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| Sale Date: May 15, 2005 |
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Lot Numbers and Descriptions
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701. J. Jay McVicker (American, b. 1911), “Yellow Vertical”, c.1970; polymer/ canvas, 48” x 80”, 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. 5000-7000
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702. Ettore Colla (Italian, 1896-1968),”Head of a Man”, c.1960; bronze with moss green patina, mounted on a wodden base, total height 20” (height of bronze alone is 11”), signed. Highly important Italian modern sculptor. Colla studied at the Academy of Fine Arts in Parma until 1921, when he left for Paris (where he worked briefly as assistant to Bourdelle and met Maillol and Despiau). H settled in Rome 1926, made portrait busts, nude figures and studies for monuments influenced by Bourdelle and Arturo Martini. He gave up sculpture temporarily in the 1940s, and began painting in an abstract style with geometric forms. He founded the group Origine 1950 with Ballocco, Burn and Capogrossi. His use of collage led in 1952 to the making of reliefs in wood and iron, and from 1954, to welded iron sculptures, most of which were assembled from found objects. His focus returned to sculpture in the 1950s-60s. 6000-8000
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703. Paul Granlund (American, b. 1925), “Female Nude”, c.1970; bronze with dark brown patina, 3”h x 9” x 7”, signed and dated, edition of 5. Granlund studied at Cranbrook Academy and the University of Minnesota. He exhibited extensively in the 1960s-70s, and his work is in the collections of Cranbrook Academy, Walker Art Center, and the Virginia Museum of Fine Art. He taught at Cranbrook and in Minneapolis. 500-700
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704. George H. Goundie (American, mid 20th century), “Monk”, c 1950; marble sculpture, overall height is 19”, wooden base is 4” h x 9”w x 6.5”d, signed on base. Goundie exhibited sculpture at the Pennsylvania Academy of Fine Art (1950s-60s), and the Milwaukee Art Institute. He was a member of the Wisconsin Painters and Sculptors. REF: George Goundie Sculpture/Joseph Friebert Paintings, University of Wisconsin-Milwaukee. 1000-2000
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705. Abbott L. Pattison (American, b. 1916),”Dancing Nudes”, c.1950; bronze sculpture, 10” x 7” x 6”, signed and stamped “Fonderia, F. Marinell, Firenze”. 800-1200
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706. Abbott L. Pattison (American, b. 1916),”Seated Nude”, c.1950; bronze relief, 16” x 12”, signed. Well known Chicago sculptor. 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). 600-800
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This collection of 11 works by American Pop Art icon, Jim Dine, is being deaccessioned by the Illinois Institute of Technology, and the proceeds benefit the College of Architecture.
Jim Dine was born in 1935 in Cincinnati, Ohio. He studied at the University of Cincinnati and the Boston School of Fine and Applied Arts. His professional career began in 1959, when he moved to New York and staged his first “Happenings” exhibition at the Reuben Gallery. He executed paintings, sculptures, graphics, collages, and assemblages, which set words and phrases, as well as images of everyday objects, against an undefined background space. The objects were at once the universal and the personal, the poetic and the ironic; reflecting the artist’s own life perspective. The iconic images served metaphorically as a self-portrait of the artist. This collection, made up of artworks executed between 1960 and 1971, represent the early oeuvre of Dine. It was this period of work that made him one of the most intensely fascinating and formidable figures among artists of the 1960s. The Illinois Institute of Technology was created in 1940, when the Armour Institute and the Lewis Institute merged. Chicago’s well-known Institute of Design, which was founded by Lazlo Moholy-Nagy in 1937, then merged with the IIT in 1949. The Main Campus, and many of the buildings, located at 33rd Street and State Street in Chicago, were designed by Ludwig Mies van der Rohe, who also served as the Director of the School of Architecture from 1938-1958. In 1976, the American Institute of Architects recognized the campus as one of the 200 most significant works of architecture in the United States. |
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707. Jim Dine (American, b. 1935), “Betsey Ross Flag & Banner Co.”, felt wall hanging, 92" x 70", edition of 30. 6000-8000
