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
651. Eli Levin (American, b. 1938), “Serenade”, c. 1982-86; tempera/board, 12” x 16”, signed and dated. Levin exhibited at the Jamison Galleries, Fenn’s Gallery, Realist Gallery, Zaplin-Lampert Gallery, and the Ernesto Mayans Gallery (all in Santa Fe, New Mexico).
1500-2500
652. Eli Levin (American, b. 1938), “Woman in Bed”, c. 1986; tempera/board, 12” x 15”, signed and dated. Santa Fe painter.
1500-2500
653. Eli Levin (American, b. 1938), “The Pensive Woman”, c. 1981; tempera/board, 9” x 12”, signed and dated. Santa Fe painter. Levin studied at the University of Wisconsin and the New School for Social Research (Greenwich Village). Levin lived in New York from 1945-60, and in Santa Fe after 1965. He exhibited extensively in the 1970s-80s, and his work is in important public and private collections, including that of Ralph Lauren, Doc Severinson, Tucson Museum, and the Museum of Fine Art, Santa Fe. He specialized in intimate scenes of figures in interiors.
1500-2500
654. Eli Levin (American, b. 1938), “Nude in an Interior with Kiva”, c. 1987; oil/board, 28” x 18”, signed and dated. Santa Fe painter.
2000-3000
655. Gertrude Abercrombie (American, b.1909), “Flood”, c. 1948; oil/masonite, 8.25” x 10.25”, signed and dated; label verso from Lillian Schary Small Gallery (572 Madison Ave. NYC). Chicago modernist/surrealist painter. She studied at the University of Chicago, and was a member of the Chicago Society of Artists and the Chicago Non-Jury Society of Artists. She also exhibited at the Art Institute of Chicago (1930s).
8000-10,000
656. Gertrude Abercrombie (American, b.1909), “Flight”, c. 1946; oil/masonite, 8.25” x 10.25”, signed and dated; label verso from Lillian Schary Small Gallery (572 Madison Ave. NYC). Chicago modernist/surrealist painter. She studied at the University of Chicago, and was a member of the Chicago Society of Artists and the Chicago Non-Jury Society of Artists. She also exhibited at the Art Institute of Chicago (1930s).
8000-10,000
657. Fred Jones (American, b. 1914 ), “Harbor”, c. 1950; watercolor/paper, 3” x 21.5”, signed and inscribed on verso, “Chicago”, Important Chicago African-American painter. He was an important member of the Southside Art Center, and he exhibited at Atlanta University, Art Institute of Chicago, and Xavier University in the 1950s.
600-800
658. Rockwell Kent (American,1882-1971), “Hero”, c. 1930; etching, 12" x 9", pencil signed, edition of 150; Associated American Artists card with title. Important modern painter and printmaker. In the 1920s and 30s, Kent illustrated classic books, such as Moby Dick. He was a revolutionary as well as an artist, and his subject matter reveals his social and philosophical interests.
800-1200
659. Lloyd Lhozes Goff (American, b. 1908 ), “Nicolaides Eve”, c. 1940; mixed media/paper, 11.5” x 7.5”, signed and titled.
1500-2000
660. American Negro Exposition poster, original poster from the 1940 exposition in Chicago, 21.5” x 13.75”, excellent condition. American Negro Exposition, 1865-1940, Chicago Coliseum, July 4 to Sept. 2, American Negro Exposition Headquarters, 3632 South Parkway, Chicago. These posters are rare and desirable.
600-800
661. American School, “Southern Family”, c. 1940; oil/canvas, 30” x 26”, unsigned. Great American Scene subject matter, could possibly be a preliminary for a mural.
2500-3500
662. Lloyd Lhozes Goff (American, b. 1908 ), “Nicolaides Eve”, c. 1940; mixed media/paper, 11.5” x 7.5”, signed and titled. Dallas painter and muralist. Goff studied at the Art Student’s League with George Grosz and Kimon Nicolaides. Nicolaides was known for his futurist works, and this painting by Goff is a tribute to his teacher. REF: Dictionary of Texas Artists, 1800-1945, Grauer.
1500-2000
663. Glen Gant (American, 20th century), “Tenements, Arkansas”, c. 1940; oil/canvas, 24” x 30”, signed. Gant worked in Arkansas, Oklahoma, and Kansas City (where he worked with Thomas Hart Benton).
