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Sale Date:
May 15, 2005
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Lot Numbers and Descriptions
751. Werner Drewes (American, 1899-1985),”Dynamic Forms”, c.1960; tempera/masonite, 39” x 33”, signed. Important American modern painter and printmaker. Drewes was highly influenced by the printmaking tradition of the German Expressionists, and continued his craftsmanship at the Bauhaus. He became close friends with Kandinsky, Klee, Moholy-Nagy, and Oskar Schlemmer. Drewes moved to New York in 1930, met Katherine Drier, and became involved with the Societe Anonyme. He was also a founding member of the American Abstract Artists in 1937. Drewes taught at Columbia University, Washington University, and the Institue of Design (with his friend, Moholy-Nagy). 3500-5500
752. DeHirsh (Herch) Margules (American, 1899-1965), “Dance of Jazz Hours”, c.1958; triptych, oil/paper, each image 18” x 23”, signed and dated. New York City and Woodstock, NY painter. Margulies exhibited as early as the 1920s, at the Woodstock Art Association, Art Institute of Chicago, and the Whitney Museum. His work is in the collections of the University of Arizona, University of Georgia, Museum of Modern Art, and the Boston Museum. 1000-2000
753. Leroy Neiman (American, b. 1926), “Olympic Hurdler”, c.1972; colored silkscreen, 26” x 20”, signed. Neiman studied at the Art Institute of Chicago and the University of Illinois. He was the resident artist of the New York Jets, and the official artist for ABC’s “Wide World of Sports”, as well the official artist for the Olympic Games in Munich (1972). 1000-1500
754. DeHirsh (Herch) Margules (American, 1899-1965), “Dance of Life”, c.1958; triptych, oil/paper, each image 18” x 23”, signed and dated. New York City and Woodstock, NY painter. Margulies exhibited as early as the 1920s, at the Woodstock Art Association, Art Institute of Chicago, and the Whitney Museum. His work is in the collections of the University of Arizona, University of Georgia, Museum of Modern Art, and the Boston Museum. 1000-2000
755.. Ray Johnson (American, 1927-1995), “Five Massage Balls”, c.1968; color silkscreen, 22” x 29”, signed in pencil; Richard Feigen Gallery labels verso. Johnson was an important member of the Black Mountain College group, and worked with Robert Motherwell and Joseph Albers. He was the founder of the mock “New York Correspondence School of Art”, and was the leading practioneer of “mail art”. He was a painter, printmaker, collagist, and a performance artist. His work is in the collections of the Art Institute of Chicago, Whitney Museum of Art, and the Museum of Modern Art. 500-700
756. Eduoard Buk Ulreich (American/Austrian, b.1889) “Head of a Woman”, c.1920; pencil drawing and watercolor, 9” x 9”, signed with monogram. Painter and designer during the Art Deco period. WPA artist. Ulreich painted murals for Radio City Music Hall. Ulreich exhibited at the Art Institute of Chicago, Dudensing Gallery (NYC), Vienna Secession, and the Pennsylvania Academy of Fine Art. He illustrated several magazine covers in the 1920s-30s. This is an early example of this artist’s work, which the consignor acquired directly from the artist’s nephew. 600-800
757. Robert Stackhouse (American, b. 1942), “Passings” (diptych), 1981; lithograph, 30” x 85”, signed and dated. Stackhouse is a printer and sculptor who has exhibited in museums and galleries across the United States. “Passings” was a part of The Trisolini Print Project at Ohio University. 2500-4500
