Art & Design with Tradition & Innovation - Early 20th Century Design by Toomey & Co. Auctioneers

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Property from the Collections and Estates of: A Prominent Michigan Collection Important Chicago Collector The Collection of Kazimir Karpuszko, Chicago, Illinois A Prominent Chicago Collection A Private East Coast Collection Stahr Collection, Barrington, Illinois The Collection of Richard Nickel, Chicago, Illinois Private Collection, Kansas City, Missouri The Estate of Candice B. Groot, Evanston, Illinois A Midwest Collection An Ohio Collection The Collection of Wilbert and Marilyn Hasbrouck, Chicago, Illinois The Collection of Rich and Patty Thumann, Tacoma, Washington The Paul and Terry Somerson Collection of 20th & 21st Century Metalwork and Jewelry The Estate of Michael Rabkin, Los Angeles, California A Private Colorado Collection

Design

101 Edward Sheriff Curtis (American, 1868-1952) Vanishing Race — Navajo, circa 1904 orotone signed in negative lower right, Curtis no. 984, held in original Curtis Studio frame 10 1/2” x 13 1/4” $10,000-15,000 Catalog Note: Curtis’ wide variety of silver prints were most frequently goldtones or orotones, sometimes called “Curt-tones.” These comprise less than half of one percent of his extant work. In size, they range from 4” x 5”, called a salesman’s sample, to 18” x 22”. The larger sizes are quite rare. Based on current data, goldtones used a gelatin silver emulsion, which was suspended on glass (versus paper), and after development were backed with gold-hued bronzing powders. Curtis’ goldtone prints are almost always framed in one of several original styles, most typically in a bat-wing gesso and compo over wood, as exemplified here in its original frame. Curtis captured over 40,000 images from over 80 tribes. In addition to photographs, Curtis produced 10,000 wax cylinder recordings of Native American languages and captured the first film footage of American Indians. In total, The North American Indian project included over 2,200 of Curtis’ photographs and thousands of pages of anthropological research, organized into 20 volumes accompanied by bound portfolios of oversize gravures. This project spanned over 25 years would not have been possible without the financial support and encouragement of influential figures such as Theodore Roosevelt, J.P. Morgan, and members of European royalty.

102† Edward Sheriff Curtis (American, 1868-1952) Canyon de Chelly, 1904 platinum print signed in ink lower right marked Copyright 1904 By E.S. Curtis 1013 13” x 16 1/2” $4,000-6,000 Provenance: Flury & Company, Seattle, Washington The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Curtis, Edward Sheriff, The North American Indian, The University Press, 1907-1930, supplement, v. 1, pl. 28

103† Edward Sheriff Curtis (American, 1868-1952) Homeward, circa 1898 platinum print signed lower right and numbered 321-98 lower left 12” x 16” $3,000-5,000 Provenance: Skinner, Inc., Boston, Massachusetts The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Curtis, Edward Sheriff, The North American Indian, The University Press, 1907-1930, supplement, v. 9, pl. 318

104† Edward Sheriff Curtis (American, 1868-1952) Vanishing Race — Navajo, circa 1904 platinum print signed lower right and numbered 378-04 lower left, held in original mahoganyveneered frame 14 3/4” x 20 9/16” $5,000-7,000 Provenance: Flury & Company, Seattle, Washington The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: This print was later published as a photogravure in: Curtis, Edward Sheriff, The North American Indian, The University Press, 1907-1930, supplement, v. 1, pl. 1.

105† Carl Moon (American, 1878-1948) Chief Gray Hawk, Taos, circa 1910 hand-tinted gelatin silver print signed lower left, impressed stamp Fred Harvey Tovar Studio by Karl Moon lower right stamped verso: GRAY HAWK TAOS A.T. & S.FE. R.Y. F. HARVEY HOTEL CASTANEDA LAS VEGAS N.M. held in original frame 19 5/8” x 15 5/8” $800-1,200 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington

106 William Seltzer Rice (American, 1873-1963) Pastoral color woodcut titled and signed in pencil 4 3/4” x 4 1/4” $1,500-2,500 Catalog Note: William Seltzer Rice not only gained national recognition for his printmaking, but he embodied the Craftsman spirit by exploring a variety of media. In addition to painting with watercolor and oil, he worked in ceramics, hammered copper, leathercraft and photography. He was also an innovative printmaker exploring the techniques of monotype, etching and lithography.

107 Pedro Joseph de Lemos (American, 1882-1954) Where Tree and Ocean Meet color woodcut titled and signed 8 3/4” x 8 7/8” $1,000-2,000 Catalog Note: The career of Pedro Joseph de Lemos was multifaceted and he had a profound influence on the Arts & Crafts Movement in California in the early 20th century. de Lemos was an architect, writer, art theorist, lecturer, painter and illustrator, who produced a limited number of innovative woodblock prints.

108 Margaret Jordan Patterson (American, 1867-1950) Cape Cod House, 1914 color woodcut signed lower left 6 15/16” x 10” $1,500-2,500 Catalog Note: For a complete biography, refer to page 251 of this catalog.

109 Margaret Jordan Patterson (American, 1867-1950) The Swan color woodcut 9” x 6 3/8” $1,500-2,500 Catalog Note: For a complete biography, refer to page 251 of this catalog.

110† Margaret Jordan Patterson (American, 1867-1950) Main Street, Nantucket, 1910 color woodcut signed and dated lower right, graphite 7 1/8” x 10 1/2” $2,000-3,000 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington Catalog Note: For a complete biography, refer to page 251 of this catalog.

111† Margaret Jordan Patterson (American, 1867-1950) Spring in Italy, circa 1920 color woodcut signed lower left on image in graphite numbered, titled and signed on sheet edition 24/100 image: 7 3/8” x 10 7/16” $1,500-2,500 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington Catalog Note: For a complete biography, refer to page 251 of this catalog.

112† Margaret Jordan Patterson (American, 1867-1950) Windblown Trees, 1918 color woodcut signed in graphite lower right image: 7” x 10” $1,500-2,500 Provenance: Marion Antique Auctions, Marion, Massachusetts, 07 September 2013, Lot 104 The Collection of Rich and Patty Thumann, Tacoma, Washington Catalog Note: An impression of this print is in the Collection of the Metropolitan Museum of Art in New York City (accession number 21.59.3). For a complete biography, refer to page 251 of this catalog. 113 Elizabeth Norton (American, 1887-1985) Beach, Provincetown, 1922 color woodcut inscribed, signed, stamped and dated 11 1/8” x 6 5/8” $500-700 Catalog Note: Elizabeth Norton, originally from Chicago, attended the School of the Art Institute, the Art Students League, the National Academy of Design and the Chase School in New York before making her home in San Francisco. On both coasts, she had a significant role in the printmaking community.

114† Bertha Lum (American, 1869-1954) Land of the Blue Bird, 1913, #141 color woodcut numbered, dated and signed in graphite lower edge 16 1/4" x 9 3/4" $400-600 Provenance: Steven Thomas, Inc. Fine Arts and Antiques, Woodstock, Vermont (label verso) The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Illustration for an article in: The American Magazine of Art, August 1917; and, International Studio, January 1921 Catalog Note: An edition of this print is in The Library of Congress Prints and Photographs Division.

115† Bertha Lum (American, 1869-1954) Lanterns or Bridge, 1908 color woodcut signed, dated and numbered in graphite edition 193 image: 9 3/8" x 4 7/8" $600-800 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington Catalog Note: This impression of Lanterns has very subtle coloration and an overall blue tonality in contrast to the saturated color with which Lum normally experimented. Orange adds flames to the white lanterns and the reflections of the lanterns in the water are unprinted.

116† Bertha Lum (American, 1869-1954) Cherry Blossoms, 1908 color woodcut signed lower middle in graphite 16 7/8" x 11 7/8" $400-600 Provenance: Hill Tolerton: The Print Rooms, San Francisco, California, 1919 (original label) Steven Thomas, Inc. Fine Arts and Antiques, Woodstock, Vermont The Collection of Rich and Patty Thumann, Tacoma, Washington Catalog Note: Published as the frontispiece to California Design 1910. An impression of this print is in The Library of Congress Prints and Photographs Division.

The Craftsman, April 1902

117† Gustav Stickley (1858-1942) tall case clock, #3 Eastwood, New York, circa 1903 oak, copper, brass signed with early red decal This clock is considered by many to be the best example of a grandfather clock designed by Gustav Stickley. 21 1/2”w x 13”d x 70 3/4”h $30,000-50,000

118† Gustav Stickley (1858-1942) dining chairs, seven, #322 and 322-A Eastwood, New York oak, leather, brass marked with red decal This exceptional set of chairs are in original condition, including the finest original leather we have ever seen. armchair: 26 1/4”w x 21 1/2”d x 37 1/2”h $25,000-35,000

Provenance: Bingham Family, Massachusetts, 1904-1990 Richard Withington Auction, 1990 Charles and Jane Kaufmann, 1990-1996 The Collection of Rich and Patty Thumann, Tacoma, Washington

Provenance: Treadway Toomey Auctions, Oak Park, Illinois, 23 November 1997, Lot 269 The Collection of Rich and Patty Thumann, Tacoma, Washington

Literature: Maher, Thomas K., The Kaufman Collection: The Early Furniture of Gustav Stickley, A Presentation by the John Toomey Gallery in Association with Treadway Gallery, Inc., 1996, pp. 14-15.

Literature: Stickley, Gustav, The 1912 and 1915 Gustav Stickley Craftsman Furniture Catalogs, Dover, 1991, p. 10

119† Gustav Stickley (1858-1942) five-light electrolier Eastwood, New York iron, original frosted glass, original oak ceiling plate unmarked 21”dia x 24 1/8”h $10,000-15,000 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington

120† Gustav Stickley (1858-1942) lanterns, pair, #830 Eastwood, New York copper, iron, glass unmarked each: 6 1/4”sq x 17 1/2”h $2,000-3,000 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington

121† Gustav Stickley (1858-1942) lanterns, pair, #830 Eastwood, New York copper, glass stamped mark 6 1/8”sq x 17 3/4”h $3,000-3,000 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington

122† Gustav Stickley (1858-1942) chest of drawers, #614 Eastwood, New York oak, cedar, iron marked with early red decal This important early form rarely comes to auction and is in excellent condition. 45”w x 23 1/4”d x 61 1/4”h $40,000-60,000

Provenance: Cathers & Dembrosky The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Gray, Stephen, The Early Work of Gustav Stickley, Turn of the Century Editions, 1987, p. 104 (1902 retail plates)

123† Gustav Stickley (1858-1942) buffet, #955 Eastwood, New York oak marked with early red decal a great example of this important early form 59 1/4”w x 23 1/2”d x 44 1/4”h $15,000-25,000

Provenance: Cathers & Dembrosky The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Cathers, David, Furniture of the American Arts & Crafts Movement, Plume, 1982, p. 50

124† Gustav Stickley (1858-1942) three-panel screen Eastwood, New York oak, leather signed with black ink mark This rare screen features a unique pierced cutout design. each panel: 22”w x 68 1/2”h; overall: 66”w $10,000-15,000

Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Mayer, Barbara, In the Arts & Crafts Style, Chronicle Books, 1993, p. 197

125† Gustav Stickley (1858-1942) willow chair, #56 Eastwood, New York willow unmarked 32”w x 32”d x 36”h $1,500-2,500 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington

126† Gustav Stickley (1858-1942) willow chair, #60 Eastwood, New York willow unmarked 31”w x 27 1/2”d x 38”h $1,000-2,000 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington

127† Gustav Stickley (1858-1942) four-lantern electrolier, similar to #670 Eastwood, New York oak, iron, glass unmarked overall: 30 1/2”sq x 34”h $7,000-9,000

Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Gray, Stephen, The Early Works of Gustav Stickley, Turn of the Century Editions, 1987, p. 164 (Craftsman Willow Furniture, supplement to Catalog D)

128† Gustav Stickley (1858-1942) large one-light electrolier, #766 Eastwood, New York copper, glass stamped mark This is a desirable rare oversized lantern. 12”sq x 22”h $7,000-9,000 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Gray, Stephen, The Early Works of Gustav Stickley, Turn of the Century Editions, 1987, p. 171 (Craftsman Willow Furniture, supplement to Catalog D)

129† Gustav Stickley (1858-1942) two-drop sconce with two Heart lanterns Eastwood, New York hammered copper, glass unmarked overall: 13”w x 8 1/2”d x 15”h $2,000-3,000 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington

130â&#x20AC; Gustav Stickley (1858-1942) standard mirror, #908 Eastwood, New York oak, silvered glass, copper branded mark 24"w x 7"d x 21 1/2"h $700-900 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Stickley, Gustav, The 1912 and 1915 Gustav Stickley Craftsman Furniture Catalogs, Dover, 1991, p. 46

131â&#x20AC; Gustav Stickley (1858-1942) chest of drawers, #913 Eastwood, New York oak, iron marked with red decal Harvey Ellis influenced nine-drawer form 36"w x 19 3/4"d x 50 1/2"h $5,000-7,000 Provenance: Important Private Collection Cathers & Dembrosky The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Gray, Stephen, and Robert Edwards, Collected Works of Gustav Stickley, Turn of the Century Editions, 1989, p. 113 (1904 furniture catalog) Mayer, Barbara, In the Arts & Crafts Style, Chronicle Books, 1993, p. 35

132† Gustav Stickley (1858-1942) china cabinet, similar to #815 Eastwood, New York oak, glass, iron marked with red decal This is a wider version of #815 and the only such example we have seen; it was probably a custom piece that is excellent for display. 52”w x 15 1/4”d x 64 1/2”h $6,000-8,000

Provenance: Treadway Toomey Auctions, Oak Park, Illinois, 02 May 1993, Lot 240 The Collection of Rich and Patty Thumann, Tacoma, Washington

133† Gustav Stickley (1858-1942), designed by Harvey Ellis (1852-1904) single-door bookcase, #700 Eastwood, New York oak, glass, brass marked with red decal 36”w x 14”d x 58”h $6,000-8,000

Provenance: Cathers & Dembrosky The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Gray, Stephen, and Robert Edwards, Collected Works of Gustav Stickley, Turn of the Century Editions, 1989, p. 92 (1904 furniture catalog)

134† Gustav Stickley (1858-1942) early costumer, #192 Eastwood, New York oak, iron unmarked 22”w x 13 1/2”d x 65 3/4”h $1,500-2,500

135† Gustav Stickley (1858-1942) magazine cabinet, #548 Eastwood, New York oak marked with early red decal 15 1/4”w x 15”d x 43 3/4”h $2,000-3,000

Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington

Literature: Gray, Stephen, The Early Work of Gustav Stickley, Turn of the Century Editions, 1987, p. 99 (1902 retail plates)

136† Gustav Stickley (1858-1942) one-light electric desk lamp, #56 Eastwood, New York hammered copper, original Japanese willow shade, silk 14”dia x 18 1/2”h $1,500-2,500 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington

137† Charles Rohlfs (1853-1936) Rush Light candlestick, #10 Buffalo, New York, 1903 oak, copper branded mark, dated 6”w x 7”d x 14”h $1,500-2,500 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington

138† Gustav Stickley (1858-1942) early chalet desk, #505 Eastwood, New York oak unmarked desirable example with pierced cutout to back closed: 23 1/2”w x 16 1/2”d x 46 1/2”h $2,000-3,000 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Gray, Stephen, The Early Work of Gustav Stickley, Turn of the Century Editions, 1987, p. 27 (1902 retail plates)

139† Gustav Stickley (1858-1942) table, #441 Eastwood, New York oak marked with red decal trumpeted stacked stretcher with a central finial 40”dia x 29 3/4”h $1,500-2,500 Provenance: Cathers & Dembrosky The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Gray, Stephen, The Early Works of Gustav Stickley, Turn of the Century Editions, 1987, p. 114 (1902 retail plates)

140† Gustav Stickley (1858-1942) hall mirror, #68 Eastwood, New York oak, silvered glass, iron signed with black ink mark 47 1/4”w x 7 1/4”d x 29 1/4”h $2,000-3,000 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Gray, Stephen, and Robert Edwards, Collected Works of Gustav Stickley, Turn of the Century Editions, 1989, p. 99 (1904 furniture catalog)

141† Gustav Stickley (1858-1942) settle, #188 Eastwood, New York oak, leather marked with early red decal desirable ‘knock down’ form 84 1/2”w x 35”d x 35 1/2”h $10,000-15,000

142† Gustav Stickley (1858-1942) flat-arm Morris chair, #2342 Eastwood, New York oak marked with early red decal This earlier version of the classic flat-arm Morris chair is considered one of Gustav Stickley’s best designs. 31 1/2”w x 36 1/4”d x 39 1/4”h $7,000-9,000 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington

143† Gustav Stickley (1858-1942) chest of drawers, similar to #627 Eastwood, New York oak, brass marked with red decal and paper label 40”w x 21 3/4”d x 53 1/4”h $5,000-7,000

Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington

144† Gustav Stickley (1858-1942) two-door bookcase, #718 Eastwood, New York oak, copper, glass signed with red decal 54 1/4”w x 13”d x 56”h $3,500-4,500

Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Gray, Stephen, and Robert Edwards, Collected Works of Gustav Stickley, Turn of the Century Editions, 1989, p. 92 (1904 furniture catalog)

145â&#x20AC; Gustav Stickley (1858-1942) serving table, #802 Eastwood, New York oak, iron signed with red decal Harvey Ellis influenced form 42"w x 17 3/4"d x 39"h $2,000-3,000 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Gray, Stephen, and Robert Edwards, Collected Works of Gustav Stickley, Turn of the Century Editions, 1989, p. 101 (1904 furniture catalog) 146â&#x20AC; Gustav Stickley (1858-1942) manor hall seat, variation of #154 Eastwood, New York oak, cloth unmarked 37"w x 19"d x 29"h $500-700 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington Literature: Gray, Stephen, The Early Works of Gustav Stickley, Turn of the Century Editions, 1987, p. 19

147† Gustav Stickley (1858-1942) lantern, #830 Eastwood, New York iron, copper, hammered amber glass unmarked overall: 6”sq x 21 3/4”h $800-1,200 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington 148† Marie A. Seaman (b. 1868) for Grueby vase with overlapping leaves, #166 Boston, Massachusetts matte green glazed ceramic circular Faience mark, artist signed 6”dia x 8 1/2”h $2,000-3,000 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington 149† Gustav Stickley (1858-1942) chambersticks, pair, #74 Eastwood, New York hammered copper each with stamped marks 7”dia x 9”h $600-800 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington

150 Ellen R. Farrington (1877-1919) for Grueby vase with leaves Boston, Massachusetts matte ochre glaze circular Pottery mark and paper labels 10â&#x20AC;?dia x 9â&#x20AC;?h $8,000-12,000

151 Mary Chase Perry Stratton (18671961) for Pewabic Pottery vase with dandelion decoration Detroit, Michigan, circa 1904 matte green glazed ceramic two impressed signatures This large important vase is a rare example of the early work being done at the Pewabic Pottery. 10”dia x 16”h $20,000-30,000 Exhibitions: A similar example is in the permanent collection of the Metropolitan Museum of Art in New York City. Literature: A similar example can be found in: American Art Pottery: The Robert A. Ellison Jr. Collection, The Metropolitan Museum of Art, 2018, p. 278 Catalog Note: This particular model was exhibited at Pewabic Pottery’s public debut at the 1904 St. Louis World’s Fair and then prominently featured in a review by Ceramic Studios. For a complete biography, refer to page 251 of this catalog.

