On-Line Condition Reports
Session 2 & 3
Sale Date:
September 12, 2004
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Lot Numbers and Descriptions
Estimate
801. Dewitt Hardy (American, b.1940), “Still Life”, c.1990; watercolor, 7" x 8.5", signed. Maine contemporary artist. Hardy frequently worked in watercolor, and specialized in still lifes and portraits of abandoned buildings.
400-600
802. Robert J. Lee (American, b. 1921), “Man with a Birdcage”, c.1950; oil/board, 18" x 12", signed. Lee studied at the Academy of Art, San Francisco. He exhibited at the Art Institute of Chicago (1940s); Butler Institute of Art; and the Connecticut Association of Fine Artists.
300-500
803. Sybilla Mittel Weber (American, 1892-1957), “Hawaiian Woman Resting”, c.1940; oil/masonite, 30" x 24", signed twice. Weber exhibited throughout the 1930s-40s, and her work is in the collections of the Library of Congress, Smithsonian, and the Honolulu Academy of Art.
2000-4000
804. Vincente Viudes (Spanish, 1916-1984), “Still Life”, c.1960; oil/canvas, 25" x 36", signed.
1800-2500
805. Wolf Kahn (German/American, b. 1927), “Sailing Ships” , c.1980; pastel, 8" x 10", signed. Kahn studied at the New School for Social Research with Stuart Davis, and with Hans Hofmann. He worked in oil and pastel, and executed abstracted harbors and landscapes.
1200-1700
806. Allen Erskine Philbrick (American, 1879-1964), “Industrial Worker”, c.1940; watercolor, 8" x 10", signed. Chicago artist. Philbrick studied at the Art Institute of Chicago, and exhibited from the 1920s-40s.
800-1200
807. Allen Erskine Philbrick (American, 1879-1964), “Industrial Worker”, c.1940; watercolor, 8" x 10", signed. Chicago artist. Philbrick studied at the Art Institute of Chicago, and exhibited from the 1920s-40s.
800-1200
808. Sheila Myer (British, early 20th century), “Leisure”, c.1937; oil/canvas, 26" x 20", initialed, “S.E.M.”; artist’s full name and title on label verso from Brook Street Galleries, London. Myer participated in an exhibition entitled, Paintings of Jamaica and Portraits.
600-800
809. Aaron Bohrod (American, 1907-1992), “Acrobat”, c.1930; oil/paper, 14" x 19", signed.
2500-3500
810. Hilaire Hiler (American/French, 1898-1966), “The Jockey Club”, c.1929; lithograph, 8.75" x 11", pencil signed and dated; inscribed, “Paris, #8”. Hiler studied in the U.S. before leaving for France in 1919. There, he studied at the University of Paris and ran a jazz club. He moved to San Francisco in the 1930s, and executed murals for the WPA. He spent some time in L.A. before returning to Paris. This is a very early image for the artist.
1000-2000
811. Janet Folsom (American, b. 1905), “Fishing”, c.1940; oil/canvasboard, 20" x 24", signed. Folsom studied at the Boston School of Art and the Cleveland School of Art. She exhibited at the Portland (Maine) Society of Artists, National Academy of Design, and the Marblehead Artist Association (1940s).
3000-5000
812. Mark Kostabi (American, b. 1960), “Dancers in Space”, c.1997; oil/cardboard, 33" x 45", signed and dated. 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.
3000-5000
813. William Charles Palmer (American, 1906-1987), “Zero Afternoon”, c.1960; oil/canvas, 16" x 20", signed and dated; labels verso from Midtown Gallery and the Wichita State University (Edwin A. Ulrich Museum of Art).
1000-2000
814. Michael Gloeckner (American, 1915-1989), “From My Window”, c.1961; oil/canvas, 12" x 8", initialed; titled and dated verso.
1000-1500
815. Peter Keil (German, 20th century), “Sailboats in a Harbor”, c.1955; oil/board, 18" x 25", signed and dated; inscribed, “Berlin” verso. 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. This work dates from the artist’s period of neo-expressionism.
1400-1800
816. Michael Gloeckner (American, 1915-1989), “Summer”, c.1972; oil/canvas, 10" x 12", 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.
