Sale 894 | The Springborn Collection of Contemporary Craft by Hindman

THE SPRING -BORN COLLECTION OF CONTEMP -ORARY CRAFT M A RCH 2 3 , 2 0 21

The Springborn Collection of Contemporary Craft March 23, 2021 | 10am CST | Chicago P R E V I E W BY A P P O I N T M E N T O N LY PROPERT Y PICK UP HOURS

M ONDAY - FRI DAY | 9: 00AM - 4: 30PM B y Ap p oi ntme nt P H OTO G R A P H Y C arme n Colome

T he following p ro per t y is from the Collection of D r. Rob e r t C. Sp ringbor n and Mrs. Carolyn J. Sp ringb orn, Nap les, Flor ida

V I E W T H E C O M P L E T E C ATA LO G U E A N D S I G N U P TO B I D, V I S I T H I N D M A N AU C T I O N S .C O M DOWNLOAD OUR A P P AT THE A P P LE STORE OR GOOGL E P L AY STORE .

Art movements come and go with the regularity of the tide, with currents pulled along by a few key innovators, others following in their wake. Suc h w as ce r t ai n l y the ca se wi th s tu di o f u rni tu re. As a w ay of working, it had an te ce d e n t s i n t h e A r ts a nd Cra f ts era . Bu t i t wa s not unt il t he mid - cent ur y e ra t h at i t b e gan to ta ke a reco g ni z a bl e s ha pe: o ne maker (p erhap s w it h a co up l e o f as s i s t a nts ) crea ti ng sel f- des i g ned , ex pressive furnit ure, ent irely by h an d . Eve n by t h e l a te 1950s , the m a i n ex po nents of t his ap p roach - men like W h ar to n E s h e r i c k , Geo rg e Na ka s hi m a , a nd Sa m M aloof - did not even know o n e an o t h e r. So it ca n ha rdl y be s a i d to have been a movement . N onet heless, a d e f i n i te n ew ap p ro a ch to f u rni tu re - m a ki ng wa s i n t he air, b ased in t he values of i n d e p e n d e n ce, ex peri m enta ti o n, a nd crea ti v i t y. W i t h t h e e m e rge nce o f Wendel l Ca s tl e o n the scene in t he 1960s, t he sculp t ural i m p l i cat i o n s o f t hi s ea rl y a cti v i t y – i ts a r ti s ti c po tent ial – gradually b ecame c l e ar. A n d w i t h t h e m a tu ra ti o n o f the f i el d , pa r t o f a general advancement of c raf t i n A m e r i ca, s tu di o f u rni tu re m a kers ca m e to recognize t hemselves as a b re e d ap ar t . T h e ir ef fo r ts pa ra l l el ed devel o pm ents in ceramics, fib er, glass, an d m e t al , ye t re m a i ned pa r ti cu l a r to so m e deg ree. The sheer scale of furnit ure m e an t t h at co l l e cto rs were few; s tu di o - ba sed m a kers worked most ly on co m m i s s i o n , fo r p ri va te cl i ents . Fo r a b r i e f t i m e, at the cres t o f the wave, these co ndit ions decisively altered: t h e co un t r y ’ s m o s t a cco m pl i s hed m a kers s u dd enl y had an unp recedented o p p o r t un i t y to p u rs u e thei r v i s i o ns . T he m a n who made t his p ossib le w as Pe te r J o se p h , an i nves tm ent ba nker wi th a l ove o f ar t , w ho op ened his e p o ny m o us M an ha tta n g a l l er y i n 1991. It wa s m o re a p at ronage st ruct ure t han a co m m e rc i al p ro po s i ti o n: Jo seph’ s g o a l wa s to el evate t he field, offering his m o ral an d f i n an c ia l s u ppo r t to the bes t f u rni tu re makers in t he count r y. Wit h C as t l e as a p re s i di ng em i nence, yo u ng er f i g u res – among t hem Tom Hucker, We n d y M ar uyam a, A l pho nse M a tti a , a nd Ed Zu cca – made ex t raordinarily am b i t i o us wo r k , st yl i s ti ca l l y po i sed a t the edg e o f p ost modernism, b ut w i t h a d e d i cat i o n to cra f ts m a ns hi p t ypi ca l l y a bsen t from t hat (ot her, larger) m ove m e n t . C ab i n etm a ki ng i n wo o d wa s the m a i n focus at t he galler y, b ut sp ace w as al so m ad e for A l ber t Pa l ey – A m eri ca’ s l ea di ng b lacksmit h – as well as o b j e c t m ake rs l i ke M i chel l e H o l z a pfel . Ro b e r t an d C aro lyn Spri ng bo rn enco u ntered s tu di o furnit ure b efore t hey ever s te p p e d i n to J o seph’ s s pa ce. T he i ni ti a l s pa rk wa s t he Museum of Fine Ar t s, Bo s to n , ex h i b i t i o n New A m eri ca n Fu rni tu re (1989), curated by Edw ard S. Cooke, J r. ( He so o n we n t o n to Ya l e Uni vers i t y, tra i ni ng a generat ion of craf t scholars, i n c l ud i n g my se l f. ) T hi s s how ha d a s tra i g ht fo r wa rdly effect ive p remise. Each i nvi te d ar t i s t c re ated a wo rk i n res po nse to a hi s toric ob ject in t he museum’s co l l e c t i o n , a co n cei t tha t hi g hl i g hted bo th co nti nu it ies w it h and dep ar t ures f ro m t rad i t i o n .

