Tradition & Innovation | December 3, 2020 | Toomey & Co. Auctioneers

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Tradition Innovation

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Tradition Innovation Thursday, December 3, 2020 6 PM CST

Preview: Auction preview will take place by appointment, pending local shelter ordinances.

Please contact us directly for the latest information and to schedule an appointment. at Toomey & Co. Auctioneers 818 North Boulevard Oak Park, Illinois 60301 (708) 383-5234 info@toomeyco.com www.toomeyco.com

The lots in Tradition & Innovation come from various estates and private collections across the United States, with the Midwest, West Coast, Mountain West, and Northeast well represented.

Included in the sale are lots from many sources, including the following:

The Collection of Ernest and Marjorie Briskey, Madison, Wisconsin The Estate of Don Magner, New York, New York The Collection of Timothy Pearson The Paul & Terry Somerson Collection of 20th and 21st Century Metalwork and Jewelry

IL Lic. #444000195, #441001663, #441001222, #441001454

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Tradition Innovation Toomey & Co. Auctioneers is pleased to present Tradition & Innovation, our annual 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 participate in thousands of auctions, gallery events 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. We 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 Edward Willis Redfield (American, 1869-1965) Overlook at Boothbay Harbor, Maine, circa 1930 oil on canvas signed lower left E.W. Redfield 26” x 32” $70,000-90,000 Catalog Note: This painting has been authenticated by art historian Dr. Thomas C. Folk. It will be included in his upcoming catalogue raisonné on Edward Redfield.

An important American landscape artist, Edward Redfield trained with Thomas Anschutz at the Pennsylvania Academy of the Fine Arts in Philadelphia, where he met Robert Henri. They became lifelong friends and traveled to Paris to study at Académie Julian and the École des Beaux-Arts. This lively scene of Boothbay Harbor on the coast of Maine in the fall engages the viewer with its active handling of the water, thick with spontaneous brushwork and intense color. By 1930, Boothbay Harbor had been Redfield’s summer home for many years. One may see his fondness for the region in this refined and rustic painting, a striking example of American Impressionism.

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2 Roberta Beverly Kennon (1877-1931) for Newcomb College Grapevine vase New Orleans, Louisiana, 1902 (P62) high glazed ceramic glazed marks a large and impressive vase with a beautiful and crisp decoration 9 1/2�dia x 13 1/2�h $10,000-20,000

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3 Joseph Kleitsch (American, 1882-1931) Artist’s Paradise (Laguna Beach) oil on canvas signed lower right, titled verso 26” x 30” $20,000-30,000 Provenance: Private Collection, Chicago, Illinois

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Catalog Note: California Impressionist Joseph Kleitsch started painting at age seven with early scholarships supporting his interest. Continuing his training in Budapest, Munich and Paris, he soon became a desired portrait artist.

Eventually making his way to Chicago, he taught at the School of the Art Institute from 1914 to 1919. As his career was flourishing, he and his wife Edna moved to Laguna Beach, California in 1920, starting the Kleitsch Academy. This change of region and landscape enhanced his working method. The color, light and expanse can be seen in Artist’s Paradise (Laguna Beach). With a high horizon line of rolling hills, the sun highlights the luminous topography. The trees and brush quietly gather the viewer’s attention, with suggestive brushstrokes separating the dark branches from the light. Below one can see figures sitting on a bench in front of the house. It does indeed look like paradise.

4 Tiffany Studios Roman table lamp New York, New York dore bronze, leaded glass shade stamp marked Tiffany Studios New York 1564; base stamp marked Tiffany Studios / New York / 529 an impressive large form with great glass and patina 25�dia x 31�h $20,000-30,000 Provenance: Private Collection, California

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5 The Roycrofters, Dard Hunter (1883-1966), designer and maker important table lamp East Aurora, New York, circa 1907 oak, leaded glass, copper signed with orb 18 3/4”sq x 25”h $15,000-25,000 Provenance: The Estates of Vera Parry and Judith Parry Gregorio, Buffalo, New York Thence by descent Catalog Note: This lamp — probably originally gas — is referred to as an Emerson Hall table lamp, although there were some variations of this form not from Emerson Hall at the Roycroft Campus.

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A 1914 photograph of Alice and Elbert Hubbard in their office with a similar lamp.

6 Gustav Stickley (1858-1942) early serving table, #970 Eastwood, New York oak, iron unmarked exceptional example of this desirable form 41 3/4”w x 20 1/2”d x 38”h $20,000-30,000 Provenance: Treadway Toomey Auctions, Oak Park, Illinois, 03 December 2000, Lot 421

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A period photograph from The Craftsman, XII, 1907 of Frederick Hurten Rhead in his Arequipa studio.

7 Arequipa Pottery / Frederick Hurten Rhead (1880-1942) vase Fairfax, California, 1912 squeeze-bag decorated and glazed ceramic hand-painted mark This is an impressive example by this important Arts & Crafts potter.

5�dia x 7 3/8�h $10,000-20,000

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8 Elizabeth Eaton Burton (1869-1937) Grape Leaf hanging light fixture Santa Barbara, California hammered and perforated copper overall: 24 1/2�dia x 35�h $10,000-20,000 Catalog Note: Elizabeth Eaton Burton is an important artist and designer from the American Arts & Crafts Movement in the early 20th century. She was known for her skill with innovative lighting designs that incorporate organic naturalistic forms, which is well exemplified in this Grape Leaf hanging light fixture.

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9 Ruth Erickson (b. 1883) for Grueby Faience Company Double Gourd vase Boston, Massachusetts carved green glazed ceramic impressed mark and incised signatures exceptional glaze and crisp carving 9�dia x 16 3/4�h $8,000-12,000

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10 Charles P. Limbert Co. café chair, #500 Grand Rapids, Michigan oak, upholstery, brass unmarked but numbered 26”w x 22”d x 34 1/4”h $4,000-6,000 Provenance: Treadway Toomey Auctions, Oak Park, Illinois, 03 December 2000, Lot 106 Catalog Note: A similar design to Limbert’s café chair, #500 is found in Charles Rennie Mackintosh’s Willow Tearooms, which opened in 1903, at 119-121 Sauchiehall Street, Glasgow, Scotland.

11 Charles P. Limbert Co. early double oval table, #158 Grand Rapids, Michigan oak marked with paper label, Grand Rapids and Hollands This form is rarely seen in the dark finish.

48”w x 36”d x 30”h $4,000-6,000

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12 Charles P. Limbert Co., shade attributed to Forest Emerson Mann (1879-1959), designer table lamp, #7 Grand Rapids, Michigan, circa 1910 oak, copper, mica, brass branded signature 24”w x 16”d x 18 1/2”h $20,000-30,000

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The necklace and bracelet featured here are some of the finest examples of Kalo jewelry we have offered. Each element has multiple sections of inset blister pearls, along with intricately applied flowers, stems and leaves throughout.They are truly epitomes of the workshop’s oeuvre.

13 The Kalo Shop tiered pendant necklace Chicago, Illinois sterling silver, blister pearls stamped marks 35.2 dwts tiered pendants: 1 3/8”w x 3 1/4”h; chain: 19 3/4”l $6,000-8,000 Provenance: The Paul & Terry Somerson Collection of 20th and 21st Century Metalwork and Jewelry Literature: Berberian, Rosalie, Creating Beauty: Jewelry and Enamels of the American Arts & Crafts Movement, Schiffer, 2019, p. 116 “... an elaborately worked necklace with a three-part pendant drop made up of angular plaques graduated in size, centering green-hued blister pearls set off by trillium blossoms and leaves. The ‘chain’ consists of similar plaques, two on each side.”

— Rosalie Berberian 14 The Kalo Shop linked bracelet Chicago, Illinois sterling silver, blister pearls stamped marks 38.3 dwts 1 7/16”w x 7 1/4”l $2,000-3,000 Provenance: The Paul & Terry Somerson Collection of 20th and 21st Century Metalwork and Jewelry Literature: Berberian, Rosalie, Creating Beauty: Jewelry and Enamels of the American Arts & Crafts Movement, Schiffer, 2019, p. 117 Evon, Darcy L., Hand Wrought Arts & Crafts Metalwork & Jewelry: 1890-1940, Schiffer, 2013, p. 60

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15 James H. Winn (1866-1940) pendant necklace on an original chain Chicago, Illinois 14K yellow gold, black opal, seed pearls, chrysoprase etched signature 7.2 dwts pendant: 1 1/8”w x 2 3/8”h; chain: 16 1/2”l $6,000-8,000 Provenance: The Paul & Terry Somerson Collection of 20th and 21st Century Metalwork and Jewelry Literature: Berberian, Rosalie, Creating Beauty: Jewelry and Enamels of the American Arts & Crafts Movement, Schiffer, 2019, pp. 102-103 Evon, Darcy L., Hand Wrought Arts & Crafts Metalwork & Jewelry: 1890-1940, Schiffer, 2013, p. 47 and dust jacket (back cover) Catalog Note: “... the pendant bears a resemblance to the railing of the lobby staircase landing at the Guaranty Building in Buffalo, New York, designed by the firm of Adler and Sullivan, the leading architects and designers of the Chicago School of architecture.

This necklace is an outstanding example of Winn’s technical mastery and artistic eye. It features wirework and stylized leaves centering a black opal with flashes of green fire, accented by green chalcedony drops that are suspended from an intricately designed wire chain.” — Rosalie Berberian 16 The Jarvie Shop pendant necklace on an original chain Chicago, Illinois sterling silver, chrysoprase stamped marks 5.7 dwts pendant: 13/16”w x 1 3/4”h; chain: 14 3/8”l $3,000-5,000 Provenance: The Paul & Terry Somerson Collection of 20th and 21st Century Metalwork and Jewelry Literature: Berberian, Rosalie, Creating Beauty: Jewelry and Enamels of the American Arts & Crafts Movement, Schiffer, 2019, p. 105 Evon, Darcy L., Hand Wrought Arts & Crafts Metalwork & Jewelry: 1890-1940, Schiffer, 2013, p. 171 Catalog Note: Jewelry by The Jarvie Shop is extremely rare and only three works have been found, this being one of the three known examples. The necklace is a wonderful transitional Arts & Crafts and Art Nouveau design, with a classic linked chain, indicative of the Chicago aesthetic of the period.

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17 Robert Riddle Jarvie (1865-1941) early Art Nouveau candlesticks, pair Chicago, Illinois, circa 1901-1903 bronze unmarked 6”dia x 14”h $4,000-6,000 Literature: These candlesticks may be seen in: Maher, Thomas K., The Jarvie Shop: The Candlesticks and Metalwork of Robert R. Jarvie, Turn of the Century Editions, 1997, p. 79 (Plate IX) Catalog Note: Thomas Maher noted in his book that Jarvie presented this model at the Minneapolis Arts & Crafts Exhibit in 1903.

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18 Jessie M. Preston (1873-1962) candlestick, #8 Chicago, Illinois bronze signed JMP and the Anderson foundry mark, impressed “No 8 candle stick” (base and bobeche), impressed “N10B” (bobeche) 7 1/2”dia x 13”h $2,000-3,000 Literature: This candlestick may be seen in: Maher, Thomas K., The Jarvie Shop: The Candlesticks and Metalwork of Robert R. Jarvie, Turn of the Century Editions, 1997, p. 122 (Plate XXX)

19 George H. Trautmann (1873-1955) table lamp Chicago, Illinois copper, leaded glass signed “G.H. Trautmann, Ravenswood, Chicago, Illinois” This rare example of lighting from an important Chicago metalsmith and jeweler bears exceptional craftsmanship and attention to every detail down to the pull chains.