1000-1500
817. Emil Bisttram (American, 1895-1976), “Reflections”, c.1960; enamel/board, 32" x 36", signed and dated; titled verso. Bisttram painted in Taos in the 1930s, and he and Raymond Johnson founded the Transcendental Painting Group, which included artists commited to the non-objective painting style, as well as the deepening of the spirituality of society through art. The group disbanded in the 1940s, but Bisttram remained in Taos, and continued to cultivate these ideas for the remainder of his career.
4000-6000
818. Ed Paschke (American, b. 1939), “Bird Eye”, c.1996; oil/linen, 36" x 40", signed and dated; titled on stretcher. Paschke studied at the School of the Art Institute of Chicago. In the late 1960s, he departed from his roots in abstraction and expressionism, and began surrealistically appropriating images from popular culture. His imagery was influenced by electronic media inventions. He became associated with a group of Chicago painters known as The Imagists, which included Roger Brown, Phil Hanson, Gladys Nilsson, Jim Nutt, Christina Ramberg, Suellen Rocca and Karl Wirsum.

Exhibited: Maya Polsky Gallery, Chicago, 1997
Illustrated: Art Now: Gallery Guide, Chicago/Midwest . . . . September 1997
15,000-20,000
819. Aaron Bohrod (American, 1907-1992), “Nude on a Bull”, c.1930; ceramic tile, 10.75", signed.
1200-1600
820. Aaron Bohrod (American, 1907-1992), “Man with Horses”, c.1930; ceramic tile, 10.75", signed.
1200-1600
821. Lucien-Philippe Moretti (French, 1922-2000), “Mother and Daughter”, c.1960; oil/canvas, 21.5" x 18", signed. Moretti studied in Paris in the 1940s, and exhibited extensively in the 1950s-70s.
2500-3500
822. Morris Kantor (American, 1896-1974), “Cubistic Nude”, c.1930; drawing, 8.25" x 9.5", signed. Kantor was born in Russia , and moved to New York in 1906. Early in his career he experimented with Futurism and Cubism. In 1928, after returning to NYC from a year in Paris, Kantor developed a style in which he combined realism with fantasy, often taking the streets of New York as his subject matter. By 1940, he was focusing on figural studies.
700-900
823. Henry Botkin (American, 1896-1983), “Untitled”, c.1970; collage and oil, 13" x 13", signed. Botkin studied at the Massachusetts College of Art and the Art Students League. Botkin worked in paris in the 1920s, supported by his cousins, George and Ira Gershwin. After returning to the U.S., he began to focus on abstraction. He served as president of four major art organizations including: The Artists Equity Association, The American Abstract Artists, Group 256 Provincetown, and the Federation of Modern Painters and Sculptors. In 1955 Botkin arranged the first exhibition of American abstract art at the Museum of Modern Art in Tokyo, Japan. During this time Botkin also became interested in working with collage, and this media dominated his work from the 1960s until his death in 1983.
1400-1800
824. Henry Botkin (American, 1896-1983), “Untitled”, c.1970; collage and oil, 7" x 9.5", signed.
1000-1500
825. Eduoard Buk Ulreich (American/Austrian, b.1889) “Composition with Two Women”, c.1950; casein/masonite, 24" x 30", signed. Painter and designer during the Art Deco period. WPA artist. Ulreich painted murals for Radio City Music Hall. He 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.
2500-4500
826. Eduoard Buk Ulreich (American/Austrian, b.1889) “Abstract Composition with Horses”, c.1950; casein/panel, 24" x 30", signed.
2500-4500
827. Gino Severini (Italian, 1883-1966), “Harlequins”, c.1950; color lithograph, 14.75" x 11", signed and numbered in pencil, 20/220. Severini was an important cubist and futurist painter.
2000-3000
828. Frances Cranmer Greenman (American, 1890-1981), “Still Life and Window”, c.1950; oil/board, 35" x 23", signed and dated. Greenman worked in Minneapolis and also in Washington, D.C. She taught at the Minneapolis School of Art and one year at the Art Institute of Chicago.
2000-4000
829. Philip B. Dedrick (American, 20th century), “Allegory”, c.1945; oil/canvas, 23" x 14", signed on verso. Chicago painter. Dedrick exhibited at the Art Institute of Chicago in the mid 1940s.
500-1000
830. Mario de Ferrante (Italian/American, 1898-1992) “Abstract Composition”, c.1960; oil/canvas, 30" x 40", signed.
700-900
831. Mario de Ferrante (Italian/American, 1898-1992) “Abstract Composition”, c.1960; oil/canvas, 24" x 30", signed.
500-700
832. Claude Bentley (American b. 1915), “Untitled”, c.1960; oil/canvas, 26" x 20", signed. 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.