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708. Jim Dine (American, b. 1935), “Cars, Cars”, c.1960; gouache/paper, 24” x 36”, signed and dated. 4000-6000
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709. Jim Dine (American, b. 1935), “Nancy and I in Ithaca”, c.1967; lithograph, 22” x 18.5”, signed and dated in pencil. 1000-2000
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710. Jim Dine (American, b. 1935), “My Yellow Car”, c.1960; gouache/paper, 24” x 36”, signed. 4000-6000
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711. Jim Dine (American, b. 1935), “Red Boots on a Black Ground”, c.1965; felt wall hanging, 58” x 59”, signed in thread. 6000-8000
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712. Jim Dine (American, b. 1935), “Wall (The Wolfman)”, c.1967; etching with colors, 31” x 22”, 32/120, signed, dated, and numbered in pencil. 1000-2000
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713. Jim Dine (American, b. 1935), “Hamentashen + Rainbow”, c.1965; hand-colored etching, 30” x 22”, signed and dated. 1000-2000
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714. Jim Dine (American, b. 1935), “The Poet Assassinated”, c.1971; hand-colored etching, 28” x 21.5”, 37/ 75 , signed and dated. 1000-2000
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715. Jim Dine (American, b. 1935), “Cars Will Wink”, c.1960; gouache/paper, 23.75” x 35”, signed; exhibition labels verso. 4000-6000
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716. Jim Dine (American, b. 1935), “Untitled (Five Hearts)”, c.1966; lithograph, 27.5” x 40”, 30/32, penicl signed, dated, and numbered. 1000-2000
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717. Jim Dine (American, b. 1935), “Hair”, c.1969; a pair of pencil drawings, 20” x 25” (each), signed and dated. 4000-6000
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718. Mario de Ferrante (Italian/American, 1898-1992), “Energy”, c.1950; oil/canvas, 30” x 40”, signed. Studied with Antonio Mancini in Italy before coming to the United States in 1922. He was one of the original followers of the Italian Manifesto, ringing in Futurism. 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. The futurists worshipped science and industry, and believed that human emancipation would arrive in its vehicle. Traditional compositions in art were abandoned, and dynamic, abstract compositions were favored. When he first came to the US, he executed murals and alfresco, as well as being one of the first members of the Serigraphy Institute of Los Angeles. DeFerrente continued to work in Los Angeles, establishing a studio in Glendale. His work was included in many successful exhibits in the L.A. area. His work is in the collections of the Library of Congress, U.S. Bureau of Information (Wash. DC), Princeton, Yale, and Brigham Young Universities. 2000-3000
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719. Mario de Ferrante (Italian/American, 1898-1992),”Bird of Prey”, c.1950; oil/masonite, 23.5” x 24”, signed. 600-800
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720. Mario de Ferrante (Italian/American, 1898-1992), “Untitled”, c.1950; oil/masonite, 20” x 24”, signed. 600-800
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721. Edward Gioachino Giobbi (Italian/American, b. 1926), “Home for Danny Basen”, 1971; mixed media (including pastel, pencil, and collage), 18” x 19.5”, signed, dated, and inscribed. Abstract painter, active in Provincetown, MA in the 1950s-60s. He was the artist-in-residence at Dartmouth in 1972. His work is in the Tate Museum, Boston Museum, Whitney, and the Art Institute of Chicago. 800-1200
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722. Turtle (American, 20th century), “Untitled”, c.1970; oil/canvas, 29” x 32”, signed; provenance: Lytton Collection. Turtle purportedly worked with Helen Frankenthaler. 600-800
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723. Claude Bentley (American b. 1915), “Montenegro”, 1959; oil/canvas, 42” x 50”, signed and dated on front. Title on verso. He exhibited from 1940-60s, at the Denver Art Museum, Art Institute of Chicago, Association of American Artists (Chicago), Corcoran Gallery, San Francisco Museum of Art, and the Whitney Museum of American Art. 1500-2500
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724. E. Oscar Thalinger (American, 1885-1965), “Abstracted Still Life”, c.1957; oil/board, 12.5” x 24”, signed and dated. 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. 1000-2000
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725. Claude Bentley (American b. 1915), “White Space”, 1956; oil/canvas, 16” x 28”, signed and dated; artist tag verso with title. He exhibited from 1940-60s, at the Denver Art Museum, Art Institute of Chicago, Association of American Artists (Chicago), Corcoran Gallery, San Francisco Museum of Art, and the Whitney Museum of American Art. 800-1200
