SCULPTURE

120

DALE CHIHULY (American, b. 1941)

Mallard Blue Persian Set with Morocco Red Lip Wraps 2001, handblown glass signed Chihuly 1 on base of disc 13 x 27 x 24 in.

$10,000–20,000

Provenance: Foster/White Gallery, Seattle, Washington, 2006; The Collection of a New Hampshire Couple.

121

DALE

Chihuly

(American, b. 1941)

Ming Green Seaform Set with Scarlet Lip Wraps 2001, handblown glass the oval form signed Chihuly 01 11 x 20 x 10 in.

$8,000–12,000

Provenance: Foster/White Gallery, Seattle, Washington, 2009; The Collection of a New Hampshire Couple.

122

DALE CHIHULY (American, b. 1941)

Imperial Purple Seaform Set with Red Lip Wraps 1998, handblown glass signed Chihuly '98 on round globe 8 x 18 x 13 in.

$8,000–12,000

Provenance: Foster/White Gallery, Seattle, Washington, 2007; The Collection of a New Hampshire Couple.

123

DALE CHIHULY

(American, b. 1941)

Lapis Persian Pair 2006, handblown glass inscribed PP06 on base of interior piece 6 x 12 x 12 in.

$3,000–5,000

Provenance: Foster/White Gallery, Seattle, Washington, 2006; The Collection of a New Hampshire Couple.

LINO TAGLIAPIETRA (American, b. 1934) Vessel 1996, handblown glass signed and dated Tagliapietra 1996 on base height: 15 1/2 in. width: 14 1/2 in.

$3,000–5,000

Provenance: By descent within a Massachusetts family.

125

BENNETT BEAN (American, b. 1941) Untitled painted and gilded earthenware each component marked 398H on base height: 13 in. $1,500–2,500

Provenance: The Collection of the Late John and Marilyn Keane, Boston and Cohasset, Massachusetts.

JUDY KENSLEY MCKIE (American, b. 1944)

Proud Dogs

1985, carved and painted wood, glass both dogs signed JKM 1985 on base height: 17 in., length: 56 1/4 in., width: 18 in.

$70,000–100,000

Massachusetts native Judy Kensley McKie is a leading figure in the American Studio Furniture movement. She received her BFA in painting from the Rhode Island School of Design in 1966 before turning her attention to the three dimensional arts. In 1971, she joined the New Hamburger Cabinetworks cooperative in Roxbury (later Cambridge) and, over time, taught herself woodworking. In the early years, her furniture was unadorned, but she soon began to combine the decorative and structural elements of her designs , drawing inspiration from the motifs of Native American, pre-Columbian, and Egyptian art. By the early 1980s, she spoke of her desire to make “inanimate objects that are animated,” applying zoomorphic designs to “a formal vocabulary of furniture-making.” Similarly, the exhibition catalog for her 1987 solo show at Pritam & Eames noted, “It has been said that McKie is a modernist, working within a long tradition of animal imagery usage in furniture, such as the ball and claw foot. However, her work has more in common with the spirit-imbued carving of African and Eskimo cultures and other animist traditions. McKie says this is the work that inspires her. She describes her first experience of working with animal form as coming from a state akin to daydreaming, where the mind is drifting and freely associating. She also says that at the time, she was reacting against the strict rectangularity of '60s furniture.”

McKie’s creative integration of animal imagery and the formal furniture tradition is clearly reflected in Proud Dogs. The dogs’ outstretched paws, elongated necks, and pointed ears are reminiscent of statues depicting the Egyptian god Anubis, while their curved tails echo the form of traditional bentwood furniture. There is an additional element of creativity hidden in this sophisticated table: the dogs can be arranged either in corresponding or opposing directions, depending on the owner’s preference. Furthermore, this 1985 piece marks the pinnacle of McKie’s work with wood, as, by 1987, she began using bronze as her primary medium. The table was purchased directly from the artist by a Cambridge, Massachusetts couple, and it has remained in their home since that time.

127

MAX KUEHNE (American, 1880–1968)

Coffee Table gilded, carved, and decorated wood inscribed Max Kuehne lower right length: 58 1/4 in., height: 17 in., width: 24 in. $5,000–8,000

128 Attributed to JEAN DUNAND (Swiss, 1877–1942) A Low Table lacquered wood inlaid with eggshell numbered 1740 3 774; stamped Made in France twice on underside length: 32 in., height: 16 in., width: 20 in.

$20,000–30,000

Provenance: Katherine Urquhart Warren (1897–1976); by descent to the current owner. Katherine Warren, of New York City and Newport, RI, was an avid art collector who was elected a trustee of the Museum of Modern Art (New York) in 1943.

GASTON

Lachaise

(American, 1882–1935) Equestrienne polished bronze modeled in 1917, cast ca. 1930-31 inscribed Gaston Lachaise 1918 on base stamped Roman Bronze Works N.Y. on base height: 10 1/2 in.

$120,000–180,000

Provenance:

Erhard Weyhe, New York, 1931; Katherine Urquhart Warren (1897–1976), from the above, 1938; by descent to the current owner. Katherine Warren, of New York City and Newport, RI, was an avid art collector who was elected a trustee of the Museum of Modern Art (New York) in 1943.

Exhibitions:

– Portland Museum of Art, Portland, ME, A New American Sculpture 1914–1945, Lachaise, Laurent, Nadelman, and Zorach, May 26–September 8, 2017; Memphis Brooks Museum of Art, Memphis, TN, October 14, 2017–January 7, 2018; Amon Carter Museum of American Art, Fort Worth, TX, February 17–May 13, 2018. pp. 34, 114-15, 173, cat. no. 33 (illus).

