On-Line Condition Reports for Session Two - Fine Paintings & Session Three - 1950s/Modern
Sale Date:
Dec. 5, 2004
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Lot Numbers and Descriptions
Estimate
451. Exceptional Raoul Larche lamp, nice original gold gilt patina on an Art Nouveau bronze figure of Loie Fuller with a dramatic flowing gown, signed, stamped foundry mark, 13”h
12,000-17,000
452. Charming Twentieth Century sculpture, bronze woman with children, good original patina, artist signed, 6.5”h, well done
250-350
453. Nice Theodore Rivière (French 1857-1912) sculpture, bronze, woman wearing a cape, signed, 3”h, nicely detailed, excellent patina
500-750
454. Dramatic Art Nouveau sculpture, bronze, nude female figure in motion, artist signed, unknown mark, nice original patina, good detail, 4.5”h, excellent condition
400-600
455. J. Jozon (French 1868-1946) sculpture, French, bronze head of a girl, excellent original patina, signed, 9”h, nice Art Nouveau bronze, a pupil of Petrie and Puech
700-900
456. D. Chiparus sculpture, carved girl in ivory on an alabaster tray, signed, 5”h
1000-1500
457. Decorative C. Vez (20th Century) sculpture, bronze, stylishly designed dancer, good original patina, signed, 13”h, has a Secessionist look, very nice
1000-2000
458. Wilhelm Bormann (German 1885-1938) sculpture, good bronze child with a cat resting on her shoulder, original patina, signed, 12.5”h, very nice
600-800
459. Exceptional Edouard Drouot (French 1859-1945) sculpture, attribution, bronze with nice detail, Pan, excellent original patina, mounted on a marble base which is signed, 19”h, red strap around waist holding loin cloth
1500-2000
460. Large and nicely executed Ouline (20th Century, European) sculpture, bronze, nicely executed seagull soaring over tossing waves, signed, great original patina, 24”w x 14”h, dramatic figure
2000-3000
461. Torolf Engstrom (Swedish, 1909-1987) sculpture, bronze, “Alskande”, good original patina, signed, paper labels, 7”h
500-700
462. Exceptional Harriet Frishmuth sculpture, bronze nude, signed, dated 1918, #173, great original patina, 20”h, descended from the original owner's son, the first owner, a representative of the Gorham Foundry where he received the bronze
15,000-20,000
463. Rare and fine Zsolnay vase, petite shape with two beautifully sculpted figures at the shoulder, all covered with a red glaze, marked, 3.5”h, great detail, excellent glaze
2500-3500
464. Exquisite Rozenburg vase, bulbous form with flaring square rim crafted from a delicate porcelain body, beautifully detailed painting of stylized flowers, signed, artist initials, 4.25”h, flawless
5500-7500
465. Exceptional Zsolnay handled vessel, tapering cylindrical form with an elaborate design of oak leaves and acorns in iridescent gold with green highlights, five applied brown beetles, marked, 16”h, great glaze, rare beautifully detailed example, nicely fired
3500-5500
466. Exceptional Tiffany Studios lamp, bronze base with its original patina supporting a leaded glass shade with colorful poppy designs overlaid on interior and exterior with a pierced overlay, shade is signed Tiffany Studios New York 14611, base is signed Tiffany Studios New York 534, 16”dia. x 22”h
35,000-45,000
467. Good L.C. Tiffany vase, flower form in gold favrile glass with iridescent purple and blue highlights held by a bronze base with green enameled designs, original patina, signed L.C. Tiffany Favrile, base is signed Louis C. Tiffany Furnaces, Inc. 158, 14"h
2500-3500
468. Nice L.C. Tiffany vase, flower form in gold favrile glass with nice overall surface iridescence, signed L.C. Tiffany Favrile 1778D, 14"h, well done
2000-3000
469. Good Handel lamp, bronzed metal base supporting an obverse painted shade with numerous sailboats and windmills, shade signed Handel 5936, marked at fitter rim, 18"w x 25"h, base with a fine patina
5500-7500
470. Exceptional Tiffany Studios lamp, bronze base with its original gold dore patina supporting a Greek Key design leaded glass shade, shade signed Tiffany Studios New York I907, base is signed Tiffany Studios New York 537, 22"dia. x 28.5"h, unusually large table lamp with beautifully mottled glass in excellent original condition
35,000-45,000
Session Two - American & European Fine Paintings, Watercolors and Drawings
Begins approximately 3:00 pm (CST).
