Sale Date:
Sunday, May 23, 2004
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Lot Numbers and Descriptions
Estimate
751. Harry D. Bouras (American, b. 1931), mixed media, 14” x 11”, signed. Important Chicago modernist painter and sculptor. He was artist in residence at the University of Chicago and Columbia College (Chicago) in the 1960s.
400-600
752. Leo Manso (American, b. 1914), “Untitled”, c. 1970; acrylic/canvas, 51” x 51”, identified by label verso: Edwin A. Ulrich Museum of Art, Wichita State University, Kansas.
1500-2500
753. Louise Woodroofe (American, 20th century ), “Composition”, c. 1960; paper collage, 7” x 10.5”, unsigned, provenance: the estate of the artist, Champaign, Illinois.
500-700
754. Kenneth Shopen (American, 1902-1967), “Positions”, c. 1964; ink drawing, 13.5” x 19.5”, signed and dated; titled verso, provenance: R.H. Love Galleries, Chicago.
500-700
755. Robert L. Bailey (American, 20th century), c. 1969; oil/canvas, 50” x 40”, signed and dated verso. Bailey studied at the Art Institute of Chicago and the Summer School in Saugatauk, Michigan. He exhibited extensively in the Chicago area.
1500-2500
756. Louise Woodroofe (American, 20th century), “Abstract Composition”, c. 1950; gouache/paper, 15” x 11”, signed.
400-600
757. John Saccaro (American, 1913-1981), “Untitled”, c.1956; oil/canvas, 49” x 39”, signed and dated.
2500-4500
758. Salvador Dali (Spanish, 1904-1989), “The Laser Unicorn Disintegrates the Horns of the Cosmic Rhino”, c. 1974; color lithograph, 29” x 22”, signed, numbered 158/195, and dated in pencil.
600-800
759. Jon R. Schueler (American, 1916-1992), “Summer Sea Remembered I”, c.1973; oil/canvas, 30” x 36”, signed and titled verso. REF: Nature in Abstraction, Bauer; School of New York, B. Friedman; ACA Galleries, NY.
800-1200
760. Latin American School, “The Jockey”, c.1960; oil/masonite, 24” x 29”, bears signature on verso, “Cammusso, M.A.”.
300-500
761. Peter Keil (German, b. 1942), “Abstract Woman”, c. 1980; oil/board, 26” x 20”, signed; label on verso with title.
800-1200
762. Cynthia Polsky (American, b. 1939), “Corinth”, c.1970; acrylic/canvas, 84” x 72”, identified on label verso from Wichita State University (Edwin A. Ulrich Museum of Art). Polsky studied with Will Barnet and at the New School for Social Research in New York.
1000-1500
763. Glen Price (American, 20th century), “Cosmic Compulsion”, c. 1949; oil/board, 17.5” x 17.5”, signed; titled and dated verso.
500-700
764. Paul Wieghardt (German/American, 1897-1969), “Untitled”, c.1950; oil/canvas, 12” x 13”, initialed.
600-800
765. Matt Glazner (American, b. 1970), “The Resistance”, c. 2000; acrylic/canvas, signed; signed, dated, and titled on verso. Contemporary Oklahoma City painter.
300-500
766. Louise Dunn Yochim (American, b. 1909), “Untitled”, c.1960; oil/board, 40” x 30”, signed; tag on frame indicates that this work may have won the Emily J. Bernstein Award. Chicago modernist painter.
1000-2000
767. Mario de Ferrante (Italian/American, 1898-1992), “Abstract Composition”, c.1960; oil/canvas, 30” x 24”, signed.
600-800
768. Robert Martin Harvey (American, b. 1924), “Untitled”, c.1959; oil/canvas, 47.5” x 71.5”, signed and dated.
500-1000
769. Robert Martin Harvey (American, b. 1924), “January Lagoon (Stinson Beach)”, c.1960; oil/canvas, 71.5” x 47.5”, signed and dated.
500-1000
770. Gus Foster (American, b.1940), “Shofield Pass Road”, c. 1981; panorama Circut photograph, 9” x 80”, edition of 15, signed.
