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Sale Date:
March 5, 2006
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Lot Numbers, Descriptions and Estimates
701. Rene Margotton (French, b. 1915), “Abstract”, c. 1960; oil/canvas, 19” x 38.5”, signed; provenance: Wally Findlay Galleries, Chicago. 2000-3000
702. August Mosca (American/Italian, b.1909), “Seated Nude”, c.1948; oil/canvas, 21” x 16”, signed. Mosca studied at the Art Students League and the Yale School of Fine Art. He exhibited at the National Academy of Design, Mint Museum of Art, Mississippi Art Association, New Haven Palette and Chisel Club, and the Provincetown Art Festival (1958). Mosca was known for his figurative works. 2000-3000
703. Maurice Elie Sarthou (French, 1911 - 2000) “Taureaux en Fin(re)”, c. 1963; oil/canvas, 24” x 29”, signed and dated. 800-1200
704. Jean Calogero, (Italian, 1922-2001), “Girl in a Surreal Landscape”, c. 1965; oil/canvas, 18” x 22”, signed. 600-800
705. Cecil Everly (American, 20th century), “Mistral, Cote d’Azur”, c. 1960; oil/canvas, 12” x 16”, signed; titled verso, label from Palm Beach Galleries; Heydenryk frame. 600-800
706. Sid Gotcliffe (American, 1899-1969), “W.P.A. Workers”, c. 1940; oil/canvas, 24” x 30”, signed and dated; “F.A.P.” verso. Gotcliffe was largely self-taught. He exhibited at the New School of Social Research (1938); Metropolitan Museum of Art, Smithsonian Institute, Library of Congress, and at the “NYC WPA Art” at the Parsons School of Design (posthumous, 1977). 6000-8000
707. Gertrude Nason “Trekking down Bleeker St.”, c. 1935; oil/canvas, 31” x 30”, signed; titled verso, exhibition label verso from College of St. Catherine (Minnesota), 1995. 4500-6500
708. Eunice Clay Mitchell (American, early 20th century), “Wrestlers”, c. 1939; oil/canvas, 18” x 24”, signed and dated. 1500-2000
709. David Burliuk (Russian/American, 1882-1967), “Peasant Working in a Field”, c.1940; oil/canvas, 16” x 25.25”, signed. Highly important exponent of Russian modernism. Burliuk studied at the Kazan School of Fine Arts, as well as in Moscow, Munich, and in Paris, at the Academie des Beaux-Arts. Burliuk was a radical, and he was expelled from the Moscow Institute in 1911 for his philosophy. He and other futurists began a public campaign of giving lectures and producing journals and films, which were controversial. In 1913, he appeared in the street, with “I Burliuk” painted on his forehead, reciting poetry. He left Russia and arrived in the U.S. in 1922. His style ranged from neo-primitive paintings of peasant life to wildly colorful, cubo-futurist compositions. Throughout his life, Burliuk’s work confronted industrialization with human creativity, and was personally based and optimistic. 7000-9000
710. Robert Philipp (American, 1895-1981), “In Central Park, N.Y.”, c. 1938; oil/board, 14” x 23.75”, signed and dated; exhibition label verso from Raydon Gallery. New York modernist painter. Philipp studied at the National Academy of Design, and exhibited paintings of figures, cafes, and city scenes throughout the 1930s-60s. His work is in the collections of the Boston Museum, University of Illinois, National Academy of Design, and the Whitney Museum. New York modernist painter. Philipp studied at the National Academy of Design, and exhibited paintings of figures, cafes, and city scenes throughout the 1930s-60s. His work is in the collections of the Boston Museum, University of Illinois, National Academy of Design, and the Whitney Museum. 4000-6000
711. William S. Schwartz (Russian/American, 1896-1977), “Gas Factory”, c. 1948; oil/canvas, signed; 30" x 36", titled and dated verso. Important Chicago modern painter and printmaker. Schwartz studied at the Art Institute of Chicago, and exhibited extensively throughout the 1920s-40s. His work is included in the collections of the Art Institute of Chicago, Detroit Institute of Art, Library of Congress, Dallas Museum of Fine Art, Biro-Bidjan Museum (Russia), and the Department of Labor. 20,000-25,000