471. Emile Gruppe (American, 1896-1978), “Gloucester Fog”, c. 1960; oil/canvas, 30” x 36”, signed; titled verso. Important New England impressionist, well known for his harbor scenes and landscapes. Gruppe studied with John Carlson and Richard Miller. He exhibited from the 1910s-50s, at the National Academy of Design, Art Institute of Chicago, Salmagundi Club, North Shore Art Association, Rockport Art Association, New Haven Paint and Clay Club, and the Connecticut Academy of Fine Arts. His work is in numerous important public collections. Gruppe was clearly one of the most central figures to the Cape Ann artist colony, and his work is an icon of American impressionism executed in New England in the early 20th century. This is a large and important example of the artist’s work.
12,000-18,000
472. Pleasant Ray McIntosh (American, b. 1897 ), “The Dunes, Indiana”, c. 1930; oil/board, 16” x 20”, unsigned; accompanied by a letter from the artist’s son, Stuart McIntosh, authenticating it. McIntosh lived in Peoria. He studied at the Art Institute of Chicago and exhibited at the Hoosier Salon (1927).
800-1200
473. Anthony Buchta (American, early 20th century), “Bean Blossom Landmark”, c. 1930; oil/board, 16” x 20”, signed. Buchta at the Art Institute of Chicago and at the Chicago Academy of Fine Art. He exhibited mostly landscapes at the Chicago Galleries Association, Chicago Palette and Chisel Club, and the Hoosier Salon. Buchta traveled to California and executed many western landscapes. The subject of this work is one of Indiana’s well known covered bridges.
1000-2000
474. Karl C. Brandner (American, 1898-1961), “Floral Still Life”, c. 1930; oil/canvas laid down on board, 30” x 27”, signed, unframed, imperfections. Brandner studied at the Art Institute of Chicago and the Chicago Fine Art Academy. He exhibited at the Hoosier Salon, Chicago Gallery Association, and the Palette and Chisel Club. This is the finest example of a still life we have seen by this artist.
1500-2500
475. Ollie Cole (American, 20th century), “Red Barn”, c. 1950; oil/canvas, 12” x 16”, signed Cole worked in Illinois and Indiana. She studied at the Art Institute of Chicago and with Dorothy Franz at the Brown County Art Club.
300-500
476. Ernest Fredericks (American, 20th century), a pair of works, one pictured: “Path through Autumn Woods”, c. 1940; oil/canvas, 11” x 14”, signed; with another similar work by the artist.
700-900
477. James Eccles (American, 1909-1969), “Summer Day (Banana Port)”, c. 1960; oil/canvas, 20” x 24”, signed, original artist frame. Eccles worked in Chicago, and painted varied impressionist subjects.
1400-1800
478. Paul Turner Sargent (American, 1880-1946), “Illinois Farm”, c. 1925; oil/canvas, 20” x 28”, signed. Landscape painter from Charleston, Illinois. Sargent exhibited at the Hoosier Salon, Art Institute of Chicago, and in California, at the Laguna Beach Art Association.
1000-2000
479. Charles Francis Browne (American, 1859-1920), “Liberty Hill”, c. 1915; oil/canvas, 16” x 20”, signed. Browne studied at the Pennsylvania Academy of Fine Art and in Paris. He returned to the U.S. in the 1890s to paint murals for the Columbian Exposition in Chicago. He taught at the Art Institute of Chicago from 1895-1910, and held summer classes in Bass Lake, Indiana. He was one of Illinois’ premier landscapists of the time, and strongly adhered to a conservative approach to painting.
2500-4500
480. Joseph Tomanek (American, b. 1889), “Winter Landscape”, c. 1920; oil/canvas, 19” x 16” , signed. Chicago area artist, well known for his nudes. He was a member of the Bohemian Artist Club, Association of Chicago Painters and Sculptors, and the Chicago Gallery Association. He exhibited from the 1910s-40s.
1000-2000
481. Kathryn Cherry (American, died 1931), “Gloucester Harbor”, c. 1920; oil/canvas laid down on board , 18’ x 16”, unsigned. Important St Louis impressionist painter. Cherry studied with Richard Miller, and specialized in still lifes, landscapes, and harbor scenes. She also decorated ceramics for University City Pottery. Cherry exhibited at the North Shore Art Association, Rockport Art Association, Chicago Galleries Association, and the St Louis Artist Guild.
