Tradition & Innovation

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Tradition Innovation Tradition Innovation

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Tradition Innovation Sunday, December 2, 2018 10 AM Preview: Monday, November 26 Tuesday, November 27 Wednesday, November 28 Thursday, November 29 Friday, November 30 Saturday, December 1

10 AM 10 AM 10 AM 10 AM 10 AM 10 AM

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or by appointment at Toomey & Co. Auctioneers 818 North Boulevard Oak Park, Illinois 60301 (708) 383-5234 info@toomeyco.com www.toomeyco.com

Property from the Collections and Estates of: Bruce and Ann Bachmann, Chicago, Illinois Darcy L. Evon, Chicago, Illinois The Rev. Audrey Taylor Gonzalez, Memphis, Tennessee Collection of M. Anthony Greene, Jackson, Wyoming Wilbert and Marilyn Hasbrouck, Chicago, Illinois George M. Irwin, Quincy, Illinois Constantine (Dean) Ladas, Birmingham, Michigan The Paul and Terry Somerson Collection of 20th & 21st Century Metalwork and Jewelry Private Canadian Collection An Important Chicago Collector A Chicago Collector Private Collection, Evanston, Illinois Private Collection, New York, New York Private Collection, Chicago, Illinois IL Lic. #444000195, #441001663, #441001222, #441001454

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Tradition Innovation Toomey & Co. Auctioneers is pleased to present Tradition & Innovation, our inaugural auction of important works from the 19th century through today. This sale offers works across a variety of artistic movements and media by painters, furniture makers, designers, ceramicists, silversmiths, sculptors and architects who have helped define the world of art and design for more than a century.

In an ever evolving art market, it has become increasingly necessary to distinguish ourselves from other auctioneers and art dealers. Art collectors attend thousands of auctions, gallery openings and art fairs around the world every year and the material they encounter is often shown exclusively within the context of works from the same movement or period. Similarly, certain mediums such as ceramics and silver have typically been branded as “decorative” or “functional,” and it is our goal that Tradition & Innovation present and elevate important artists and makers from across the world, across time and across media to help bridge the collecting gap between what is distinguished Traditional, Modern, Contemporary, Fine or Decorative Art. A selection of biographies for the artists and makers presented in this auction can be found near the back of the catalog. Whe have included these to illustrate why we feel these pieces are of art historical significance and to encourage a heightened level of connoisseurship. We hope that you enjoy the items that we have procured for this auction and invite you to visit Toomey & Co. Auctioneers during our auction preview to view all of these works in person.

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1 Paul Storr (1771-1844) William IV soup tureen with cover London, England, 1836 silver stamped hallmarks engraved with the Compton family’s crest of a stag/buck at gaze and a coat of arms bearing the motto “Tout bien ou rien” 15 3/4”w x 11 3/4”d x 11 1/4”h $8,000-12,000

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2 Albert Robert Valentien (1862-1925), attribution for Rookwood Pottery Aesthetic Movement jardiniere Cincinnati, Ohio, 1882 Limoges glazed ceramic incised signature, dated 16�dia x 13�h $3,000-5,000 Provenance: Cincinnati Art Galleries, Cincinnati, Ohio, The Glover Collection: The David W. and Katherine M. Glover Collection of Rookwood Pottery, 07 June 1991, Lot 96 Acquired from the above sale by the present owner

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3 Harriet Whitney Frishmuth (American, 1880-1980) Crest of the Wave, 1925 bronze inscribed HARRIET W. FRISHMUTH ©1925, and stamped GORHAM CO FOUNDERS OFHL 21”h $10,000-15,000

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4 Ida Josephine Burgess (American, 1855-1934) A Song of Spring, 1891 oil on canvas signed and dated lower left 33 1/2” x 70” $6,000-8,000 Literature: The House Beautiful, v. 5, December 1898, pp. 261 (illustrated) and 264 Ida Josephine Burgess created the mural decorations for the Women’s Reception Room of the Illinois State

Building at the World’s Columbian Exposition, held in

Chicago in 1893. A Song of Spring was designed for a mantelpiece and was likely included in the exposition.

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5† Charles Rohlfs (1853-1936) carved and pierced-back hall chair Buffalo, New York, 1900 stained white oak carved signature, dated 18 7/8”w x 15 1/8”d x 57 1/4”h $10,000-15,000 Provenance: Estate of Constantine (Dean) Ladas, Birmingham, Michigan Literature: A similar example is illustrated in Cunningham, Joseph, The Artistic Furniture of Charles Rohlfs, New Haven, Yale University Press, 2008, p. 74

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6 Charles Rohlfs (1853-1936) revolving music stand Buffalo, New York, circa 1899 stained white oak, hand-wrought copper carved signature 33”w x 25”d x 47”h $20,000-30,000

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While Charles Rohlfs’ rotating desk was for many years deemed his greatest

achievement, his revolving music stand has recently risen in prominence. He personally

designed and carved very few of the revolving music stands between 1898 and 1901. In

addition to offering an angled display for sheet music, artwork, or books on one side, the opposite side includes a pullout writing surface. With three hidden wheels underneath,

the stand can turn around completely. After being profiled in Art Education magazine in early 1901, there was no mention of the revolving music stand for well over a century. In

2014, Phillips auction house in New York offered a revolving music stand that was clearly different from the one featured in Art Education. This example is seemingly identical to the one in the magazine profile.

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Preliminary drawing of main elevation for Peoples’ Savings and Loan Bank, December 15, 1916

If Frank Lloyd Wright popularized organic architecture, then Louis Sullivan was its progenitor. Despite only a five-year apprenticeship (1888-1993),

Wright called Sullivan his “liebe Meister” (“beloved Master”) for the rest of his life. The key precept Sullivan developed was that a building’s essential nature could only be expressed through facade composition and organic

ornamentation. In this extremely rare drawing — only a handful of Sullivan’s

sketches are in private hands — it is possible to observe the master’s drafting process at work. In 1917, Sullivan designed the Peoples’ Savings and

Loan Association Bank Building in Sidney, Ohio. Here the rich detail of a

plaster band in a wood frieze is intended to enliven and exist in harmony with structural components. The bank opened on May 31, 1918 and was designated a National Historic Landmark in 1965. In retrospect, Sullivan considered this bank building the finest of his career.

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7† Louis Sullivan (1856-1924) for the Peoples’ Savings and Loan Association Bank Building drawing design for a plaster band in wood frieze Sidney, Ohio, 1917 paper, graphite signed with LHS monogram inscribed with dimensions image: 11 1/2”w x 7”h $20,000-30,000 Provenance: Gift of Louis Sullivan to William C. Presto Purchased from Sylvia (Mrs. William) Presto, circa 1971 Acquired from the above by the present owner Collection of Wilbert and Marilyn Hasbrouck, Chicago, Illinois Literature: Twombly, Robert and Narciso G. Menocal, Louis Sullivan: The Poetry of Architecture, W. W. Norton & Company, 2000, p. 335 (illustrated)

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8† Frank Lloyd Wright (1867-1959) and George Mann Niedecken (1878-1945) for the Avery Coonley House print cabinet Riverside, Illinois, 1908 birch unsigned 42”w x 41 3/4”d x 27 1/2”h $80,000-120,000

One of Frank Lloyd Wright’s most important

Provenance: Collection of Wilbert and Marilyn Hasbrouck, Chicago, Illinois

prints that Wright sold to the Coonleys.

commissions was the Avery Coonley estate in Riverside, Illinois. In collaboration with George Mann Niedecken, Wright designed the interior decorations for this

massive project. The Coonleys were also avid collectors of Wright’s Japanese woodblock prints, which he

brought back by the hundreds on his travels to Japan.

This dramatic cabinet was built to store many of the

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Browne’s Bookstore opened

in downtown Chicago’s Fine Arts Building at 410 South

Michigan Avenue in 1908. Frank Lloyd Wright was contracted

to renovate the interior and so

he added tables and chairs for reading, padded benches, a

children’s area, and beautiful

smoked glass windows to conceal the building’s original double-

hung exterior window sash. The pair presented here was almost

certainly installed in the clerestory and filtered light into the store

from electric lights located within a public corridor. Given Wright’s signature stained wood finish,

these windows can be assumed to have faced into the retail

space. In 1910, the bookstore

relocated to the ground floor of the Fine Arts Building, and the

original interior was redecorated View of Browne’s Bookstore showing this window design

Photograph shows probable origin of these windows in the upper right clerestory

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in 1912.

9 Frank Lloyd Wright (1867-1959) for Browne’s Bookstore windows, pair Chicago, Illinois, 1908 (demolished) leaded glass, oak overall: 18”w x 1 3/4”d x 29 1/2”h; each window: 15”w x 27”h $7,000-9,000

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This Greene and Greene dining table

was made for Mrs. Belle Barlow Bush,

Pasadena, California in 1907. It was the first commission in which the Greene

brothers used an ebony inlay. This table was originally used in the Craftsman-style home of Dr. W.T. Bolton House on “Millionaire’s Row” in Pasadena.

Photograph Credit: Environmental Design Archives University of California at Berkeley

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10 Charles Sumner Greene (1868-1957) and Henry Mather Greene (1870-1954) for the William T. Bolton house dining table Pasadena, California, 1906 mahogany, ebony inlay signed with branded mark closed: 28”w x 48”d x 29 3/4”h; open: 66”w $15,000-25,000

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11 John Scott Bradstreet (1845-1914) secretary Minneapolis, Minnesota, 1911 likely walnut stained birch, enameled bronze, gesso on wood, gilt canvas signed John S. Bradstreet & Co. Makers 47 1/2”w x 23”d x 63 1/4”h overall $15,000-25,000

John Scott Bradstreet designed interiors and furniture in the Arts and Crafts style but also looked abroad

for inspiration, particularly to Japan. The entrance to his Minneapolis Crafthouse was crowned by a floral

woodcarving that Bradstreet obtained from a Japanese temple. In this impressive secretary, similar to the

entrance to his Crafthouse, Bradstreet incorporates

an antique Japanese floral carving to create his own distinctive form.

