May 2012

Transcription

May 2012

La Hacienda: The John L. Jerome Collection
Family Residence designed by Frederick Sterner
with Furnishings by Gustav Stickley ca. 1902
Auction of May 20, 2012, 10:00am
at the John Toomey Gallery, Oak Park, Illinois
Text by Thomas K. Maher
Catalog collaboration by John Toomey, Don Treadway, and Associates
Auction conducted by the John Toomey Gallery of Oak Park, Illinois and
the Treadway Gallery of Cincinnati, Ohio
La Hacienda: The John L. Jerome Collection
Galleries
Treadway Gallery, Inc.
2029 Madison Road
Cincinnati, OH 45208
(513) 321-6742
Fax: (513) 871-7722
e-mail: [email protected]
John Toomey Gallery, Inc.
818 North Boulevard
Oak Park, IL 60301
(708) 383-5234
Fax: (708) 383-4828
Arts & Crafts Department
John Toomey
708-383-5234
[email protected]
Don Treadway
513-321-6742
[email protected]
Fine Arts Department
Joe Stanfield
Lucy Toomey
[email protected]
[email protected]
708-383-5234
708-383-5234
Auctioneers
Jennifur Condon • Kevin Mannella • Lucy Toomey
Accounting
Anne Dickinson
708-383-5234
[email protected]
Directions
Absentee and Phone Bidding
Lucy Toomey
708-383-5234
[email protected]
Shipping Information
Colleen Trimarco
708-383-5234
[email protected]
Shipping/Staff
Kevin Mannella • Marty Uribe
Bob Yuro • Joe Mannella
708-383-5234
Photography
The auction is being held at 818 North Boulevard (not to be confused with
North Avenue) in Oak Park, a suburb of Chicago.
By automobile from the East; take I-90/94 to 290 West Eisenhower
X-way to Exit 21B, Harlem go north (right) to North Boulevard, take
a right to 818 North Boulevard.
By automobile from the South; take I-57 or I-55 to I-294 (Tri-State
Tollway) continue north until you come to I-290 (Eisenhower x-way)
go east on I-290 to Exit 21B, Harlem Avenue, go north (left) approximately 10 blocks under viaduct to North Boulevard, take right to 818
North Boulevard.
Tom Vogel
513-321-6742
[email protected]
Catalog Design • Layout • Production
Carrie White • Dave Warren
513-321-6742
Advertising • Website Development
Kate Wilkins • Dave Warren
513-321-6742
By automobile from the West; take I-80 or the East-West Tollway to I-290
(Eisenhower x-way) go east on I-290 to Exit 21B, Harlem Avenue, go
north (left) to North Boulevard, take right to 818 North Boulevard.
[email protected] • [email protected]
By automobile from the North; take I-90 East to I-294 South, to I-290
(Eisenhower x-way) go east on I-290 to Exit 21B, Harlem Ave., go north
(left) to North Boulevard, take right to 818 North Boulevard.
Classic Color, Broadview, Illinois
Printing and binding
Treadway Gallery Internet
Check our site on the World Wide Web
for the latest information:
http://www.treadwaygallery.com
Catalog price - $50.U.S. $70.Foreign
Photos: All Rights Reserved ©2012 Treadway Gallery
CONTENTS
Cover
La Hacienda in winter ca. 1905, photograph by Irene Jerome Hood
1.
Contents
John L. Jerome at Buffalo Park, ca. 1902, photograph by Irene Jerome Hood
2.
Preface
Thomas K. Maher
3.
Introduction
John Toomey
4-10. The Commission, the Clients, the Furnishings and Decorative Arts, the Jerome-Hart family, and the Architect, Frederick Sterner, Gustav Stickley and the United Crafts
11-59. The Jerome Estate Collection of Decorative Arts
Furniture by Gustav Stickley
Decorative Arts
The Jerome Estate Book Collection
End Cover:
An example of the ca. 1902 Gustav Stickley decal used to sign the furniture
1
PREFACE
I wish to thank the descendants of John L. and Lucy Jerome-Richard and Jane Hart and James and Barbara Hart-for the
opportunity to catalog and research their family estate in Buffalo Park, Colorado. While researching and writing about Gustav
Stickley’s early work, I have seen period photographs of private residences, camps and homes furnished with designs from his
firm. They appear in contemporary books on interior decoration and design and in monthly periodicals. The Hart family and
John Toomey provided me with an opportunity to view, live in and research an important Arts and Crafts residence designed
by a prominent American architect. La Hacienda has been maintained by family members since it was built and furnished in
1902. An auction such as this, of an original collection from its original site, is rare. From 1972 to 2012, there have been only five
important sales of Gustav Stickley furniture owned by the original family or estate:
•
On January 24, 1979, Richard W. Oliver auctioned off the contents of a former Maine governor, a sale that set records for
a number of Stickley designs.
•
In 1982, the estate of Louise Stickley (wife of Leopold Stickley) was sold in Fayetteville, New York.
•
Peter Wiles (grandson of Gustav Stickley) consigned fifteen pieces of furniture for sale at Christie’s December 10, 1988
auction. These pieces were from Gustav Stickley’s Craftsman Farms home and came to be owned by the Wiles family after
Gustav Stickley moved in with them. The Stickley provenance, combined with important early designs in original finish, resulted
in record prices. The most important example of Stickley furniture owned by Wiles was Gustav Stickley’s own wardrobe. That
piece was sold privately by Wiles to Charles and Jane Kaufmann and subsequently was sold by John Toomey and Don Treadway
at the Kaufmann Collection Sale in 1996.