152 Tiffany Studios / Grueby Faience Company Acorn table lamp New York, New York / Boston, Massachusetts Favrile glass, bronze, carved green glazed ceramic base: faint impressed mark, shade: marked Tiffany Studios, New York, #35 This lamp is a great example of the successful collaboration between Grueby and Tiffany Studios. 16â&#x20AC;?dia x 19 1/2â&#x20AC;?h $20,000-30,000

153 Elizabeth Eaton Burton (1869–1937) jewelry casket Santa Barbara, California leather, brass, abalone 20”w x 9 7/8”d x 12 1/2”h $10,000-20,000 Literature: My Santa Barbara Scrapbook: A Portrait of the Artist, Elizabeth Eaton Burton, Santa Barbara Historical Museum, 2011, p. 75 Catalog Note: For a complete biography, refer to page 247 of this catalog.

154 Grueby turtle tiles, set of three Boston, Massachusetts matte glazed ceramic two marked ‘MD’ 6”sq x 1”d $3,000-5,000

155 Addison B. LeBoutillier (1872-1951) for Grueby yellow tulip tile Boston, Massachusetts matte glazed ceramic marked ‘AD’ 6 1/4”sq x 1”h $1,000-2,000

156 Grueby purple tulip tile Boston, Massachusetts matte glazed ceramic marked ‘KL’ 6”sq x 1”d $1,000-2,000

157 Robert Riddle Jarvie (1865-1941) Alice’s Adventures in Wonderland jardiniere Chicago, Illinois copper stamped signature extremely rare example by The Jarvie Shop 11 1/2”dia x 7”h $9,000-12,000

Catalog Note: This jardiniere is excellently executed with various scenes incorporated from Lewis Carroll’s Alice’s Adventures in Wonderland. The novel, very possibly a coincidence, was published the same year Jarvie was born, in 1865. While we suspect this jardiniere was produced for a special commission, it is interesting to note that Jarvie’s wife, Lillian Gray Jarvie, was a children’s bookseller and author. On one side, the jardiniere depicts Alice talking to the caterpillar on a mushroom, the grinning Cheshire cat in a tree, a dormouse, a flamingo and a hopping frog. On the other side, an oversized Alice is talking to a bird in a tree, a pig trotting in a dress and the March Hare. All of these encounters take place amongst a teeming array of realistic foliage decoration. The vine-like leaves are reminiscent of other known works by the The Jarvie Shop, including trays and bookends. For a complete biography, refer to page 249 of this catalog.

158 The Kalo Shop rectangular serving tray with repoussé linear and morning glory decoration Chicago, Illinois, circa 1905 copper stamped mark large, early and rare example 23 1/8”w x 14 7/8”d $4,000-6,000

159 Gustav Stickley (1858-1942) serving tray, #354 Eastwood, New York copper stamped marks 25”w x 10 5/8”d x 1 1/2”h $1,500-2,500

160 The Kalo Shop important Arts & Crafts desk box with repoussĂŠ lid Chicago, Illinois, 1906 copper stamped mark further incised inscription to bottom: Kalo Shop / Made 1906 / For Mr. George S. Welles / Husband of Clara Barck Welles 9 5/8"w x 4 3/4"d x 3 1/16"h $6,000-8,000 Provenance: The Paul and Terry Somerson Collection of 20th & 21st Century Metalwork and Jewelry 161 Robert Riddle Jarvie (1865-1941) Beta candlesticks, pair Chicago, Illinois brass impressed marks 5 3/16"dia x 12 3/8"h $2,000-3,000

162 L. & J. G. Stickley from the Onondaga Shops early carved bench Fayetteville, New York oak, leather unmarked 41”w x 18”d x 28”h $4,000-6,000 Provenance: Charles M. Kessler, Fayetteville, New York Catalog Note: Charles M. Kessler was the Secretary/ Treasurer in 1902 for the Stickley Furniture Co. of Fayetteville, New York. He also served as Mayor of Fayetteville beginning in 1933.

163 L. & J. G. Stickley center table, similar to #563 Fayetteville, New York oak signed The Work of ... 54”dia x 29 1/4”h $4,000-6,000 Catalog Note: This is the only example with a round top over this base that we have seen.

164 Gustav Stickley (1858-1942) work cabinet Eastwood, New York oak, iron signed with red decal rare form 20”w x 15”d x 36”h $8,000-12,000 Literature: The earlier version of this form is illustrated in The Craftsman, November 1901. Gray, Stephen, and Robert Edwards, Collected Works of Gustav Stickley, Turn of the Century Editions, 1989, p. 23

165 Teco, Harald Hals (1876-1959), designer vase, #259 Chicago, Illinois matte green glazed ceramic impressed three times 7 1/2â&#x20AC;?sq x 13 1/2â&#x20AC;?h $15,000-25,000 Provenance: Property from an Important Chicago Collector

166 Dirk van Erp (1862-1933) large Warty jardiniere San Francisco, California hammered copper open box mark with ghost of D’Arcy Gaw 14 1/2”dia x 9 3/4”h $10,000-15,000 Catalog Note: For a complete biography, refer to page 254 of this catalog.

167 L. & J.G. Stickley single-door bookcase, #641 Fayetteville, New York oak, copper, glass marked with Handcraft decal earlier form with chamfered board back 32”w x 12”d x 55”h $2,500-3,500

168 Gustav Stickley (1858-1942) lamp table, #440 Eastwood, New York oak, leather, brass marked with early red decal 30”dia x 28”h $1,500-2,500

169 The Roycrofters piano bench, #071 East Aurora, New York oak signed carved HWW initials 36”w x 17”d x 21 1/2”h $2,000-3,000

170 The Roycrofters magazine pedestal, #080 East Aurora, New York oak carved orb and oak leaf 18”sq x 64”h $5,000-7,000 171 The Roycrofters waste basket, #023 East Aurora, New York birdseye maple signed with carved orb 12”sq x 13”h $900-1,200

172 Gustav Stickley (1858-1942) floor lamp, #510 Eastwood, New York copper, oak, willow, silk unmarked overall: 30”dia x 56”h $1,500-2,500 Literature: Gray, Stephen, The Early Works of Gustav Stickley, Turn of the Century Editions, 1987, p. 159 (Craftsman Lighting, supplement to Catalog D)

173 Gustav Stickley (1858-1942) single-door china cabinet, #820 Eastwood, New York oak, copper, glass marked with red decal 36”w x 15”d x 63”h $2,500-3,500

174 Gustav Stickley (1858-1942) bow-arm Morris chair, #336 Eastwood, New York oak, leather marked with red decal and paper label 30 1/2”w x 37”d x 37”h $2,000-3,000 175 Stickley Brothers drink stand, #2615 Grand Rapids, Michigan copper, oak Quaint metal tag 18”dia x 28”h $700-900 176 Lakeside Craft Shop magazine stand, #B1 Sheboygan, Wisconsin oak marked with paper label 18 1/2”w x 13”d x 31 1/2”h $300-500

177 Anna Frances Simpson (1880-1930) for Newcomb College transitional vase with moon and pine trees New Orleans, Louisiana, 1922 (MO24) matte glazed ceramic impressed marks 6 1/8”dia x 13 5/8”h $6,000-8,000

178 Elizabeth McDermott (1875-1944) for Rookwood Pottery scenic Vellum landscape plaque Cincinnati, Ohio, 1916 matte glazed ceramic impressed marks plaque: 5 1/4”w x 9 3/8”h; frame: 10 7/8”w x 15 1/8”h $2,500-3,500

179 Teco, Holmes Smith, designer Roman salad bowl. #400 Chicago, Illinois matte green and high glazed white ceramic impressed mark 11 7/8”dia x 5 7/8”h $1,000-2,000

180 Teco, W.B. Mundie (1863-1939), designer large four-handled gourd vase / lamp base, #287A Chicago, Illinois matte green glazed ceramic four impressed marks 10 1/4”sq x 12 3/8”h $3,000-5,000

181 Frank Lloyd Wright (1867-1959) for the Edwin H. Cheney House window Oak Park, Illinois, 1903 leaded glass 39”w x 33 1/4”h $6,000-8,000 Catalog Note: The story of the Cheney House is a truly fascinating one, which had profound implications for architect Frank Lloyd Wright. In 1895, Wright completed his home and studio in Oak Park, Illinois. He went on to build 60 residences in the area in the next five years. After translator Mamah Borthwick met Wright’s wife Catherine at a local social club, she and her husband Edwin H. Cheney, an electrical engineer, commissioned Wright to design their home. From the outside, the house appears to be a single-story bungalow, but, in fact, the surrounding brick wall hides an elevated basement where Mamah Borthwick’s sister lived. To counterbalance the impression of isolation and mystery caused by the brick wall, Wright added lightly colored iridescent glass to the ground-floor windows, suggestive of Japanese bamboo curtain designs. In 1909, Mamah Borthwick and Wright became romantically involved and went on a year-long trip to Europe, much to the dismay of their families, friends and high society. Prior to the Cheneys divorcing in 1911, Wright designed his grand estate, Taliesin, in Spring Green, Wisconsin with the intention of Mamah Borthwick joining him there permanently. Tragically, in 1914, a mentally unstable servant went on a killing spree at Taliesin after setting the property on fire while Wright was in Chicago. Mamah Borthwick died in the incident along with her children. This original Wright window on offer dates to 1903 and was removed from the Cheney House during renovation by a subsequent owner.

182 Samuel Yellin (1884-1940) for the J. Walter Thompson Company gate and transom New York, New York, 1927-1938 wrought iron unsigned 37”w x 5”d x 101 1/2”h $8,000-12,000

Catalog Note: Samuel Yellin was commissioned by Helen Lansdowne Resor, famous advertising copywriter and executive, to create grillwork for the executive wing of J. Walter Thompson’s new offices in the Graybar Building at 420 Lexington Avenue in New York City. This elaborate gate and transom were subsequently installed. The period photo shows this gate design in the executive offices.

183 Prairie School, probably designed by Marion Mahony Griffin (1871-1961) student lamp circa 1910 bronze, glass 23”w x 11”d x 19”h $2,000-3,000

184 Alfonso Iannelli (American, 1888-1965) Design for Christmas Box graphite on board signed bottom right inscribed #2 top left 9 1/2” x 8”; sheet: 12” x 14 3/8” $400-600

185 Alfonso Iannelli (1888-1965) and Barry Byrne (1883-1967) for the William F. Tempel House barrel chair Kenilworth, Illinois, 1918 oak 22”w x 25 1/2”d x 32”h $3,000-5,000 Literature: For a period photograph with an example of this chair in situ, see: Jameson, David, and Tim Samuelson, Alfonso Iannelli: Modern by Design, Top Five Books, 2013, p. 116 Catalog Note: For a complete biographies, refer to page 247 and 249 of this catalog.

186 Dirk van Erp (1860-1933) shell vase San Francisco, California brass stamped marks 11 1/8”dia x 25 9/16”h $1,000-1,500

187 Dirk van Erp (1860-1933) shell vase San Francisco, California brass stamped marks 9 7/16”dia x 18 3/4”h $800-1,200

188 Dirk van Erp (1862-1933) vase San Francisco, California copper open box mark 6 3/4”dia x 4 3/4”h $2,000-3,000 189† Albert Berry (1878-1949) Sailboat bookends Seattle, Washington copper stamped marks 4 1/2”w x 3 1/4”d x 5 5/8”h $150-250 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington 190 Gustav Stickley (1858-1942) rare table lamp with reed shade, similar to #611 Eastwood, New York wood, copper, wicker, silk 14”dia x 22”h $2,000-3,000

191 Ed Diers (1871-1947) for Rookwood Pottery scenic Vellum landscape plaque Cincinnati, Ohio, 1912 matte glazed ceramic impressed marks plaque: 9”w x 14 1/2”h; frame: 14 5/8”w x 19 7/8”h $3,000-5,000

192 Mary Chase Perry Stratton (1867-1961) for Pewabic Pottery early All by Myself I Have to Go tile Detroit, Michigan glazed ceramic, original redwood frame signed Perry phrase from the poem “Land of Nod” by Robert Louis Stevenson (1850-1894) tile: 11 3/4”sq; frame: 15 3/4”w x 15 5/8”h $2,000-3,000 Literature: To view an illustration of the signature, see: Pear, Lillian Myers, The Pewabic Pottery: A History of Its Products and Its People, WallaceHomestead Book Co., 1976, p. 34

193 The Handel Lamp Co. hanging three-light fixture with shades Meriden, Connecticut bronze, obverse glass shades signed: Handel 5208, rg overall: 14”dia x 18”h $1,000-1,500 194 The Handel Lamp Co. hanging four-light fixture with shades Meriden, Connecticut hammered copper, obverse glass signed together with an extra shade overall: 20”dia x 48”h $2,000-3,000

195 Gustav Stickley (1858-1942) desk chair, #398 Eastwood, New York oak, leather marked with red decal low H-back form 17”w x 16”d x 32”h $200-300

196 Gustav Stickley (1858-1942) desk, #720 Eastwood, New York oak, iron signed with black ink mark 40 1/4”w x 23”d x 38”h $1,000-2,000

197 L. & J. G. Stickley trestle table, #594 Fayetteville, New York oak unmarked This massive form is the largest of the trestle table designs. 72”w x 45”d x 29”h $1,500-2,500

198 Charles P. Limbert Co. dining table, #441 Grand Rapids, Michigan oak branded mark and numbered with two 11” quartersawn leaves 48”dia x 29”h $1,000-1,500 199 Gustav Stickley (1858-1942), designed by Harvey Ellis (1852-1904) side chairs, set of eight, #353 Eastwood, New York oak, original rush marked with red decal and paper label 16 1/2”w x 16 1/2”d x 40”h $3,000-5,000

200 Anna Frances Simpson (d. 1930) for Newcomb College scenic vase with moon, live oaks and Spanish moss New Orleans, Louisiana, 1927 (QO25) blue matte glazed ceramic impressed marks 4 1/4”dia x 7 3/4”h $2,000-3,000 201 Sadie Irvine (1887-1970) for Newcomb College transitional vase with moon and trees New Orleans, Louisiana, 1931 (SX84) matte glazed ceramic impressed marks 3 1/4”dia x 6 3/8”h $1,500-2,500 202 Henrietta Bailey (1874-1950) for Newcomb College transitional vase with flowers New Orleans, Louisiana, 1925 (OK23) matte glazed ceramic impressed marks 4”dia x 8”h $1,000-2,000

203 Sadie Irvine (1887-1970) for Newcomb College transitional vase with flowers New Orleans, Louisiana, 1921 (LJ63) matte glazed ceramic impressed marks 3 1/4”dia x 3 1/4”h $1,000-2,000

204 Sadie Irvine (1887-1970) for Newcomb College transitional trivet with floral motif New Orleans, Louisiana, 1931 (ST84) matte glazed ceramic impressed marks 6”dia x 1/2”h $800-1,200

205 Sadie Irvine (1887-1970) for Newcomb College Espanol vase New Orleans, Louisiana, 1933 (UQ34) matte blue glazed ceramic incised marks 4”dia x 3 1/4”h $800-1,200

206 Henrietta Bailey (1874-1950) for Newcomb College transitional mug and saucer with pine cones New Orleans, Louisiana, 1924 (NS85) matte glazed ceramic impressed marks mug: 3 1/8”w x 2 5/8”d x 3 5/8”h; saucer: 5 13/16”dia x 7/8”h $700-900

207 Elizabeth Overbeck (1875-1936) and Mary Francis Overbeck (1878-1955) for Overbeck Pottery bowl with carved band of stylized birds Cambridge City, Indiana matte glazed ceramic incised marks together with a matching flower frog 5”dia x 3 1/8”h $2,000-3,000

209 Arequipa Pottery vase Fairfax, California matte blue glazed ceramic mark partially obscured 2 7/8”dia x 5 3/4”h $400-600

208 Overbeck Pottery vase with incised design Cambridge City, Indiana matte glazed ceramic incised marks 4 3/4”dia x 5 1/4”h $900-1,200

210 Frans J.R. Gyllenberg (1883-1974) / Handicraft Shop square trivet with Grueby tile Boston, Massachusetts, 1905 sterling silver stamped marks 4 1/8”sq x 1”h $400-600 Provenance: The Paul and Terry Somerson Collection of 20th & 21st Century Metalwork and Jewelry

211 Grueby scarab paperweight Boston, Massachusetts butterscotch matte glazed ceramic circular Faience mark 3 7/8”w x 2 3/4”d x 1 3/8”h $200-300

212 Teco, W.D. Gates (1852-1935), designer three-handled vase, #278 Chicago, Illinois matte green glazed ceramic two impressed signatures 7”dia x 6 1/4”h $1,000-1,500 Provenance: Property from an Important Chicago Collection

