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Sale Date:
May 7, 2006
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Lot Numbers, Descriptions and Estimates
701. James Topping (American, 1879-1949), “Autumn Lake”, c.1920; oil/board, 9” x 12”, signed, label verso from Grable’s Art Gallery (Oak Park), original frame. Chicago impressionist. Primarily a landscape painter, Topping exhibited at the Hoosier Salon, Art Institute of Chicago, and the Brown County Art Association (1910s-40s). 700-900
702. Frank Benson (American, 1862-1951), “Black Birds”, ca.1920; etching, 10” x 14”, signed, matted, framed. 500-1000
703. Enoch (Ted) Vognild (American, 1880-1928), “Weeping Willows”, c.1925; oil/canvasboard, 20” x 16”, signed. Vognild and his wife, Edna were both painters in Chicago. “Ted” studied with Woodbury in Maine, and in France. He exhibited at the Art Institute of Chicago and the Norwegian Club (1925). It is apparent from this and other works we have seen that they both painted in New Orleans at some point. 500-700
704. Frank Benson (American, 1862-1951), “Sand Pipers”; etching, 8.5” x 12”, signed, matted, framed. 500-1000
705. E. Maxwell Albert (American, b. 1890), “Village Scene in Winter”; oil/canvas, 13.5” x 10.5”, signed, framed. Son of Ernest Albert, with whom he painted in Old Lyme, CT. 1500-2000
706. after Claude Michel (Clodion) (French, 1738-1814), “Bacchante”, 19th century, bronze with gold dore finish, 13” total height, signed. 1000-2000
707. after Eugène Louis Lequesne (French, 1815-1887), “Reclining Figure”, c. 1870; bronze, 9”l x 4” h, signed. 800-1200
708. after L. Eisenberger (German, 19th century), “Standing Figure”, c. 1880; bronze with green marble base, 11.5” total height, signed. 500-1000
709. Julius R. Palme (Swedish, 19th-20th century), “Portrait of a Young Man”, c. 1891; oil/canvas laid down on masonite, 23” x 17”, signed and dated. 800-1200
710. George W. Drew (American, 1875-1968), “Peace and Quietude”; oil/canvas, 19” x 23.5”, signed. 800-1200
711. Dean Cornwell (American, 1892-1960), "Study for Wartime Evacuation"; pencil and conté crayon on paper, 20" x 15", matted, framed. 800-1200
712. Carl Martin Raschen (American, b. 1882), “The Swimming Hole”, c.1925; oil/canvas, 39” x 73”, signed and dated. Raschen painted in Rochester, New York and at the artist’s colony in Woodstock, NY. He studied with Gilbert Gaul and exhibited at the Rochester Art Club, Beach Combers (New Jersey), and the Woodstock Artist Association. 7000-9000
713. Frank A. Brown (American, 1876-1962), “Market in Algiers”, c.1925; oil/canvas, 15” x 18”, signed; Paris address written on verso. Boston painter. He studied at the Boston School of Painting and in Paris. He was a member of the Societe Internationale d’Aquarellistes (Paris) Societe Coloniale des Artistes Francais, and the Salmagundi Club. He exhibited at the Society of Independent Artists, National Academy of Design, Art Institute of Chicago, and the Pennsylvania Academy of Fine Art. His work is in the collections of the Los Angeles County Museum, Pasadena Art Institute, and the San Francisco Museum of Art. 800-1200
714. Ernest Fredericks (American, early 20th century), “Autumn Landscape”, c.1920; oil/canvas, 30” x 35”, unsigned, fine hand-carved frame. Chicago landscape painter. He exhibited at the Art Institute of Chicago (1924-26). 2000-3000
715. Eugene Higgins (American, 1874-1958), “Monk Walking to Cathedral”; etching, 5.25” x 4.25”, signed, matted, framed. 200-300
716. Jess Hobby (American, early 20th century), “Old Barn in a Landscape”, c.1930; oil/canvas, 23” x 27”, signed. Hobby worked in Oak Park, IL. He painted primarily landscapes of Illinois and Indiana. 3000-5000