•
On October 9, 1999, Duane Merrill Auctions sold the contents of Allenwood, the summer home of George Marshall
Allen, heir to the Old Crow whiskey distillery, where he constructed a lodge with ten service buildings. The lodge had beamed
ceilings and green-stained pine woodwork. The furnishings consisted of early 1901-1902 Gustav Stickley furniture. Record prices
were set once again.
•
On March 10, 2007, Craftsman Auctions sold the remaining contents of Vancroft, a large estate in Wellsburg, West
Virginia. The estate had been converted to a rest home and some of the early Stickley designs had been removed or sold prior to
the auction. Despite condition issues (due to restored finishes), many of the 1901-1902 Stickley designs brought record prices.
The sale of the La Hacienda furniture will become the sixth important sale of Gustav Stickley furnishings over the last forty years.
John Toomey, Don Treadway and the Hart family understand the need for a record that not only describes the decorative arts in
the estate but also provides the historical context of the people who contracted for the residence and decorated it with William
Morris wallpapers, Gustav Stickley furniture, Caproni plaster friezes, books and American Indian art. Cataloging this fine
collection creates an historical reference, and during this process, it became apparent that some of the furnishings are the finest
examples known.
Thomas K. Maher
Grosse Pointe, Michigan
2
The home was placed on the National
Register of Historic Places on July 20, 1973.
INTRODUCTION
I first became aware of La Hacienda in late 2007 when I received a packet in the mail from the Hart family containing
photographs of objects for possible consignment. As I began reviewing these photos, I quickly realized that this wasn’t the usual
group of pictures that come through our door. This was the collection that keeps us searching.
I have been involved in the sale of several important acquired collections, but this was the first that had been completely assembled
in 1902 and remained virtually intact. It was surprising that this treasure had remained unknown to most of us. I was anxious to
make a trip to Colorado, but the Harts were still struggling with the difficult decision to sell their family’s prized possessions.
My first trip to picturesque La Hacienda was in July of 2008, when I walked into this time capsule. The architect-designed home
still included its 1902 William Morris wallpaper and, more importantly, the majority of the Gustav Stickley furniture from his
most important period in untouched original finish. Although “rare” is an overused term in our industry, that is exactly what
this was – truly rare. I learned about the importance of the family and its role in the history of Colorado and learned about the
architect chosen to build the estate. I left Buffalo Creek with an understanding of the sensitivity of the situation and the family’s
reluctance to disperse the collection. It seemed important that a visual record of what I had seen be created.
There were several years of discussions, resulting in decisions to be made. In July 2011, the terms of the documenting and
disposition of the collection were finalized and I went back to La Hacienda, at which time we removed the collection for transfer
to our auction house in Oak Park, Illinois. It was an emotional day for the family, at the end of which the Harts asked me to sign
the La Hacienda guest book. I realized that I was the last entry in the guest book and one of the last who would see La Hacienda
as it had stood since 1902.
I want to thank the Hart family for their integrity, generosity and hospitality. They continue the traditions of the great American
family that is discussed in this book. I also want to thank Tom Maher for his friendship and invaluable assistance in cataloging
this collection. His extensive knowledge and expertise, as well as his understanding of the importance of such a project were
integral to creating this catalog, which is a tribute to both the Jerome-Hart family and Tom Maher.
John Toomey
Northeast view of La Hacienda.
Platte River at La Hacienda.
3
THE COMMISSION: LA HACIENDA, BUFFALO PARK, COLORADO
In 1880, the Denver, South Park and Pacific Railroad arrived to provide access to shipments from the Buffalo Park (a/k/a Buffalo
Creek) lumber mills and by 1889 Buffalo Park was being promoted as the largest summer resort on the Platte River. Buffalo Park
was considered the prime resort area for residents of Denver, including John L. Jerome, who enjoyed vacationing there. In 1899,
his family spent the summer there and he discovered his “Spanish Estates” (the term he used for the property on Christmas Hill
that he purchased and later called La Hacienda).
John L. Jerome and his wife, Lucy, commissioned Denver architect Frederick Sterner to create a summer compound on the site for
their family. The commission included a main residence, a stable with hayloft, carriage and tack rooms and stalls for seven horses,
a guest house, a “doll’s house” (for the maids), a “lodge” for the full-time caretaker and an ice house.
The 4,379-square-foot home was situated on a hill overlooking Bishop and Cathedral Peaks and included seven bedrooms and
four baths. The property, originally platted to include more than its current acreage, is now situated on 30 acres that includes 1/3
mile of Platte River frontage with fishing rights.
In 1902, John L. Jerome, his son-in-law Richard H. Hart (husband of his daughter Elizabeth) and brother-in-law Thomas Hood
(husband of his sister, accomplished artist and photographer Irene Jerome Hood) created the Buffalo Park Association to protect
the acreage and residence and provide proper stewardship for future generations of their family. The charter for the Buffalo Park
Association provides an insight into the personality of John L. Jerome:
“Be it further known that the business of the Buffalo Park Association is intended to be made subordinate
to the recreation and refreshment of its stockholders, and their friends, and its chief purpose shall be the
encouragement of such diversions and occupations as the following:
Sitting in the Sun. Sitting in the Shade. Angling for Trout. Riding Broncos. The noble game of
Bridge. Ping-Pong. Sitting around the Bon-Fire. Playing the Banjo. Singing. Wading in the Brook.
Sleeping in the Hammock. Making Love. Eating green Apples. Star-Gazing. Playing Truant.
Knitting in the Sun. Drinking High-balls. Climbing Mountains. Telling fish Stories. Building
castles in Spain. Hunting the Snark. Fender Fishing. Going to bed after Midnight. Rising Betimes.
Reading detective Stories. Wearing old Shoes. Making mud Pies. Gathering wild Flowers. Taking
Photographs. Going Swimming. Four o’clock Tea. Hunting Indians, bears, and chipmunks. Skating
on the Pond. Sketching. Dancing in the Barn. Doing what you Please.
