Art & Design with Tradition & Innovation - Fine Art 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

Art

1 Lynn Russell Chadwick (British, 1914-2003) Walking Woman — Maquette VI, 1983 bronze with black patina signed with artist’s monogram and numbered C 26S under skirt edition 7/9 8 7/8”h x 4 1/8”w x 6 5/8”d $10,000-20,000 Provenance: Property from a Prominent Michigan Collection Literature: Farr, Dennis, and Eve Chadwick, Lynn Chadwick. Sculptor. With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, 2006, C26S, p. 360

Lynn Chadwick was launched on the international stage as one of a new generation of British sculptors exhibiting at the British Pavilion of the 1952 Venice Biennale. Here these young sculptors surprised the audience with their departure from previously dominant sculptural traditions by embracing new materials, including iron structures with plaster filler and industrial compounds. They presented jagged works concerned with the dematerialization of mass and the vitality of line. Chadwick came of age as an artist after World War II, when a mood of existential anxiety converged with traditions of humanistic representation and Modernist abstraction. In the 1960s, Chadwick became interested in both the abstract form in basic principles and looking at the human form, and later looking at how a figure stands and moves. This maquette, Walking Woman, is characteristic of his sculptures of human figures cast in bronze during this period. The figure is clad in angular, rough drapery with a geometric, pyramidal head, blending Surrealism, the angst of Alberto Giacometti and the monumentalism of Henry Moore. During the 1970s and 1980s, Chadwick started to standardize these figures, developing a visual code. Eventually, most of the male figures had rectangular heads and the females had triangular heads, as exemplified here.

2 Damien Hirst (British, b. 1965) Studio Skull, 2009 color screenprint signed and numbered edition 8/10 co-published by Other Criteria and Paul Stolper, London, England 26 1/4” x 36 1/4” $3,000-5,000 Provenance: Paul Stolper Gallery, London, England Property from a Private Canadian Collection Treadway Toomey, 03 June 2017, Lot 309 Acquired from the above sale by present owner

3 Damien Hirst (British, b. 1965) Studio Skull, 2009 color screenprint signed and numbered edition 8/10 co-published by Other Criteria and Paul Stolper, London, England 26 1/4” x 36 1/4” $3,000-5,000 Provenance: Paul Stolper Gallery, London, England Property from a Private Canadian Collection Treadway Toomey, 03 June 2017, Lot 309 Acquired from the above sale by present owner

4 Roger Brown (American, 1941-1997) False Image Decals $1.00 pkt., 1969 (complete set of four images on individual sheets) color silkscreen, commercially manufactured 6” x 9 1/2” $1,000-2,000 Catalog Note: Color silkscreen on off-white wove paper; double-sided decals printed by the Chicago Decal Company from stencils cut by Roger Brown (American, 1941-1997) based on original drawings by: Brown, Artist; Eleanor Dube (American, b. 1946), Map; Philip Hanson (American, b. 1943), Hearts Desire; and Christina Ramberg (American, 1946-1995), couple in embrace, woman tending hair, woman lying down.

5 Robert Lostutter (American, b. 1939) Untitled, 1972 watercolor and graphite on paper signed and dated lower right 6 1/8” x 4 1/8” $1,000-2,000

6 Robert Lostutter (American, b. 1939) Untitled, 1972 watercolor and graphite on paper signed and dated lower right 5 3/4” x 7 1/4” $1,500-2,500

Provenance: Property from an Important Chicago Collector

7 John Wilde (American, 1919-2006) Work Reconsidered: Love After Murder, Series III, 1989 oil on wood signed in ink verso 13 1/8” x 20 1/4” $8,000-12,000 Provenance: Perimeter Gallery, Inc., Chicago, Illinois (label verso) Schmidt-Bingham Gallery, New York, New York (label verso) Exhibitions: Wildeworld: The Art of John Wilde, Elvehjem Museum of Art, University of Wisconsin–Madison, 13 November 1999 through 09 January 2000

Catalog Note: John Wilde’s Work Reconsidered: Love after Murder (1989) is a macabre journey through the artist’s mind, bringing violence and sex together in a Wisconsin landscape of lustful destruction. Wearing a harlequin leotard, a man engages in foreplay with a woman who is pleasuring herself. Did he (or they?) dismember the body that lies in pieces among numerous potential implements of murder and mayhem? And what do the non-sequitur objects, which confuse and obfuscate, mean in the larger scheme of this surrealism? Sometimes in Wilde’s work a murder scene is not literally a murder scene, but here it is nonetheless disturbing and thought-provoking.