717. Walter Krawiec (American, b. 1889), “Circus Group”, c. 1925; oil/canvas, 22” x 18”, signed. Chicago painter, cartoonist, and illustrator. Krawiec was best known for his scenes of circus performers and horses. This is an excellent example of his work. 2000-3000
718. John Duillio (American, 20th Century), “Boss Gun”, ca. 1969; gouache, 15.5” x 11.5”, signed, framed. 500-1000
719. Minnie Harms Neebe (American b.1873), “Portrait of Louis (Neebe)”, c.1930; oil/canvas laid down, 22” x 20”, signed; titled verso, label from Art Institute of Chicago verso. Minnie Neebe and Louis were both well known Chicago area painters. 700-900
720. John Wesley Hardrick (American, 1891-1968), “Portrait of a Young Girl”, c. 1930; oil/board, 34” x 28”, signed. Highly important African-American painter from Indianapolis. 2000-3000
721. Herbert M. Stoops (American, 1888-1948), “What Did You Say?”, oil/canvas, 30” x 40”, signed, framed. 3000-5000
722. Wayman Adams (American, 1883 - 1959), “Portrait of a Girl”, c.1930; oil/canvas, 20” x 16”, signed. Adams srted his career in Indiana, and studied at the John Herron Art Institute. He later painted in New Orleans and in Texas. An enthusiastic advocate of “alla-prima” painting, Adams painted in the style of Chase and Henri, often completing a portrait in a sitting of three or four hours. 2500-4500
723. Henry A. Thiede (American, b. 1871), “Regular Republicans”, c. 1915; gouache/board, 19” x 26”, signed. Chicago painter and illustrator. He exhibited at the Palette and Chisel Club and the Art Institute of Chicago in the 1920s. 300-500
724. Dennis Sheehan (American, contemporary), “Dusk”, c. 2005; oil/canvas, 8” x 10”, signed. Contemporary landscape painter whose work is inspired by George Inness and other artists of the19th century. Sheehan studied under Robert Cormier and Richard Whitney. He is a member of the Guild of Boston Artists. 400-600
725. Dennis Sheehan (American, contemporary), “House in a Landscape”, c. 2005; oil/canvas, 9” x 12”, signed. 400-600
726. Richard Kruger (American, b. 1880), “Desert landscape”, c.1915; oil/canvas, 20” x 24”, signed. California painter. Kruger arrived in Los Angeles in 1907, and established a studio in the Majestic Building. He left for San Francisco in 1918, and while there, he painted and designed furniture and metalwork. He remained in San Francisco until the mid-twenties, then after spending a few years in Europe, returned to Los Angeles. He exhibited in Chicago in 1909 with the Southern California Artists. REF: Artists in California, 1786-1940 , Hughes. 600-800
727. Brian Sindler (American, b. 1957), “Flowering Landscape”, c. 2005; oil/canvas, 20” x 24”, signed, nicely framed. Contemporary Chicago painter. 1000-1500
728. Molly Williams Hand (American 1892-1951), “The Magie House, Woodstock, NY”, c.1938; oil/board, 20” x 24”, signed; titled and dated verso. 700-900
729. Lawrence McConaha (American, b.1894), “Summer Landscape with River”, c.1930; oil/board, 20” x 24”, signed. 1000-2000
730. Louis Leprince-Ringuet (French, 20th century), “Urban Winter Scene, c. 1940; oil/canvas, 25” x 32”, signed and dated (portrait painted on verso), unframed. Known primarily as a physicist specializing in sub-atomic particles and cosmic rays. 700-900
731. Louis Dali (French, 1905-2001), “Paris in Winter”, c. 1965; oil/canvas, 20” x 24”, signed. 700-900
732. Louis Dali (French, 1905-2001), “Paris Scene ”, c. 1965; oil/canvas, 20” x 24”, signed. 700-900
733. Roger Chaput (French, 20th century), “Paris Street Scene”, c.1960; oil/canvas, 26” x 32”, signed. 600-800