16 1/2”dia x 23”h $8,000-12,000

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20 Frank Lloyd Wright (1867-1959) table lamp Chicago, Illinois, circa 1902 copper, mica, brass mesh metalwork by the James A. Miller Company This rare lamp is one of three known examples of this early design by Frank Lloyd Wright.

12”w x 12”d x 22 1/2”h $80,000-120,000 Provenance: Private Collection, California Catalog Note: The iconic historical photograph taken in 1902 (above) shows Wright’s urn, weed vase and lamp in the Octagonal Library at the Frank Lloyd Wright Home and Studio in Oak Park, Illinois.

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21 Dankmar Adler (1844-1900) & Louis Sullivan (1856-1924) for the Chicago Stock Exchange baluster Chicago, Illinois, circa 1893 copper-plated cast iron executed by Winslow Brothers Foundry 11”w x 1”d x 29 1/2”h (without base) $3,000-5,000 Provenance: Important Private Collector, Denver, Colorado Literature: Nickel, Richard, et al., The Complete Architecture of Adler & Sullivan (First Edition), Richard Nickel Committee, 2010, p. 177 Catalog Note: A similar example is held in the collection of the Metropolitan Museum of Art in New York City.

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22 Frank Lloyd Wright (1867-1959) for the Rollin Furbeck House capital for a colonnette Oak Park, Illinois, circa 1897 plaster cast 16 3/4”w x 8 1/2”d x 11 1/2”h $2,500-3,500 Catalog Note: In the mid 1990s, portions of the colonnettes from the Furbeck House were removed and replaced with reproductions.

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23 Teco, W.D. Gates (1852-1935) & Orlando Giannini (1860-1928), designers table lamp: shade on base, #500G Chicago, Illinois matte green glazed ceramic, leaded glass, zinc caming paper label, two impressed marks 20”w x 20”d x 20 1/2”h $60,000-80,000

Catalog Note: This lamp base was designed by W.D. Gates and the dramatic Prairie School shade was likely made by muralist and glassmaker Orlando Giannini. Gates and Giannini were good friends and frequent collaborators on other Teco lamps. The only other known example of this shade is at the Chicago Historical Society. This design is also reminiscent of the light fixtures designed by Marion Mahony Griffin (1871-1961) for the All Souls Unitarian Church in Evanston, Illinois.

Provenance: The Collection of Timothy Pearson

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24 George Washington Maher (1864-1926) for the Charles J. Winton House Poppy window, in the original frame Minneapolis, Minnesota, 1910 leaded glass, zinc, oak unmarked glass: 8’’w x 19”h; overall: 12”w x 25’’h $3,000-5,000

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Catalog Note: Maher implemented his “rhythm motif ” in important commissions, taking an organic element and using it as a theme throughout the home in textiles, furniture, windows and lighting. The poppy was one of Maher’s signature design motifs.

25 George Washington Maher (1864-1926) for the E.L. King House, “Rockledge” dining chair Homer, Minnesota, 1912 oak, leather, brass 19”w x 20 1/2”d x 41”h $6,000-8,000

Period photograph of the dining room of the E.L. King House, “Rockledge.”

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26 Louis Sullivan (1856-1924) The Christmas Spirit of Joy, drawn for Common Clay, 1923 Chicago, Illinois paper, graphite initialed and dated lower right 8 3/4” x 6 1/4” $20,000-30,000 Provenance: H.J. Lucas, President, Northwestern Terra Cotta Co., Chicago, Illinois Gift to Mr. William C. Muchow, Denver Terra Cotta Company, Denver, Colorado Thence by descent Literature: Common Clay, American Terra Cotta & Ceramic Company, December 1923 Catalog Note: “Louis Sullivan’s drawing, The Christmas Spirit of Joy, was created for publication in the American Terra Cotta & Ceramic Company’s journal, Common Clay. Featured in the Christmas 1923 issue, this is the celebrated modern architect’s last known drawing before debilitating illness led to his death in the following spring. A smaller version was printed and sent by Sullivan as his personal Christmas card.

Out of respect for Sullivan’s contributions to the terra cotta industry, the financially struggling architect was provided free office space in the Chicago branch of the American Terra Cotta & Ceramic Company during the last years of his life. The company would often assign Sullivan small projects, such as creating this Christmas greeting, as a respectful way of providing him with much-needed funds without the appearance of charity.

In addition to its significance as Sullivan’s last known drawing, it is also a rare example of the designs he created late in life as stand-alone demonstrations of his ornamentation and superb drawing skills. The Christmas Spirit of Joy is a sadly poignant coda that closely follows Sullivan’s defining drawings created for the famed A System of Architectural Ornament, which was published posthumously.

Long considered lost, this drawing was only recently rediscovered among the materials of a former terra cotta industry official.”

— Tim Samuelson, Cultural Historian for the City of Chicago, 2020

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Common Clay, December 1923

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27 Teco, W.D. Gates (1852-1935), designer umbrella stand, #100 Chicago, Illinois matte green glazed ceramic impressed signature, numbered 12”dia x 20”h $10,000-20,000 Provenance: Property from an Important Chicago Collector Catalog Note: A similar example is on display at Living Room from the Francis W. Little House (Gallery 745) at the Metropolitan Museum of Art in New York City. The room was created based on the living room of Mr. and Mrs. Francis W. Little, who owned a Frank Lloyd Wright-designed Prairie Style lake house in Wayzata, Minnesota. This particular Teco umbrella stand became part of the display based on a recollection of the room by Eleanor Stevenson, the Littles’ daughter.

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28 Thomas Hart Benton (American, 1889-1975) Huck Finn, 1936 lithograph signed lower left and faintly lower right in plate, and signed lower right in pencil edition of 100 published by Associated American Artists, New York, New York image: 16 3/8” x 21 5/8”; sheet: 19 5/8” x 23 5/8” $8,000-12,000

Catalog Note: Thomas Hart Benton was an important American Regionalist.

He studied at the School of the Art Institute of Chicago and later in Paris. Pictured in this lithograph are Mark Twain’s Huck Finn and his friend Jim. This is a mirror image from a small mural section of what many consider Benton’s most important work, A Social History of the State of Missouri (1936), which adorns the Missouri State Capitol in Jefferson City. This narrative is separated from the rest of the mural, framed by molding, and stands tall above a doorway, as a symbolic metaphor, with Twain’s Huck Finn representing the moral compass of the people of Missouri. Works

by Benton may be viewed today throughout the Midwest, at the Nelson-Atkins Museum of Art in Kansas City, the National Gallery of Art in Washington DC, the Museum of Modern Art in New York City, and elsewhere.

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29 George Mann Niedecken (1878-1945) for the T. Robinson Bours Residence (Russell Barr Williamson, Architect) dining set: table and six chairs Milwaukee, Wisconsin, 1921 mahogany, caning, upholstery table: 79”w x 41”d x 30 1/2”h; chair: 16”w x 20”d x 42 1/2”h $20,000-30,000 Catalog Note: This is reminiscent of the dining room set designed for the Frederick C. Bogk House, Milwaukee, Wisconsin, 1916, a collaboration between George Mann Niedecken and Frank Lloyd Wright.

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30 Gertrude Abercrombie (American, 1909-1977) Levitation, 1964 oil on masonite signed and dated lower left titled verso (label) 7 13/16” x 9 13/16” $10,000-20,000

Catalog Note: Susan Weininger, the leading scholar and author of multiple comprehensive essays on Gertrude Abercrombie’s art and life, has seen and confirmed the authenticity of this work.

Provenance: Gilman Galleries, Chicago, Illinois Acquired from the above by the present owner

This simplified 1964 version of Abercrombie’s levitation paintings becomes more complex as the viewer studies the work. The floating figure of Abercrombie above her iconic chaise lounge is in a dreamlike state with an outstretched arm and a pointed finger, elements of iconography seen in other paintings by the artist. The figure’s hair, rather than flowing freely, comes to a point similar to that of a witch’s hat, while the bottom of the dress conforms to the shape of the chaise. Typical of the artist’s wit, directly below the figure’s pointed finger is a tiny cat peeking out from the shadow under the couch. The cat, in contrast to the figure, is wide awake, staring straight out at the viewer and the eyes are reminiscent of the casters supporting the furniture it is hiding beneath. Rather than setting the image firmly in an interior space (see the baseboard in Floating Lady, a similar painting from 1958, indicating an indoor setting), this arrangement is lacking a baseboard and the background becomes a dark blue-grey sky in which a white cloud floats above the figure. In addition, the top of the cloud is pushed upward taking on the shape of Abercrombie’s supine face.

Done in a meticulous style that she often aimed for but did not always achieve, this is a beautiful example of a late Abercrombie work.

“The theme of levitation is part of a broader interest in magic in Abercrombie’s mature work. Although there is a surreal quality to her work from the beginning of her career, the overt references to magic date from the 1950s on. The marble top table which ‘magically’ came into her possession is the site of magic in her paintings as are the scenes of levitation.” — Susan Weininger

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31† Gerrit Thomas Rietveld (1888-1964) Elling sideboard Utrecht, Netherlands, designed 1919 white-washed and painted beech branded ‘H.G.M. G.A.V.D. Groenekan, De Bilt Nederland’ includes copy of original receipt from Barry Friedman, New York, New York 78 3/4”w x 18”d x 41”h $30,000-50,000 Provenance: The Collection of Gerard van de Groenekan, Netherlands Private Collection, Germany Barry Friedman, New York, New York, 1990s The Estate of Don Magner, New York, New York (acquired from the above in 1997)

Catalog Note: The Elling sideboard design of 1919 stands as the apotheosis within the canon of Gerrit Rietveld’s De Stijl period. Designed one year after the iconic Red and Blue chair (at that time, not yet so colored), the Elling sideboard is a powerful elaboration of radical ‘neoplastic’ design concepts.

Sadly, the custom made and unique first issue was destroyed by fire at the residence of Piet Elling.

In 1951, the Stedelijk Museum Amsterdam commissioned the first reissue under the supervision of Rietveld and prior to his death in 1964. It was made by Gerard van de Groenekan’s workshop, which then made other reissued examples after Rietveld’s death. However, the precise production date of this example on offer is not known.

In 1988, the Barry Friedman Gallery in New York City staged a comprehensive retrospective, Gerrit Rietveld: A Centenary Exhibition, which featured this design. Friedman remains an expert on the work of Rietveld.

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Poul Kjærholm was a master cabinetmaker who, not unlike an architect, was fascinated with nature, materials and construction. Instead of wood, he commonly selected matte spring steel for the main structure of his designs and combined it with carefully selected natural materials such as stone, leather, cane and wood. His designs incorporate repeated elements, patterns and shapes expressed with a precision that results in each piece effectively becoming a functional sculpture. His work resulted in some of the most sophisticated and iconic modernist furniture design ever produced and remains as timeless now as when first conceived.

The following lots represent a collection of important early E. Kold Christensen productions, which were all acquired directly in 1959 and are accompanied by original receipts. The collection was cherished by its original owners; each piece was carefully maintained and remains in excellent vintage condition.

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32† Poul Kjærholm (1929-1980) for E. Kold Christensen PK 11 dining chairs, set of eight Denmark, 1959 leather, matte chrome-plated spring steel, laminated oak, plastic E. Kold Christensen monogram stamp to frame includes copies of original receipts from S. Chr. Sorensen 24 3/4”w x 18”d x 25 3/4”h $30,000-50,000 Provenance: S. Chr. Sorenson, Copenhagen, Denmark, 1959 The Collection of Ernest and Marjorie Briskey, Madison, Wisconsin (acquired directly from the above) Literature: Sheridan, Michael, Poul Kjærholm, and Hanne Kjærholm, The Furniture of Poul Kjærholm: Catalogue Raisonné, Miller & Co., 2008, pp. 100-101

A 1959 photograph of the PK 51 work table with a PK 11 chair in architect Halldor Gunnløgsson’s house.