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T h e Sp r i n gb o r n s d em o ns tra ted thei r a d ventu ro u s t aste, at t he MFA show, by fal l i n g i n l ove wi th the ex pl o s i vel y co l o r f u l wo rk of Jay S t anger; t hey i m m e d i ate l y o rd e red a cha i r f ro m hi m . T ha t di rect p at hw ay w as t yp ical for t hem, an d o t h e r c raf t co l l ecto rs o f thei r g enera ti o n. T hey p rized t he relat ionship s t h at t h ey b ui l t w i t h f u rni tu re m a kers ; o ne co u l d fa i rly say t hat as t heir home f i l l e d w i t h ex ub e ra nt cha i rs , ta bl es , a nd ca bi nets , they felt surrounded by f r i e n d s . But p urs ui ng thi s new i nteres t a l so l ed them st raight to Peter J osep h, an d i t w as t h ro ugh hi m tha t they ca m e to know the work of Cast le and Paley, w h i c h t h ey we n t o n to co l l ect i n pa r ti cu l a r depth. Maruyama w as anot her favo r i te, fo r h e r p u cki s h cro s s- cu l tu ra l a es theti c s t atement s. T h e Sp r i n gb o r n s a l so ex pl o red beyo nd the co nf i ne s of J osep h’s p rogram, acq ui r i n g seve ral pi eces ea ch by the co ns u m m a te master of zoomorp hic d e s i gn , J ud y Ke ns l ey M cKi e, a nd by the Ca l i fo rni a t romp e l’oeil ironist J ohn C e d e rq ui s t . T h i s co m m i tm ent to the f i el d wa s u nu sual, to say t he least – Cast le h i m se l f s ai d , “ I can’ t thi nk o f a nyo ne who ha s co l l ected more in- dep t h t han t hey h ave ” – an d w as reco g ni zed by a 2009 ex hi bi ti o n a n d accomp anying cat alogue, L i vi n g W i t h S t ud io Fu rni tu re, o rg a ni zed a t the Na pl es Museum of Ar t , near t heir Fl o r i d a h o m e. T h e present o f feri ng o f m a teri a l f ro m t he S p ringb orns’ collect ion i s a val uab l e c ro ss- secti o n o f a m a g i ca l ti m e, fo r th em p ersonally and t he field at l arge. J o se p h wa s tra g i ca l l y fo rced to cl o se hi s galler y af ter only six years, d ue to i l l n e s s ( h e di ed o f ca ncer i n 1998). Yet s tu d io furnit ure would ret ain it s vi t al i t y fo r so m e yea rs to co m e, wi th a n o rg a ni z a ti on devoted to t he field, t he Fur n i t ure So c i e t y, fo u nded i n 1996. Twe n t y- f i ve ye ars o n, the l a ndsca pe ha s s hi f ted . N ew galleries arriving on to t h e sce n e, l i ke Ca rpenters Wo rks ho p, Fri edm a n B enda, and R & Comp any, h ave e m p h as i ze d the ra di ca l des i g n co ntex t ra ther t han t hat of st udio craf t , i m p l y i n g a E uro p e a n ra ther tha n A m eri ca n l i nea g e for t heir concerns. Younger m ake rs , l i kew i se, tend to co ns i d er them sel ves ei th er designers or ar t ist s first an d f ur n i t ure m akers seco nd. Yet i n m a ny ways , the p rop ulsive energies t hat we re se t i n m o t i on by the m i dcentu r y g enera ti o n – t heir emp hasis on individual c re at i vi t y, an d t h e i dea o f f u rni tu re a s a n o ppo r tu nit y for self- exp ression – can s t i l l b e fe l t i n co n tem po ra r y pra cti ce. T he Spri ng borns were luck y enough to b e t h e re w h e n t h e s tu d i o f u rni tu re f i el d cres ted to i ts height . And smar t enough to catc h t h e w ave.

- G L E N N A DA M S O N G l e n n Ada m so n i s a cu ra to r a nd wri ter who works at t he intersect ion o f c raf t , d es i g n hi s to r y a nd co ntem po ra r y ar t . He has p reviously b een a Se n i o r Scho l a r a t the Ya l e Center fo r Bri tish Ar t , Director of t he M use um of A r ts a nd D es i g n; H ea d o f Research at t he V &A; and Curator at t h e C h i ps to ne Fo u nda ti o n i n M i l wa u kee.