712. Gregory Orloff (Russian/American, 1890-1981), “Chicago Scene (possibly the campus of the Illinois Institute of Technology)”, c. 1935; oil/masonite, 22” x 22”, unsigned; provenance: the estate of the artist, collection of Harlan J. Berk, Chicago. Important Chicago modernist painter and printmaker. A work by Orloff was included in the recent exhibit and accompanying catalog: Chicago Modern, 1893-1945: Pursuit of the New, at the Terra Museum. A statement included in the critique of the artist’s work in that catalog would be relevant to this example as well: “Orloff is more interested in the manifestations of life as it is lived by the great mass of mankind than by the select few.” REF: Art of Today, Chicago: 1933 , Jacobson. 10,000-15,000
713. Ida Shelesnyak Mirrof (American, 20th century), ”Backyards”. c.1940; oil/canvas board, 16” x 20”, signed. 400-600
714. Ida Shelesnyak Mirrof (American, 20th century), “Misery”, c.1940; oil/canvasboard, 16" x 20”, signed on verso, unframed. 300-500
715. Ida Shelesnyak Mirrof (American, 20th century) “A Village”, c.1940; oil/canvasboard, 16” x 20”, unsigned, unframed. 300-500
716. Ben Benn (Russian/American, 1884-1983), “Boats in Dry Dock”, c.1928; oil/canvas laid down on board, 20” x 24”, signed. Benn studied at the Art Students League and the National Academy of Design in New York. He was a member of the Woodstock Art Association, and exhibited at the Forum Exhibition of Modern American Painters (1916), Art Institute of Chicago, and Columbia University. 1000-1500
717. Paul Holland (American, 20th century), “Ready for the Fair”, c. 1940; oil/canvas, 18” x 24”, signed; titled on frame. 1000-1500
718. James Penney (American, 1910-1982), “Ship in Harbor”, c. 1950; oil/canvas, 20” x 24”, unsigned; Kraushaar Gallery label verso (Kraushaar represented the artist from the 1940s-70s). 1000-2000
719. Frank Perri (American, early 20th century), lot of two works, one pictured: “Acrobat”, c. 1940; drawing, 16” x 11”, signed; with another work on paper by the artist, neither framed. 150-250
720. Frank Perri (American, early 20th century), lot of two works, one pictured: “Study for Hell”, c. 1940; watercolor, 5” x 13.5”, signed; with another work on paper by the artist, neither framed. 150-250
721. Frank Perri (American, early 20th century), lot of two works, one pictured: “Evening Walk”, c. 1940; colored pencil, 10” x 6.5”, signed; with another work on paper by the artist, neither framed. 150-250
722. Frank Perri (American, early 20th century), lot of two works, one pictured: “Soldier”, c. 1938; watercolor and ink drawing, 7” x 5”, signed; with another work on paper by the artist, neither framed. 150-250
723. Frank Perri (American, early 20th century), lot of two works, one pictured: “Woman holding Chair”, c. 1940; watercolor and red marker, 5.5” x 3.5”, signed; with another work on paper by the artist, neither framed. 150-250
724. Frank Perri (American, early 20th century), lot of two works, one pictured: “Man near Window”, c. 1940; case in, signed; with another work on paper by the artist, neither framed. 150-250
725. Arturo Nieto (Equadorian, 20th century), “Mother and Child”, c.1960s, pastel/paper, 13.25” x 9”, signed. Nieto was known for his images of the Otavalo Tribe. 500-700
726. Arturo Nieto (Equadorian, 20th century), “Young Girl”, c.1960s; pastel/paper, 9.25” x 6.5”, signed. Nieto was known for his images of the Otavalo Tribe. 500-700
727. Arturo Nieto (Equadorian, 20th century), “Young Woman”, c.1960s, pastel/paper, 9.25” x 6.5”, signed. Nieto was known for his images of the Otavalo Tribe. 500-700