33† Poul Kjærholm (1929-1980) for E. Kold Christensen PK 51 work table Denmark, 1959 ash, matte chrome-plated spring steel E. Kold Christensen monogram stamp to frame includes copies of original receipts from S. Chr. Sorensen dated 1959 80 1/4”w x 40 1/4”d x 27”h” $2,000-3,000

Provenance: S. Chr. Sorenson, Copenhagen, Denmark, 1959 The Collection of Ernest and Marjorie Briskey, Madison, Wisconsin (acquired directly from the above) Literature: Sheridan, Michael, Poul Kjærholm, and Hanne Kjærholm, The Furniture of Poul Kjærholm: Catalogue Raisonné, Miller & Co., 2008, pp. 96-99 Catalog Note: A similar example of this minimal and multifunctional PK 51 work table, which is rare at this size, may be seen in classic photos of Kjærholm’s own residence in Rungsted, Denmark.

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34† Poul Kjærholm (1929-1980) for E. Kold Christensen PK 61 coffee table Denmark, 1957/1959 glass, matte chrome-plated spring steel E. Kold Christensen monogram stamp to frame includes copies of original receipts from S. Chr. Sorensen dated 1959 31 1/2”sq x 14”h $1,000-2,000 35† Poul Kjærholm (1929-1980) for E. Kold Christensen PK 80 daybed Denmark, 1959 leather, matte chrome-plated spring steel, lacquered plywood, rubber E. Kold Christensen monogram stamp to frame includes copies of original receipts from S. Chr. Sorensen 76”w x 32”d x 12 1/2”h $8,000-12,000 Provenance: S. Chr. Sorenson, Copenhagen, Denmark, 1959 The Collection of Ernest and Marjorie Briskey, Madison, Wisconsin (acquired directly from the above) Literature: Sheridan, Michael, Poul Kjærholm, and Hanne Kjærholm, The Furniture of Poul Kjærholm: Catalogue Raisonné, Miller & Co., 2008, p. 105

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Provenance: S. Chr. Sorenson, Copenhagen, Denmark, 1959 The Collection of Ernest and Marjorie Briskey, Madison, Wisconsin (acquired directly from the above) Literature: Sheridan, Michael, Poul Kjærholm, and Hanne Kjærholm, The Furniture of Poul Kjærholm: Catalogue Raisonné, Miller & Co., 2008, pp. 78-81 Catalog Note: Introduced by Kjærholm in 1957, the glass-top version of this table is from the second year of production. This form displays an affinity for a similar design by Ludwig Mies van der Rohe and Lilly Reich, which they created for Villa Tugendhat in Brno, Czech Republic in 1930.

36† Poul Kjærholm (1929-1980) for E. Kold Christensen PK 22 lounge chairs, pair Denmark, 1959 leather, canvas, matte chrome-plated spring steel E. Kold Christensen monogram stamp to frames (one example with two stamps) includes copies of original receipts from S. Chr. Sorensen dated 1959 24 3/4”w x 26”d x 28 1/2”h $4,000-6,000

Literature: Sheridan, Michael, Poul Kjærholm, and Hanne Kjærholm, The Furniture of Poul Kjærholm: Catalogue Raisonné, Miller & Co., 2008, pp. 72-77 Catalog Note: Now an icon of modernist chair design, this model won the Grand Prix at the 1957 XI Triennale di Milano. The form is included in the permanent collection of the Museum of Modern Art in New York City as well the Röhsska Museum in Gothenburg, Sweden.

Provenance: S. Chr. Sorenson, Copenhagen, Denmark, 1959 The Collection of Ernest and Marjorie Briskey, Madison, Wisconsin (acquired directly from the above)

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37† Poul Kjærholm (1929-1980) for E. Kold Christensen PK 31 lounge chair Denmark, 1959 leather, matte chrome-plated spring steel, down, plastic E. Kold Christensen monogram stamp to frame includes copies of original receipts from S. Chr. Sorensen dated 1959 30 1/4"w x 29"d x 28"h $2,500-3,500 Provenance: S. Chr. Sorenson, Copenhagen, Denmark, 1959 The Collection of Ernest and Marjorie Briskey, Madison, Wisconsin (acquired directly from the above) Literature: Sheridan, Michael, Poul Kjærholm, and Hanne Kjærholm, The Furniture of Poul Kjærholm: Catalogue Raisonné, Miller & Co., 2008, pp. 110-113 Catalog Note: This chair is from the first year of production.

38† Poul Kjærholm (1929-1980) for E. Kold Christensen PK 33 stool Denmark, 1959 leather, matte chrome-plated spring steel, lacquered plywood, plastic E. Kold Christensen monogram stamp to frame includes copies of original receipts from S. Chr. Sorensen dated 1959 22"dia x 15"h $2,000-3,000 Provenance: S. Chr. Sorenson, Copenhagen, Denmark, 1959 The Collection of Ernest and Marjorie Briskey, Madison, Wisconsin (acquired directly from the above) Literature: Sheridan, Michael, Poul Kjærholm, and Hanne Kjærholm, The Furniture of Poul Kjærholm: Catalogue Raisonné, Miller & Co., 2008, pp. 114-117 Catalog Note: This stool is from the first year of production.

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39† Poul Kjærholm (1929-1980) for Fritz Hansen PK 0 lounge chair Denmark, designed 1952 / produced 1997 painted and laminated beech manufacturer’s metal label ‘PK0 POUL KJÆRHOLM / 364 / Fritz Hansen / 1872-1997 / MADE IN DENMARK’ #364 from the limited edition of 600 includes original receipt from Thomas Kjærholm and certificate of authenticity 24 3/4”w x 26”d x 28 1/2”h $4,000-6,000

Provenance: Thomas Kjærholm, Rungsted, Denmark, 1997 The Collection of Ernest and Marjorie Briskey, Madison, Wisconsin (acquired directly from the above) Literature: Sheridan, Michael, Poul Kjærholm, and Hanne Kjærholm, The Furniture of Poul Kjærholm: Catalogue Raisonné, Miller & Co., 2008, pp. 36-39

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These cabinets are one of only two examples of this design ever made and the only ones in oak. (The other pair was made in teak.) They were designed in anticipation of the 33rd Copenhagen Cabinetmakers Guild Forum in 1959. Similar to the Kjærholm pieces from the Briskey Collection, these cabinets are in excellent condition and include original receipts.

40† Finn Juhl (1912-1989) for Niels Vodder unique four-drawer cabinet Denmark, 1959 oak, lacquered oak, brushed stainless steel unmarked, production pencil marks includes copies of original receipt from Niels Vodder 27 1/2”w x 20 3/4”d (including handles) x 31 1/8”h $3,000-5,000 Provenance: Niels Vodder, Copenhagen, Denmark, 1959 The Collection of Ernest and Marjorie Briskey, Madison, Wisconsin (acquired directly from the above) 41† Finn Juhl (1912-1989) for Niels Vodder unique two-door cabinet Denmark, 1959 oak, lacquered oak, brushed stainless steel unmarked, production pencil marks includes copies of original receipt from Niels Vodder 47 5/16”w x 20 3/4”d (including handles) x 31 1/8”h $3,000-5,000 Provenance: Niels Vodder, Copenhagen, Denmark, 1959 The Collection of Ernest and Marjorie Briskey, Madison, Wisconsin (acquired directly from the above)

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Early 1960s example as pictured in Wegner en Dansk Møbelkunstner by Christian Holmsted Olesen.

42 Hans Wegner (1914-2007) for Johannes Hansen Architect’s desk, #JH571 Denmark, circa 1959 teak, oak, matte chrome-plated steel, brass branded mark 77”w x 35 1/2”d x 28 1/2”h $8,000-12,000 Provenance: Private Collection, Chicago, Illinois Exhibitions: Copenhagen Cabinetmakers Guild Forum, Copenhagen, Denmark, September 1954, stand 23

Literature: Jalk, Grete, ed., Dansk Mobelkunst gennem 40 aar: Kobenhavns Snedkerlaugs Mobeludstillinger 1927-1966, Teknologisk Instituts Forlag, 1987, p. 281, vol. 3 (1947-1956) Nielson, Johan Møller, Wegner en Dansk Møbelkunstner, Gyldenal, 1965, pp. 70, 87, and 107 Olesen, Christian Holmsted, Wegner: Just One Good Chair, Design Museum Denmark, 2014, pp. 63 and 240 Wegner Møbelsnedkeri, Johannes Hansen, 1970, n.p.

Catalog Note: Executed by master cabinetmaker Johannes Hansen, this desk is one of few examples to feature a solid teak desktop.

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43 Martin Szekely (b. 1956) for Galerie Kreo 00 table Paris, France, 2001 birch plywood signed and numbered number 5 from a limited edition of 8 141 1/4”w x 71 1/4”d x 29 1/4”h $15,000-25,000 Provenance: Galerie Kreo, Paris, France Exhibitions: Ne plus dessiner, Centre Georges Pompidou, Paris, France, 12 October 2011 through 02 January 2012 Construction — Martin Szekely, Musée des Arts decoratifs et du Design, Bordeaux, France, 26 April through 07 October 2018

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Catalog Note: Martin Szekely is a designer living and working in Paris who is best known for his large-scale commercial projects such as the iconic Perrier bottle. His limited-edition furniture designs, on the other hand, may be considered in an artistic category of their own. His work has been shown throughout the world and is included in the permanent collections of the Centre Georges Pompidou in Paris, the Museum of Modern Art and the Cooper Hewitt Museum in New York City, the Victoria and Albert Museum in London, and elsewhere.

This 00 table is number five of eight from Galerie Kreo in Paris. It was conceived as an engineering challenge that would test the limits of a material, in this case, thick birch plywood.

This form moves minimalism beyond the visual to the conceptual, leveraging a single large panel cut into planks and recomposed to obtain both the table top and peripherally attached bench seating, yielding a functional and monumental composition of space. “Today my work appears to me as a subtraction from the expressionism of drawing. It is in my relationship to industrial design and its destination to the widest audience that this concept has emerged. My ambition is a thrifty result that cannot even be described as minimalist. A common place.� — Martin Szekely

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44 Ruth Duckworth (German/American, 1919-2009) Untitled, 1965 stoneware unsigned 40”h x 35”w x 10 1/2”d $7,000-9,000

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Catalog Note: A major non-objective sculptor, Ruth Duckworth is best known for her work in ceramics. Studying art in England after fleeing Germany, Duckworth’s interest in clay blossomed at the Central School of Arts and Crafts in London during the late 1950s. Her success in modernism and abstraction began with intimate decorative porcelain works, eventually arriving at large-scale public installations and wall-based murals. She moved to Chicago in the early 1960s to teach at the University of Chicago. Presented here is a massive stoneware work initially seen at a gallery space in Chicago’s Old Town neighborhood.

This sculpture was ultimately purchased from Duckworth’s studio in Pilsen, according to a letter that comes from a previous collector of this monumental example.