1000-2000
771. Harvey Littleton glass sculpture, “Cut Red Concentric Ellipsoid”, 1985, artist’s registration no. 5-1985-3, Barium/potash glass with multiple cased overlays of ruby, white, gold and blue, etched signature and number, 9”w x 13”h x 4”d, excellent condition

The lot includes two appraisals by Maurine Littleton Gallery (dated 1993 and 2001) as well as copies of the original purchase invoice from 1988.

Harvey Littleton is considered by many to be the father of the studio glass movement in the United States. He was born in Corning, NY in 1922, and was introduced to glass at an early age by his father, director of Research at Corning Glass Works. He received an M.A. from Cranbrook and established the first glass program at an American University — the University of Wisconsin — where he taught until 1977. His students included Dale Chihuly and Fritz Dreisbach. His work is represented in many museums and institutions.
35,000-45,000
772. Rare Gio Ponti Diamond pattern two-piece salad set, by Reed & Barton, 1958, sterling silver and black plastic, 13”long, very good condition
600-800
773. Large Gio Ponti Diamond pattern sterling silver flatware set, by Reed & Barton, 1958, 93 pieces of solid sterling, the set consists of 12 six-piece place settings (salad fork, dinner fork, knife, soup spoon, place spoon and butter knife), 8 cocktail forks and 13 serving pieces (sugar tongs, jelly spoon, cheese server, pie/cake server, carving fork, two large serving spoons, slotted spoon, cold meat fork, ladle, master butter knife, sugar spoon, and olive/pickle fork), stamped marks “Reed & Barton Sterling”, excellent condition
12,000-15,000
774. Large Ronald Pearson bowl, c.1950, hand-made form of spun bronze produced by Pearson at Shop One in Rochester, New York, stamped mark “Ronald Hayes Pearson”, 13.5” dia. x 2.25”h, light surface scratches, otherwise excellent original condition
500-700
775. Donald Deskey presentation cigarette box, manufactured by Poole, sterling silver with wood interior, engraved “To Donald Deskey/With Thanks and Best Wishes/Board of Governors Wall Street Club/May 1, 1962”, 7.5”w x 3.5”d x 1.75”h, excellent condition
900-1200
776. Ludwig Mies van der Rohe Barcelona chairs, pair, by Knoll International, 1960s, original tufted black leather cushions on polished steel X-frames, both signed with Knoll tag, 30”w x 30”d x 30”h, very good original condition
3500-4500
777. Early Michael and Frances Higgins Rondelay screen, c.1960, 48 round fused glass disks of various colorways in a six by eight composition, 35”w x 48”h as shown, also includes one Rondelay sample made without hardware (not shown), original spacers replaced with small springs, two broken connectors at bottom right rondelay, glass in excellent condition
3500-4000
778. Fine George Nelson Marshmallow sofa, by Herman Miller, 1960, original green vinyl upholstery over polished and enameled steel base, signed with round metal George Nelson tag and paper label, 51.5”w x 31”d x 31”h, foam still pliable, upholstery very clean, excellent original condition
18,000-25,000
779. Fine Charles and Ray Eames LCW, by Herman Miller, molded birch plywood seat, back and frame with original red aniline-dyed finish, original shock mounts, oval mount to back, original finish, 22”w x 24”d x 26.75”h, excellent original condition
1500-2000
780. James Prestini turned wood bowl, c. 1949, burned mark “PRESTINI” to bottom, 4.5”dia. x 1.5”h, excellent condition
600-800
781. Charles and Ray Eames 670 lounge chair, by Herman Miller, molded rosewood plywood shell with down- and foam-filled black leather cushions over a five-point aluminum base, signed with round metal tag and paper label, original finish, 32”w x 35”d x 32”h, excellent condition
1000-1500
782. Charles and Ray Eames 670/671 lounge chair and ottoman, by Herman Miller, molded rosewood plywood shell with down- and foam-filled black leather cushions over a five-point aluminum base, signed with paper label, original finish, 32”w x 35”d x 32”h, ottoman: wood is faded, light wear to leather, very good condition
1800-2200
783. Rude Osolnik candleholders, set of four, hand-turned forms in solid walnut, two large and two small, large: 10”h, small: 6”h, excellent condition
700-900
784. Charles and Ray Eames OTW (occasional table wood), by Herman Miller, 1940s, birch plywood legs and plywood top with original black micarta laminate surface, original finish, 35”w x 24”d x 15.5”h, excellent condition
