli to his father. Wright invited Iannelli to join him in Chicago to contribute to the
Midway Gardens project in 1914, for which Iannelli created several Sprite sculptures; one example is currently on view at the Art
Institute of Chicago. Another iconic building on which Iannelli worked is Chicago’s Adler Planetarium, completed in 1930 by architect
Ernest A. Grunsfeld III. For the Adler, Iannelli devised a series of zodiac-themed, Art Deco-style plaques. He also teamed with the
Prairie School architectural duo of William Gray Purcell and George Grant Elmslie on the Woodbury County Courthouse in Sioux
City, Iowa. With architect Barry Byrne, Iannelli executed several sculptural commissions for Roman Catholic Church buildings. In
Park Ridge, Illinois, northwest of Chicago, Iannelli and his wife Margaret established Iannelli Studios, which became a popular spot for
artists and designers to work side by side. Since 2006, Iannelli Studios has been occupied by the Kalo Foundation, which furthers the
legacy of the renowned Arts and Crafts silversmith and jewelry making shop. In the 1920s and 1930s, Iannelli focused on industrial,
commercial, and interior design. His realized products include the C-20 Coffeemaster vacuum coffee maker and the T-9 electric
toaster for Sunbeam Products; both were showcased at the 1939 World’s Fair in New York City. Iannelli’s functional designs mostly fall
under the international Art Deco style of Streamline Moderne. Two interior spaces by Iannelli were listed on the National Register
of Historic Places during his career: the Pickwick Theater in Park Ridge, Illinois (1928) and the Catlow Theater in Barrington, Illinois
(1927). Iannelli died in Chicago in 1965, leaving behind an important art and design legacy in the Midwest and beyond.
Miyoko Ito (American, 1918-1983)
Allusive abstractionist Miyoko Ito was born into a Japanese family in Berkeley, California in 1918. She moved to Japan with her
parents in 1923 to avoid discrimination and for initial art training, including calligraphy lessons. Ito later returned to Berkeley and
majored in art at the University of California, where she was exposed to cubist works by Picasso and Braque plus Hans Hofmann’s
geometric compositions. During World War II, Ito was interned with her family at the Topaz camp in Delta, Utah, but she was
awarded her diploma from UC Berkeley in 1942. After graduate study at Smith College in Northampton, Massachusetts, Ito earned
a scholarship for postgraduate work at the School of the Art Institute of Chicago. In the late 1940s, Ito began to paint abstract
oils in a cubist style softened with impressionistic brushwork. Critical acclaim came in the 1950s as Ito’s paintings were part of the
Art Institute’s Chicago and Vicinity shows as well as the 61st American Exhibition in 1954. During this period, Ito befriended local
artists such as Ray Yoshida and Evely Statsinger whose passion for surrealism led Ito to move away from representational painting.
Rather than render landscapes, figures, or objects explicitly, Ito suggested them with shapes, lines, and curves. Simultaneously, Ito’s
preferred palette went from pastels to vivid oranges and reds, which she banded subtly to compel attention. Although free of pop
references, the work that Ito made in the 1960s has been linked tangentially to Chicago Imagism, and Ito knew Jim Nutt, Gladys
Nilsson, and Roger Brown. Blues, greens, and purples returned to Ito’s painting in the 1970s before she grew more formally abstract
as the 1980s began. With the artists Richard Loving, William Conger, and Frank Piatek, Ito devised the term ‘allusive abstractionism’
for their shared approach. The Hyde Park Art Center organized a solo Ito exhibit in 1971 and her work was included in the
contemporary art biennial at the Whitney Museum in New York City in 1975. The University of Chicago’s Renaissance Society held
a career retrospective in 1980, not long before Ito’s death in 1983. Recently, the market for Ito’s paintings and drawings has grown
considerably. Institutions holding works by Ito include the Smithsonian American Art Museum in Washington DC, the Art Institute of
Chicago, the University of Chicago’s Smart Museum, and the Illinois State Museum in Springfield.
Robert Riddle Jarvie (American, 1865-1941)
Born to Scottish parents in Schenectady, New York in 1865, Robert Riddle Jarvie was not formally trained in metalsmithing, but he
had an early penchant for sketching, bookbinding, and cabinet making. Once he relocated to Chicago, Jarvie began initial experiments
with metalwork around the turn of the 20th century in his apartment. In particular, a distinctive lantern that Jarvie made for a friend
attracted more buyers. At the Third Annual Chicago Arts and Crafts Exhibit in 1900, Jarvie had the first opportunity to showcase
his work. That same year he became a partner at Krayle Co., a commercial and social alliance of local artisans and craftsmen, and set
up his studio, the Jarvie Shop, in Chicago’s Fine Arts Building on Michigan Avenue. While Jarvie’s designs had previously ranged from
Colonial to Art Nouveau, he soon developed simpler organic forms that represented a Midwestern take on the Arts and Crafts
Movement. Between 1910 and 1915, Jarvie began forging products using precious metals such as gold and silver that garnered wide
acclaim. Charles Hutchinson, President of the Art Institute of Chicago, commissioned Jarvie to produce a silver punch bowl for the
Cliff Dwellers Club of Chicago, as both men were members; Jarvie modeled his design on an object used by Southwestern cliff
dwellers that he had seen at Chicago’s Field Museum of Natural History. In 1912, Jarvie started creating functional trophies such as
bowls, drinkware, and other forms for the Union Stock Yard Company. Jarvie also lived on the premises. Some of his works from
this period are reminiscent of Paul Revere’s style. After World War I, the Jarvie Shop ceased operations. Jarvie and his wife then
moved to Evanston, Illinois, since she was employed at Northwestern University, and Jarvie worked briefly for the C.D. Peacock
Company. The Jarvies later retired to the Scottish Old People’s Home in North Riverside, Illinois until their passing. During the Arts
and Crafts revival of the late 20th century, collectors developed a renewed appreciation for the metalwork of Jarvie. Today examples
of his designs are represented at the Art Institute of Chicago, the Milwaukee Art Museum, the Museum of Fine Arts in Boston, and
elsewhere.
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The Kalo Shop (1900-1970)
Founded in 1900 by Clara P. Barck and five other female graduates of Louis J. Millet’s decorative design course at the Art Institute of
Chicago, the Kalo Shop rose to be the most important Arts and Crafts silversmith studio in the United States. From Millet, the shop
adopted the motto “beautiful, useful, and enduring” for their wares. In addition to jewelry, the shop produced works in burnt wood,
leather, and other types of decorative arts. In 1905, Barck married George Welles, a coal merchant and amateur silversmith, who
encouraged Barck to focus more on copper and silver objects. In the following year, Barck’s sister purchased a large home in Park Ridge,
Illinois, which became the central location for the Kalo Arts and Crafts Community. Along with hiring various male silversmiths, Barck
created a school for female designers and artisans who came to be known as the “Kalo Girls.” In 1912, Barck opened a Kalo branch
in New York that lasted until 1916. All silversmiths were required to mark pieces they produced during business hours with the Kalo
stamp. They were also allowed to create work on their own time as long as they did not mark it with the stamp. Many copper, silver,
and gold pieces still exist that were undoubtedly made by Kalo silversmiths but are unmarked. Some noted Kalo silversmiths include:
Grant Wood (painter of American Gothic), Matthias Hank, Julius Olaf Randahl, Henri A. Eicher, Yngve Olsson, Kristoffer Haga, Robert
R. Bower, and many others. Barck retired in 1939 and moved to San Diego. She gifted the Kalo Shop in 1959 to the four remaining
workers: Robert R. Bower, Arne Myhre, Yngve Olsson, and Daniel Pedersen. As few new silversmiths entered the trade, the shop closed
in 1970 after Olsson passed away. The Kalo Shop was prolific and objects continue to surface all over, but the rarest pieces always
demand a premium. Objects with stones, repoussé work, or added decoration are often exquisite and embody the epitome of the
ideals of the Arts and Crafts Movement.
Charles P. Limbert (American, 1854-1923)
Originally from Linesville, Pennsylvania, Charles P. Limbert was born in 1854 into the furniture business. His father was a dealer who
trained Limbert once the family moved to Akron, Ohio in 1866. After working at his father’s Akron store, Limbert became a furniture
salesman for Munk & Roberts in Connersville, Indiana and later John A. Colby Company in Chicago. In 1899, Limbert and fellow
salesman Philip J. Klingman set up a showroom in Grand Rapids, Michigan to exhibit products from several makers. Starting in 1894,
Limbert had begun to manufacture his own chairs, which he sold at the Grand Rapids store along with furniture by firms such as Old
Hickory Chair Company. In 1902, Limbert opened up his own furniture factory, Charles P. Limbert Co., with around 200 employees
in Grand Rapids. The manufacturing plant moved to nearby Holland in 1906. These formative years were the most prolific in the
company’s history with the release of the popular Holland Dutch Arts and Crafts Furniture line, which included both indoor and outdoor
sets. Influenced by frequent research trips to the Netherlands, Limbert’s style became an amalgamation of Dutch and English Arts
and Crafts as well as American Mission. To impress upon customers that Limbert furniture was made by hand, the company’s logo
featured a man bent dutifully over a workbench. At the Limbert factory, some processes were executed by machine, but all assembly
and finishing work was done individually by hand. Until 1915, Charles P. Limbert Co. produced the same models and styles with slight
variations, omissions, and additions. During World War I and into the 1920s, Limbert shifted his focus away from Arts and Crafts lines to
follow the market demand for historical furniture styles like Tudor and Renaissance Revival. Limbert was in charge of the company until
1922 when his health began to fail and he passed away the following year. Charles P. Limbert Co. would continue to operate through
the 1930s. Furniture from Limbert’s prime Arts and Crafts period is now held in high esteem by collectors and examples are on
view at such places as the Henry Ford Museum in Dearborn, Michigan and the Kirkland Museum of Fine & Decorative Art in Denver,
Colorado.
Susan Jacobs Lockhart (American, b. 1935)
Multi-talented designer, musician, and educator Susan Jacobs Lockhart has dedicated herself over many years to preserving the legacy
of Frank Lloyd Wright. Lockhart’s involvement with Wright began at an early age. Her parents, Herbert and Katherine, commissioned