45 John Dickinson (1920-1982) table USA, 1970s plaster, wire impressed signature to base 21 1/2”w x 21”d x 21 1/2”h $7,000-9,000 Provenance: Private Collection, Detroit, Michigan

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46 Sam Maloof (1916-2009) lounge chair and ottoman Alta Loma, California, circa 1960 walnut, original Jack Lenor Larsen upholstery each branded ‘designed · made / MALOOF / California’ chair: 31”w x 33”d x 30”h; ottoman: 23 1/2”w x 24”d x 9”h $8,000-12,000 Provenance: William Kayden, Hollywood, California Treadway Toomey Auctions, Oak Park, Illinois, 02 February 1995, Lot 800 Private Collection, Cherry Hills Village, Colorado

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Literature: For a similar illustrated example, see: Sam Maloof, Woodworker, Kodansha USA, 1989, p. 148

47 Carl Auböck ll (1900-1957) for Werkstätte Carl Auböck side table Vienna, Austria, 1950s walnut, brass, rubber impressed marks to front leg 15”w x 34”d x 19 1/2”h $2,000-3,000

48 Carl Auböck ll (1900-1957) for Werkstätte Carl Auböck side table Vienna, Austria, 1950s walnut, brass, rubber unmarked 11”w x 19”d x 10 1/2”h $2,000-3,000

49 Carl Auböck ll (1900-1957) for Werkstätte Carl Auböck side table Vienna, Austria, 1950s walnut, brass, rubber unmarked 20”w x 21”d x 15”h $2,000-3,000

Literature: Auböck, Carl, Carl Auböck, 1900-1957: maler und designer, Eigenverlag der Museen der Stadt Wien, 1997, p. 169

Literature: Auböck, Carl, Carl Auböck, 1900-1957: maler und designer, Eigenverlag der Museen der Stadt Wien, 1997, p. 169

Literature: Auböck, Carl, Carl Auböck, 1900-1957: maler und designer, Eigenverlag der Museen der Stadt Wien, 1997, p. 169

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50 Walter Lamb for Brown Jordan large coffee table California, 1950s bronze, textured glass unmarked 60”dia x 15”h $3,000-5,000

51 Walter Lamb for Brown Jordan three-seat sofa California, 1950s bronze, cotton/nylon cord unmarked 75”w x 34 1/2”d x 31 1/2”h $7,000-9,000

Provenance: Important Private Collector, Denver, Colorado

Provenance: Important Private Collector, Denver, Colorado

Shown in situ, Montecito, California.

52 Walter Lamb for Brown Jordan settee California, 1950s bronze, cotton/nylon cord unmarked 51”w x 34 1/2”d x 31 1/2”h $5,000-7,000 Provenance: Important Private Collector, Denver, Colorado

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53 Edward Wormley (1907-1995) for Dunbar Janus table, #5633 Berne, Indiana, 1950s mahogany, brass, Tiffany Studios Favrile glass tiles metal tag top: 10 1/2”sq; base: 14”w x 14”d x 23 1/4”h $6,000-8,000 Provenance: Private Collection, California

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54 Karl Emanuel Martin “K.E.M.” Weber (1889-1963) for Swanson-Peterson Company large coffee table from the Walt Disney Studios Burbank, California, 1939 Bakelite, ash, lacquered ash unmarked 50”w x 30 5/8”d x 20”h $4,000-6,000 Provenance: Disney Studios, Burbank, California Important Private Collector, Denver, Colorado

Catalog Note: K.E.M. Weber was a well-regarded architect and contributor to the distinctive movement known as West Coast modernism.

His designs are on view in the permanent collections of museums such as the Victoria and Albert Museum in London and the Metropolitan Museum of Art in New York City. In the late 1930s, Walt Disney enlisted Weber to design a stateof-the-art animation studio. Weber oversaw every aspect of the Burbank studio project including the streamline moderne design of the furniture, appliances and the custom typeface that is still being used to this day. This coffee table represents one of the few examples on the market outside of museums and private collections.

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55 Warren McArthur (1885-1961) for Warren McArthur Corporation chaise lounge USA, circa 1935 aluminum, nylon strapping, rubber partial ‘Warren McArthur’ decal as shown: 25 1/2”w x 69”d x 29”h $4,000-6,000 Provenance: Important Private Collector, Denver, Colorado

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Catalog Note: Warren McArthur was a machine-age designer and businessman known for his early use of aluminum tubing and production processes, which resulted in an impressive range of furniture that is immediately recognizable today. McArthur's design career took off in the late 1920s with his first large commission for the Arizona Biltmore Hotel. Following the onset of the Great Depression in 1929, McArthur moved to Los Angeles and opened the Warren McArthur Corporation. In 1932, he relocated his design firm to Rome, New York and later opened a showroom in New York City. McArthur’s success brought him commissions from prominent architects as well as celebrities such as Marlene Dietrich, Clark Gable and Jack L. Warner. Offered here is an exceptional example of McArthur's innovative, early modern style. This rare chaise lounge is a desirable form that was ahead of its time and still holds appeal to contemporary collectors.

56 Paul Frankl (1886-1958) for Frankl Galleries Skyscraper barstools, set of four New York, New York, circa 1930 cast steel, original vinyl upholstery three marked with metal ‘Skyscraper’ tags each (approximately): 19”w x 19”d x 34 1/2”h $4,000-6,000 Provenance: Christie’s East, New York, New York, 12 December 1995, Lots 1015 and 1016 Sotheby’s New York, New York, The Collecting Eye of Seymour Stein, 11 December 2003, Lot 240 Important Private Collector, Denver, Colorado Catalog Note: Paul Frankl was an influential designer, author and champion of American modernism, whose admirers ranged from Frank Lloyd Wright to the Hollywood elite, with clients including Alfred Hitchcock, Charlie Chaplin, Katherine Hepburn and Fred Astaire. This barstool form is a rare and lesser-known example of his famed Skyscraper series of furniture designs and expresses a timeless version of machined modernism.

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57 Keith Haring (American, 1958-1990) Pop Shop II, 1988 color screenprint signed, numbered and dated lower right vertical margin edition of 200 image: 10 1/2” x 13 1/2”; sheet: 12” x 15” $8,000-12,000 Provenance: Pop Shop, New York, New York, 08 December 1988 Acquired from the above by present owner

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Catalog Note: From an early age, Keith Haring loved drawing and had an interest in pop culture, especially Walt Disney and Dr. Seuss.

After dropping out of graphic arts school, he had a solo show at the Pittsburgh Arts and Crafts Center. Eventually, Haring went to New York City to study at the School of Visual Arts. This is where his interest in all art expanded and he exploded onto the East Village scene. The image shown here uses Haring’s signature graffiti figure that he chalked onto black and blank subway billboards. This figure emanates Haring’s symbolic energy, and a similar excitement fueled the Pop Shop, where his vibrant, electric screenprints were sold.

Like his supportive admirer, Andy Warhol, Haring needed to get his work out to the masses directly and so the Pop Shop became an extension of his art practice.

58 Jeff Koons (American, b. 1955) Balloon Dog, 1995 porcelain signed and dated in plate edition of 2,300 published by the Museum of Contemporary Art, Los Angeles, California 10 1/2”dia x 5”h $6,000-8,000 Provenance: Museum of Contemporary Art Store, Chicago, Illinois, 03 July 2001 Acquired from the above by the present owner

Catalog Note: Jeff Koons is an important and polarizing contemporary artist. One cannot argue with his success, though.

He studied at the Maryland Institute College of Art in Baltimore and the School of the Art Institute of Chicago. Since his first solo exhibition in 1980, Koons’ work has been shown in major galleries and institutions throughout the world. On offer here is an example of his iconic Balloon Dog. Large-scale public examples of this work exist, but this is a multiple presented on a plate, editioned and presented for the masses. Similar to Andy Warhol, Koons is engaged with the notion of pop cultural reproduction. Both artists’ iconic copies have continued to experience increased demand from collectors and are represented in major museums worldwide. Holding his tongue firmly in his cheek, Koons has no problem leveraging his lofty position in the art world toward commercial ends.

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59 Irving Harper (1916-2015) unique pendant lamp Rye, New York, circa 1960 painted wood, painted steel unmarked shade: 24”dia x 6”h $3,000-5,000 Provenance: The Estate of Irving Harper, Rye, New York Private Collection, Royal Oak, Michigan (acquired directly from the above)

60 Irving Harper (1916-2015) unique coffee table Rye, New York, circa 1960 walnut, laminate, stainless steel unmarked 48”w x 33”d x 14 1/2”h $3,000-5,000 Provenance: The Estate of Irving Harper, Rye, New York Private Collection, Royal Oak, Michigan (acquired directly from the above)

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Period photograph of the interior of Irving Harper’s home, Rye, New York, courtesy of Herman Miller.

Catalog Note: The prolific designer and artist Irving Harper created a vast array of works throughout his life, but he is best known as a founding partner and designer at George Nelson & Associates. Only recently has Harper received more appropriate recognition for his work at George Nelson, where he designed or contributed to many of the brand’s most iconic products.

Beginning in the 1960s, Harper created a large collection of impressive sculptures and other works out of his home in Rye, New York. His works from this period were most often comprised of folded and formed paper, but he also incorporated other readily available materials, such as twigs, toothpicks, pasta and paint. The coffee table and daybeds here show a similarity to his use of such available materials as in his artwork. Like them, the furniture was likely assembled from salvaged or reclaimed materials, but in this case the materials and parts have most likely come from the George Nelson / Herman Miller design and production process. As with the majority of his paper sculptures, these furniture pieces remained with him throughout his life. The coffee table, daybeds and pendant light here are now offered at auction for the first time.

61 Irving Harper (1916-2015) abstracted face wall sculpture Rye, New York painted paper construction, masonite unmarked 36”w x 5”d x 48 1/2”h $2,000-3,000 Provenance: The Estate of Irving Harper, Rye, New York Wright, Irving Harper Paper Sculptures, 21 January 2016, Lot 293 Private Collection, Chicago, Illinois

62 Irving Harper (1916-2015) unique daybeds, two Rye, New York, circa 1950 pine, painted pine, aluminum, upholstery unmarked newly upholstered in vintage Alexander Girard fabric longer daybed: 94”w x 31”d x 14”h; shorter daybed: 75”w x 36”d x 14”h $3,000-5,000

Provenance: The Estate of Irving Harper, Rye, New York Private Collection, Royal Oak, Michigan (acquired directly from above) Private Collection, Chicago, Illinois (acquired directly from the above)

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63 Kathleen Mulcahy (American, b. 1952) Rain on the Suwanne glass drops on bent and etched glass on bruised mild steel 48”h x 48”w x 3”d $8,000-12,000 Provenance: Hodgell Gallery, Sarasota, Florida, 28 January 2008 The Collection of Bruce and Ann Bachman, Chicago, Illinois Thence by descent

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Catalog Note: For just over 50 years, Kathleen Mulcahy has been creating art with glass. An artist and professor, Mulcahy has won numerous awards for her work, which is included in the finest public and private collections in the country. The “Drops” series is her most sublime work. Visually it is striking, with clear pulled glass weighted in large droplets, lined up and ending at different heights within the plane. The metaphor of reflection also comes into play, with the bruised steel shimmering behind these active shapes. One is left with a sense of clarity and calm waiting for another drop to fall.

64 Charles Eames (1907-1978) & Ray Eames (1912-1988) for Herman Miller prototype settee shell with Tandem seating base Zeeland, Michigan, 1969 coated fiberglass, aluminum, steel, upholstery unmarked 57 3/4”w x 28 1/2”d x 36 1/2”h $8,000-12,000 Provenance: Private Collection, Detroit, Michigan Catalog Note: The present lot is one of only two known examples of this form; the other similar example is in the permanent collection of the Henry Ford Museum of American Innovation in Dearborn, Michigan. Although the Loose Cushion Armchair was introduced by Herman Miller in 1971, this two-seat version was never put into production.