734. Louis Dali (French, 1905-2001), “Paris Street”, c. 1965; oil/canvas, 9.5” x 10.5”, signed. 400-600
735. Louis Dali (French, 1905-2001), “Paris Street”, c. 1965; oil/canvas, 8.5” x 10.5”, signed. 400-600
736. Robert Philipp (American, 1895-1981), “Shelly”; oil/canvas, signed, "8 x 10", framed. 300-500
737. Elliot Lloyd (American, b. 1937), “Jewel #2”, c. 1957; oil/masonite, 47.5” x 39”, signed and dated; titled verso. Lloyd worked in New York City, and exhibited at the Whitney in the 1960s. 1500-2000
738. Peter W. Ostuni (American, 1908-1992), “Abstracted Harbor”, c.1950; oil/canvas, 19.5” x 27”, unsigned, accompanied by a letter from Ralph Ostuni, the artist's nephew, dated verso. 700-900
739. Peter W. Ostuni (American, 1908-1992), “Abstracted Figures”, c.1950; oil/canvas, 30” x 36”, 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
740. Charles Quest (American, 1904-1993), “Still Life with Flowers and Fruit”, c. 1965: watercolor/paper, size, signed and dated. Quest worked in St Louis. He exhibited throughout the 1930s-70s, at the Worlds Fair New York, Art Institute of Chicago, Museum of Modern Art, St Louis Artist Guild, and the National Academy of Design. 500-700
741. Arthur Okamura (American, b. 1932), “Park’s Summer”, c.1961; gouache, 21” x 29”, signed and dated; label verso from Fen Garten Gallery (NY). 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. 800-1200
742. Bruno Cassinari (Italian, 1912-1992), “La Donna entre il Teatro ”, c. 1950; oil/canvas, 20” x 16”, signed; titled on verso. Italian painter. He made his début as a painter in 1940 with a one-man show in the Galleria di Corrente. At that time the Corrente was the artistic circle most concerned with introducing Italian culture to the rest of Europe. In 1946 he was one of the signatories of the manifesto of the Nuova Secessione Artistica Italiana, which became known as the Fronte Nuovo delle Arti in 1947. After meeting Picasso in 1949 in Antibes, he abandoned tonal qualities in favour of a prismatic and strident coloration. His friendship with Picasso led to a one-man show in 1950 at the Musée Picasso in Antibes. Cassinari remained in Antibes until 1953. In 1950 he was awarded the Gran Premio for painting at the Venice Biennale, and in the following year he was invited to exhibit in a one-man show at the São Paulo Biennale. 3000-5000
743. Aligi Sassu (Italian, b. 1912), “Portrait of a Boy in a Red Cap”, c.1945; oil/canvas, 20” x 16”, signed. Italian painter, printmaker and sculptor. The son of the Sardinian Socialist Antonio Sassu, he was largely self-taught. At the age of only sixteen, Sassu exhibited the geometrized “Man Drinking at the Spring” at the Venice Biennale of 1928 and participated in Futurist exhibitions. Around 1930, with Raffaele de Grada and Renato Birolli, he was influenced by the idealist aesthetics of Edoardo Persico. As a result, Sassu opposed Novecento classicism with a loose, painterly treatment of intensely coloured figures. His series alternated between the archaizing nudes of “Red Men” and the contemporary life of “Caffè” (the latter was painted in Paris, where he exhibited in 1934 with Francis Gruber and Fiorenzo Tomea) He also met Léger, Magnelli and de Pisis in the mid 1930s. 8000-10,000
744. Macena Barton (American, 1901-1986 ), “Portrait of Jose Mojica”, c. 1929; oil/canvas, 42” x 43”, signed. 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.
Exhibited: Art Institute of Chicago, 1929

Jose Mojica (Mexican, 1895-1974) was a well known singer and actor, and was one of Barton’s lovers.