728. Robert Lee Eskridge (American, 1891-1975) “Hawaii”, c. 1940; watercolor/paper, 15” x 22”, signed. A genre painter, muralist, and illustrator, Robert Eskridge studied at the University of Southern California, the Los Angeles Academy of Fine Art, the Art Institute of Chicago, and the Chicago Academy of the Fine Arts. He first arrived in Hawaii in 1932 and did a variety of genre subjects including many scenes of the fishing industry. He was also a WPA muralist and taught at the University of Hawaii. His murals are in Honolulu at the Ala Moana Park Sports Pavilion and the Palmer House in Chicago. 600-800
729. Aaron Bohrod (American, 1907-1992) “Nude”, c. 1940; ink drawing, 11.5” x 7”, signed. 300-500
730. Robert Lee Eskridge (American, 1891-1975) lot of three works on paper, one pictured: “Portugal”, c. 1940; watercolor/paper, 15” x 22”, all signed; titles. 600-800
731. Baron Ernst von Maydell (German, b. 1884), “So near and yet So Far”, c. 1940; acquarelle/paper, 12” x 8”, signed; titled verso. Maydell worked in Europe and in the United States, executing almost exclusively realist works of plants and insects. He exhibited at the Corcoran Gallery in 1931 and the Delaware Art Museum in 1950. 1500-2500
732. Mark Tobey (American, 1890-1976), “Abstracted Figures”, c. 1960; mixed media, 8” x 5”, signed; provenance: estate of Karl Priebe; accompanied by a catalog of the artist’s work. A painter of small abstract works with underlying religious themes as well as illustrator and muralist, Mark Tobey remains known primarily for his “white writing” paintings that give the impression of being expansive and much larger than they actually are.  Tobey is sometimes categorized with the Abstract Expressionists, but in fact he was isolated spiritually and physically from its New York founders because of his immersion in Asian religion and major time spent in Europe and the Pacific Northwest. 3000-5000
733. Tanasko Milovich (Yugoslavian/American, b.1900), “Musicians and Dancers in a landscape”, c.1930; hand-colored batik, 17” x 11”, signed. Milovich studied at the St. Louis School of Fine Art and in Paris. He exhibited batiks, paintings, and stained-glass windows from the 1920s-50s. He later taught at the St. Louis School of Fine Art. 400-600
734. Jesus Guerrero Galvan (Mexican, 1910-1973), “Figures in a Landscape”, c. 1963; watercolor/paper, 9” x 12”, signed and dated. Galvan was a member of the “Banderas de Provincia” group in Jalisco, made up of painters, writers and poets such as Raúl Anguiano, José Guadalupe Zuno y Agustín Yáñez. Around 1930 he settled in Mexico City, where he came into contact with some of the painters of the nationalist revolutionary school. He exhibited at the Galería de Arte Mexicano in 1941. He was the artist-in-residence at the University of New Mexico in Alburquerque as a resident artist, where he did the fresco entitled The Union of the Americas Associated for Freedom. Because he was considered a master of the Mexican school of painting an exhibition was held in homage to him in the Museo de Arte Moderno of Mexico City in 1977. 2000-3000
735. Miguel Covarrubias (Mexican, 1902-1957), “Native Man”, colored pencil drawing/paper, 8” x 5”, signed; provenance: the estate of Karl Priebe. Covarrubias was well known an a painter, illustrator, stage designer, and writer. In the early 1920s, he moved to New York and became an illustrator for Vanity Fair and The New Yorker. His work is in the collections of the Fine Arts Museum of San Francisco, the J. Paul Getty Museum, Los Angeles County Museum, Cleveland Museum of Art and the Chrysler Museum. 2000-3000
736. Aaron Bohrod (American, 1907-1992), “Fish”, c. 1940; mixed media, 10” x 13”, signed. 2500-3000