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65 Charles Eames (1907-1978) & Ray Eames (1912-1988) for Herman Miller FSW-8 folding screen Zeeland, Michigan, 1950s ash, cloth unmarked 108”w x 9”d x 68 1/4” $2,500-3,500

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Literature: Eames Design, Tokyo Metropolitan Art Museum / Suntory Museum (Osaka, Japan), 2001-2002, p. 257 (similar illustrated example) Neuhart, John, Marilyn Neuhart, and Ray Eames, Eames Design: The Work of the Office of Charles and Ray Eames, H.N. Abrams, 1989, p.79 (similar illustrated example)

66 Charles Eames (1907-1978) & Ray Eames (1912-1988) for Herman Miller ETR “Surfboard” coffee table Zeeland, Michigan, 1950s plywood, laminate, enameled steel unmarked 89”w x 29 1/2”d x 10”h $2,000-3,000 Catalog Note: An unusual early example with a nicely patinated white enameled base.

67 Charles Eames (1907-1978) & Ray Eames (1912-1988) for Herman Miller 670 / 671 lounge chairs and ottomans, pair Zeeland, Michigan, 1977 rosewood, brown leather, aluminum sticker labels and dates both examples in excellent vintage condition and dated December 29, 1977 chair: 34”w x 32”d x 32 1/2”h; ottoman: 26”w x 22”d x 17”h $7,000-9,000

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SELECTED BIOGRAPHIES Gertrude Abercrombie (American, 1909-1977) Gertrude Abercrombie was born on February 17, 1909 in Austin, Texas but 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. After graduation, she 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 Public Works of Art Project (PWAP) and subsequently with the Works Progress Administration (WPA). Abercrombie began to develop her signature style while painting for the WPA in the 1930s. In 1935, Abercrombie met Gertrude Stein and, according to Abercrombie, Stein liked her paintings yet stated, “They are very pretty but girl you gotta draw better.” 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. While these works might appear bizarre and estranging, Abercrombie acknowledged that they are highly autobiographical and commonly 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. She hosted famous alcohol-fueled parties that included jazz luminaries, such as Dizzy Gillespie, Sonny Rollins, and Charlie Parker. One of Abercrombie’s most famous paintings is of an ominous noose hanging from a tree next to an empty ladder; it is entitled Design for Death (Charlie Parker’s Favorite Painting). In the 1960s and 1970s, Abercrombie’s health greatly declined after years of alcoholism. 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 museums across the United States, including the Art Institute of Chicago, the Illinois State Museum in Springfield, the Pennsylvania Academy of the Fine Arts in Philadelphia, and the Smithsonian American Art Museum in Washington DC. Arequipa Pottery / Frederick Hurten Rhead (British, 1880-1942) In 1880, Frederick Hurten Rhead was born into a multi-generational pottery family in Hanley, Stoke-on-Trent, Staffordshire, England. His father, Frederick Alfred Rhead, and siblings, Harry, Charlotte, and Dollie, each were in the business as well. After training in England, Rhead moved to the United States in 1902, settling in Ohio. Following stints at Avon Faience and Weller Pottery, Rhead was named art director for Roseville Pottery in 1904 and oversaw the production of both art pottery and more functional items. In 1908, Rhead moved to Missouri to teach a pottery correspondence course at the People’s University.

Funding for the program ran out in 1911, so Rhead opted to head west. After the San Francisco earthquake and fire of 1906, a tuberculosis epidemic descended on the city given the resulting dust and ash. Women contracted the illness at twice the rate of men because many worked indoors in close quarters. In September 1911, Dr. Philip King Brown opened the Arequipa Sanatorium — after a Peruvian town meaning ‘place of rest’ — in Marin County, across the bay to the north of San Francisco, to help women heal from tuberculosis while receiving training in pottery making. Dr. Brown hired Rhead to direct what would become known as the Arequipa Pottery, where female patients were not required to participate, but, if they wished to, there were limits on how long they could work per day. Inspired by Arts & Crafts ideals, Dr. Brown and Rhead hoped that creating high-quality, handmade ceramics in a peaceful, natural setting would prove restorative and yield objects of lasting artistic value. The women were all compensated for their labor or in some cases they had the cost of their stay at Arequipa defrayed.

Much of Rhead’s work involved obtaining local clay and teaching patients basic pottery techniques. By the fall of 1912, the women under Rhead’s tutelage were producing pottery that dealers in the Bay Area and along the West Coast found well executed and attractive. Early in 1913, Rhead’s and Dr. Brown’s visions for Arequipa Pottery diverged: Dr. Brown wanted the female patients to make all wares, but Rhead expanded the operation and brought in professional potters. In May 1913, Rhead resigned and less than two months later another esteemed potter from Staffordshire, Albert Solon, became the new director.

Rhead then established his own pottery studio in Santa Barbara, which operated until 1917. In later years, Rhead worked for American Encaustic Tiling Company in Ohio and Homer Laughlin China Company in West Virginia; for Homer Laughlin, Rhead created an Art Deco line of dinnerware in bold primary colors called Fiesta, which was immediately popular upon its release in 1936. Rhead died from cancer in New York City in 1942, but his legacy lives on as one of the most accomplished Arts & Crafts pottery designers and examples of his work are held in notable institutions, including the Metropolitan Museum of Art in New York City and the Los Angeles County Museum of Art.

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Thomas Hart Benton (American, 1889-1975) American Regionalist artist Thomas Hart Benton was born in 1889 into a political family in Neosho, Missouri. Benton’s father was a United States congressman and his great-great uncle was one of the first two senators from Missouri. Benton’s father sent him to military school and he also spent considerable time in Washington DC given his father’s profession. During his teens, Benton also drew cartoons for Missouri’s Joplin American newspaper. With his mother’s support, Benton attended the School of the Art Institute of Chicago starting in 1907 before studying in Paris at Académie Julian in 1909. In France, Benton met Diego Rivera and Stanton Macdonald-Wright, whose abstract/musical philosophy, Synchromism, inspired Benton to experiment with non-representational painting briefly. In 1912, Benton moved to New York City before World War I took him to Norfolk, Virginia to serve as a naval artist. After the war, he resettled in New York and turned against modernism with an exaggerated yet realist style. From 1926 to 1935, Benton taught at the Art Students League, where he instructed the likes of Jackson Pollock and Charles Green Shaw. In 1930 and 1931, Benton created his America Today murals for the New School for Social Research, which drew on sketches he made while touring the country extensively. Suggestive of El Greco, these works are now housed at the Metropolitan Museum of Art in New York. Benton was hired to paint murals for Indiana at the 1933 Century of Progress Exhibition in Chicago and, in 1934, he was featured on the cover of Time magazine with fellow American Regionalists Grant Wood and John Steuart Curry. At odds with the New York art world, Benton moved back to Missouri with his family in 1935 and soon completed what many consider his master work, a large mural entitled A Social History of the State of Missouri (1936), which adorns the Missouri State Capitol in Jefferson City. From 1935 to 1941, Benton taught at the Kansas City Art Institute. In this period, he produced an engaging autobiography, An Artist in America (1937), and a provocative nude painting, Persephone (1939). To oppose fascism during World War II, Benton released his series, The Year of Peril (1942), but Abstract Expressionism gained prominence after the war, sidelining Regionalist painters. In the decades leading up to his death in 1975, Benton continued making art, albeit in a nostalgic, pre-industrial style. Works by Benton may be viewed today throughout the Midwest, at the Nelson-Atkins Museum of Art in Kansas City, the National Gallery of Art in Washington DC, the Museum of Modern Art in New York, and elsewhere.

Elizabeth Eaton Burton (American, 1869-1937) Known for her keen sense of materials and unusual aesthetic, Elizabeth Eaton Burton was often influenced by the landscape of her native Southern California and its rich history of local traditions. Burton was versatile in many mediums from leatherwork to woodblock printing to painting and photography. Yet her use of shells within repoussé metalwork left a lasting impression.

Burton was born in 1869 in Paris, France to notable artist Charles Frederick Eaton (1842-1930) and Helen Justice Mitchell, who was also artistically inclined. Mr. Eaton was from a prominent East Coast family and studied painting in Paris. Elizabeth spent her childhood in France until her mother’s health declined and her father’s cramping ailment required him to give up painting. An avid antique collector, Mr. Eaton eventually created his own metalwork, leatherwork, and woodwork. In her scrapbook, Elizabeth fondly recalled spending time observing her father in the studio as cabinetmakers worked. She and her father shared a close bond and he influenced her work tremendously. Elizabeth refined her skills with help from craftsmen and began creating her own leather and wood pieces. In 1896, she opened her first studio and continually experimented with new methods of designing ornamental leatherwork. She also produced screens, friezes, boxes, cushions, and desk accessories.

Her work was well received by peers, including Gustav Stickley, one of the leaders of the American Arts & Crafts Movement.

Elizabeth Eaton Burton’s eclectic vision led to success in her own time and burnished her artistic reputation for posterity.

Today her work is included in the collections of the Los Angeles County Museum of Art, the Red Roses Foundation, the Santa Barbara Historical Museum, the Museum of California Design, and in many private collections.

Charles Eames (American, 1907-1978) & Ray Eames (American, 1912-1988) Mid-century design icons Charles and Ray Eames had a groundbreaking partnership that lasted nearly 40 years. Charles was born in St. Louis in 1907 and studied architecture locally at Washington University. After two years, Charles left the traditional institution because he favored the philosophies of Frank Lloyd Wright and other modernists. In 1939, Charles moved with his family to Michigan to study at the Cranbrook Academy of Art in Bloomfield Hills through an invitation from architect Eliel Saarinen. With Saarinen’ son, Eero, Charles generated award-winning furniture designs for a contest sponsored by New York’s Museum of Modern Art. On this project, Charles met Ray (née Bernice Alexandria) Kaiser who helped with graphic design. Ray was born in 1912 in Sacramento, California. After Ray’s mother died in 1940, she left New York to audit classes at Cranbrook, where Charles Eames was one of her teachers and mentors. In 1941, Charles divorced his first wife Catherine and he and Ray were married shortly thereafter, establishing an enduring personal and artistic collaboration. Heading west to Los Angeles, Charles and Ray settled in a two-bedroom apartment designed by Richard Neutra, where they began experimenting with molding plywood into compound curves; their focus was on designing everyday objects of high quality to be produced at reasonable cost. During the day, Ray painted and designed covers for Arts & Architecture magazine; at night, she and Charles worked together producing experimental designs. Their accomplishments in molded plywood included sculptures, toys, chairs, and mass-produced leg splints used in World War II by the U.S. Navy. Charles and Ray’s first successful product design was a simple plywood chair curved to accommodate the human body ergonomically and provide maximum comfort.

It was produced by the Herman Miller Company and marketed as an affordable chair suitable for all modern households.

This concept was leveraged for the Lounge Chair Wood (LCW) and Dining Chair Wood (DCW), both of which have had a profound and lasting impact on 20th-century furniture design in America. Other popular designs that came out of the Eames Office include: the 670 / 671 lounge chair and ottoman, the ESU modular storage unit, the FSW-6 folding screen, plus various chairs with Eiffel Tower bases and/or fiberglass shell seats. After Charles’ death in 1978, the Eames Office was disbanded and Ray Eames donated its archives to the Library of Congress. She died 10 years to the day after Charles in August of 1988. The Eames’ design philosophy and products continue to exert a powerful influence in America and abroad.

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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 1980s, 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 in 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 immediately recognizable and 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.