“The association will strive for the suppression of: Telephones, Tickers, Nerves, Creditors, Banks, Newspapers,
Dressmakers, Teachers and all Improvement Societies.
“It will seek to promote idleness; will contribute to the comfort of tramps, and afford facilities for siestas,
dissipation and the companionship of old books and old friends.”
La Hacienda was completed in July 1902 and the first entries in the guest book are dated July 13, 1902. William T. Jerome, a
cousin of John L. Jerome who served as District Attorney in New York and was known for courageously standing up to Tammany
Hall, had the honor of being the first entry in the book.
4
La Hacienda ca. 1905. Bishop Rock and Cathedral Peak can be
seen in the background. Photograph by Irene Jerome Hood.
THE CLIENTS: JOHN L. JEROME AND LUCY JEROME
John L. Jerome was born in Clinton, New York on July 6, 1854. His second cousin, William Jerome, was a District Attorney
of New York. Another cousin, Jennie Jerome (1854-1921), married Lord Randolph Churchill in 1874 and was the mother
of Winston Churchill. John L. Jerome graduated from Hamilton College in Clinton, New York and moved to Central City,
Colorado in August 1873. He was principal of the high school there before moving to Denver in 1875, where he was admitted to
the bar in 1876 and married Lucy Wright Sweetland of Cazenovia, New York. John L. Jerome was Denver City Attorney from
1880-1881 and subsequently went into private practice before forming a partnership in 1892 with J.C. Osgood, a client who had
hired him in 1884 to provide legal work for the Colorado Fuel Company.
John and Lucy Jerome ca. 1900.
John L. Jerome And The Colorado Fuel And Iron Company
J.C. Osgood and A.H. Danforth organized the Colorado Fuel Company, its major asset consisting of an anthracite coal mine and
located in Pueblo, Colorado, which was considered the “Pittsburgh of the West” due to its steel operations. On October 21, 1892,
the Colorado Fuel Company merged with the Colorado Coal and Iron Company. J.C. Osgood became president, and Henry
Wolcott, Paul Morton and Julian A. Kebler became vice presidents of the resulting Colorado Fuel and Iron Company (“CFI”).
John L. Jerome was elected to the Board of Directors along with another friend, Alfred C. Kass (see New York Times, “Colorado
Fuel and Iron Company,” October 22, 1892).
CFI was a pioneer in creating programs for the assistance of workers, including establishment of a sociological department and
free kindergartens for children of employees. The company employed 15,000 men and never reduced wages during economic
downturns. In 1898, the company went public and, by 1902, rival business interests began attempts to take over CFI. Company
president J.C. Osgood enlisted the financial assistance of John D. Rockefeller, Jr. and George Gould to prevent takeover of the
company. Rockefeller and Gould began to exert a great deal of influence over day-to-day operations, and J.C. Osgood, because
of his reduced role and influence, turned over the company to the two men in the spring of 1903. On August 4, 1903, John L.
Jerome was relieved of his duties as vice president and Julian A. Kebler also was relieved of his duties at about the same time (See
New York Times, “Colorado Fuel and Iron - New Controlling Interest Takes Charge, Promised Innovations,” August 5, 1903).
John L. Jerome also owned the Overland Cotton Mill Company in Denver and devoted his efforts to the management of that
business.
Alfred C. Kass, one of CFI’s founding partners, died from consumption shortly after the company was taken over by Rockefeller
and Gould. Five months later, on November 21, 1903, Julian A. Kebler collapsed and died from a stroke and, on November
22, 1903, John L. Jerome, who was only 48 years old, was found dead in his bed at La Hacienda. An obituary appeared in the
November 23, 1903 issue of the New York Times:
JOHN L. JEROME DEAD.
“John L. Jerome, one of the five men who built up the Colorado Fuel and Iron Company was found dead at his
country home at Buffalo Park this morning. The coroner has determined that death was due to an overdose of
an opiate taken accidentally, and there probably will be no inquest.
Death seems to have followed the men who lost control of the Fuel and Iron Company since the change a
few months ago. A.C. Kass, J.E. Kebler and Mr. Jerome have died, Mr. Kebler only two days ago. Colonel D.
C. Beman, Secretary of the Company is ill almost to the point of death and Mr. Osgood is traveling, hoping
to regain his shattered health. Thus have the five founders of the company and the men who held its highest
executive offices been stricken all within the few months that have elapsed since they gave up their financial
battle with Eastern men.”
Herbert N. Casson, a Canadian journalist and author, in his 1907 book, The Romance of Steel, A.S. Barnes and Company,
New York 1907, described the events leading to the takeover of CFI. Referring to Osgood and his ill-fated partnership with
Rockefeller and Gould, he wrote:
“As a Westerner would say, he whistled for the grizzly and the grizzly came.”
5
THE FURNISHINGS AND DECORATIVE ARTS AT LA HACIENDA
John L. and Lucy Jerome chose William Morris wallpaper that still exists throughout the residence. Included in the residence is a
book collection, Indian blankets and artifacts. Caproni plaster sculptural reliefs were installed over four fireplaces, and the Jeromes
furnished the home with Gustav Stickley furniture ca. 1901-1902. Family lore recounts the arrival of the furniture by train from
Auburn, New York in large packing crates. An enormous bonfire was made from the oak packing crates after the furniture was
removed and installed in the home. Early Stickley honeycomb pattern druggets were used in the bedrooms of the residence and
can be seen in period photographs. The home was wired for electricity but for nearly a decade wall candle holders were used until
the area received electricity.