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726. Arthur Okamura (American, b. 1932), “Moon Flower”, c.1963; oil and wax/canvas, 23.6” x 23.6”, signed and dated. Okamura studied at the Art Institute of Chicago and the University of Chicago. He exhibited extensively in the 1960s-70s, at the Oakland Art Museum, San Francisco Museum of Art, Whitney Museum, and in Japan. He taught at several institutions in Chicago in the 1950s, as well as California School of Fine Art and the Saugatuck (Michigan) Summer School. 600-800
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727. Mario de Ferrante (Italian/American, 1898-1992), “Untitled”, c.1950; oil/masonite, 24” x 20”, signed. 600-800
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728. Mario de Ferrante (Italian/American, 1898-1992), “Untitled”, c.1950; oil/masonite, 23.5” x 24”, signed. 600-800
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729. Mario de Ferrante (Italian/American, 1898-1992), “Untitled”, c.1950; oil/masonite, 23.5” x 24”, signed. 600-800
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730. Allen Erskine Philbrick (American, 1879-1964), lot of three works, one pictured: “Textile Industry Worker”, c.1940; watercolor, 8” x 10”, signed, with two similar works by the same artist. Chicago artist. Philbrick studied at the Art Institute of Chicago, and exhibited from the 1920s-40s. 1000-1500
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731. W.J. Scott (American, 1870-1940) lot of two works, one pictured: “Mining Area”, c.1930; pastel/paper, 13.5” x 17.5”, unsigned; with another similar image by Scott, which is signed. Scott exhibited at the Art Institute of Chicago in the 1920s. He was a friend of Thomas Hart Benton, and spent summers painting with him. 1000-1500
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732. Hugo J. Pieper (American, early 20th Century), “Dock Scene”, c.1950; oil/canvas, 23” x 29”, signed. Chicago artist. Pieper exhibited at the Art Institute of Chicago in the late 1940s - 1950s. He also exhibited in the Upper Mississippi Vallley Expo in 1951 and the Magnificent Mile Exhibition (1950s). 1000-2000
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733. Clifford Harrison Strohl (American, b. 1893), “Lobster Trap, Maine”, 1940; oil/board, 18” x 25”, unsigned; label verso Robert Henry Adams Fine Art, Chicago. Strohl worked primarily in Pennsylvania. 1500-2000
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734. Robert Collins (American, 20th century), “Islands, State of Washington”, c.1950; watercolor, 8” x 13”, signed; label verso reads: Ford Times Art Collection for Schools, and “Indian Village of La Push”. 300-500
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735. Diane Duvigneaud (American, mid 20th century), “Reconstruction”, c.1950; oil/canvas, 30” x 22”, signed; exhibition tag verso. Chicago modernist painter. Duvigneaud exhibited at the Art Institute of Chicago in the 1940s, and the Corcoran Gallery in the 1950s. 600-800
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736. Mario de Ferrante (Italian/American, 1898-1992), “Leaves”, c.1940; oil/board, 30” x 16”, signed. This is a fine early example for this artist. 600-800
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737. 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
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738. Annette Dufresne (American, 20th century), “Young Girl with Daisies”, c.1940; oil/canvas, 24” x 18”, signed. Chicago artist and wife of Oak Park painter, Frank Perri. 250-350
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739. Harold Cohn (American, b. 1908), “Bather”, c.1940; oil/board, 12” x 8”, signed. Detroit area modernist painter. He exhibited throughout the 1930s-40s , and he taught at the Detroit Society of Arts and Crafts. 600-800
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740. Edna Wolff (Henner) Maschgan (American, 1907-2001), “Portrait of a Woman”, c.1930; oil/canvas, 24” x 20”, signed. Double sided painting, verso; Still Life with Compote, c.1930. Maschgan studied at the Art Institute of Chicago, and with Diego Rivera in Mexico in the late 1920s. She worked as a WPA artist, and exhibited at the National WPA Conference of Artists (1940). She exhibited at the Art Institute of Chicago, Palette and Chisel Academy of Fine Arts, ULC Art Competititon, Associated American Artists, and the Illinois State Museum. 1000-1500
