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
701. Otto Freundlich (German, 1878-1943), lot of three watercolors, matted within one frame; each 5" x 3.5", all initialed. Freundlich had settled in Paris in 1909, and was associated with Picasso. He executed his first non-objective work by 1919. He was part of two important European artist groups who adhered to the creation of non-objective art forms: Cercle et Carre (1930) and Astraction-Creation (1931). He died in a concentration camp.
2500-4500
702. Nikolai Suetin (Russian, 1897-1954), “Composition”, c. 1922; watercolor/paper, 8" x 7", signed and dated. Suetin was one of the closest disciples of Malevich, although later his theories began to deviate from the strictness of the Suprematist doctrines. He was primarily a painter, although he also executed designs for mass produced ceramics.
5000-8000
703. Rolph Scarlett (American, 1889-1984), “Geometric Abstraction”, c. 1945; gouache/thick paper, 7.5” x 9.5”, signed, estate stamped. Scarlett first encountered abstract painting on a trip to Europe in 1923, when he saw Paul Klee’s work. He worked as a commercial designer, but submitted some work to Hilla Rebay (Rebay organized the Guggenheim collection of nonobjective art) in the mid 1930s. Scarlett met Rudolf Bauer in 1939, and was deeply influenced by Bauer’s hard edge abstraction. Scarlett began painting full time in 1939, and participated in numerous exhibits, including shows at the Museum of Non-Objective Painting.
800-1200
704. Ezio Martinelli (American, 1913-1980), “Surrealist Still Life”, c. 1935; oil/board, 20" x 40", unsigned; inscribed on verso, “Estate of Ezio Martinelli”. Important New York City painter and sculptor. Martinelli was recognized primarily for painting early in his career, and then he shifted his focus to sculpture. His work is in numerous important public collections, including that of the Brooklyn Museum of Art, Guggenheim Museum, Newark Museum, Philadelphia Museum of Art, Seattle Art Museum, the Whitney Museum of American Art, and the Chicago Art Institute.
2000-3000
705. Nikolai Suetin (Russian, 1897-1954), “Composition”, c. 1930; watercolor/paper, 10.5" x 8", sign ed.
5000-8000
706. Ilya Grigoreich Chashnik (Russian, active 1902-1929), “Suprematist Composition”, c. 1925: watercolor and gouache/thin off-white paper, 9” x 6.5”, signed, minor creasing. Chashnik studied with Malevich in 1903 at the Vitebsk Art Practical Institute. He co-founded the Posnovis (later known as the Unovis) in 1919. He moved with Suetin to Petrograd in 1922, and assisted Malevich with his “architectons”. He also pursued his own architectural projects, painting, and fabric and ceramic designs. REF: In Malevich’s Circle: Confederates, Students, and Followers in Russia 1920-50s .
12,000-14,000
707. El Lissitsky (Russian, 1890-1942), “Composition”, c. 1922; gouache/paper, 5.5” x 8”, signed, and inscribed, “5.”; also signed verso; imperfections. Lissitsky was a major figure in Russian avant-garde painting in the early 20th century. He was trained as an architect and designer. During the Russian Revolution, he designed street propaganda. In 1919, he became closely associated with Malevich in Vitebsk. In the 1920s, his work linked ideas of the Suprematists and Constructivists. He created Prounenroun , an abstract environment at the Grosse Berliner Kunstausstellung (Berlin), which he would recreate at other locations throughout the late 1920s. He traveled extensively, which exposed him to a more international style than many of his Russian contemporaries.
10,000-20,000
708. Ivan Kliun (Russian, 1870-1942), “Composition”, c. 1918; watercolor with collage/paperboard, 8.25” x 5.25”, signed and dated . Kliun first met Kazimir Malevich in 1907, and they remained closely associated for many years. Kliun supported Malevitch’s Suprematism in 1915. He was also associated with Vladamir Tatlin and the Constructivist Movement. In 1915-16, he participated in the major avant-garde exhibitions, including The Last Futurist Exhibition of Pictures: 0.10 , (Petrograd); Magazin, (Moscow); and Jack of Diamonds (Moscow).