Wright to build their home in Madison, Wisconsin. Named Usonia I (1936), the residence was a compact and energy-efficient structure;
this was one of several experiments by Wright to design for cost-conscious households. Lockhart met Wright when she was only 3 and
began visiting Wright’s Taliesin West in Scottsdale, Arizona with her parents regularly in subsequent years. In addition to architecture,
Taliesin West encouraged all manner of artistic expression. For her part, the young Lockhart would often play piano for Wright and
other Taliesin fellows. Upon graduating from the University of Wisconsin–Madison with a degree in Arts Education in 1953, Lockhart
moved to New York City to study music. During this time, Wright invited Lockhart to join him in the desert permanently. Completed
in 1937, Wright’s Taliesin West was initially conceived as a seasonal retreat for Wright’s health. Its Fellowship allowed young artists,
architects, and designers to reside on the property while partaking in architectural education, collaborative construction works, and
various activities. While Lockhart started as an administrative staff member, she eventually became a full fellow. Her fine arts background
and musical inclination combined with Taliesin’s community-centric environment proved to be an ideal match. As a member of the
Taliesin Fellowship for the last 45 years, Lockhart has been involved in all aspects of the Frank Lloyd Wright Foundation’s operations.
She is a recent past President of the Frank Lloyd Wright Building Conservancy after having served on its board for many years.
Additionally, she has served as a board member and director of events for various cultural and artistic organizations in Arizona. As an
artist, she has created commission-based sculptures in various mediums, including glass, stained wood, and fabric. Her works incorporate
natural forms from her surroundings, often rendered as abstract geometric patterns — a method consistently practiced by Wright and
other Taliesin fellows. Lockhart frequently lectures about her designs as well as Wright’s philosophies and sustainability in architecture.
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Warren McArthur (American, 1885-1961)
Designer Warren McArthur was born in 1885 in Chicago. His was an affluent family for whom Frank Lloyd Wright built a home
in the Kenwood neighborhood in 1892. McArthur studied engineering at Cornell University and then moved to Phoenix to work
with his brother Charles selling Dodge automobiles and starting a radio station. Older brother Albert Chase McArthur, a Wright-
trained architect, soon joined them and the trio worked to develop the Arizona Biltmore Hotel. Warren McArthur was tasked
with creating furniture for both indoor and outdoor use. His solution was to employ tubular aluminum with prominent external
joints and internal steel rods for extra support. When the Arizona Biltmore closed after the onset of the Great Depression in 1929,
McArthur relocated to Los Angeles and founded the Warren McArthur Corporation. He soon marketed a limited line of sleek
desks, tables, chairs, and other pieces that appealed to Hollywood luminaries such as Clark Cable and Marlene Dietrich. In 1932,
McArthur opted to shift operations to Rome in Upstate New York before moving again in 1936 to Bantam, Connecticut. Throughout
the 1930s, McArthur was an influential figure in New York City, setting up a showroom there, and his firm made furniture not only
for celebrities, but also for Chrysler’s executive offices, Marshall Field’s hair salon, and dining cars on the Union Pacific Railroad.
During World War II, the Warren McArthur Corporation crafted lightweight aluminum seats for airplanes. An unsubstantiated rumor
held that McArthur’s artful designs were melted down for war mobilization, but they were simply difficult to produce on a large
scale given their intricate mechanics and delicate upholstery. In the postwar years, demand plummeted and the Warren McArthur
Corporation closed in 1948. McArthur passed away in 1961 and only after his death did interest in his bold innovations rekindle. In
recent years, various architects, dealers, interior decorators, and famous clients have sought to acquire McArthur furniture, which is
now regarded as ahead of its time. Independently, McArthur implemented tubular aluminum and steel prior to Bauhaus designers
Marcel Breuer, Le Corbusier, and Mies van der Rohe.
Margaret Jordan Patterson (American, 1867-1950)
Although raised in Boston, Massachusetts and Maine, Margaret Jordan Patterson was born aboard a ship in Surabaya, East Java in
1867 because her father was a sea captain. This early exposure to the vibrancy of nature, and coastal scenes in particular, appears
to have stayed with Patterson on her way to becoming an artist. After taking a correspondence course with Louis Prang, Patterson
studied at the Pratt Institute in New York City as well as with the Spanish painters Claudio Castellucho in Florence and Ermengildo
Anglada-Camrasa in Paris. Back in America, the artist Ethel Mars taught Patterson to make color woodblock prints in 1910 and this
became Patterson’s preferred medium. Generally, her bright compositions include trees, flowers, and a range of landscapes, frequently
with bodies of water. Her woodblocks show a deep understanding of color balance and she uses high relief to produce a dreamlike
realism. Patterson was awarded for her work at the Panama-Pacific International Exposition in San Francisco in 1915. Along with
being a prolific artist, Patterson taught for many years at Dana Hall School in Wellesley, Massachusetts and public schools elsewhere
in Massachusetts and New Hampshire. Prior to her death in Boston in 1950, Patterson exhibited widely and several important
institutions now hold examples of her art, including the Museum of Fine Arts in Boston, the Smithsonian American Art Museum
in Washington DC, the Metropolitan Museum of Art in New York City, the Art Institute of Chicago, and the Victoria and Albert
Museum in London. Lately, collectors have increasingly come to admire the work of Patterson and other highly skilled Arts and Crafts
woodblock artists such as: Bertha Lum, who trained in traditional printmaking in Japan, lived in China, and favored Asian subject
matter; William Seltzer Rice, known for his scenes of Yosemite, Lake Tahoe, and California missions; and Pedro Joseph de Lemos, who
rendered the Monterey Bay Area in striking detail.
Pewabic Pottery (1903-present)
Founded in Detroit, Michigan in 1903 by Mary Chase Perry Stratton and Horace James Caulkins, the Pewabic Pottery ceramic studio
has a rich history of making decorative items and architectural tiles in the Arts and Crafts style. Stratton was a teacher with artistic
flair and a keen sense of marketing. Her partner Caulkins was a high-heat and kiln expert who created a process for better revealing
the innate properties of materials used in pottery production with his “Revelation kiln.” The name Pewabic derives from the Ojibwa/
Chippewa term “bewabic” (i.e., iron or steel), with “Pewabic” referring specifically to a copper mine in Michigan’s Upper Peninsula
that Stratton frequented with her father. To the metals and clays that Stratton and Caulkins fashioned, they added various signature
matte and iridescent glazes. In the early part of the 20th century, Pewabic Pottery expanded its team of designers to produce not
only vases, bowls, and other vessels, but also lamps and architectural tiles. Some of the notable buildings featuring Pewabic tiles,
especially brightly colored iridescent examples, and other decoration include: the Basilica of the National Shrine of the Immaculate
Conception in Washington DC; the Shedd Aquarium in Chicago, Illinois; Herzstein Hall at Rice University in Houston, Texas; and
several public buildings, libraries, schools, churches, performance halls, and fountains in Detroit and throughout Michigan. In 1991,
Pewabic Pottery was recognized as a National Historic Landmark and the studio still operates today in a 1907 Tudor Revival home
as a non-profit center offering ceramics courses and selling a range of pottery items. Regular exhibits also highlight the important
legacy of Pewabic Pottery within the American Arts and Crafts Movement and provide context on the center’s continued influence
in the world of ceramics. Pewabic Pottery still actively produces decorative works and architectural tiles for Detroit-area companies
and organizations. The collections of the Detroit Institute of Arts and the Smithsonian’s Freer Gallery of Art in Washington DC also
include pieces of Pewabic Pottery.
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Richard Riemerschmid (German, 1868-1957)
A leading figure of the Jugendstil movement in Germany, Richard Riemerschmid was born in Munich in 1868. After graduating
from the Wilhelmsgymnasium in 1886 and serving in the army for two years, Riemerschmid studied at the Academy of Fine Arts
from 1888 to 1890, studying under Gabriel von Hackl and Ludwig von Löfftz. Riemerschmid started his professional career as an
independent painter and architect, occasionally producing advertisements on commission. He also wrote for Jugend, a progressive
art magazine highlighting the Art Nouveau movement. Given his insistence that objects be crafted purposefully by hand from simple,
natural materials, Riemerschmid’s aesthetics resonated with the English Arts and Crafts Movement. In 1895, he married actress Ida
Hofmann, with whom he had four children. Seeking to raise his professional profile, Riemerschmid began designing furniture, serving
wares, carpets, wallpapers, and other interior decorations. In 1898, he co-founded the Munich-based Vereinigte Werkstätten für Kunst
im Handwerk (‘United Workshops for Art in Craft’). His 1899 furniture designs for a music salon exhibit in Dresden appealed to
the public greatly, so mass production of the line followed. While Riemerschmid favored hand assembly, he nonetheless began with
machine processing, which suggested a shift toward Modernism. By 1902, Riemerschmid had co-founded the Gartenstad-Gesellschaft
(‘Garden City Association’) to promote public garden projects in the Dresden-Hellerau area. In 1907, with Josef Maria Olbrich and
Peter Bruckmann, Riemerschmid formed the Deutscher Werkbund (‘German Association of Craftsmen’). From 1912 to 1924, he
served as director of Munich’s Kunstgewerbeschule (‘School of Applied Arts’). From 1926 to 1931, he directed and taught at the
Kölner Werkschulen (‘Cologne Academy of Fine and Applied Arts’). Late in his career, Riemerschmid wrote books on art education
even though the Nazi regime undermined his scholarly efforts. However, he was awarded the Goethe Medal for Art and Science
in 1943. Riemerschmid passed away in 1957, but today his designs are found at the Victoria and Albert Museum in London, the
Museum of Modern Art in New York City, the Art Institute of Chicago, and other important institutions.
Gilbert Rohde (American, 1894-1944)
Groundbreaking designer Gilbert Rohde was born in 1894 in New York City, where he lived throughout his life. Rohde graduated
from Stuyvesant High School in 1913. Further studies included instruction at the Art Students League and the Grand Central School