Literature: Panczenko, Russell, and Theodore F. Wolff, Wildeworld: the Art of John Wilde, Hudson Hills Press, 1999 Wilde, John and Lisa Wainwright, Things of Nature and the Nature of Things: John Wilde in the McClain Collection, Chazen Museum of Art, University of Wisconsin–Madison, 2006, pl. 15

8 Joseph A. Burlini (American, b. 1937) Daddy Longlegs, 1976 steel with enamel 65 1/2”h x 32”w x 60”d $4,000-6,000 Exhibitions: From Rockets to Rainbows: Joseph A. Burlini Solo Exhibition, Museum of Science and Industry, Chicago, Illinois, 15 March through 15 May 1977 Catalog Note: Among Joseph Burlini’s most imaginative sculptures, Daddy Longlegs is an important example of the work that he produced during his kinetic do-nothing machine phase in the 1960s and 1970s. Like other creations from this period, Burlini’s rolling vehicle ‘prototype’ is comprised of multiple colorful small discs, and other shapes, with enamel ornamentation, all stemming from a main capsule, where a small human figure might ride. A precursor to the Steampunk movement, this whimsical sculpture combines a nod to the nostalgic with a vision of the future. This work was part of the 1976 Bicentennial Fourth of July Parade in Arlington Heights, Illinois, and was pulled by Burlini’s son, Christopher. In 1977, the Museum of Science and Industry of Chicago featured more moving sculptures similar to this in a 10-year retrospective.

9 Joseph A. Burlini (American, b. 1937) Triangulated Mobile, 1993 steel and paint 18”h x 48”w x 48”d $1,500-2,500

10 Joseph A. Burlini (American, b. 1937) Ravi Shankar, circa 1980 steel and paint 23”h x 24”w x 2”d $800-1,200

11 Hilton Brown (American, b. 1938) Sun II, 1963 oil on canvas signed verso 28â&#x20AC;? x 28â&#x20AC;? $1,000-2,000 Provenance: The Collection of Kazimir Karpuszko, Chicago, Illinois Property from a Prominent Chicago Collection Exhibitions: Art in Embassies Program (AIE), Mrs. Nancy P. Kefauver, Advisor of Fine Art, Office of the Deputy Office of Administration, Department of State, Washington DC (label verso) Catalog Note: In 1963, President John F. Kennedy established, by executive order, an Advisory Council on the Arts including Nancy Kefauver, Art in Embassies first director, appointed by the President in November that year. This work by Hilton Brown was chosen and traveled as part of the Art in Embassies program. 12 Ralph Moffett Arnold (American, 1928-2006) Untitled, circa 1970 graphite and acrylic on board 12" x 12" $800-1,200

13 Lita Albuquerque (American, b. 1946) Quelle est la couleur de mon amour, 1982 mixed media and collage signed and dated lower right 22 1/8" x 29 5/8" $800-1,200

14 Herman Maril (American, 1908-1986) Oneness oil on canvas signed lower right 24” x 36” $3,000-5,000 Provenance: Babcock Gallery, New York, New York (label verso) Catalog Note: “The sources of my work have been a response to nature and the world around me,” Herman Maril once said. “I am interested in the language of paint, and my ideas must be expressed in terms of space concept on the plane of the canvas. I want my paintings to have an organic ‘oneness’ which should be the result of a constantly growing understanding and feeling for the lyricism possible in the plastic units of the picture struggle.”

15 Joseph Welna (American, 1927-2007) Variations, #6, 1973 acrylic on canvas signed and dated verso 68 1/4” x 93” $1,000-2,000

16 Harry Bertoia (Italian/American, 1915-1978) Untitled (765) monotype numbered ‘765’ lower left 25 5/8” x 19” $4,000-6,000 Provenance: Private Collection Rago Modern Auctions, Lambertville, New Jersey, 17 June 2012, Lot 740 Property from a Private East Coast Collection Catalog Note: “Bertoia monotypes preceded all sculptures and were the foundation of all of Harry’s work. Harry enjoyed the monotype process because it was quick and direct, rather than meticulously planned and belabored as the metal forms necessitated. Most of his works are untitled and undated. He compiled about 4,000 unique monotypes during his career, possibly more than any other type of work. The artist himself said it was a window into his creative process, and a sort of journal of his artistic development. In his early imagery, influenced by Surrealism and Constructivism, he created biomorphic, free-form shapes and wandering lines; geometrics inflected by straight lines, and combined to make lively compositions.” — Celia Bertoia, Harry Bertoia Foundation This gold-toned work (765) is infused with a motif of almost translucent triangles, ranging from dark to light, some bearing traces of painterly texture. The triangular forms float in an irregular vertical grid superimposed on a hazy, opaque green surface. The layered quality of this composition evokes the formal semblance of sculpture and, quite likely, served as a rendering for a later three-dimensional work.

17 Gerome Kamrowski (American, 1914-2004) Cluster, 1964 acrylic and mixed media on jute with stones and gravel 30 1/2” x 25 3/4” $7,000-9,000 Provenance: Stahr Collection, Barrington, Illinois

18 Miyoko Ito (American, 1918-1983) Act One in the Desert, 1978 oil on canvas unsigned 47” x 36” $15,000-25,000

Catalog Note: Miyoko Ito’s painting provides a welcoming but challenging visual cosmology of rectangular and square shapes floating in an atmospheric dreamworld. The paint here is thinly applied, blurring blues, yellows and oranges. On the high horizon line, an apparent sunset of muted light brown blends up the canvas into light blue. Connections between the built and the ethereal world are punctuated with a square, suggesting a portal where more may yet be imagined. Ito’s compositions are quite often engaging enigmas.