214 Teco advertising sign Chicago, Illinois painted wood, iron for Shreve & Co. San Francisco 10”w x 7/8”d x 6 1/4”h $500-700

213 Teco, Fritz Albert (1865-1940), designer two-handled vase, #283 Chicago, Illinois matte brown glazed ceramic two impressed marks 5 1/4”w x 5”d x 9 1/4”h $400-600

215 Teco, N. Forester, designer mug, #298 Chicago, Illinois matte green glazed ceramic two impressed signatures 5”w x 3 3/4”d x 5 3/4”h $300-500

216 Van Briggle Pottery vase with stylized flowers Colorado Springs, Colorado, 1915 glazed ceramic incised marks 3”dia x 7”h $300-500

Provenance: Property from an Important Chicago Collection

217 Charles P. Limbert Co. stand, #602-15 Grand Rapids, Michigan oak, cane branded marks, numbered 15”w x 10”d x 34”h $400-600 Provenance: Treadway Toomey Auctions, Oak Park, Illinois, 10 September 2006, Lot 0187 218 Charles P. Limbert Co. drop-front desk, #602-25 Grand Rapids, Michigan oak, copper, cane branded marks, numbered 26”w x 12 1/4”d x 46 1/2”h $1,000-2,000

219 Charles P. Limbert Co. bookcase with side shelves, #342 Grand Rapids, Michigan oak, glass, copper numbered, paper label 30”w x 12”d x 45”h $1,500-2,500

220 Charles P. Limbert Co. cafe chair, #500 Grand Rapids, Michigan oak, leatherette, brass branded signature 26”w x 22”d x 34”h $4,000-6,000

221 Charles P. Limbert Co. smoker’s foot stool, #225 Grand Rapids, Michigan oak, leather, copper branded signature 18 1/4”w x 12 1/2”d x 12 1/2”h $300-500

222 Charles P. Limbert Co. Morris chair, #517 Grand Rapids, Michigan oak, upholstery branded and numbered 31”w x 40”d x 35”h $1,000-1,500

223 Charles P. Limbert Co. rocker, #848 Grand Rapids, Michigan oak branded signature 32”w x 39”d x 31 1/2”h $800-1,200

224 Charles P. Limbert Co. rocker, #844 Grand Rapids, Michigan oak 31 1/4”w x 36”d x 35 3/8”h $800-1,200

225 Charles P. Limbert Co. settle, #567 1/2 Grand Rapids, Michigan oak, leather branded signature, retailer label: G.A. Wellman & Sons, Boston large even arm form 85”w x 33”d x 38 1/2”h $2,000-3,000

226 Charles P. Limbert Co. table lamp, #507 Grand Rapids, Michigan copper, caramel slag glass, brass unmarked fleur-de-lis and lattice overlay decoration 23”dia x 22”h $3,000-5,000 Literature: Marek, Don, Grand Rapids Art Metalwork, Heartwood, 1990, p. 135

227 Arts & Crafts, possibly Stickley Brothers table lamp Grand Rapids, Michigan copper, willow unmarked 22 1/2”dia x 32”h $900-1,200

228 Roseville Pottery Co. Carnelian vase Zanesville, Ohio matte drip glaze ceramic unmarked 11 1/4”dia x 13 1/2”h $500-700

229 Roseville Pottery Co. Della Robbia vase with carved flowers Zanesville, Ohio glazed ceramic Rozane Ware button 5 1/4”dia x 10 1/4”h $1,500-2,500

230 Rookwood Pottery production vase with floral design, #2489 Cincinnati, Ohio, 1922 matte blue-green glaze impressed marks 4 1/2”dia x 11 5/8”h $250-350

231 Roseville Pottery Co. Chloron ship window box Zanesville, Ohio matte green glazed ceramic unmarked 21 5/8”w x 6”d x 6 3/8”h $1,000-2,000

232† Fulper Pottery Co. four-handled vase covered in Chinese Blue Flambé glaze Flemington, New Jersey, 1917-1927 glazed ceramic incised racetrack mark, remnant of paper label 12”dia x 13”h $300-500 Provenance: The Collection of Rich and Patty Thumann, Tacoma, Washington 233 California Art Tile Co. landscape tile Richmond, California matte brown glazed ceramic impressed marks set in an oak frame tile: 5 3/4”sq; frame: 11 1/8”sq $150-250 234 Shearwater Pottery vase with incised bird motif Ocean Springs, Mississippi, 1940s high glazed ceramic impressed circular mark and Iowa Art Center sticker to base 7”dia x 7”h $800-1,200 235 Kataro Shirayamadani (1865-1948) for Rookwood Pottery frog (or toad) on a cluster of mushrooms bookends, #2603, pair Cincinnati, Ohio, 1924 matte glazed green and brown ceramic impressed marks each: 5 1/2”w x 4 3/16”d x 4 1/2”h $500-700 236 Marie Zimmerman (1878-1973) shell dish New York, New York bronze unmarked 6”w x 3 1/2”d x 1/2”h $400-600 Literature: For similar examples, see: Waters, Deborah Dependahl, Joseph Cunningham, and Bruce Barnes, The Jewelry and Metalwork of Marie Zimmermann, Yale University Press, 2011, p. 160

237 Edward T. Hurley (1869-1950) for Rookwood Pottery Sea Green vase with fish, #906B Cincinnati, Ohio, 1903 high glazed ceramic impressed marks 7 3/4”dia x 6 7/8”h $3,000-5,000 Provenance: Rago Auctions, Lambertville, New Jersey, The Toni Schulman Collection of Rookwood Pottery, 06 March 2004, Lot 0130 238 Sallie Coyne (1876-1939) for Rookwood Pottery scenic Vellum landscape vase, #946 Cincinnati, Ohio, 1920 matte glazed ceramic impressed marks 4 1/2"dia x 10 7/8"h $1,000-2,000 Provenance: Rago Auctions, Lambertville, New Jersey, The Toni Schulman Collection of Rookwood Pottery, 06 March 2004, Lot 0131

239 Lenore Asbury (1866-1933) for Rookwood Pottery Venetian Vellum vase, #1653D Cincinnati, Ohio, 1909 matte glazed ceramic impressed marks 4”dia x 8”h $700-900

240 Kataro Shirayamadani (1865-1948) for Rookwood Pottery scenic Vellum banded landscape vase, #1858D Cincinnati, Ohio, 1912 matte glazed ceramic impressed marks 4 7/8”dia x 8 7/8”h $1,000-2,000

241 Kataro Shirayamadani (1865-1948) for Rookwood Pottery scenic Iris banded landscape vase, #1369E Cincinnati, Ohio, 1911 high glazed ceramic impressed marks 4 1/4”dia x 7 1/2”h $800-1,200

242 Irene Bishop (1881-1925) for Rookwood Pottery floral Iris vase with daffodil, #614E Cincinnati, Ohio, 1903 high glazed ceramic impressed marks 4”dia x 8”h $600-800

244 Caroline Steinle (1871-1944) for Rookwood Pottery scenic Vellum landscape vase, #732C Cincinnati, Ohio, 1921 matte glazed ceramic impressed marks 3 1/2”dia x 7 1/2”h $600-800

243 Matthew A. Daly (1860-1937) for Rookwood Pottery Standard Glaze Native American vase, #614E Cincinnati, Ohio, 1897 high glazed ceramic impressed marks 4 1/2”dia x 7 7/8”h $3,000-5,000

245 Katherine Jones (active 1924-1931) for Rookwood Pottery floral Vellum hexagonal vases with lids, pair, #2750 Cincinnati, Ohio matte glazed ceramic impressed marks 3 1/4”w x 3”d x 7 1/4”h $400-600

246 Ed Diers (1871-1947) for Rookwood Pottery scenic Vellum vase Cincinnati, Ohio, 1921 matte glazed ceramic impressed marks, numbered #1065C 4 1/4”dia x 9”h $700-900

247 Elizabeth Barrett for Rookwood Pottery Lagoon Green vase decorated with ducks, #6189F Cincinnati, Ohio, 1944 high glazed ceramic impressed marks 4”dia x 4 1/2”h $400-600

248 Jens Jensen (1898-1978) for Rookwood Pottery Jewel Porcelain vase decorated with swan, #6400 Cincinnati, Ohio, 1933 high glazed ceramic impressed marks 3 1/2”dia x 5 7/8”h $600-800

250 Kataro Shirayamadani (1865-1948) for Rookwood Pottery floral Vellum vase, #2077 Cincinnati, Ohio, 1940 matte glazed ceramic impressed marks 4 1/2”dia x 6 1/8”h $600-800

249 Wilhelmine Rehm (active 19271948) for Rookwood Pottery Double Vellum floral vase, #1929 Cincinnati, Ohio, 1929 matte glazed ceramic impressed marks 7 1/4”dia x 4 5/8”h $400-600

251 Jens Jensen (1898-1978) for Rookwood Pottery Jewel Porcelain vase with figures, #6325 Cincinnati, Ohio, 1946 high glazed ceramic impressed marks 3 3/8”dia x 7 1/2”h $500-700

252 Lenore Asbury (1866-1933) for Rookwood Pottery scenic Vellum vase, #946 Cincinnati, Ohio, 1916 glazed ceramic impressed marks together with an original Rookwood Pottery brochure 4 3/8”dia x 10 3/4”h $1,000-1,500

254 Edith Noonan for Rookwood Pottery cylindrical Vellum vase Cincinnati, Ohio, 1907 matte glazed ceramic impressed marks, numbered #952E unusual grapevine decoration 3 1/4”dia x 7 1/2”h $400-600

253 Lorinda Epply (1874-1951) for Rookwood Pottery Grey-tinted vase with floral design Cincinnati, Ohio, 1925 high-glazed ceramic impressed marks 5 1/4”dia x 10 1/2”h $300-500

255 Elizabeth Lincoln (1876-1957) for Rookwood Pottery Double Vellum vase, #2969 Cincinnati, Ohio, 1930 glazed ceramic impressed marks 6 3/4”dia x 7 3/8”h $500-700

256 Constance A. Baker (1860-1932) for Rookwood Pottery Painted Mat vase with flowers Cincinnati, Ohio, 1901 matte glazed ceramic impressed marks 3 3/8”dia x 9 1/2”h $600-800

257 Heintz Art Metal Co. table lamp Buffalo, New York bronze, silver, fabric unmarked 9 7/8”dia x 10 1/2”h $400-600 258 The Roycrofters tray East Aurora, New York copper stamped mark 17”w x 14 3/4”d x 1 1/14”h $300-500 259 Joseph Heinrichs (b. 1866) chafing dish with tray New York, New York copper, sterling silver, oak stamped marks overall: 21”w x 13”d x 12”h $600-800

260 Attributed to Bradley & Hubbard Manufacturing Co. large octagonal paneled table lamp: shade, #T9365 on base, #18 872 Meriden, Connecticut bronze, patinated metal, slag glass applied stamped tags 24”w x 21”d x 36”h $1,000-2,000

261 American Arts & Crafts square leaded glass lamp bronze, leaded glass unmarked shade decorated with a flowering vine on a geometric field 20 1/8”sq x 32”h $1,500-2,500

262 Bradley & Hubbard Mfg. Co. Aesthetic Movement lamp Meriden, Connecticut patinated mixed metals paper label remnant to underside base: 8”dia x 8 1/2”h $300-500 263 The Pittsburgh Lamp, Brass & Glass Co. Moonlit Landscape table lamp Pittsburgh, Pennsylvania reverse painted glass with obverse additions, bronze unsigned 15 1/2”dia x 21 3/8”h $600-800

264 Adolf Loos (1870–1933) coat rack, designed for Café Capua Vienna, Austria, 1913 cast iron and brass unmarked 19”dia x 79 1/4”h $2,000-3,000

265 Austrian Secessionist chunk jewel table lamp patinated metal, copper, opalescent glass unsigned 12 3/4”dia x 22 1/4”h $800-1,200

Literature: Gravagnuolo, Benedetto, Adolf Loos: Theory and Works, Art Data, 1995, p. 153 Ottillinger, Eva B., Adolf Loos, Wohnkonzepte und Möbelentwürfe, Residenzverlag, 1994, p. 131 (interior model)

266 The Handel Lamp Co. table lamp Meriden, Connecticut obverse painted glass, copper patinated metal impressed HANDEL 11 1/2”dia x 18 1/4”h $400-600

267 Susan Jacobs Lockhart (b. 1935) Mid-Summers Nights Dream folding screen Scottsdale, Arizona stained wood design on mahogany veneer an edition of five 45 3/4”w x 75 1/2”h $2,000-3,000 Provenance: Treadway Toomey Auctions, Oak Park, Illinois, 03 March 2002, Lot 885 Catalog Note: For a complete biography, refer to page 250 of this catalog.

268 Frank Lloyd Wright (1867-1959) for the Robert D. Winn House lounge chair Kalamazoo, Michigan, 1950 pine unmarked 24”sq x 28”h $2,000-3,000 Provenance: The Collection of Mary Fons, daughter of Robert D. Winn DuMouchelles, Detroit, Michigan, 20 October 1996, Lot 2317 Private Collection

269 Richard Riemerschmid (1868-1957) for Vereingte Werkstätten für Kunst unt Handwerk, retailed by Liberty & Co. side chair Munich, Germany bog oak, leather, brass unsigned 19”w x 22 1/2”d x 37 1/4”h $4,000-6,000 Provenance: John Jesse, London, England, 14 September 1994 Exhibitions: Similar examples are in the collections of the Art Institute of Chicago, the Museum of Modern Art in New York City and the Victoria and Albert Museum in London. Literature: Neumann, Peter-Christian, Take a Seat: Masterpieces of Chair Design, Chart-Gallery, 2005, pp. 42-43 Catalog Note: For a complete biography, refer to page 252 of this catalog.

270 Augustus Saint-Gaudens (American, 1848-1907) Portrait of Jules Bastien Lepage bronze inscribed, dated and signed JULES BASTIEN-LEPAGE AETATIS XXXI · PARIS · MDCCCLXXX · AVGVSTVS ·/ SAINT-GAVDENS · FECIT made by Magee Furnace Company of Chelsea, Massachusetts 14 1/4” x 10 1/8” $10,000-15,000

271 French Antique intertwined serpents encrier bronze unsigned 10 1/4”w x 5 1/2”d x 2 1/8”h $500-700

272 Liberty & Co. Tudric vase with handles London, England pewter impressed marks 4 3/4”w x 3 3/4”d x 5 3/4”h $300-500

273 Liberty & Co. Tudric vase with handles, #0927 London, England pewter impressed marks 5 3/4”w x 4 3/4”d x 11 1/2”h $400-600

274 Liberty & Co. Tudric biscuit jar, #0193 London, England pewter impressed marks 4 5/8”dia x 4 7/16”h $500-700

275 English Arts & Crafts Thebes stool mahogany, cotton 14 5/8”sq x 14 7/8”h $600-800

276 Nikolaus Kannhäeuser for Riessner, Stellmacher & Kessel Amphora-Werke vase, #586 Turn-Teplitz, Austria, circa 1895 hand-painted ceramic impressed and stamped marks decorated with a profile bust of a young maiden with flowers in her flowing hair, before a landscape 4 1/8"w x 3 1/4"d x 5 7/8"h $400-600 277 *Gallé tapered reniform Daffodil vase Nancy, France cameo glass signed in cameo 4"w x 3"d x 11"h $600-800 278 *Gallé large Grapevine vase Nancy, France cameo glass signed in cameo 7"dia x 18 5/8"h $1,000-2,000 279 Gallé small foliate vases, two Nancy, France cameo glass each signed in cameo larger: 3 1/4"w x 2 7/8"d x 6 1/4"h $300-500 280 Gallé Clematis vase Nancy, France fire polished cameo glass signed in cameo 3 1/8"dia x 7 3/4"h $800-1,200

281 Gallé mountainous landscape vase Nancy, France cameo glass signed in cameo 4 3/8"dia x 7 3/8"h $600-800 282 Gallé Chrysanthemum vase Nancy, France cameo glass signed in cameo 3"dia x 8"h $500-700 283 Gallé scenic landscape vase with a man crossing a bridge Nancy, France cameo glass signed in cameo 3 3/8"dia x 10 1/2"h $600-800 284 Gallé large Iris vase Nancy, France cameo glass signed in cameo 6 3/4"dia x 18 1/2"h $1,000-2,000 285 Gallé Beech Branches vase Nancy, France cameo glass signed in cameo 6"dia x 15 3/4"h $1,000-2,000

286 Gallé Morning Glory vase Nancy, France cameo glass signed in cameo 3 1/4"dia x 11"h $500-700 287 Gallé Fuchsia vase Nancy, France cameo glass signed in cameo 4 1/4"dia x 11 3/4"h $800-1,200 288 Gallé banjo Floral vase Nancy, France cameo glass signed in cameo 3 1/4"w x 2 1/2"d x 6 3/4"h $400-600 289 Gallé banjo Currant vase Nancy, France cameo glass signed in cameo 3 1/4"w x 2 1/4"d x 6 3/4"h $400-600 290 Gallé large Poppy vase Nancy, France fire polished cameo glass signed in cameo 6"dia x 18"h $1,000-2,000

291 *Gallé red currant vase Nancy, France red/yellow/semitranslucent cameo glass signed in cameo 3 1/4"w x 2 3/4"d x 7 1/8"h $400-600 292 Gallé Bellflower vase Nancy, France purple/semitransulcent cameo glass signed in cameo 2 9/16"dia x 10 3/4"h $500-700 293 Gallé Freesia vase Nancy, France deep purple/yellow cameo glass signed in cameo 4"dia x 9 1/2"h $500-700 294 Gallé mountainous landscape vase Nancy, France cameo vase signed in cameo 5"dia x 9 7/8"h $1,000-2,000 295 Gallé Iris vase Nancy, France cameo glass signed in cameo 5 1/2"dia x 9 5/8"h $1,000-2,000

