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| Sale Date: May 15, 2005 |
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Lot Numbers and Descriptions
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651. Conrad Buff (American, 1886-1975), “Desert Pool”, c.1970; oil/board, 12” x 9”, signed. 1000-2000
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652. Aaron Bohrod (American, 1907-1992), “Bull”, c.1940; ceramic tile, 5.75” x 8.5”, signed. Important Chicago modernist. Bohrod created decorative objects and designed ceramics throughout his career. 700-900
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653. Frank Perri (American, early 20th century), “Stilt House”, c.1940s; watercolor/pastel on paper, 22” x 29.75”, signed. 250-350
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654. Frank Perri (American, early 20th century), “Portrait of a Young Girl with a Red Scarf”, c.1940; pastel on paper, 15” x 17”, signed. 250-350
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655. Frank Perri (American, early 20th century), “ Bathers”, c.1940; gouache/paper, 19.5” x 25.5”, signed. Perri immigrated from Italy to Chicago around 1930. His style was much more influenced by the European modern painters than American artists. 350-550
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656. Frank Perri (American, early 20th century), “ Pink Nude”, c.1940; gouache/paper, 19.75” x 13”, signed. 300-500
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657. Frank Perri (American, early 20th century), “Portrait of a Young Woman”, c.1940; oil/canvas, 20” x 16”, signed. Perri immigrated from Italy to Chicago around 1930. He exhibited at the Carnegie Institute of Art and the Art Institute of Chicago, and was President of the Oak Park Artists League. He traveled to Mexico in the late 1930s. He specialized in figurative works and urban scenes of Chicago. 350-550
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658. Frank Perri (American, early 20th century), “Outhouse”, 1942; gouache/paper, 18” x 24”, signed and dated. 350-550
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659. Frank Perri (American, early 20th century), “Chicago Street Scene”, 1931; gouache, 23.75” x 18”, signed and dated. This is an exceptional image by Perri. 600-800
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660. Frank Perri (American, early 20th century), “Children Playing in Alley”, c.1940; watercolor, 8” x 5”, signed. 350-450
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661. Frank Perri (American, early 20th century), “Mexican Girl”, c.1940; oil/canvas, 12” x 9.5”, signed. Perri traveled to Mexico in the late 1930s. 300-500
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662. Frank Perri (American, early 20th century), “ Summer Day, Oak Park”, c.1940; gouache on paper, 20” x 30”, signed. 300-500
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663. Frank Perri (American, early 20th century), “Mexican Boy”, c.1940; oil/canvas, 16” x 11”, signed. Perri immigrated from Italy to Chicago around 1930. He exhibited at the Carnegie Institute of Art and the Art Institute of Chicago, and was President of the Oak Park Artists League. He traveled to Mexico in the late 1930s. He specialized in figurative works and urban scenes of Chicago. 300-500
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664. Arnold Blanch (American, 1896-1968), “Mother and Child”, c.1930; oil/canvas, 39.5” x 28.5”, signed; labels verso from the Art Institute of Chicago (Forty-Third Annual Exhibition, 1930) and the Dudensing Gallery. Blanch studied with K.H. Miller and John Sloan at the Art Students League. He became an important member of the Woodstock artist colony and married painter, Doris Lee. He exhibited extensively from the 1930s-60s, and his work is in the collections of the Whitney Museum, Metropolitan Museum, Cranbrook Academy of Art, Denver Art Museum, and the Library of Congress. This is a major example of Blanch’s work. 8000-12,000
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665. 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. 10,000-20,000
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666. Alexander Calder (American, 1898-1976), “Circles and Spirals”, c.1970; color lithograph, 20.5” x 28.25”, signed and numbered, 59/100. Important modern sculptor, painter, and printmaker, unframed. 1000-2000
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667. Alexander Calder (American, 1898-1976), “Zurich”, c.1973; color lithograph, 26.5” x 16.75”, signed and numbered, 77/150. Important modern painter and sculptor, unframed. 1000-1500
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668. Alexander Calder (American, 1898-1976), “Triangles and Spiral”, c.1970; color lithograph, 29.5” x 43.25”, artist proof, signed, unframed. 1000-2000
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669. Alexander Calder (American, 1898-1976), “Pyramids “, c.1974; color lithograph, 21” x 28”, signed and numbered, 53/100. Important modern painter and sculptor. 1200-2200