19 Sewell Sillman (American, 1924-1992) The Ninth Orb, 1973 collage titled, dated and signed lower right inscribed 21. VIII. 73 verso 11 1/2” x 8 3/4” $1,000-2,000

21 Yogesh Rawal (Indian, b. 1954) Untitled 37, 2007 paper collage on wood 30” x 30” $1,500-2,500 Catalog Note: Yogesh Rawal animates what he calls “indeterminate realms” by referring to them as inner conversations. Indeed, his art suggests the immaterial world of the mind. While minimalist in intention, Rawal’s concerns are less cerebral and rigid. His work has been compared to artists like Agnes Martin who infuse their simple forms with attitudes stemming from Zen Buddhist philosophy.

20 Sewell Sillman (American, 1924-1992) The Third Orb, 1973 collage titled, signed and dated verso inscribed VII 8 3/4” x 7 3/4” $1,000-2,000

22 Verma Akhilish (Indian, b. 1956) Touchably Untitled, 2007 acrylic and graphite on canvas signed and dated verso 40” x 40” $3,000-5,000 Catalog Note: Based in Bhopal, India, Verma Akhilesh produces paintings that feel as if they are unfinished and yet they do not seem incomplete. It is impossible to look at Akhilish’s work in terms of a beginning leading to an end. Despite pronounced linearity, Akhilish’s compositions seem to melt into his canvasses. His paintings appear full of freshness and the colors resonate with emotion. Akhilish is skilled at translating familiar territory in an individualized way.

23 Bose Krishnamachari (Indian, b. 1963) Ghost, Music of the Cubes 3, 2006 watercolor on burnt Canson paper over acrylic mirror signed lower left 68 5/16” x 42” $5,000-7,000 Catalog Note: Known for experimental, abstract works, Bose Krishnamachari has lately turned toward more conceptual ways of expressing himself, including incorporating second-hand books and figures seen through saturated lenses. His photography and multimedia installations also use color as a dominant force. Krishnamachari has stated: “I refine my color to brightness. I have learnt this usage from the alternately subdued and lavish color codes of Indian ceremonies and ritual performances; the costumes, the gestures of enactment.”

24 Baiju Parthan (Indian, b. 1956) Immeasurable Distance Between Us 4, 2006 oil on canvas signed and dated top right and verso 72” x 72” $10,000-20,000

Baiju Parthan studied painting in Goa, India in the late 1970s, when it was especially fashionable for Westerners to travel there on spiritual journeys. His education, therefore, was saturated in the world view of Western art. This gives Parthan a unique voice, and one with which he has struggled to come to terms. Inspired by Impressionism, Expressionism, and Cubism, Parthan claimed in the 1980s that he “felt like a missionary for Western art.” Subsequently, Parthan took a hiatus from painting, studied comparative mythology in Bombay, and then returned to art a decade later. He has tackled diverse subjects, from hardware engineering to philosophy, and his studied perspective takes the form of digital media works and installations. In his artist statement, Parthan describes his approach: “Speaking of the present, I certainly hold the view that virtualization and relocation of our everyday social and economic transactions into virtual data space is the most important marker that identifies this present historic moment. Consequently, the art I produce currently addresses the dematerialization or erosion of tactility of the real, and its effect on our being and existence.”

25 Melissa Zink (American, 1932-2009) Fragments from a Lost Culture, circa 1980 stoneware unsigned 8”h x 12 1/4”dia $400-600

26 Paolo Soleri (American, 1919-2013) Ritual Celebration, circa 1965 cast aluminum 10 1/4”h x 13 1/4”w x 10”d $1,000-2,000

27 Paolo Soleri (American, 1919-2013) Female Figure, circa 1965 cast aluminum 9 3/4”h x 7 1/4”w x 3”d $1,000-2,000

28 Toshio Shibata (Japanese, b. 1949) Grand Coulee Dam, Douglas County, WA, 1996 gelatin silver print signed verso edition 5/25 name stamped with copyright 17 1/4” x 21 5/8” $1,000-2,000

29 Doug Fogelson (American, b. 1970) D.C. Landing, 2010 Lambda print signed verso edition 2/10 14” x 61” $2,000-3,000

30 Luis González Palma (Guatemalan, b. 1957) Portrait, together with a book, Luis González Palma: Poems of Sorrow gelatin silver print, framed book signed on title page edition 92/100 8 7/8” x 8 7/8” $1,000-2,000