1500-2500
482. Frederick Oakes Sylvester (American, 1869-1915), “Forest Park, St Louis”, c. 1898; oil/canvas, 13” x 19”, signed, dated, and inscribed, “St Louis”; provenance. Sylvester lived in Elsah, IL, a small town overlooking the river. He studied in Boston, and exhibited at the St Louis Artist Guild, St Louis Expo (1904), Portland Expo (1905), and the Society of Western Artists (Chicago, 1906). He was the author of the book, “The Great River” . He also taught at Newcomb College.
2000-3000
483. Carl Krafft (American, 1884-1938), “The Camp, c. 1936; oil/canvas, 16” x 20”, signed
2500-4500
484. Alfred Jansson (American/Swedish, 1863-1931), “Summer Garden”, c. 1924; oil/canvas, 32” x 38”, signed and dated, excellent original hand-carved frame. Jansson came to Chicago in 1889, and spent most of his career there, painting impressionist landscapes. He studied in Stockholm and in Paris. He was a member of the Chicago Artist Club, Swedish American Artists, and the Chicago Artist Guild. He exhibited at the Columbian Expo (1893) and the Art Institute of Chicago (1910s). Shortly after Jansson arrived in Chicago, he was awarded a mural commission to decorate the Swedish Building of the World’s Columbian Exposition. This is the best example of this artist’s work we have seen offered for sale.
15,000-25,000
485. Carl Rudolph Krafft (American, 1884-1938), “Winter Sledding”, c. 1920; oil/canvas, 18” x 20”, signed; label from Grable’s Art Shop, Oak Park verso, original frame. Krafft studied at the Art Institute of Chicago and the Chicago Fine Arts Academy. He was a prolific painter and was active in numerous art organizations, including the Chicago Galleries Association, Cliff Dwellers, Oak Park Art League, Painters and Sculptors of Chicago, and the Society of Ozark Painters. He exhibited from the 1910s-30s, primarily landscape paintings which sometimes included figures. He exhibited at the National Academy of Design, Pennsylvania Academy of Fine Art, Art Institute of Chicago (1915-1925), and the Corcoran Museum (Washington D.C.). His work is included in numerous important public collections, including the University of Illinois, Richmond, Indiana Art Association, Nineteenth Century Women’s Club, Los Angeles Museum, Municipal Art league (Chicago), and South Shore Country Club. Krafft maintained a studio in Oak Park, Illinois, but he also traveled to Brown County, Indiana, and the Missouri Ozarks. This is a very desirable subject for this artist.
15,000-25,000
486 Will Vawter (American, 1871-1941), “Brown County Landscape”, c. 1920; oil/board, 14” x 17”, unsigned; provenance: Leota Loop estate; inventory sheet from the Brown County Artist’s Guild. Vawter grew up in Greenfield, Indiana, and began his artistic career as an illustrator. He moved to Brown County in 1908. It was here that he became more involved in oil painting, and in 1925, he exhibited and won the prize for best winter scene at the first Hoosier Salon. He also exhibited at the Women’s Department Club Gallery (Indianapolis); Lieber Gallery; Chicago Gallery Association; and the Brown County Art Gallery Association. He was well known for his colorful, loosely painted landscapes and was a central figure to the Brown County group of artists.
6000-8000
487. Alexis Fournier (American, 1865-1948), “Spring Landscape”, c. 1920; oil/canvas, 24” x 20”, signed. Fournier was a member of the Roycrofters in East Aurora, New York. He exhibited primarily landscapes at the Hoosier Salon, National Academy of Design, Pennsylvania Academy of Fine Art, Art Institute of Chicago, and the Buffalo Art Club. He painted in Brown County, Indiana.
14,000-16,000
488. Karl Albert Buehr (American, 1866-1952), Spring Landscape” , c. 1918; oil/canvas, 20” x 24”, signed, fine carved frame. Important Chicago landscape painter. Buehr was part of a group of painters, which included Louis Ritman and Frederick Frieseke, who worked in Giverny, France in the late 19th century. Buehr returned from France in 1913 to teach for many years at the Art Institute of Chicago.