The Jeromes’ taste in decorating was influenced by their extensive travels. Family albums contain travel photographs from the
Pacific Northwest, as well as from the 1892-1893 Columbian Exposition in Chicago and the 1901 Pan-American Exposition
in Buffalo, among others. Their Denver residence was decorated in Japanese-style décor (a photograph of the Ho-o-den at the
Columbian Exposition also appears in one of the family albums) and La Hacienda includes Indian artifacts collected during visits
to the Pacific Northwest.
In 1901, Gustav Stickley introduced his arts and crafts furniture designs to the general public at the Buffalo Pan-American
Exposition. John L. Jerome and his wife purchased Stickley ca. 1901 designs identical to those they saw exhibited at the
exposition. The Jeromes purchased the furniture from G. W. Richardson & Son, a furniture store in Auburn, New York that was
one of the first retail stores to sell Gustav Stickley furniture.
Included in the Buffalo Park Association archives is a copy of a letter from John L. Jerome to G.W. Richardson & Son dated June
4, 1902 requesting additional Stickley furniture:
“Will you please add the following furniture to my previous orders, to be shipped at your convenience:
Eastwood book cabinet, No. 525. This is for the library, and I would like the doors lined with silk or denim of some color
which will go well with the red paper on the walls. The object of this is that the contents may not be exposed. Am also
particular to have a good lock on the doors.
Also for the living room, Smoker’s cabinet, No. 522.
For the vestibule, mirror No. 608, green stained oak, also 1 rocker, No. 2635 green stained oak, rush seat. Also 2 No. 20
willow chairs, from Sterling Bros., stained forest green.”
(Reference MSS#1266, Box/. carton E-Buffalo Park, ff# BPA- Box-2-3-4), Copyright, Colorado Historical Society.
Interior photograph of La Hacienda.
6
LA HACIENDA AND THE HART FAMILY 1902-2012
Irene Jerome Hood, sister of John L. Jerome, deserves special recognition for her role in preserving a visual record of La Hacienda,
the family and its environs. Irene married Thomas L. Hood in 1887 and they lived in Oak Park, Illinois in a residence they called
“Red Top.” Irene attended the Academy of Design in Chicago and, in 1892, she and her husband moved to Denver to be closer to
her brother and his children. Irene painted watercolors at La Hacienda of the interior of the residence and the surrounding area
and took photographs of the home, the Jerome children, wildflowers and the surrounding mountains. One of her favorite subjects
was John L. Jerome’s daughter Elizabeth. Elizabeth Jerome married attorney and law professor Richard H. Hart, and they and
their children spent summers with Irene Jerome Hood at La Hacienda until Irene’s death in 1945.
Stephen Hart (1908-1993), the son of Richard and Elizabeth Jerome Hart and grandson of John L. Jerome, attended Yale,
Harvard and Oxford and received his law degree in 1933 from the University of Denver. In 1937, he married Lorna Rogers
(deceased 1987) and they had three children, Richard H. Hart, James G.R. Hart and Georgina Hart. Stephen Hart served in
the Colorado House of Representatives for two years and in the Colorado State Senate from 1939-1943. In 1947, Stephen Hart
formed the law firm of Holland & Hart, where he remained until 1983. During his retirement in 1983-1993, he worked to
preserve Colorado history as a board member of the Colorado Historical Society. He donated Irene Jerome Hood’s sketches and
photographs of La Hacienda and Buffalo Park to the Colorado Historical Society following her death (for more information on
Irene Jerome Hood, see Georgianna Contiguglia, “Genteel Artist: Irene Jerome Hood Captures Images of Her Life and Family,”
Colorado Heritage: The Journal of the Colorado Historical Society, 1982, Issue 1, pp. 79-102). We are fortunate to have been able
to include some of these images, as well as images from family photo albums, in this book.
La Hacienda has remained practically unchanged in form and content since 1902, still representative of the international, literary
and artistic aspirations of the first generation of Western pioneers to become influential. Richard, James and Georgina Hart
inherited La Hacienda after the death of their parents. As great-grandchildren of John L. and Lucy Jerome they have maintained
the residence with the original furnishings, Indian artifacts, decorative arts, and books.
The decision to sell the residence and its contents comes at a time when maintaining and protecting their family home and its
important contents in a fragile wilderness environment has become increasingly difficult. Since 1996, three major fires destroyed
areas of Buffalo Park. In May of 1996, an escaped campfire resulted in the Buffalo Creek fire that destroyed 11,875 acres. In June
of 2000, a discarded cigarette started the Hill Meadow fire that burned 10,800 acres, eleven private residences and one commercial
property. The third and largest fire was the Hayman fire that began on June 8, 2002, which began near Lake George and destroyed
139,000 acres. The fire risk to the residence and the potential destruction of the important furnishings and decorative arts has
caused the Hart family to decide to sell this historic residence and its contents.
Irene and Thomas Hood's 1905 home, designed by Frederick Sterner.
A Western elevation photograph of La Hacienda shows
Jerome children at play. Irene Jerome Hood ca. 1903.
7
THE ARCHITECT: FREDERICK STERNER IN COLORADO (1882-1906)
Frederick J. Sterner, the architect of La Hacienda, was born in London in 1862. He followed his German-born father, Julius, to
the United States in about 1878. Julius Sterner ran a wholesale liquor business in Chicago and had another talented son named
Albert Sterner (1863-1946), who was a prominent painter and illustrator. By 1885, Albert Sterner had established a studio in
New York and began working for magazines such as Harper’s, Scribner’s, Century, and Collier’s.