TOOTS ZYNSKY

( b. 1 9 5 1 ) U n ti tl ed Ve s se l , 1993 fused a n d t he r m o fo r m e d gl ass thre ads s i gn ed ‘ Z ’ 6 1 / 2 x 1 3 1/ 4 x 8 1/ 2 i n. $ 8 , 0 0 0 -1 2, 000

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TOOTS ZYNSKY

(b. 1951) Untitled Vessel fused and ther mo for med glass threads signed ‘ Z’ 7 x 13 1/ 4 x 8 1/ 2 in. $8, 000-12, 000

WENDY MARUYAMA

( b. 1 9 5 2 ) Ca n d el a b r u m C , 1992 pol yc h ro me d j e l u to ng, el ec trofo rme d c o p p e r s i gn ed ‘ M a r u ya m a 1992’ 5 7 x 1 8 1 / 2 x 12 i n. $ 1 , 5 0 0 -2 , 500

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WENDY MARUYAMA

( b. 1 9 52) Cow a b u ng a I I , 1990 pol yc hro me d ma ho g a ny and map l e s i gn ed ‘ M A R U YA M A 90’ 5 5 x 2 4 x 12 i n. $ 2 , 0 0 0- 4, 000

WENDY MARUYAMA ( b. 1 9 5 2 ) H a i r, 1 9 9 2 pol yc h ro m e d a nd ca r ved b a s s wo o d s i gn ed ‘ W. M A R U YA M A 1992’ 7 0 x 2 2 x 15 i n. $ 2 , 0 0 0 -4 , 000

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WENDY MARUYAMA

( b. 1952) A Lesson in E xcess from Louie XIV, 1992 cast bronze, polychromed mahogany signed ‘ Wendy Mar uyama 1992’ 34 x 70 x 20 in. $2, 000-4, 000

ALPHONSE MATTIA

( b. 1 9 4 7 ) Com pa s s B o o ks he l f , 1993 pol yc h ro m e d ma ho g a ny, m ixe d me di a 8 8 x 1 3 x 12 i n. $ 2 , 0 0 0 -4 , 000

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ALPHONSE MATTIA

(b. 1947) Arc hi tect’ s Valet, 1991 p ol ychromed and ebonized w alnut , mixed media si gne d ‘Alphonse Mattia 1991 Westpor t Ma. KH ’ 79 x 22 x 19 in. $3,000-5, 000

JAY STANGER

( b. 1956) Wa ke f ro m Wa l k i ng, 1995 l a c q u e re d wo o d , a nodi ze d al uminum, le athe r C ha i r | 40 x 36 x 34 in., O t to ma n | 15 1/2 x 23 x 19 1/4 in. $4, 000- 6, 000 10

JAY STANGER

( b. 1956) S i d e Ta b l e, 1993 a no d i ze d a l u mi nu m , i nlaid and dye d ve ne e rs , e p ox y re sin s i g ne d ‘ Jay S t a ng er 1993’ 18 x 24 x 16 i n. $2, 000- 4, 000

JAY STANGER

( b. 1 9 5 6 ) Wood en R u g, 1993 m i xed woo d s , ca s t e p ox y, i nlaid and dye d ven eers s i gn ed ‘ Jay S t a ng e r 1993’ 9 6 x 6 4 i n. $ 2 , 0 0 0 -4 , 000 12

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JAY STANGER

(b. 1956) S tand at Ease, 1993 an odized aluminum, dyed veneers, leather 54 x 32 x 34 in. $2, 000-4, 000

PETER DUDLEY

$ 1 , 0 0 0 - 2, 000

$600- 800

$1, 000-2, 000

( b. 1 9 6 2) Fl a m enc o Ta b l e , 2000 m a h og a ny, e b o ni ze d p o p l ar s i gn ed ‘ ‘ P.S. D u d l ey 2000’ 4 3 x 3 5 x 24 i n.

PETER DUDLEY

(b. 1962) Pe de stal Tab l e, 1997 mahogany, e b oni ze d p op l ar signe d ‘P.S. D udley 1997’ 32 x dia 18 in.

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(b. 1962) Pair of Pedestal Tables, 2001 mahogany, ebonized poplar signed ‘ P.S. Dudley 2001’ Each | 30 3/ 4 x dia 18 1/ 2 in.

PETER DUDLEY

(b. 1962) Pair of Side Tables cur ly maple, ebonized poplar Each | 23 x dia 30 in. $1, 000-2, 000

EDWARD ZUCCA

( b. 1 9 4 6 ) Ada m a n d Eve , 1990 bl ea c h ed cu r l y re d m a p l e, pop lar, wal nut 3 5 x 8 8 x 12 i n. $ 1 , 0 0 0 -2 , 000

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EDWARD ZUCCA

(b. 1946) Mail Me to H eaven, 1990 mixed media, ply wood, postage stamps, gold leaf, quar t z movement signed ‘ This thing is: “ MAIL ME TO H E AVEN” Edw ard Zucca 1990 AG E 43’ 62 x 29 x 9 in. $800-1, 200

( b. 1 9 4 1 ) Ma ster # 1 477 pit-f i red, p a i nte d a nd g l a ze d e ar the nware s ign ed w i th i mp re s se d a r t i s t i nsignia 8 1/ 4 x 1 3 x 8 i n.