of Art. Initially, Rohde worked as an advertising illustrator. However, tours of Europe in 1927, 1931, and 1937 fueled Rohde’s passion
for design and forged his aesthetic philosophy, which combined elements of Bauhaus, French Moderne, and American Streamline
Moderne. In 1927, Rohde set up a design office in New York City and began producing furniture and other items for General Electric
and the Hudson Motor Car Company. Rohde created an armless leatherette side chair in 1931 using an assembly-line process for
the Heywood-Wakefield Company, and over 250,000 chairs sold by the end of the decade. In 1932, Rohde was made director of
design for Herman Miller Furniture Company in Zeeland, Michigan by president D.J. De Pree. Rohde’s first design for Herman Miller
was the No. 2185 bedroom suite, which was shown at Chicago’s Century of Progress exhibition in 1933. As accolades mounted,
Rohde helped found the Designers Institute of the American Furniture Mart in 1933, became director of the Design Laboratory
School from 1935 to 1938, and led the industrial design program at the New York University School of Architecture from 1939 to
1943. Rohde also developed exhibits for the New York World’s Fair in 1939. Simultaneously, Rohde produced cutting-edge designs
for Herman Miller, including the first biomorphic furniture sold widely in America. In addition to formal innovation, Rohde employed
materials that were then uncommon, such as Lucite, Plexiglas, Bakelite, and Fabrikoid, a DuPont leatherette. Wielding his influence at
Herman Miller, Rohde convinced the company in 1940 to stop reproducing period furniture in favor of wholly modern designs. In
1942, Rohde unveiled his Executive Office Group line with 137 configurable elements for various business environments. Although
Rohde passed away in 1944, his approach continued to influence Herman Miller for years. Rohde’s designs are now sought after by
collectors and his work is part of the collections of the Metropolitan Museum of Art in New York City, the Henry Ford Museum in
Dearborn, Michigan, the Los Angeles County Museum of Art, and the Victoria and Albert Museum in London.
The Roycrofters (1895-1915)
In 1895, Elbert Hubbard, an Illinois native and socialist-leaning traveling salesman, founded the Roycroft reformist community in East
Aurora, New York, just outside of Buffalo. The members of this settlement came to be called Roycrofters. Although the appellation
derived from two printers in the group, Samuel and Thomas Roycroft, Hubbard chose it intentionally to connote “King’s Craft.” He
wanted to create an updated version of the guilds of early modern Europe with skilled craftspeople of varied expertise. Hubbard
had originally devised the concept for the Roycroft community on a visit to England, where he was profoundly influenced by Arts
and Crafts pioneer William Morris. Upon returning to America, Hubbard followed Morris’ lead and established the Roycroft Press
to release his book-length manuscript, Little Journeys (1916), which is a compilation of imagined visits to the men and women who
shaped society over time. Lured by Hubbard’s Arts and Crafts message, various workers gravitated to East Aurora, including not just
printers and bookbinders, but furniture makers, leathersmiths, and metalsmiths. The Roycrofters sought to work with their hands,
head, and heart in harmony. They mixed play with work to make labor less taxing. By 1910, there were nearly 500 active Roycroft
members producing all manner of items. In 1915, Elbert Hubbard and his wife Alice died as passengers aboard the RMS Lusitania, the
ocean liner which was sunk by a German torpedo during World War I. This also marked the beginning of the end of the Roycroft
community. The Hubbards’ son Bert took over for a while, but despite brokering an agreement for Sears & Roebuck to carry
Roycroft furniture, the community soon became insolvent. Today 14 of the original buildings from the Roycroft Campus remain in
East Aurora and the group’s impact on American design and craft continues to be felt. In 1986, the Roycroft Campus was designated
a National Historic Landmark and educational tours are now regularly offered to visitors.
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Gustav Stickley (American, 1858-1942)
American Arts and Crafts leader Gustav Stickley was born in 1858 in Osceola, Wisconsin to German immigrant parents. At age
12, he earned his journeyman’s license in stonemasonry; at 17, he began work in his uncle’s chair factory, where he realized that he
had a passion and aptitude for woodworking. Eventually, he started his own furniture business with his younger brothers, Charles
and Albert. The chairs they created typically mark the origin of the Craftsman Style, also known as Mission or Mission Oak Style.
Rather than produce machine-made, ornamental furniture like his contemporaries, Gustav Stickley sought a return to simplicity
and handwrought pieces. An 1898 trip to Europe proved pivotal in determining Stickley’s direction. Inspired by the Arts and Crafts
ideals of British designer William Morris, Stickley endeavored to create furniture to fulfill a purpose or mission and insisted that
products be of high quality, comfortable, and practical. After returning to America, Stickley renamed his firm the Gustav Stickley
Company. To promote his craft-centered design ethic and advertise his company’s furniture, Stickley launched a magazine called The
Craftsman (1901-1916). Among various topics, Stickley wrote about the Morris chair he made to honor his biggest influence and
published articles on building open-concept, light-filled bungalows. With clean, rectangular lines, Stickley furniture displays a sturdy,
masculine style favoring oak. Although pieces are often large, their simplicity of design prevents them from appearing too bulky. True
examples are usually identified by Stickley’s shopmark, a joiner’s compass with the words “Als ik Kan” (Flemish for “if I can”), and his
signature. Some pieces have paper labels that identify Gustav Stickley’s shop, which is not to be confused with that of his brothers
Leopold and John George Stickley, who operated their own factory at the same time. Gustav Stickley died in 1942 in Syracuse, New
York. During the latter part of the 20th century, his Arts and Crafts furniture became quite popular again, achieving high results at
auction and finding a home in the collections of various noteworthy museums.
Leopold Stickley (American, 1869-1957) and John George Stickley (American, 1871-1921)
The youngest two Stickley brothers, Leopold and John George Stickley were born in Osceola, Wisconsin in 1869 and 1871
respectively. After their father left the family, their mother Barbara moved all 11 of her children to Brandt, Pennsylvania, where
her brother Schuyler C. Brandt owned a chair factory. Leopold and John George’s older brother Gustav started working at the
factory and later established a furniture factory of his own. In 1899, Leopold Stickley began working as a foreman at Gustav Stickley
Company in Eastwood, New York. John George worked with brother Albert at Stickley Brothers Company in Grand Rapids, Michigan.
In 1900, Leopold and John George acquired Collins, Sisson & Pratt Furniture Company in Fayetteville, New York to start their own
venture. Unlike Gustav Stickley, who was invested in spreading the Arts and Crafts handmade ethos in America, Leopold and John
George were more financially motivated. By 1902, Leopold contracted with Chicago’s Tobey Furniture Company to supply Mission
Style designs anonymously. Leopold and John George finally incorporated in 1904 as L. & J.G. Stickley Co., having initially called their
operation The Onondaga Shops. Production expanded quickly and they released their Arts and Crafts and Simple Furniture Built on
Mission Lines at the Grand Rapids Furniture Exhibition in 1905. Given his prior experience as Gustav Stickley’s foreman, Leopold was
able to create Arts and Crafts designs very similar to Gustav’s to appeal to the market. However, Leopold and John George had a
much different philosophical approach. They advertised their processes as modern and “scientific,” without “attempt[ing] to follow
the traditions of a bygone day.” This enabled them to stay in business while adapting to ever-changing tastes. In 1918, when Gustav
Stickley was forced out of business as a result of bankruptcy, Leopold and John George purchased his Craftsman Shops, combining
the two leading Mission Style furniture firms. John George died in 1921, but Leopold ran the company until his death in 1957. Alfred
Audi acquired L. & J.G. Stickley Co. in 1974 and the company is still in business today.
Teco Pottery (1881-1935), Harald Hals (Norwegian, 1876-1959), designer
In 1881, lawyer William Day Gates founded the American Terra Cotta Tile and Ceramic Company in Terra Cotta, Illinois, close to
Crystal Lake, about 50 miles northwest of Chicago. Along with producing the first architectural terra cotta in America, especially
for Prairie School building projects — Frank Lloyd Wright was a customer — Gates also produced various clays and glazes for art
pottery. Teco, a contraction of ‘Terra Cotta,’ soon became synonymous with excellence in decorative design. Gates was originally
inspired by the ideals of the Arts and Crafts Movement, which began in Britain in the late 19th century. Reacting against increasing
mechanization, Arts and Crafts thinkers such as John Ruskin and William Morris championed handcrafted production using the
highest quality materials. Although Teco pottery comes in a range of colors, the matte green glaze is the most distinctive and prized
of all. Gates eventually turned over control of the company to his son Major. During the Great Depression, there was little demand
for architectural terra cotta and Teco pottery. In 1934, George A. Berry Jr. bought the company to focus solely on generating
construction elements. William Gates died the following year, but Prairie School terra cotta and Arts and Crafts pottery continue
to capture the imagination of ceramic enthusiasts. Pottery makers and collectors alike still cherish Teco for its vibrant colors, rich
glazes, and purity of both sculptural and organic design. In addition to making art pottery himself, William Gates employed several
skilled designers, including Harald Hals, Fritz Albert, W.B. Mundie, Fernand Moreau, and others, to create innovative forms. Harald
Hals in particular was trained as an architect in his native Norway before immigrating to America to act as a designer for Gates; Hals
returned to his homeland in 1911 to work as an architect who eventually developed housing projects for the city of Oslo.
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Louis Comfort Tiffany (American, 1848-1933) / Tiffany Studios
Born in New York City in 1848, Louis Comfort Tiffany was the oldest son of Charles Lewis Tiffany, founder of Tiffany & Co. He was
raised in an atmosphere of tremendous wealth and expensive taste during the Gilded Age. Instead of joining his father’s company,
Tiffany studied fine arts and worked in many mediums, including furniture, metalwork, textiles, pottery, enamels, jewelry, and book