296 Gallé small floral vases, two Nancy, France cameo glass each signed in cameo larger: 2 1/4"dia x 6 1/4"h $300-500 297 Gallé Periwinkle vase Nancy, France cameo glass signed in cameo 2 3/4"dia x 8"h $500-700 298 Gallé Violet vase Nancy, France cameo glass etched signature 4 3/4"dia x 4 5/8"h $500-700 299 Gallé Cherry Blossom ovoid box Nancy, France red/yellow cameo glass signed in cameo, original paper label 4"dia x 8"h $500-700 300 Charles Schneider (1881-1953) / Le Verre Français Mûriers verts large round and footed center bowl Épinay-sur-Seine, France red/mottled green cameo cut glass tri-color cane thread signature 12 3/8"dia x 6 1/8"h $700-900

301 Amalric Walter (1870-1959) Honeysuckle compote Nancy, France cast pĂ˘te-de-verre glass cast signature 5 1/8"dia x 3 1/16"h $600-800 302 Daum Chardon (Thistle) vase Nancy, France green cameo glass with gilt additions embossed signature, Cross of Lorraine in cameo 3 3/8"w x 2 3/4"d x 7 1/2"h $300-500 303 Daum scenic landscape vase Nancy, France cameo glass signed in cameo 4 1/2"dia x 9"h $1,000-2,000 304 Daum scenic landscape vase Nancy, France cameo glass signed in cameo 5 1/4"dia x 12 5/8"h $1,000-2,000 305 Daum scenic landscape vase Nancy, France cameo glass signed in cameo, original retailer's sticker 4 3/4"dia x 12"h $1,000-2,000

306 Daum Poplar Branches footed center bowl Nancy, France cameo glass signed in cameo 11 5/8"dia x 5 7/8"h $1,000-2,000 307 Daum floral vase Nancy, France enameled cameo glass signed in enamel 3 1/2"dia x 6 1/4"h $600-800 308 Daum scenic vase decorated with trees and sailboats on a lake Nancy, France cameo glass signed in cameo 4 3/4"dia x 5 7/16"h $800-1,200 309 Daum Paysage d'Automne (Fall Landscape) vase Nancy, France enameled cameo glass unsigned 4 3/4"dia x 15 7/8"h $3,000-5,000 310 Daum floral hanging light fixture Nancy, France cameo glass, iron, bronze signed in cameo hanging: 16 5/8"dia x 26 3/4"h $2,000-3,000

311 Daum boudoir lamp Nancy, France frosted glass, wrought iron etched signature 7 1/8"dia x 14 1/2"h $500-700 312 Daum Blackberries and Grapes boudoir lamp Nancy, France cameo glass, wrought iron signed in cameo 6 1/2"dia x 13"h $800-1,200 313 Daum Eucalyptus boudoir lamp Nancy, France cameo glass, wrought iron signed in cameo 9 1/4"dia x 13"h $2,000-3,000 314 Arsall / Gadek Orientalist table lamp: cameo glass shade on a figural base France / Austria cameo glass, bronze each signed the shade decorated with figures, camels, palm trees and pyramids; the base decorated as an Arabian soldier holding a spear while riding a horse 11 1/8"dia x 25 1/4"h $2,000-3,000

315 Franz Xaver Bergmann (1861-1936) group of figures, three Austria cold-painted bronze each with cast signatures tallest: 3 1/2"w x 2 7/16"d x 3 1/4"h $500-700 316 Franz Xaver Bergmann (1861-1936) praying Arab kneeling on a prayer rug Austria cold painted bronze cast mark 4 3/4"w x 2 1/2"d x 4"h $400-600 317 Franz Xaver Bergmann (1861-1936) rug seller Austria cold-painted bronze unsigned 7"w x 6"d x 8 3/8"h $500-700 318 Franz Xaver Bergmann (1861-1936) pocket watch holder and lamp Austria cold-painted bronze, glass cast marks designed as a clock tower with a man holding a lantern in an arched opening 5"w x 3 1/2"d x 12 3/4"h $800-1,200

319 American Antique octagonal hardware store 72-drawer nuts and bolts revolving cabinet circa 1880 pine, porcelain 22 1/4"w x 21 7/8"d x 32 3/4"h $700-900 320 John Danner (1823-1918) Danner's revolving lawyer's bookcase Canton, Ohio, circa 1890 walnut, porcelain stenciled marks 26 1/2"sq x 55"h $700-900 321 Spanish Antique varqueno top Spain, 17th/18th century walnut, bone, iron 43"w x 15"d x 27 3/4"h $2,000-3,000

322 Art Deco frieze / panel decorated with a reclining nude holding a fan 1920s plaster framed 99”w x 27 3/4”h $2,000-3,000

323 Art Deco floor lamp USA, 1930s steel, nickel-plated brass unmarked 16"dia x 65"h $1,000-2,000

324 Art Deco rug China, 1930s hand-knotted full-pile wool unmarked 11’ 4 1/4” x 9’ 1/4” $1,000-2,000

325 Daum torchiere France, circa 1930s iron fixture, mouth blown glass etched ‘Daum Nancy France’ to glass shade 15 1/4”dia x 67 3/4”h $1,000-2,000

326 Oscar Bruno Bach (1884-1957) torchieres, pair New York, New York, circa 1930s patinated brass, iron, marble, glass etched signatures each: 18”dia x 66”h $1,000-2,000

327 Art Deco hall tree with mirror European, 1930s wrought iron, marble, silvered glass unmarked 39 1/2”w x 8 1/2”d x 73”h $500-700

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328 American Rustic horn chair Southwest, USA steer horns, leather unmarked 27"w x 23"d x 34"h $300-500 329 Pierre Emmanuel Guérin (1833-1911) Ostrich Leg lamp France, circa 1900 bronze, red glass, clear glass unsigned converted to electricity 9"dia x 43"h $1,000-2,000 330 Pierre Emmanuel Guérin (1833-1911) Ostrich Leg pedestal France bronze unsigned 13 1/2"dia x 30 5/8"h $500-700 331 After Johann Heinrich von Dannecker (1758-1841) Ariadne on the Panther sculpture Italy, last half 19th century carved white marble unsigned 21”w x 9”d x 25 1/2”h $3,000-5,000 332 French Antique Diana the Huntress encrier bronze, granite feet signed Virlet 21"w x 8 1/2"d x 9 7/8"h $400-600

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333 K.P.M. (Konigliche PorzellanManufaktur), retailed by Tiffany & Co. large mantel clock, #V/341 Berlin, Germany, 19th century hand-painted porcelain impressed marks, artist signed decorated with various figural allegories and flowers 14”w x 7 1/2”d x 25 1/2”h $2,000-3,000

334 After Evgeny Aleksandrovich Lansere “Lanceray” (Russian, 1875-1946) bronze figural group: Cossack holding a flag while on horseback Russia / France bronze cast and stamped marks Chopin foundry mark in Cyrillic, further stamped ‘Made in France’ 17 1/2”w x 7”d x 24 3/4”h $5,000-7,000

335 Chinese garden planter with frogs bronze stylized lily pad with figural frogs and flower forms 18 1/2”w x 17”d x 10”h $600-800

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336 Possibly Quezal or Kew-Blas boudoir lamp with pulled feather decoration USA white and iridescent gold glass, brass unsigned 8"dia x 19"h $800-1,200 337 Attributed to A. Douglas Nash Corp. boudoir lamps, pair Corona, New York gold iridescent glass, copper and brass patinated metal unmarked 3 1/16"dia x 9"h $600-800 338 Steuben Glass Works vase, #2683 Corning, New York blue Aurene glass etched signature 9 3/4"dia x 11 1/8"h $1,000-2,000 339 Tiffany Studios round lily pad centerpiece with flower frog insert New York, New York gold and green Favrile glass etched signature with flower: 9 7/8"dia x 4 1/4"h $800-1,200 340 Tiffany Studios Favrile compote with a ruffled rim New York, New York, gold Favrile glass etched signature 6 1/4"dia x 4"h $500-700 341 Louis C. Tiffany Furnaces bowl, #413 New York, New York dore bronze, enamel stamped marks 8"dia x 1 1/4"h $400-600

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342 Louis Comfort Tiffany (1848-1933) ovoid vase with vine and millefiori decoration, #3668P New York, New York blue and green Favrile glass etched signature 3 1/2"dia x 5 1/2"h $1,000-2,000 343 Tiffany Studios round bowl, #X102 New York, New York blue Favrile glass etched signatures 9 1/4"dia x 2 3/8"h $500-700 344 Tiffany Studios round bowl New York, New York blue pastel Favrile glass etched signature 9 3/4"dia x 3 11/16"h $500-700 345 Tiffany Studios cabinet vase, #Q9284 New York, New York blue Favrile glass etched signature 4"dia x 4"h $500-700 346 Louis C. Tiffany Furnaces hexagonal dresser box New York, New York dore bronze, blue Favrile glass stamped marks 5 3/4"w x 4 15/16"d x 2 1/16"h $800-1,200

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347 Tiffany Studios Jack-in-the-Pulpit vase, #M8212 New York, New York Favrile glass etched signature early example 8”w x 5 1/2”d x 16 1/8”h $2,000-3,000

348 Tiffany Studios bulbous vase with horizontal bands, #1862 New York, New York dore bronze stamped marks 6”dia x 6 5/16”h $500-700

349 Louis C. Tiffany Furnaces trumpet vase, #166A New York, New York dore bronze, enamel stamped marks 4 1/2”dia x 10 15/16”h $300-500

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350 Tiffany Studios Art Deco inkwell New York, New York bronze, enamel marked Louis C. Tiffany Furnaces, Inc., #357, monogram 3 3/4”sq x 2 1/2”h $700-900

351 Tiffany Studios Zodiac perpetual desk calendar, #943 New York, New York dore bronze, paper, glass stamped marks standing: 8 1/8”w x 3 1/2”d x 6 3/4”h $500-700

352 Tiffany Studios large rectangular desk tray, #1739 New York, New York patinated bronze stamped marks 15”w x 12”d x 1/2”h $500-700

353 Tiffany Studios desk clock, #1870 New York, New York dore bronze, enamel stamped marks 10 3/4”w x 3 1/2”d x 9 1/2”h $1,500-2,500

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354 Tiffany Studios Nautical blotter ends, pair, #1840 New York, New York patinated bronze stamped marks 19 1/4”w x 2 3/8”d x 1/2”h $500-700 355 Tiffany Studios Grapevine small carriage clock, #5 New York, New York bronze, glass marked Tiffany Studios, New York, #5 French Movement 4 1/2"w x 2 1/2"d x 5 1/2"h $2,000-3,000 356 Tiffany Studios Grapevine glove box New York, New York patinated bronze, green slag glass stamped marks 13 5/8"w x 4 1/2"d x 3"h $1,000-2,000 357 Tiffany Studios Grapevine round top mantle clock, #879 New York, New York bronze, glass, enamel marked Tiffany Studios, New York, #879 with key and pendulum; French Movement 6 1/2"w x 4 3/4"d x 10 1/2"h $4,000-6,000

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358 Tiffany Studios Grapevine beaded picture frame, #947 New York, New York bronze, glass marked Tiffany Studios, New York, #947 standing: 8"w x 4"d x 9 1/2"h $800-1,200 359 Tiffany Studios Abalone thermometer New York, New York dore bronze marked Tiffany Studios, New York, #1167 standing: 4"w x 4"d x 8 3/4"h $1,000-2,000 360 Tiffany Studios Abalone magnifier, #1178 New York, New York dore bronze, glass marked Tiffany Studios, New York, #1178 4 1/2"w x 9"l $600-800 361 Tiffany Studios large round tray, #1728 New York, New York patinated bronze, mother-of-pearl stamped marks 14"dia x 3/4"h $400-600

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362 Tiffany Studios Pine Needle pen New York, New York bronze unmarked 3/8"dia x 7 1/4"l $300-500 363 Tiffany Studios Pine Needle thermometer, #1013 New York, New York bronze marked Tiffany Studios, New York, #1013 standing: 4"w x 5"d x 8 1/2"h $700-900 364 Tiffany Studios Pine Needle picture frame, #916 New York, New York dore bronze, caramel slag glass, glass stamped mark, numbered 12"w x 14"h; opening: 7 7/8"w x 9 7/8"h $1,000-2,000

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365 Tiffany Studios Pine Needle picture frame New York, New York bronze, glass marked Tiffany Studios, New York standing: 7 3/4”w x 4”d x 9 1/2”h $1,000-2,000

366 Tiffany Studios Pine Needle picture frame New York, New York dore bronze, caramel slag glass stamped mark 14 1/4”w x 12 1/4”h; opening: 10 1/4”w x 8 1/4”h $1,500-2,500 Provenance: Christie’s East, New York, New York, 08 December 1998, Sale 8183, Lot 384 Acquired from the above by the present owner

367 Tiffany Studios Turtleback student lamp, #413 New York, New York blue/green Favrile glass, patinated bronze stamped marks 11 1/2”w x 4 1/2”d x 7 3/4”h $3,000-5,000

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368 Tiffany Studios / Steuben counterbalance floor lamp: base, #619 and Intarsia shade New York, New York / Corning, New York bronze, green and gold Aurene glass base with stamped marks base: 16 1/2”w x 3 1/4”d x 53”h; shade: 10”dia x 5 1/2”h $4,000-6,000

369 Tiffany Studios harp floor lamp, #682, with an associated shade New York, New York bronze, shell stamped marks overall: 11 3/4”dia x 55 3/4”h $1,500-2,500

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370 Tiffany Studios twelve-light Lily table lamp, #382 New York, New York bronze, Favrile glass base: marked Tiffany Studios, New York, #382; shades: marked LCT overall: 15â&#x20AC;?dia x 20â&#x20AC;?h $20,000-30,000

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371 Tiffany Studios Linen Fold shade and Harp floor lamp New York, New York bronze with gold dore patina base: marked Tiffany Studios, New York, #423-H overall: 15”w x 16”d x 58”h; shade: 9 1/2”dia x 5 1/2”h $7,000-9,000

372 Tiffany Studios Acorn table lamp, #28608 New York, New York bronze, leaded glass base: marked Tiffany Studios, New York, #28608; shade: marked Tiffany Studios, New York 14”dia x 20 1/2”h $5,000-7,000 Provenance: The Collection of Richard Nickel, Chicago, Illinois Thence by descent to nieces, Nancy Nickel and Susan Nickel Brunson

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373 Tiffany Studios Linen Fold table lamp: 12-panel shade, #1927; on candelabrum base, #580 New York, New York Favrile glass, patinated bronze stamped marks overall: 19â&#x20AC;?dia x 23 1/2â&#x20AC;?h $15,000-25,000

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374 Tiffany Studios Junior floor lamp with geometric shade and Moorish-influenced heat cap New York, New York bronze, stained glass base: marked Tiffany Studios, New York, #379, shade: Tiffany Studios, New York, #1501 overall: 22â&#x20AC;?dia x 68â&#x20AC;?h $20,000-30,000

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SELECTED BIOGRAPHIES Robert Arneson (American, 1930-1992) Born in Benicia, California in 1930, Robert Arneson resided for many years in his beloved home city on the east side of the San Francisco Bay. From an early age, Arneson showed great promise as an artist with pencil drawings and he also excelled painting watercolors. Initially, Arneson hoped to become a cartoonist focusing on sports, and his comics were published on a weekly basis while he was still in high school. Yet after earning a BFA at California College of the Arts and an MFA from Mills College, both in Oakland, Arneson began working as a high school ceramics teacher and went on to spend 30 years as a professor of ceramics at UC Davis near Sacramento. In the 1960s, inspired by modern ceramicists such as Peter Voulkos, Arneson established his identity as an artist by making non-functional, clay sculptures of everyday objects. These early works include colorful plates, trophies, toasters, typewriters, bottles, and even toilets. By the 1970s, Arneson’s subject matter shifted and he became heavily devoted to the self-portraits for which he is most famous today. These self-referential sculptures and paintings were often humorous, irreverent, and even vulgar on the surface, but, above all, they express Arneson’s interest in the alternately poignant and absurd human condition. Along with such California artists as Ken Price, William T. Wiley, and Roy de Forest, Arneson is considered one of the progenitors of the Funk Art Movement in the 1960s and 1970s. Throughout the 1980s, Arneson shifted his artistic focus in a more politically satirical direction. After a long battle with cancer, Arneson died in 1992 at home in Benicia. Arneson’s ceramic sculptures and other artwork regularly achieve high prices at auction and can be found in museums and private collections all over the country, including the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, the Museum of Modern Art in New York City, the Hirshhorn Museum and Sculpture Garden in Washington DC, and the Yale University Art Gallery in New Haven, Connecticut. Harry Bertoia (Italian/American, 1915-1978) Harry Bertoia was born in Pordenone, Italy in 1915 and followed his older brother to Detroit, Michigan in 1930. At Cass Technical High School, Bertoia trained in art, design, and jewelry making. He also spent time at the Art School of the Detroit Society of Arts and Crafts (later renamed the College for Creative Studies). In 1937, Bertoia received a scholarship to study at the Cranbrook Academy of Art, where he met Walter Gropius, Florence Knoll, Eero Saarinen, and Charles and Ray Eames. Bertoia later taught both jewelry design and metalworking at Cranbrook, exploring ideas that would eventually appear in his sculpture. During World War II, Bertoia married Brigitta Valentiner and soon the couple moved to Venice, California, where Bertoia worked with Charles and Ray Eames at the Evans Products Company to develop new techniques for molding plywood. While in California, Bertoia learned welding at Santa Monica City College. In 1949, he was invited to work with Florence and Hans Knoll. Bertoia’s collaboration with Knoll was memorable. His steel-wire furniture designs became very popular, especially the Diamond Chair, which repurposed an industrial material into a gracefully sculpted form. By the middle of the 1950s, Bertoia’s furniture line proved lucrative enough for him to focus exclusively on sculpture. In the years that followed, he created more than 50 pieces of public sculpture. During the 1960s, Bertoia added the element of sound in his Sonambient sculptures with vertical rods that generate various tones as they collide. He even recorded a series of albums featuring music produced by his Sonambient sculptures. Bertoia passed away at age 63 due to lung cancer in 1978, leaving behind his wife, two daughters, and a son, Val, who now makes his own Sonambient sculptures. Harry Bertoia’s work is part of the collections of several museums, including the Detroit Institute of Art, the Brooklyn Museum in New York City, the Philadelphia Museum of Art, the Milwaukee Art Museum, the Smithsonian American Art Museum in Washington DC, and others. Joseph A. Burlini (American, b. 1937) With a special place in the public sphere, creating pieces of both large-scale and intimate sculpture, Joseph A. Burlini’s artistic identity exists in tandem with the strong work ethic of Chicago. Thoughtfully clever in his execution and composition in relation to materials, Burlini’s work has also remained accessible over time. Born in 1937, Burlini spent his youth in Morton Grove, Illinois. He studied industrial design at the School of the Art Institute of Chicago from 1956 to 1960. To start his professional life, Burlini worked at Sears Roebuck and Co. for six years designing toys, cameras, rifles, and other goods. In his spare time, Burlini began to experiment with drawing “Larger Than Life” celebrity portraits and welding sculptures from steel rods. In 1965, Burlini entered a sculpture in the Chicago and Vicinity show at the Art Institute of Chicago and won the John G. Curtis prize. Subsequently, Burlini told his new wife, Sue Ellen, that he planned to quit working in industrial design to become a full-time artist and she encouraged him to pursue his passion. Throughout Burlini’s 50-plus years as an artist, his focus has evolved in multiple directions. During his gallery years, Burlini had a 15-year machine phase and later a Man in the Box period. Burlini also produced his Satin and Smoke polished bronze series and 24-carat gold Butterfly People. Perhaps most notably, Burlini had a 15-year stretch in which he created kinetic do-nothing machines composed of metal rods, wheels, wings, and rudders. The Museum of Science and Industry in Chicago held an early retrospective of Burlini’s work in 1977 entitled Rockets to Rainbows. In later years, Burlini was commissioned to create bold public sculptures and innovative awards for various companies and organizations. His clients have included Walt Disney Studios, McDonald’s, Standard Oil, the U.S. Pentagon, Chicago Symphony Orchestra, and many other Chicago-area institutions. From May 9 to June 14, 2019, the Koehnline Museum of Art at Oakton Community College in Des Plaines, Illinois held a major retrospective with examples of sculpture and artwork from each phase of Burlini’s distinguished career.