(b. 1941) M aste r #1525 p it- fire d, p ainte d and gilded ear thenw are signe d with i mp ressed ar tists insignia 8 1/2 x 15 x 6 i n.

BENNETT BEAN

$ 1 , 0 0 0 -2 , 000

BENNETT BEAN

( b. 1 9 4 1 ) Wa l l Sc ul pt u re, 2003 pit-f i red, p a i nte d a nd g l a ze d e ar the nware s ign ed w i th i mp re s se d a r t i s t s insignia 1 4 x 2 6 x 7 1/ 2 i n. $ 2 , 0 0 0 -4 , 000

BENNETT BEAN

$1,500- 2,500

JOHN CEDERQUIST

(b. 1946) Little Waves Attempting the Rope Tr ick, 2004 mixed woods, aniline dye, epox y resin 62 x 24 x 30 in. $8, 000-12, 000

JOHN CEDERQUIST

( b. 1 9 4 6 ) Tre a c h er y of a n Ec o no m y mixe d wood s , a ni l i ne d ye, epox y res i n 64 x 30 in. $ 5 ,00 0 -7 , 0 00

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JOHN CEDERQUIST

(b. 1946) Flat Foot Floogie Builds a Bench, c. 2003 mixed woods, aniline dye, epox y resin 35 x 65 x 27 in. $6, 000-8, 000

TOMMY SIMPSON ( b. 1 9 3 9 ) S h e’ s On e H ot To m a to , 2 004 pol yc h ro m e d ba s s wood , m i xe d m edi a 7 6 x 2 9 x 16 i n. $ 1 , 5 0 0 -2 , 500

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WENDY STAYMAN

(b. 1946) Zebra Table and Mir ror, 1992 ebonized mahogany, maple, mir ror signed ‘ W S tayman 92’ Console | 38 1/ 4 x 45 x 17 1/ 2 in. $600-800

THOMAS HUCKER

( b. 1 9 5 5 ) Tal l Ta b l e I I , 1991 ro sewo o d, a l u m i nu m , s te e l , wa xed l i n e n 4 0 x 6 6 x 26 i n. $ 1 , 0 0 0 -2 , 000

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THOMAS HUCKER

(b. 1955) S latted Table, 1991 lacquered and ebonized mahogany, w axed linen 16 x 69 x 56 in. $2, 000-4, 000

LOUIS MUELLER

( b. 1 9 4 3 ) B arel y Of f the Ed g e , 1995 con s truc ted b ro nze, o i l p a i nt 44 x 3 3 x 2 2 i n. $1 , 0 0 0 -1 , 5 0 0

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DAVID SECREST

(b. 1953) Sculptural Bench, 1994 iron, steel signed ‘ DAVID SECR EST’ 20 x 54 x 20 in. $2, 000-4, 000

DAVID SECREST

(b. 1953) Ar k Bench iron, steel signed ‘ DAVID SECR EST’ 17 x 40 x 16 in. $1, 500-2, 500

SAM MALOOF

( 1 9 1 6 -2 0 09) Roc k i n g C ha i r, 1993 wa l n ut s i gn ed ‘ M . J /LW N o. 37 1993 S a m M a l o of d .f. a . r. i .s .d ’ 4 6 x 2 6 x 26 i n. $ 2 0 , 0 0 0 -30, 000 33

SAM MALOOF

( 1 9 1 6 -2 0 09) Pe des ta l Ta b l e, 1993 wa l n ut s i gn ed ‘ N o. 41 1993 S a m M a l o of d.f. a . r. i .s .d M . J / LW ’ 2 1 x d i a 2 4 i n. $ 4 , 0 0 0 -6 , 000

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JUDY KENSLEY MCKIE

(b. 1944) Butter fly Cabinet, 1993 mahogany, mixed media, plexiglass signed ‘ J KM 1993’ 72 x 34 x 15 in. $2, 000-4, 000

JUDY KENSLEY MCKIE

( b. 1 9 4 4 ) S n a ke M i r ro r , 1993 ba s s wo o d , g o l d l e a f, m i l k p ai nt , mi rror s i gn ed ‘ J K M 1993’ 2 8 x 2 8 i n. $ 3 , 0 0 0 - 5, 000

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JUDY KENSLEY MCKIE (b. 1944) Sw an Sconces, 1994 Ar t wor ks Foundr y, U SA Edition of 32 bronze signed ‘ J MK 1994 24/ 32’ Each | 21 x 14 x 4 3/ 4 in. $2, 000-4, 000

ALBERT PALEY

( b. 1 9 44) Im por t a nt E nt ra nc e D o o rs, 2004 gl a s s e l e m e nt s exe c u ted by M ar tin B lank In c l ude s o r i g i na l p ro p o sal drawi ng by the ar ti st fo rm ed a nd fa b r i ca te d ste e l, float gl ass, b lown gl ass s i gn ed ‘A L B E RT PA L E Y 2004’ 8 2 x 7 2 i n. $ 3 0 , 0 00- 50, 000