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670. Alexander Calder (American, 1898-1976), “Pyramids”, c.1974; color lithograph, 21” x 28”, signed and numbered, 59/100. 1200-2200
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671. Alexander Calder (American, 1898-1976), “Spiral with Blue and Red”, c.1970; color lithograph, 43.25” x 29.5”, artist proof, signed, unframed. 1000-2000
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672. Joan Miro (Spanish, 1893-1983), “La Scuola di Parigi (Letter and Artist’s Sketch)”, c.1960; conte crayon/paper, double-sided, 10.5” x 8.25”, signed verso. 5000-7000
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673. Joan Miro (Spanish, 1893-1983), “Miro Lithographe”, c.1960; color lithograph, 17.75” x 14.5”, signed and numbered, 40/80. This work was the cover print from the “Miro III” portfolio, unframed. 5000-7000
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674. Joan Miro (Spanish, 1893-1983), “Miro III”, c.1960; color lithograph, 17.75” x 14.5”, signed and numbered, 40/80. From the “Miro III” portfolio, unframed. 5000-7000
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675. Joan Miro (Spanish, 1893-1983),”Miro III”, c.1960; color lithograph, 17.75” x 14.5”, signed and numbered, 40/80. From the “Miro III” portfolio, unframed. 5000-7000
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676. Pablo Picasso (Spanish 1881-1973), “Midget Dancer”, c.1966; color offset lithograph, 22.4” x 12.6”, signed in pencil; from the Barcelona Suite. 5000-7000
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677. James Coignard (French, b. 1925), “Dualite”, c.1973; carborundum gravure, 22” x 30”, pencil signed and numbered, edition of 75. Coignard studied at the Ecole des Arts Decoratifs in Nice. He worked in various mediums. 600-800
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678. Richard Muller (German, 1874-1952) “Miracle of Training”, 1911, drypoint, 11” x 17”, signed and dated. Muller is considered the “Father of Surrealism” by many art historians and “Miracle of Training” is one of the first examples that expresses the ideas behind the Surrealism Movement. In 1914, “Miracle of Training” was used as a poster for the Hagenbeck Animal Park, near Hamburg, Germany. 600-800
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679. Edgar Yaeger (American, 1904-1997), “Two Women in a Landscape”, c.1936; oil/canvas, 21” x 25”, signed and dated. Important Detroit modernist painter. Yaeger worked in Paris with Lhote and O. Friesz. He exhibited at the Detroit Institute of Art , Art Institute of Chicago, Musuem of Modern Art, and the Pennsylvania Acadeny of Fine Art (1930s-40s). His style was much more closely associated with the European modernists than the American contemporaries. 1500-2500
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680. Edgar Yaeger (American, 1904-1997), “Still Life with a Vase of Flowers”, c.1936; oil/board, 21.75” x 17.25”, signed and dated. Important Detroit modernist painter. Yaeger worked in Paris with Lhote and O. Friesz. He exhibited at the Detroit Institute of Art , Art Institute of Chicago, Musuem of Modern Art, and the Pennsylvania Acadeny of Fine Art (1930s-40s). His style was much more closely associated with the European modernists than the American contemporaries. 1000-2000
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681. Philippe Visson (American/French, b. 1942), “Two Figures”, c.1958; oil/canvas, 26” x 32”, signed. 1500-2500
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682. Joan Miro (Spanish, 1893-1983), “Untitled”, c.1975; lithograph, 29.5” x 21”, signed and numbered, 15/55 (first state). From the “Marauillas Con Variaciones Acrosticas En El Jaren de Miro” portfolio. In the first state of this portfolio, there were 7 color and 13 black and white images produced, unframed. 3000-5000
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683. Joan Miro (Spanish, 1893-1983), “Untitled”, c.1975; lithograph, 29.5” x 21”, signed and numbered, 15/55 (first state). From the “Marauillas Con Variaciones Acrosticas En El Jaren de Miro” portfolio, unframed. 3000-5000
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684. Joan Miro (Spanish, 1893-1983), “Untitled”, c.1975; color lithograph, 21” x 29.5”, signed and numbered 15/55 (first state). From the “Marauillas Con Variaciones Acrosticas En El Jaren de Miro” portfolio, unframed. 3000-5000
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685. Joan Miro (Spanish, 1893-1983), “Untitled”, c.1975; lithograph, 29.5” x 21”, signed and numbered, 15/55 (first state). From the “Marauillas Con Variaciones Acrosticas En El Jaren de Miro” portfolio, unframed. 3000-5000
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686. Joan Miro (Spanish, 1893-1983), “Untitled “, c.1975; color lithograph, 21” x 29.5”, signed and numbered 15/55 (first state). From the “Marauillas Con Variaciones acrosticas en El Jaren de Miro” portfolio, unframed. 3000-5000