300-500
833. Martin Kainz (German/American, b. 1899), “Floral Still Life”, c.1940; watercolor, 21.5" x 17", signed. Kainz studied at the Munich Academy of Fine Art and exhibited at the Weyhe Gallery, Dudensing Gallery, and the Lilienfeld Gallery.
400-600
834. Rainey Bennett (American, b. 1907), “Woman in a Garden”, c.1950; gouache, 16" x 23.5", signed and dated. Chicago modernist. Bennett was supervisor of the Chicago Federal Art Project (1937).
300-500
835. Martin Kainz (German/American, b. 1899), “Landscape”, c.1940; watercolor, 17" x 21.5", signed.
400-600
836. Mario de Ferrante (Italian/American, 1898-1992), “Germinant”, c.1940; oil/masonite, 36" x 23", signed; titled verso. Provenance: The son of the artist.
800-1200
837. Mario de Ferrante (Italian/American, 1898-1992) “One and All”, c.1940; oil/masonite, 36" x 23", signed; artist’s label with title verso. This is an early, important work by this Italian Futurist painter. Provenance: The son of the artist.
2000-3000
838. Richard Mortensen (Danish, 1910-1993), lot of four colored lithographs, one pictured: “Untitled”, c.1980; 11" x 15", pencil signed and numbered, edition of 75.
600-800
839. Hilaire Hiler (American/French, 1898-1966), “Untitled”, c.1962; gouache/black paper, 18.5" x 13", signed and dated; inscribed, “Munich”. Hiler became interested in “structuralism” in art, and a balance of form and color in the latter part of his career.
3500-5500
840. Rolph Scarlett (1880-1984), “Untitled Abstraction”, c.1960; gouache/board, 7" x 10.5", signed. Highly important non-objective painter and printmaker. Scarlett was primarily self-taught as an artist, but was highly influenced by the work of Kandinsky, which he viewed at the Museum of Non-Objective Painting in 1936. Scarlett’s interest was with the formation of an internal order of colors and shapes, the rhythm of objective nature.
1000-1500
841. Louise Dunn Yochim (American, b. 1909), “Abstract”, c.1950; mixed media, 31" x 23", 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.
600-800
842. Bunilla (European, mid 20th century) “Mother and Child”, oil/canvas, 46" x 20", signed.
400-600
843. Japanese School, a pair of colored woodblock prints, one pictured: “Female Figure”, c.1960; 34" x 22", signed and numbered, 126/210; with another similar print: “Male Figure”, also signed indistinctly, and with japanese characters in pencil.
400-600
844. Louise Dunn Yochim (American, b. 1909), “Dancers”, c.1950; oil/canvas, 50" x 22", signed. Chicago modernist painter.
1000-2000
845. Bunilla (European, mid 20th century), “Young Girl”, c.1960; oil/canvas, 20" x 12", signed.
250-350
846. Tadashige Ono (Japanese, 1909-1990), “Clock Tower of Moscow”, c.1970; colored woodblock print, 17.25" x 10", signed and numbered in pencil, 5/20.
300-500
847. Ginger Saksenhaus (American, 20th century), “Transition”, c.1970; enamel/board, 24" x 30", signed. This artist was influenced by Leonardo Nierman.
300-500
848. Francesco Spicuzza (Italian/American, 1883-1962), “Abstract”, c.1950; oil/board, 14" x 18", signed verso with artist’s address; estate stamp on frame. Milwaukee painter.
500-1000
849. Aimee Gladstone Schweig (American, b. 1897), “Composition No. 1”, c.1940; oil/wood, 36" x 28", artist identified on label from St. Louis Artist’s Guild verso. St Louis modernist. Studied at the St Louis School of Fine Art, and was a member of the National Association of Women Artists, St Louis Artists Guild, and the Provincetown Art Association. This is a very good, early example of Schweig’s non-objective work.
1500-2000
850. John Williams (American, 20th century), “Surrealist Scene”, c.1960; oil/board, 5" x 3.5", identified on verso on label from Morris Gallery, New York, there is also a copy of an excerpt from the New York Times discussing the artist.
400-600
Sale Date:
September 12, 2004