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Art-curious visitors to the home of Robert and Carolyn Springborn didn’t have long to wait. They were greeted right at the entrance by one of the collection’s most spectacular works: this pair of doors by Albert Paley. T h i s ar t i s t w i l l n eed l i ttl e i ntro du cti o n, a s o ne o f the p reeminent American sc ul p to rs o f t h e l a s t ha l f centu r y. H e i s a l so the n at ion’s leading b lacksmit h – a c raf t t h at n e a rl y di ed a centu r y a g o, wi th the advent of t he automob ile (co un t l e s s s m i t h i es cl o sed , o r were co nver ted to mechanic shop s), b ut had a d ram at i c re t ur n i n A m eri ca , m a rked by the fo u ndi n g of t he Ar t ist-B lacksmit h A s so c i at i o n o f No r th A m eri ca (A BA NA ) i n 1973. Paley, already renow ned for h i s wo r k i n j ewe l r y, wa s the cl ea r a r ti s ti c l ea d er of t his renaissance. Pal ey ’ s gre at e a rl y m a s ter wo rk wa s a set o f g a tes, w hich won a comp et it ion fo r t h e t h e n - n ew Renwi ck Ga l l er y i n Wa s hi ng to n. The p roject made his fame, l aun c h i n g h i s career a s a n a rchi tectu ra l - sca l e m e t alworker. The S p ringb orns’ e n t ran ce d o o rs , m a de three d eca d es l a ter, s how h ow he p rogressed from t h at e ar l y s ucces s . T he Renwi ck g a tes a re co m posed of delicate tendrils, w h i c h f l i n g t h e msel ves u p the center o f the co m posit ion and t hen curl aw ay i n to n um e ro us w ho rl s a nd squ i g g l es , s u g g es ti ng that ancient my t hological e m b l e m , t h e Tree o f Li fe. T he Spri ng bo rns ’ d o o rs feat ure a similar co n ce n t rat i o n i n the l ower centra l pa s s a g e, bu t th ere t he resemb lance e n d s : t h e co m p os i ti o n i s d i s j u ncti ve ra ther tha n sinuous, w it h somet hing of t h e j agg e d , ex p l o s i ve vo ca bu l a r y seen i n Pa l ey ’ s contemp oraneous p ub lic sc ul p t ure s . T h e d o o rs are f ur ther enl i vened by the i nco rpo ra t ion of glass element s, made by Pal ey ’ s f re q uent co l l a bo ra to r M a r ti n Bl a nk , a n imp or t ant figure in t he c i rc l e o f Dal e C hi hu l y (who d i d fo r g l a s s wha t Pa l ey did for met al, t ransp osing i t seve ral key s u pwa rd i nto a s pecta cu l a r, ba ro qu e sculp t ural medium). B l an k ’ s p o l yc h rom e g l a s s i ntro d u ces a l i g htnes s of gest ure to t he doors, like b r us h s t ro ke s s t andi ng o u t a g a i ns t a n i ntensel y worked b ackdrop. The effect i s g l owe r i n gl y t hea tri ca l , bri ng i ng to m i nd the pa i n t ings of Cly fford S t ill, or, c l o se r to Pal ey ’ s hea r t , the ava ta rs o f French A r t N ouveau, such as Hector G ui m ard . Suc h co m pa ri so ns a s i de, the d o o rs s how Paley himself op erat ing at t h e h e i g h t o f h i s powers . W i th a tru e sense o f d ramat ic occasion, t he p or t al p ro m i se s m ar ve l s tha t m i g ht l i e beyo nd – tha t wa s cer t ainly t he case at t he Sp r i n g b o r n re s i dence – whi l e a l so co ns ti tu ti ng a wonder in it s ow n right .

- G L E N N A DA M S O N

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ALBERT PALEY

( b. 1 9 4 4 ) To rc h ère, 1992 Edi ti on of 10 fo rged a n d fa b r i ca te d s te e l, glass s i gn ed ‘AL B E RT PA L E Y 1992’ 7 8 1 / 2 x d i a 32 i n. $ 8 , 0 0 0 -1 2, 000 36

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ALBERT PALEY

(b. 1944) Break fast Table, 1993 Edition of 14 for med and fabr icated steel, glass signed ‘ALBERT PALE Y 1993’ 29 x dia 58 in. $18, 000-24, 000

ALBERT PALEY

( b. 1 9 4 4 ) Cof fee Ta b l e, 1988 Edi ti on of 8 fo rged a n d fa b r i ca te d s te e l, glass s i gn ed ‘ PA L E Y ST U D I O S LT D. 1988’ 1 8 x 6 0 x 30 i n. $ 8 , 0 0 0 -1 2, 000