758. Myron Kozman (American, b.1916)”Composition”, c.1960; oil and mixed media/paper, 11” x 9”, signed and dated verso. Kozman was friend of Moholy-Nagy and taught silkscreen at the Institute of Design. He was one of the first graduates of the Institute of Design, and his work is in the collections of the Art Institute of Chicago, Library of Congress, and the Bloch Gallery (Northwestern). An example of his silkscreen work is illustrated in Moholy’s book, “Vision and Motion”. 400-600
759. Bill Barrett (American, b.1934), “ Directional Abstraction”, c.1995;oil/canvas, 20” x 16”, signed. Painter and sculptor. Barrett studied at the University of Michigan. His work is in the collections of Neiman - Marcus, Hitachi, San Francisco Museum of Art, Virginia Museum of Art, and the Utsukushi-ga-Hara Museum (Tokyo). He regularly exhibits at the Navy Pier in Chicago. 2000-3000
760. John Sennhauser (Swiss/American, 1907-1978 ), “Whimsical No#4”, c.1970; oil and mixed media, 33” x 36”, signed and dated; provenance: Wichita State University collection. In the 1940s, Sennhauser worked on the staff of the Museum of Non-Objective Painting with Hilla Rebay. He joined the American Abstract Artists in 1945. REF: American Abstract Art of the 1930s and 1940s; The J. Donald Nichols Collection, Wake Forest University. This is an exceptional inon-objective image by the artist. 3000-5000
761. Michael Gloeckner (American, 1915-1989), “Lisboa My Love”; 1976-77, oil/canvas, 20” x 20”, 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
762. Michael Gloeckner (American, 1915-1989), “Leguria #2”; 1965, oil/canvas, 20.25” x 20.25”, initialed; signed, titled and dated on verso. 600-800
763. Louise Woodroofe (American, early 20th century), “Abstract Composition”, c.1950; 25” x 25”, signed. Woodroofe worked in Champaign, IL, and later taught at the University of Illinois. During the 1930s she traveled with the Ringling Brothers Circus, painting various scenes of circus life, then in the late 1940s-60s, she turned to abstraction, working frequently in collage. She exhibited at the Pennsylvania Academy of Fine Art, National Association of Watercolor Painters, Cincinnati Art Museum (1920s), Butler Art Institute, and at galleries in New York. 500-700
764. Iver Rose (American, 1899-1972), “Three Rabbis”, c.1950; oil/board, 16” x 10”, signed. 800-1200
765. Harold Cohn (American, b. 1908), “Reclining Nude”, c.1940; charcoal/watercolor, 10.25” x 17.75”, signed. Detroit modernist painter. 600-800
766. Peter Keil (German, 20th century), “Zigarette”, c.1963; oil/board, 16” x 12”, signed and dated. 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 “Zigarette”, c.1963; oil/board, 16” x 12”, signed and dated. 800-1200
767. Michael Singer (American, b. 1945), lot of four prints, one pictured: “Untitled”, c.1980; lithograph, 18” x 30”, signed; with three other similar works from the same series. Singer is known for his sculpture and printmaking. The series of four prints was a part of The Trisolini Print Project at Ohio University. 1000-1500
768. Werner Emil Groshans (German/American, 1913-1986), “The Animal Trainer”, c.1950; oil/canvas, 16” x 20”, signed; title on verso. Interesting surrealist work. 400-600
769. Mario de Ferrante (Italian/American, 1898-1992),”Gradations”, c.1950; oil/masonite, 23.5” x 24”, signed. 600-800
770. Lee Chubb (American, 20th century), “Blue E”, c.1960; collage, 24” x 18”, signed in pencil. Chubb exhibited at the St. Louis Artist Guild. Provenance: the estate of the artist. Chubb worked in St. Louis, executing paintings, collages, and sculptures. 250-350