737. Medard P. Klein (American, b.1905), “Arrangement #8”, c.1938; oil/canvas, 36” x 30”, signed, dated, and titled; label from Pennsylvania Academy of Fine Art Exhibition (1941) verso. Klein exhibited regularly at the Museum of Non-Objective Art (Guggenheim), Art Institute of Chicago, National Academy of Design, Laguna Beach Art Association, Oakland Art Gallery and the Institute of Design. Similarly to the work of Kandinsky, Klein’s paintings were influenced by auditory and symphonic experiences. His studio held a large collection of recorded classical music. Klein maintained his paintings sought “...an emotional response not greatly different from that evoked by the abstractions of music.” This is a very important, early work by this painter. 15,000-20,000
738. Medard P. Klein (American, b.1905), “Arrangement #62”, c.1945; casein/board, 22” x 30”, signed, dated, and titled; label from Temple University exhibition verso, with artist’s labels. 10,000-15,000
739. Emil Bisttram (American, 1895-1976), “Non-Objective”, c.1937; pastel/thick paper, 10” x 8”, signed and dated. Bisttram frequently worked in this medium, and this is an excellent, early example from the estate of the artist. 2500-4500
740. Emil Bisttram (American, 1895-1976), “Non-Objective”, c.1940; pastel/thick paper, 16” x 11”, signed and dated. 2500-4500
741. Emil Bisttram (American, 1895-1976), “Sun in the Garden”, c.1960; enamel/board, 36” x 48”, signed and dated; titled verso. Bisttram painted in Taos in the 1930s, and he and Raymond Johnson founded the Transcendental Painting Group, which included artists committed to the non-objective painting style, as well as the deepening of the spirituality of society through art. The group disbanded in the 1940s, but Bisttram remained in Taos, and continued to cultivate these ideas for the remainder of his career. 8000-10,000
742. Frank Perri (American, early 20th century), lot of two works, one pictured: “City Scene”, c. 1940; watercolor, 22” x 30”, signed; with another work on paper by the artist, neither framed. 150-250
743. Frank Perri (American, early 20th century), lot of two works, one pictured: “Bathers”, c. 1940; colored pencil and charcoal, 17” x 14”, signed; with another work on paper by the artist, neither framed. 150-250
744. Frank Perri (American, early 20th century), lot of two works, one pictured: “City Scene”, c. 1940; watercolor, 22” x 30”, signed; with another work on paper by the artist, neither framed. 150-250
745. Frank Perri (American, early 20th century), “Boar’s Head”, c. 1940; oil/canvas, 22” x 31”, signed on verso; from the estate of the artist. Chicago modernist painter. Also worked in Mexico in the 1940s. 250-350
746. Frank Perri (American, early 20th century), “Nude”, c. 1940; oil/canvas, 40” x 23”, signed on verso; from the estate of the artist. 250-350
747. Frank Perri (American, early 20th century), “Landscape”, c. 1940; oil/canvas, 19” x 29”, signed on verso; from the estate of the artist. 250-350
748. Macena Barton (American, 1901-1986 ), “Self-Portrait”, c. 1974; oil/canvas, 30” x 21”, signed and dated. Barton graduated from the Art Institute of Chicago in 1924 and held one-woman shows there as well as at Knoedler Galleries and Findley Galleries in Chicago. C.J. Bulliet, an art writer and subject of one of her portraits wrote: “The ‘moderns’ sense her as an individualist, an egoist, going her unique way, untrammeled by the ‘schools’. The ‘conservatives’ recognize her technical equipment and note her contempt for the ‘isms’. “ In 1927, she earned the August Peabody Award at the University of Chicago, and from 1945 to 1956, earned first prizes at the Chicago Galleries Association. She was a Fellow of the International Institute of Arts and Letters, and a member of the Arts Club of Chicago and the Chicago Society of Artists. 4000-6000