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ALBERT PALEY

(b. 1944) End Table, 1991 Edition of 15 forged and fabr icated steel, glass signed ‘ PALE Y 1991’ 18 x dia 30 in. $8, 000-12, 000

ALBERT PALEY

( b. 1 9 4 4 ) Pro pos al #1 fo r t he M e m orial Gate, Ack land Ar t Muse um, U n i vers i t y of N o r t h C a ro l ina at C hap e l Hill, 1998 Ed i ti on of 88 pen c i l o n p a p e r s i gn ed ‘A l b e r t Pa l ey 9/88’ 1 2 1 / 4 x 14 1/2 i n. $ 8 0 0 -1 ,200

T H E S P R I N G B O R N C O L L E CT I O N O F C O N T E M P O R A R Y C R A F T

ALBERT PALEY

(b. 1944) Collection of Eleven Door Medallions, 1994 designed for the offices of Rosecliff, Inc. , New Yor k Edition of 9 sets of 4 for med and fabr icated steel signed ‘ PALE Y 1994’ 5 x 9 x 2 in. $1, 500-2, 500

ALBERT PALEY

( b. 1 9 4 4 ) Vu l ca n Ca nd l e ho l d e rs , 1994 Edi ti on of 25 fo rged a n d fa b r i ca te d s te e l, b rass s i gn ed ‘AL B E RT PA L E Y 1994’ 2 0 x 3 1 / 2 i n. $ 3 , 0 0 0 -5 , 000

T H E S P R I N G B O R N C O L L E CT I O N O F C O N T E M P O R A R Y C R A F T

ALBERT PALEY

(b. 1944) Untitled Sculpture, 2009 glass elements executed by Mar tin Blank forged and fabr icated steel, blow n glass signed ‘ALBERT PALE Y 2009’ 88 x 57 x 34 in. $20, 000-40, 000

WENDELL CASTLE

( 1 9 3 2 -2 0 18) Seven Day s of t he We e k D i n ing Tabl e a n d Te n C ha i rs , 1997 eb on i zed m a ho g a ny, a s h ve n eer, u p ho l s te r y s i gn ed ‘ Ca s t l e 97’ Tabl e | 2 9 x 110 x 66 i n. , Ch a i rs | 2 8 x 24 x 22 i n. $ 6 0 , 0 0 0 -80, 000

T H E S P R I N G B O R N C O L L E CT I O N O F C O N T E M P O R A R Y C R A F T

A s f ur n i t ure fo r m s g o, d i ni ng ta bl es a re ha rd to g e t right : a horizont al ex p an se t h at h i des the u nd erca rri a g e f ro m v i ew, surrounded by a set of c h ai rs f ur t h e r prevents the ta bl e f ro m m a ki ng a s t atement . Yet t he dining t ab l e i s al so o n e o f the m o s t i m po r ta nt pi eces o f furnit ure in a home, a social o b j e c t , aro un d whi ch co nvers a ti o n, fa m i l y a nd f ri endship form. We n d e l l C as t l e, never o ne to s hy f ro m a cha l l eng e, ret urned to t he t yp ology o f te n . He f i rs t t ackl ed i t i n 1966, m a ki ng three s i milar dining t ab les in w alnut , o n e fo r h i s ow n u se. A l l fea tu red a n i ng eni o u s m eans of op ening up t he form: a ce n t ral ap e r t ure yi el di ng a v i ew down to a scu l p ted p edest al. These works ex p l o i t C as t l e ’ s s i g na tu re s ta ck l a m i na ti o n techniq ue, w hich freed him from co nve n t i o n al j o i ner y a nd a l l owed hi m to co m po se freely in sp ace. Fo ur d e cad e s l a ter he retu rned to thi s i d ea fo r a dining t ab le t hat he n i c k n am e d t h e “ho l e i n o ne.” (It wa s m a de fo r the 2015 exhib it ion Wendell C ast l e Re m aste red, a t the M u seu m o f A r ts a nd D esign.) It sp or t s a t riad of co n i cal s up p o r ts , the ta l l es t seven feet hi g h, a nd a top t hat ex tends out w ard i n a l o n g can t i l ever. T he des i g n wa s a chi eved wi th CN C car ving, w hich Cast le e m p l oye d to h o ll ow o u t the wo o den to p, then f i l l i n g it w it h hard light foam, an d ove r l ay i n g a veneer. T he res u l t i s a fea therl i ght shap e t hat ex tends b re at h t ak i n g l y i nto m i da i r. R i gh t at t h e m i dpo i nt bet ween these t wo m o m ents, in 1997, Cast le created h i s Seve n Day s o f the Week s u i te fo r the Spri ng borns. He w as on an i m p re s s i ve r un , hav i ng j u s t rea l i zed hi s m o nu m en t al S t ar C ab inet s (show n to g re at ad van t a g e a t Peter Jo seph Ga l l er y i n 1995). The st rong organic s i l h o ue t te o f t h ese d es i g ns i s repri sed i n a m o re ar t iculated form in t he Seve n Day s p i e ces , a l l o f whi ch have l eg s s u g g est ive of an ar t hrop od’s. I n t h e d i n i n g t ab l e, the l eg s s ta g e a v i v i d co ntra s t w it h t he smoot h asy m m e t r i cal to p, reca l l i ng m i d centu r y bi o m o rphic designs by Isamu N o g uc h i . T h e acco m p anyi ng cha i rs fea tu re co nti nu o u s f ra mes, running along t he floor, up, aro un d , an d ba ck a g a i n. Ca s tl e m a de m a ny variat ions on t his low-slung fo r m at e n ac t s a so r t o f v i s u a l l ea n, yi el di ng pri d e of p lace to t he majest ic t ab l e an d i t s sc u l ptu ra l ba se. Yet a no ther who l l y original solut ion, from a w h o l l y o r i gi n al des i g ner.