Frederick Sterner appears in Chicago directories in the 1880's as a draftsman for the architect Frank E. Edbrooke. In 1879,
Horace Tabor commissioned Edbrooke to design the Tabor Block Building (1880) and the Tabor Grand Opera House (1881) in
Denver. Edbrooke moved to Denver in 1881 to oversee construction of his designs and quickly became the town's most notable
architect. Significant structures in Denver designed by Edbrooke include: the Brown Palace Hotel, the Navarre, the Masonic
Temple, the Oxford Hotel, Central Presbyterian Church, the Barrington Hotel, and Temple Emmanuel. Frederick Sterner
worked in Denver on the Tabor Block and Grand Opera projects as a draftsman for Edbrooke and, by 1883, had established an
independent practice.
Sterner’s most important commissions in Denver were the Sykes-Nicholson-Moore House (1897), the Denver Club (1889) and
the Denver Athletic Club (1899). In 1901, Sterner designed Glen Eyrie in Colorado Springs, Colorado for William Jackson
Palmer, founder of the Colorado Coal and Iron Company that merged with J.C. Osgood’s Colorado Fuel Company in 1892
(becoming Colorado Fuel and Iron Company – “CFI”). Sterner also designed the Antlers Hotel in Colorado Springs in 1901 and
was commissioned by CFI for a number of buildings in Pueblo Colorado, including the Minnequa Steel Works Office Building
(1901), the Associated Dispensary (1902), the company store and other buildings in company towns in Colorado. John L. Jerome,
who served on the board of CFI, was familiar with Sterner’s work in Denver and for the Colorado Coal and Iron Company.
In 1901, John L. Jerome asked Frederick Sterner to design a residence and a number of support buildings for a summer estate (La
Hacienda) in Buffalo Park, Colorado. In 1905, John L. Jerome’s sister Irene and her husband Thomas Hood, who vacationed at La
Hacienda, commissioned Frederick J. Sterner to design and build a home for them on the Jerome property in Buffalo Park.
Sterner’s caption for the La Hacienda blueprints.
In 1906, Frederick Sterner moved to New York and began working on New York City projects, shuttling back and forth between
Denver and New York. In 1913, he completed the designs for the Greenbrier Hotel in White Sulphur Springs, West Virginia and
also renovated brownstones in New York and created Tudor designs on Long Island before retiring and moving to London with
his sister in 1924, where he died in 1931.
Frederick Sterner architectural rendering of La Hacienda, 1902.
8
Gustav Stickley’s exhibit at the 1901 Pan-American Exposition
in Buffalo, New York. The Craftsman, November 1901.
Gustav Stickley exhibited settle no. 173 (top photo), a gong (top photo), a china cabinet (top photo) chair model
no. 2592, library/table desk model no. 404 and footstool model no. 229 at the 1901 Pan-American Exposition in
Buffalo, New York. Reference photograph, The Craftsman, November, 1901. John and Lucy Jerome attended the
exposition and purchased examples of these designs for their new home in Buffalo Park, Colorado.
9
GUSTAV STICKLEY AND THE UNITED CRAFTS 1901-1902
Gustav Stickley (1857-1942) is the most familiar name that comes to mind when people discuss Arts and Crafts furniture. Gustav
Stickley began making furniture in 1898 and his new furniture line appeared in the American Cabinet Maker and Upholsterer
and other trade journals on August 10, 1898. His brother, Leopold Stickley, served as foreman of his operation at this time.
Gustav Stickley exhibited his designs for the first time at the Grand Rapids Furniture Exposition in January 1899. An article in
the June 17, 1899 issue of American Cabinet Maker and Upholsterer commented on his trade show exhibit and described a line of
mahogany Morris chairs with carved designs.
In 1900, Gustav Stickley began experimenting with Arts and Crafts furniture designs. He created plain furniture with clean lines
made of oak, ash and mahogany and exhibited these designs. George Clingman, who ran Tobey Furniture Company of Chicago,
one of the largest furniture companies in the Midwest, signed a contract with Gustav Stickley in 1900 to produce his new
furniture designs. Clingman called the line “The New Furniture”. Tobey Furniture Company produced two catalogs of Gustav
Stickley furniture designs before Stickley abandoned this arrangement and moved to Syracuse, New York in 1901.
In Syracuse, Stickley rented the Crouse Stables for his workshop and issued his first catalog in 1901. It was nearly identical to the
Tobey version of late 1900 and was called “New Furniture from the Workshop of Gustave Stickley”. He exhibited his furniture
designs at the 1901 Buffalo Pan-American Exposition in a joint exhibit with the Grueby Pottery Company. He published a
second furniture catalog in June 1901 called “Chips from the Workshop of Gustav Stickley.”
Gustav Stickley worked with Irene Sargent in Syracuse and, in October 1901, began publishing “The Craftsman” magazine. By
January 1902, he had published a third catalog entitled “Things Wrought by the United Crafts”, a catalog of suggested room
interiors with Craftsman furniture, and in May 1902, Gustav Stickley published a series of retail photographic plates of his
designs. All of the furniture designs from La Hacienda can be found in the 1901 Chips catalog and the 1902 retail plates.
The 1901-1902 early furniture designs of Gustav Stickley are considered his finest work. All of the La Hacienda designs fall into
this time period and are exceptional examples of his furniture.
Settle model no. 173, (a/k/a Crib settle) 1902 United Crafts Retail Plates.
10
1. A 1902 Gustav Stickley “crib” settle, Model No. 173, canted form
with thirteen vertical slats at back and five under each arm, original
rope foundation and fine original finish, signed with red decal.
Dimensions: 71"w x 34"d x 38 ¼"h.
Reference: The Early Work of Gustav Stickley, Turn of the Century
Editions, New York, 1987, Model No. 173, p. 74.
Estimate: $15,000.00-$20,000.00
11
Detail of the original laced cushions.
This daybed retains its original dark brown finish, and the original leather-covered cushion and
one pillow are still intact. The pillow and cushion show normal wear but there are no separations
or tears in the cushion. Early (ca. 1901-1903) Stickley cushions were hand laced and consisted of
two separate hides joined at the middle of the cushion by a leather cord threaded through the hides.