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12 Edward Sheriff Curtis (American, 1868-1952) The Scout — Apache, 1906 orotone signed in negative lower right, title label on verso, held in original Curtis Studio frame image: 10 1/2” x 13 1/2”; frame: 16” x 19” $7,000-9,000 Provenance: Treadway Toomey Auctions, Oak Park, Illinois, 04 May 2008, Lot 451 Acquired from the above sale by the present owner

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Edward Sheriff Curtis was committed to

documenting and preserving American Indian culture. In this incredibly clear image, he

represents an Apache scout using the orotone process that he perfected and called ‘Curt-

Tones.’ Curtis claimed that in his method of printing positives onto glass plates “all the

transparency is retained and they are as full of life and sparkle as an opal.”

13 Grueby Faience Company Gourd vase Boston, Massachusetts carved yellow glazed ceramic impressed signature, remnant of artist signature 9�dia x 9�h $3,000-5,000 Literature: A similar example is illustrated in The House Beautiful, v. 5, December 1898, p. 5

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14 Grueby Faience Company Goose four-color trivet Boston, Massachusetts matte glazed ceramic artist signed 9 1/2�w x 9 1/4�h $4,000-6,000

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15 Gustav Stickley (1858-1942) two-door bookcase, #544 Eastwood, New York, circa 1901-1902 oak, copper signed with red decal 62 1/2”w x 12 1/4”d x 56 1/4”h $20,000-30,000 Provenance: Robert Skinner Gallery, 1982 Charles and Jane Kaufmann, 1982-1996 The Kaufmann Collection: The Early Furniture of Gustav Stickley, John Toomey Gallery, 1996 Private Collection Treadway Toomey Auctions, 05 December 1999, Lot 263 Acquired from the above sale by the present owner

The following was included in The Kaufmann Collection: The Early Furniture of Gustav Stickley, text by Thomas K. Maher: This 62” version, with mitered mulliions and v-board back, was used on five bookcases from 1901-1903. Later bookcases were reduced to 60” in width, and examples of Stickley bookcases from 1904 were produced with mitered mullions and a paneled back.

The original finish and the massive scale of the piece make this example the most important of Stickley’s early bookcase designs. Three other examples are known with the later oval ring pull hardware.

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Period photo of this gate design in the executive offices for J. Walter Thompson in the Graybar Building

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16 Samuel Yellin (1884-1940) for the J. Walter Thompson Company gate and transom New York, New York, 1927 wrought iron unsigned 37”w x 5”d x 101 1/2”h $9,000-12,000

In 1927, Samuel Yellin was

commissioned by Helen Lansdowne

Resor, famous advertising copywriter and executive, to create grillwork

for the executive wing of J. Walter Thompson’s new offices in the

Graybar Building at 420 Lexington Avenue in New York City. This

elaborate gate and transom were subsequently installed.

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17 Tiffany Studios Saxifrage candlestick, #4475 New York, New York patinated bronze applied stamped tag, further numbered 18 9�dia x 18�h $8,000-12,000

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18† Grant Wood (1891-1942) for The Volund Crafts Shop candlesticks, pair Park Ridge, Illinois, circa 1914 copper stamped mark 4 13/16”sq x 11 1/4”h $8,000-12,000 Provenance: An Eastern Iowa Estate, 2007 Property from the Collection of Darcy L. Evon, Chicago, Illinois Literature: Evon, Darcy L., Hand Wrought Arts & Crafts Metalwork & Jewelry: 1890-1940, Schiffer Publishing, 2013, p. 84

In 1909, between his junior and senior years of high school, Grant Wood travelled to Minneapolis to enroll in summer classes offered by The Handicraft Guild of Minneapolis, Minnesota. Director and Instructor Ernest A.

Batchelder taught the School of Design and Crafts’ Summer Session. It was during this time that Wood further

immersed himself in the ideals of the American Arts & Crafts Movement, as a disciple under Batchelder. Wood co-founded the Loomwood Craft Shop with Kate Loomis in Cedar Rapids, Iowa in 1911 and the shop stayed in

operation into 1913. Wood moved to Park Ridge, Illinois in 1913 and was an apprentice with The Kalo Shop under Kristoffer Haga (foreman of the jewelers), occasionally taking night classes at the Art Institute of Chicago. Wood and Haga co-founded the Volund Crafts Shop in the fall of 1914, which lasted through the end of 1915. Wood

was the principle designer and both Wood and Haga would execute the works; however, Wood was the only one working in copper, reminiscent of his days with Loomis — while Haga was executing primarily jewelry in silver and gold, using the training from his native country of Norway. The hammer marks on this pair of candlesticks match other known objects that Wood created during the Loomwood Craft Shop years.

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19 Tiffany Studios / Grueby Faience Company table lamp New York, New York / Boston, Massachusetts Favrile glass, bronze, carved green glazed ceramic shade signed with metal tag, base signed 14 1/2�dia x 16�h $15,000-20,000

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20† Childe Hassam (American, 1859-1935) Fifth Avenue, Noon, 1916 etching signed with the artist’s monogram in pencil and inscribed “imp” edition of approximately 20 10” x 7 1/4” $7,000-9,000 Provenance: Allan Frumkin Gallery, Chicago, Illinois Acquired from the above by the present owner, 1968 Property from the collection of George M. Irwin, Quincy, Illinois Exhibitions: Selections from the Collection of George M. Irwin, Krannert Art Museum, Champaign, Illinois, 02 March through 13 April 1980

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21 The Roycrofters magazine pedestal, #080 East Aurora, New York oak signed with carved orb This is a tall, dramatic form with an excellent original finish.

21 1/2”w x 17”d x 64”h $9,000-12,000

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22† Edgar Payne (American, 1883-1947) Twin Peaks oil on canvas signed lower right 40” x 50” $150,000-250,000 Provenance: D. Wigmore Fine Art, New York, New York (label on verso) Property from the Collection of M. Anthony Greene, Jackson, Wyoming

Edgar Payne spent his entire career painting scenes of nature. His paintings depicted a wide array of natural scenes from across the world including

impressionistic harbors in Brittany, southwestern landscapes and Laguna Beach, California. He is

esepcially revered for his majestic depictions of

mountains in the Swiss Alps and the Sierra Nevadas.

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23 James H. Winn (1866-1940) pendant necklace with original matching chain Chicago, Illinois silver-gilt, coral etched signature Secessionist/Jugendstil influenced design pendant: 1 9/16”w x 2 3/8”h; chain: 18 1/4”l $6,000-8,000 Provenance: The Paul and Terry Somerson Collection of 20th & 21st Century Metalwork and Jewelry Literature: Evon, Darcy L., Hand Wrought Arts & Crafts Metalwork & Jewelry: 18901940, Schiffer Publishing, 2013, p. 46 (illustrated) Berberian, Rosalie, Creating Beauty: Jewelry and Enamels of the American Arts & Crafts Movement, Schiffer Publishing, 2019, p. 104 (illustrated)

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"The necklace shows

another side of Winn's work. It has a strong Jugendstil-inspired

form, and pronounced but extremely fine

hammering. Gold and

coral are an elegant and

understated combination, and here they have a soft, luminous effect. The coral glows from the almost

faceted hammer marks on the gold around it...”

-Paul Somerson

24 The Kalo Shop pendant necklace Chicago, Illinois sterling silver, freshwater pearls stamped marks pendant: 1”w x 2 1/8”h; chain: 16 1/2”l $3,000-5,000 Provenance: The Paul and Terry Somerson Collection of 20th & 21st Century Metalwork and Jewelry Literature: Berberian, Rosalie, Creating Beauty: Jewelry and Enamels of the American Arts & Crafts Movement, Schiffer Publishing, 2019, p. 116 (illustrated)

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25 Fulper Pottery Co. Mushroom table lamp, No. L6A Flemington, New Jersey leaded glass, glazed ceramic stamped marks 16�dia x 17�h $12,000-15,000

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26 Daum Mushrooms bowl Nancy, France polychrome enameled cameo glass signed in enamel 11”w x 8 1/2”d x 5”h $4,000-6,000 Provenance: Property from a Private Canadian Collection

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27 Russell Crook (1869-1955) Moose vase South Lincoln, Massachusetts salt glazed ceramic unsigned 7 1/2�dia x 14 1/4�h $3,000-5,000

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28 Moorcroft Moonlit Red Flambé landscape vase, #189 Burslem, England high glazed ceramic impressed and inscribed marks 9 1/2”dia x 10 1/2”h $4,000-6,000 Provenance: Property from a Private Canadian Collection

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29 Tiffany Studios Pine Needle double picture frame, #953 New York, New York patinated bronze, green Favrile slag glass, glass stamped marks, numbered 10 1/4”w x 7 1/4”h; interior openings: 1 7/8”w x 2 7/8”h $1,000-2,000

31 Tiffany Studios Grapevine picture frame, #948 New York, New York patinated bronze, green Favrile slag glass, glass stamped marks, numbered 6 1/8”w x 7 1/”h; interior opening: 2 1/4”w x 3 1/4”h $800-1,200

30 Tiffany Studios Pine Needle picture frame New York, New York patinated bronze, green Favrile slag glass, glass stamped marks 15 3/8”w x 18 1/4”h; interior opening: 9 3/4”w x 12 3/4”h $2,000-4,000

32 Tiffany Studios Abalone picture frame, #1171 New York, New York doré bronze, abalone stamped marks, numbered 7 1/4”w x 10 1/4”h; interior opening: 3 7/8”w x 5 3/8”h $1,000-2,000

33 Dirk van Erp (1860-1933) Warty vase San Francisco, California, after 1915 red patinated copper open box signature 6 1/8�dia x 6 5/8�h $4,000-6,000

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34 Teco, Fritz Albert (1865-1940), designer Calla Lily vase, #141 Chicago, Illinois matte green glazed ceramic two impressed signatures 6 1/2”sq x 17”h $50,000-70,000 Provenance: Property from an Important Chicago Collector Literature: A similar example is illustrated in Darling, Sharon S., Teco: Art Pottery of the Prairie School, Erie, Pennsylvania, 1989, p. 105

This form is considered among the

finest of Teco’s organic designs. The beautiful glaze and crispness of the

mold create a wonderful example of the best in American art pottery.

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35 The Kalo Shop early porringer with an applied stone and cut-out accents Park Ridge, Illinois, 1909 sterling silver, blue aventurine cabochon stamped marks engraved inscription: Gilbert Rust Barton / April 22 - 1909 / One year old 6 7/8”w x 5”d x 1 1/2”h $3,000-5,000 Provenance: Property from a Private Collection, Evanston, Illinois

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While it is not unusual to see stones used in English

jewelry, hollowware and flatware or in American jewelry from the Arts & Crafts movement — it is uncommon

to see stones used in hollowware and flatware in the

United States at the first part of the 20th century. Lots 35 and 36 reveal the influence of Charles Robert Ashbee and Archibald Knox, with the use of semi-precious stones. In this case, blue aventurine in the early

porringer and carnelians in the chop set or salad set, both from The Kalo Shop.