31 Aaron Siskind (American, 1903-1991) San Luis Potosi, Mexico 16, 1961 vintage gelatin silver print laid to board 15 1/4” x 19 1/4” $2,000-3,000 Exhibitions: Siskind Recently, curated by John Szarkowski, The Edward Steichen Photography Center, Museum of Modern Art, New York, New York, 04 May through 27 June 1965, catalog no. 65.403 (label verso) Provenance for lots 31 - 33: The Collection of Richard Nickel, Chicago, Illinois Thence by descent to nieces, Nancy Nickel and Susan Nickel Brunson 32 Aaron Siskind (American, 1903-1991) Martha’s Vineyard, 1956 vintage gelatin silver print laid to board signed, dated and titled verso 19 1/8” x 15” $2,000-3,000 33 Aaron Siskind (American, 1903-1991) Martha’s Vineyard, 1948 vintage gelatin silver print laid to board signed, dated and titled verso 13 3/16” x 9 3/4” $1,000-2,000 Catalog Note: Richard Nickel became a student of Aaron Siskind at Chicago’s Institute of Design in 1952. Siskind soon became Richard’s creative mentor, which evolved into a lifelong friendship. In the early years, Siskind was generous in sharing his photographic prints with friends and those who assisted him. Nickel retained his early gifts from Siskind until his death in 1972. During the 1950s, Siskind, Nickel and other photographers at the Institute of Design often chose to display their works as frameless floating panels with the images cropped to the edges and held out from the wall with concealed wood blocking attached to the back. Without protective glass and frames, many became damaged or lost over the years. Nickel kept his Siskind panels in the safety of a wooden wardrobe in the bedroom of his home. An unmounted Siskind print of peeling posters was given a protective glass covering and displayed over his bed. These Siskind prints were retained by the Nickel family until consigned to this auction. — Tim Samuelson, Cultural Historian for the City of Chicago, 2019

34 Leonardo Nierman (Mexican, b. 1932) Moonlight oil on masonite signed lower right 23 5/8” x 31 1/2” $1,000-2,000

35 Purvis Young (American, 1943-2010) Horses paint on found wood signed top center 16” x 32” $1,000-2,000

36 LeRoy Neiman (American, 1921-2012) Horse and Jockey, 1960 oil on masonite signed and dated lower right inscribed For Vicki Chicago painting from the past the good old days Leroy Neiman 93 21 7/8â&#x20AC;? x 9 9/16â&#x20AC;? $10,000-20,000 Provenance: Frank J. Oehlschlaeger Gallery, Chicago, Illinois (label verso)

37 Lee Godie (American, 1908-1994) Untitled ballpoint pen and watercolor on canvas signed lower right 52 3/4” x 28 3/4” $2,500-3,500 Catalog Note: Lee Godie (born Jamot Emily Godee) was an American self-taught artist who was active in Chicago from the late 1960s until the early 1990s. Godie was prolific and known especially for her paintings and modified photos. A self-described French Impressionist, Godie was particular about whom she sold her art to and even to whom she talked, preferring to interact with artists. Today Godie’s work is part of the permanent collections of the Museum of American Folk Art in New York City, the Milwaukee Art Museum, the Arkansas Arts Center in Little Rock, the Smithsonian American Art Museum in Washington DC and the Museum of Contemporary Art in Chicago.

38 Lee Godie (American, 1908-1994) Profile of a Woman watercolor and ballpoint pen signed left center 20” x 16” $1,000-2,000

39 Lee Godie (American, 1908-1994) Prince Charming watercolor and pencil on canvas paper signed lower left 28” x 22 3/4” $1,000-2,000

40 Jenny Holzer (American, b. 1950) Inflammatory Essays, set of 10, 1979-1982 offset lithograph on colored paper one sheet signed verso 17” x 17” $2,000-3,000 Provenance: Young-Hoffman Gallery, Chicago, Illinois 41 Leon Golub (American, 1922-2004) Cyber Man, 1994 color screenprint signed lower right in pencil 8” x 7”; sheet: 12 3/8” x 11” $200-300 Provenance: Acquired directly from the Artist by present owner

42† Robert Arneson (American, 1930-1992) Brick Self-Portrait on Pedestal, 1981 terra cotta stamped ARNESON on multiple bricks and date stamped 1975 and incised 1979 on two different bricks 68”h x 15”w x 15”d $20,000-30,000 Provenance: Private Collection, Kansas City, Missouri George Adams Gallery, New York, New York The Estate of Candice B. Groot, Evanston, Illinois Catalog Note: Well known for his ceramic sculptures and numerous self-portraits, Robert Arneson’s body of work has been described as an “autobiography in clay.” He tests the boundaries of self-representation with this self-portrait that depicts Arneson symbolically, not pictorially. The base, a stylized brick, trompe l’œil Doric column, provides solidity to a stack of seemingly teetering bricks, topped with what appears to be an actual brick. However, on closer inspection, facial features appear with a singular eye peering back at the viewer. In placing his unconventional figure on a pedestal, Arneson references the reverence of classical sculpture through time, thus furthering his goal of establishing himself as a major sculptor.

43 Claire Zeisler (American, 1903-1991) Untitled, circa 1970 jute 94” x 24”dia (variable) $6,000-8,000 Provenance: Property from a Midwest Collection Catalog Note: Noted Chicago artist Claire Zeisler was a sculptor who worked off the loom and handled fiber as others handle wood, metal or stone. In this work, a cascade of tightly knotted and wrapped strands of natural jute falls into a whorl of loose ends that form the base. Flawless craftwork enhances jute’s simplicity as a material. Zeisler drew inspiration from Pre-Columbian textile making techniques and the American Indian woven baskets that she collected throughout her life. Born in Cincinnati, Ohio in 1903, Zeisler attended the Institute of Design in Chicago (now part of the Illinois Institute of Technology), where she studied sculpture under Alexander Archipenko and Chicago Bauhaus artist László Moholy-Nagy. In the early 1960s, Zeisler began to turn away from the loom in favor of knotting and wrapping fibers. Her three-dimensional, freestanding works helped to create a fiber revolution by liberating the medium from its dependence on the weaving process.