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Elizabeth Eaton Burton (American, 1869-1937) Known for her keen sense of materials and unusual aesthetic, Elizabeth Eaton Burton was often influenced by the landscape of her native Southern California and its rich history of local traditions. Burton was versatile in many mediums from leatherwork to woodblock printing to painting and photography. Yet her use of shells within repoussé metalwork left a lasting impression. Burton was born in 1869 in Paris, France to notable artist Charles Frederick Eaton (1842-1930) and Helen Justice Mitchell, who was also artistically inclined. Mr. Eaton was from a prominent East Coast family and studied painting in Paris. Elizabeth spent her childhood in France until her mother’s health declined and her father’s cramping ailment required him to give up painting. An avid antique collector, Mr. Eaton eventually created his own metalwork, leatherwork, and woodwork. In her scrapbook, Elizabeth fondly recalled spending time observing her father in the studio as cabinetmakers worked. She and her father shared a close bond and he influenced her work tremendously. The family moved to Santa Barbara, California when Elizabeth was 17. This ended up proving essential to Elizabeth’s creative development. She was captivated by the local craftsmen and drew inspiration from the Mexican leatherwork traditions manifest in saddles, belts, bags, and other small goods. Elizabeth refined her skills with help from the craftsmen and began creating her own leather and wood pieces. In 1896, she opened her first studio and continually experimented with new methods of designing ornamental leatherwork. She also produced screens, friezes, boxes, cushions, and desk accessories. Her work was well received by peers, including Gustav Stickley, one of the leaders of the American Arts and Crafts Movement. Elizabeth Eaton Burton’s eclectic vision led to success in her own time and burnished her artistic reputation for posterity. Today her work is included in the collections of the Los Angeles County Museum of Art, the Red Roses Foundation, the Santa Barbara Historical Museum, the Museum of California Design, and in many private collections. Barry Byrne (American, 1883-1967) Francis Barry Byrne was born in Chicago, Illinois in 1883. Ultimately associated with the leading figures of the Prairie School, Byrne led an eventful life as a dedicated architect from coast to coast. After his first encounter with Frank Lloyd Wright’s works at the Chicago Architectural Club in 1902, Byrne grew enchanted with Prairie School architecture and design. Later that year, he began his apprenticeship at the Frank Lloyd Wright Home and Studio in Oak Park, Illinois. Despite having no previous experience in the field, Byrne assisted important members of the studio, including Walter Burley Griffin, in executing drawings for a number of iconic buildings such as the Avery Coonley House and Unity Temple. Within five years, Byrne was considered a working member of the studio rather than an apprentice. In 1908, Byrne left Wright’s studio and moved to Seattle, Washington, forging a business partnership with Andrew Willatzen, one of Wright’s former employees. Together, they designed over 50 residential and commercial structures. Once the partnership came to an end in 1913, Byrne stayed briefly in California with Wright’s sons looking for work. In 1914, Byrne returned to Illinois to manage the Chicago architectural office of Walter Burley Griffin. This position lasted for three years until Byrne started operating under his own name. After serving in World War I, Byrne returned to Chicago. In the 1920s, he developed a distinctive style, steering away from the Prairie School aesthetics of Wright. Byrne was also influenced by Annette Cremin, his artist wife whom he met through the sculptor Alfonso Iannelli; Byrne and Iannelli were frequent collaborators. During the height of Bryne’s career, he designed multiple ecclesiastical and educational buildings for the Roman Catholic Church. His most recognized works are the Church of Christ the King in Turners Cross, Cork, Ireland (1931), the Church of St. Francis Xavier in Kansas City, Missouri (1949), and St. Benedict’s Abbey in Atchison, Kansas (1951-1957). Lynn Russell Chadwick (British, 1914-2003) Improvisational, abstract sculptor Lynn Chadwick was born in Barnes, west of London, in 1914. He learned architectural design at Merchant Taylors’ School and then was a draftsman in various architectural offices. Visits to the salon of modernist architect Rodney Thomas inspired Chadwick to pursue sculpture. His first attempts were reminiscent of Calder mobiles, with light woods like balsa acting as a counterweight to copper and brass. During the early stages of World War II, Chadwick registered as a conscientious objector. However, he did eventually become a pilot who accompanied military convoys as the Nazi threat intensified. Upon his return to London, Chadwick threw himself into his work with more spirit than ever. Instead of starting from preliminary sketches, Chadwick preferred to work without a set plan, allowing materials to dictate process. In addition to mobiles, Chadwick started making small-form sculptures. After a gallery show at Gimpel Fils in London, significant critical attention elevated Chadwick such that the Arts Council of Britain asked him to make a large sculpture for the Festival of Britain in 1951. The result was The Fisheater, which the Tate Gallery exhibited through the following year. Chadwick acted as the British representative for the Venice Biennale in 1952 and 1956, becoming the youngest recipient of the International Sculpture Prize in 1956. As the 1960s began, Chadwick’s work grew larger and more abstract, yet still regularly suggestive of human and animal forms. His first steel sculpture, Two Winged Figures, appeared at an outdoor show in 1962. Chadwick was given the Commander of the Order of the British Empire distinction in 1962, France’s Officier de l’Ordre des Arts et des Lettres in 1985, and became a Royal Academician of the United Kingdom in 2001. Today Chadwick’s sculptures and mobiles are housed within the collections of important institutions on both sides of the Atlantic: the Royal Academy of Arts in London, the Musée Rodin in Paris, the Art Institute of Chicago, the Philadelphia Museum of Art, and many others. In early 2003, Tate Britain staged a major retrospective spanning Chadwick’s entire career not long after his death.

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Christo Vladimirov Javacheff (Bulgarian/American, b. 1935) and Jeanne-Claude Denat de Guillebon (French/ American, 1935-2009) The husband-and-wife artist team, Christo and Jeanne-Claude, enjoyed a 50-year partnership from their meeting in 1959 to Jeanne-Claude’s passing in 2009 due to a brain aneurysm. Their work includes large-scale, temporary public art installations. The couple has proudly been self-financed throughout their career, selling conceptual sketches and collages and designing storefronts for revenue. Until 1994, all work was only credited to Christo, but the couple then revealed that they had always been working together. Christo was born on June 13, 1935 in Gabrovo, Bulgaria. After art training at the Sofia Academy, he fled Communism to settle in Paris, where he earned his living as a portrait painter. Coincidentally, Jeanne-Claude was also born on June 13, 1935 in Casablanca, Morocco into a French family. She earned a degree in Latin and philosophy from the University of Tunis before settling in Paris in 1957. The couple met when Christo painted a portrait of JeanneClaude’s mother. After Jeanne-Claude became pregnant by Christo, she ended her engagement to another man. The couple’s son, Cyril, was born in 1960. Christo and Jeanne-Claude began their joint artistic career in 1961, covering barrels with fabric in the port of Cologne, Germany. The following year they created Iron Curtain, a road blockade in Paris made of stacked oil barrels. The couple moved to New York City in 1964 and began showing work in galleries while also creating storefronts. Over the next four decades, Christo and Jeanne-Claude would become world-famous artists as a result of high-profile public projects, such as: Wrapped Coast (1968-1969), which involved covering a large portion of the coast of Little Bay in Sydney, Australia with synthetic fabric; Valley Curtain (1971-1972), which featured a massive red cloth suspended amid the Rocky Mountains near Rifle, Colorado; Running Fence (1976), in which a fabric fence spanned 25 miles in Sonoma and Marin Counties north of San Francisco; Surrounded Islands (1983), which saw 11 islands rimmed with pink fabric in Miami’s Biscayne Bay; Wrapped Pont-Neuf (1985), in which Paris’ oldest bridge was wrapped with polyamide material; The Umbrellas (1991), which featured 3,000 huge yellow umbrellas set up in Southern California and Ibaraki, Japan; Wrapped Reichstag (1995), in which fabric and aluminum covered the German Parliament building in Berlin; and The Gates (2005), which consisted of 7,503 gates draped with orange fabric in Central Park in New York. Since Jeanne-Claude’s death in 2009, Christo has overseen The Floating Piers (2016), which included floating yellow walkways on Lake Iseo between two villages near Brescia, Italy, and The London Mastaba (2018), which featured 7,506 oil barrels arranged into a mastaba, or three-dimensional trapezoid, floating on the Serpentine in Hyde Park in London. Proposed plans also exist for The Mastaba, a gigantic, permanent structure composed of 400,000 oil barrels in Al Gharbia in the United Arab Emirates. Claude Conover (American, 1907-1994) Mid-century American ceramicist Claude Conover was born in Pittsburgh, Pennsylvania in 1907. He received his education at the Cleveland Art Institute and then settled in Cleveland, Ohio for the remainder of his life. For the first 30 years of Conover’s career, he was a commercial graphic designer. In his spare time, Conover began to make pottery in a studio behind his home. Before long, he gravitated to working with stoneware in an earth-tone palette. During his initial phase, Conover created animals, bowls, and lamps. Eventually, he found the form for which he would become famous: large rounded vases that evoke the clay creations of antiquity. At age 55, Conover quit his day job to pursue pottery on a full-time basis and dedicated himself to a seven-day routine. On Mondays, he rolled slabs of clay and shaped them into vessels. Tuesdays involved evaluating the forms, further shaping, and adding necks. On Wednesdays, Conover completed the shaping process by hand, without a pottery wheel. He started decorating his pieces on Thursdays with a sawtooth blade and scratched stripes or small, prehistoric-looking scripts onto them. Over the weekend, Conover completed decorative work, including painting, so that he could begin the process anew the following Monday. In this determined way, Conover generated around 250 works of pottery per year, some of which remained in the Cleveland area, but the vast majority were sold to collectors elsewhere. With Conover’s rising reputation, he became a prominent member of The Cleveland School, a group of artists active in various mediums who, from 1910 to 1960, helped found the Cleveland School of Art (now Cleveland Institute of Art), the Cleveland Society of Arts, and the Cleveland Museum of Art. During Conover’s time as a ceramicist, his pottery was shown in exhibits across America and abroad. Since his passing in 1994, appreciation for Conover’s oeuvre has continued to grow. Today his vases and other forms are part of the collections of the Cleveland Museum of Art, the Columbus Gallery of Fine Art, the Museum of Contemporary Crafts in New York City, and many other institutions. Likewise, demand for Conover’s hand-shaped clay forms has increased among collectors, with examples regularly achieving impressive prices at auction and via private sale. Edward Sheriff Curtis (American, 1868-1952) In 1868, Edward Sheriff Curtis was born on a farm near Whitewater, Wisconsin. After working at a photography studio in St. Paul, Minnesota, Curtis moved to Seattle, Washington, where he soon married Clara Phillips. With a newly purchased camera, Curtis bought into a local studio. Edward and Clara had the first of four children in 1893 and lived above the thriving studio. Generally, Curtis photographed upperclass women in a flattering style. However, in 1895, Curtis took pictures of Princess Angeline, daughter of Chief Sealth of the Duwamish tribe. Three years later at Mount Rainer, Curtis met anthropologist George Bird Grinnell, who hired Curtis to photograph the Harriman Alaska Expedition of 1899. On this trip, Curtis was introduced to both powerful scenery and Eskimos. Grinnell then invited Curtis to Montana to photograph the Piegan tribe. This inspired Curtis to make documenting Native Americans and their customs his singular goal. Curtis first exhibited his photography in Seattle and then lectured nationally. President Theodore Roosevelt admired Curtis’ work and J.P. Morgan became Curtis’ primary patron in 1906. For 25 sets of 500-print volumes, Morgan paid Curtis $75,000 over five years. Curtis took an extensive wagon tour of the American West with researchers and interpreters. En route, he photographed leaders like Geronimo, Medicine Crow, and Chief Joseph. Curtis and his team also made wax recordings of native speech and songs. Most tribes trusted Curtis and he was named “Shadow Catcher” for his high-contrast, golden-hued orotones. Upon Morgan’s death in 1913, Curtis’ funding dwindled, affecting his photography and family. Clara filed for divorce in 1916 and won the Curtis Studio and home in the settlement. In the 1920s, Curtis revisited various tribes and observed their dramatic cultural erosion. By 1930, Curtis issued the final volume of The North American Indian, his epic collection of over 40,000 photographs. Yet the original sets only garnered $1,000 plus partial royalties. In 1952, Curtis died of a heart attack in Los Angeles at 84. His vast trove of photos now offers a window into a largely lost world. While some have criticized Curtis for staging certain scenes, the historical importance of his work is clear and, for his time, he was quite sensitive to and engaged with the plight of Native Americans.

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Alfonso Iannelli (Italian/American, 1888-1965) Alfonso Iannelli was born in Andretta, Italy in 1888 before immigrating to America when he was 10. Iannelli spent most of his life in Chicago and is recognized for his creative achievements in conjunction with various noted architects, designers, and artists. Before embarking upon his career, Iannelli was formally trained under Gutzon Borglum, who sculpted Mount Rushmore. In the early 1910s, Iannelli designed advertisement posters for the Orpheum Theater in Los Angeles. Through this work, he befriended Frank Lloyd Wright’s son, John, who promptly introduced Iannelli to his father. Wright invited Iannelli to join him in Chicago to contribute to the Midway Gardens project in 1914, for which Iannelli created several Sprite sculptures; one example is currently on view at the Art Institute of Chicago. Another iconic building on which Iannelli worked is Chicago’s Adler Planetarium, completed in 1930 by architect Ernest A. Grunsfeld III. For the Adler, Iannelli devised a series of zodiac-themed, Art Deco-style plaques. He also teamed with the Prairie School architectural duo of William Gray Purcell and George Grant Elmslie on the Woodbury County Courthouse in Sioux City, Iowa. With architect Barry Byrne, Iannelli executed several sculptural commissions for Roman Catholic Church buildings. In Park Ridge, Illinois, northwest of Chicago, Iannelli and his wife Margaret established Iannelli Studios, which became a popular spot for artists and designers to work side by side. Since 2006, Iannelli Studios has been occupied by the Kalo Foundation, which furthers the legacy of the renowned Arts and Crafts silversmith and jewelry making shop. In the 1920s and 1930s, Iannelli focused on industrial, commercial, and interior design. His realized products include the C-20 Coffeemaster vacuum coffee maker and the T-9 electric toaster for Sunbeam Products; both were showcased at the 1939 World’s Fair in New York City. Iannelli’s functional designs mostly fall under the international Art Deco style of Streamline Moderne. Two interior spaces by Iannelli were listed on the National Register of Historic Places during his career: the Pickwick Theater in Park Ridge, Illinois (1928) and the Catlow Theater in Barrington, Illinois (1927). Iannelli died in Chicago in 1965, leaving behind an important art and design legacy in the Midwest and beyond. Miyoko Ito (American, 1918-1983) Allusive abstractionist Miyoko Ito was born into a Japanese family in Berkeley, California in 1918. She moved to Japan with her parents in 1923 to avoid discrimination and for initial art training, including calligraphy lessons. Ito later returned to Berkeley and majored in art at the University of California, where she was exposed to cubist works by Picasso and Braque plus Hans Hofmann’s geometric compositions. During World War II, Ito was interned with her family at the Topaz camp in Delta, Utah, but she was awarded her diploma from UC Berkeley in 1942. After graduate study at Smith College in Northampton, Massachusetts, Ito earned a scholarship for postgraduate work at the School of the Art Institute of Chicago. In the late 1940s, Ito began to paint abstract oils in a cubist style softened with impressionistic brushwork. Critical acclaim came in the 1950s as Ito’s paintings were part of the Art Institute’s Chicago and Vicinity shows as well as the 61st American Exhibition in 1954. During this period, Ito befriended local artists such as Ray Yoshida and Evely Statsinger whose passion for surrealism led Ito to move away from representational painting. Rather than render landscapes, figures, or objects explicitly, Ito suggested them with shapes, lines, and curves. Simultaneously, Ito’s preferred palette went from pastels to vivid oranges and reds, which she banded subtly to compel attention. Although free of pop references, the work that Ito made in the 1960s has been linked tangentially to Chicago Imagism, and Ito knew Jim Nutt, Gladys Nilsson, and Roger Brown. Blues, greens, and purples returned to Ito’s painting in the 1970s before she grew more formally abstract as the 1980s began. With the artists Richard Loving, William Conger, and Frank Piatek, Ito devised the term ‘allusive abstractionism’ for their shared approach. The Hyde Park Art Center organized a solo Ito exhibit in 1971 and her work was included in the contemporary art biennial at the Whitney Museum in New York City in 1975. The University of Chicago’s Renaissance Society held a career retrospective in 1980, not long before Ito’s death in 1983. Recently, the market for Ito’s paintings and drawings has grown considerably. Institutions holding works by Ito include the Smithsonian American Art Museum in Washington DC, the Art Institute of Chicago, the University of Chicago’s Smart Museum, and the Illinois State Museum in Springfield. Robert Riddle Jarvie (American, 1865-1941) Born to Scottish parents in Schenectady, New York in 1865, Robert Riddle Jarvie was not formally trained in metalsmithing, but he had an early penchant for sketching, bookbinding, and cabinet making. Once he relocated to Chicago, Jarvie began initial experiments with metalwork around the turn of the 20th century in his apartment. In particular, a distinctive lantern that Jarvie made for a friend attracted more buyers. At the Third Annual Chicago Arts and Crafts Exhibit in 1900, Jarvie had the first opportunity to showcase his work. That same year he became a partner at Krayle Co., a commercial and social alliance of local artisans and craftsmen, and set up his studio, the Jarvie Shop, in Chicago’s Fine Arts Building on Michigan Avenue. While Jarvie’s designs had previously ranged from Colonial to Art Nouveau, he soon developed simpler organic forms that represented a Midwestern take on the Arts and Crafts Movement. Between 1910 and 1915, Jarvie began forging products using precious metals such as gold and silver that garnered wide acclaim. Charles Hutchinson, President of the Art Institute of Chicago, commissioned Jarvie to produce a silver punch bowl for the Cliff Dwellers Club of Chicago, as both men were members; Jarvie modeled his design on an object used by Southwestern cliff dwellers that he had seen at Chicago’s Field Museum of Natural History. In 1912, Jarvie started creating functional trophies such as bowls, drinkware, and other forms for the Union Stock Yard Company. Jarvie also lived on the premises. Some of his works from this period are reminiscent of Paul Revere’s style. After World War I, the Jarvie Shop ceased operations. Jarvie and his wife then moved to Evanston, Illinois, since she was employed at Northwestern University, and Jarvie worked briefly for the C.D. Peacock Company. The Jarvies later retired to the Scottish Old People’s Home in North Riverside, Illinois until their passing. During the Arts and Crafts revival of the late 20th century, collectors developed a renewed appreciation for the metalwork of Jarvie. Today examples of his designs are represented at the Art Institute of Chicago, the Milwaukee Art Museum, the Museum of Fine Arts in Boston, and elsewhere.