design. In the late 1870s, he became intrigued by the decorative possibilities of glass and used it throughout his career. Tiffany was a
notable contributor to the Aesthetic Movement and used biblical and historical sources for inspiration from Asia and the Middle East.
Influenced as well by British designer William Morris, Tiffany contributed to the Arts and Crafts Movement. He was critical of painting
on glass, which he felt marred the innate prismatic qualities, so he experimented with opalescent finishes and created lava glass as
well as his most important innovation, Favrile glass. Tiffany patented this iridescent art glass in 1894 and began manufacture in 1896.
Coined by Tiffany, the term Favrile comes from the Latin “fabrilis,” or handmade. From his glass factory in Queens, Tiffany sold Favrile
windows, lamps, vases, and mosaics. An impeccable taskmaster, Tiffany would walk down production lines with his cane and shatter
any piece of work that he deemed unsuitable. As a proponent of Art Nouveau in America, Tiffany presented the variegated colors
and forms of the natural world directly. After World War I, cultural trends moved toward the more minimal, Bauhaus style. With his
business income dwindling, lavish lifestyle, and extensive philanthropic efforts, Tiffany declared bankruptcy in 1932. On January 17,
1933, he died in New York City in relative obscurity. In the decades that followed, Tiffany would come to be regarded as a master
of the decorative arts. His early glasswork is now part of the collections of the Metropolitan Museum of Art in New York City, the
Smithsonian Institution in Washington DC, Tokyo’s Imperial Museum, and other notable facilities. Tiffany’s stained-glass windows are
still found in many of America’s oldest colleges and universities, including Yale, Harvard, and Columbia.
Dirk van Erp (Dutch/American, 1862-1933)
Widely considered the premier Arts and Crafts coppersmith, Dirk van Erp’s lamps, vases, bowls, and other items have continued to
appreciate in value over the past century given their high quality and lasting beauty. Born in Leeuwarden, Netherlands in 1862, van
Erp immigrated to the United States in 1890, settling in San Francisco. Soon thereafter, he married Mary Richardson Marino and
the couple had a daughter, Agatha, in 1894. After failing to make his fortune during the Klondike Gold Rush in the Canadian Yukon
Territory in 1898, van Erp returned to the San Francisco Bay Area, where he gained employment as a coppersmith at the Mare
Island Naval Shipyard in Vallejo. In 1901, the van Erp family welcomed a son, William. In his spare time, van Erp started to create vases
from shell casings that he obtained at the shipyard. Leaving behind his initial, ornate Victorian style, van Erp transitioned to developing
pieces with an unadorned Arts and Crafts appearance. In 1908, van Erp opened the Art Copper Shop and the following year he
began an important collaboration with Elizabeth Eleanor D’Arcy Gaw, who had trained at the School of the Art Institute of Chicago.
While their partnership lasted only a year, van Erp drew significant inspiration from D’Arcy Gaw for his iconic lamp designs and
implemented shades with mica panels at her suggestion. Works from this period bear a stamped windmill with the names of van Erp
and D’Arcy Gaw beneath. After exhibiting at the 1915 World’s Fair in San Francisco, van Erp largely curtailed his output during World
War I to assist with military mobilization. After the war and into the 1920s, van Erp resumed his artistic metalworking practice. On
July 18, 1933, van Erp and his wife Mary both died within hours of each other. Their son William kept the Art Copper Shop open
until his death in 1977.
John Wilde (American, 1919-2006)
American surrealist John Wilde was born in Milwaukee, Wisconsin in 1919. He studied art at the University of Wisconsin–Madison,
where he met Marshall Glasier whose studio was the center of the Madison art scene. Reacting against the American regionalism
of artists like John Steuart Curry, who was then artist-in-residence on campus, Wilde, Glasier, and other young artists developed
an unorthodox creative vision. This group also included Karl Priebe, working in Milwaukee, as well as Gertrude Abercrombie in
Chicago. Wilde’s biggest academic influence was professor James Watrous, who instilled a deep appreciation for classical techniques
and handmade mediums. After Wilde graduated in 1942, he was drafted into the Army to serve in World War II as an artist for
the venereal disease program and he also created terrain maps. Disenchanted with this experience, Wilde started a sketchbook
that would provide future ideas. In 1946, Wilde returned to the University of Wisconsin–Madison to earn his Master’s degree
in art history. Wilde’s thesis was on the surrealist Max Ernst, but he also included a critique of abstract expressionism. Far from
conventional, Wilde was a committed representational artist. Since his youth, he had enjoyed drawing the human form, animals,
flowers, plants, fruits, and vegetables. Wilde combined the Renaissance ardor for depicting the body with the playful incongruity
of surrealist symbols. Wilde’s paintings often feature nudes, mostly female, in fantastic landscapes with emblems of death. He also
frequently painted proxies of himself into scenes. Along with painting, Wilde excelled at silverpoint, which he learned from Watrous.
In the 1980s and 1990s, Wilde painted a series of Reconsidered works mining his earlier sketchbooks. In addition to being a prolific
artist, Wilde taught at the University of Wisconsin–Madison from 1948 to 1982. From 1948 to 1978, the magic realist Aaron Bohrod
was artist-in-residence, but he did not teach and Wilde quietly resented Bohrod’s simpler style and commercial appeal. Wilde passed
away in 2006 at age 86 in Evansville, Wisconsin. Since Wilde’s death, the demand for his work has steadily increased. Wilde is now
included in the collections of prominent institutions such as the Whitney Museum of American Art in New York City, the Smithsonian
American Art Museum in Washington DC, the Art Institute of Chicago, the Milwaukee Art Museum, and many others.
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Edward Wormley (American, 1907-1995)
Born in Oswego, Illinois in 1907, Edward Wormley trained at the Art Institute of Chicago from 1926 to 1928, but then limited funds
forced him to work full-time as an interior designer for Marshall Field & Company. In 1930, Wormley visited Paris, where he met Le
Corbusier and Art Deco designer Emile-Jacques Ruhlmann. After returning, Wormley designed furniture based on traditional forms
with cleaner lines. In 1931, Dunbar Furniture Corporation in Berne, Indiana recruited the 23-year-old Wormley to be its director of
design. From 1932 to 1944, Wormley created two collections per year for Dunbar: one consisting of antique furniture reproductions,
the other featuring modern designs. As the mid-century modern style grew ascendant, Dunbar discontinued its antique line. Wormley
opened his own design studio in New York City in 1945, but he remained a consultant for Dunbar. In 1947, Wormley developed
the Precedent collection for Dunbar’s competitor, Drexel. In the 1950s, Wormley worked largely as an independent designer, but he
teamed with Dunbar again in 1957 for the Janus collection, which reimagined the Arts and Crafts ethos using a streamlined, updated
vocabulary. In particular, Wormley emulated the decor of California architects Charles and Henry Greene and he used tiles from
Tiffany Studios to adorn his designs. While not generally celebrated in the same manner as mid-century icons like George Nelson,
Charles and Ray Eames, Harry Bertoia, and Eero Saarinen, Wormley’s genius involved harmonizing traditional styles and modern
innovations. For several decades, Dunbar continued to produce furniture conceived by Wormley, including his Listen to Me chaise,
Téte-â-Téte sofa, and Long John coffee table. In the 1950s, the Museum of Modern Art in New York City honored many of Wormley’s
designs and he was cited in a 1961 Playboy magazine profile surveying the leading figures of modernism. Prior to Wormley’s passing
in 1995, exhibits featured his work at the Baltimore Museum of Art (1951), the Brooklyn Museum (1958), the San Francisco Museum
of Art (1960), the Philadelphia Museum of Art (1983), and elsewhere. Examples of Wormley furniture are now housed at the
Museum of Fine Arts in Boston, the Museum of Decorative Arts in Montreal, and other important institutions.
Frank Lloyd Wright (American, 1867-1959)
Frank Lloyd Wright was born on June 8, 1867 in Richland Center, Wisconsin. At age 15, he began studying engineering at the
University of Wisconsin–Madison. Wright moved to Chicago in 1887 to work for architect Joseph Lyman Silsbee. A year later, he
joined the firm of Adler and Sullivan, directly under Louis Sullivan. Wright adapted Sullivan’s philosophy of “form follows function” to
his own theory of “form and function are one.” In 1889, Wright married Catherine Lee Tobin, the daughter of a wealthy businessman,
and the two moved to Oak Park, Illinois, where Wright constructed his own home and studio from 1889 to 1895. By 1900, Wright
had built 60 houses in the area in what became known as the Prairie Style. This aesthetic privileged horizontal, asymmetrical
structures rising naturally from the environment comprised of straight lines and geometrical patterns. Between 1905 and 1908,
Wright also created the distinctive Unity Temple for his local Unitarian parish in Oak Park. Restless and bored with convention,
Wright left on an extended European tour with his married mistress Mamah Borthwick Cheney in 1909. Upon their return, they
moved to Wright’s ancestral land in Spring Green, Wisconsin, where Wright had built his famed estate, Taliesin. In 1914, disaster
struck when a disgruntled male servant started a fire during lunch and killed seven people, including the former Mrs. Cheney and
her children. Because Wright favored designing a single door for all purposes, there was no other escape route. Most assumed this
would be the end of Wright’s career, but he persevered and rebuilt Taliesin over the next decade. Wright even remarried a woman
named Mariam Noel in 1922. During the Great Depression, he became a social visionary and regained his exalted place in the design
world. Wright lectured widely and started the Taliesin Fellowship, bringing students to learn with him and work off their debt. In 1937,
Wright ventured to the American Southwest to build his winter home and school, Taliesin West, in Scottsdale, Arizona. By the time
of Wright’s death at age 92 on April 9, 1959, he had become internationally recognized for his innovative building style. On October
21, 1959, Wright’s bold spiral design for the Guggenheim Museum in New York City was fully realized. Wright is today arguably the
most famous American architect and his name is synonymous with great design because of how seamlessly he integrated form and
function.
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CONTACTS
818 North Boulevard
708.383.5234 (t)
708.383.4828 (f)
John Toomey Lucy Toomey John P. Walcher info@toomeyco.com