36 The Kalo Shop chop set or salad set, #G44, with applied stones Chicago, Illinois sterling silver, carnelian cabochons stamped marks spoon: 2”w x 9 3/4”l; fork: 1 3/4”w x 9 3/4”l $1,500-2,500 Provenance: Property from a Private Collection, Evanston, Illinois

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37 Frank Lloyd Wright (1867-1959) for Heritage Henredon Hexagonal coffee table with six Triangular stools Morganton/High Point, North Carolina mahogany signed with red monogram Taliesin design at edges 48”w x 41 1/2”d x 18”h $5,000-7,000

In the November 1955 issue of House Beautiful, an

article entitled “And now Frank Lloyd Wright designs

home furnishings you can buy!” promoted this set as

ideal for entertaining: “The triangular stools can double as tables or when put together can create their own

hexagonal table. The Wrights entertain a great deal so they’ve learned these table and seat tricks.”

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38 Frank Lloyd Wright (1867-1959) coffee table probably for the Usonian Exhibition House New York, New York, 1953 bleached mahogany, copper trim 38”w x 38”d x 15”h $15,000-20,000

Frank Lloyd Wright probably designed this coffee table for the “Usonian House Exhibit: 60 Years of Living Architecture,” held from October 9 to November 15, 1953 in New York City on

the grounds that would eventually become the Guggenheim

Museum. The exhibition included a fully furnished, 1,700 square foot “Usonian House” created to exemplify the potential for the American landscape to inspire local architectural conventions

free from past influence. Like this coffee table, many of the tables featured in the Usonian House had a distinctive copper band along their edges.

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39 Pierre Jeanneret (1896-1967) Dining Chairs, set of six, model PJ-SI-25-A France/India, c. 1958-1959 teak, caning, upholstery each: 16 1/2”w x 21 1/2”d x 32 1/2”h $12,000-18,000 Provenance: From the student residences (Hostel for Boys and Hostel for Girls), Chandigarh, India Acquired from the above by the present owner, New York, New York Literature: Le Corbusier & Pierre Jeanneret: The Indian Adventure, DesignArt-Architecture, Touchaleaume and Moreau, pg. 561

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40 Pierre Jeanneret (1896-1967) Low Lounge Chairs, pair, model PJ-SI-29-A France/India, c. 1955-56 teak, caning, upholstery one with remnant of painted inventory code, one branded ‘305 G.CL’ each: 21”w x 26”d x 29 1/2”h $10,000-15,000 Provenance: From the Chandigarh Administrative Buildings, India Acquired from the above by the present owner, New York, New York Literature: Le Corbusier & Pierre Jeanneret: The Indian Adventure, Design-Art-Architecture, Touchaleaume and Moreau, pg. 563

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41 Charles Green Shaw (American, 1892-1974) Opus One, 1955 oil on canvas signed lower right signed and dated on the verso 50� x 32 3/4� $10,000-15,000 Provenance: Passedoit Gallery, New York, New York (label on verso) Exhibitions: San Francisco Museum of Art (label on verso)

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42 Gertrude Abercrombie (American, 1909-1977) Untitled, 1961 oil on masonite signed and dated lower left 7 1/2” x 9 1/2” $12,000-18,000 Provenance: Leslie Hindman Auctioneers, Chicago, Illinois, 28 April 2008, Lot 300 Acquired from the above sale by the present owner Property from a Chicago Collector Literature: Gertrude Abercrombie, New York, Karma Books, 2018, pp. 439 (illustrated) and 486.

43 Gertrude Abercrombie (American, 1909-1977) Owl in Tower, 1954 oil on masonite signed and dated lower right 4 1/2” x 3 1/2” $5,000-7,000 Provenance: Property from a Private Collection, Evanston, Illinois 44 Gertrude Abercrombie (American, 1909-1977) Leaf with Pin and Ladybug, 1953 oil on masonite signed and dated 4 1/4” x 3 1/8” $5,000-7,000 Provenance: Property from a Private Collection, Evanston, Illinois

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45 Gertrude Abercrombie (American, 1909-1977) Still Life, 1945 oil on board signed and dated lower right 12� x 10� $8,000-12,000 Provenance: Leslie Hindman Auctioneers, Chicago, Illinois, 18 September 2005, Lot 96 Acquired from the above sale by the present owner Property from a Chicago Collector Literature: Gertrude Abercrombie, New York, Karma Books, 2018, pp. 217 (illustrated) and 482.

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46 Rose Cabat (1914-2015) and Erni Cabat (1914-1994) Feelie vases, group of 23 Tucson, Arizona glazed stoneware signed various sizes; tallest: 2 1/4�dia x 4�h $8,000-12,000

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47† Sol LeWitt (American, 1928-2007) 1-2 3-4, 1979 painted aluminum overall base: 42 3/4” x 42 3/4” largest cube: 19 1/2”h x 19 1/2”w x 19 1/2”d $100,000-200,000 Provenance: Donald Young Gallery, Chicago, Illinois (label) Gift of the artist Property from the Collection of Bruce and Ann Bachmann, Chicago, Illinois Catalog Note: This work is accompanied by a photo-certificate signed by the artist

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48 H.C. Westermann (American, 1922-1981) Joanna graphite on envelope 9 1/2� x 8 1/4� $3,000-5,000

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49 William Spratling (1900-1967) sauce dish with spoon Taxco, Mexico sterling silver, rosewood stamped marks dish: 8 1/4”w x 4 1/8”d x 3 3/8”h; spoon: 2 11/16”w x 6 3/8”l x 3/8”h $2,000-4,000

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50† Robert Arneson (American, 1930-1992) Sideways Smash, 1977 ceramic 7 1/2”h x 4”w x 3”d $7,000-9,000

51† Robert Arneson (American, 1930-1992) Self Portrait, 1977 ceramic 5”h x 3”w x 3”d $5,000-7,000

Provenance: Property from the Collection of The Rev. Audrey Taylor Gonzalez, Memphis, Tennessee

Provenance: Allan Frumkin Gallery Acquired from the above by the present owner Property from the Collection of The Rev. Audrey Taylor Gonzalez, Memphis, Tennessee

52† Robert Arneson (American, 1930-1992) Self Portrait bronze edition of 25 Walla Walla foundry mark 7 1/2” h x 4”w x 3”d $2,000-4,000 Provenance: UC Davis Fundraiser Acquired from the above by the present owner Property from the Collection of The Rev. Audrey Taylor Gonzalez, Memphis, Tennessee

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53 Bjørn Wiinblad (1918-2006) tulipiere vase in four parts Denmark, 1975 glazed ceramic marked ‘BW 75 Danmark’ with code V-31 8”w x 7”d x 33 1/2”h $1,500-2,500

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54† Gladys Nilsson (American, b. 1940) Crackned Horsez, 1972 acrylic on canvas 14” dia $4,000-6,000 Provenance: Phyllis Kind Gallery, Chicago, Illinois Acquired from the above by the present owner, 1973 Property from the Collection of George M. Irwin, Quincy, Illinois Exhibitions: Gladys Nilsson, Whitney Museum of American Art, New York, 12 April through 13 May 1973 Selections from the Collection of George M. Irwin, Krannert Art Museum, Champaign, Illinois, 02 March through 13 April 1980

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55 Massimo Vignelli (1931-2014) for Venini & Co. three-pendant Sigaro chandelier Murano, Italy, c. 1955 fasce glass, brass, enameled metal each shade: 6 1/5�dia x 14�l $5,000-7,000

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56 Harold Town (Canadian, 1924-1990) Spring Cornucopia, 1960 oil on board signed and dated lower right 24� x 24� $15,000-20,000 Provenance: Galerie Dresdnere, Montreal, Canada (label on verso)

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57 Edwin Scheier (1910-2008) and Mary Scheier (1908-2007) large vessel Green Valley, Arizona glazed earthenware signature mostly obscured by glaze 12 1/4�dia x 12 3/4�h $4,000-5,000

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58 Isamu Noguchi (American, 1904-1988) for Knoll rocking stool East Greenville, Pennsylvania walnut, chromed metal unsigned 14”dia x 16 1/2”h $4,000-6,000

Designed for Knoll in 1954, Noguchi’s rocking stool was inspired by traditional African stools. Rather than use a single piece of wood,

Noguchi connected the seat and base by metal rods to achieve a

conical effect. The stool was only sold for five years. The original line also included smaller stools for children plus a table. The simplicity

of the stool is what is so striking. Whether with furniture or his public sculpture or gardens for UNESCO and IBM, Noguchi suffuses his

designs with a cosmopolitan quality that is at once vital and versatile.