Lounge (a/k/a daybed), Model No. 191, 1902 United Crafts Retail Plates.
12
2. A 1902 Gustav Stickley lounge (daybed), Model No. 191, five
vertical slats at each side supported by thru-tenon construction, original
leather cushion and pillow over original rope foundation, a portion of
the lacing has been replaced, fine original finish, signed with red decal.
Dimensions: 81"l x 31"w x 29.5"h.
Reference: The Early Work of Gustav Stickley, Turn of the Century
Estimate: $5,000.00-$7,000.00
13
Stickley modified the clock face between 1902 and 1904. This is the May 1902 version with a sunburst decoration in the four corners
of the clock face. Later variations had a second hand added to the face and a horizontal mullion added to the front glass panel.
Gustav Stickley illustrated an April 1902 article in The Craftsman
with a design for a hallway that included hall clock Model No. 3.
Example of this hall clock in the
May 1902 issue of The Craftsman.
14
3. A 1902 Gustav Stickley hall clock, Model No. 3,
beveled top over an original brass and copper face with
sunburst patterns at corners over a single door with
glass pane and original hardware, original pendulum
and weights, fine original finish, signed with red decal.
Dimensions: 21.5"w x 13.5"d x 71.5"h.
References:
The Early Work of Gustav Stickley, Turn of the Century
Thomas K. Maher, The Kaufmann Collection, Treadway
Gallery, Cincinnati, Ohio and John Toomey Gallery,
Oak Park, Illinois, 1996, p. 14-15, paneled window
version with a circular cutout ca. 1903.
Kevin Tucker, Gustav Stickley and the American Arts
and Crafts Movement, Dallas Museum of Art, Yale
University Press, 2010, ca. 1904 example from the
Robert Kaplan Collection. Sweep second hand
version.
Christie’s Important American Arts and Architectural
Designs, New York, June 10, 1989, p. 31 (Arthur
Sagendorph Collection), late 1902 version with a
horizontal mullion in the door and a wood panel cutout face with a second hand.
Estimate: $20,000.00-$30,000.00
15
Morris chair, Model No. 2342, 1902 United Crafts Retail Plates.
The living room at La Hacienda, Buffalo Creek, Colorado, ca. 1904. Artist and photographer Irene Jerome
Hood was a frequent visitor to La Hacienda and took a number of photographs of the home. The No. 2342
Morris chair can be seen on the left in this photograph. This example remained in its original location in
the residence from 1902 to 2011. The living room plaster frieze is shown in its original location.
16
4. A 1902 Gustav Stickley Morris Chair, Model No.
2342, flat-arm form with five vertical slats under each arm,
original faceted pegs and original seat foundation covered
in green muslin, fine original finish, signed with red decal.
Dimensions: 31"w x 36.5"d x 40"h.
Reference: The Early Work of Gustav Stickley, Turn of the
Century Editions, New York, 1987, Model No. 2342, p. 91.
Estimate: $8,000.00 -$10,000.00
17
Chair design No. 2590 was illustrated
in The Craftsman, October 1901.
5. A 1902 Gustav Stickley armchair, Model No. 2590,
fixed-back form with four horizontal slats at back and
hip rails at sides, original seat frame covered in green
muslin, fine original finish, signed with red decal.
Dimensions: 32"w x 33"d x 38.5"h.
Reference: The Early Work of Gustav Stickley, Turn of
the Century Editions, New York, 1987, Model No.
2590, p. 92.
Estimate: $3,000.00-$5,000.00
6. A 1902 Gustav Stickley footstool, Model
No. 729, arched rails supported by thrutenon construction, original green finish,
signed with red decal, replaced leather seat.
Dimensions: 20.5"w x 16.5"d x 16"h.
1902 United Crafts Retail Plates.
Reference: 1902 United Crafts Retail Plates
in The Early Work of Gustav Stickley, Turn of
the Century Editions, New York, 1987, p. 93.
Estimate: $1,500.00-$2,000.00
18
7. A 1901 Gustav Stickley footstool, Model
No. 728, original rush seat above arched rails,
fine original finish, signed with red decal.
Stool No. 728 was illustrated in the 1901 Chips
from the Workshops of United Crafts catalog.
Reference: The Early Work of Gustav Stickley, Turn
of the Century Editions, New York. 1987, Model
No. 728, p. 40.
Estimate: $4,000.00-$6,000.00
8. A 1901 Gustav Stickley “monk” footstool,
Model No. 302, original leather upholstery, with a
notched foot, signed with red decal, original finish.
9. A 1901 Gustav Stickley “monk” footstool,
Model No. 302, recovered, with a notched foot,
signed with red decal, original finish. Dimensions:
12.5"w x 12.5"d x 15"h.
Estimate: $1,000.00-$1,500.00
Estimate: $1,000.00-$1,500.00
The earliest versions of these footstools
had a notched leg as shown in the version
illustrated above. By 1904, Stickley had
modified the design into a simple flared leg.
19
9A. 1902 Gustav Stickley chair, Model No. 1297, set of chairs, four-rung ladderback form
over original leather drop-in seat, notched seat rail, original finish, signed with red decal.
Dimensions: 18"w x 16.5"d x 37.5"h.
Reference: The Early Work of Gustav Stickley, Turn of the Century Editions, New York, 1987,
Model No. 1297, p. 113.
Estimate: $3,000.00-$5,000.00
10. A 1902 Gustav Stickley dining table, cut-corner top on a cross-stretcher base, key and tenon construction, eight original 10.25"
leaves, original finish, signed with red decal. Dimensions: 60"w x 60"d x 29.5"h; table opens to 11' 10" when fully extended.