749. Royden Martin (American, b. 1913), “California Landscape”, c. 1940; watercolor, 14” x 21”, signed. Carmel painter. 300-500
750. Ray Wintson Speer (American, b.1923), “Portrait of a Woman”, c.1965; oil/canvas, 20” x 16”, signed; provenance: estate of the artist. Speer studied at the Dallas Art Institute and worked in East St. Louis, IL. 300-500
751. Richard Florscheim (American, 1916-1979), “Spray”, c. 1945, oil/canvas, 18” x 24”, signed; label from Oehlschlager; included in the book on the artist. Chicago modernist painter. Florscheim studied with Aaron Bohrod and at the University of Chicago. He exhibited throughout the 1930s-70s, at the Art Institute of Chicago, Los Angeles Museum, San Francisco Museum, and the Whitney Museum. He worked in Provincetown and Woodstock, N.Y., two popular artist colonies. 800-1200
752. Edgar Imler (American, 1896-1973), “City Scene”, c.1950; oil/canvasboard, 24” x 20”, signed. 400-600
753. Ellis Prentice Cole (American, early 20th century), “My Hobby”, c. 1940; oil/canvas, 20” x 24”, signed and dated. 300-500
754. Gabriel Marc Louis Ferro (French, 20th century), "Solitude Hivernale", c. 1947; oil/canvas, 24" x 29", signed and dated; title verso. 300-500
755. Lee Wallas (American, 20th century), "Vashti", c. 1960; oil/board, 36" x 24", signed; titled verso. St Louis painter. 300-500
756. Richard Florsheim (American, b. 1916), “Heroes”, oil on board, signed, framed, 11.5” x 17.5”. Chicago painter. He studied at the University of Chicago with Aaron Bohrod. He has a one-man exhibit at the Art Institute of Chicago in 1946. His work is in the Musée du Jeu de Paume, Paris. 300-500
757. Lee Atkyns (American, b.1913), “Grand Canyon”, c.1940; oil/board, 24” x 30”, signed. Washington D.C. modernist. Atkyns exhibited throughout the 1940s at the National Academy, Boston Museum, Phillips Memorial Gallery, and Georgetown Gallery. 800-1200
758. Robert MacDonald Graham (American, b. 1919), “Foundation for a Building (Research Hospital)”, c. 1959; oil/masonite, 28” x 48”, signed and dated; titled verso, with artist’s address. . Kansas City regionalist painter. Graham worked with Thomas Hart Benton. 3000-5000
759. Malvin Marr Albright (Zsissly) (American, 1897-1983), “Still Life with Mandolin”, c.1950; casein/canvas, 20.25” x 24.25”, signed. Albright began as a painter and then turned primarily to sculpture. He studied at the Chicago Art Institute, the University of Illinois, the Pennsylvania Academy of Fine Arts, and the Beaux Arts Institute of Design (NYC). 800-1200
760. Richard Mayhew (American, b. 1924), “Landscape”, c. 1960; oil/canvas, 36” x 44”, signed; collection of Robert Russell, 360 E. 55th St., NYC (label verso). Important African-American painter. Mayhew studied at the Brooklyn Museum School, Pratt Institute, and the Art Students League. He exhibited extensively from the 1950s-present. Mayhew describes his painting style and purpose: “Many of my so-called landscapes are very abstract because they are very free-form; I am involved with the spiritual feeling of space. Just to work with figures would be very limiting because that would identify a particular place or situation. The paintings look like landscapes but that is not necessarily my preoccupation in painting.” 10,000-15,000
761. 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. 3000-5000
762. WITHDRAWN
763. WITHDRAWN
764. Charles Sebree (American, b. 1914), “Keep the Faith”, c. 1960; watercolor over blockprint/postcard, 5.25” x 3.5”, signed and inscribed. Provenance: The estate of Karl Priebe. This was sent as a postcard to a mutual friend of Sebree and Priebe, Frank Harriot. African-American painter. Sebree exhibited at the Art Institute of Chicago in the 1930s-40s. He also exhibited Katharine Kuh Gallery, American Negro Exposition (Chicago, 1940), Howard University, and the South Side Community Art Center (Chicago). 700-900