REF: Chicago Modern 1893-1945: Pursuit of the New, Terra Museum Exhibition Catalog; Annual Exhibition Records of the Art Institute of Chicago, Falk. 10,000-15,000
745. Fernando Luis (DOMINGUEZ) (Cuban/American,1932-1983), “The Cardinal and the Nun”, c. 1974; watercolor/paper, 22” x 30”, signed and dated. The large surrealist paintings that Dominguez produced toward the end of his career were only one aspect of his art, which also included drawings, engravings and ceramics. His work, first shown at the Lyceum in Havana in 1962, has been exhibited internationally and was included in the Outside Cuba exhibition. He received an honorable mention at the IV Paris Biennial and an award for drawing at the VIII International Competition of the Fundación Joan Miró in Barcelona. His pieces are in the permanent collections of the museums of modern art of Madrid, San Sebastian and Santiago de Chile, and in the Museo Nacional de Bellas Artes in Havana. He lived in Spain and France between 1970 and 1976, when he moved to Miami. He was known professionally as Fernando Luis. He admired the work of Picasso, Goya, and particularly Jose Luis Cuevas and Francis Bacon. He also enjoyed Antonia Eiriz’s work. 3000-5000
746. J. Jay McVicker (American, b.1911), “Red, White and Blue”, c. 1955; carved wood sculpture with paint, 12”h, signed and dated 1976 on base. 800-1200
747. J. Jay McVicker (American, b.1911), “Yin/Yang”, c. 1955; carved wood sculpture, 10”h, signed and dated 1966 on base. Oklahoma painter, sculptor, and printmaker. McVicker studied at Oklahoma State University, and eventually taught there. He executed 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. 800-1200
748. J. Jay McVicker (American, b.1911), “Abstract Composition”, c. 1960; collage and mixed media/board, 22.5” x 15”, signed. 1000-2000
749. Fernand Léger ( French, 1881-1955), “Project Tapisserie”, c.1945; gouache/paper, 9” x 12.25”, initialed; bears Leger Museum stamp of authentication. Painter, draftsman, illustrator, printmaker, stage designer, film maker and ceramicist. Among the most prominent artists in Paris in the first half of the 20th century, he was prolific in many media and articulated a consistent position on the role of art in society in his many lectures and writings. His mature work underwent many changes, from a Cubist-derived abstraction in the 1910s to a distinctive realist imagery in the 1950s. Léger attracted numerous students to his various schools, and his ideas and philosophy were disseminated by modern artists throughout Europe and the Americas.

Exhibited: Nassau County Museum: Fernand Leger (1999) 30,000-50,000
750. Anthony John Padovano (American, b.1933), “Study for Sculpture #7”, c. 1967; ink drawing, 26” x 20”, signed; label from Bertha Schaefer Gallery verso. 500-700

Provenance: Art Collection of the First National Bank, Chicago. This work is listed in the catalog of the collection (c. 1967); p.192
751. Bertram A. Goodman (American, 1904-1988), “Vita Kaps”, c.1940; oil/canvas, 8” x 24”, signed; titled verso. Student of Benton and Mahonri Young. He exhibited throughout the 1930s-40s. His style was somewhere between traditional “American Scene” painting and neo-primitive, reminiscent of Burliuk. 800-1200
752. WITHDRAWN
753. Michael Goldberg (American, b. 1924), “Earth Rythms”, c. 1974; oil and pastel/masonite, 26” x 23”, signed and titled verso, label from Paley & Lowe, Inc. Second generation Abstract Expressionist painter. After WWII, Goldberg returned to New York, studying with Jose de Creeft and Hans Hofmann. Hoffman remained a strong influence upon his work, as did Roberto Matta and Arshile Gorky, but it was Willem de Kooning, and his use of fiery brush-work and explosive color, who would prove to be Goldberg’s greatest influence. 2500-3500
754. Medard P. Klein (American, 1905-2002), “Phantasie”, c. 1940; collage and mixed media, 21.5” x 14.5”, signed; label from Temple University Library. Klein was both innovative and successful working in a wide range of mediums, including collage and lithographic techniques. 2000-3000