771. Copeland Charles Burg (American, 1895-1961), “Rhubarb and Two Oysters”, c.1942; casein/paper, 21.75” x 31.25”, signed; AIC exhibition label verso, 1942 (watercolor exhibition). Chicago modernist painter. He studied at the University of Washington before moving to Chicago, and exhibited throughout the 1930s-40s, at the Art Institute of Chicago, Portland Art Museum, Pennsylvania Academy of Fine Art, San Francisco Art Association, Carnegie Institute, Whitney Museum, Metropolitan Museum of Art, and the Santa Barbara Museum of Art. His work is in the collections of the Art Institute of Chicago and the Pennsylvania Academy of Fine Art. 800-1200
772. Louise Woodroofe (American, early 20th century), “Circus Abstraction”, c.1950; collage, 11" x 11", signed. Woodroofe worked in Champaign, IL, and later taught at the University of Illinois. During the 1930s she traveled with the Ringling Brothers Circus, painting various scenes of circus life, then in the late 1940s-60s, she turned to abstraction, working frequently in collage. She exhibited at the Pennsylvania Academy of Fine Art, National Association of Watercolor Painters, Cincinnati Art Museum (1920s), Butler Art Institute, and at galleries in New York. 300-500
773. James Rosenquist (American, b. 1933), poster, c.1972; “Eine Ausstellung des Wallraf-Richartz-Museums in der Kunsthalle Koln; Jan 29-Mar 12, 1972, edition of 190, 39” x 29”. 600-800
774. Samuel Bookatz (American, b. 1910), “Abstract”, c.1960; oil/canvas, 34” x 36”, signed. Washington, D.C.painter and sculptor. Bookatz exhibited from the 1930s-60s, and his work is included in the collections of the Corcoran Gallery, Whitney Museum, Norfolk Museum of Art & Science, and the Cleveland Museum of Art. He was associated with the White House in the 1940s as a painter. 800-1200
775. Louise Woodroofe (American, early 20th century) “Circus Abstraction”, c.1950; oil/board, 24” x 30”, signed. 500-700
776. Dale Chihuly Macchia sculpture, 1990, hand-blown glass sculpture in cadmium yellow with blue macchia and a red lip wrap, two pieces, engraved signature and date to base of center piece, 32”w x 35”d x 16”h, no chips or cracks, mint original condition 20,000-30,000

In Italian, “macchia” means “stain” or “spot.” Chihuly began the Macchia series in 1981, and focused on making forms on a scale of three to four feet. The lot includes the original shipping cartons.
777. Edward Wormley armchairs, pair, by Dunbar, walnut frames with original blue leather upholstery, unmarked, 23.5”w x 25”d x 31.5”h, refinished, very good condition 500-700
778. Edward Wormley Magazine table, by Dunbar, sap walnut top over a mahogany frame with two molded mahogany magazine holders, original finish, marked with green metal tag, paper label and “Dunbar for Modern” tag, 25”w x 25.25”d x 22”h, excellent condition 1200-1500
779. Edward Wormley lamp tables, pair, by Dunbar, 1940s, mahogany, two-tiered forms over three tapered and flared legs, signed with burned “Dunbar” mark, original finish, 22”dia. x 28”h, very good original condition 1800-2200
780. Edward Wormley lounge chairs, pair, by Dunbar, original blue leather upholstery over mahogany frames, one marked with rectangular brass tag, original finish, 26”w x 30.5”d x 30”h, very good condition 1800-2200
781. Edward Wormley coffee table, by Dunbar, pentagon-shaped form in dark mahogany with inset burled wood top and sculptural stretcher to base, original finish, marked with rectangular brass tag, 48”dia. x 17”h, excellent condition 1500-2000
782. Fine Edward Wormley cabinet, by Dunbar, c.1960, walnut case with sap walnut accordian doors over X-shaped legs with brass trim, interior contains two shelves, beautifully refinished, 51.5”w x 14.75”d x 40.25”h, excellent condition 4000-5000
783. Edward Wormley sofa, by Dunbar, geometric form with angled sides over sculpted mahogany legs, reupholstered, 84”w x 32”d x 27.5”h, very good condition 3000-3500

Edward Wormley designed this sofa to fit under a bay window in the home of Harold Sprunger.