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687. Jonathon Scott (British/American, b. 1914),”Woman with Parakeet”, c.1960; oil/canvas, 22” x 29”, signed; exhibition label from the Pasadena Society of Arts verso. Scott painted in California from the 1940s-60s. He exhibited in Europe as early as 1938; and then at the Pasadena Society of Arts from 1942-61, Taos Artist Association, Laguna Beach Art Association, and the Los Angeles Museum. He taught at USC and the Pasadena Museum in the 1940s-50s. 2500-4500
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688. Robert Von Neumann (American, 1888-1976), “The Good Catch”, c.1950; oil/board, 26.5” x 18.5”, signed; labels verso. Von Neumann has work in the Mobile Museum of Art, Frederick R. Weisman Art Museum and the Paine Art Center. 2500-3500
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689. Grace L. Hamilton (American, 20th century), “Boston Fish Packers”, c.1959; oil/canvas, 20” x 24”, signed; titled on verso. 2500-3500
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690. Frederick Lincoln Stoddard (American, died 1940), “Bridge Construction (Mural)”, oil/canvas laid down on board, 23 x 87. Stoddard studied in Paris and at the St. Louis School of Fine Art. He was a member of the North Shore Art Association and the Salmagundi Club, and exhibited throughout the early 20th century. Stoddard won a medal for painting at the St Louis Expo in 1904. He executed many murals in St Louis and in Kansas City. 1500-2500
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691. Frederick Lincoln Stoddard (American, died 1940), “Progress (Mural)”, oil/canvas laid down on board, 23 x 87. 1500-2500
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692. Aaron Bohrod (American, 1907-1992), “Fisherman”, c.1940; oil/canvas, 20.5” x 15”, 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. 2000-3000
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693. Richard Howard Hunt (American, 1935 ), “Grey Grey”, c.1970; handmade paper and paper pulp, 16” x 20.5”, signed and numbered, 18/50 in pencil. Highly important African-American sculptor and printmaker. Hunt, along with Sam Gilliam and Alvin Loving were faced with a new and somewhat surprising development: most Black Nationalists felt that abstract art was too mainstream, and therefore, too “white” (unless the elements of the composition emulated African design). Hunt believed that a historical perspective was important, but not as documentation, but as a vehicle for the viewer to embrace the differences and similarites simultaneously of art and artists, thus providing inspiration. 800-1200
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694. Geraldine McCullough (American, 20th century), “Dancing at the Circle Pine Recreation Center, Delton, Michigan”, c.1950; gouache/paper, 14.5” x 21”, signed. . African-American modern painter and sculptor from Chicago. McCullough studied at the Art Institute of Chicago, Northwestern University, and DePaul University. She exhibited at the Art Institute of Chicago, Howard University, Atlanta University, McCormick Place Negro Centennial (Chicago, 1963). Her work is in the collections of Oakland Art Museum, Howard University, and Concordia College. 2000-3000
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695. William Sylvester Carter (American, b. 1909), “Portrait of a Young Boy”, c.1945; pastel/paper, 18” x 14”, signed. Important African-American artist. Carter studied at the Art Institute of Chicago and the University of Illinois. He exhibited at the Chicago Art League, Illinois Federal Project, Hull House, Chicago, American Negro Expo (Chicago, 1940), Howard University, Atlanta University, and the South Side Community Art Center. REF: Afro-American Artists, Cedarholm. 1000-2000
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696. 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
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697. Grace Genoi Pettit (American, 20th century), “The St Louis Flood of ‘37”, c.1937; oil/board, 20” x 24”, signed and dated. Pettit exhibited at the Art Institute of Chicago, Kansas City Art Institute, and the Contemporary Art Gallery (NYC), all in the 1930s. She purportedly worked for a time with Thomas Hart Benton, while in New York. This work was purportedly exhibited in a competion sponsored by the St Louis Post-Dispatch focusing on the events of the natural disaster. 2000-3000
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698. J. Jay McVicker (American, b. 1911), “Prismatic Arrangement”, polymer/ canvas, 44” x 38”, 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. 3000-5000
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699. J. Jay McVicker (American, b. 1911), “Multi-Colored Fragments on Red Background”, c.1967; polymer/ canvas, 42" x 42", artist’s label verso; from the estate of the artist. 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. 4000-6000
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700. J. Jay McVicker (American, b. 1911), “Geometric Arrangement on Grey”, c.1970; polymer/ canvas, 60” x 54”, artist’s label verso; from the estate of the artist. 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. 4000-6000
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Sale Date:
May 15, 2005 |
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