44 Christo and Jeanne-Claude (Bulgarian/American, b. 1935) (French/American, 1935-2009) Packed Coast (Project for Little Bay, at Prince Henry Hospital, Sydney, Australia), 1969 pencil, fabric, thread, twine, wax crayon, charcoal and map collage signed Christo and dated 1969 in graphite, lower left 43 13/16” x 27 7/8” $60,000-80,000 Provenance: Acquired directly from the Artist, 1969 Thence by descent to present owner Literature: Kaldor, John. Christo: Wrapped Coast, One Million Square Feet, Little Bay, 1969, christojeanneclaude.net, 2019 Tolnay, Alexander, and David Bourdon, Christo and Jeanne-Claude: Early Works 1958-1969 (Taschen Specials), Taschen, 2001, p. 260, pl. 396

Catalog Note: Wrapped Coast One Million Square Feet, Little Bay, Sydney, Australia 1968-1969 Little Bay, property of Prince Henry Hospital, is located 9 miles (14.5 kilometers) southeast of the center of Sydney, Australia. The cliff-lined South Pacific Ocean shore area that was wrapped is approximately 1.5 miles (2.4 kilometers) long, 150 to 800 feet (46 to 244 meters) wide, 85 feet (26 meters) high at the northern cliffs and was at sea level at the southern sandy beach. One million square feet (92,900 square meters) of erosion-control fabric (synthetic woven fiber usually manufactured for agricultural purposes) were used for the wrapping. 35 miles (56.3 kilometers) of polypropylene rope, 0.6 inches (1.5 centimeters) in diameter, tied the fabric to the rocks. Ramset guns fired 25,000 charges of fasteners, threaded studs and clips to secure the rope to the rocks. Major Ninian Melville, retired from Australia’s Army Corps of Engineers, was in charge of the climbers and workers at the site. 17,000 labor hours, over a period of four weeks, were expended by 15 professional mountain climbers, 110 workers (architecture and art students from the University of Sydney and East Sydney Technical College), as well as a number of Australian artists and teachers. All climbers and workers were paid, with the exception of 11 architecture students who refused payment. The project was financed entirely by Christo and Jeanne-Claude through the sale of their original preparatory drawings, collages, scale models, early Packages and Wrapped Objects of the 1950s and 1960s and lithographs. The artists have never accepted sponsorships of any kind. The coast remained wrapped for a period of 10 weeks starting on October 28, 1969. Then all materials were removed and recycled and the site was returned to its original condition. — John Kaldor

45 Anna E. (Wilton) Keener (American, 1885-1982) Sanctum, 1967 acrylic on board signed and dated lower right signed, dated and titled verso 31 1/2â&#x20AC;? x 47 3/8â&#x20AC;? $4,000-6,000

46 Rufino Tamayo (Mexican, 1899-1991) Frutero con Manzana, 1981 mixografía in colors on handmade paper signed lower right edition 67/100 35” x 24”; sheet: 39 1/2” x 29 1/2” $3,000-5,000

47 Rufino Tamayo (Mexican, 1899-1991) Hombre en Negro, 1976 mixografía in color on Arches paper signed lower right edition 13/140 with blindstamp Transworld Art, New York / Taller de Gráfica Mexicana, Mexico D.F. lower left 30 1/4” x 22 1/2” $2,000-3,000

48 Donald Sultan (American, b. 1951) Peppers, 1989 color screenprint signed, dated and titled left edge edition 81/100 12” x 12” $600-800

49 Günther Förg (German, 1952-2013) Untitled, 1997 color lithograph signed and dated lower right edition 14/50 35 5/8” x 25 1/2” $500-700

50 Dale Chihuly (American, b. 1941) River Reeds, 2004 color aquatint and lithograph with handcoloring in acrylic paint on paper signed lower center and numbered lower right edition 29/175 37” x 25” $800-1,200

51 Diane Simpson (American, b. 1955) Containers, 1977 color lithograph signed and dated lower right edition 1/5 25 7/8” x 39 7/8” $1,000-2,000

52 Peter Max (American, b. 1937) God Bless America with Five Liberties, 2001 acrylic on color lithograph signed in paint lower right 24” x 18” $800-1,200

53 Peter Max (American, b. 1937) Delta, 1999 acrylic on color lithograph signed in paint upper right 29 1/2” x 24” $800-1,200

54 Richard Hunt (American, b. 1935) Untitled (three works together) papercast and color lithograph signed and numbered edition 13/50; 16/50; 16/20 (first two embossed) published and printed by Lakeside Studio 18” x 23”; 15 1/2” x 20”; 15 1/8” x 15 1/8” $600-800

55 Gregory C. Palmer (American, 20th century) Tiger, Tiger Burning Bright, 1969 oil on canvas signed and dated verso 48” x 44” $800-1,200