- G L E N N A DA M S O N

T H E S P R I N G B O R N C O L L E CT I O N O F C O N T E M P O R A R Y C R A F T

WENDELL CASTLE

( 1 9 3 2 -2 0 18) Seven Day s of t he Week Ca b i ne t , 1997 as h ven ee r, p o l yc hro m e d jel u ton g, b ro nze s i gn ed ‘ Ca s t l e 97’ 1 2 8 x 6 0 x 23 i n. $ 1 5 , 0 0 0 -25, 000

(1 9 3 2 -2 0 18) Two S to o l s , 1992 m a h oga ny, p o p l a r, e b o ny ven eer, w hi te g o l d l e a f si gn ed ‘ C a s t l e 92’ 19 1 / 2 x 1 9 x 16 i n.

(1932- 2018) End Tab l e, 1990 e b oni ze d mahogany, wal nut ve ne e r, gold l e af si gne d ‘We nde ll C astl e 1990’ 31 x di a 29 1/2 in.

WENDELL CASTLE

$2 , 0 0 0 -4 , 000

WENDELL CASTLE

(1 9 3 2 -2 0 18) M a ga z i n e R a c k , 1989 c h err y, s t a i ne d c u r l y ma p l e, p o pl a r si gn ed ‘ C a s t l e 1989’ 30 1 / 2 x 4 5 x 15 i n. $1 , 0 0 0 -2 , 000

WENDELL CASTLE

$6,000- 8,000

WENDELL CASTLE

( 1 9 3 2 - 2018) Ti m e Is M a n’ s A ng e l C l ock w i th C a b i ne t , 1990 c u rl y m a p l e, p a t i na te d c op per, a l u m i nu m , g o l d l e af, p o pl a r, o a k s i gn ed ‘ We nd e l l C a s t l e 1990’ 9 0 x 6 4 x 24 i n. $ 1 0 , 0 0 0- 20, 000

WENDELL CASTLE

( 1 9 3 2 -2 0 18) Lite Va ri a t i o n #3 Fl o o r L a m p, 1993 pol yc h ro m e d j e l u to ng, pa ti n a ted c o p p e r s i gn ed ‘ Ca s t l e 93’ 7 0 x 3 3 x 33 i n. $ 8 , 0 0 0 -1 2, 000

T H E S P R I N G B O R N C O L L E CT I O N O F C O N T E M P O R A R Y C R A F T

WENDELL CASTLE

( 1 9 32- 2018) Th e Se c re t to I t A l l D e sk , 1993 j el u to ng, ma p l e ve nee r, c urly m a p l e ve ne e r, a c r y l i c, oak a l um i nu m s i gn e d ‘ C a s t l e 93’ 7 2 x 54 x 32 i n. $ 1 5, 000- 20, 000

WENDELL CASTLE ( 1 9 3 2 -2 0 18) U n ti tl ed, 1 992 pol yc h ro m e d wo o d s i gn ed ‘ Ca s t l e 92’ 39 x 30 in. $ 2 , 0 0 0 -4 , 000 54

T H E S P R I N G B O R N C O L L E CT I O N O F C O N T E M P O R A R Y C R A F T

WENDELL CASTLE

( 1 9 3 2 -2 018) Arc h Cl o c k , 1989 Edi ti on of 12 ebon i zed c he r r y, p a t i na ted aluminum, p a ti n a te d b ra s s , g o l d l e a f s i gn ed ‘ We nd e l l C a s t l e 2/ 12 1989’ 1 6 3 / 4 x 11 x 4 1/ 2 i n. $ 4 , 0 0 0 - 6, 000

WENDELL CASTLE

( 1 9 3 2 -2 018) Va rgo Cl o c k , 1995 p o l yc h ro m e d j e l u to ng, m a h oga ny, b ra s s , ve ne e r s i gn ed ‘ W.C. 95’ 1 4 x 1 5 1/ 4 x 5 i n. $ 2 , 0 0 0 - 4, 000

WENDELL CASTLE

( 1 9 3 2 -2 0 18) Voya ge Co nso l e Ta b l e, 1995 pol yc h ro m e d j e l u to ng, pol yc h ro m e d ma ho g a ny, s ta i n ed w a l nu t s i gn ed ‘ Ca s t l e 95’ 3 8 x 3 6 x 19 i n. $ 8 , 0 0 0 -1 2, 000