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The Kalo Shop (1900-1970) Founded in 1900 by Clara P. Barck and five other female graduates of Louis J. Millet’s decorative design course at the Art Institute of Chicago, the Kalo Shop rose to be the most important Arts and Crafts silversmith studio in the United States. From Millet, the shop adopted the motto “beautiful, useful, and enduring” for their wares. In addition to jewelry, the shop produced works in burnt wood, leather, and other types of decorative arts. In 1905, Barck married George Welles, a coal merchant and amateur silversmith, who encouraged Barck to focus more on copper and silver objects. In the following year, Barck’s sister purchased a large home in Park Ridge, Illinois, which became the central location for the Kalo Arts and Crafts Community. Along with hiring various male silversmiths, Barck created a school for female designers and artisans who came to be known as the “Kalo Girls.” In 1912, Barck opened a Kalo branch in New York that lasted until 1916. All silversmiths were required to mark pieces they produced during business hours with the Kalo stamp. They were also allowed to create work on their own time as long as they did not mark it with the stamp. Many copper, silver, and gold pieces still exist that were undoubtedly made by Kalo silversmiths but are unmarked. Some noted Kalo silversmiths include: Grant Wood (painter of American Gothic), Matthias Hank, Julius Olaf Randahl, Henri A. Eicher, Yngve Olsson, Kristoffer Haga, Robert R. Bower, and many others. Barck retired in 1939 and moved to San Diego. She gifted the Kalo Shop in 1959 to the four remaining workers: Robert R. Bower, Arne Myhre, Yngve Olsson, and Daniel Pedersen. As few new silversmiths entered the trade, the shop closed in 1970 after Olsson passed away. The Kalo Shop was prolific and objects continue to surface all over, but the rarest pieces always demand a premium. Objects with stones, repoussé work, or added decoration are often exquisite and embody the epitome of the ideals of the Arts and Crafts Movement. Charles P. Limbert (American, 1854-1923) Originally from Linesville, Pennsylvania, Charles P. Limbert was born in 1854 into the furniture business. His father was a dealer who trained Limbert once the family moved to Akron, Ohio in 1866. After working at his father’s Akron store, Limbert became a furniture salesman for Munk & Roberts in Connersville, Indiana and later John A. Colby Company in Chicago. In 1899, Limbert and fellow salesman Philip J. Klingman set up a showroom in Grand Rapids, Michigan to exhibit products from several makers. Starting in 1894, Limbert had begun to manufacture his own chairs, which he sold at the Grand Rapids store along with furniture by firms such as Old Hickory Chair Company. In 1902, Limbert opened up his own furniture factory, Charles P. Limbert Co., with around 200 employees in Grand Rapids. The manufacturing plant moved to nearby Holland in 1906. These formative years were the most prolific in the company’s history with the release of the popular Holland Dutch Arts and Crafts Furniture line, which included both indoor and outdoor sets. Influenced by frequent research trips to the Netherlands, Limbert’s style became an amalgamation of Dutch and English Arts and Crafts as well as American Mission. To impress upon customers that Limbert furniture was made by hand, the company’s logo featured a man bent dutifully over a workbench. At the Limbert factory, some processes were executed by machine, but all assembly and finishing work was done individually by hand. Until 1915, Charles P. Limbert Co. produced the same models and styles with slight variations, omissions, and additions. During World War I and into the 1920s, Limbert shifted his focus away from Arts and Crafts lines to follow the market demand for historical furniture styles like Tudor and Renaissance Revival. Limbert was in charge of the company until 1922 when his health began to fail and he passed away the following year. Charles P. Limbert Co. would continue to operate through the 1930s. Furniture from Limbert’s prime Arts and Crafts period is now held in high esteem by collectors and examples are on view at such places as the Henry Ford Museum in Dearborn, Michigan and the Kirkland Museum of Fine & Decorative Art in Denver, Colorado. Susan Jacobs Lockhart (American, b. 1935) Multi-talented designer, musician, and educator Susan Jacobs Lockhart has dedicated herself over many years to preserving the legacy of Frank Lloyd Wright. Lockhart’s involvement with Wright began at an early age. Her parents, Herbert and Katherine, commissioned Wright to build their home in Madison, Wisconsin. Named Usonia I (1936), the residence was a compact and energy-efficient structure; this was one of several experiments by Wright to design for cost-conscious households. Lockhart met Wright when she was only 3 and began visiting Wright’s Taliesin West in Scottsdale, Arizona with her parents regularly in subsequent years. In addition to architecture, Taliesin West encouraged all manner of artistic expression. For her part, the young Lockhart would often play piano for Wright and other Taliesin fellows. Upon graduating from the University of Wisconsin–Madison with a degree in Arts Education in 1953, Lockhart moved to New York City to study music. During this time, Wright invited Lockhart to join him in the desert permanently. Completed in 1937, Wright’s Taliesin West was initially conceived as a seasonal retreat for Wright’s health. Its Fellowship allowed young artists, architects, and designers to reside on the property while partaking in architectural education, collaborative construction works, and various activities. While Lockhart started as an administrative staff member, she eventually became a full fellow. Her fine arts background and musical inclination combined with Taliesin’s community-centric environment proved to be an ideal match. As a member of the Taliesin Fellowship for the last 45 years, Lockhart has been involved in all aspects of the Frank Lloyd Wright Foundation’s operations. She is a recent past President of the Frank Lloyd Wright Building Conservancy after having served on its board for many years. Additionally, she has served as a board member and director of events for various cultural and artistic organizations in Arizona. As an artist, she has created commission-based sculptures in various mediums, including glass, stained wood, and fabric. Her works incorporate natural forms from her surroundings, often rendered as abstract geometric patterns — a method consistently practiced by Wright and other Taliesin fellows. Lockhart frequently lectures about her designs as well as Wright’s philosophies and sustainability in architecture.

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Warren McArthur (American, 1885-1961) Designer Warren McArthur was born in 1885 in Chicago. His was an affluent family for whom Frank Lloyd Wright built a home in the Kenwood neighborhood in 1892. McArthur studied engineering at Cornell University and then moved to Phoenix to work with his brother Charles selling Dodge automobiles and starting a radio station. Older brother Albert Chase McArthur, a Wrighttrained architect, soon joined them and the trio worked to develop the Arizona Biltmore Hotel. Warren McArthur was tasked with creating furniture for both indoor and outdoor use. His solution was to employ tubular aluminum with prominent external joints and internal steel rods for extra support. When the Arizona Biltmore closed after the onset of the Great Depression in 1929, McArthur relocated to Los Angeles and founded the Warren McArthur Corporation. He soon marketed a limited line of sleek desks, tables, chairs, and other pieces that appealed to Hollywood luminaries such as Clark Cable and Marlene Dietrich. In 1932, McArthur opted to shift operations to Rome in Upstate New York before moving again in 1936 to Bantam, Connecticut. Throughout the 1930s, McArthur was an influential figure in New York City, setting up a showroom there, and his firm made furniture not only for celebrities, but also for Chrysler’s executive offices, Marshall Field’s hair salon, and dining cars on the Union Pacific Railroad. During World War II, the Warren McArthur Corporation crafted lightweight aluminum seats for airplanes. An unsubstantiated rumor held that McArthur’s artful designs were melted down for war mobilization, but they were simply difficult to produce on a large scale given their intricate mechanics and delicate upholstery. In the postwar years, demand plummeted and the Warren McArthur Corporation closed in 1948. McArthur passed away in 1961 and only after his death did interest in his bold innovations rekindle. In recent years, various architects, dealers, interior decorators, and famous clients have sought to acquire McArthur furniture, which is now regarded as ahead of its time. Independently, McArthur implemented tubular aluminum and steel prior to Bauhaus designers Marcel Breuer, Le Corbusier, and Mies van der Rohe. Margaret Jordan Patterson (American, 1867-1950) Although raised in Boston, Massachusetts and Maine, Margaret Jordan Patterson was born aboard a ship in Surabaya, East Java in 1867 because her father was a sea captain. This early exposure to the vibrancy of nature, and coastal scenes in particular, appears to have stayed with Patterson on her way to becoming an artist. After taking a correspondence course with Louis Prang, Patterson studied at the Pratt Institute in New York City as well as with the Spanish painters Claudio Castellucho in Florence and Ermengildo Anglada-Camrasa in Paris. Back in America, the artist Ethel Mars taught Patterson to make color woodblock prints in 1910 and this became Patterson’s preferred medium. Generally, her bright compositions include trees, flowers, and a range of landscapes, frequently with bodies of water. Her woodblocks show a deep understanding of color balance and she uses high relief to produce a dreamlike realism. Patterson was awarded for her work at the Panama-Pacific International Exposition in San Francisco in 1915. Along with being a prolific artist, Patterson taught for many years at Dana Hall School in Wellesley, Massachusetts and public schools elsewhere in Massachusetts and New Hampshire. Prior to her death in Boston in 1950, Patterson exhibited widely and several important institutions now hold examples of her art, including the Museum of Fine Arts in Boston, the Smithsonian American Art Museum in Washington DC, the Metropolitan Museum of Art in New York City, the Art Institute of Chicago, and the Victoria and Albert Museum in London. Lately, collectors have increasingly come to admire the work of Patterson and other highly skilled Arts and Crafts woodblock artists such as: Bertha Lum, who trained in traditional printmaking in Japan, lived in China, and favored Asian subject matter; William Seltzer Rice, known for his scenes of Yosemite, Lake Tahoe, and California missions; and Pedro Joseph de Lemos, who rendered the Monterey Bay Area in striking detail. Pewabic Pottery (1903-present) Founded in Detroit, Michigan in 1903 by Mary Chase Perry Stratton and Horace James Caulkins, the Pewabic Pottery ceramic studio has a rich history of making decorative items and architectural tiles in the Arts and Crafts style. Stratton was a teacher with artistic flair and a keen sense of marketing. Her partner Caulkins was a high-heat and kiln expert who created a process for better revealing the innate properties of materials used in pottery production with his “Revelation kiln.” The name Pewabic derives from the Ojibwa/ Chippewa term “bewabic” (i.e., iron or steel), with “Pewabic” referring specifically to a copper mine in Michigan’s Upper Peninsula that Stratton frequented with her father. To the metals and clays that Stratton and Caulkins fashioned, they added various signature matte and iridescent glazes. In the early part of the 20th century, Pewabic Pottery expanded its team of designers to produce not only vases, bowls, and other vessels, but also lamps and architectural tiles. Some of the notable buildings featuring Pewabic tiles, especially brightly colored iridescent examples, and other decoration include: the Basilica of the National Shrine of the Immaculate Conception in Washington DC; the Shedd Aquarium in Chicago, Illinois; Herzstein Hall at Rice University in Houston, Texas; and several public buildings, libraries, schools, churches, performance halls, and fountains in Detroit and throughout Michigan. In 1991, Pewabic Pottery was recognized as a National Historic Landmark and the studio still operates today in a 1907 Tudor Revival home as a non-profit center offering ceramics courses and selling a range of pottery items. Regular exhibits also highlight the important legacy of Pewabic Pottery within the American Arts and Crafts Movement and provide context on the center’s continued influence in the world of ceramics. Pewabic Pottery still actively produces decorative works and architectural tiles for Detroit-area companies and organizations. The collections of the Detroit Institute of Arts and the Smithsonian’s Freer Gallery of Art in Washington DC also include pieces of Pewabic Pottery.

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Richard Riemerschmid (German, 1868-1957) A leading figure of the Jugendstil movement in Germany, Richard Riemerschmid was born in Munich in 1868. After graduating from the Wilhelmsgymnasium in 1886 and serving in the army for two years, Riemerschmid studied at the Academy of Fine Arts from 1888 to 1890, studying under Gabriel von Hackl and Ludwig von Löfftz. Riemerschmid started his professional career as an independent painter and architect, occasionally producing advertisements on commission. He also wrote for Jugend, a progressive art magazine highlighting the Art Nouveau movement. Given his insistence that objects be crafted purposefully by hand from simple, natural materials, Riemerschmid’s aesthetics resonated with the English Arts and Crafts Movement. In 1895, he married actress Ida Hofmann, with whom he had four children. Seeking to raise his professional profile, Riemerschmid began designing furniture, serving wares, carpets, wallpapers, and other interior decorations. In 1898, he co-founded the Munich-based Vereinigte Werkstätten für Kunst im Handwerk (‘United Workshops for Art in Craft’). His 1899 furniture designs for a music salon exhibit in Dresden appealed to the public greatly, so mass production of the line followed. While Riemerschmid favored hand assembly, he nonetheless began with machine processing, which suggested a shift toward Modernism. By 1902, Riemerschmid had co-founded the Gartenstad-Gesellschaft (‘Garden City Association’) to promote public garden projects in the Dresden-Hellerau area. In 1907, with Josef Maria Olbrich and Peter Bruckmann, Riemerschmid formed the Deutscher Werkbund (‘German Association of Craftsmen’). From 1912 to 1924, he served as director of Munich’s Kunstgewerbeschule (‘School of Applied Arts’). From 1926 to 1931, he directed and taught at the Kölner Werkschulen (‘Cologne Academy of Fine and Applied Arts’). Late in his career, Riemerschmid wrote books on art education even though the Nazi regime undermined his scholarly efforts. However, he was awarded the Goethe Medal for Art and Science in 1943. Riemerschmid passed away in 1957, but today his designs are found at the Victoria and Albert Museum in London, the Museum of Modern Art in New York City, the Art Institute of Chicago, and other important institutions. Gilbert Rohde (American, 1894-1944) Groundbreaking designer Gilbert Rohde was born in 1894 in New York City, where he lived throughout his life. Rohde graduated from Stuyvesant High School in 1913. Further studies included instruction at the Art Students League and the Grand Central School of Art. Initially, Rohde worked as an advertising illustrator. However, tours of Europe in 1927, 1931, and 1937 fueled Rohde’s passion for design and forged his aesthetic philosophy, which combined elements of Bauhaus, French Moderne, and American Streamline Moderne. In 1927, Rohde set up a design office in New York City and began producing furniture and other items for General Electric and the Hudson Motor Car Company. Rohde created an armless leatherette side chair in 1931 using an assembly-line process for the Heywood-Wakefield Company, and over 250,000 chairs sold by the end of the decade. In 1932, Rohde was made director of design for Herman Miller Furniture Company in Zeeland, Michigan by president D.J. De Pree. Rohde’s first design for Herman Miller was the No. 2185 bedroom suite, which was shown at Chicago’s Century of Progress exhibition in 1933. As accolades mounted, Rohde helped found the Designers Institute of the American Furniture Mart in 1933, became director of the Design Laboratory School from 1935 to 1938, and led the industrial design program at the New York University School of Architecture from 1939 to 1943. Rohde also developed exhibits for the New York World’s Fair in 1939. Simultaneously, Rohde produced cutting-edge designs for Herman Miller, including the first biomorphic furniture sold widely in America. In addition to formal innovation, Rohde employed materials that were then uncommon, such as Lucite, Plexiglas, Bakelite, and Fabrikoid, a DuPont leatherette. Wielding his influence at Herman Miller, Rohde convinced the company in 1940 to stop reproducing period furniture in favor of wholly modern designs. In 1942, Rohde unveiled his Executive Office Group line with 137 configurable elements for various business environments. Although Rohde passed away in 1944, his approach continued to influence Herman Miller for years. Rohde’s designs are now sought after by collectors and his work is part of the collections of the Metropolitan Museum of Art in New York City, the Henry Ford Museum in Dearborn, Michigan, the Los Angeles County Museum of Art, and the Victoria and Albert Museum in London. The Roycrofters (1895-1915) In 1895, Elbert Hubbard, an Illinois native and socialist-leaning traveling salesman, founded the Roycroft reformist community in East Aurora, New York, just outside of Buffalo. The members of this settlement came to be called Roycrofters. Although the appellation derived from two printers in the group, Samuel and Thomas Roycroft, Hubbard chose it intentionally to connote “King’s Craft.” He wanted to create an updated version of the guilds of early modern Europe with skilled craftspeople of varied expertise. Hubbard had originally devised the concept for the Roycroft community on a visit to England, where he was profoundly influenced by Arts and Crafts pioneer William Morris. Upon returning to America, Hubbard followed Morris’ lead and established the Roycroft Press to release his book-length manuscript, Little Journeys (1916), which is a compilation of imagined visits to the men and women who shaped society over time. Lured by Hubbard’s Arts and Crafts message, various workers gravitated to East Aurora, including not just printers and bookbinders, but furniture makers, leathersmiths, and metalsmiths. The Roycrofters sought to work with their hands, head, and heart in harmony. They mixed play with work to make labor less taxing. By 1910, there were nearly 500 active Roycroft members producing all manner of items. In 1915, Elbert Hubbard and his wife Alice died as passengers aboard the RMS Lusitania, the ocean liner which was sunk by a German torpedo during World War I. This also marked the beginning of the end of the Roycroft community. The Hubbards’ son Bert took over for a while, but despite brokering an agreement for Sears & Roebuck to carry Roycroft furniture, the community soon became insolvent. Today 14 of the original buildings from the Roycroft Campus remain in East Aurora and the group’s impact on American design and craft continues to be felt. In 1986, the Roycroft Campus was designated a National Historic Landmark and educational tours are now regularly offered to visitors.