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59 Paul Evans (American, 1931-1987) / Paul Evans Studio for Directional Deep Relief cabinet New Hope, Pennyslvania, 1972 welded, patinated, and polychromed steel, cleft slate, laminated wood welded signature ‘Paul Evans 72’ 96 3/4”w x 22”d x 31 1/2”h $30,000-40,000

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front view

verso

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60† Ed Flood (American, 1944-1985) The Other Side of the Rainbow, 1970 acrylic on plexiglass and wood titled and dated on the verso 22 3/4” x 31 3/4” (overall) $8,000-10,000 Provenance: Allan Frumkin Gallery, Chicago Acquired from the above by the present owner, 1971 Property from the Collection of George M. Irwin, Quincy, Illinois Exhibitions: What They’re Up To In Chicago, organized by The National Gallery of Canada, Ottawa, 01 December 1972 through 15 November 1973 Selections from the Collection of George M. Irwin, Krannert Art Museum, Champaign, Illinois, 02 March through 13 April 1980

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61 Fulvio Bianconi (1915-1996) Fasce Ritorte vase Murano, Italy diagonal bands of green, black, gold and clear glass three-line acid stamp ‘venini murano ITALIA’ 5”dia x 8 1/4”h $5,000-7,000 Provenance: Private Collection, Chicago, Illinois

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62 After Alexander Calder (1898-1976) Turquoise tapestry, artist’s proof C.A.C. Publications and Bon Art, Nicaragua, 1975 jute fiber embroidered copyright mark, and ‘Calder 75’, AP 10 aside from an edition of 100 85”w x 57”h $6,000-8,000

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63 Keith Haring (American, 1958-1990) Pop Shop I, 1987 screenprint signed and dated, edition of 200 published by Martin Lawrence Limited Editions, New York 10 1/2” x 13 3/8” $8,000-12,000

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64 Keith Haring (American, 1958-1990) Pop Shop I, 1987 screenprint signed and dated, edition of 200 published by Martin Lawrence Limited Editions, New York 10 1/4” x 13 3/8” $8,000-12,000

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65 Mimmo Paladino (Italian, b. 1948) Tutte Le Parole Della Pelle, 1995 terra cotta signed and dated 26”h x 20”w x 10”d $20,000-30,000 Provenance: Giordano Gallery, Edmonton, Alberta Acquired from the above Thence by descent through the family Property from a Private Canadian Collection

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66 Richard Howard Hunt (American, b. 1935) Untitled, 1994-2003 bronze signed and dated “94” signed and dated “03” 44”h x 11 1/2”w x 11 1/2”d $8,000-12,000 Provenance: Property from a Chicago Collector

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67 Ed Paschke (American, 1939-2004) Untitled, 2003 oil on linen signed and dated lower edge signed and dated on the stretcher 24� x 20� $15,000-20,000 Provenance: Acquired directly from the artist Property from a Chicago Collector

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SELECTED BIOGRAPHIES Gertrude Abercrombie (American, 1909-1977) Gertrude Abercrombie was born in Austin, Texas in 1909, but she is known today as the “Queen of Bohemian Art” in Chicago. She grew up as the only child of traveling opera singers and the family moved on numerous occasions, including a brief stint in Berlin just before the First World War. Abercrombie’s parents relocated to Aledo in Western Illinois in 1914 before settling in the Hyde Park neighborhood of Chicago.

Abercrombie studied Romance Languages at the University of Illinois and graduated in 1929. She later took classes at the Art Institute of Chicago and the American Academy of Art. In the early 1930s, she held odd jobs as an artist and illustrator but caught her break when she was employed by the Works Progress Administration (WPA). Abercrombie began to develop her signature style painting for the WPA in the 1930s. By the 1940s, Abercrombie established herself as an accomplished painter in her own right. Her subject matter and themes often include dark and dreamy landscapes and surrealistic interior scenes. She tends to repeat specific elements in her paintings, including images of leafless trees, owls, moons, kites, stairs, doors, pensive figures, and cats. These seemingly bizarre and estranging motifs are often autobiographical and involve self-portraiture.

In addition to being a painter, Abercrombie is known for her close association with Chicago’s musical community, specifically the jazz artists of the 1940s and 1950s. Abercrombie’s health greatly declined after years of alcoholism as she grew older. In 1977, the Hyde Park Art Center in Chicago mounted a retrospective of her work before she died on July 3 of that year. Abercrombie’s paintings can be found today in various museums, including the Art Institute of Chicago and the Smithsonian American Art Museum.

Robert Arneson (American, 1930-1992) Robert Arneson was born in Benicia, California in 1930 and spent nearly his entire life in his beloved home city. Arneson showed great promise as an artist from an early age with pencil and colored pencil drawings and throughout his career worked in a variety of media. However, he is best known for his pioneering work in ceramics. Arneson began his artistic career as a high school ceramics teacher and spent 30 years as a professor of ceramics at UC Davis. In the 1960s, he found his own artistic identity by making sculptures of common everyday objects that were not functional ceramics. 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-portrait sculptures and paintings were often humorous, satirical, irreverent, and even vulgar on the surface, but ultimately they express Arneson’s interest in the human condition. Arneson died on November 2, 1992 in Benicia after a long battle with cancer. Along with fellow California artists Ken Price, William T. Wiley, and Roy de Forest, Arneson is considered one of the leaders of the Funk Art Movement. His ceramic sculptures can be found today in museums and private collections all over the country, including the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, and the Museum of Modern Art (New York).

John Scott Bradstreet (American, 1845-1914) Born in Rowley, Massachusetts in 1845, John Scott Bradstreet moved to Minneapolis in 1873. He first worked for Barnard, Clark, and Cope, a furniture outfit steeped in Victorianism. Two years later, Bradstreet opened his own store, which produced designs in Gothic Revival and English Arts and Crafts styles. After two brief business partnerships, Bradstreet reopened in 1901 as the sole proprietor of what he would soon call the Minneapolis Crafthouse, which was clearly influenced by his recent travels to Asia. The building featured a Japanese-style gate and grounds. The interior was also adorned with Japanese touches. The Crafthouse was not only where Bradstreet’s workers would produce Arts and Crafts items, but the space also served as a cultural hub for the Twin Cities’ art scene of the day. As a result, the demand for Bradstreet’s designs increased, especially for his Japanese-inspired furniture and decorative objects. To the solid lines of Art and Crafts, Bradstreet added smooth curves resembling those found in nature. Bradstreet was also a leading civic organizer and promoter of the arts. He helped with the founding of the Minneapolis Institute of Art, although he died in 1914, a year before its opening.

Rose Cabat (American, 1914-2015) and Erni Cabat (American, 1914-1994) Rose Cabat met her eventual husband Erni when they were schoolchildren in New York City in the 1920s, marrying in 1936. Erni worked in advertising and apprenticed for Austrian potter and sculptor Vally Wieselthier. One day, Erni brought a lump of clay home to the apartment that he shared with Rose. This simple act sparked a passion that continued unabated for the rest of her life. After making a simple coiled vase from the clay, Rose learned wheel throwing at Greenwich House Pottery, teaching herself to work on a kick wheel. When their son’s asthma prompted the family to move from New York to Tucson, Arizona, Erni built Rose an unassuming studio on the dusty streets outside town that Rose referred to as a “shack.” He obtained a potter’s wheel made from a converted washing machine and she used a tractor seat for a stool. Life intervened in the form of a growing family, World War II, and a job as a riveter on an Air Force base, but Rose persisted. In 1957, she attended a five-week glaze course offered by the art department at the University of Hawaii. In this course, she was exposed to modern studio ceramics, which led her to work exclusively in porcelain. With Erni, she experimented with glazes; together they created their signature satin matte glaze notable for its silky quality. Rose named her unique pots around 1960, when she held a finished example in her hands and remarked, “Now this one’s a feelie!” Feelies emphasize the tactile experience above all. Unable to hold even the smallest reed, they offer beauty for beauty’s sake, without functionality. The shapes resemble things found in Rose’s garden: onions, figs, cucumbers, and tomatoes. Many glazes are named for fruits, vegetables, or flowers: onionskin, cucumber, olive, lavender, etc. Never interested in the spotlight, Rose was driven by her love of the creative process and the Feelies themselves. She continued to work in her Tucson studio, averaging five pots per day, until passing away at age 100 in 2015.

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Alexander Calder (American, 1898-1976) Born into a family of artists in 1898 in Lawnton, Pennsylvania, Alexander Calder moved around often in his youth to Pasadena, Philadelphia, New York, and San Francisco. Calder learned mechanical engineering and applied kinetics at Stevens Institute of Technology in Hoboken before training at the Art Students League in New York City. In the early 1920s, Calder fixed cars, worked as a draftsman, colored maps, and illustrated magazine pieces, including one that especially piqued his curiosity on the Ringling Brothers and Barnum & Bailey Circus. In 1926, Calder moved to Paris and became enamored with the European avant-garde. Playfully mixing high and low culture, Calder staged what became known as Cirque Calder, a kind of artistic circus with wire sculptures. These performances drew notable French artists like Jean Arp, Marcel Duchamp, Joan Miró, and Fernand Léger. From Duchamp, Calder gained the term “mobile,” with which he would become famously associated. At first, Calder’s mobiles were motorized, but soon he designed them to operate by wind or human power. Before returning to America, Calder met Louisa James crossing the Atlantic by boat and the couple married in 1931. In addition to his ingenuous mobiles, Calder is well known for his often large-scale, colorful outdoor sculptures in abstract forms. Along with mobiles and public art, Calder tried his hand at painting, works on paper, jewelry, tapestries, and “stabiles,” that is, non-kinetic sculptures. In light of the acclaim he received in Paris, the Museum of Modern Art in New York held a retrospective exhibition in 1943. Additional exhibitions followed in 1964 at the Guggenheim Museum and in 1974 at Chicago’s Museum of Contemporary Art. In 1976, Calder experienced a sudden, fatal heart attack in New York.

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 emigrated 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 in the Klondike Gold Rush in 1898, van Erp returned to San Francisco, 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, 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. Sustaining his artistic production through the 1920s, van Erp and his wife Mary both died within hours of each other on July 18, 1933. Their son William kept the Art Copper Shop open until his death in 1977.

Paul Evans (American, 1931-1987) Paul Evans was born in 1931 in Newtown, Pennsylvania. He attended various institutions, finishing at the Cranbrook Academy of Art in Michigan, where he studied sculpture, metalworking, and silversmithing. In 1955, Evans settled in New Hope, Pennsylvania, a vibrant artists community supported by wealthy New Yorkers who passed through on their way to and from Manhattan. Using his welding skills, jewelry design experience, and metallurgical knowledge, Evans began making experimental metal furniture forms, which utilized sculpted, high-relief, and abstract design elements that were collage-like in their construction. Evans exhibited his work in a group show in 1957 at the Museum of Contemporary Crafts in New York. In 1964, Evans became the designer for furniture manufacturer Directional, through which he introduced some very collectible editions, such as the Argente, Sculpted Bronze, and Cityscape. In 1987, Evans passed away on Nantucket. Recently, Evans’ furniture has brought recordbreaking prices at antique shows and auctions across the United States and Europe.

Ed Flood (American, 1944-1985) Ed Flood was born in Chicago, Illinois in 1944. He graduated from the School of the Art Institute of Chicago in 1969 and was a member of the group known today as the Chicago Imagists. Along with Ed Paschke, Flood helped organize the first Nonplussed Some exhibition in 1968. Flood’s early work from the 1960s and early 1970s is characterized by his bright, colorful hand-crafted “boxes” or “constructions” that include layer upon layer of painted Plexiglass held within wood frames. These boxes and wall hangings in some ways resemble works by Joseph Cornell and Flood’s mentor H.C. Westermann, but Flood’s subject matter is unique, often depicting tropical scenes with vivid colors and palm trees that nearly mimic the interior of an aquarium. Flood’s work was shown in galleries in Chicago and New York City and was included in exhibitions by legendary dealers Phyllis Kind, Richard Feigen, and Allan Frumkin. Flood had his first solo exhibition at Allan Frumkin in 1970. Ed Flood died at the age of 41 in 1985.