56 Glenn Olson (Canadian, b. 1945) Polar Bear on Iceberg, 1987 oil on board signed and dated lower right 15 3/8” x 27 1/4” $800-1,200

57 Buky Schwartz (Israeli, 1932-2009) Tel Aviv / New York City, circa 1970 chrome-plated steel signed Buky and numbered edition 8/10 16”h x 13 1/2”w x 8 1/2”d $800-1,200

58 Abbott Pattison (American, 1916-1999) The Actress, 1983 bronze incised signature 13 3/4”h x 23 3/4”w x 7”d $600-800

59 John Kearney (American, 1924-2014) Penguin chrome-plated steel car bumpers initials welded lower proper right 26”h x 17”w x 13”d $1,000-2,000

60 John Kearney (American, 1924-2014) Youthful Bear, circa 2006 chrome-plated steel car bumpers initials welded lower proper right leg 49”h x 24”w x 22”d $2,500-3,500

Provenance: Purchased directly from the Artist by present owner

61 Darrell Austin (American, 1907-1994) Moonlight Dance, 1973 oil on canvas signed lower left 10” x 8” $1,000-2,000 Provenance: Perls Galleries, New York, New York (label verso) Harmon-Meek Gallery, Naples, Florida (label verso)

62 Lars-Birger Sponberg (Swedish/American, 1919-2018) Woman Reading, 1984 oil on canvas signed center left 28 3/4” x 30 3/4” $400-600

63 Fausto Giusto (Italian, 1867-1941) Grandpa’s Snuff oil on canvas signed lower left 21 3/4” x 33 5/8” $800-1,200 64 William Aiken Walker (American, 1838-1921) Untitled oil on board signed lower left 5 7/8” x 11 5/8” $5,000-7,000 Provenance: ACA Galleries, New York, New York

65 Carl Philipp Weber (American, 1849-1922) Mountain Village by Lake oil on canvas signed lower left 21” x 36” $1,000-2,000

66 Sophus Jacobsen (Norwegian, 1833-1912) Snowy Path, 1907 oil on canvas signed and dated lower left 27 1/2” x 41 3/4” $1,500-2,500 Provenance: Leslie Hindman Auctions, Chicago, Illinois, 20 May 2015, Lot 76 Acquired from the above sale by the present owner

67 Marie Løkke (Norwegian/American, 1877-1948) Snowy Landscape watercolor under painted glass signed lower right inscribed verso ‘Til Margery og Einar fra trist Helga’ (‘To Margery and Einar from sad Helga’) 7” x 12 1/2” $800-1,200

68 László Neogrady (Hungarian, 1896-1962) Alpine Winter oil on canvas signed lower left 15 7/8” x 19 3/4” $700-900

69 Conrad Schwiering (American, 1916-1986) The Grand Teton Mountains oil on canvas signed lower right 17 3/4â&#x20AC;? x 26 5/8â&#x20AC;? $5,000-7,000 Provenance: Purchased directly from the Artist, Jackson Hole, Wyoming Thence by descent to current owner

70 Circle of Jan Dirksz Both (Dutch, 1615/18-1652) Landscape, circa 1650 oil on panel 16 1/8” x 14” $1,000-2,000 Provenance: M. A. Newhouse & Son Art Importers, St. Louis, Missouri (label verso)

71 Carl Wilhelm Barth (Norwegian, 1847-1919) Boats on the Shoreline oil on canvas signed lower left 16 1/2” x 24 3/4” $1,000-2,000 Provenance: Freeman’s Auction, 16 June 2015, Lot 173 Acquired from the above sale by the present owner

72 Gilbert Munger (American, 1837-1903) Lake Marian, circa 1880 oil on canvas signed lower right 10” x 20” $1,000-2,000

73 Gioacchino La Pira (Italian, 1839-1870) Pozzuoli gouache on paper signed lower right 8 5/8” x 12 7/8” $500-700

74 Gioacchino La Pira (Italian, 1839-1870) Fisherman in the Bay at Naples gouache on paper 5 1/2” x 7 3/4” $400-600 75 Armand Guillaumin (French, 1841-1927) Study at the Dock, Newport, 1869 graphite and ink on wove paper signed lower right 11 3/16” x 18 7/8” $2,000-3,000 Provenance: The Estate of Dr. Christopher Gray Acquired from the above by present owner Catalog Note: Armand Guillaumin was a member of the Impressionist group and worked with Berthe Morisot and Frederic Bazille, who all exhibited together and influenced one another. Guillaumin painted views of Montmartre, Meudon, and the Seine. This sketch is an example of his early work and interest in ports and bridges. His passionate feeling toward nature both impressed and influenced Vincent van Gogh; they became friends during van Gogh’s residence in Paris in 1887. 76 Romolo Pergola (Italian, 1890-1960) Sailboats oil on panel signed lower left 6 1/8” x 8 1/4” $800-1,200