– Bruce Museum, Greenwich, CT, Face & Figure: The Sculpture of Gaston Lachaise, September 22, 2012–January 6, 2013. pp. 18, 19, cat. no. 7 (illus).

– Rhode Island School of Design Museum of Art, Providence, RI. The Katherine Urquhart Warren Collection, March 11–27, 1983. cat. no. 25 (illus).

– Warren Apartment, New York, auspices of the Radcliffe Club of New York, 1966

– Warren Apartment, New York, auspices of the Museum of Modern Art, 1956

Gaston Lachaise’s delightful Equestrienne (Woman on Horseback) [LF 22], which represents a shapely nude woman astride a similarly shapely horse, was evidently inspired by a childhood visit to Buffalo Bill Cody’s famous circus (this would have been in 1889), where, among the “thrills to a little boy,” he saw a “wonderful bosomed and round hipped lady tossing herself up and down from a beautifully decorated big horse galloping gently in circles.” (Autobiographical manuscript [1931], p.2; Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library). The rhythmically composed statuette appears to capture and distill this childhood memory.

According to Lachaise’s records, the statuette was modeled by 1917, not, as is often stated, 1918 (the date inscribed on the model). Thirteen bronze casts, including the present example, were produced during his lifetime. The first, made for his first solo show, at the Bourgeois Galleries, New York City, in 1918, was exhibited there as Amazone (the dealer’s title). It was illustrated in Henry McBride’s laudatory review of the exhibition in the Fine Arts Journal, and sold to the theatrical dressmaker Eda Hartman (1884–1934), the sister of painter Bertram Hartman, wife of Lawrence Boyle from 1921, and subject of both a portrait created by Lachaise in 1922 and a Masque derived from the portrait. The second cast of Equestrienne, produced in December 1923 and illustrated in A.E. Gallatin’s book on Lachaise published in 1924, was consigned by Lachaise to his dealer, John Kraushaar and later owned for a time by the Museum of Modern Art in New York City. Neither cast is located today.

Eleven other casts of the statuette are known to have been made during Lachaise’s lifetime. Ten were produced in 1930–31 by the Roman Bronze Works for Erhard Weyhe, owner of the Weyhe Gallery, New York City. The first was delivered to Weyhe in September 1930. The other nine were ordered in the same month and delivered in April 1931. Six were returned to the foundry for refinishing in April 1936, six months after Lachaise’s unexpected death. The present cast, purchased by Katherine Urquhart Warren (1897–1976) in 1938 from the Weyhe Gallery, is likely one of these six. Five of the other casts made for Weyhe are presently located; these in the National Gallery of Art, Washington, D.C. (Corcoran Collection, Gift of the Honorable Francis Biddle) and the San Diego Museum of Art, California (Bequest of Earle W. Grant), and three in private collections.

Grogan & Company thanks Virginia Budny, author of the forthcoming catalogue raisonné sponsored by the Lachaise Foundation, for her assistance in cataloging this lot.

BYRON GALVEZ (Mexican, 1941–2009)

On Stage 1989, bronze signed, dated, and numbered Byron 89 42/100 on base edition produced by Fingerhut Group, California stamped Fingerhut on base height: 20 in., width: 17 1/2 in., depth: 12 1/2 in.

$3,000–5,000

Provenance: The Collection of a San Diego, California Lady.

DIMITRI

Hadzi

(American, 1921–2006) Thermopylae V bronze inscribed and numbered D. Hadzi V/VI height: 8 1/2 in., mounted on a 1 in. base

$3,000–5,000

Provenance: The Collection of an Ohio Gentleman.

133

DIMITRI HADZI

(American, 1921–2006)

River Styx bronze with granite base inscribed For Tom D. Hadzi III/VII on end overall height: 16 in., width: 28 in.

132

DIMITRI HADZI (American, 1921–2006)

Propylaea bronze with granite base inscribed D. Hadzi III/VII on foot overall height: 17 in., width: 15 1/2 in. $2,000–4,000

Provenance: The Collection of the Late John and Marilyn Keane, Boston and Cohasset, Massachusetts.

$2,000–4,000

Provenance: The Collection of the Late John and Marilyn Keane, Boston and Cohasset, Massachusetts.

134

CABOT LYFORD (American, 1925–2016) Woman 1976, granite signed and dated Lyford 76 on reverse height: 19 in., width: 11 in., depth; 6 in. mounted on a 10 1/2 in. base.

$1,500–2,500

Provenance: Property of a Private Maine Collection.

135

Jonathan Kenworthy

(English, b. 1943) Cheetah 2003, bronze signed, dated, and numbered Kenworthy 2003 8/9 on base length: 20 in., height: 8 in. $7,000–10,000

Provenance: The Estate of a Massachusetts Lady.

Jonathan Kenworthy

(English, b. 1943)

Pokot Herdsman 1986, bronze signed, dated, and numbered Kenworthy 1986 8/8 on base length: 20 in., height: 24 in.

$7,000–10,000

Provenance: The Estate of a Massachusetts Lady.

Jonathan Kenworthy

(English, b. 1943)

Man with Cup of Tea 2002, bronze signed, dated, and numbered Kenworthy 2002 1/9 on base length: 12 1/2 in., height: 14 1/2 in.

$5,000–8,000

Provenance: The Estate of a Massachusetts Lady.