Two years later, the Hyde Park Art Center held a retrospective on his career.

Harriet Whitney Frishmuth (American, 1880-1980) Harriet Whitney Frishmuth was born in 1880 in Philadelphia, Pennsylvania. After her parents divorced, she moved with her mother and sisters to Europe. She studied with Auguste Rodin in Paris and Cuno von Uechtritz-Steinkirch in Berlin. Upon her return to America, Frishmuth continued her training at the Art Students League of New York and apprenticed with sculptor Karl Bitter. In addition, Frishmuth did design work for Gorham Manufacturing Company. As her career advanced, she became best known for representing female figures in bronze, particularly dancers.

Frishmuth’s smaller works were sought after for private collections and museums, whereas her larger-scale creations were often acquired for gardens, fountains, and public squares. Following a successful run of exhibitions in the 1920s at venues like the Pennsylvania Academy of the Fine Arts in Philadelphia and the Salon in Paris, Frishmuth saw the market for her work mostly dry up during the Great Depression. However, she remained active in her Sniffen Court studio in New York throughout the 1930s. Given her unfavorable opinion of modern art, Frishmuth produced much less work in the decades that followed. In 1980, she died in Waterbury, Connecticut and is buried at Laurel Hill Cemetery in Philadelphia.

Having garnered many awards during her lifetime, a large collection of Frishmuth’s drawings are now held at Syracuse University.

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Charles Sumner Greene (American, 1868-1957) and Henry Mather Greene (American, 1870-1954) Noteworthy architects and designers in the American Arts and Crafts style, the Greene brothers were born in Brighton, Ohio, but they split time growing up between St. Louis, Missouri and their mother’s family farm in West Virginia. During their adolescence, Charles and Henry studied metalworking and woodworking and were active outdoors at the urging of their father, a homeopathic doctor. The Greene brothers attended MIT’s School of Architecture for two years and earned certificates. Charles and Henry apprenticed at various architecture firms in Boston during and after their time at MIT. In 1893, the brothers moved to Pasadena, California to be close to their parents. En route, they visited the World’s Columbian Exposition in Chicago, where they were exposed to Japanese architecture, which would become a powerful influence. The brothers launched their firm, Greene & Greene, in Pasadena in 1894 and went on to produce what they called “ultimate bungalows” in the coming years. The Greenes refined a personalized Arts and Crafts aesthetic and created custom interior decorations, furniture, and light fixtures for each residence they designed. Both architecturally and in terms of interior design, the Greene brothers drew on their early training to emphasize artful yet solid woodworking techniques. Likewise, they preferred to disguise structure within ornament, similar to traditional Japanese design. In 1922, Greene & Greene ended their partnership when Charles moved north with his family to Carmel, California. The brothers continued their work separately and stayed close until they both passed away in the 1950s.

Keith Haring (American, 1958-1990) Keith Haring was born in Reading, Pennsylvania in 1958. His father was an engineer and drew cartoons. Haring began making art in his youth and was inspired by Walt Disney and Charles Schulz along with Looney Tunes and Dr. Seuss. Haring was an evangelical Christian but left the faith to travel America and become part of the counterculture. In 1976, Haring enrolled at the Ivy School of Professional Art in Pittsburgh, but he quit two years later to pursue his art independently. In the late 1970s, Haring explored the art of Jackson Pollock, Jean Dubuffet, and others. He had his first solo exhibition in 1978 at the Pittsburgh Center for the Arts and subsequently moved to New York City to study painting at the School of Visual Arts. Before long, Haring started to create public art in subway stations, often in the form of chalk drawings on empty, black ad panels. In the early 1980s, Haring developed his trademark symbol, “The Radiant Baby,” an image transposed from his religious past to a colorful, Pop context.

Haring’s growing reputation led to friendships with other artists, including Jean-Michel Basquiat, Futura 2000, Madonna, and Andy Warhol, who championed Haring’s work. By the end of the decade, Haring had created in excess of 50 public works internationally. Many of these dealt with homosexuality and the AIDS crisis given that Haring himself was gay. Perhaps his most famous mural, “Crack is Wack,” was created in response to the drug epidemic in 1986 off FDR Drive in New York. Haring’s Pop Shop also opened 1986 in Soho, making his art and reproductions available to the general public at reasonable prices. In 1988, Haring tested positive for HIV and soon created a foundation to fund care-giving organizations and help make those dealing with the disease visible. In 1990, Haring died of AIDS-related complications. Multiple retrospective exhibitions followed in New York and abroad. Today Haring’s work is represented in several important collections, including the Museum of Modern Art and the Whitney Museum in New York, the Art Institute of Chicago, and the Stedelijk Museum in Amsterdam.

Richard Howard Hunt (American, b. 1935) Prolific African-American sculptor Richard Hunt was born on the South Side of Chicago in 1935. With the encouragement of his family, Hunt took an early interest in the arts, attending classical concerts and operas with his librarian mother, and learned to draw, paint, and sculpt. In his teens, Hunt devoted himself to sculpture, honing his skills in a studio in the basement of his father’s barbershop. Although he began working with clay and wood, Hunt quickly gravitated toward metal as his fundamental medium. From 1953 to 1957, Hunt studied welding and lithography at the Art Institute of Chicago. His early work included discernible figures and touched on classical themes. During his junior year, the Museum of Modern Art in New York bought Hunt’s piece, Arachne, a welded steel mythological spider. After graduation, Hunt studied art in Europe on a fellowship and became even more committed to working with metal throughout his career. Upon his return to America, Hunt sought out scrap metal from junkyards to convert to art. Some of his welded sculptures from this period were eventually shown at the 1962 Seattle World’s Fair, where Hunt was the youngest artist featured. In 1967, Hunt produced his first public art piece, Play, commissioned by the State of Illinois Public Art Program.

Soon thereafter, President Lyndon Johnson named Hunt to the governing board of the National Endowment for the Arts. He has also held advisory roles for the Smithsonian Institution and received multiple honorary degrees. Over the past 50 years, Hunt has sculpted in excess of 125 public works, including Jacob’s Ladder at the Carter G. Woodson Library in Chicago and Flintlock Fantasy in Detroit. Now in his eighties, Hunt still works in the cavernous welding studio (a former electrical substation) in Chicago’s Lincoln Park neighborhood that he first repurposed in 1974. For Hunt, sculpting metal combines the physical with the metaphysical and allows him to comment on social issues with bold statements in the public square.

Pierre Jeanneret (Swiss, 1896-1967) Born in 1896 in Geneva, Switzerland, Pierre Jeanneret attended the local École des Beaux-Arts, where he studied painting and architecture.

Jeanneret was influenced from an early age by his cousin, famed architect Le Corbusier. Following a stint in the Swiss Army, Jeanneret began working with Le Corbusier to design various notable buildings and residences, including the iconic Villa Savoye northwest of Paris that was elevated by columns, built mostly of glass, and featured an open interior. Before long, Jeanneret also developed some innovative furniture designs in collaboration with Le Corbusier and Charlotte Perriand. The onset of World War II created a rift between the cousins: Jeanneret was sympathetic to Communism and the French Resistance, whereas Le Corbusier was partial to the Vichy Government and Italian Fascism. Only a monumental project brought them back together. In 1950, Le Corbusier was tasked with redesigning the historic city of Chandigarh in recently independent India and he asked Jeanneret to help him carry out the plan. While Le Corbusier articulated the large-scale concepts, Jeanneret helped refine his cousin’s designs and kept development on track. Jeanneret also created a wide range of elegantly simple furniture designs using local materials, such as insect-resistant Burma teak. In the middle of the project, Le Corbusier left Chandigarh, so Jeanneret took over the dual role of Chief Architect and Urban Planning Designer. After fifteen years in India, Jeanneret fell ill and returned to France, dying in 1967. However, in keeping with Jeanneret’s will, his ashes were ultimately scattered on Sukhna Lake near Chandigarh.

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The Kalo Shop (1900-1970) Founded in Chicago in 1900 by Clara P. Barck and five fellow female graduates of Louis J. Millet’s decorative design course at the Art Institute, the Kalo Shop rose to be the most important American 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. 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 a Kalo silversmith 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. Increasingly, few new silversmiths entered the trade and 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.

Sol LeWitt (American, 1928-2007) Sol LeWitt was born into a Russian Jewish family in 1928 in Hartford, Connecticut. He earned a Bachelor of Fine Arts degree from Syracuse University in 1949 and subsequently traveled to Europe for an artistic tour. Following military service in the Korean War, LeWitt settled in New York and began his career as an artist. He lived on the Lower East Side, took classes at the School of Visual Arts on a part-time basis, and did graphic design to make ends meet. LeWitt eventually worked at architect I.M. Pei’s office as a designer starting in 1955 and at the Museum of Modern Art (MoMA) as a night clerk in 1960. His coworkers at MoMA included other young artists, such as Robert Mangold, Robert Ryman, and Dan Flavin.

After researching Eadweard Muybridge’s early photographic studies of locomotion, LeWitt began to develop an aesthetic that contrasted with the prevailing romantic Abstract Expressionism of his time. More so than any of his contemporaries, LeWitt stressed the essential nature of concept in art. In his 35-point manifesto, “Sentences on Conceptual Art” (1969), LeWitt declared, “Conceptual artists are mystics rather than rationalists.” He also asserted, “The process is mechanical and should not be tampered with.” With this philosophy in mind, LeWitt had others carry out his artistic concepts aside from his works on paper. Ultimately, LeWitt wanted to challenge the privileging of product over process. He felt that ideas in art were just as important as what they generated. While LeWitt’s artistic practice covered various media, he is best known today for his “structures” (the term he used for “sculptures”) and drawings. He not only espoused conceptual or minimalist ideas in practice, but he taught them as well at the School of Visual Arts and New York University. In the 1980s, LeWitt took an extended sabbatical in Italy. When he returned, he moved to Connecticut and continued making art until his death from cancer in 2007.