Estimate: $15,000.00-$20,000.00
This table was designed in round, square and rectangular versions with tenon and keyed legs from 1901 to 1902. It first appeared in
“Stickley’s Things Wrought by the United Crafts” catalog, January 1902. By 1903, the stretchers were flared and the table was joined
by flush tenons rather than exposed tenons and keys. Three of the four known square versions were designed for summer lodges:
•
•
•
20
Vancroft (1901), the summer estate of Joseph Vandergrift, Alden and Harlow Architects. The contents were sold in 2007 at Craftsman Auctions.
Allenwood (1901), South Burlington, Vermont, the summer estate of George Marshall Allen. The contents were sold at auction by Duane Merrill on October 9, 1999.
La Hacienda (1902), the summer estate of John and Lucy Jerome, Buffalo Creek, Colorado.
For an illustration of the round version with tenoned and keyed stretchers, see Christie’s Important American Arts and Architectural
Designs, New York, June 10, 1989, p. 34 (54" round version with six 12" leaves).
The dining room at La Hacienda.
21
Gustav Stickley experimented with gothic-influenced Arts and Crafts furniture in late 1901 and early 1902. In March
1902, an article entitled “The Gothic Revival” appeared in The Craftsman. The server on the following page is a rare example
from this period. The arched panels, flared inset mullions, cut-out shelf and tapered leg designs were eliminated by late 1902
and did not appear again in his furniture. By the middle of 1902, Stickley’s firm had modified this design. The sides became
solid oak panels, the arches and stepped rails were eliminated and the plate rail was modified into a simple wood panel.
In June of 1902, Stickley illustrated the end
page of The Craftsman issue with his joiners
compass signature beneath a gothic arch.
Details of gothic arch panel and flared mullion on the front of the server.
22
11. A 1901 Gustav Stickley server, Gothic-influenced
two-drawer form, original star hardware, beveled top
and a curved-front lower shelf supported by thru-tenon
construction on a notched foot, signed with red decal.
Dimensions: 42"w x 20"d x 39"h.
Reference: Christie’s Important American Arts and
Architectural Designs, New York, June 6, 1992, p. 21, for
an identical example of this form.
Estimate: $15,000.00-$20,000.00
23
Model No. 902, illustrated in Chips from the
Workshops of the United Crafts, ca.1901, and also
found in The Early Work of Gustav Stickley, Turn
of the Century Editions, New York, 1987, p. 85.
Detail of the corbel supports.
24
12. A 1902 Gustav Stickley china closet,
trapezoidal form, single door with nine
panes of glass and mitered mullions over
two chamfered board doors with butterfly
joint construction, corbel supports at top
with cutout details, original hardware,
fine original dark finish, signed with
red decal, one cracked pane of glass.
References: The Early Work of Gustav
Stickley, Turn of the Century Editions,
New York, 1987, Model No. 902, p. 56.
David Cathers, Furniture of the American
Arts and Crafts Movement, Revised
Edition, Turn of the Century Editions,
New York, 1996, p. 114.
Christie’s Important American Arts
and Architectural Designs, New York,
December 10, 1988, p. 53, for a singledoor example of the revised design.
Estimate: $30,000.00-$40,000.00
This design was made for a limited
time from 1901 to 1902. By late
1902, Stickley had modified the
form. The pierced corbels were
eliminated and the lower doors
were simple veneered panels
rather than mullioned boards with
butterfly joints.
25
Stickley illustrated the dinner gong shown above
in the January 1902 issue of The Craftsman.
Marshall Field & Company in Chicago was an early distributor of Gustav Stickley furniture. The
1904 photograph above shows an exhibition room from the store with a Gustav Stickley gong.
26
13. A 1902 Gustav Stickley gong, five-footed base supporting
tapered posts, arched crossbar, original hammered copper
gong, original striker with restoration and rewrapped leather,
worn original finish, signed with remnant of red decal.
Century Editions, New York, 1987, p. 62.
Estimate: $4,000.00-$6,000.00
27
Ladder-back dining chair, Model No. 1297, 1902 United Crafts Retail Plates.
14. 1902 Gustav Stickley chair, Model No. 1297, set of
ten, four-rung ladderback form over original leather drop-in
seat, notched seat rail, original finish, signed with red decal.
Dimensions: 18"w x 16.5"d x 37.5"h.
28
Estimate: $10,000.00-$15,000.00
15. A 1902 Gustav Stickley armchair, Model
No. 1297A, four rung ladderback form, original
rush seat, notched seat rail, original finish,
signed with red decal, some breaks to rush.
16. A 1902 Gustav Stickley chair,
Model No. 1297, four-rung ladderback
form, original rush seat, notched seat
rail, original finish, signed with red decal.
Reference: The Early Work of Gustav Stickley,
Turn of the Century Editions, New York, 1987,
Model No. 1297A, p. 113.
Reference: The Early Work of Gustav
Estimate: $1,000.00-$1,500.00
Estimate: $1,000.00-$1,500.00
29
Wardrobe, Model No. 624, 1902 United Crafts Retail Plates.
30
17. A 1902 Gustav Stickley wardrobe, Model No. 624, beveled
top above a paneled door with early iron escutcheon, single
drawer with faceted wood knobs, paneled sides with flush tenon
construction, interior includes six half pullout drawers and five
full drawers, fine original finish, signed with original decal.
Reference: A. Patricia Bartinique, Gustav Stickley and His Craft,
Craftsman Farms Foundation, Parsippany, New Jersey, 1992, p. 102.
Estimate: $30,000.00-$40,000.00
31
Illustration of smoker’s cabinet in the November 1901 issue of The Craftsman.
Smoker’s Cabinet, 1901 United Crafts Retail Plates.