Robert Riddle Jarvie (American, 1865-1941) Born to Scottish parents in Schenectady, New York in 1865, Robert Riddle Jarvie was not formally trained in metalsmithing, but he had an early penchant for sketching, bookbinding, and cabinetmaking. Once he relocated to Chicago, Jarvie began initial experiments with metalwork around the turn of the 20th century in his apartment. In particular, a distinctive lantern that Jarvie made for a friend attracted more buyers. At the Third Annual Chicago Arts & Crafts Exhibit in 1900, Jarvie had the first opportunity to showcase his work. That same year he became a partner at Krayle Co., a commercial and social alliance of local artisans and craftsmen, and set up his studio, the Jarvie Shop, in Chicago’s Fine Arts Building on Michigan Avenue.

While Jarvie’s designs had previously ranged from Colonial to Art Nouveau, he soon developed simpler organic forms that represented a Midwestern take on the Arts & Crafts Movement. Between 1910 and 1915, Jarvie began forging products using precious metals such as gold and silver that garnered wide acclaim. Charles Hutchinson, President of the Art Institute of Chicago, commissioned Jarvie to produce a silver punch bowl for the Cliff Dwellers Club of Chicago, as both men were members; Jarvie modeled his design on an object used by Southwestern cliff dwellers that he had seen at Chicago’s Field Museum of Natural History. In 1912, Jarvie started creating functional trophies such as bowls, drinkware, and other forms for the Union Stock Yard Company. Jarvie also lived on the premises. Some of his works from this period are reminiscent of Paul Revere’s style. After World War I, the Jarvie Shop ceased operations. Jarvie and his wife then moved to Evanston, Illinois, since she was employed at Northwestern University, and Jarvie worked briefly for the C.D. Peacock Company. The Jarvies later retired to the Scottish Old People’s Home in North Riverside, Illinois until their passing. During the Arts & Crafts revival of the late 20th century, collectors developed a renewed appreciation for the metalwork of Jarvie. Today examples of his designs are represented at the Art Institute of Chicago, the Milwaukee Art Museum, the Museum of Fine Arts in Boston, and elsewhere.

The Kalo Shop Founded in 1900 by Clara P. Barck and five other female graduates of Louis J. Millet’s decorative design course at the Art Institute of Chicago, the Kalo Shop rose to be the most important Arts & Crafts silversmith studio in the United States. From Millet, the shop adopted the motto “beautiful, useful, and enduring” for their wares. In addition to jewelry, the shop produced works in burnt wood, leather, and other types of decorative arts. In 1905, Barck married George Welles, a coal merchant and amateur silversmith, who encouraged Barck to focus more on copper and silver objects. In the following year, Barck’s sister purchased a large home in Park Ridge, Illinois, which became the central location for the Kalo Arts & Crafts Community. Along with hiring various male silversmiths, Barck created a school for female designers and artisans who came to be known as the “Kalo Girls.” In 1912, Barck opened a Kalo branch in New York that lasted until 1916. All silversmiths were required to mark pieces they produced during business hours with the Kalo stamp. They were also allowed to create work on their own time as long as they did not mark it with the stamp. Many copper, silver, and gold pieces still exist that were undoubtedly made by Kalo silversmiths but are unmarked. Some noted Kalo silversmiths include: Grant Wood (painter of American Gothic), Matthias Hank, Julius Olaf Randahl, Henri A. Eicher, Yngve Olsson, Kristoffer Haga, Robert R. Bower, and many others. Barck retired in 1939 and moved to San Diego. She gifted the Kalo Shop in 1959 to the four remaining workers: Robert R. Bower, Arne Myhre, Yngve Olsson, and Daniel Pedersen. As few new silversmiths entered the trade, the shop closed in 1970 after Olsson passed away. The Kalo Shop was prolific and objects continue to surface all over, but the rarest pieces always demand a premium.

Objects with stones, repoussé work, or added decoration are often exquisite and embody the epitome of the ideals of the Arts & Crafts Movement.

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Poul Kjærholm (Danish, 1929-1980) Danish modern designer Poul Kjærholm was born in 1929 in Østervrå in the north of Denmark. He studied cabinetmaking before matriculating at the Danish School of Arts and Crafts in Copenhagen to learn furniture design. Kjærholm graduated in 1952 and the following year he married his wife Hanne, who went on to become an accomplished architect. Starting in the mid 1950s, he was employed by Ejvind Kold Christensen, who allowed Kjærholm to experiment widely with minimalist forms and industrial materials. In particular, Kjærholm drew stylistic inspiration from designers such as Ludwig Mies van der Rohe, Gerrit Rietveld, and Charles and Ray Eames. To elaborate a bold new vision for mid-century Danish design, Kjærholm endeavored to move away from the rounded, fuller shapes that many had come to expect. Similar to Kaare Klint, Kjærholm wanted to reduce design to its essentials and achieve purity of concept. Kjærholm attracted early attention with his PK 0 plywood furniture series and his PK 61 coffee table with its sleek steel frame and square top. In 1956, Kjærholm debuted his iconic PK 22 lounge chair for E. Kold Christensen to match the PK 61 coffee table. The PK 22 was almost universally acclaimed and won the Grand Prize at the Milan Triennale in 1957 as well as the Lunning Award at the Formes Scandinaves exhibition in Paris in 1958. Kjærholm introduced his low-profile PK 80 daybed and three-leg PK 11 dining chair in 1957. The Royal Danish Academy of Fine Arts in Copenhagen hired Kjærholm to teach design in 1959, which is when he released his PK 33 tripod stool. Kjærholm’s style evolved in the 1960s to favor more fluid lines as typified in 1965’s hammock-style PK 24 chaise lounge made from steel and woven cane. Kjærholm won the Danish ID Prize for product design in 1967, the year he fashioned his PK 20 rocking chair. In 1973, Kjærholm joined the faculty of the Institut for Design, where he taught until his death in 1980. While E. Kold Christensen manufactured Kjærholm’s furniture during his lifetime, Fritz Hansen took over production starting in 1982 and still retails contemporary versions of the most famous lines. In 2004, Kjærholm’s son set up Kjærholm Productions to supplement the market with designs that Fritz Hansen had discontinued. The Louisiana Museum of Modern Art in Humlebæk, Denmark held a Kjærholm retrospective in 2006 and today his designs are on view at various institutions throughout Scandinavia, the Victoria and Albert Museum in London, and the Museum of Modern Art in New York City.

Charles P. Limbert (American, 1854-1923) Originally from Linesville, Pennsylvania, Charles P. Limbert was born in 1854 into the furniture business. His father was a dealer who trained Limbert once the family moved to Akron, Ohio in 1866. After working at his father’s Akron store, Limbert became a furniture salesman for Munk & Roberts in Connersville, Indiana and later John A. Colby Company in Chicago. In 1899, Limbert and fellow salesman Philip J. Klingman set up a showroom in Grand Rapids, Michigan to exhibit products from several makers. Starting in 1894, Limbert had begun to manufacture his own chairs, which he sold at the Grand Rapids store along with furniture by firms such as Old Hickory Chair Company. In 1902, Limbert opened up his own furniture factory, Charles P. Limbert Co., with around 200 employees in Grand Rapids. The manufacturing plant moved to nearby Holland in 1906.

These formative years were the most prolific in the company’s history with the release of the popular Holland Dutch Arts and Crafts Furniture line, which included both indoor and outdoor sets. Influenced by frequent research trips to the Netherlands, Limbert’s style became an amalgamation of Dutch and English Arts & Crafts as well as American Mission. To impress upon customers that Limbert furniture was made by hand, the company’s logo featured a man bent dutifully over a workbench. At the Limbert factory, some processes were executed by machine, but all assembly and finishing work was done individually by hand. Until 1915, Charles P. Limbert Co. produced the same models and styles with slight variations, omissions, and additions.

During World War I and into the 1920s, Limbert shifted his focus away from Arts & Crafts lines to follow the market demand for historical furniture styles like Tudor and Renaissance Revival. Limbert was in charge of the company until 1922 when his health began to fail and he passed away the following year. Charles P. Limbert Co. would continue to operate through the 1930s. Furniture from Limbert’s prime Arts & Crafts period is now held in high esteem by collectors and examples are on view at such places as the Henry Ford Museum in Dearborn, Michigan and the Kirkland Museum of Fine & Decorative Art in Denver, Colorado.

Warren McArthur (American, 1885-1961) Designer Warren McArthur was born in 1885 in Chicago. His was an affluent family for whom Frank Lloyd Wright built a home in the Kenwood neighborhood in 1892. McArthur studied engineering at Cornell University and then moved to Phoenix to work with his brother Charles selling Dodge automobiles and starting a radio station. Older brother Albert Chase McArthur, a Wright-trained architect, soon joined them and the trio worked to develop the Arizona Biltmore Hotel. Warren McArthur was tasked with creating furniture for both indoor and outdoor use. His solution was to employ tubular aluminum with prominent external joints and internal steel rods for extra support. When the Arizona Biltmore closed after the onset of the Great Depression in 1929, McArthur relocated to Los Angeles and founded the Warren McArthur Corporation. He soon marketed a limited line of sleek desks, tables, chairs, and other pieces that appealed to Hollywood luminaries such as Clark Cable and Marlene Dietrich. In 1932, McArthur opted to shift operations to Rome in Upstate New York before moving again in 1936 to Bantam, Connecticut. Throughout the 1930s, McArthur was an influential figure in New York City, setting up a showroom there, and his firm made furniture not only for celebrities, but also for Chrysler’s executive offices, Marshall Field’s hair salon, and dining cars on the Union Pacific Railroad. During World War II, the Warren McArthur Corporation crafted lightweight aluminum seats for airplanes. An unsubstantiated rumor held that McArthur’s artful designs were melted down for war mobilization, but they were simply difficult to produce on a large scale given their intricate mechanics and delicate upholstery. In the postwar years, demand plummeted and the Warren McArthur Corporation closed in 1948. McArthur passed away in 1961 and only after his death did interest in his bold innovations rekindle. In recent years, various architects, dealers, interior decorators, and famous clients have sought to acquire McArthur furniture, which is now regarded as ahead of its time. Independently, McArthur implemented tubular aluminum and steel prior to Bauhaus designers Marcel Breuer, Le Corbusier, and Ludwig Mies van der Rohe.

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Edward Willis Redfield (American, 1869-1965) American Impressionist painter Edward Willis Redfield was born in 1869 in Bridgeville, Delaware. During his youth he lived with his family in Philadelphia and studied at the Pennsylvania Academy of the Fine Arts from 1887 to 1889. Redfield’s teachers included Thomas Anshutz, Thomas Hovenden, and James Kelly and one of his classmates was Robert Henri, with whom Redfield became close friends. In 1889, Redfield went to Paris with Henri for further training at the Académie Julian and the École des Beaux-Arts, where he learned from William Adolphe Bouguereau and became enchanted with the work of Impressionists Claude Monet and Camille Pissarro. Redfield’s first snow scene, later his most recognized subject matter, was accepted by the Paris Salon in 1891. While staying at the Hôtel d’Élégant, Redfield met and fell in love with the innkeeper’s daughter, Elise; the couple married in 1892 and eventually had five children. When the Redfields returned to the United States in 1898, they settled in Centre Bridge, Pennsylvania, close to New Hope, which would later become an important artists colony. Fellow painter William Langson Lathrop also moved to the area in 1898; he and Redfield elucidated a quintessentially American way of rendering landscapes in an Impressionist style with a bold color palette. Redfield, in particular, enhanced his compositions through the use of a thick impasto, creating texture and relief. Known for his winter scenes, Redfield generally painted en plein air, that is, outside among the elements, so he sometimes had to brave extreme weather conditions. Starting in 1903, the Redfield family summered annually in coastal Maine at Boothbay Harbor; Henri and his wife also joined them the first year. With Henri, and later on his own, Redfield liked to sail through the harbor to find painting subjects. Redfield’s summer landscapes from Maine offer a fascinating contrast with his Pennsylvania winter scenes.