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Gustav Stickley (American, 1858-1942) American Arts and Crafts leader Gustav Stickley was born in 1858 in Osceola, Wisconsin to German immigrant parents. At age 12, he earned his journeyman’s license in stonemasonry; at 17, he began work in his uncle’s chair factory, where he realized that he had a passion and aptitude for woodworking. Eventually, he started his own furniture business with his younger brothers, Charles and Albert. The chairs they created typically mark the origin of the Craftsman Style, also known as Mission or Mission Oak Style. Rather than produce machine-made, ornamental furniture like his contemporaries, Gustav Stickley sought a return to simplicity and handwrought pieces. An 1898 trip to Europe proved pivotal in determining Stickley’s direction. Inspired by the Arts and Crafts ideals of British designer William Morris, Stickley endeavored to create furniture to fulfill a purpose or mission and insisted that products be of high quality, comfortable, and practical. After returning to America, Stickley renamed his firm the Gustav Stickley Company. To promote his craft-centered design ethic and advertise his company’s furniture, Stickley launched a magazine called The Craftsman (1901-1916). Among various topics, Stickley wrote about the Morris chair he made to honor his biggest influence and published articles on building open-concept, light-filled bungalows. With clean, rectangular lines, Stickley furniture displays a sturdy, masculine style favoring oak. Although pieces are often large, their simplicity of design prevents them from appearing too bulky. True examples are usually identified by Stickley’s shopmark, a joiner’s compass with the words “Als ik Kan” (Flemish for “if I can”), and his signature. Some pieces have paper labels that identify Gustav Stickley’s shop, which is not to be confused with that of his brothers Leopold and John George Stickley, who operated their own factory at the same time. Gustav Stickley died in 1942 in Syracuse, New York. During the latter part of the 20th century, his Arts and Crafts furniture became quite popular again, achieving high results at auction and finding a home in the collections of various noteworthy museums. Leopold Stickley (American, 1869-1957) and John George Stickley (American, 1871-1921) The youngest two Stickley brothers, Leopold and John George Stickley were born in Osceola, Wisconsin in 1869 and 1871 respectively. After their father left the family, their mother Barbara moved all 11 of her children to Brandt, Pennsylvania, where her brother Schuyler C. Brandt owned a chair factory. Leopold and John George’s older brother Gustav started working at the factory and later established a furniture factory of his own. In 1899, Leopold Stickley began working as a foreman at Gustav Stickley Company in Eastwood, New York. John George worked with brother Albert at Stickley Brothers Company in Grand Rapids, Michigan. In 1900, Leopold and John George acquired Collins, Sisson & Pratt Furniture Company in Fayetteville, New York to start their own venture. Unlike Gustav Stickley, who was invested in spreading the Arts and Crafts handmade ethos in America, Leopold and John George were more financially motivated. By 1902, Leopold contracted with Chicago’s Tobey Furniture Company to supply Mission Style designs anonymously. Leopold and John George finally incorporated in 1904 as L. & J.G. Stickley Co., having initially called their operation The Onondaga Shops. Production expanded quickly and they released their Arts and Crafts and Simple Furniture Built on Mission Lines at the Grand Rapids Furniture Exhibition in 1905. Given his prior experience as Gustav Stickley’s foreman, Leopold was able to create Arts and Crafts designs very similar to Gustav’s to appeal to the market. However, Leopold and John George had a much different philosophical approach. They advertised their processes as modern and “scientific,” without “attempt[ing] to follow the traditions of a bygone day.” This enabled them to stay in business while adapting to ever-changing tastes. In 1918, when Gustav Stickley was forced out of business as a result of bankruptcy, Leopold and John George purchased his Craftsman Shops, combining the two leading Mission Style furniture firms. John George died in 1921, but Leopold ran the company until his death in 1957. Alfred Audi acquired L. & J.G. Stickley Co. in 1974 and the company is still in business today. Teco Pottery (1881-1935), Harald Hals (Norwegian, 1876-1959), designer In 1881, lawyer William Day Gates founded the American Terra Cotta Tile and Ceramic Company in Terra Cotta, Illinois, close to Crystal Lake, about 50 miles northwest of Chicago. Along with producing the first architectural terra cotta in America, especially for Prairie School building projects — Frank Lloyd Wright was a customer — Gates also produced various clays and glazes for art pottery. Teco, a contraction of ‘Terra Cotta,’ soon became synonymous with excellence in decorative design. Gates was originally inspired by the ideals of the Arts and Crafts Movement, which began in Britain in the late 19th century. Reacting against increasing mechanization, Arts and Crafts thinkers such as John Ruskin and William Morris championed handcrafted production using the highest quality materials. Although Teco pottery comes in a range of colors, the matte green glaze is the most distinctive and prized of all. Gates eventually turned over control of the company to his son Major. During the Great Depression, there was little demand for architectural terra cotta and Teco pottery. In 1934, George A. Berry Jr. bought the company to focus solely on generating construction elements. William Gates died the following year, but Prairie School terra cotta and Arts and Crafts pottery continue to capture the imagination of ceramic enthusiasts. Pottery makers and collectors alike still cherish Teco for its vibrant colors, rich glazes, and purity of both sculptural and organic design. In addition to making art pottery himself, William Gates employed several skilled designers, including Harald Hals, Fritz Albert, W.B. Mundie, Fernand Moreau, and others, to create innovative forms. Harald Hals in particular was trained as an architect in his native Norway before immigrating to America to act as a designer for Gates; Hals returned to his homeland in 1911 to work as an architect who eventually developed housing projects for the city of Oslo.

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Louis Comfort Tiffany (American, 1848-1933) / Tiffany Studios Born in New York City in 1848, Louis Comfort Tiffany was the oldest son of Charles Lewis Tiffany, founder of Tiffany & Co. He was raised in an atmosphere of tremendous wealth and expensive taste during the Gilded Age. Instead of joining his father’s company, Tiffany studied fine arts and worked in many mediums, including furniture, metalwork, textiles, pottery, enamels, jewelry, and book design. In the late 1870s, he became intrigued by the decorative possibilities of glass and used it throughout his career. Tiffany was a notable contributor to the Aesthetic Movement and used biblical and historical sources for inspiration from Asia and the Middle East. Influenced as well by British designer William Morris, Tiffany contributed to the Arts and Crafts Movement. He was critical of painting on glass, which he felt marred the innate prismatic qualities, so he experimented with opalescent finishes and created lava glass as well as his most important innovation, Favrile glass. Tiffany patented this iridescent art glass in 1894 and began manufacture in 1896. Coined by Tiffany, the term Favrile comes from the Latin “fabrilis,” or handmade. From his glass factory in Queens, Tiffany sold Favrile windows, lamps, vases, and mosaics. An impeccable taskmaster, Tiffany would walk down production lines with his cane and shatter any piece of work that he deemed unsuitable. As a proponent of Art Nouveau in America, Tiffany presented the variegated colors and forms of the natural world directly. After World War I, cultural trends moved toward the more minimal, Bauhaus style. With his business income dwindling, lavish lifestyle, and extensive philanthropic efforts, Tiffany declared bankruptcy in 1932. On January 17, 1933, he died in New York City in relative obscurity. In the decades that followed, Tiffany would come to be regarded as a master of the decorative arts. His early glasswork is now part of the collections of the Metropolitan Museum of Art in New York City, the Smithsonian Institution in Washington DC, Tokyo’s Imperial Museum, and other notable facilities. Tiffany’s stained-glass windows are still found in many of America’s oldest colleges and universities, including Yale, Harvard, and Columbia. Dirk van Erp (Dutch/American, 1862-1933) Widely considered the premier Arts and Crafts coppersmith, Dirk van Erp’s lamps, vases, bowls, and other items have continued to appreciate in value over the past century given their high quality and lasting beauty. Born in Leeuwarden, Netherlands in 1862, van Erp immigrated to the United States in 1890, settling in San Francisco. Soon thereafter, he married Mary Richardson Marino and the couple had a daughter, Agatha, in 1894. After failing to make his fortune during the Klondike Gold Rush in the Canadian Yukon Territory in 1898, van Erp returned to the San Francisco Bay Area, where he gained employment as a coppersmith at the Mare Island Naval Shipyard in Vallejo. In 1901, the van Erp family welcomed a son, William. In his spare time, van Erp started to create vases from shell casings that he obtained at the shipyard. Leaving behind his initial, ornate Victorian style, van Erp transitioned to developing pieces with an unadorned Arts and Crafts appearance. In 1908, van Erp opened the Art Copper Shop and the following year he began an important collaboration with Elizabeth Eleanor D’Arcy Gaw, who had trained at the School of the Art Institute of Chicago. While their partnership lasted only a year, van Erp drew significant inspiration from D’Arcy Gaw for his iconic lamp designs and implemented shades with mica panels at her suggestion. Works from this period bear a stamped windmill with the names of van Erp and D’Arcy Gaw beneath. After exhibiting at the 1915 World’s Fair in San Francisco, van Erp largely curtailed his output during World War I to assist with military mobilization. After the war and into the 1920s, van Erp resumed his artistic metalworking practice. On July 18, 1933, van Erp and his wife Mary both died within hours of each other. Their son William kept the Art Copper Shop open until his death in 1977. John Wilde (American, 1919-2006) American surrealist John Wilde was born in Milwaukee, Wisconsin in 1919. He studied art at the University of Wisconsin–Madison, where he met Marshall Glasier whose studio was the center of the Madison art scene. Reacting against the American regionalism of artists like John Steuart Curry, who was then artist-in-residence on campus, Wilde, Glasier, and other young artists developed an unorthodox creative vision. This group also included Karl Priebe, working in Milwaukee, as well as Gertrude Abercrombie in Chicago. Wilde’s biggest academic influence was professor James Watrous, who instilled a deep appreciation for classical techniques and handmade mediums. After Wilde graduated in 1942, he was drafted into the Army to serve in World War II as an artist for the venereal disease program and he also created terrain maps. Disenchanted with this experience, Wilde started a sketchbook that would provide future ideas. In 1946, Wilde returned to the University of Wisconsin–Madison to earn his Master’s degree in art history. Wilde’s thesis was on the surrealist Max Ernst, but he also included a critique of abstract expressionism. Far from conventional, Wilde was a committed representational artist. Since his youth, he had enjoyed drawing the human form, animals, flowers, plants, fruits, and vegetables. Wilde combined the Renaissance ardor for depicting the body with the playful incongruity of surrealist symbols. Wilde’s paintings often feature nudes, mostly female, in fantastic landscapes with emblems of death. He also frequently painted proxies of himself into scenes. Along with painting, Wilde excelled at silverpoint, which he learned from Watrous. In the 1980s and 1990s, Wilde painted a series of Reconsidered works mining his earlier sketchbooks. In addition to being a prolific artist, Wilde taught at the University of Wisconsin–Madison from 1948 to 1982. From 1948 to 1978, the magic realist Aaron Bohrod was artist-in-residence, but he did not teach and Wilde quietly resented Bohrod’s simpler style and commercial appeal. Wilde passed away in 2006 at age 86 in Evansville, Wisconsin. Since Wilde’s death, the demand for his work has steadily increased. Wilde is now included in the collections of prominent institutions such as the Whitney Museum of American Art in New York City, the Smithsonian American Art Museum in Washington DC, the Art Institute of Chicago, the Milwaukee Art Museum, and many others.

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Edward Wormley (American, 1907-1995) Born in Oswego, Illinois in 1907, Edward Wormley trained at the Art Institute of Chicago from 1926 to 1928, but then limited funds forced him to work full-time as an interior designer for Marshall Field & Company. In 1930, Wormley visited Paris, where he met Le Corbusier and Art Deco designer Emile-Jacques Ruhlmann. After returning, Wormley designed furniture based on traditional forms with cleaner lines. In 1931, Dunbar Furniture Corporation in Berne, Indiana recruited the 23-year-old Wormley to be its director of design. From 1932 to 1944, Wormley created two collections per year for Dunbar: one consisting of antique furniture reproductions, the other featuring modern designs. As the mid-century modern style grew ascendant, Dunbar discontinued its antique line. Wormley opened his own design studio in New York City in 1945, but he remained a consultant for Dunbar. In 1947, Wormley developed the Precedent collection for Dunbar’s competitor, Drexel. In the 1950s, Wormley worked largely as an independent designer, but he teamed with Dunbar again in 1957 for the Janus collection, which reimagined the Arts and Crafts ethos using a streamlined, updated vocabulary. In particular, Wormley emulated the decor of California architects Charles and Henry Greene and he used tiles from Tiffany Studios to adorn his designs. While not generally celebrated in the same manner as mid-century icons like George Nelson, Charles and Ray Eames, Harry Bertoia, and Eero Saarinen, Wormley’s genius involved harmonizing traditional styles and modern innovations. For several decades, Dunbar continued to produce furniture conceived by Wormley, including his Listen to Me chaise, Téte-â-Téte sofa, and Long John coffee table. In the 1950s, the Museum of Modern Art in New York City honored many of Wormley’s designs and he was cited in a 1961 Playboy magazine profile surveying the leading figures of modernism. Prior to Wormley’s passing in 1995, exhibits featured his work at the Baltimore Museum of Art (1951), the Brooklyn Museum (1958), the San Francisco Museum of Art (1960), the Philadelphia Museum of Art (1983), and elsewhere. Examples of Wormley furniture are now housed at the Museum of Fine Arts in Boston, the Museum of Decorative Arts in Montreal, and other important institutions. Frank Lloyd Wright (American, 1867-1959) Frank Lloyd Wright was born on June 8, 1867 in Richland Center, Wisconsin. At age 15, he began studying engineering at the University of Wisconsin–Madison. Wright moved to Chicago in 1887 to work for architect Joseph Lyman Silsbee. A year later, he joined the firm of Adler and Sullivan, directly under Louis Sullivan. Wright adapted Sullivan’s philosophy of “form follows function” to his own theory of “form and function are one.” In 1889, Wright married Catherine Lee Tobin, the daughter of a wealthy businessman, and the two moved to Oak Park, Illinois, where Wright constructed his own home and studio from 1889 to 1895. By 1900, Wright had built 60 houses in the area in what became known as the Prairie Style. This aesthetic privileged horizontal, asymmetrical structures rising naturally from the environment comprised of straight lines and geometrical patterns. Between 1905 and 1908, Wright also created the distinctive Unity Temple for his local Unitarian parish in Oak Park. Restless and bored with convention, Wright left on an extended European tour with his married mistress Mamah Borthwick Cheney in 1909. Upon their return, they moved to Wright’s ancestral land in Spring Green, Wisconsin, where Wright had built his famed estate, Taliesin. In 1914, disaster struck when a disgruntled male servant started a fire during lunch and killed seven people, including the former Mrs. Cheney and her children. Because Wright favored designing a single door for all purposes, there was no other escape route. Most assumed this would be the end of Wright’s career, but he persevered and rebuilt Taliesin over the next decade. Wright even remarried a woman named Mariam Noel in 1922. During the Great Depression, he became a social visionary and regained his exalted place in the design world. Wright lectured widely and started the Taliesin Fellowship, bringing students to learn with him and work off their debt. In 1937, Wright ventured to the American Southwest to build his winter home and school, Taliesin West, in Scottsdale, Arizona. By the time of Wright’s death at age 92 on April 9, 1959, he had become internationally recognized for his innovative building style. On October 21, 1959, Wright’s bold spiral design for the Guggenheim Museum in New York City was fully realized. Wright is today arguably the most famous American architect and his name is synonymous with great design because of how seamlessly he integrated form and function.