1000-1500
785. George Nelson Thin Edge cabinet, by Herman Miller, walnut case with five drawers and white hourglass pulls over walnut legs, signed with round metal tag, dividers in two drawers, original finish, 40”w x 18.5”d x 40”h, very good condition
2500-3000
786. Fontana Arte occasional/snack table, attribution, Italy, 1950s, black lacquered frame with four tapered legs with brass caps, glass top with exposed edge and solid brass handle, original finish, illegible stamped marks, 19.5”dia. x 20.25”h (to glass), light wear to finish, very good condition
700-900
787. Gio Ponti cabinet, by Singer, USA, 1950s, mahogany case with three spring-loaded doors with gold leaf finish over four split brass legs, left door and center door conceal four drawers, right door conceals one adjustable shelf, signed with Singer tag, 72”w x 20”d x 30”h, scratch to one door, original finish, very good condition
2000-2500
788. Tommi Parzinger coffee service, by Dorlyn Silversmiths, USA, brass, coffee pot with wood handle and warming stand, creamer and sugar with lid, all with stamped marks, coffee pot” 11.75”h without stand, creamer: 5”h, very good condition
400-500
789. Carlo Moretti glass vase, Murano, Italy, c.1968, opaque tan glass encased between layers of clear glass with geometric dark brown applied decoration, signed with clear decals “Carlo Moretti murano italia” and “vetri murano”, 14”h, excellent condition
600-800
790. Baker low lounge chair, from the Far East Collection, 1950s, ebonized wood frame with original textured light green upholstery, original finish, signed with Baker metal tag, 28.25”w x 26”d x 26.5”h, very good condition
400-600
791. Baker low lounge chairs, pair, from the Far East Collection, 1950s, ebonized wood frames with original textured light green upholstery, original finish, signed with metal Baker tags, 28.25”w x 26”d x 26.5”h, very good condition
800-1000
792. Charles and Ray Eames child’s stool, by Evans Products, 1945, from a limited production of 5000 chairs and stools, molded birch one-piece form, 14”w x 10”d x 9”h, refinished, restoration to one corner of top, very good condition
1800-2200
793. Charles and Ray Eames RAR rocking chair, by Herman Miller, 1960s, off-white fiberglass shell over birch runners with zinc struts, signed with round metal tag, original finish, 25”w x 25”d x 27”h, excellent condition
500-700
794. Isamu Noguchi coffee table, by Herman Miller, 1950s, ebonized birch two-piece base with aluminum rod connector supports original biomorphic 3/4” thick green glass top, original finish, 50”w x 36”d x 15.75”h, very small chip to glass, very good condition
1000-1500
795. Isamu Noguchi lamp, for Knoll, 1950s, three tapered cherry supports with original plastic and fiberglass paper shade, all original, 7”dia. x 16”h, one wrinkle to shade, very good condition
800-1200
796. Charles and Ray Eames RAR rocking chair, by Herman Miller, 1960s, beige fiberglass shell over birch runners with zinc struts, 25”w x 25”d x 27”h, runners refinished, very good condition
500-700
797. Charles and Ray Eames PKW chair, by Herman Miller, 1949, black wire seat with original Postman’s Bag tan leather cushion over wire and walnut dowel base with swivel mechanism, original finish, signed with Venice, CA paper label, 19”w x 21”d x 31”h, very good original condition
700-900
798. George Nelson Home Office desk, by Herman Miller, no.4658, walnut with inset leather work surface and lift-up compartment with original leather pull and removable storage, floating organizer with compartments and removable trays concealed by leather-covered sliding doors, brushed steel legs and perforated sliding file basket, 54”w x 28”d x 40.75”h, original finish to all, excellent condition
5000-7000
799. Charles and Ray Eames Zenith PAW shell chairs, pair, by Herman Miller, greige rope-edge shells over birch dowel bases, swivels, both signed with Zenith label, original finish to dowels, 25”w x 23.5”d x 31”h, both in excellent original condition
1800-2500
800. George Nelson Platform bench, by Herman Miller, 1950s, birch top over ebonized wood legs, original finish, signed with paper Herman Miller tag, 68”w x 18.5”d x 14.25”h, wear to finish, very good condition
700-900
Sale Date:
Sunday, May 23, 2004