President CEO Vice President www.toomeyco.com
708.383.5234 ext. 16 708.383.5234 ext. 13 Senior Specialist
john@toomeyco.com lucy@toomeyco.com 708.383.5234 ext. 14
johnw@toomeyco.com
Don Schmaltz Aron Packer Erin Marcell Carl Liggett

Senior Specialist, Senior Specialist, Senior Specialist, Specialist,
Modern Design Fine Art Fine Art Modern Design
708.383.5234 ext. 20 708.383.5234 ext. 23 708.383.5234 ext. 11 708.383.5234 ext. 21
don@toomeyco.com aron@toomeyco.com erin@toomeyco.com carl@toomeyco.com
Colleen Trimarco Kevin Mannella Radek Dusilo Marty Uribe

Director of Client Services Director of Operations Chief Photographer Shipping & Property
708.383.5234 ext. 12 708.383.5234 ext. 17 708.383.5234 ext. 21
colleen@toomeyco.com kevin@toomeyco.com radek@toomeyco.com Salvador Sanchez
Property Handling
Jeesoo Walker Nick Stenzel
Client Services Web Content Manager Bob Yuro
708.383.5234 ext. 10 708.383.5234 ext. 29 Property Handling
jeesoo@toomeyco.com nick@toomeyco.com
Client Services Billing & Payments Condition Reports