4000-6000
664. Mitchell Siporin (American, 1910-1976), “Let America be America Again”, c. 1936; tempera/board, 14” x 16”, signed; label verso from the Annual AJAC Exhibition. Illustrated: Esquire Magazine (1936), for Langston Hughes’ poem of the same title.
3000-5000
665. Aaron Bohrod (American, 1907-1992), “Oil Derrick”, c. 1940; watercolor/paper, 18” x 14”, signed. Important Chicago modernist. Bohrod studied with John Sloan and Boardman Robinson. He exhibited throughout the 1930s-40s, at the Associated American Artists, National Academy of Design, and the Oehlschlager Gallery (Chicago). His work is in the collections of the Art Institute of Chicago, Metropolitan Museum, Whitney Museum, and Cranbrook Academy. His subjects ranged from urban scenes to military depictions.
2500-3500
666. Aaron Bohrod (American, 1907-1992) “Charley Nolan, Trouble Shooter”, c. 1940; watercolor and ink, 13” x 10.5”, signed and titled.
2000-3000
667. Albert Pels (American, 1910-1998), “Elite”, c. 1950; oil/canvas, 17” x 14”, signed. Pels was born in Cincinnati, and studied at the Cincinnati Academy of Art and the University of Cincinnati. He also studied with Thomas Hart Benton at the Art Students League in New York. He worked as a WPA artist in the 1930s, painting murals, and exhibited extensively across the country from the 1930s-60s
1000-2000
668. James Michael Newell (American, b. 1900), “Rural Family”, c. 1940; plaster fresco secured to a board, 26” x 26”, signed. Newell was best known for his work as a mural painter. He was a member of the Architectural League in New York, and taught at the Art Students League. There is a known fresco at the Potomac Electric Power Company, Washington, D.C. A fresco is accomplished by adding layers of pigment to wet plaster, so that the painting becomes part of the structure.
4000-6000
669. J. Jay McVicker (American, b. 1911), “Two Nudes”, c. 1950; gouache/paper, 31.5” x 23”. Oklahoma painter. McVicker studied at Oklahoma State University, and eventually taught there. He painted traditional regionalism in the 1940s, and moved into abstraction later in his career. He exhibited extensively from the 1940s-70s, at the Art Institute of Chicago, Whitney Museum, Dallas Museum of Fine Art, and the Pennsylvania Academy of Fine Art.
1500-2000
670. Le Pho (Vietnamese, 1907-2001), “Fleurs”, c. 1960; oil/canvas, 28.5” x 22.5”, signed; Florence, Italy stamp verso. He was one of the first graduates of the Indochina Fine Arts College, 1925-1930. He spent most of his career in France (since 1936). He has works in the Fine Arts Museum of Vietnam, the Paris Museum of Modern Arts, Oklahoma Museum (United States) and private collections, mainly in the US. In 1937, Le Pho participated in the Fine Arts Exhibition of Colonial Countries in Paris as the art director for the Indochinese region and, in 1941, he took part in the Grand Exhibition in Algeria with painter Mai Thu. From 1950 to 1957 he was an art advisor to the Vietnamese Embassy in France. He opened exhibitions in Lyon, Avignon, Nice and Bordeaux with Japanese painter Foujita in 1957 and 1958.
7000-9000
671. J. Jay McVicker (American, b. 1911), “Female Figure”, c. 1950; gouache/paper, 30.5” x 20.5”.
1500-2000
672. Constant (attributed to Constant Anton Nieuwenhuys, Dutch, b. 1920), “New Babylon”, c. 1969; watercolor with pastel/paper, 24” x 30.5”, signed and dated; label verso. Constant was an abstract expressionist painter who became a member of the Surrealist group in 1947, and then later the Cobra group. He studied in Amsterdam in the late 1930s and early 1940s. His work from the mid 1940s was influenced by Cubism and German Expressionism. From 1956-1974, he executed a series of works called New Babylon , which was a response to what he saw as the increasingly banal conditions of everyday life.