755. Andre Masson (French, 1896-1987), “Les Europhages”, c. 1962; color aquatint, 12.75” x 9.5”, signed and numbered 9/10 in pencil. 2000-3000
756. Santos Zingale (American, b. 1908), “The Crossing”, c. 1951; oil/masonite, 36” x 24”, signed, label from the Wisconsin Painters and Sculptors Exhibition, 1952, on verso. Zingale worked in Milwaukee. He exhibited throughout the 1930s-50s, at the Wisconsin Painters and Sculptors, PAFA, Art Institute of Chicago, and the Butler Institute of Art. This is a striking modern image and an excellent example of his work. 7000-9000
757. Robert E.L. Jones (American, b.1913), “Peace! Equality! Brotherhood!”, c. 1945; oil/canvas, 24” x 18”, unsigned, artist identified on verso* (Jackson State Museum ,Jackson , Mississippi). Born in Lynchburg, Virginia, Robert Edmond Jones was an African-American painter active in Chicago where he studied at the Hull House and the Art Institute of Chicago. He was a founding member of the National Conference of Artists, and his work is in the Negro History Hall of Fame and the Chicago Coliseum. REF: Six Black Masters, Bearden and Henderson; The Crisis, 1940-49; New York Herald Tribune, “Negro Students Hold Their Own Art Exhibition” (1935); Afro-American Artists, Cedarholm. 4000-6000
758. Vinol M.S. Hannell (American, b.1896), “The Strand”, c. 1926; oil/canvas, initialed and dated; titled verso. Important Chicago modernist painter. Hannell exhibited at the Art Institute of Chicago throughout the 1920s-30s, as well as the Society of Independent Artists. Hannell was known as a painter and sculptor. This austere image of industry in early 20th century Chicago is remarkable in the fact that, although it is a literal depiction of a place, there is virtually nothing familiar or natural about its content.

Exhibited: All-Illinois Society of Fine Arts, Illinois Academy of Fine Art 7000-9000
759. Lundy Siegrist (American, 1925-1985), “Fishing Boat”, c.1960; oil/masonite, 48” x 25”, signed, original frame. Well-known Bay Area painter. This is an outstanding example of his work. 4000-6000
760. Grace Hamilton (American, early 20th century), “Lucky Lady Mine (Mullan, Idaho)”, c. 1940; oil/canvas, 24” x 30”, signed; titled verso. 1500-2000
761. Michiel Gloeckner (American, 1915-1989), “1000 and One Nights”, c.1968; oil/canvas, 36” x 36”, initialed; 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 Color-Field paintings. This is the best example of this artist’s work we have seen offered at auction. 2000-3000
762. J. Jay McVicker (American, b. 1911), “Prismatic Arrangement”, polymer/ canvas, 44” x 38”, signed and dated. 2500-4500
763. James Granberry Davis (American, b. 1931), “Man with Fishes”, c. 1990; oil/canvas, 40” x 30”, signed. His work is in the collection of the Hirshhorn Museum and Sculpture Garden. In May, 1999, his work was featured at Riva Yares Gallery in Santa Fe, New Mexico in an exhibition titled “An Evolving Document: The Animal in Retrospect.” Contemporary Arizona painter. 3000-5000
764. Priscilla Warren Roberts  (American, 1916 - 2001), “Portrait of an Artist as a Young Man”, c. 1970; oil/board, 20” x 24”, signed; titled verso. She studied at Radcliffe College for a year before moving to the Art Students League and National Academy of Design, from 1939 to 1943. She also studied at Yale University’s School of Art. In 1946, she began a long association with Grand Central Galleries (NYC). Her work is represented in permanent collections are the Metropolitan Museum of Art, Cincinnati Art institute and the National Museum of American Art in Washington, D.C. 2500-3500
765. Peter Keil (German, 20th century), “Repose”, c.1980; oil/canvas, 39.5” x 58.5”, signed, inscribed, “Berlin”, imperfections. 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. 1500-2000