clientservices@toomeyco.com accounting@toomeyco.com condition@toomeyco.com
Shipping & Receiving Toomey+ Website Support

shipping@toomeyco.com sales@toomeyco.com web@toomeyco.com
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TERMS & CONDITIONS
THE AUCTION
The auction is open to the public and there is no admission/sign-up fee or obligation to bid. The auctioneer introduces the objects for sale — known as “lots” — in numer-
ical order as listed in the catalog. John Toomey Gallery, Inc., d/b/a Toomey & Co. Auctioneers (“Toomey & Co. Auctioneers”) acts as agent on behalf of the seller. The seller
may not bid on his or her own property.
ESTIMATES / RESERVES
The price estimates that appear at the end of each lot description are approximations of the range in which the price may fall. Some items are subject to a reserve, the
price below which an item cannot be sold. The reserve usually is less than the low estimate.
BIDDING IN PERSON
If you would like to bid in person, you must register for a “paddle” upon arriving at the auction. The paddle is numbered in order to identify you to the auctioneer. To regis-
ter, the following will be required: (i) a form of photo identification, such as a driver’s license, passport, or government-issued identification; and (ii) your address, telephone
number, and email address. If you are bidding for another person or entity, you will be required to provide authorization from that person or entity in order to bid on their
behalf. Issuance of a bid paddle is in the auction house’s sole discretion. Invoices for all lots sold will be sent to the name and address in which the paddle is registered.
TELEPHONE BIDS, ABSENTEE BIDS, AND INTERNET BIDS

If you are not able to attend the auction in person, you may bid over the telephone during the sale, leave bids (“absentee bids”), which will be executed for you by one
of our representatives, making every effort to purchase the item for the lowest possible price without exceeding your limit, or bid via the Internet (see our website for
instructions on how to bid at our auction via the Internet). PLEASE NOTE: Toomey & Co. Auctioneers offers the absentee bid service as a convenience to its clients who
are unable to attend the auction and is not responsible for error or failure to execute bids. Should you wish to participate by telephone or by leaving absentee bids, you
must complete and submit an Absentee/Telephone Bid Form, which is included in the catalog and also is available on the Toomey & Co. Auctioneers website and at the
auction house, or you may contact us as indicated below.
TELEPHONE BIDDING
Please make arrangements for telephone bidding as early as possible, as there are a limited number of telephone lines available. Please make arrangements for telephone
bidding no later than 5:00 p.m. (CT) on the day prior to a sale. Please note that telephone bidding is generally reserved for items estimated at greater than $500.
ABSENTEE BIDDING
Please submit absentee bids as early as possible. It is important that these bids are provided in the correct increments (see chart below). Should identical absentee bids
be submitted, the first bid received will be honored. Absentee bidders have the same chance of being successful as a telephone or in-person bidder; the successful bidder
is determined at the auctioneer’s discretion. It is important that absentee bids be submitted prior to 5:00 p.m. (CT) on the day prior to a sale, as execution cannot be
guaranteed after that time. Please call us if you wish to confirm that your bids have been received.
AUCTION INCREMENTS
The increments indicated in the chart below are used at our auctions:
Bid Range Increment Bid Range Increment Bid Range Increment
$0-500 $25 $3,000-5,000 $250 $30,000-50,000 $2,500
$500-1,000 $50 $5,000-10,000 $500 $50,000-100,000 $5,000
$1,000-3,000 $100 $10,000-30,000 $1,000 $100,000+ $10,000 or auctioneer’s discretion
BUYER’S PREMIUM
A buyer’s premium will be added to the “hammer price” (the final bid price of an item sold prior to any additional fees or premiums that may be charged) and is payable
by the buyer as part of the total price for each lot purchased.
The buyer’s premium for telephone, absentee, or floor bidders is:

n 25% of the hammer price up to and including $100,000;
n 20% of any portion of the hammer price greater than $100,000 up to and including $1,000,000; and
n 15% of any portion of the hammer price greater than $1,000,000.
The buyer’s premium for LiveAuctioneers.com and Invaluable.com bidders is:

n 30% of the hammer price up to and including $100,000;
n 25% of any portion of the hammer price greater than $100,000 up to and including $1,000,000; and
n 20% of any portion of the hammer price greater than $1,000,000.
TERMS OF SALE
n The auctioneer is responsible for determining the highest bidder and resolving any disputes.
n All purchases are subject to (i) state sales tax unless the buyer is a registered reseller and has proof of such exemption (i.e., a valid tax I.D. number) or merchandise is
to be shipped out of state, no exceptions, and (ii) a buyer’s premium, as noted above. If you are a resident of Illinois, or are picking up your purchase, you are required
to pay state sales tax unless exempted by law. Lots marked with the † symbol are tax exempt in accordance with Illinois Department of Revenue’s disclosure rule.
n If paying by cash or check (must be drawn on a U.S. bank), the following are required: (i) verification of identity (by providing a form of government-issued photo
identification, such as a passport, identity card, or driver’s license); and (ii) confirmation of permanent address.
n If paying by credit card, an additional 2% convenience fee is payable on the total of the hammer price, buyer’s premium, tax (if applicable), and shipping cost (if any).
n We accept payment by cash, check (drawn on a U.S. bank), cashier’s check, credit card (Visa, MasterCard, or Discover credit cards, with an additional 2% convenience
fee noted above), or wire transfer ($25 fee if payment made by wire transfer).
n We reserve the right to exclude credit cards as a permitted method of payment and to require that payment be made by one of the other methods indicated above.
n Once payment has been received and cleared, merchandise purchased may be released.
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LATE PAYMENT / DEFAULT
Any payment not made within 10 days after its due date shall be considered delinquent and shall constitute a default on the part of buyer with respect to its obligations
under these Terms & Conditions. In such event, Toomey & Co. Auctioneers shall be entitled at its absolute discretion to exercise one or more of the following rights or
remedies (in addition to asserting any other rights or remedies available to it by law): (i) to charge interest at such rate as Toomey & Co. Auctioneers shall reasonably de-
cide; (ii) to hold the defaulting buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees, and costs to the
fullest extent permitted under applicable law; (iii) to cancel the sale; (iv) to resell the property publicly or privately on such terms as Toomey & Co. Auctioneers shall deem
fit; (v) to set off the outstanding amount remaining unpaid by the buyer against any amounts that Toomey & Co. Auctioneers may owe the buyer in any other transactions;
(vi) to reject at any future auction any bids made by or on behalf of the buyer or to require a deposit from the buyer before accepting any bids; and (vii) to take such
other action as Toomey & Co. Auctioneers deems necessary or appropriate.
STORAGE FEES
Toomey & Co. Auctioneers may impose a storage fee of $5.00 per day per lot beginning on day 31 to be paid by buyer for any lot or item not collected by buyer within
30 days after the sale unless other prior arrangements have been made. Buyer agrees that Toomey & Co. Auctioneers shall have no liability for any damage to property left
on its premises after such 30-day period.
OUR GUARANTEE
Toomey & Co. Auctioneers guarantees the authenticity of that portion of the description of each lot as set out in bold type in the catalog, as amended by oral or written
salesroom notes or announcements, which guarantee is in effect for 30 days after the auction in which the item is sold. Said guarantee does not apply to those lots listed
as “in the style of,” “attributed to,” “the school of,” “in the manner of,” or “after.” Toomey & Co. Auctioneers is not responsible for errors or omissions in the catalog or in
written or oral condition reports. All measurements are approximate. Toomey & Co. Auctioneers makes every effort to accurately describe its merchandise, but in the
event errors occur, Toomey & Co. Auctioneers shall not be held responsible. It is solely the responsibility of the bidder to be well informed before bidding. Bidding in our
auctions indicates your acceptance of these terms and any terms announced the day of the sale.
n Ceramics: Please request condition reports prior to bidding.

n Furniture: Furniture is described to the best of our ability. The wood is usually oak, unless otherwise stated. The furniture is old and over the years has acquired or developed
dents, drink rings, separations, burns, chips, and assorted flaws — only those considered objectionable will be mentioned.
n Fine Jewelry and Watches: Precious gems and metals will be tested and are guaranteed genuine as described. Gemstone quality will be described if not normal. Weights and
measurements are approximate. Obvious and objectionable repairs or alterations are noted. Watches are the original factory product unless otherwise indicated. Original dials and
overall watch condition will be noted on important pieces. Watch functions and accurate timekeeping are not guaranteed. The condition, age, originality, and quality of all items are
evaluated using industry standards, and any questions should be asked prior to the sale. Jewelry and watches are sold as collector’s items. Therefore, everyday use should be evaluated
on an item-by-item basis.
n Lamps, Clocks, and Electrical Items: Lamps will be described based on patina and condition of any glass. Leaded lamps may have cracked segments. Some parts may have been
replaced over the years, and this will be mentioned if determined to be objectionable. Shades with mica may contain minor flaking or burn spots, and these will be mentioned if
determined to be objectionable. Lamps, clocks, and other electrical items are offered only for their decorative value. They are not represented to be in working order.
n Metalwork: Metalwork will be described based on patina and the condition of the object. Dents, scratches, wear, and assorted flaws will be mentioned if determined to be objec-
tionable.
n Art Glass: Art glass may sometimes contain air bubbles and/or have surface scratches, lines in the making and chips to the pontil. Anything determined to be objectionable will
be mentioned. Some glass may be ground at the factory, causing minor chips or flakes. This will be mentioned if determined to be excessive. Discoloration on the interior usually is
present when originally produced and will not be noted unless determined to be excessive.
n Paintings, Drawings, Prints, and Bronzes: Each object is guaranteed to be an authentic work by the artist listed. Any and all information listed in the catalog not printed in bold type
should be considered as being to the best of our knowledge, is merely our opinion, and is not guaranteed to be correct. Every effort is made to ensure that all artwork is authentic
and is represented accurately. If the authenticity of a purchased object is contested, it must be made known to us within 30 days of the sale in which the object was purchased as
follows: a written letter from a noted authority provided to us, declaring the object to be executed by someone other than the artist listed. This authority may not have any vested
interest in the artist’s work or the estate of the artist. The object must be returned to us in the same condition in which it was purchased. If it is determined that a piece is not authen-
tic, only the purchase price may be refunded; there will be no compensation for damages, loss of profit, professional fees, transportation, or any other costs. If a painting is excessively
dirty, we will attempt to note it in the description; however, we do not consider the normal darkening of varnish over time problematic, and accordingly any such darkening will not be
noted in the description.
FRAMES
Every effort is made to protect the frames included with these lots during pre-auction storage and post-auction shipping; however, Toomey & Co. Auctioneers shall not be
responsible for any damage to frames, and no refunds will be granted due to frame and/or glass damage.
CONDITION REPORTS / NOTICES / PREVIEW