Gladys Nilsson (American, b. 1940) Gladys Nilsson was born in Chicago, Illinois in 1940. She studied at the School of the Art Institute of Chicago and is one of the six members of the Hairy Who along with her husband, Jim Nutt, Karl Wirsum, Jim Falconer, Art Green, and Suellen Rocca. Nilsson’s work is highly detailed and meticulous. She is prolific in a variety of media, including paintings and collage, but she is best known for her colorful watercolors. Her most common subjects are whimsical, playful, and elongated figures, which often fill the entire composition. Phyllis Kind began representing both Gladys and Jim Nutt in 1969 and, in 1973, Gladys became the first member of the Hairy Who and one of the first ever female artists to have a solo exhibition at the Whitney Museum of American Art in New York. Her work is in the permanent collections of museums across the world including the Art Institute of Chicago, the Museum of Contemporary Art (Chicago), and the Yale University Art Gallery. She is currently a professor at the Art Institute of Chicago.

Isamu Noguchi (American, 1904-1988) Isamu Noguchi was born in 1904 in Los Angeles to a Japanese father and an American mother. While a pre-med student at Columbia University, Noguchi took evening sculpture classes on New York’s Lower East Side with mentor Onorio Ruotolo. In 1926, Noguchi saw an exhibition of the work of Constantin Brancusi that profoundly affected him. Noguchi won a Guggenheim Fellowship to work in Brancusi’s studio in Paris from 1927 to 1929. Brancusi’s reductive forms inspired Noguchi whose sculpture turned more modernist and abstract yet full of emotion. Noguchi began to create huge pieces combined of natural mediums like stone, wood, and marble as well as water and light. In addition, Noguchi designed furniture and paired sculpture and landscape architecture, developing environmental art and earthworks (Play Mountain, 1933) along with stage sets, gardens, and murals. In the 1930s, Noguchi sculpted numerous head portraits and busts in bronze and terra cotta. Among his subjects were Martha Graham, George Gershwin, and Buckminster Fuller. This “realistic” work supported him financially while he otherwise emphasized abstraction. Noguchi designed the bas-relief News (1938-1940) for the entrance to Rockefeller Center’s Associated Press Building. Other public sites for sculptures by Noguchi are gardens for the UNESCO Building at the United Nations, the Beinecke Rare Book and Manuscript Library at Yale University, bridges in Hiroshima, and gardens elsewhere in Japan. For the last two decades of Noguchi’s life, he spent half of each year on the Japanese island of Shikoku, working exclusively in stone. Noguchi’s studio in Shikoku became a museum in 1999. Noguchi is now regarded as one of the 20th century’s most important and critically acclaimed sculptors. His work is at once subtle and bold, much like the merging of Japanese and American cultures, and he bridged traditional and modern styles.

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Ed Paschke (American, 1939-2004) Ed Paschke was born in 1939 and raised in a middle-class family on Chicago’s North Side and in its northern suburbs. Paschke, who was sometimes referred to as “Mr. Chicago,” is one of the city’s most beloved and recognizable artists. Along with Roger Brown, Jim Nutt, and Karl Wirsum, Paschke is considered a preeminent Chicago Imagist. Paschke was interested in art from an early age and especially fascinated with comic books. Throughout his youth, he devoted himself to various creative pursuits. In 1961, he earned a BFA from the School of the Art Institute of Chicago. Throughout the 1960s, Paschke’s early work was heavily influenced by pop culture and mixed scenes from television, cartoons, magazines, tattoos, the circus, and even Mexican wrestling. By the 1970s, his palette had become increasingly neon and his subjects were generally lone figures floating over fields of solid color. Quite often, Paschke’s subjects in the 1970s and 1980s were street hustlers, burlesque dancers, and others at the margins of society in Chicago. During his own lifetime, Paschke was a local celebrity and recognized around Chicago at sporting events, bars, and restaurants. He passed away in 2004 from heart failure. One year after his death, a section of Monroe Street in downtown Chicago was named “Honorary Ed Paschke Way.” In 2014, the Ed Paschke Art Center opened on the North Side of Chicago to help preserve his artistic legacy. Paschke’s paintings are in private collections and museums around the world, including the Art Institute of Chicago, the Museum of Contemporary Art (Chicago), Brooklyn Museum (New York), Musée D’Art Moderne Nationale (Paris), and Centre Georges Pompidou (Paris).

Edgar Payne (American, 1883-1947) Although Edgar Payne was born in Cassville, Missouri in 1883, he grew up across the border in Prairie Grove, Arkansas. His father was a carpenter and Payne learned that trade along with painting. To support himself, Payne took regular trips around the country to paint houses, murals, portraits, and stage sets. He briefly enrolled at the Art Institute of Chicago but found the curriculum too structured, so he opted to teach himself.

In his mid twenties, Payne ventured to California, making extended stops to paint landscapes in Laguna Beach and San Francisco; in the latter city, Payne met his future wife, fellow artist Elsie Palmer. Both Payne and Palmer returned to Chicago and the couple married in 1912. Together they were active members of the local art scene. Payne set up a studio downtown and soon exhibited at the Art Institute. In 1914, the couple welcomed a daughter named Evelyn. Soon thereafter, the family returned to San Francisco and Payne began to paint extensively in Northern California. This included a trip to the Sierra Nevada Mountains, considered by many Payne’s most famous subject. From 1917 to 1929, Payne was awarded a large commission to paint several scenes of the Southwest along the Sante Fe Railroad. Through Payne’s effort, the railroad increased greatly in popularity. In the early 1920s, Payne and Palmer went to Europe on a painting excursion, which was highlighted by a visit to the Alps, where Payne rendered Mont Blanc. During the Great Depression, the couple moved around America often and ultimately separated in 1932.

Payne then settled in Los Angeles but spent much of his time painting in the Sierra Nevadas. He produced a documentary about the mountains and wrote a guide on outdoor painting as well. In 1946, Payne developed cancer and Palmer returned to care for him until his death the following year. Today there is a place high in the Sierra Nevadas named Payne Lake to honor the painter who dedicated himself to representing the landscape’s rugged beauty.

Mimmo Paladino (Italian, b. 1948) Born in Paduli, Campania in southern Italy in 1948, Mimmo Paladino was raised and studied in Benevento, where he still keeps a studio. During his boyhood, Paladino was profoundly affected by his initial exposure to American Pop art on a visit to the 32nd Venice Biennale in 1964. His first exhibition of paintings was in 1968 in Naples. Paladino focused on photography and conceptual art to start the 1970s, but he gradually returned to painting. His manifesto composition, Silently, I Am Retiring to Paint a Picture, was presented in a gallery with painted walls to provide a fully immersive experience and announce his desire to break from past conventions. Following a move to Milan, Paladino exhibited more widely and took part in international tours with young Italian artists like Luigi Ontani, Francesco Clemente, and Nicola De Maria. In the early 1980s, Paladino began producing sculpture and engravings. Yet even when his three-dimensional works seem overtly geometrical, they have a representational quality. More recently, Paladino has continued to create works in his preferred forms, but he also experimented with landscape architecture and art in tandem at the Hortus Conclusus garden in Benevento in the early 1990s. After 2000, Paladino has even explored the possibilities of video and music in relation to visual art. Truly an eclectic practitioner, Paladino remains an artist on the cutting edge.

Charles Rohlfs (American, 1853-1936) Charles Rohlfs was born in 1853 in Brooklyn, New York and learned woodworking from his cabinetmaker father. At age 14, Rohlfs began studying design at Cooper Union and quickly excelled. After completing his training, Rohlfs did sand-casting patternwork for foundries before taking an extended hiatus to pursue his acting dream. In 1877, Rohlfs met his eventual wife, Anna Katharine Green, who went on to become a novelist of some renown. While Rohlfs never broke through as an actor, his wife’s professional success afforded him the luxury of channeling his design talents more creatively. In 1887, the couple moved with their three children from New York City to Buffalo, where Rohlfs worked for a stove manufacturer. After a trip to Europe in 1890, Rohlfs began to produce dramatically carved “artistic furniture” with his trademark sign-of-the-saw imposed over the letter ‘R.’ When demand grew, Rohlfs opened his own shop in 1897 and hired the best woodcarvers he could from nearby factories. Although often associated with Art Nouveau or Arts and Crafts, Rohlfs would resist definitive categorization given his eclectic vision and insistence on generating unique, limited lines. Not only did Rohlfs let wood grain dictate how he would carve a given piece, but he also took liberty to embellish furniture with pronounced swirls. For instance, the writing desk and chair he made for Marshall Field & Co. in Chicago in 1899 were elaborate with high, slender profiles. Unusual designs such as these did not sell well generally, but they did boost Rohlfs’ reputation among the arbiters of taste in America and Europe alike. Until he stopped commercial production in 1907, Rohlfs was highly sought after as a designer of specialized furniture for private homes and clubs in the Buffalo area as well as the Adirondacks. He spent the latter part of his career active in local business and social circles. The last known item that Rohlfs wrought by hand was a lamp to memorialize his son’s passing in a plane crash.

Rohlfs himself passed away at age 83 in 1936.

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The Roycrofters (1895-1915) In 1895, Elbert Hubbard founded the Roycroft reformist community in East Aurora, New York, just outside of Buffalo. Members were called Roycrofters. Although the appellation derived from two printers from the group, Samuel and Thomas Roycroft, Hubbard chose it intentionally to connote “King’s Craft.” He wanted to recreate a modern-day version of the guilds of early modern Europe with skilled craftsmen of various types. Hubbard had originally come up with the idea for the Roycroft community on a visit to England, where he was influenced by Arts and Crafts pioneer William Morris. Back in America, Hubbard followed Morris’ lead and set up his own Roycroft Press to put out his manuscript Little Journeys (1916), a compilation of imagined visits to the men and woman 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 hands, head, and heart in harmony. They mixed play with work to make labor less taxing. By 1910, there were nearly 500 Roycroft members. Elbert Hubbard and his wife Alice died when the RMS Lusitania sank in 1915. This also marked the beginning of the end of the Roycroft community. The Hubbards’ son Bert took over briefly, but despite brokering an agreement for Sears & Roebuck to carry Roycroft furniture, the community soon became insolvent. Today fourteen 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.