In 1909, Redfield spent six months in New York City painting broad aerial views of the burgeoning skyline in a Tonalist style.

In contrast to the realism of Henri and John Sloan, Redfield presented an idealized vision in which figures were small and the urban landscape loomed large. During the 1910s and 1920s, Redfield branched out with spring and summer scenes in Pennsylvania. Once Redfield’s wife Elise died in 1947, his morale suffered and he destroyed 1,200 works in a bonfire outside his home. In 1953, Redfield opted to quit painting because he felt his skills were in decline and did not want to diminish his artistic legacy. Leading up to his death in 1965 at age 96, Redfield made hand-painted chests and trays along with hooked rugs. Nevertheless, his reputation as one of America’s finest landscape painters is secure and works by Redfield are now included in the collections of the Philadelphia Museum of Art, the Smithsonian American Art Museum in Washington DC, the Metropolitan Museum of Art in New York, and elsewhere. Art historian Dr. Thomas C. Folk is currently compiling a catalogue raisonné for Redfield.

Gerrit Thomas Rietveld (Dutch, 1888-1964) The highly influential furniture designer and modern architect Gerrit Rietveld was born in Utrecht, Netherlands in 1888. His education was mostly vocational, since he dropped out of school at age 11 to apprentice with his father who was a joiner.

At 18, Rietveld began a five-year stint as a draftsman for a jeweler in Utrecht. In his spare time, Rietveld learned drawing, painting, modeling, and cabinetmaking on his own. In 1917, Rietveld started an independent furniture design business.

Almost immediately, he created the now iconic Red and Blue chair, but the form would not get its recognizable bright hues until 1923. The intervening years saw Rietveld come under the influence of De Stijl figures like Piet Mondrian and Theo van Doesburg, and Rietveld adopted the movement’s preference for formal abstraction as well as a limited palette featuring black, white, and primary colors. In 1919, Rietveld became a member of De Stijl and started work as an architect; he also first produced the rare Elling sideboard with exposed joints. As Rietveld’s reputation grew, he exhibited designs throughout Europe, including at Bauhaus in 1923. The following year Rietveld built the Schröder House in Utrecht with a conventional ground floor and a second floor with mobile walls to facilitate adjustable interior spaces. This structural innovation garnered considerable attention at the time and the Schröder House was ultimately named a UNESCO World Heritage Site in 2000.

Rietveld split from De Stijl in 1928 as he moved in a functionalist direction. For the next two decades, Rietveld dedicated himself to exploring the possibilities of making his architecture and furniture more affordable and scalable to improve society. In addition to pursuing these progressive ideals, Rietveld continued his groundbreaking design work. In 1934, he created the Zig-Zag chair with minimalist slats of wood held together using dovetail joints and also began plans for Amsterdam’s Van Gogh Museum. Following a traveling De Stijl retrospective that Rietveld organized in 1951, his profile rose again and he was commissioned to build the Dutch pavilion at the 1953 Venice Biennale as well as several buildings and residences in the Netherlands. When tastes shifted towards rationalism, the demand for Rietveld’s architectural work decreased, but the Centraal Museum in Utrecht presented a Rietveld retrospective in 1958. After his death in 1964, Rietveld was somewhat underappreciated until the centennial exhibitions in 1988 held at Barry Friedman Gallery in New York City and Utrecht’s Centraal Museum properly recognized his essential contributions to the world of 20th century design. Today items by Rietveld bring consistently strong prices at auction and are found in the collections of such institutions as the Vitra Design Museum in Weil am Rhein, Germany, the Victoria and Albert Museum in London, the Museum of Modern Art in New York City, and the Los Angeles County Museum of Art.

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The Roycrofters / Dard Hunter (American, 1883-1966) In 1895, Elbert Hubbard, an Illinois native and socialist-leaning traveling salesman, founded the Roycroft reformist community in East Aurora, New York, just outside of Buffalo. The members of this settlement came to be called Roycrofters. Although the appellation derived from two printers in the group, Samuel and Thomas Roycroft, Hubbard chose it intentionally to connote “King’s Craft.” He wanted to create an updated version of the guilds of early modern Europe with skilled craftspeople of varied expertise. Hubbard had originally devised the concept for the Roycroft community on a visit to England, where he was profoundly influenced by Arts & Crafts pioneer William Morris. Upon returning to America, Hubbard followed Morris’ lead and established the Roycroft Press to release his book-length manuscript, Little Journeys (1916), which is a compilation of imagined visits to the men and women who shaped society over time. Lured by Hubbard’s Arts & Crafts message, various workers gravitated to East Aurora, including not just printers and bookbinders, but furniture makers, leathersmiths, and metalsmiths.

The Roycrofters sought to work with their hands, head, and heart in harmony. They mixed play with work to make labor less taxing. By 1910, there were nearly 500 active Roycroft members producing all manner of items. One of the finest artisans was Ohio native Dard Hunter, who, after failing to gain employment initially, became a versatile and adept designer of stainedglass windows, metalwork, pottery, leather goods, and books. On Hunter’s 1908 honeymoon in Vienna with Roycroft pianist Edith Cornell, he gained a first-hand understanding of the work of Josef Hoffman and the Wiener Werkstätte, such that Hunter leveraged stylized figures and geometric patterns in his subsequent designs for The Roycrofters. After two more years at the Roycroft Campus, which had grown more commercially oriented, Hunter and Cornell moved to Vienna for two years before settling permanently back in New York, where Hunter founded a letterpress while designing paper and authoring books on the subject. In 1915, Roycroft founder Elbert Hubbard and his wife Alice died as passengers aboard the RMS Lusitania, the ocean liner sunk by a German torpedo during World War I. This also marked the beginning of the end of the Roycroft community. The Hubbards’ son Bert took over for a while, but despite brokering an agreement for Sears & Roebuck to carry Roycroft furniture, the community soon became insolvent. Today 14 of the original buildings from the Roycroft Campus remain in East Aurora and the group’s impact on American design and craft continues to be felt. In 1986, the Roycroft Campus was designated a National Historic Landmark and educational tours are now regularly offered to visitors.

Gustav Stickley (American, 1858-1942) American Arts & Crafts leader Gustav Stickley was born in 1858 in Osceola, Wisconsin to German immigrant parents. At age 12, he earned his journeyman’s license in stonemasonry; at 17, he began work in his uncle’s chair factory, where he realized that he had a passion and aptitude for woodworking. Eventually, he started his own furniture business with his younger brothers, Charles and Albert. The chairs they created typically mark the origin of the Craftsman Style, also known as Mission or Mission Oak Style. Rather than produce machine-made, ornamental furniture like his contemporaries, Gustav Stickley sought a return to simplicity and handwrought pieces. An 1898 trip to Europe proved pivotal in determining Stickley’s direction. Inspired by the Arts & Crafts ideals of British designer William Morris, Stickley endeavored to create furniture to fulfill a purpose or mission and insisted that products be of high quality, comfortable, and practical. After returning to America, Stickley renamed his firm the Gustav Stickley Company. To promote his craft-centered design ethic and advertise his company’s furniture, Stickley launched a magazine called The Craftsman (1901-1916). Among various topics, Stickley wrote about the Morris chair he made to honor his biggest influence and published articles on building open-concept, light-filled bungalows. With clean, rectangular lines, Stickley furniture displays a sturdy, masculine style favoring oak. Although pieces are often large, their simplicity of design prevents them from appearing too bulky. True examples are usually identified by Stickley’s shopmark, a joiner’s compass with the words “Als ik Kan” (Flemish for “if I can”), and his signature. Some pieces have paper labels that identify Gustav Stickley’s shop, which is not to be confused with that of his brothers Leopold and John George Stickley, who operated their own factory at the same time. Gustav Stickley died in 1942 in Syracuse, New York. During the latter part of the 20th century, his Arts & Crafts furniture became quite popular again, achieving high results at auction and finding a home in the collections of various noteworthy museums.

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 following 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, the firm of 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 so-called “White City” at 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.

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Teco / William Day Gates (American, 1852-1935) & Orlando Giannini (American, 1860-1928) In 1881, lawyer William Day “W.D.” Gates founded the American Terra Cotta Tile & Ceramic Company in Terra Cotta, Illinois, close to Crystal Lake, about 50 miles northwest of Chicago. Along with producing the first architectural terra cotta in America, especially for Prairie Style building projects — Frank Lloyd Wright was a customer — Gates also produced various clays and glazes for art pottery. Teco, a contraction of ‘Terra Cotta,’ soon became synonymous with excellence in decorative design. Gates was originally inspired by the ideals of the Arts & Crafts Movement, which began in Britain in the late 19th century. Reacting against increasing mechanization, Arts & Crafts thinkers such as John Ruskin and William Morris championed handcrafted production using the highest quality materials. Although Teco pottery comes in a range of colors, the matte green glaze is the most distinctive and prized of all. At the start of the 1930s, with the Great Depression limiting resources and demand, W.D. Gates turned operation of the American Terra Cotta & Ceramic Company over to his sons Major W. Gates and Neil H. Gates. In 1934, the Gates family sold its stock in the company to George A. Berry, Jr. at a dramatically reduced price. The Berry family subsequently obtained the American Terra Cotta & Ceramic Company’s physical plant at a tax sale. In the decades that followed, the Berrys focused solely on making terra cotta for construction purposes. Today the company is known as TC Industries, after transitioning from clay to steel production. The new firm is located on the same site where Gates began his operation in Crystal Lake in 1881. Although W.D. Gates passed away in 1935, not long after the Berry family took over, the American Terra Cotta & Ceramic Company’s legacy of architectural terra cotta and, especially, Arts & Crafts pottery continues to be celebrated. Ceramicists and collectors alike still cherish Teco pottery for its vibrant colors, rich glazes, and purity of both sculptural and organic design. In addition to making art pottery himself, W.D. Gates employed several skilled designers, including Fritz Albert, Harald Hals, W.B. Mundie, Fernand Moreau, Orlando Giannini, and others, to generate innovative forms. In particular, Ohio native Giannini had a varied background in stone masonry, pottery making for Rookwood in Cincinnati, metalworking, and glass design. He also made the acquaintance of Frank Lloyd Wright after moving to Chicago and painted residential murals for him. With his partner Fritz Hilgart, Giannini created art glass windows for Prairie Style homes and glass lampshades to complement Teco pottery bases for Gates.

Tiffany Studios / Louis Comfort Tiffany (American, 1848-1933) Born in New York City in 1848, Louis Comfort Tiffany was the oldest son of Charles Lewis Tiffany, founder of Tiffany & Co. He was raised in an atmosphere of tremendous wealth and expensive taste during the Gilded Age. Instead of joining his father’s company, Tiffany studied fine arts and worked in many mediums, including furniture, metalwork, textiles, pottery, enamels, jewelry, and book design. In the late 1870s, he became intrigued by the decorative possibilities of glass and used it throughout his career. Tiffany was a notable contributor to the Aesthetic Movement and used biblical and historical sources for inspiration from Asia and the Middle East. Influenced as well by British designer William Morris, Tiffany contributed to the Arts & Crafts Movement. He was critical of painting on glass, which he felt marred the innate prismatic qualities, so he experimented with opalescent finishes and created lava glass as well as his most important innovation, Favrile glass. Tiffany patented this iridescent art glass in 1894 and began manufacture in 1896. Coined by Tiffany, the term Favrile comes from the Latin “fabrilis,” or handmade. From his glass factory in Queens, Tiffany sold Favrile windows, lamps, vases, and mosaics.