T H E S P R I N G B O R N C O L L E CT I O N O F C O N T E M P O R A R Y C R A F T

WENDELL CASTLE

(1932-2018) Three -S tar Console Table, 1996 polychromed jelutong, mahogany signed ‘ Castle 96’ 46 x 54 x 27 in. $8, 000-12, 000

WENDELL CASTLE

(1 9 3 2 -2 0 18) To o Soon C ha i r, 2005 walnut si gn ed ‘ C a s t l e 05’ 36 3 / 4 x 5 9 1/2 x 32 i n. $3 0 , 0 0 0 - 50, 000

T H E S P R I N G B O R N C O L L E CT I O N O F C O N T E M P O R A R Y C R A F T

In Too Soon, Castle returns to his monumental stack lamination forms of the 1960s and 1970s while subverting a “back-to-basics” approach. D ur i n g t h e l as t d e ca de o f hi s ca reer, Ca s tl e synthes ized his material kn ow l e d ge o f car ving, f i ni s hi ng, a nd m eta l ca s ti ng wit h new ly availab le d i gi t al te c h n o l o g i e s o f 3D sca nni ng a nd CNC m i l l i ng to p roduce t he most he rc ul e an wo r ks o f A m eri ca n f u rni tu re des i g n. A l though several of his tab l e s an d c h ai rs f ro m the 1960s em a na te f ro m a tre e -like b ase, Too Soon mar ks t h e f i rs t i n s t a nce o f Ca s tl e u s i ng bra nch- l i ke ramificat ions to create se p arate s up p o r t s fo r a s u r fa ce a nd a sea t . T hi s wo rk also exp lores a new t y p o l o g y fo r C as t l e, u s i ng cu t- o u t vo i d s to d epi ct negat ive sp ace. H ar ke n i n g b ac k to hi s po s t- m o dern a nd tro m pe l ’o eil p eriod, Cast le unravels th e w ay s i n w h i c h fo rm a nd f u ncti o n u nderg o a co ntinual met amorp hosis. C a s t l e p un c t uate s To o So o n wi th hi s s i g na tu re chi p marks w hich b egin a t t h e s t ac k l am i n ated wa l nu t ba se a nd wra p a ro u nd t he chair. A scoop ed se at e m e rg e s g racef u l l y f ro m the tru nca ted s tu m p at t he center. The ch ai r fo l l ow s t h e u ndu l a ti ng fo rm s o f a l a nd sca pe be fore terminat ing at a n exagg e rate d c re s t . A ca nti l evered ta bl e ra di a tes out w ards, visually a n c h o r i n g t h e c h ai r a t a whi m s i ca l s l a nt . T he cav i t y in t he center recalls C a s t l e ’ s m o s t- c i te d i nf l u ences o f H enr y Mo o re, Jea n Arp, and Const ant in B ran c us i , w h o d e m o ns tra ted a n a l m o s t ta ci t knowl edge of sculp t ural form. B e fo re acq ui r i n g To o So o n i n 2007, Ro ber t a nd Ca rolyn S p ringb orn’s f r i e n d s h i p an d p at ro na g e o f Ca s tl e ex tend ed ba ck to t he days at Pe te r J o se p h G al l e r y. A no ther sem i na l wo rk a t the cornerstone of t he S p r i n g b o r n’ s co l l e cti o n wa s the A ng el o f Bl i nd Ju sti ce chair from t he Angel C h ai rs se r i e s ( 1990 - 1991) tha t they g i f ted i n 2012 to t he Museum of Fine A r t s B o s to n (acce s s i o n no. 2011.2132). To g ether the se works p resided over th e Sp r i n g b o r n’ s h o m e, a l bei t bri ef l y, t yi ng the l i neages of Cast le’s career th ro ugh t h e d e cad es .

T H E S P R I N G B O R N C O L L E CT I O N O F C O N T E M P O R A R Y C R A F T

WENDELL CASTLE

( 1 9 3 2 -2 0 18) Cec i n’est Pa s u n C a d e a u ( Thi s is N ot a G i f t ) C a r ve d B ox , 2 001 ba s s wood s i gn ed ‘ N a ncy a nd We nd e l l Aug 2 0 0 1 c ec i n’e s t p a s u n ca d eau’ 1 x 6 x 4 i n. Gi f t of th e a r t i s t to Ro b e r t and Ca rol y n S p r i ng b o r n, o n t he i r 5 0 th Wed d i ng A nni ve rs a r y $ 1 , 5 0 0 -2 , 500

T H E S P R I N G B O R N C O L L E CT I O N O F C O N T E M P O R A R Y C R A F T

Rob e r t and C arol y n Sp ringb orn together w ith We nde l l C astl e i n hi s studi o

T H E S P R I N G B O R N C O L L E CT I O N O F C O N T E M P O R A R Y C R A F T

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