Charles Green Shaw (American, 1892-1974) Charles Green Shaw was born into a wealthy family in New York in 1892, but he was orphaned during childhood. After graduating from Yale University, Shaw studied architecture for one year at Columbia University. However, throughout the 1920s, Shaw became a successful freelance writer for The New Yorker, Vanity Fair, and other publications. His area of focus was cultural happenings around town. Shaw also produced poetry and novels during this period. Once he took classes at the Art Students League, Shaw became a proponent of abstract art. He began to paint more during a stay in Paris in the early 1930s. Moving from Cubism to a simple, geometric style, Shaw developed a series of cityscapes with skyscrapers called Manhattan Motifs, which led to the irregularly shaped canvasses that he referred to as “plastic polygons.” Later in the 1930s, Shaw exhibited his burgeoning abstract oeuvre at various galleries in New York and Paris. Along with common painting materials, Shaw explored the potential of wood relief works. He hoped to open abstract art to three dimensions and consequently generated exploded views of various shapes. While continuing his artistic and critical efforts to expand the reach of abstract art, Shaw branched out into photography and children’s books. In the 1950s, Shaw gravitated toward Abstract Expressionism, but his style again grew more minimal, yet graphically inclined, in the 1960s up to his death in 1974. His works today are part of various important collections, including those at the Art Institute of Chicago and the Guggenheim Museum and the Metropolitan Museum of Art in New York.

Gustav Stickley (American, 1858-1942) Gustav Stickley was born in 1858 in Wisconsin to German immigrant parents. At age 12, he earned his journeyman’s license in stonemasonry; at 17, he got a job in his uncle’s chair factory, where he realized that he had a passion and aptitude for woodworking. Later he started his own furniture business, the Stickley Furniture Company, 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, Stickley sought a return to simplicity and hand-wrought pieces. Inspired by the Arts and Crafts ideas 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. To promote his design ethic and advertise his furniture, Stickley launched a magazine called The Craftsman (1901-1916). Among various topics, he 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” (meaning “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 twentieth 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.

Paul Storr (English, 1770-1844) Paul Storr was the most accomplished Neoclassical silversmith and goldsmith during the Regency period in England in the first half of the nineteenth century. Born in London in 1770, Storr apprenticed in the silver trade before forming a brief partnership with William Frisbee in 1792 in Soho. Storr subsequently began to work on his own and apply a signature PS mark to the various pieces that he made. He created a gold font for the Duke of Portland in 1797 and the “Battle of the Nile Cup” for Lord Nelson in 1799. After marrying Elizabeth Beyer in 1801, Storr caught the attention of Philip Rundell of the prestigious silver firm, Rundell, Bridge, and Rundell, in 1803. Storr held out for four years before agreeing to work together. While lucrative, Storr eventually found the partnership uninspiring artistically, so he left to reopen his own shop in 1819. Storr collaborated with John Mortimer in 1822 to launch a retail storefront on New Bond Street. Over time, Storr’s reputation grew and the quality of his craftsmanship was such that he was commissioned to produce silver items for many royal palaces throughout Europe. His work became a personal favorite of both King George III and King George IV. Storr retired to Tooting in 1838 and died there in 1844.

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Louis Sullivan (American, 1856-1924) Considered the father of modern American architecture, Louis Sullivan was born in 1856 in Boston, Massachusetts into an Irish/Swiss family.

Sullivan finished high school early and gained advanced standing at MIT. After studying architecture for one year, he moved to Philadelphia to work under architect Frank Furness. When a poor economy forced Furness to let Sullivan go, he moved to Chicago in 1873 to help rebuild the city after the Great Chicago Fire of 1871. After studying for a year in Paris, Sullivan returned to Chicago to work as a draftsman at the firm of Johnston & Edelman and helped design the Moody Tabernacle. Dankmar Adler hired Sullivan away in 1879 and the pair began their famous partnership, which led to the mentoring of many influential architects, including Frank Lloyd Wright. Initially, Adler & Sullivan drew acclaim for building theaters across America. The Auditorium Building (1886-1990) in Chicago was a mixed-use facility ahead of its time. The 1890s saw the construction of other famous projects: the Chicago Stock Exchange Building (1894), the Guaranty Building (1895–1896) in Buffalo, New York, and the Carson Pirie Scott Department Store (1899-1904) in Chicago. Sullivan was a visionary with regard to implementing newly mass-produced steel and created a modern visual lexicon that set American architecture apart. At the turn of the 20th century, Sullivan expressed his theory that “form follows function.” Despite this precept, Sullivan would frequently adorn buildings with stylistic flourishes drawing on the natural world or geometric designs inspired by Irish folk art. Sullivan was also known for his tendency to frame doors and windows with arches. In the 1890s, despite international appreciation, Sullivan’s place in the world of architecture was already starting to become less secure. His work on the “White City” in the World’s Columbian Exposition in Chicago in 1893 was panned by his contemporaries for not conforming to the all-white Beaux-Arts standard. Adler & Sullivan also struggled to land many large projects as the decade progressed. In the early 20th century, Sullivan designed mostly smaller-scale projects, which included several commercial buildings and banks throughout the Midwest. Sullivan also wrote multiple books on his design theories up to his death in Chicago in 1924.

Teco, Fritz Albert (1865-1940), designer Born in Alsace-Lorraine in 1865, Fritz Wilhelm Albert emigrated to America and ultimately became one of the very finest designers of Teco Pottery. His designs have consistently brought significant sums at auction. Albert worked under the employ of William Day Gates. In 1881, Gates founded the American Terra Cotta Tile and Ceramic Company in Terra Cotta, Illinois, close to Crystal Lake, about 50 miles northwest of Chicago.

In addition to producing the first architectural terra cotta in America, especially for Prairie School building projects, Gates also developed various clays and glazes for art pottery. Teco, which is a contraction of ‘Terra Cotta,’ soon became synonymous with excellence in decorative design in the Arts and Crafts style. Although Teco comes in a range of colors and glazes, the rich, matte green glaze is the most distinctive and prized of all. Teco Pottery usually favors simple geometrical or natural designs that highlight a given form. Gates eventually turned over control of the Terra Cotta Company to his son Major. The firm later expanded to Indianapolis and Minneapolis, but these operations were purely industrial in nature.

With Gates’ retirement, the production of art pottery largely ceased.

Louis Comfort Tiffany (American, 1837-1933) / Tiffany Studios Born in New York City in 1837, 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, 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 in relative obscurity. In the decades that followed, Tiffany came 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, the Smithsonian Institution, Tokyo’s Imperial Museum, and many other notable museums. His stained-glass windows are still found in many of America’s oldest colleges and universities, including Yale, Harvard, and Columbia.

Harold Town (Canadian, 1924-1990) Harold Town was born in Toronto, Ontario in 1924. Town trained at the Ontario College of Art and after college he worked as a commercial artist and illustrator before working full time as a fine artist. In 1953, at the age of 29, he joined a group of Canadian avant-garde artists that became known as the Painters Eleven. Town coined the name of the group, which represented the eleven artists at their first group meeting. It was also a response to the Group of Seven, the famous group of Canadian landscape painters, which included Lawren Harris and A.Y. Jackson. Town had his first solo exhibition only one year after joining the Painters Eleven. In 1956, he was chosen to represent Canada at the Venice Biennale.

Town was an accomplished artist in a variety of media including paintings, prints, drawings, and collage. He was a pioneer of Canadian abstract painting and is today viewed as one of the most important Canadian artists of the 20th century. His work is in museum collections around the world including the Solomon R. Guggenheim Museum (New York) and the Museum of Modern Art (New York). Harold Town died in Ontario in 1990.

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Samuel Yellin (American, 1884-1940) In 1884, Samuel Yellin was born into a Jewish family in Mohyliv-Podilskyi, Ukraine, then part of the Russian Empire. He apprenticed as an ironsmith from age 11 to 16. Soon he emigrated to America and settled in Philadelphia with his family. In 1906, Yellin began studying at the Philadelphia Museum School of Industrial Art. So adept was Yellin that he would progress to teaching classes at the school months later. In 1909, Yellin opened a metalsmith shop, which went from fledgling to highly accomplished in no time. When Philadelphia experienced a building boom in the 1920s, Yellin had well over 200 skilled workers, including many European artisans, available to take on projects. Yellin had a unique ability to respect tradition and encourage innovation. After Yellin died in 1940, his son Harvey kept the shop open for several years. During his life, Yellin was honored by the Art Institute of Chicago, the American Institute of Architects, and other bodie­­­s for his design excellence.

H.C. Westermann (American, 1922-1981) Born in 1922, Horace Clifford Westermann was raised in Los Angeles, California. He served as a Marine in both World War II and the Korean War. Westermann studied at the Art Institute of Chicago and he supplemented his income by working as a woodworker and carpenter. His involvement with and love for the craft of woodworking led him to working full time as an artist. He produced works in a variety of media, including paintings, woodcuts, drawings, and collage, but he is best known for his highly detailed and impeccably finished wood sculptures and constructions. During his life, Westermann never explained the meaning behind his works, but it is clear that he was heavily influenced by his wartime experience and by his personal feelings on the human condition. His output was a great influence on artists from the 1960s and 1970s, including the Chicago Imagists and California Funk artists William T. Wiley and Ken Price. Major retrospectives on his oeuvre have been held at museums across the world, including the Los Angeles County Museum of Art, the Museum of Contemporary Art (Chicago), the Whitney Museum of American Art (New York), and the Hirshhorn Museum and Sculpture Garden (Washington D.C.). Westermann died in Danbury, Connecticut in 1981 at the age of 58.

Grant Wood (American, 1891-1942) Grant Wood was born in 1891 near Anamosa, a small town in eastern Iowa. At age 22, he moved to Chicago, where he studied briefly at the School of the Art Institute, worked as a silversmith at the Kalo Shop, and co-founded the Volund Crafts Shop with Kristoffer Haga. Wood had to drop out of the Art Institute because he was unable to find work to pay his expenses. Soon he returned to Iowa when a friend from Cedar Rapids offered Wood money to relocate permanently. Wood’s mother was in ill health, so he supported her and his sister by teaching grammar school. Wood also pursued his art, producing early paintings in an Impressionistic style as well as drawings, ceramics, and other media. After multiple trips to Europe, Wood experienced a breakthrough studying the work of the Northern Renaissance, in particular, paintings by German and Flemish masters of the 15th century whose work inspired Wood to move toward realism to render the rural people and places that he felt were underrepresented in the art of his day. In 1930, Wood painted American Gothic, which shows an older farmer with a pitchfork and a younger woman beside him with a Gothic Revival-style cottage in the background. This now iconic work immediately won a $300 prize and was exhibited at the Art Institute of Chicago (where it remains a part of the permanent collection). Wood grew relatively famous overnight and became much in demand. In 1932, he founded the Stone City Art Colony near Cedar Rapids and joined the University of Iowa as a member of its art faculty in 1934. Working for the Public Works of Art Project, Wood became a major proponent of American Regionalism, outlining his philosophy in the essay, “Revolt Against the City.” After being single most of his life, Wood quickly married a woman named Sara Maxon in 1935. His friends worried about their union because Wood was homosexual. Divorcing in 1939, Wood was also charged with tax evasion by the IRS. Wood took leave from teaching in 1940 since the faculty no longer favored Regionalism. Before long, he developed pancreatic cancer and died a day before turning 51.