77 John La Farge (American, 1835-1910) A Chief's Tomb, 1890 watercolor on paper laid to board signed 'La Farge Samoa -' and inscribed with title lower right 7 3/8" x 10 1/4" $30,000-50,000 Provenance: The Artist [With] Doll & Richards, Boston, Massachusetts, 1893 Edward William Hooper, acquired from the above, 1893 Estate of the above, 1901 John Chipman Gray, Boston, Massachusetts, (probably) 1911 Private Collection, by descent, 1970 Acquired by present owner from the above

Exhibitions: Water Color and Oil Paintings by Mr. John La Farge on Exhibition and Sale, Doll & Richards, Boston, Massachusetts, 10 through 22 March 1893, no. 8 (as Chief's Tomb. Samoa. Evening Study.) Paintings, Studies, Sketches and Drawings, Mostly Records of Travel 1886 and 1890-91 by John La Farge, Durand-Ruel Galleries, New York, New York, 25 February through 05 March 1895, p. 21, no. 74 Études, esquisses, dessins: Souvenirs et notes de voyage (1886 et 1890-91) par John La Farge, Société Nationale des Beaux-Arts, Paris, France, 24 April through 31 May 1895, no. 73 La Farge Memorial Exhibition, Museum of Fine Arts, Boston, Massachusetts, 01 through 31 January 1911 Literature: La Farge, John, "Passages from a Diary in the Pacific: A First Day in the South Seas", Scribner's Magazine, June 1901, vol. 29, p. 683

78 Zarh Pritchard (American, 1866-1956) Squirrel Fish, 1925 oil on leather 28 3/4” x 23 1/4” $1,000-2,000 Catalog Note: Zarh Pritchard holds a unique place in the history of art. Developing a highly original technique, Pritchard became the first artist to literally work underwater. Born in India, Pritchard grew up with two loves: art and the sea. He was most influenced by Charles Kingsley’s fairy tale, The WaterBabies (1863), and Jules Verne’s science fiction adventure, Twenty Thousand Leagues Under the Sea (1873), both featuring human beings living freely on the ocean floor. Inspired by visions seen while submerged underwater during seaside holidays, Pritchard began creating harmonious poetic works, which have been linked to the American turn-of-the-century movement, Tonalism. In this silent aquatic world, Pritchard created his dreamy atmospheric images of an undersea paradise using only crayons on oil-soaked paper taped to glass. These crayon images were later recopied in his studio onto large leather sheets that were stretched like canvas. Pritchard traveled extensively throughout the world, creating exotic images from locations as diverse as the kelp-filled caverns off the coast of Scotland to the coral-filled lagoons of Tahiti.

79 Arthur J. Rupert (American, 19th/20th century) Landscape oil on board signed lower left 21 7/8” x 18 3/4” $600-800

80 Arthur J. Rupert (American, 19th/20th century) Landscape oil on board signed lower right 38 1/8” x 48” $1,000-2,000

81 Charles Partridge Adams (American, 1858-1942) Twilight, Near Denver, Colo watercolor and gouache on board signed lower left and titled verso 9 7/8” x 6” $700-900

82 Franz Johnston (Canadian, 1888-1949) The Sapphire oil on board signed lower left 12” x 16” $3,000-5,000 Catalog Note: The location pictured is on the Rouge River in Argenteuil, Quebec, a few miles north of the Ottawa River in late October.

83 Clarence Holbrook Carter (American, 1904-2000) Autumn, 1959 oil on canvas signed and dated lower left 34” x 46” $4,000-6,000 Provenance: Hirschl & Adler Gallery (APG Stock Number) Corporate Art Collection, Pennsylvania Property from an Ohio Collection

84 Pierre T. de Clausade (French, 1910-1976) La Seine au quai des Offèvres, 1970 oil on canvas signed lower right and titled and dated verso $1,000-2,000

85† Saul Kovner (American, 1904-1981) Old New York oil on canvas signed lower right and titled on stretcher 20” x 26” $600-800

Provenance: Merrill Chase Gallery, Chicago, Illinois (label verso)

Provenance: By descent in the Artist’s Family Private Collection, North Hollywood, California John Moran Auctioneers, Pasadena, California, 24 May 2015 Collection of Rich and Patty Thumann, Tacoma, Washington

86 Antoine Blanchard (French, 1910-1988) Arc de Triomphe oil on canvas signed lower right 13” x 18” $4,000-6,000

87 Antoine Blanchard (French, 1910-1988) Notre Dame in Winter oil on canvas signed lower right 13” x 18” $5,000-7,000

Provenance: Grable’s Gift and Art Galleries, Oak Park, Illinois, 1978 Acquired from the above Thence by descent to present owner

Provenance: Grable’s Gift and Art Galleries, Oak Park, Illinois Acquired from the above Thence by descent to present owner

Catalog Note: This painting comes with a Certificate of Authenticity.

88 Édouard Cortès (French, 1882-1969) Boulevard Montmartre et Théâtre des Variétés, circa 1965 oil on canvas signed lower left 13” x 18 1/4” $15,000-25,000 Provenance: Wally Findlay Galleries International, Inc., Chicago, Illinois Acquired from the above, 14 May 1966 Thence by descent to present owner Catalog Note: We would like to thank Nicole Verdier for confirming the authenticity of this painting and including it in her forthcoming (Winter 2019) Volume III of the Édouard Cortès Catalogue Raisonné de L’Oeuvre Peint.