784. Edward Wormley drop-leaf table, by Dunbar, mahogany, original finish, marked with green metal tag, 53.75”w x 15”d x 29.5”h, open: 60”d, very good condition 900-1200
785. Edward Wormley armchairs, pair, by Dunbar, solid ash frames with stainless steel stretchers and original black leather upholstery, marked with brass “D”, original finish, 25.25”w x 27”d x 32”h, very good condition 900-1200
786. Edward Wormley sideboard, by Dunbar, bleached mahogany, three drawers above four sliding doors with original rabannas straw cloth fronts, interior consists of center shelves flanked by five drawers on each side, burned mark “Dunbar for Modern”, 81.5”w x 18”d x 32”h, refinished, very good condition 2500-3000
787. Dunbar desk, c.1960s, long and narrow form covered in light and dark wood-grain laminate, two drawers with original ring pulls and one shallow drawer under desktop, marked with brass D Contract Division tag, 53.5”w x 17.5”d x 29.5”h, very good condition 400-600
788. Edward Wormley console/sofa table, by Dunbar, model no. 4760, mahogany, two-tier form with slight concave curve to edge of top, refinished, paper Dunbar label, 48”w x 18”d x 28.5”h, very good condition 1000-1500
789. Edward Wormley Magazine Tree, by Dunbar, birch trunk and limbs with sap walnut shelves, paper Dunbar label and burned mark, refinished, 28”w x 16”d x 24.5”h, crack to top shelves as is common with this form, good condition 2000-2500
790. Edward Wormley Janus Collection sofa, by Dunbar, large upholstered form with down-filled back cushions over wood legs, reupholstered, 87”w x 34”d x 28.5”h, good condition 900-1200
791. Edward Wormley Janus Collection lounge chair and ottoman, by Dunbar, down-filled back cushion, ottoman marked with brass D tag, chair: 30”w x 34”d x 28.5”h, ottoman: 28.5”w x 17”d x 15.5”h, reupholstered, good condition 600-800
792. Edward Wormley Executive furniture, by Dunbar, three pieces, dark mahogany cabinets with oak tops, two door cabinet (pictured at left) with one shelf, 32"w x 20"d x 25"h, tamboured door cabinet (center) with two shelves and one pull-out shelf, 48"w x 20"d x 25"h, and bookcase (right) with one shelf, 32"w x 20"d x 25"h, two marked with brass “D" tags, original finish to all, very good condition 600-900
793. George Nakashima drop-leaf table/console, by Widdicomb, trapezoidal top with rounded corners and one half-circle drop side, center leg pulls out to support top, with side up: 59"w x 47.5"d x 28.5"h, with side down: 22"d, refinished, very good condition 2000-2500
794. George Nakashima New chairs, set of four, by Nakashima Studios, solid walnut frames and plank seats with hickory spindles to back, original finish, 18.5”w x 19”d x 35.5”h, very good condition 7000-9000
795. Fine George Nakashima cabinet, by Widdicomb, seven drawers at left with cutout pulls, four shallow drawers above one door with two shelves on right side, marked with cloth Widdicomb tag and burned mark “George Nakashima”, original finish, 47”w x 22.25”d x 49.5”h, excellent condition 4500-5500
796. Harry Bertoia Sonambient sculpture, 1970, 103 Beryllium copper rods in five rows silvered to a rectangular brass base, 10”w x 6”d x 28”h, excellent condition 20,000-30,000

Acquired directly from the estate.
797. Unusual Natzler vase, small form with a thick and textured red clay body with a light green glazed interior, thrown by Gertrude Natzler and termed "massive" by Otto, painted signature, these examples are rare, 2.5"h 1500-2500
798. Nice Natzler bowl, flared form covered in a multi-tone brown and red glaze, signed, paper label with #F089, 6.25"w x 3.25"h, minor repaired chips to rim 900-1200
799. 1950s Modern lounge chair, maker unknown, in the style of Le Corbusier’s Basculant armchair, tubular brass frame supports the original tan leather sling seat, unsigned, 30”w x 25”d x 26.75”h, leather seat reinforced from the back, very good condition 1800-2200
800. Erik Herlow “Obelisk stainless steel flatware, by Copenhagen Cutlery, Denmark, eight 6-piece place settings comprised of knife, fork, salad fork, spoon, soup spoon and butter knife, also includes seven extra soup spoons and three serving spoons, marked, knife: 8.75”l, one salad fork missing, very good original condition 700-900
Sale Date:
May 15, 2005