Frank Lloyd Wright (American, 1867-1959) Frank Lloyd Wright was born in 1867 in Richland Center, Wisconsin. At age 15, he began studying engineering at the University of Wisconsin.

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 built his own house and studio from 1889 to 1895. By 1900, Wright had built sixty homes in the area in what became known as the Prairie Style, which privileged horizontal, asymmetrical structures rising naturally from the environment comprised of straight lines and geometrical patterns. Between 1905 and 1908, Wright also built the distinctive Unity Temple for his local Unitarian parish in Oak Park. Growing bored with convention, Wright left for Germany with his mistress Mamah Borthwick Cheney in 1909. Upon their return, they moved to Wright’s ancestral land in Spring Green, Wisconsin, where Wright built his famed estate, Taliesin. In 1914, disaster struck when a disgruntled male servant started a fire during lunch and killed seven people, including Mrs. Cheney and two of her children. Because Wright tended to design 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 despite his grief, rebuilding Taliesin over the next decade. He even remarried to Mariam Noel in 1922. During the Depression, Wright became a social visionary and gradually regained his grand status. He lectured widely and started the Taliesin Fellowship, which brought students to study with Wright and work off their debt. In later years, Wright spent a great deal of time in the American Southwest. In 1959, at age 92, he died at his home in Phoenix, Arizona. By the time of his death, Wright had become internationally recognized for his innovative building style. Today he is arguably the most famous American architect and Wright’s 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.

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LATE PAYMENT / DEFAULT Any payment not made within 10 days after its due date shall be considered delinquent and shall constitute a default on the part of buyer with respect to its obligations under these Terms & Conditions. In such event, Toomey & Co. Auctioneers shall be entitled at its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available to it by law): (i) to charge interest at such rate as Toomey & Co. Auctioneers shall reasonably decide; (ii) to hold the defaulting buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees, and costs to the fullest extent permitted under applicable law; (iii) to cancel the sale; (iv) to resell the property publicly or privately on such terms as Toomey & Co. Auctioneers shall deem fit; (v) to set off the outstanding amount remaining unpaid by the buyer against any amounts that Toomey & Co. Auctioneers may owe the buyer in any other transactions; (vi) to reject at any future auction any bids made by or on behalf of the buyer or to require a deposit from the buyer before accepting any bids; and (vii) to take such other action as Toomey & Co. Auctioneers deems necessary or appropriate.

STORAGE FEES Toomey & Co. Auctioneers may impose a storage fee of $5.00 per day per lot beginning on day 31 to be paid by buyer for any lot or item not collected by buyer within 30 days after the sale unless other prior arrangements have been made. Buyer agrees that Toomey & Co. Auctioneers shall have no liability for any damage to property left on its premises after such 30-day period.

OUR GUARANTEE Toomey & Co. Auctioneers guarantees the authenticity of that portion of the description of each lot as set out in bold type in the catalog, as amended by oral or written salesroom notes or announcements, which guarantee is in effect for 30 days after the auction in which the item is sold. Said guarantee does not apply to those lots listed as “in the style of,” “attributed to,” “the school of,” “in the manner of,” or “after.” Toomey & Co. Auctioneers is not responsible for errors or omissions in the catalog or in written or oral condition reports. All measurements are approximate. Toomey & Co. Auctioneers makes every effort to accurately describe its merchandise, but in the event errors occur, Toomey & Co. Auctioneers shall not be held responsible. It is solely the responsibility of the bidder to be well informed before bidding. Bidding in our auctions indicates your acceptance of these terms and any terms announced the day of the sale.

Ceramics: Please request condition reports prior to bidding.

Furniture: Furniture is described to the best of our ability. The wood is usually oak, unless otherwise stated. The furniture is old and over the years has acquired or developed dents, drink rings, separations, burns, chips, and assorted flaws — only those considered objectionable will be mentioned. n Fine Jewelry and Watches: Precious gems and metals will be tested and are guaranteed genuine as described. Gemstone quality will be described if not normal. Weights and measurements are approximate. Obvious and objectionable repairs or alterations are noted. Watches are the original factory product unless otherwise indicated. Original dials and overall watch condition will be noted on important pieces. Watch functions and accurate timekeeping are not guaranteed. The condition, age, originality, and quality of all items are evaluated using industry standards, and any questions should be asked prior to the sale. Jewelry and watches are sold as collector’s items. Therefore, everyday use should be evaluated on an item-by-item basis. n Lamps, Clocks, and Electrical Items: Lamps will be described based on patina and condition of any glass. Leaded lamps may have cracked segments. Some parts may have been replaced over the years, and this will be mentioned if determined to be objectionable. Shades with mica may contain minor flaking or burn spots, and these will be mentioned if determined to be objectionable. Lamps, clocks, and other electrical items are offered only for their decorative value. They are not represented to be in working order. n Metalwork: Metalwork will be described based on patina and the condition of the object. Dents, scratches, wear, and assorted flaws will be mentioned if determined to be objectionable. n Art Glass: Art glass may sometimes contain air bubbles and/or have surface scratches, lines in the making and chips to the pontil. Anything determined to be objectionable will be mentioned. Some glass may be ground at the factory, causing minor chips or flakes. This will be mentioned if determined to be excessive. Discoloration on the interior usually is present when originally produced and will not be noted unless determined to be excessive. n Paintings, Drawings, Prints, and Bronzes: Each object is guaranteed to be an authentic work by the artist listed. Any and all information listed in the catalog not printed in bold type should be considered as being to the best of our knowledge, is merely our opinion, and is not guaranteed to be correct. Every effort is made to ensure that all artwork is authentic and is represented accurately. If the authenticity of a purchased object is contested, it must be made known to us within 30 days of the sale in which the object was purchased as follows: a written letter from a noted authority provided to us, declaring the object to be executed by someone other than the artist listed. This authority may not have any vested interest in the artist’s work or the estate of the artist. The object must be returned to us in the same condition in which it was purchased. If it is determined that a piece is not authentic, only the purchase price may be refunded; there will be no compensation for damages, loss of profit, professional fees, transportation, or any other costs. If a painting is excessively dirty, we will attempt to note it in the description; however, we do not consider the normal darkening of varnish over time problematic, and accordingly any such darkening will not be noted in the description. n n

FRAMES Every effort is made to protect the frames included with these lots during pre-auction storage and post-auction shipping; however, Toomey & Co. Auctioneers shall not be responsible for any damage to frames, and no refunds will be granted due to frame 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 of most domestic purchases. Domestic shipping estimates (not including the cost of insurance) may be obtained prior to the auction by providing us with a full shipping address and the number(s) of the lot(s) you are interested in purchasing; quote requests must be received no less than three business days prior to the auction date. All 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 specified. All items are shipped fully insured, unless the buyer provides a signed waiver of such insurance. A buyer making his or her own shipping arrangements is required to provide an authorization/release in writing to Toomey & Co. Auctioneers regarding the release of the item(s) to such third-party shipper. Toomey & Co. Auctioneers is not responsible for any damage to items caused by shippers; all such claims must be settled between the buyer and the shipper. Delivery and shipping fees shall be payable by the buyer and are NOT refundable. Buyers requiring shipping internationally are responsible for obtaining pre-auction estimates for such service(s) and for making shipping arrangements directly with the third-party shipper. Contact the shipping department for a list of recommended shippers.

JURISDICTION Buyer agrees that the state and federal courts in Cook County, Illinois shall have exclusive jurisdiction over all matters arising out of buyer’s purchase of items from Toomey & Co. Auctioneers and that service of process in any such proceeding shall be deemed effective if mailed to buyer at buyer’s address last provided to Toomey & Co Auctioneers.

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ARTIST INDEX Abercrombie, Gertrude - 42, 43, 44, 45

Paladino, Mimmo - 65

Albert, Fritz - 34

Paschke, Ed - 67

Arneson, Robert - 50, 51, 52

Payne, Edgar - 22

Bianconi, Fulvio - 61

Rohlfs, Charles - 5, 6

Bradstreet, John Scott - 11

Scheier, Edwin - 57

Burgess, Ida Josephine - 4

Shaw, Charles Green - 41

Cabat, Rose and Erni - 46

Spratling, William - 49

Calder, After Alexander - 62

Stickley, Gustav - 15

Crook, Russell - 27

Storr, Paul - 1

Curtis, Edward Sheriff - 12

Sullivan, Louis - 7

Daum - 26

Teco - 34

Evans, Paul - 59

The Kalo Shop - 24, 35, 36

Flood, Ed - 60

The Roycrofters - 21

Frishmuth, Harriet Whitney - 3

Tiffany Studios - 17, 29, 30, 31, 32

Fulper Pottery Co. - 25

Tiffany Studios / Grueby Faience Company - 19

Greene, Charles Sumner and Henry

Town, Harold - 56

Mather - 10

Valentien, Albert Robert - 2

Grueby Faience Company - 13, 14

van Erp, Dirk - 33

Haring, Keith - 63, 64

Vignelli, Massimo - 55

Hassam, Childe - 20

Westermann, H.C. - 48

Hunt, Richard Howard - 66

Wiinblad, Bjorn - 53

Jeanneret, Pierre - 39, 40

Winn, James H. - 23

LeWitt, Sol - 47

Wood, Grant - 18

Moorcroft - 28

Wright, Frank Lloyd - 8, 9, 37, 38

Nilsson, Gladys - 54

Yellin, Samuel - 16

Noguchi, Isamu - 58

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

ABSENTEE AND TELEPHONE BID FORM Client #:

Auction Date:

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Telephone Bid

o

Absentee Bid

Name: Billing Address: City: State: Zip: Telephone: Email: Shipping Address: Lot #

Description

Top Bid

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

Increment $250 $500 $1,000

Lot #

Description

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

Top Bid

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

This form is a legally binding contract. By signing below, the bidder agrees to our TERMS & CONDITIONS.

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

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