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CONTACTS 818 North Boulevard Oak Park, Illinois 60301 708.383.5234 (t) 708.383.4828 (f) John Toomey President 708.383.5234 ext. 16 john@toomeyco.com

Lucy Toomey CEO 708.383.5234 ext. 13 lucy@toomeyco.com

John P. Walcher Vice President Senior Specialist 708.383.5234 ext. 14 johnw@toomeyco.com

info@toomeyco.com www.toomeyco.com

Don Schmaltz Senior Specialist, Modern Design 708.383.5234 ext. 20 don@toomeyco.com

Aron Packer Senior Specialist, Fine Art 708.383.5234 ext. 23 aron@toomeyco.com

Erin Marcell Senior Specialist, Fine Art 708.383.5234 ext. 11 erin@toomeyco.com

Carl Liggett Specialist, Modern Design 708.383.5234 ext. 21 carl@toomeyco.com

Colleen Trimarco Director of Client Services 708.383.5234 ext. 12 colleen@toomeyco.com

Kevin Mannella Director of Operations 708.383.5234 ext. 17 kevin@toomeyco.com

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Jeesoo Walker Client Services 708.383.5234 ext. 10 jeesoo@toomeyco.com

Nick Stenzel Web Content Manager 708.383.5234 ext. 29 nick@toomeyco.com

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Marty Uribe Shipping & Property Salvador Sanchez Property Handling Bob Yuro Property Handling

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Condition Reports condition@toomeyco.com

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TERMS & CONDITIONS THE AUCTION The auction is open to the public and there is no admission/sign-up fee or obligation to bid. The auctioneer introduces the objects for sale — known as “lots” — in numerical order as listed in the catalog. John Toomey Gallery, Inc., d/b/a Toomey & Co. Auctioneers (“Toomey & Co. Auctioneers”) acts as agent on behalf of the seller. The seller may not bid on his or her own property. ESTIMATES / RESERVES The price estimates that appear at the end of each lot description are approximations of the range in which the price may fall. Some items are subject to a reserve, the price below which an item cannot be sold. The reserve usually is less than the low estimate. BIDDING IN PERSON If you would like to bid in person, you must register for a “paddle” upon arriving at the auction. The paddle is numbered in order to identify you to the auctioneer. To register, the following will be required: (i) a form of photo identification, such as a driver’s license, passport, or government-issued identification; and (ii) your address, telephone number, and email address. If you are bidding for another person or entity, you will be required to provide authorization from that person or entity in order to bid on their behalf. Issuance of a bid paddle is in the auction house’s sole discretion. Invoices for all lots sold will be sent to the name and address in which the paddle is registered. TELEPHONE BIDS, ABSENTEE BIDS, AND INTERNET BIDS If you are not able to attend the auction in person, you may bid over the telephone during the sale, leave bids (“absentee bids”), which will be executed for you by one of our representatives, making every effort to purchase the item for the lowest possible price without exceeding your limit, or bid via the Internet (see our website for instructions on how to bid at our auction via the Internet). PLEASE NOTE: Toomey & Co. Auctioneers offers the absentee bid service as a convenience to its clients who are unable to attend the auction and is not responsible for error or failure to execute bids. Should you wish to participate by telephone or by leaving absentee bids, you must complete and submit an Absentee/Telephone Bid Form, which is included in the catalog and also is available on the Toomey & Co. Auctioneers website and at the auction house, or you may contact us as indicated below. TELEPHONE BIDDING Please make arrangements for telephone bidding as early as possible, as there are a limited number of telephone lines available. Please make arrangements for telephone bidding no later than 5:00 p.m. (CT) on the day prior to a sale. Please note that telephone bidding is generally reserved for items estimated at greater than $500. ABSENTEE BIDDING Please submit absentee bids as early as possible. It is important that these bids are provided in the correct increments (see chart below). Should identical absentee bids be submitted, the first bid received will be honored. Absentee bidders have the same chance of being successful as a telephone or in-person bidder; the successful bidder is determined at the auctioneer’s discretion. It is important that absentee bids be submitted prior to 5:00 p.m. (CT) on the day prior to a sale, as execution cannot be guaranteed after that time. Please call us if you wish to confirm that your bids have been received. AUCTION INCREMENTS The increments indicated in the chart below are used at our auctions: Bid Range Increment Bid Range $0-500 $25 $3,000-5,000 $500-1,000 $50 $5,000-10,000 $1,000-3,000 $100 $10,000-30,000

Increment $250 $500 $1,000

Bid Range $30,000-50,000 $50,000-100,000 $100,000+

Increment $2,500 $5,000 $10,000 or auctioneer’s discretion

BUYER’S PREMIUM A buyer’s premium will be added to the “hammer price” (the final bid price of an item sold prior to any additional fees or premiums that may be charged) and is payable by the buyer as part of the total price for each lot purchased. The buyer’s premium for telephone, absentee, or floor bidders is: n 25% of the hammer price up to and including $100,000; n 20% of any portion of the hammer price greater than $100,000 up to and including $1,000,000; and n 15% of any portion of the hammer price greater than $1,000,000. The buyer’s premium for LiveAuctioneers.com and Invaluable.com bidders is: n 30% of the hammer price up to and including $100,000; n 25% of any portion of the hammer price greater than $100,000 up to and including $1,000,000; and n 20% of any portion of the hammer price greater than $1,000,000. TERMS OF SALE n The auctioneer is responsible for determining the highest bidder and resolving any disputes. n All purchases are subject to (i) state sales tax unless the buyer is a registered reseller and has proof of such exemption (i.e., a valid tax I.D. number) or merchandise is to be shipped out of state, no exceptions, and (ii) a buyer’s premium, as noted above. If you are a resident of Illinois, or are picking up your purchase, you are required to pay state sales tax unless exempted by law. Lots marked with the † symbol are tax exempt in accordance with Illinois Department of Revenue’s disclosure rule. n If paying by cash or check (must be drawn on a U.S. bank), the following are required: (i) verification of identity (by providing a form of government-issued photo identification, such as a passport, identity card, or driver’s license); and (ii) confirmation of permanent address. n If paying by credit card, an additional 2% convenience fee is payable on the total of the hammer price, buyer’s premium, tax (if applicable), and shipping cost (if any). n We accept payment by cash, check (drawn on a U.S. bank), cashier’s check, credit card (Visa, MasterCard, or Discover credit cards, with an additional 2% convenience fee noted above), or wire transfer ($25 fee if payment made by wire transfer). n We reserve the right to exclude credit cards as a permitted method of payment and to require that payment be made by one of the other methods indicated above. n Once payment has been received and cleared, merchandise purchased may be released.

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LATE PAYMENT / DEFAULT Any payment not made within 10 days after its due date shall be considered delinquent and shall constitute a default on the part of buyer with respect to its obligations under these Terms & Conditions. In such event, Toomey & Co. Auctioneers shall be entitled at its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available to it by law): (i) to charge interest at such rate as Toomey & Co. Auctioneers shall reasonably decide; (ii) to hold the defaulting buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees, and costs to the fullest extent permitted under applicable law; (iii) to cancel the sale; (iv) to resell the property publicly or privately on such terms as Toomey & Co. Auctioneers shall deem fit; (v) to set off the outstanding amount remaining unpaid by the buyer against any amounts that Toomey & Co. Auctioneers may owe the buyer in any other transactions; (vi) to reject at any future auction any bids made by or on behalf of the buyer or to require a deposit from the buyer before accepting any bids; and (vii) to take such other action as Toomey & Co. Auctioneers deems necessary or appropriate. STORAGE FEES Toomey & Co. Auctioneers may impose a storage fee of $5.00 per day per lot beginning on day 31 to be paid by buyer for any lot or item not collected by buyer within 30 days after the sale unless other prior arrangements have been made. Buyer agrees that Toomey & Co. Auctioneers shall have no liability for any damage to property left on its premises after such 30-day period. OUR GUARANTEE Toomey & Co. Auctioneers guarantees the authenticity of that portion of the description of each lot as set out in bold type in the catalog, as amended by oral or written salesroom notes or announcements, which guarantee is in effect for 30 days after the auction in which the item is sold. Said guarantee does not apply to those lots listed as “in the style of,” “attributed to,” “the school of,” “in the manner of,” or “after.” Toomey & Co. Auctioneers is not responsible for errors or omissions in the catalog or in written or oral condition reports. All measurements are approximate. Toomey & Co. Auctioneers makes every effort to accurately describe its merchandise, but in the event errors occur, Toomey & Co. Auctioneers shall not be held responsible. It is solely the responsibility of the bidder to be well informed before bidding. Bidding in our auctions indicates your acceptance of these terms and any terms announced the day of the sale. Ceramics: Please request condition reports prior to bidding. Furniture: Furniture is described to the best of our ability. The wood is usually oak, unless otherwise stated. The furniture is old and over the years has acquired or developed dents, drink rings, separations, burns, chips, and assorted flaws — only those considered objectionable will be mentioned. n Fine Jewelry and Watches: Precious gems and metals will be tested and are guaranteed genuine as described. Gemstone quality will be described if not normal. Weights and measurements are approximate. Obvious and objectionable repairs or alterations are noted. Watches are the original factory product unless otherwise indicated. Original dials and overall watch condition will be noted on important pieces. Watch functions and accurate timekeeping are not guaranteed. The condition, age, originality, and quality of all items are evaluated using industry standards, and any questions should be asked prior to the sale. Jewelry and watches are sold as collector’s items. Therefore, everyday use should be evaluated on an item-by-item basis. n Lamps, Clocks, and Electrical Items: Lamps will be described based on patina and condition of any glass. Leaded lamps may have cracked segments. Some parts may have been replaced over the years, and this will be mentioned if determined to be objectionable. Shades with mica may contain minor flaking or burn spots, and these will be mentioned if determined to be objectionable. Lamps, clocks, and other electrical items are offered only for their decorative value. They are not represented to be in working order. n Metalwork: Metalwork will be described based on patina and the condition of the object. Dents, scratches, wear, and assorted flaws will be mentioned if determined to be objectionable. n Art Glass: Art glass may sometimes contain air bubbles and/or have surface scratches, lines in the making and chips to the pontil. Anything determined to be objectionable will be mentioned. Some glass may be ground at the factory, causing minor chips or flakes. This will be mentioned if determined to be excessive. Discoloration on the interior usually is present when originally produced and will not be noted unless determined to be excessive. n Paintings, Drawings, Prints, and Bronzes: Each object is guaranteed to be an authentic work by the artist listed. Any and all information listed in the catalog not printed in bold type should be considered as being to the best of our knowledge, is merely our opinion, and is not guaranteed to be correct. Every effort is made to ensure that all artwork is authentic and is represented accurately. If the authenticity of a purchased object is contested, it must be made known to us within 30 days of the sale in which the object was purchased as follows: a written letter from a noted authority provided to us, declaring the object to be executed by someone other than the artist listed. This authority may not have any vested interest in the artist’s work or the estate of the artist. The object must be returned to us in the same condition in which it was purchased. If it is determined that a piece is not authentic, only the purchase price may be refunded; there will be no compensation for damages, loss of profit, professional fees, transportation, or any other costs. If a painting is excessively dirty, we will attempt to note it in the description; however, we do not consider the normal darkening of varnish over time problematic, and accordingly any such darkening will not be noted in the description. n n

FRAMES Every effort is made to protect the frames included with these lots during pre-auction storage and post-auction shipping; however, Toomey & Co. Auctioneers shall not be responsible for any damage to frames, and no refunds will be granted due to frame and/or glass damage. CONDITION REPORTS / NOTICES / PREVIEW It is solely the buyer’s responsibility to be knowledgeable about the condition of a piece/pieces before bidding. Auction items are available for viewing/previewing during the week prior to the auction on the dates/times listed in the front of the catalog or by appointment. We encourage you or a knowledgeable representative to visit and inspect all lots at this time. If this cannot be done, we encourage you to contact us with your condition report requests prior to the sale. Our staff will give you our opinion of condition, answer any questions, and send photos if necessary. Any such opinion is not a professional conservator’s evaluation and is not to be relied on as a representation or statement of fact, but is given to the best of our knowledge. It is the buyer’s responsibility to be aware of all conditions, addendums, and corrections prior to the sale. Notices amending the catalog description of a lot after the catalog has gone to press are available at the auction house or are announced by the auctioneer. Please take note of them. DELIVERY / SHIPPING Toomey & Co. Auctioneers offers safe and economical methods for delivery and shipping within the U.S. for certain purchases. Items such as articles of furniture, highly fragile pieces, and other select items may be excluded from in-house shipping and delivery services. Please contact our Shipping Department prior to the auction with any inquiries regarding delivery and/or shipping and to obtain shipping and insurance cost estimates as available. All Toomey & Co. Auctioneers delivery and shipping quotes are for delivery to a first floor or front door. Please note that glass is removed from all paintings and prints for shipping unless otherwise directed by the buyer and a signed waiver is provided. All items are shipped fully insured, unless the buyer wishes to waive such insurance, in which case our Waiver of Insurance form must be completed and returned to us. Delivery and shipping fees and insurance fees are payable by the buyer and are nonrefundable. Buyers using a third-party shipper and who require shipping quote(s) prior to the auction are responsible for obtaining such estimate(s) from the shipper and making shipping arrangements directly with such shipper. Upon request, our Shipping Department can provide a list of recommended shippers. A buyer making his or her own shipping arrangements must complete and return to us our written Shipping Release Form in connection with the release of the item(s) to the third-party shipper. Toomey & Co. Auctioneers is not responsible for damage to items caused by such shippers, and claims for any such damage are to be settled between the buyer and the respective shipper. JURISDICTION Buyer agrees that the state and federal courts in Cook County, Illinois shall have exclusive jurisdiction over all matters arising out of buyer’s purchase of items from Toomey & Co. Auctioneers and that service of process in any such proceeding shall be deemed effective if mailed to buyer at buyer’s address last provided to Toomey & Co Auctioneers.

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ARTIST INDEX Adams, Charles Partridge - 81

Guillaumin, Armand - 75

Palmer, Pauline - 91

Akhilish, Verma - 22

Hirst, Damien - 2, 3

Parthan, Baiju - 24

Albuquerque, Lita - 13

Holzer, Jenny - 40

Patterson, Margaret Jordan - 108,

Arneson, Robert - 42

Hughes, Follower of Arthur - 89

109, 110, 111, 112

Arnold, Ralph Moffett - 12

Hunt, Richard - 54

Pattison, Abbott - 58

Austin, Darrell - 61

Hurley, Edward T. - 96

Pergola, Romolo - 76

Barth, Carl Wilhelm - 71

Ito, Miyoko - 18

Pious, Robert - 97

Baylinson, Abraham - 92

Jacobsen, Sophus - 66

Pritchard, Zarh - 78

Bertoia, Harry - 16

Jaques, Bertha Evelyn Clausen - 95

Rawal, Yogesh - 21

Blanchard, Antoine - 86, 87

Johnston, Franz - 82

Rice, William Seltzer - 106

Blow, Richard - 480

Kamrowski, Gerome - 17

Rupert, Arthur J. - 79, 80

Both, Circle of Jan Dirksz - 70

Kearney, John - 59, 60

Saint-Gaudens, Augustus - 270

Boudin, Eugène - 90

Keener, Anna E. - 45

Schreyvogel, Charles - 98, 99

Brown, Hilton - 11

Kovner, Saul - 85

Schwartz, Buky - 57

Brown, Roger - 4

Krishnamachari, Bose - 23

Schwiering, Conrad - 69

Burlini, Joseph A. - 8, 9, 10

La Farge, John - 77

Shibata, Toshio - 28

Carter, Clarence Holbrook - 83

La Pira, Gioacchino - 73, 74

Sillman, Sewell - 19, 20

Chadwick, Lynn Russell - 1

Løkke, Marie - 67

Simpson, Diane - 51

Chihuly, Dale - 50

Lostutter, Robert - 5, 6

Siskind, Aaron - 31, 32, 33

Christo and Jeanne-Claude - 44

Lum, Bertha - 114, 115, 116

Soleri, Paolo - 26, 27

Cortès, Édouard - 88

Maril, Herman - 14

Speed, Grant - 100

Cunningham, Imogen - 94

Max, Peter - 52, 53

Sponberg, Lars-Birger - 62

Curtis, Edward Sheriff - 101, 102,

Montald, Constant - 93

Sultan, Donald - 48

103, 104

Moon, Carl - 105

Tamayo, Rufino - 46, 47

de Clausade, Pierre T. - 84

Munger, Gilbert - 72

Walker, William Aiken - 64

de Lemos, Pedro Joseph - 107

Neiman, LeRoy - 36

Weber, Carl Philipp - 65

Fogelson, Doug - 29

Neogrady, László - 68

Welna, Joseph - 15

Förg, Günther - 49

Nierman, Leonardo - 34

Wilde, John - 7

Giusto, Fausto - 63

Norton, Elizabeth - 113

Young, Purvis - 35

Godie, Lee - 37, 38, 39

Olson, Glenn - 56

Zeisler, Claire - 43

Golub, Leon - 41

Palma, Luis González - 30

Zink, Melissa - 25

Gregory, Waylande - 416

Palmer, Gregory C. - 55

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TOOMEY+ ONLINE MARKETPLACE Toomey+ is our online marketplace offering an exclusive, curated selection of Prairie School design, Arts & Crafts, Fine Art, Modern Design, furniture, lighting, and more. Visit toomeyco.com/toomeyplus to view our current inventory.

CONSIGN We are currently accepting consignments to the Toomey+ online marketplace and are happy to advise clients considering this alternative to selling at auction. Contact us to discuss consignment options.

Charles Eames & Ray Eames LCW chair

TOOMEY+ 818 North Boulevard Oak Park, Illinois 60301 708.383.5234 (telephone) 708.383.4828 (facsimile) sales@toomeyco.com www.toomeyco.com

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818 North Boulevard Oak Park, Illinois 60301 708.383.5234 (telephone) 708.383.4828 (facsimile) info@toomeyco.com www.toomeyco.com

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AUCTION INCREMENTS The increments indicated in the chart below are used at our auctions: Bid Range Increment Bid Range $0-500 $25 $3,000-5,000 $500-1,000 $50 $5,000-10,000 $1,000-3,000 $100 $10,000-30,000

Increment $250 $500 $1,000

Lot #

Description

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Top Bid

Increment $2,500 $5,000 $10,000 or auctioneerâ&#x20AC;&#x2122;s discretion

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818 North Boulevard | Oak Park, Illinois 60301 | 708.383.5234 | info@toomeyco.com | www.toomeyco.com

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