8500-10,000
709. Mario de Ferrante (Italian/American, 1898-1992), “Untitled”, c.1950; oil/canvas, 30" x 24", signed. Studied with Antonio Mancini in Italy before coming to the United States in 1922. The Futurists, led by Fillipo Tommaso Marinetti, belived that it was crucial to tear down all traditions of past painting philosophy (manifestos were written regarding art, music, literature, drama, etc), and begin a new technical and artistic endeavor. His work is in the collections of the Library of Congress, U.S. Bureau of Information (Wash. DC), Princeton, Yale, and Brigham Young Universities.
600-800
710. Mario de Ferrante (Italian/American, 1898-1992), “Untitled”, c. 1950; oil/metal, 18" x 19", signed.
400-600
711. Charles Turzak (American, b. 1899), “Medley of Rectangles”, c. 1950; oil/canvas, 28” x 22”, signed; label verso with title. Important Chicago modernist painter and printmaker. He studied and exhibited at the Art institute of Chicago. He was a well known WPA artist, before turning to abstraction later in his career.
800-1200
712. Lezar Hidekel (Russian, active 1920s), “Suprematist Composition”, c. 1925; watercolor/black paper, 8” x 5.5”, signed; there is a line pencil drawing of non-objective subject verso.
2500-4500
713. Herbert Bayer (Austrian/American, b. 1900), “Arrangement”, c. 1960; color print, 23” x 32.25”, pencil signed and numbered, 36/250. Bayer worked at the Weimar Bauhaus, and was an important artist and designer. He was the director of Dorland International (Berlin 1920s-30s, and New York later).
500-700
714. Anna Kogan (Russian, 1902-1973), “Composition”, c. 1930; gouache/black paper, 11” x 9.5”, signed. Kogan studied with Malevich from 1919-1922 at Vitebsk. She continued to produce non-objective works into the 1930s, when social realist works were in the public favor.
3000-5000
715. Michael Gloeckner (American, 1915-1989), “Southern Moon”, c. 1970; oil/canvas, 9” x 11”, initialed; signed, titled and dated verso. Gloeckner painted in Connecticut in the mid-20th century, and specialized in fragmented compositions that affirmed rational subjects in light and color sections. His style represented a transition from early abstract works to colorfield paintings.
600-800
716. Michael Gloeckner (American, 1915-1989), “Abstracted Scene”, c. 1970; oil/canvas, 4” x 8”, initialed.
300-500
717. Michael Gloeckner (American, 1915-1989), “Cornwell Landscape”, c. 1970; oil/canvas, 8” x 10”, initialed; signed, titled and dated verso.
600-800
718. Eda Sterchi “Upward Thought”, c. 1960; oil/canvas wrapped around a board, 18” x 15”, identified on label verso from Arizona State Fair. Sterchi was well known for her work done in Tunis, but after living in Arizona for many years, she executed a small number of non-objective works. She was exposed to the work of the Transcendentalists while in New Mexico (1920-1940) Provenance: a relative of the artist.
400-600
719. E. Oscar Thalinger (American, 1885-1965), “Tomorrow and Tomorrow”, c. 1961; oil/board, 47.25” x 30.25”, signed; signed and dated verso. St Louis modernist painter. Thalinger studied at the St Louis School of Fine Art and in Munich. He was a member of the St Louis Artist Guild, 2x4 Society, St Louis Art Association, and Group 15. He exhibited at the Art Institute of Chicago (1927-1932); Pennsylvania Academy of Fine Art (1928-32); St Louis Art Museum, and the St Louis Artist Guild. Thalinger painted landscapes and urban scenes from the late 1920s-40s, and then turned to abstraction in the 1950s. He taught at the People’s Art Center in St Louis.
1500-2500
720. Eda Sterchi “Abstract Arrangement”, c. 1957; oil/board, 20” x 16”, signed and dated.
400-600