766. Annette Dufresne (American, early 20th century), “Girl in Blue Dress”, c. 1940; oil/canvas, 30" x 24", initialed. Dufresne was the wife of Chicago painter, Frank Perri. Her works are mostly figurative and are influenced by the German Expressionists. This is an excellent example of her work. 800-1200
767. 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
768. J. Jay McVicker (American, b.1911), “Monolithic Blacks”, c. 1988; oil/canvas, 44” x 32”, signed and dated. Oklahoma painter, sculptor, and printmaker. McVicker studied at Oklahoma State University, and eventually taught there. He executed 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. 2000-3000
769. Michiel Gloeckner (American, 1915-1989), “Late Afternoon in Winter”, c.1973; oil/canvas, 23.5” x 29.5”, initialed; 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 Color-Field paintings. 1000-2000
770. John Krushenick (American, b. 1927), “Supper on the Beaverkill”, c. 1964; oil/canvas, 12” x 18”, signed and dated; label from Dorsky Gallery (NY) verso. Krushenick and his brother, Nicolas, founded the Barta Gallery in NYC. He studied with Hans Hofmann, and exhibited at Leo Castelli and MoMA Tokyo. He was the director of the Dorsky Gallery in the early 1970s. 600-800
771. Harold Zussin  (American, 1915 - 1994), “Young Woman”, c. 1975; oil/masonite, 12.5” x 11”, signed and dated. 400-600
772. Eli Levin (American, b. 1938), “Serenade”, c. 1982-86; tempera/board, 12” x 16”, signed and dated. Levin exhibited at the Jamison Galleries, Fenn’s Gallery, Realist Gallery, Zaplin-Lampert Gallery, and the Ernesto Mayans Gallery (all in Santa Fe, New Mexico). 1000-2000
773. Samuel Greenburg (American, 1905-1980), “Young Boy”, c. 1945; oil/canvas, 34.5” x 20”, signed. Chicago modernist. He exhibited extensively in the 1930s-50s, and his work is included in the collections of MoMO and Bezalel Museum, Israel. 1000-2000
774. George Colin (American, contemporary), “Plantation Workers”, c.2000; pastel, 11” x 29”, signed, unframed. Colin is a contemporary folk artist from Salisbury, Illinois who has a significant following in Chicago and the Midwest. His work is in the collections of Oprah Winfrey and Michael Jordan. 500-700
775. George Colin (American, contemporary), “Pumpkin Market”, c.2000; pastel, 22” x 30”, signed, unframed. 500-700
776. 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. 2500-3500
777. Lundy Siegrist (American, 1925-1985), “Floral Still Life”, c.1960; oil/masonite, 19” x 16”, signed. Well-known Bay Area painter. 700-900
778. Lundy Siegrist (American, 1925-1985), “Floral Still Life”, c.1960; oil/masonite, 18” x 15”, signed. Well-known Bay Area painter. 700-900
779. Gregory Orloff (Russian/American, 1890-1981), “On the Hilltop”, c.1932; woodblock print, 16” x 13”, signed in pencil; provenance: the estate of the artist, collection of Harlan J. Berk, Chicago. Orloff was an accomplished printmaker, and this is a fine example of his work. 600-800
780. J. Jay McVicker (American, b.1911), “Horses”, c. 1948; oil/canvas, 18” x 24”, signed. This is an exceptional early work by this artist. 2500-3500
781. Aaron Bohrod (American, 1907-1992), “Portrait of a Woman”, c.1940; watercolor, 10” x 8”, signed; illustrated in the Bohrod book. 2500-3000
782. Miriam R Frasch (American, 20th century), “Resting”, c. 1940; oil/canvas, 30” x 38”, signed. Columbus, Ohio painter. Frasch exhibited Corcoran Gallery of Art, Pennsylvania Academy of Fine Art, and the Butler Art Institute in the 1930s-40s. 3000-5000
783. LePoris (American, early 20th century), “Portrait of a Black Man with a Guitar”, c. 1937; oil/canvas, 25” x 21”, signed and dated. LePoris worked in Indianapolis. 800-1200
784. Paul Holland (American, 20th century), “Ready for the Fair”, c. 1940; oil/canvas, 18” x 24”, signed; titled on frame. 800-1200
785. Dewey Albinson (American, 1898-1971), “A Vent in the Loft (Don Quixote, Volume I, Chapter XVI)”, c. 1940; oil/canvas, 18” x 24”, signed; titled verso. Minneapolis painter. Albinson studied at the Minneapolis School of Art, Art Students League, and in Europe. He was a member of the Minneapolis Art Association, and exhibited in the 1920s-30s at the Minneapolis Institute of Art, Whitney Museum, and the Art Institute of Chicago. 800-1200