765. Peter W. Ostuni (American, 1908-1992), “Squares”, c. 1949; oil/board, 20” x 23”, signed and dated verso. Although Ostuni was a painter, he may be best known for his works in glass. He studied at the Cooper Union, and exhibited paintings and stained glass throughout the 1950s-70s. 1000-2000
766. Adolph Dehn (American, 1895-1968), “Beach Scene”, c.1950; watercolor/paper, 15.5” x 19.5”, signed. 1500-2000
767. Albert Pels (American, 1910-1998), “The Conductor”, c. 1950; oil/canvas, 16” x 20”, 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. 1000-1500
768. Jesus Mariano Leuus (Mexican, b.1931), “El Violinista”, c. 1969; acrylic/board, 20” x 16", signed and dated; label verso from Polsak Gallery, Mexico. Leuus was born in El Paso, Texas. He went to Mexico in 1945 and studied at the Institute of Fine Arts in Mexico City, with A. Lazo, R. Lozano, O. Romero and A. Zalce. Inspired greatly by the ancient designs of the Aztecs and Mayans, Leuus has developed a distinctive style, based on ancient history but unmistakably modern. His subjects are usually figurative. He uses a marble dust mixed with the acrylic paint to achieve texture. His recognizable style reflects a well balanced composition with minimal color, lines and figures. 1500-2500
769. Peter W. Ostuni (American, 1908-1992), “Carnival (Seaport)”, c.1955; oil/canvas, 21” x 35”, signed and dated verso. 1000-2000
770. Emmanuel Romano (American, 1897-1984), “Bondage ”, c. 1950; oil/board, 36” x 24 ”, signed. 1500-2000
771. Peter Keil (German, 20th century), “Self-Portrait with Flowers”, c.1975; oil/canvas, signed, titled with Berlin . 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. 800-1200
772. Rudolph Weisenborn (American, b.1881), “Geometric Abstraction”, c. 1955; oil/canvas, 22.5” x 30.5”, signed and dated. Important Chicago modernist. He exhibited at the Federal Art Project and the Art Institute of Chicago in 1938. Weisenborn combined references to Cubism, Expressionism, and Fauvism in a highly geometric form of painting. He was a leading figure in the avant-garde art groups, Cor Ardens, Neo-Arlemusc, and Les XX. These groups were reactionary to the conservatism of the Art Institute. He turned primarily to non-objective works in the 1930s, and was a member of the Abstract American Artists. 3000-5000
773. J. Jay McVicker (American, b.1911), “Blue Field”, c. 1975; acrylic polymer/board, 23” x 23”, signed and dated. 1500-2500
774. Emmanuel Romano (American, 1897-1984), “Figure”, c. 1956; oil/canvas, 48” x 29”, unsigned; from the estate of the artist. 1000-2000
775. Emmanuel Romano (American, 1897-1984), “Abstract ”, c. 1957; gouache/paper, 24” x 36 (oval format)”, signed and dated; label verso. 800-1200
776. Louise D. Yochim (American, b.1909), “Concord”, c. 1952; oil/board, 20” x 24”, signed and dated with a Metropolitan Museum label on verso. Yochim studied at the Art Institute of Chicago and the University of Chicago. A member of the Art League of Chicago and the American-Jewish Art Club. She exhibited at the Detroit Institute of Art, University of Chicago, and the Art Institute of Chicago. 800-1200
777. Seymour Rosofsky (American, 1924-1981), “Revolutionary War Soldier by Tree Studios” c. 1968; oil/canvas, 29” x 45.5”, signed and dated. Chicago modernist/surrealist painter. He studied and exhibited at the Art Institute of Chicago. His work is in the collections of the AIC, as well as the Los Angeles County Museum and the Museum of Modern Art. 2000-3000

Exhibited: "Capturing Sunlight, The Art of Tree Studio's:, Chicago Cutural Center, 1999, illustrated. (A copy of this catalog accompanies the lot.)