Session Three - 1950s/Modern/Art Deco
Begins approximately 5:30 pm (CST).
721. Alberto or Diego Giacometti for Jean Michel Frank table lamp, c.1935, painted plaster form of three discs, 30.5”h, repainted, very good condition

Alberto and Diego Giacometti created these lamps for Jean Michel Frank in the 1930s. Frank combined both plain materials (pine flooring, plaster) and precious materials (ebony, shagreen) in his commissions, and was fond of plaster because it was cheap, strong, and easy to work. In particular, he preferred to use white lighting for aesthetic reasons.
5000-7000
722. Alberto or Diego Giacometti for Jean Michel Frank Tete de Femme table lamp, c.1935, painted plaster form of a woman, unmarked, original finish, 30.75”h, very good condition
5000-7000
723. George Nakashima New chairs, set of four, solid walnut frames and plank seats with hickory spindles to back, original finish, 18.5”w x 19”d x 35.5”h, excellent condition
6000-8000
724. George Nakashima floor lamp, walnut base with original rag paper shade, signed on base “George Nakashima July 1976”, original finish, 16.5”dia. x 58.75”h, very good condition
7000-9000
725. George Nakashima coffee table, slab top in solid walnut with free-form edge to front and sap edge to back, butterfly joints on ends, original finish, 60.26”w x 30.5”d x 14.25”h, very good condition
8000-10,000
726. Mart Stam side chairs, pair, for Thonet, Germany, c.1932, tubular chromed steel frames with molded wood seat and back in rare original orange lacquer, stamped “Slezak”, 15.5”w x 20”d x 33”h, excellent original condition

Slezak, located in the Czech Republic, was a licensee of German manufacturer Thonet. The company manufactured designs by Mart Stam and Marcel Breuer, for which Thonet held the rights. Mart Stam was also a businessman who owned Desta and Standard Mobel, which produced Marcel Breuer's earliest tubular steel pieces. Examples with original colored lacquer are rare.
3000-3500
727. Marianne Brandt “Touch” desk light, model no. 2283, by Ruppelwerke Gotha, Germany, 1930, marked “Ruppel Tast-Licht D.R.W.Z. D.R.P.”, 5.5”w. x 9.5”h, excellent condition

Brandt designed the entire base of this innovative lamp to act as an on/off switch.
1200-1500
728. Le Corbusier, Pierre Jeanneret and Charlotte Perriand LC/4 chaise lounge, by Embru-Werke, Switzerland, c.1935, chrome-plated tubular steel frame with canvas upholstery and black leather headrest cushion over a black painted steel base, 23.5”w x 63”l x 23”h, newer canvas has been sewn over the original canvas, very good condition

This early version of the chaise lounge differs slightly from the later production model by Cassina, who acquired production rights in 1964.
6500-8500
729. Wolfgang Tumpel bowl, 1936, hammered brass fruit bowl with three round wood feet, signed with artist's studio mark, 11.5"dia., excellent condition
600-800
730. Rare C.F. Otto-Mueller Sistrah wall sconce, c.1932, by Sistrah Licht GMBH, nickel-plated fittings with clear and white glass, 12.5”dia. x 12.75”l, excellent condition

Sistrah is an abbreviation of Sie Strahlt Hell, or “She Shines Brightly". C. F. Otto Muller designed the Sistrah lamps at the Technical Light Institute at the Institute of Technology in Karlsruhe. The design was developed to create a light that was bright but focused, and the lamp utilizes hand-blown and manufactured shades in clear and translucent glass to achieve this effect. Wall lamps by Sistrah are rare and normally have glass shades which are substantially smaller than that of the standard Sistrah pendant lamp. This wall-mounted version is unusual due to the use of the large glass shade and also for its unusual adjustable mounting.
1800-2200
731. Ferdinand Kramer B403 chair, by Thonet, c. 1928, bent beech wood form with original black lacquer finish, partial paper label, illustrated in Das Frankfurter Register, No. 5, and also in A.V. Vegesack, Das Thonet-Buch, Munich 1987, p. 155 1929, 18”w x 25”d x 33”h, light wear to finish, very good original condition

Thonet produced this chair in extremely limited quantities for use in the “Eisenbahner Siedlung” train workers' colony in Frankfurt, Germany, which was furnished in part by Ferdinand Kramer.
4000-6000
732. Marcel Breuer B56 stool, by Thonet, c.1934, wood and original caned seat over tubular chromed steel frame, signed with metal Thonet tag, original finish, 16”w x 17.5”d x 18”h, very good original condition
800-1200
733. Das Neue Frankfurt magazines, volumes one, two and three, 1926-27 the first three issues of a rare Bauhaus publication, black and white with photos and illustrations, 9.5”w x 10.25”h, excellent condition