4500-6500
489. Frank V. Dudley (American, 1868-1957), “Duneland Grasses”, c. 1930; oil/canvas, 27” x 30”, signed; Chicago Galleries Association label verso with title, original frame. Dudley studied at the Art Institute of Chicago. He first visited the Northern Indiana dunes in 1912, and was so taken with the view, he devoted most of his subject matter to them for the remainder of his career. William Gerdts, in his book, “Art Across America: Two Centuries of Regional Painting”, explains, ”Given its proximity to Chicago, it is not surprising that the Indiana dune country, at the southern end of Lake Michigan, was a popular subject for the city’s painters. The area had reverted to wilderness after the Indians left and after the Chicago fire, when thousands of trees had been cut down to rebuild the city.” In 1918, Dudley had an exhibition of his paintings of the area at the Art Institute of Chicago. He also exhibited at the Chicago Gallery Association, Union League Club, Chicago (a painting by Dudley remains in their collection), Hoosier Salon, and the Museum of Art, Cedar Rapids, IA. He was a devoted supporter of the dunes area conservation.
12,000-18,000
490. David Livingston Adam (American, 1883-1924), “Young Girl in the Shade of a Tree”, c. 1917; oil/board, 16” x 12”, signed and dated. Adam was born in Scotland, and studied at the Glasgow School of Art before moving to Chicago, and continuing his education at the Art Institute of Chicago. He was a member of the Chicago Palette and Chisel Club and the Chicago Society of Artists. He exhibited at the Art Institute of Chicago (1913-24). Work by this Chicago painter is very rare , and he was best known for his figurative subjects.
6000-8000
491. Alexis Fournier (American, 1865-1948), “Old Homestead, (Birthplace of Mrs. Hermann)”, c. 1928; oil/board, 22.25” x 26”, signed; signed, titled, and dated verso. Fournier was a member of the Roycrofters in East Aurora, New York. He exhibited primarily landscapes at the Hoosier Salon, National Academy of Design, Pennsylvania Academy of Fine Art, Art Institute of Chicago, and the Buffalo Art Club. He painted in Brown County, Indiana.
8000-10,000
492. Don Louis Ruf (American, 1905-1982), lot of four oils, one pictured: “Landscape”, c. 1940; oil/canvasboard, 16” x 20”; with three other landscapes, all are the same size and unframed, only two are signed.
400-600
493. Willaim Bauer (American, b. 1888), “Winter Landscape”, c. 1930; oil/canvas, 17” x 19”, signed. St Louis painter and illustrator. He studied with Oscar Berninghaus and Fred G. Carpenter at the St Louis School of Fine Art. He exhibited at the St Louis Artist Guild, Carnegie Institute, Kansas City Art Institute (won a prize for Brook in Winter, 1924); and the Scada old Capital Arts Fair (prize for Winter Landscape ).
2000-3000
494. Edward Elsperman (American, b. 1875), a lot of three oils, one pictured: “Autumn Landscape”, c. 1930; oil/canvas, 14” x 14”, signed, unframed; with two other similar works, also unframed.
400-600
495. American School, “Bathers”, c. 1920; oil/board, 16" x 13", unsigned; in the style of John W. Bentley. Very well painted.
500-700
496. Henry Hobart Nichols (American, 1869-1962), “Mending the Sails”, c. 1940; watercolor/paper, 21” x 29”, signed. Nichols was President of the National Academy of Design; he was also director of the Tiffany Foundation and a trustee of the Metropolitan Museum. He was a member of the Lotus Club, New York Watercolor Club, and the Pennsylvania Academy of Fine Arts. His work is in the collections of the Metropolitan Museum, Corcoran Gallery, National Gallery of Art, and the Museum of Natural History.
1200-1800
497. John Cowan Templeton (American, 1880-1958), “Indiana Dunes”, c. 1930; oil/canvas 24” x 30”, signed. He worked in Chicago, Hammond (IN), and Saugatuck (MI). He exhibited at the Hoosier Salon, Indianapolis Art Club, and the Northern Indiana Artist Salon. He also worked as a steelworker for 29 years at Inland Steel Co.
2000-3000
498. Hudson Mindell Kitchell (American, 1862-1944), “Meadow Brook”, c. 1928; oil/board, 12” x 16”, signed and dated. Kitchell’s address in 1924 was New York City, but he painted across the entire nation. His style is strikingly similar to R.A. Blakelock’s, and the results were very successful.
1000-1500
499. F.H. McKay (American, 20th century), “Small New England Town”, c. 1940; oil/canvas, 24” x 30”, signed.
600-800
500. William Clusmann (American, 1859-1927), “Landscape with Figures”, c.1900; watercolor, 18” x 12”, signed. Chicago painter. Clusmann exhibited at the Hoosier Salon, Chicago Watercolor Club, and the Chicago Gallery Association.
500-700
Sale Date:
Dec. 5, 2004