778. Ross Braught (American, 1898-1983), “Exotic Flora”, c. 1950; oil/canvas laid down on masonite, 24” x 29”, unsigned; an exhibition catalog of the artist’s work (Hirschl & Adler) accompanies the lot. Braught was a member of the Woodstock art colony in the late 1920s before taking a job as the head of the painting department at the Kansas City Art Institute in 1931. He left the Art Institute in 1936 and was replaced by Thomas Hart Benton. He went to the island of Tortola in the British Virgin Islands. Later that year, he accepted a position at Cornell University where he taught for three years. Late in 1939, Braught returned with his family to Tortola taking up residence in a hotel for seven years. During this time he traveled to Dutch Guiana to gather material for a mural he was working on at Fort Buchanan, Puerto Rico. In 1946, Braught returned to the Kansas City Art Institute where he taught until 1962. 1000-2000
779. Siegfried Reinhardt (German/American, b. 1925), lot of two drawings, one pictured: “Untitled”, c.1960; ink drawing, 19” x 26”, signed; with another work by the artist, neither framed. Important St. Louis modernist painter and designer. Reinhardt executed several murals in the St. Louis area, including a large commission of the history of flight at Lambert Airport. 500-700
780. Ross Braught (American, 1898-1983), "Phaethon", c. 1935; first edition book with original lithographs by the artist, including the original sleeve, 14" x 11" (closed). 300-500
781. Mario de Ferrante (Italian/American, 1898-1992), “Abstraction”, c.1960-70; particle board, 24” x 12”, signed. 250-350
782. Abbott L. Pattison (American, b.1916) “Abstracted Landscape”, c. 1960; oil/canvas, 28” x 42”, signed. Well known Chicago sculptor and painter. Pattison studied at Yale, and exhibited at the Art Institute from the 1940s-60s; Pennsylvania Academy of Fine Art; Whitney Museum, and the Metropolitan Museum. He taught at the Art Institute of Chicago from 1946-52 and was the sculptor-in-residence at the University of Georgia (1954). 1500-2000
783. John Wilde (American, b. 1919), “Skulls of Small Mammals (from the ‘Mostly Good Things’ series)”, c. 1973; oil/board, 8.5" x 14.5", initialed and dated; provenance: estate of Karl Priebe. Wilde was part of a group of talented surrealist painters working in Wisconsin in the second half of the twentieth century. Wilde has received a number of significant awards, among   them the Lambert Purchase Award in 1963 from the Pennsylvania Academy of the Fine Arts; the Childe Hassam Purchase Award   in 1965 and 1980 from the National Academy of Design; a Purchase Award in 1984 from the West Publishing Company, Atlanta; and a First Purchase Award in 1970 from the Butler Gallery of   American Art, Youngstown, Ohio. REF: With Friends: Six Magic Realists, 1940-1965 , Cozzolino.; Wildeworld, Panczenko and Wolff. 4000-6000
784. Gertrude Abercrombie (American, 1909-1977), “Demolition Doors.”,c.1957; oil/board, 5.5” x 8”, signed and dated. Chicago magic realist 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). 5000-7000
785. Louverture Poisson (Haitian, 1914-1984), “Vodoo Ceremony”, c. 1954; oil/canvas, 28” x 40”, signed and dated. Poisson was born in Les Cayes. He came to Port-au-Prince in 1942 to enlist in the Air Force and served as an airplane mechanic. He joined the Centre d’Art in 1945, and had a one man show there in March, 1955. 2000-3000