An impeccable taskmaster, Tiffany would walk down production lines with his cane and shatter any piece of work that he deemed unsuitable. As a proponent of Art Nouveau in America, Tiffany presented the variegated colors and forms of the natural world directly. After World War I, cultural trends moved toward the more minimal, Bauhaus style. With his business income dwindling, lavish lifestyle, and extensive philanthropic efforts, Tiffany declared bankruptcy in 1932. On January 17, 1933, he died in New York City in relative obscurity. During the decades that followed, Tiffany would come to be regarded as a master of the decorative arts. His early glasswork is now part of the collections of the Metropolitan Museum of Art in New York City, the Smithsonian Institution in Washington DC, Tokyo’s Imperial Museum, and other notable facilities. Tiffany’s stained-glass windows are still found in many of America’s oldest colleges and universities, including Harvard, Yale, and Columbia.

George H. Trautmann (American, 1873-1955) Wisconsin native George H. Trautmann was born in 1873 and studied mechanical engineering at the University of Wisconsin–Madison, where he earned a degree in 1896. Shortly thereafter, Trautmann moved to Chicago, settling in the Ravenswood neighborhood on the city’s North Side. Through experiments in his home studio and with the aid of private instruction, Trautmann developed exceptional metalworking skills. His facility with copper was particularly noticeable and various items were part of annual exhibitions at the Art Institute of Chicago in 1909, 1910, and 1912. Trautmann’s copper lamps with mica shades were his signature works, but he also fashioned attractive jewelry, candlesticks, bowls, and sconces, for which he sometimes used brass instead of copper. From 1913 to 1917, Trautmann shared a studio with Christia Reade, a skilled designer and metalworker, in Chicago’s Fine Arts Building, which was a hub for several successful artisans in the early decades of the 20th century. In 1914, Trautmann and Reade together won a Municipal Art League Prize. The following year Trautmann was awarded honorable mention at the Panama-Pacific International Exposition in San Francisco. Toward the end of World War I in 1917, Trautmann moved to Lebanon, Ohio to serve as the Captain of Ordnance in the Officers’ Reserve Corp. He married Ella S. Brison in 1918 and they moved to Wisconsin after the war. Trautmann originally met Brison during his time at the Fine Arts Building, where she also worked. Back in Wisconsin, Trautmann returned to his academic roots and made a living as an engineer until the couple retired to Los Angeles. Trautmann passed away in 1955 and Brison in 1970.

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Edward Wormley (American, 1907-1995) Born in Oswego, Illinois in 1907, Edward Wormley trained at the Art Institute of Chicago from 1926 to 1928, but then limited funds forced him to work as a full-time interior designer for Marshall Field & Company. In 1930, Wormley visited Paris, where he met Le Corbusier and Art Deco designer Emile-Jacques Ruhlmann. After returning, Wormley designed furniture based on traditional forms with cleaner lines. In 1931, Dunbar Furniture Corporation in Berne, Indiana recruited the 23-year-old Wormley to be its director of design. From 1932 to 1944, Wormley created two collections per year for Dunbar: one consisting of antique furniture reproductions, the other featuring modern designs. As the mid-century modern style grew ascendant, Dunbar discontinued its antique line. Wormley opened his own design studio in New York City in 1945, but he remained a consultant for Dunbar. In 1947, Wormley developed the Precedent collection for Dunbar’s competitor, Drexel. In the 1950s, Wormley worked largely as an independent designer, but he teamed with Dunbar again in 1957 for the Janus collection, which reimagined the Arts & Crafts ethos using a streamlined, updated vocabulary. In particular, Wormley emulated the decor of California architects Charles and Henry Greene and he used tiles from Tiffany Studios to adorn his designs. While not generally celebrated in the same manner as mid-century icons like George Nelson, Charles and Ray Eames, Harry Bertoia, and Eero Saarinen, Wormley’s genius involved harmonizing traditional styles and modern innovations. For several decades, Dunbar continued to produce furniture conceived by Wormley, including his Listen to Me chaise, Téte-â-Téte sofa, and Long John coffee table. In the 1950s, the Museum of Modern Art in New York City honored many of Wormley’s designs and he was cited in a 1961 Playboy magazine profile surveying the leading figures of modernism. Prior to Wormley’s passing in 1995, exhibits featured his work at the Baltimore Museum of Art (1951), the Brooklyn Museum (1958), the San Francisco Museum of Art (1960), the Philadelphia Museum of Art (1983), and elsewhere. Examples of Wormley furniture are now housed at the Museum of Fine Arts in Boston, the Museum of Decorative Arts in Montreal, and other important institutions.

Frank Lloyd Wright (American, 1867-1959) In 1867, Frank Lloyd Wright was born in Richland Center, Wisconsin. At age 15, he began studying engineering at the University of Wisconsin–Madison. Wright moved to Chicago in 1887 to work for architect Joseph Lyman Silsbee. A year later, he joined the firm of Adler & Sullivan, directly under Louis Sullivan. Wright adapted Sullivan’s philosophy of “form follows function” to his own theory of “form and function are one.” In 1889, Wright married Catherine Lee Tobin, the daughter of a wealthy businessman, and the two moved to Oak Park, Illinois, where Wright constructed his own home and studio from 1889 to 1895. By 1900, Wright had built 60 houses in the area in what became known as the Prairie Style. This aesthetic privileged horizontal, asymmetrical structures rising naturally from the environment comprised of straight lines and geometrical patterns.

Between 1905 and 1908, Wright also created the distinctive Unity Temple for his local Unitarian parish in Oak Park. Restless and bored with convention, Wright left on an extended European tour with his married mistress Mamah Borthwick Cheney in 1909. Upon their return, they moved to Wright’s ancestral land in Spring Green, Wisconsin, where Wright had built his famed estate, Taliesin. In 1914, disaster struck when a disgruntled male servant started a fire during lunch and killed seven people, including the former Mrs. Cheney and her children. Because Wright favored designing a single door for all purposes, there was no other escape route. Most assumed this would be the end of Wright’s career, but he persevered and rebuilt Taliesin over the next decade. Wright even remarried a woman named Mariam Noel in 1922. During the Great Depression, he became a social visionary and regained his exalted place in the design world. Wright lectured widely and started the Taliesin Fellowship, bringing students to learn with him and work off their debt. In 1937, Wright ventured to the American Southwest to build his winter home and school, Taliesin West, in Scottsdale, Arizona. By the time of Wright’s death at age 92 in 1959, he had become internationally lauded and recognized for his innovative building style. On October 21, 1959, Wright’s spiral design for the Guggenheim Museum in New York City was posthumously realized. Wright is arguably the most famous American architect and his name is synonymous with great design because of how seamlessly he integrated form and function.

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

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

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

Riley Humler Director of Ceramics 708.383.5234 riley@toomeyco.com

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

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

Carl Liggett Specialist, Modern Design 708.383.5234 ext. 24 carl@toomeyco.com

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

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

Radek Dusilo Chief Photographer 708.383.5234 ext. 21 radek@toomeyco.com

Marty Uribe Shipping & Property

Jeesoo Walker Account Executive 708.383.5234 ext. 10 jeesoo@toomeyco.com

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

info@toomeyco.com www.toomeyco.com

Salvador Sanchez Property Handling

Client Services clientservices@toomeyco.com

Billing & Payments accounting@toomeyco.com

Condition Reports condition@toomeyco.com

Shipping & Receiving shipping@toomeyco.com

Toomey+ sales@toomeyco.com

Website Support web@toomeyco.com

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 within the U.S. for certain purchases. Items such as articles of furniture, highly fragile pieces, and other select items may be excluded from in-house shipping and delivery services. Please contact our Shipping Department prior to the auction with any inquiries regarding delivery and/or shipping and to obtain shipping and insurance cost estimates as available. All Toomey & Co. Auctioneers delivery and shipping quotes are for delivery to a first floor or front door. Please note that glass is removed from all paintings and prints for shipping unless otherwise directed by the buyer and a signed waiver is provided. All items are shipped fully insured, unless the buyer wishes to waive such insurance, in which case our Waiver of Insurance form must be completed and returned to us. Delivery and shipping fees and insurance fees are payable by the buyer and are nonrefundable. Buyers using a third-party shipper and who require shipping quote(s) prior to the auction are responsible for obtaining such estimate(s) from the shipper and making shipping arrangements directly with such shipper. Upon request, our Shipping Department can provide a list of recommended shippers. A buyer making his or her own shipping arrangements must complete and return to us our written Shipping Release Form in connection with the release of the item(s) to the third-party shipper. Toomey & Co. Auctioneers is not responsible for damage to items caused by such shippers, and claims for any such damage are to be settled between the buyer and the respective shipper.

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

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ARTIST INDEX Abercrombie, Gertrude — 30 Adler, Dankmar — 21 Arequipa Pottery — 7 Auböck ll, Carl — 47, 48, 49 Benton, Thomas Hart — 28 Brown Jordan — 50, 51, 52 Burton, Elizabeth Eaton — 8 Charles P. Limbert Co. — 10, 11, 12 Dickinson, John — 45 Duckworth, Ruth — 44 Dunbar — 53 E. Kold Christensen — 32, 33, 34, 35, 36, 37, 38 Eames, Charles and Ray — 64, 65, 66, 67 Erickson, Ruth — 9 Frankl, Paul — 56 Frankl Galleries — 56 Fritz Hansen — 39 Galerie Kreo — 43 Gates, W. D. — 23, 27 Giannini, Orlando — 23 Grueby Faience Company — 9 Haring, Keith — 57 Harper, Irving — 59, 60, 61, 62 Herman Miller — 64, 65, 66, 67 Hunter, Dard — 5 Jarvie, Robert Riddle — 16, 17 Johannes Hansen — 42 Juhl, Finn — 40, 41 Kalo Shop, The — 13, 14 Kennon, Roberta Beverly — 2 Kjærholm, Poul — 32, 33, 34, 35, 36, 37, 38, 39 Kleitsch, Joseph — 3

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Koons, Jeff — 58 Lamb, Walter — 50, 51, 52 Maher, George Washington — 24, 25 Maloof, Sam — 46 Mann, Attributed to Forest Emerson — 12 McArthur, Warren — 55 Mulcahy, Kathleen — 63 Newcomb College — 2 Niedecken, George Mann — 29 Preston, Jessie M. — 18 Redfield, Edward Willis — 1 Rhead, Frederick Hurten — 7 Rietveld, Gerrit Thomas — 31 Roycrofters, The — 5 Stickley, Gustav — 6 Sullivan, Louis — 21, 26 Swanson-Peterson Company — 54 Szekely, Martin — 43 Teco — 23, 27 Tiffany Studios — 4 Trautman, George H. — 19 Vodder, Niels — 40, 41 Warren McArthur Corporation — 55 Weber, Karl Emanuel Martin "K.E.M." — 54 Wegner, Hans — 42 Werkstätte Carl Auböck — 47, 48, 49 Winn, James H. — 15 Wormley, Edward — 53 Wright, Frank Lloyd — 20, 22

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

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

Lot #

Increment $250 $500 $1,000

Description

Top Bid

Bid Range Increment $30,000-50,000 $2,500 $50,000-100,000 $5,000 $100,000+ $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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