The New Frankfurt, which documented the building of modern Frankfurt in the 1920s and 1930s, also introduced many innovative designs from the Bauhaus such as lighting, furniture, ceramic, glass and metal objects. These are the first three issues in excellent original condition.
1500-2000
734. Le Corbusier book, Des Canon, Des Munitions Merci Des Logis...S.V.P., monograph for the “Pavilion des Temps Nouveaux” at the 1937 International Exhibition in Paris, illustrated in color and black and white, collage and drawings, 144 pages, original binding, excellent condition
3000-3500
735. Christian Dell Polo Popular desk lamp, by Bur Buente und Remmler, c.1931, adjustable form with uncommon brown finish, enameled tubular and sheet steel with nickeled brass trim, adjustable shade, stem also adjusts within base, signed, 16”h, very good condition
900-1200
736. Marianne Brandt small serving tray, for Ruppelwerke, Germany, c.1930, model no. 4356, green enameled tray with nickel-plated handles, signed, original finish, 11.75”w x 7.25”d, excellent condition
1200-1500
737. Ludwig Mies van der Rohe MR20 chairs, pair, by Stendig, c.1960, original woven cane seats and armrests in a tubular chromed steel frame, partial Stendig label to one, 22”w x 34”d x 32”h, excellent condition
1500-2000
738. Rare Marianne Brandt “Touch” light, model no. 2283, by Ruppelwerke, Gotha, Germany, 1930, 16"h, signed “GMF DRP”, excellent condition
1500-1800
739. Lucia Moholy-Nagy photograph, portrait of Bauhaus master Hinnerk Scheper, c.1934, gelatin silver print, labeled “Scheper” verso in pencil, 6.75”w x 8.75”h, excellent condition

Lucia Maholy-Nagy, wife of artist Lazlo Maholy-Nagy, is known for her photographs of everyday life at the Bauhaus.
1000-1500
740. Bauhaus vase, bulbous form in dark green glass, signed with acid etched stamp, 8"h
250-350
741. German vase, low broad form with enameled Deco design in white against a red body, marked "Emailika Pat. Geschutz Made in Germany" and with figure of man with drill, 6”w
150-250
742. Charlotte Perriand chairs, attribution, 1972, lightweight forms in chromium-plated tubular steel with aluminum caps to feet and brown leather sling seats, 19”w x 21.5”d x 34”h, very good condition
1200-1500
743. Massimo Morozzi “Karonte” table, Italy, maple and mahogany woods and marble base with attached round glass top, original finish, 50”dia. x 30”h, excellent condition
1500-2500
744. Gio Ponti bowls, by Ginori, set of four, glazed porcelain with hand-painted decoration of the four seasons, “Primavera”, “Estate”, “Autunno”, “Inverno”, marked “Riedizione della collezione Gio Ponti-Richard Ginori” and “Manifattura Di Doccia, Florence, Italy”, all numbered 52, mint condition
1000-1500
745. Osvaldo Borsani Executive desk, by Tecno, c.1958, elongated hexagonal rosewood top with original inset leather work surface and three shallow drawers, pivoting locking cabinet with three drawers, key included, pivoting/sliding work shelf, 86.5”w x 37”d x 30.25”h, original finish, excellent condition
4500-5500
746. Gambone sculpture, stylized bull, signed, 12”w x 8.5”h
500-700
747. Carlo di Carli table, Italy, 1950s, ebonized wood base with inset glass top, 27.5”dia. x 21”h, re-coated original finish, very good condition
1000-1500
748. Aldo Tura occasional table, Italy, 1950s, molded walnut top with fluted edge over ebonized legs with gold feet, original finish, signed with brass tag “Aldo Tura Milan Italy”, 22”dia. x 17.5”h, very good condition
1000-1500
749. Gambone bottle, handled form, bird figural, signed, 14”w x 10”h
500-700
750. Marco Zanuso “Regent” lounge chairs, pair, by Arflex, Italy, c.1958, upholstered forms with iron and wood feet, signed with metal Arflex tags, reupholstered in wool fabric, 32.5”w x 35”d x 32”h, upholstery very clean, very good condition
3000-4000
Sale Date:
Dec. 5, 2004