786. Dewey Albinson (American, 1898-1971), “Encounter with Guinart (Don Quixote, Volume II, Chapter LX)”, c. 1940; oil/canvas, 28” x 36”, signed; titled verso. 800-1200
787. Dewey Albinson (American, 1898-1971), “The Slaying of the Giants by an Ancient Knight (Don Quixote, Volume I, Chapter XXXII)”, c.1940; oil/canvas, 28” x 40”, signed; titled verso. 800-1200
788. Louise Dunn Yochim (American, b. 1909), “Still Life”, c.1960; oil/canvas, 48” x 34”, signed. Chicago modernist painter. She studied at the Art Institute of Chicago, and exhibited at the Artist League, Chicago; American-Jewish Art League; Detroit Institute of Art; and the University of Chicago. 800-1200
789. Ivo Saliger (Austrian, 1894-1987), “Justice”, c. 1920; color etching, 18” x 25.5” , signed. 500-700
790. Frank Perri (American, early 20th century), lot of two works: “Mexican Girl”, c, 1938; oil/canvas, 14” x 18”, signed; with a work on paper of people playing checkers. 400-600
791. Henry N. Rasmusen (American, b. 1909), “Fish”, c. 1951; oil/board, 10” x 8”, initialed; museum label verso. Utah/Texas modernist. Rasmusen studied at the Art Institute of Chicago. He was a memebr of the Utah State Institute of Fine Art and the San Francisco Art Association. He exhibited extensively in the 1930s-50s, and taught at the Universtiy of Texas. 800-1200
792. Medard P. Klein (American, 1905-2002), “Untitled”, c.1939; oil/canvas, 36" x 30", signed, dated. Provenance: Estate of the Artist; Harlan Berk Collection, Chicago. 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. Klein rarely executed works like this with such a specific and ominous narrative. The artist’s departure from a non-objective format points to a certain urgency in this work, and adds a sense of passion not immediately apparent with more formally structured compositions. 9,000-12,000
793. Claude Bentley (American b. 1915), “Untitled”, 1955; oil/canvas, 26” x 20”, 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. 800-1200
794. Medard P. Klein (American, 1905-2002), “Untitled” , c.1940; graphite drawing, 15” x 19”, signed. 800-1000
795. Medard P. Klein (American, 1905-2002), “Inscape #27” , c. 1936; graphite drawing, 13” x 16”, signed, artist label verso with title. 800-1000
796. Alexander Corazzo (American/French, 1908-1971), “Abstract”, c.1940; oil/masonite, 7" x 10", signed on verso. Non-objective painter and member of the New Bauhaus. He studied in France at La Martiniere, Lyon (1920-24), and the Conservatoire Nationale de Musique de Lyon (1918-24). He was a member of two non-objective painter’s groups: American Abstract Artists (NYC) and the Abstraction-Creation Group (Paris). He exhibited throughout the 1930s-40s at the Art Institute of Chicago, Detroit Institute of Art, Carnegie Institute, San Francisco Museum of Art and the Stendahl Gallery (Los Angeles). 1000-2000
797. Joseph Sullivan Bolt (American, b. 1921), “Hieratic Group”, c.1952; oil/board, 18” x 23”, signed and dated, unframed. Bolt studied at the University of Georgia, and with Jean Charlot. He was a member of the College Art Association. 500-700
798. Eduoard Buk Ulreich (American/Austrian, b.1889), “Figure in an Abstract Composition”, c. 1960, collage and mixed media, 20” x 12”, signed. Painter and designer during the Art Deco period. WPA artist. Ulreich exhibited at the Art Institute of Chicago, Dudensing Gallery (N.Y.C.), Vienna Secession, and the Pennsylvania Academy of Fine Art. 1000-1500
799. David Hockney (British, 1937), “Green, Grey, and Blue Plant”, c.1986; handmade print in colors, 16.9” x 22” (two panels side by side), signed and dated; Andre Emmerich label verso. 3500-4500
800. J. Jay McVicker (American, b.1911), “Untitled”, c. 1970; photocollage/masonite with applied paint, 16” x 16”, signed. This is an exceptional early work by this artist. 600-800
Sale Date:
May7, 2006