15,000-20,000
673. Leon Kroll (American, 1884-1974), “County Ridge Construction”, c. 1946; oil/canvas, 42” x 28”, signed. Kroll studied at the National Academy of Design , Art Students League, and in Paris. Kroll exhibited throughout the 1920s-40s, at the Art Institute of Chicago, Los Angeles Museum of Art, Salmagundi Club, National Academy of Design, Pennsylvania Academy of Fine Art, and the Boston Art Club. His work is in numerous important museum collections. Kroll was also an important teacher in the 20th century; he taught at the Art Institute of Chicago (1924-25) and the Pennsylvania Academy of Fine Art (1929-1930).
20,000-30,000
674. Abrahan Manievich (Russian/American, 1881-1942), “Neighborhood Scene”, c. 1925; oil/canvas, 21” x 29”, unsigned, estate stamped. Manievich emigrated to the US in 1922, settling in the Bronx. He painted regional scenes in Pittsburgh, villages along the Hudson River and in Connecticut, and winter scenes in Canada. His exhibitions were praised for their lyrical yet vigorous brushwork and expressive use of color. He exhibited at the Brooklyn Museum, ; Babcock Gallery, NYC, ; Peabody Institute, Copley Society, Art Institute of Chicago, and the Carnegie Institute (all in the 1920s). This is an excellent example of Manievich’s best subject.
6000-8000
675. Lyubov Popova (Russian, 1889-1924), “Composition”, c. 1921; oil/wood panel; 9.5" x 7", signed, dated; remnants of labels verso. Popova was a foremost member of the Russian avant-garde, and contributed substantially to the style known as Cubo-Futurist abstraction. She was interested in “painterly architechtonics”, and her work, primarily from 1916-1920, maintains a balance of rigid lines and soft gradations of color, arranged in a dynamic rotation within the composition. Her work was banned by the Soviets after her death in 1924. REF: Constuctivism and the Geometric Tradition, (The McCrory Corporation Collection).
35,000-55,000
676. Gerald Lee Nees (American, b.1938), “Genesee Store”, c. 1980; oil/canvas, 30” x 25”, signed verso, with “painted by mouth”.
500-700
677. Louise Dunn Yochim (American, b. 1909), “Bather”, c. 1960; oil/board, 18” x 8”, signed.
300-500
678. Gerald Lee Nees (American, b.1938), “Chicago Street Scene”, c. 1980; oil/canvas, 30” x 25”, signed verso, with “painted by mouth”. Nees was paralyzed as a young boy in Indiana, but learned how to paint holding a brush in his mouth.
500-700
679. Gerald Lee Nees (American, b.1938), “Chicago Harbor”, c. 1980; oil/canvas, 24” x 30”, signed; inscribed verso, “Corydon, Indiana”.
500-700
680. Louise Dunn Yochim (American, b. 1909), “Still Life”, c.1970; oil/canvas, 34” x 48”, signed. Chicago modernist painter. She studied at the Art Institute of Chicago, and exhibited at the Artist League, Chicago; American-Jewish Art League; Detroit Institute of Art; and the University of Chicago.
600-800
681. Frank Perri (American, early 20th century), “River Scene with Figures”, c. 1950; oil/board, 18” x 24” , signed on verso.
300-500
682. Philippe Visson (American/French, b. 1942), “Youth Leaning Against Still”, c. 1958; oil/canvas, 21” x 25”, signed and dated; titled on verso, with label from the Milch Gallery, NYC. This is an early work by Visson, who was painting in hotel bathrooms in Paris during this period.
3000-5000
683. Albert Pels (American, 1910-1998), “Boy with Fish and Pole”, c. 1940; oil/canvas, 24” x 18”, signed. Pels was born in Cincinnati, and studied at the Cincinnati Academy of Art and the University of Cincinnati. He also studied with Thomas Hart Benton at the Art Students League in New York. He worked as a WPA artist in the 1930s, painting murals, and exhibited extensively across the country from the 1930s-60s.
2000-3000
684. Mitchell Siporin (American, 1910-1976), “Rembrandt and Spinoza”, c. 1959-60; watercolor/paper, 40” x 27”, signed; labels verso from Nordness-Madison Gallery and Brandeis University.
2500-3500
685. Paul Sample (American, 1894-1974) “New England Town”, c. 1940; watercolor, 11” x 18”, signed; label on verso from Robert Henry Adams Fine Art. Sample studied at Dartmouth College and Jonas Lie. In 1926, he went to California and worked on the faculty of USC until 1938. He then returned to alma mater to teach, and remained there the rest of his life. He was very successful commercially his entire career, and exhibited extensively throughout the country.