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741. Eda Cushing (American, early 20th century), “Ozark Landscape”, c.1940; oil/canvas, 18” x 27”, signed. 200-400
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742. Michael Gloeckner (American, 1915-1989), “Untitled”, c.1970; oil/canvas, 10” x 8”, initialed. 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. 500-700
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743. Mark Kostabi (American, b. 1960), “The Kiss”. o/c, 20" x 20", Kostabi was born in Los Angeles. He moved to New York in the 1980s, and became a central figure in the East Village art scene. He was closely associated with Andy Warhol, and created Kostabi World, a studio/gallery comprised of artists and “idea people” to assist in his work. 3000-4000
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744. J. Jay McVicker (American, b. 1911), “Blue and Yellow Fragments on Red Background”, c.1970; polymer/ canvas, 48” x 28”, 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. 2500-3500
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745. Joseph Meert (American, 1905-1989), c.1960; oil/canvas with collage, 40” x 36”, signed. Born in Belgium and immigrated to the United States in 1910. He studied at the Kansas City Art Institute and at the Art Students League with John Sloan, Kenneth Hayes Miller, and Thomas Hart Benton. He was a member of the American Artists Congress and exhibited at the Pennsylvania Academy of Fine Art, Kansas City Art Institute, Corcoran Gallery, World’s Fair New York 1939 (purchase prize); Whitney Museum of American Art, Library of Congress, 44th Street Gallery, New York, 1948; Artists Gallery, New York, 1949 (first solo show in New York); “NYC WPA Art” at Parsons School of Design, 1977; Pollock-Krasner House,1994 (solo). His work is included in the collections of WPA post office murals. Abstract expressionist and friend of Jackson Pollock and others of Thomas Benton’s circle of ASL students. Meert painted social realist works early in his career before turning to abstraction. 3000-5000
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746. Toko Shinoda (Japanese, b. 1913), “Echo”; color lithograph, 18/25, 26” x 20”, signed. Shinoda has exhibited in Tokyo, Germany, Hong Kong, Finland. He is in the collections of the Art Institute of Chicago, Guggenheim Museum, Museum of Modern Art and many others. 800-1200
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747. Toko Shinoda (Japanese, b. 1913), “Voice of the Cosmos”; color lithograph, 26/28, 26” x 20”, signed. Shinoda has exhibited in Tokyo, Germany, Hong Kong, Finland. He is in the collections of the Art Institute of Chicago, Guggenheim Museum, Museum of Modern Art and many others. 800-1200
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748. Sydney Jonas Budnick (American, 1921-1994), “Linear Construction”, c.1940; oil construction (3-D),20” x 16”, signed on verso. Budnick was part of an exclusive group of artists influenced by Mondrian, which included Holtzman, Holty, and Diller. He studied with Hans Hoffman in New York, and met Mondrian in 1940. After serving in the army from 1942-46, he worked at the Institute of Design with Moholy-Nagy. Budnick was included in an important exhibition organized by Katherine Kuh at the Art Institute of Chicago in 1948, entitled, “American Abstract and Surrealist Art”. His work is included in the collections of the Guggenheim Museum and the Museum of Modern Art. 4000-6000
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749. Angelo Testa (American, b. 1918), “Untitled”, c.1970; watercolor/paper, 8” x 8”, signed. Testa studied at the Institute of Design in Chicago from 1940-1945 with Moholy-Nagy and Marli Ehrman. Well known for his graphic design. His industrial clients included Knoll, Herman Miller, Edward Field, Marx and Co., Schumacher and TWA. He received several “good design” awards from the Museum of Modern Art. Testa mostly abandoned textile design after 1970 and focused on painting and sculpture. 2000-3000
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750. Daniel Massen (American, 1896-1979), “59-1”, c.1959; oil/board, signed and titled on verso. Massen’s paintings which were exhibited at the Art Institute of Chicago in the 1940s bared similar numbers. Important painter and teacher of the Institute of Design (Chicago). He exhibited at the Art Institute of Chicago and the Phillips Academy, Maryland. His work was highly influenced by the work of Charles Biederman. Massen’s work is featured in a new book titled, Abstract American Art of the 1930s and 1940s, the collection of J. Nichols. 5000-7000
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Sale Date:
May 15, 2005 |
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