786. Leonardo Nierman (Mexican, b. 1932), “Song of the Sea”, c.1970; oil/masonite, 24” x 31”, signed; titled on verso. Nierman has an international reputation, and has several public commissions in Chicago, including his 25 foot sculpture, “The Flame of the Millennium” (2002). 1000-2000
787. Louverture Poisson (Haitian, 1914-1984), “Baptisme” , c. 1954; oil/canvas, 17” x 22”, signed. 1000-2000
788. Otto Rudolf Schatz (Austrian, 1901-1961), woodblock, “Mother and Child”, signed, matted, 16” x 13”. 150-250
789. Otto Rudolf Schatz (Austrian, 1901-1961), woodblock, “Three Figures”, signed, matted, 12” x 14.5”. 150-250
790. Otto Rudolf Schatz (Austrian, 1901-1961), woodblock, “Fighting Figures”, signed, matted, 15.5” x 11.5”. 150-250
791. May Todd Allen (American, 20th century), “Portrait (painted Paris)”, c. 1954; oil/canvas, 29” x 21”, signed and dated. Allen studied at the Art Institute of Chicago and with Lhote in Paris. Exhibited at the AIC, Philadelphia Artist Club, and the National Association of Women Artists (Paris), from the 1930s-50s. 400-600
792. Prefete Duffaut (Haitian, b. 1923), “Haitian Scene”, c. 1967; oil/canvas, 16" x 20", signed and dated. Duffaut was a shipbuilder before becoming a painter. He executed a mural “Temptation of Christ” in the Cathedral Ste. Trinite in Port-au-Prince. He worked in Port-au-Prince and Jacmel. REF: The NativeTradition, Haiti: The Flagg Tanning Corporation Collection, Milwaukee Art Center, 1974. 800-1200
793. George Carr (American, 20th century), “Portrait of a Black Woman”, c. 1950; 20” x 16”, unsigned; identified verso, label from the collection of Bill and Mary Cheek, Dallas. 600-800
794. Emmanuel Romano (American, 1897-1984), “Abstract Instruments”, c. 1956; oil/canvas, 40” x 41”, signed and dated; label verso. Romano was born in Rome. He exhibited at the S.P.R Galleries, NY; Lilienfeld Galleries, NY; Feigl Galleries, NY; Pennsylvania Academy of Fine Arts (1940), Whitney Museum, and at the Art Institute of Chicago. He taught at the City College of New York in the mid-1940s. One of his murals is in the Klondike Building, Welfare Island, New York. His work is included in the collections of the Boston Museum, Detroit Museum, Fogg Museum of Art, New London Museum, and the Metropolitan Museum of Art. 2000-3000
795. J. Jay McVicker (American, b.1911), “Abstract”, c. 1960; mixed media and collage, 15” x 15.5”, signed. 1500-2000
796. J. Jay McVicker (American, b.1911), “Abstract”, c. 1948; casein/thick paper, 14.5” x 22”, signed and dated. 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. This is an excellent, early example of his work in abstraction. 2500-3500
797. Mario de Ferrante (Italian/American, 1898-1992), “Abstract”, c.1950; oil/board, 23” x 23”, signed. 800-1200
798. Mario de Ferrante (Italian/American, 1898-1992), “Abstract”, c.1950; oil/board, 23” x 23”, signed. 800-1200
799. J. Jay McVicker (American, b.1911), “Abstracted Landscape”, c.1951; casein/thick paper, 15.5” x 22”, signed and dated. 2000-2500
800. Aaron Bohrod (American, 1907-1992), “Moses”, c. 1952; oil/board, 14” x 11”, signed and dated. 1800-2200
Sale Date:
March 5, 2006