1500-2500
686. Frank Perri (American, early 20th century), “Construction Site”, c. 1940; ink and watercolor/paper, 14” x 20” , signed.
250-350
687. Frank Perri (American, early 20th century), “Fishermen”, c. 1950; tempera/board, 12” x 16” , signed.
250-350
688. Rosemary Goldfein Zwick (American, b. 1925), lot of two ceramic sculptures, one pictured: “Boy with Cat and Dog”, c. 1960; ceramic on wood, signed, wood (overall) 13.5" x 14.5", ceramic 8" x 8.5"; with another similar piece depicting a horse, also signed, wood (overall) 13.5" x 11.5", ceramic 9" x 6.25". Chicago sculptor. Zwick studied with Phillip Guston. She exhibited extensively from the 1940s-70s, and was a member of the Rennaisance Society (University of Chicago) and the American Craftsman Society. REF: Ceramic Design, Chilton; Craftsmen in Illinois , Buchwald.
700-900
689. Abraham Rattner (American, 1895-1978), lot of two works, one pictured: “Bather”, c. 1960; ink, watercolor, and collage, 24” x 18”, signed; with another similar work of a rabbi.
800-1200
690. Finn Petersen (Danish, b. 1954), “Portrait of a Woman”, c. 1985; oil/paper laid down on stretched canvas, 21.5” x 14.75”, signed; numbered on verso #293.
500-700
691. Anton Heyboer (Dutch, b. 1924), “Birth of a Chicken”, c. 1970; mixed media/textured paper, 29” x 24”, signed.
1200-1800
692. Louise Woodroofe (American, early 20th century), “Abstract Composition”, c.1950; oil/canvas, 25” x 30”.
500-700
693. Myron Kozman (American, b.1916 “Untitled”, c. 1960; oil/board, 24” x 18”, signed on verso. Kozman was friend of Moholy-Nagy and taught silkscreen at the Institute of Design. He was one of the first graduates of the Institute of Design, and his work is in the collections of the Art Institute of Chicago, Library of Congress, and the Bloch Gallery (Northwestern). REF: Vision and Motion , Moholy-Nagy.
400-600
694. Constantine Pougialis (American, b. 1894),”Portrait of a Woman”, c. 1940; oil/canvas, 20” x 16”, signed. Studied and later taught at the Art Institute of Chicago (she also exhibited there from the 1920s-50s). She also exhibited at the Pennsylvania Academy of Fine Art, World’s Fair new York, Corcoran Gallery, and the Museum of Modern Art. Her work is in several important museum collections and the collection of the Chicago Sun-Times.
1000-1500
695. Peter Keil (German, 20th century), “Figure of a Woman”, c. 1983; oil/canvas, 39.5” x 27.5”, signed and dated; inscribed, “Berlin” verso. Keil is with Elvira Bach, Rainer Fetting, and Georg Baselitz in the Grossen Wilden of Berlin. He studied with Otto Nagel, Berlin Academy of Fine Art, and with Miro on Mallorca.
1000-2000
696. Peter Keil (German, 20th century), “Sailboats”, c. 1983; oil/canvas, 39.5” x 27.5”, signed and dated; inscribed, “Berlin” verso.
1000-2000
697. Carl Thorp (American, b. 1912), lot of two oils (one shown), “Floral Still Life”, c.1967; oil/board, 14.5” x 7.5”, signed; with another work depicting a harbor scene. California painter, active 1928-57. He studied at the Academy of Fine Art, San Diego with Braun and Mitchell. He was a member of the Society of Western Artists and the Northern California Artist Association.
400-600
698. Liselotte Moser (American, b. 1906), “Orpheus”, c. 1935; tapestry, framed under glass, 34” x 16”, initialed. Detroit artist. She exhibited at the Society of Independent Artists (1929-30).
800-1200
699. Jean Porcher (French, b. 1927), “Paysage en Charente Maritime”, c. 1957; oil/canvas, 21" x 29", signed and dated; titled verso.
300-500
700. Patricia Paik (Korean/American, Contemporary), “Tropic”, c. 1990; oil/panel, 16” x 16”, signed. Paik studied at the Chouinard Art Institute (Los Angeles) and the University of Southern California. Her work is registered in the National Gallery and Museum.
400-600
Sale Date:
Dec. 5, 2004