89† Follower of Arthur Hughes (British, 1832-1915) Portrait of a Girl with Golden Hair watercolor and gouache on paper unsigned 20” x 15 1/2” $2,000-3,000 Provenance: The Collection of Wilbert and Marilyn Hasbrouck, Chicago, Illinois 90 Eugène Boudin (French, 1824-1898) Femmes en Crinolines, circa 1865 watercolor signed lower right 5 3/4” x 4” $600-800 Provenance: Leslie Hindman Auctions, Chicago, Illinois, 19 February 2014, Lot 2903 Acquired from the above sale by the present owner 91 Pauline Palmer (American, 1867-1938) Woman in a Hat oil on board signed lower left 20” x 14 1/2” $600-800 92 Abraham Baylinson (American, 1882-1950) Portrait of Mother oil on canvas signed lower right inscribed verso MOTER [sic] TO AARON From Abe 14” x 10” $800-1,200

93† Constant Montald (Belgian, 1862-1944) Portrait of Gabrielle Canivet, the Artist’s Wife, 1924 oil on canvas signed and dated lower right 28” x 35” $6,000-8,000 Provenance: The Collection of Wilbert and Marilyn Hasbrouck, Chicago, Illinois Exhibitions: Fifty Second Liverpool Autumn Exhibition 1924 (label verso) Catalog Note: While Montald’s first works were strongly influenced by the Pre-Raphaelites, he later focused on integrating humanity with floral environments — trees with winding branches, curtains of flowers and lawns strewn with surreal growths. Setting was the main subject while the human form was relegated to the background. His subsequent works depict Elysian dreamworlds with parks and fountains rendered in ornamental drawings. The emphasis was on gold and blue hues, with a goal of introducing musicality into the art of painting. This portrait of Montald’s wife Gabrielle Canivet, whose gaze confronts the viewer directly and whose posture leans forward and to the side, while her arm lengthens to the opposite arm of the chair, captures her strength and confidence. In contrast to Montald’s ethereal work, this canvas is saturated with deep green and dark tones, delineating the space into geometric shapes, reflecting the character of the sitter.

94 Imogen Cunningham (American, 1883-1976) Frida Kahlo, Painter 3, 1931 gelatin silver print, printed later embossed signature on mount with Chinese chop lower right 14” x 11” $2,000-3,000 Provenance: Imogen Cunningham Foundation, IC-042206-03 (label verso) Photography West Gallery, Carmel, California (label verso) Catalog Note: Mexican painter Frida Kahlo (1907–1954) met and sat for Imogen Cunningham in 1931. The session produced a handful of striking portraits. In this particular image, Cunningham depicts the artist in a starkly simple and powerful close-up. Kahlo, known for her self-portraiture, was keenly aware of how she wanted to be portrayed photographically. She once said, “I knew a battlefield of suffering was in my eyes. From then on I started looking directly at the lens, unflinching, unsmiling, determined to show I was a good fighter to the end.” Wearing a traditional Mexican shawl and jewelry to construct intentional symbolism, the contrast of light against shadow not only creates an ethereal glow, but also heightens the gravity of the artist’s calmly pensive gaze into the camera. Cunningham captured the essence of Frida Kahlo. 95 Bertha Evelyn Clausen Jaques (American, 1863-1941) Dandelion Seeds. A starry firmament, 1904 cyanotype 7 1/2” x 4 1/2” $500-700 Catalog Note: Bertha Evelyn Jaques is best known for her prints of wildflowers and ferns, which grew out of a desire to present something that was not only beautiful to behold, but also to promote wildflower preservation. She approached both subjects atypically. Her botanical prints are scientifically precise and removed from context or background. This cyanotype is a remarkable example of how Jaques isolated a dandelion from its environment, simultaneously evoking a surreal image and an abstract composition, which retains a contemporary quality.

96 Edward T. Hurley (American, 1869-1950) River View from Dayton, Kentucky, 1930 etching signed and dated in graphite lower right 8 1/2” x 10 7/8” $400-600

97 Robert Pious (American, 1908-1983) Poster for the American Negro Exposition in Chicago, Illinois, 1940 serigraph signed in plate lower left 21 7/16” x 13 3/4” $2,000-3,000 Catalog Note: A similar example is in the Collection of the Smithsonian National Museum of African American History and Culture in Washington D.C.

98 Charles Schreyvogel (American, 1861-1912) Indian Studies, circa 1890 ink and watercolor on paper 8” x 13 1/4” $2,000-3,000 Provenance: Mongerson Gallery, Chicago, Illinois (label verso)

99 Charles Schreyvogel (American, 1861-1912) Return from Hunt and War, circa 1890 ink and watercolor on paper titled lower right 8” x 13 1/4” $2,000-3,000 Provenance: Mongerson Gallery, Chicago, Illinois (label verso)

100 Grant Speed (American, 1930-2011) Stampede over the Cutback, 1972 bronze with patina signed, dated and editioned on base edition 13/20 21 3/4”h x 34”w x 7 3/4”d $3,000-5,000

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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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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.

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.

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

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.

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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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