It is solely the buyer’s responsibility to be knowledgeable about the condition of a piece/pieces before bidding. Auction items are available for viewing/previewing during
the week prior to the auction on the dates/times listed in the front of the catalog or by appointment. We encourage you or a knowledgeable representative to visit and
inspect all lots at this time. If this cannot be done, we encourage you to contact us with your condition report requests prior to the sale. Our staff will give you our opinion
of condition, answer any questions, and send photos if necessary. Any such opinion is not a professional conservator’s evaluation and is not to be relied on as a represen-
tation or statement of fact, but is given to the best of our knowledge. It is the buyer’s responsibility to be aware of all conditions, addendums, and corrections prior to the
sale. Notices amending the catalog description of a lot after the catalog has gone to press are available at the auction house or are announced by the auctioneer. Please
take note of them.
DELIVERY / SHIPPING
Toomey & Co. Auctioneers offers safe and economical methods for delivery and shipping within the U.S. for certain purchases. Items such as articles of furniture, highly
fragile pieces, and other select items may be excluded from in-house shipping and delivery services. Please contact our Shipping Department prior to the auction with
any inquiries regarding delivery and/or shipping and to obtain shipping and insurance cost estimates as available. All Toomey & Co. Auctioneers delivery and shipping
quotes are for delivery to a first floor or front door. Please note that glass is removed from all paintings and prints for shipping unless otherwise directed by the buyer
and a signed waiver is provided. All items are shipped fully insured, unless the buyer wishes to waive such insurance, in which case our Waiver of Insurance form must
be completed and returned to us. Delivery and shipping fees and insurance fees are payable by the buyer and are nonrefundable. Buyers using a third-party shipper
and who require shipping quote(s) prior to the auction are responsible for obtaining such estimate(s) from the shipper and making shipping arrangements directly
with such shipper. Upon request, our Shipping Department can provide a list of recommended shippers. A buyer making his or her own shipping arrangements must
complete and return to us our written Shipping Release Form in connection with the release of the item(s) to the third-party shipper. Toomey & Co. Auctioneers is
not responsible for damage to items caused by such shippers, and claims for any such damage are to be settled between the buyer and the respective shipper.
JURISDICTION
Buyer agrees that the state and federal courts in Cook County, Illinois shall have exclusive jurisdiction over all matters arising out of buyer’s purchase of items from Toomey
& Co. Auctioneers and that service of process in any such proceeding shall be deemed effective if mailed to buyer at buyer’s address last provided to Toomey & Co
Auctioneers.
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ARTIST INDEX
Adams, Charles Partridge - 81 Guillaumin, Armand - 75 Palmer, Pauline - 91
Akhilish, Verma - 22 Hirst, Damien - 2, 3 Parthan, Baiju - 24
Albuquerque, Lita - 13 Holzer, Jenny - 40 Patterson, Margaret Jordan - 108,
Arneson, Robert - 42 Hughes, Follower of Arthur - 89 109, 110, 111, 112
Arnold, Ralph Moffett - 12 Hunt, Richard - 54 Pattison, Abbott - 58
Austin, Darrell - 61 Hurley, Edward T. - 96 Pergola, Romolo - 76
Barth, Carl Wilhelm - 71 Ito, Miyoko - 18 Pious, Robert - 97
Baylinson, Abraham - 92 Jacobsen, Sophus - 66 Pritchard, Zarh - 78
Bertoia, Harry - 16 Jaques, Bertha Evelyn Clausen - 95 Rawal, Yogesh - 21
Blanchard, Antoine - 86, 87 Johnston, Franz - 82 Rice, William Seltzer - 106
Blow, Richard - 480 Kamrowski, Gerome - 17 Rupert, Arthur J. - 79, 80
Both, Circle of Jan Dirksz - 70 Kearney, John - 59, 60 Saint-Gaudens, Augustus - 270
Boudin, Eugène - 90 Keener, Anna E. - 45 Schreyvogel, Charles - 98, 99
Brown, Hilton - 11 Kovner, Saul - 85 Schwartz, Buky - 57
Brown, Roger - 4 Krishnamachari, Bose - 23 Schwiering, Conrad - 69
Burlini, Joseph A. - 8, 9, 10 La Farge, John - 77 Shibata, Toshio - 28
Carter, Clarence Holbrook - 83 La Pira, Gioacchino - 73, 74 Sillman, Sewell - 19, 20
Chadwick, Lynn Russell - 1 Løkke, Marie - 67 Simpson, Diane - 51
Chihuly, Dale - 50 Lostutter, Robert - 5, 6 Siskind, Aaron - 31, 32, 33
Christo and Jeanne-Claude - 44 Lum, Bertha - 114, 115, 116 Soleri, Paolo - 26, 27
Cortès, Édouard - 88 Maril, Herman - 14 Speed, Grant - 100
Cunningham, Imogen - 94 Max, Peter - 52, 53 Sponberg, Lars-Birger - 62
Curtis, Edward Sheriff - 101, 102, Montald, Constant - 93 Sultan, Donald - 48
103, 104 Moon, Carl - 105 Tamayo, Rufino - 46, 47
de Clausade, Pierre T. - 84 Munger, Gilbert - 72 Walker, William Aiken - 64
de Lemos, Pedro Joseph - 107 Neiman, LeRoy - 36 Weber, Carl Philipp - 65
Fogelson, Doug - 29 Neogrady, László - 68 Welna, Joseph - 15
Förg, Günther - 49 Nierman, Leonardo - 34 Wilde, John - 7
Giusto, Fausto - 63 Norton, Elizabeth - 113 Young, Purvis - 35
Godie, Lee - 37, 38, 39 Olson, Glenn - 56 Zeisler, Claire - 43
Golub, Leon - 41 Palma, Luis González - 30 Zink, Melissa - 25
Gregory, Waylande - 416 Palmer, Gregory C. - 55
263
TOOMEY+
ONLINE
MARKETPLACE
Toomey+ is our online marketplace
offering an exclusive, curated selection
of Prairie School design, Arts & Crafts,
Fine Art, Modern Design, furniture,
lighting, and more.
Visit toomeyco.com/toomeyplus to
view our current inventory.
CONSIGN
We are currently accepting
consignments to the Toomey+ online
marketplace and are happy to advise
clients considering this alternative to
selling at auction. Contact us to discuss
consignment options.
Charles Eames & Ray Eames LCW chair

TOOMEY+
818 North Boulevard
708.383.5234 (telephone)
708.383.4828 (facsimile)
sales@toomeyco.com
www.toomeyco.com
264
818 North Boulevard
708.383.5234 (telephone)
708.383.4828 (facsimile)
info@toomeyco.com
www.toomeyco.com
ABSENTEE AND TELEPHONE BID FORM

Client #: Auction Date: o Telephone Bid o Absentee Bid
Name:
Billing Address:
City: State: Zip:
Telephone:
Email:
Shipping Address:
Lot # Description Top Bid Lot # Description Top Bid
AUCTION INCREMENTS
The increments indicated in the chart below are used at our auctions:
Bid Range Increment Bid Range Increment Bid Range Increment
$0-500 $25 $3,000-5,000 $250 $30,000-50,000 $2,500
$500-1,000 $50 $5,000-10,000 $500 $50,000-100,000 $5,000
$1,000-3,000 $100 $10,000-30,000 $1,000 $100,000+ $10,000 or auctioneer’s discretion
This form is a legally binding contract. By signing below, the bidder agrees to our TERMS & CONDITIONS.
____________________________________________ ___________________________________________________ ______________ __________

Client Signature Credit Card Number Expiration CVV
266
267
818 North Boulevard | Oak Park, Illinois 60301 | 708.383.5234 | info@toomeyco.com | www.toomeyco.com
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Art & Design

Tradition & Innovation

Tradition & Innovation

IL Lic. #444000195, #441001663, #441001222, #441001454

In his early imagery, influenced by Surrealism and

This gold-toned work (765) is infused with a motif of

Provenance for lots 31 - 33:

Born in Cincinnati, Ohio in 1903, Zeisler attended the Institute

Tolnay, Alexander, and David Bourdon, Christo and Jeanne-Claude:

In this silent aquatic world, Pritchard created his dreamy

Catalog Note: Catalog Note:

Kahlo, known for her self-portraiture, was keenly

Wearing a traditional Mexican shawl and jewelry to

This cyanotype is a remarkable example of how

Mayer, Barbara, In the Arts & Crafts Style,

For a complete biography, refer to page 249 of this catalog.

Gray, Stephen, and Robert Edwards, Collected Works of

209 210 211

214 215 216

239 240 241

244 245 246

254 255 256

Ottillinger, Eva B., Adolf Loos,

Provenance: Rad Light: The Radical Lighting Collection of Jim Walrod,

495 Catalog Note: Early in his career, Danish

Harry Bertoia (Italian/American, 1915-1978)

Joseph A. Burlini (American, b. 1937)

Barry Byrne (American, 1883-1967)

Lynn Russell Chadwick (British, 1914-2003)

Claude Conover (American, 1907-1994)

Edward Sheriff Curtis (American, 1868-1952)

Miyoko Ito (American, 1918-1983)

Robert Riddle Jarvie (American, 1865-1941)

Charles P. Limbert (American, 1854-1923)

Susan Jacobs Lockhart (American, b. 1935)

Margaret Jordan Patterson (American, 1867-1950)

Pewabic Pottery (1903-present)

Gilbert Rohde (American, 1894-1944)

The Roycrofters (1895-1915)

Teco Pottery (1881-1935), Harald Hals (Norwegian, 1876-1959), designer

Dirk van Erp (Dutch/American, 1862-1933)

John Wilde (American, 1919-2006)

Frank Lloyd Wright (American, 1867-1959)

John Toomey Lucy Toomey John P. Walcher info@toomeyco.com

Don Schmaltz Aron Packer Erin Marcell Carl Liggett

Colleen Trimarco Kevin Mannella Radek Dusilo Marty Uribe

Client Services Billing & Payments Condition Reports

Shipping & Receiving Toomey+ Website Support

TELEPHONE BIDS, ABSENTEE BIDS, AND INTERNET BIDS

The buyer’s premium for telephone, absentee, or floor bidders is:

The buyer’s premium for LiveAuctioneers.com and Invaluable.com bidders is:

n Ceramics: Please request condition reports prior to bidding.

CONDITION REPORTS / NOTICES / PREVIEW

Charles Eames & Ray Eames LCW chair

ABSENTEE AND TELEPHONE BID FORM

City: State: Zip:

Lot # Description Top Bid Lot # Description Top Bid

____________________________________________ ___________________________________________________ ______________ __________

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