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Sale Date:
Sept. 11, 2005
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Lot Numbers and Descriptions
801. Aaron Bohrod (American, 1907-1992), “Zebra”, c.1940; oil/lacquer on rock, 3” x 4” x 1.25”, signed. Important Chicago modernist. Bohrod created decorative objects and designed ceramics throughout his career. 400-600
802. Aaron Bohrod (American, 1907-1992), “Three Graces”, c.1940; oil/lacquer on plaster, 7.75” x 5”, signed. Important Chicago modernist. Bohrod created decorative objects and designed ceramics throughout his career. 700-900
803. Norman Macleish (American, b.1890), one of four lots, one pictured: "Portrait of a Man", c. 1940; watercolor/paper, 15" x 11", signed and dated, unframed. 800-1200
804. Norman Macleish (American, b.1890), lot of three, one pictured: "Lake Cove", c. 1933; watercolor/paper, 11" x 14.5", signed and dated, unframed. Chicago WPA painter. Studied at the Art Institute of Chicago, and exhibited there in the 1930s-40s. He also exhibited at the Worlds Fair New York (1939); Golden Gate Exhibition (1939); and the Corcoran Biennial (1941). His work is in the collection of the Detroit Institute of Art. He was the WPA supervisor in Chicago.
800-1200
805. Norman Macleish (American, b.1890), lot of two, one pictured: "Church Steeple",c. 1947; watercolor/paper, 16" x 13", signed and dated, unframed. 800-1200
806. Baron Ernst von Maydell (German, b. 1884), “The Merry Go-Round”, c. 1940; acquarelle/paper, 7" x 8", signed; exhibition records and the title verso. Maydell worked in Europe and in the United States, executing almost exclusively realist works of plants and insects. He exhibited at the Corcoran Gallery in 1931 and the Delaware Art Museum in 1950. 800-1200
807. William H. Bailey (American, b.1930), “The Obelisk”, 1955; oil/board, 16" x 20", signed and dated with title on verso. Bailey exhibited at Vassar College and the Robert Schoelkopf Gallery. He received the Guggenheim Fellowship in 1965. 500-700
808. Baron Ernst von Maydell (German, b. 1884), “Dance Japonaise”, c. 1931-32; acquarelle/paper, 7" x 8", signed; exhibition records and the title verso. 800-1200
809. Johnny Friedlaender (German/American, b.1912), "Abstract", c. 1950; colored etching, 30” x 23”, signed. 500-700
810. Werner Drewes (American, 1899-1985), "Landscape with Figure", 1960; pastel/paper, 8.75” x 11.75”, signed and dated. 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).
800-1200
811. Johnny Friedlaender (German/American, b.1912), "Green Circle Abstract", c.1950; colored intaglio, 30” x 23”, signed. Friedlaender fled the Nazis in 1935 by moving to Czech Republic. Friedlaender’s work was a major influence to Hayter’s Atelier 17, and many of his other contemporaries. 500-700
812. J. Jay McVicker (American, b.1911), “Red Over Green”, 1967; polymer collage/canvas, 42” x 42”, signed, label on verso. Oklahoma painter. 3000-4000
813. J. Jay McVicker (American, b.1911), “Blue-Green Division”, c. 1970; polymer/canvas, 48” x 30”, signed. Oklahoma painter. 2500-3500
814. J. Jay McVicker (American, b.1911), “Variation”, 1982; polymer/canvas, 48” x 32”, signed. Oklahoma painter.
3000-4000
815. J. Jay McVicker (American, b.1911), “Tapestry of Squares”, c. 1965; acrylic/canvas, 24” x 24”, label on verso. 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. 2000-3000
816. 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
817. William Corasick (American, 1907-2002), "Untitled", 1975; oil/canvas, 34” x 22” signed. 600-800
818. 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. 1500-2000
819. 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
820. William Corasick (American, 1907-2002), "Untitled", 1950; oil/canvas, 26” x 39", signed. Philadelphia modernist painter. Corasick studied at Temple University and at the University of Pennsylvania. He was a member of the Philadelphia Art Alliance, and exhibited at the Pennsylvania Academy of Fine Art, National Academy of Design, and the Butler Art Institute (1930s-50s). 600-800
821. 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. 4000-6000
822. Emil Bisttram (American, 1895-1976), "Geometric Composition", c.1941; mixed media and pastel/paper, 16” x 11", signed and dated. Bisttram studied at the National Academy of Art and Design, Cooper Union and Parson. He also studied mural painting with Diego Rivera. Important member of the Transcendental Painting Group, in Taos, New Mexico. 2500-3500
823. Louise Woodroofe (American, early 20th century), “Abstract Composition”, c.1950; oilstick/paper, 7" x 10”, 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. 350-550
824. Emil Bisttram (American, 1895-1976), "Composition", 1940; mixed media and pastel/paper, 11.25” x 8”, signed and dated. 2000-3000
825. Michael Gloeckner (American, 1915-1989), “Late October”; c.1960; oil/canvas, 13" x 16", initialed; label verso from Wadsworth Atheneum. 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. 700-900
826. Emil Bisttram (American, 1895-1976), "Arrangement", 1940; mixed media and pastel/paper, 16” x 11.25”, signed and dated. 2500-3500
827. Mario de Ferrante (Italian/American, 1898-1992), “Untitled”, c.1950; oil/canvas, 30" x 40" , signed, provenance: estate of the artist. 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, believed 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. This is a large and important work. 2000-3000
828. Karel Appel (Dutch, b. 1921), "Untitled", c. 1971; artist proof, 22” x 30", signed, 22/75. Dutch painter, sculptor, designer, printmaker and writer. He studied at the Rijksakademie of Amsterdam in the early 1940s. In 1945, he found inspiration in the art of the Ecole de Paris and in particular, that of Matisse and Picasso. This influence remained visible in his work until 1948 Throughout his career, his completely personal, brightly coloured universe of simple, childlike beings and friendly animals populated his work. 700-900
829. Karel Appel (Dutch, b. 1921), "Abstracted Figure", c. 1969; color lithograph, 30” x 22”, signed, 22/75. 700-900
830. Karel Appel (Dutch, b. 1921), "Two Abstracted Figures", c. 1969; color lithograph, 22, signed. 700-900
831. Joan Miro (Spanish, 1893-1983), “Illiterate”, c.1969; color lithograph, 32.5" x 24", signed and dated, edition of 22/75. 1000-2000
832. Alexander Calder (American, 1898-1976), “Butterfly and Spiral”, c.1970; color lithograph, 26" x 38.5", signed and numbered, 33/125. Important modern sculptor, painter, and printmaker. 800-1200
833. Pierre Soulages (French, b.1919), “Composition”, c.1970; color lithograph, 32" x 22", signed, edition of 70/85.
800-1200
834. Alexander Calder (American, 1898-1976), “Untitled”, c.1970; color lithograph, 27.25” x 38.75”, signed. Important modern sculptor, painter, and printmaker. 1200-1800
835. 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. 1800-2200
836. Alexander Calder (American, 1898-1976), “Blue, Black and Red Patterns”, c.1970; color lithograph, 20.5” x 28.25”, signed and numbered, XXXIV/L.Important modern sculptor, painter, and printmaker. 1200-1800
837. Victor Vasarely (Hungarian/French, 1908-1997), “Spheres”, 1960s; silkscreen, 32.5” x 20.25”, signed and numbered 106/150. 900-1200
838. 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. 2000-3000
839. Leroy Neiman (American, b. 1926), “Olympic Hurdler”, c.1972; serigraph, 26” x 20”, signed, titled and numbered, 104/175. Neiman worked for Playboy Magazine as an illustrator for a number of years. He was the official artist for ABC-TV at the Olympic Games in 1972. 900-1200
840. Mario de Ferrante (Italian/American, 1898-1992), “Abstract Composition”, c.1960; oil/canvas, 20" x 23.5", signed. 800-1200
841. Michael Gloeckner (American, 1915-1989), “Mid-Summer Composition #9”; c.1964; oil/canvas, 13" x 16", 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. 600-800
842. Johnny Friedlaender (German/American, b.1912), "Arch", c.1950; colored intaglio, 23” x 30", signed. Friedlaender fled the Nazis in 1935 by moving to Czech Republic. Friedlaender’s work was a major influence to Hayter’s Atelier 17, and many of his other contemporaries. 500-700
843. Richard Koppe (American, 1916-1959), “Untitled”, c.1955; oil/canvas, 42" x 16", signed. Important Chicago modernist. Koppe studied with Moholy-Nagy, Kepes, and Archipenko at the New Bauhaus. He exhibited primarily in the 1950s, at the Art Institute of Chicago, Whitney Museum, "50 Years Bauhaus-Kunstgebaude, Stuggart", and a retrospective (1961) at the Illinois Institute of Technology. 1000-2000
844. Richard Koppe (American, 1916-1959), “Glittering Leaves”, c.1955; oil/canvas, 42" x 20", signed. 1000-2000
845. Alice Bunch (American, b. 1904), lot of four works, one pictured: “Flight No. 2”, c. 1953; lithograph, 9" x 7", signed, dated, and numbered in pencil, 2/10; with three other similar prints by the artist. 200-300
846. Alice Bunch (American, 1904-1992), lot of five prints, one pictured: “The Storm”, c. 1956; lithograph, 10" x 12.5", signed and dated; numbered, 12/12, unframed, with four other prints by Bunch. 300-500
847. Louise Woodroofe (American, early 20th century), “Circus Abstraction”, c.1950; mixed media collage, 13.5" x 18.5”, 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. 400-600
848. Cynthia Polsky (American, b. 1939), “Chloe”, c.1973; acrylic/canvas, 84” x 72”, signed, titled, and dated, verso. Polsky studied with Will Barnet and at the New School for Social Research in New York. Her work is included in the collections of the Fogg Art Museum, Israel Museum, Corcoran Gallery, Philadelphia Museum, and the Joseph Hirschhorn Collection. 1000-1500
849. Douglas Abdell (American, b. 1947 ) “Pnauxae-Aekyad”, c. 1977, welded bronze, 40.25”h x 28”w x 5”d, on a marble over wood core base, (base measurement: 30”h x 21”w x 13”d). This lot is accompanied by an exhibition catalog from Andrew Crispo Gallery in which this work is illustrated. The preliminary drawing for this sculpture is in the collection of the Brooklyn Museum. The large black slabs of the Aekyad series (roughly 1977-1980) resemble arcane totems, secretive in meaning and cryptically named. Abdell arrived at the respective titles of Krefe-Aekyad and Kranae-Aekyad through a combination of phonetic fragments, giving his sculpture “an independent language in its own right.” Linearity and angularity dominate the series. Abdell noted that many of the Aekyads originated as drawings; straight lines, created through simple mark-making, meet at right and acute angles to form the contour of the work. The contour is extended back through space forming the slab-like shape. 3000-4000

Session Three - 1950s/Modern/Art Deco - Approx. 7:00 (cst)
850. Frederic Weinberg “Swingtime” illuminated wall sculpture, 1950s, white fiber-reinforced plaster form of two dancers, backlit by three bulbs, 31"w x 45"h, original finish, very good condition 600-800
Sale Date:
Sept. 11, 2005