32
18. A 1902 Gustav Stickley smoker’s cabinet, Model
No. 522, single door, chamfered board panels, heavy
thru-tenon construction, interior contains single
drawer with faceted wood knob and open divided
compartments, fine original finish, signed with red decal.
Dimensions: 17”w x 15”d x 27”h.
Estimate: $8,000.00-$10,000.00
33
Charles Greene attended the 1901 Pan-American Exposition in Buffalo, New York. He
selected a leather-top inverted tapering leg table and Model 729 and 302 footstools identical
to the versions purchased by John and Lucy Jerome. They can been in the this photograph of
the living room of his design for James Culbertson, Pasadena, California ca. 1902.
Detail of the leather.
34
19. A 1901 Gustav Stickley library table, a variation of Model
No. 454, fine original leather top, inverted tapering legs, thrutenon construction, two drawers with original iron hardware and a
central blind drawer, fine original finish, original tacks, unsigned.
Dimensions: 54.5 ”w x 33”d x 29”h.
Estimate: $40,000.00-$60,000.00
Gustav Stickley created a 1901 furniture line with inverted
tapering legs. These examples of furniture are extremely rare and
were made for less than a year. The designs include a narrow
and wide-arm version of the bow-arm Morris chair, dining
chairs in arm and side versions and rectangular and round
library tables with leather or wood tops.
Additionally, 1901 desks and library tables included an
early version of Stickley hardware – a narrow wrought iron
pull affixed with screws. Examples of this type of pull are
rare and changed when Stickley developed his own in-house
metalworking shop.
35
In December 1902, The Craftsman published an article entitled “A Visit to the Home of Mr. Stickley.”
The article was illustrated with sketches of the interior of Gustav Stickley’s Syracuse, New York
residence, including one of the den with a large cut-corner wood-top library table.
Detail of the iron star hardware.
36
20. A 1902 Gustav Stickley library table, Model
No. 404, massive form with cut-corner top over two
drawers with original iron star hardware, inverted “V”
apron and stretchers at sides, heavy corbel construction
and thru-tenon supports, fine original finish, signed.
Dimensions: 60”w x 36”d x 29.5”h.
Reference: The Early Work of Gustav Stickley, Turn of
the Century Editions, NY, 1987, Model No. 404, p. 28.
Estimate: $40,000.00-$60,000.00
Stickley briefly experimented with cut-corner
designs on a number of his furniture pieces. He
eventually reduced the number down to less
than a dozen cut-corner forms that remained in
production through the end of his manufacturing
in 1915.
The only catalog illustration of this table can be
found in the “Chips from the Workshop of Gustav
Stickley” catalog of 1901. It was listed at $50.00
for the wood-top version and $75.00 for the table
with a leather top.
37
An illustration of the leather-top version of this desk
appeared in the November 1901 issue of The Craftsman.
21. A 1902 Gustav Stickley desk, uncataloged model, letter rack at back over worn original leather top and
original tacks, two drawers with original brass strap hardware above a lower shelf supported by double key and
tenon construction, chamfered board sides with thru-tenon construction, original finish, signed with red decal.
Dimensions: 36.5”w x 20.5”d x 34”h.
Reference: The Collected Works of Gustav Stickley, Turn of the Century Editions, New York, 1981, p. 29.
Estimate: $2,000.00-$3,000.00
There are two versions of this desk at La Hacienda. One example is in a dark green finish with a wood top and
was lightly used in an upstairs bedroom. The other has a lighter brown-orange finish and was heavily used in
the living room area. It has an original leather top that is stained and badly worn.
38
22. A 1902 Gustav Stickley desk, uncataloged model, letter
rack at back over wood top, two drawers with original brass
strap hardware above a lower shelf supported by double key
and tenon construction, chamfered board sides with thru-tenon
construction, fine original green finish, signed with red decal.
Estimate: $3,000.00-$5,000.00
Gustav Stickley patented some of his furniture designs.
On September 3, 1901, he was granted a patent for this
desk design. (Reference: David Cathers, Furniture of the
American Arts and Crafts Movement, Revised Edition,
Turn of the Century Editions, New York, 1996, p. 18).
39
Detail of original leather slung seat.
Morris chair, Model No. 2341, 1902 United Crafts Retail Plates.
40
23. A 1902 Gustav Stickley Morris chair, Model No.
2341, flat-arm form with original leather seat and back
cushions on an original leather slung seat, two vertical
slats and corbel supports under each arm, original
tacks, signed with red decal, fine original finish.
Dimensions: 29.5”w x 33.5”d x 37”h.
of the Century Editions, New York, 1987, Model
No.2341, p. 41.
Estimate: $15,000.00-$18,000.00
There are over two dozen examples of this
chair known. Several have the original leather
slung seat either intact or worn through at the
front rail. A few retain portions of the original
cushions. This example retains a dark original
finish, the cushions have minimal wear and there
are no separations or tears.
41
Stickley advertised the chalet desk in a green
finish in this illustration from the November
1901 issue of The Craftsman shown above.
An interior view of the original leather and rush basket.
42
24. A 1902 Gustav Stickley chalet desk, paneled
drop-front form supported by slab sides with key
and tenon construction, with chamfered board
back, complete interior with original leather
writing surface, rare original woven basket, fine
original green finish, signed with red decal.
of the Century Editions, New York, 1987, Model
No. 505, p. 27.
Estimate: $4,000.00-$6,000.00
The earliest version of the “chalet” desk
had small cutouts in the back panel of the
desk (see A. Patricia Bartinique, “Gustav
Stickley and His Craft,” Craftsman Farms
Foundation, Parsippany, New Jersey, 1992,
p. 23 for an illustration of the prototype
of this desk owned by William and Patsy
Porter). The matching “chalet” chair had
similar cutouts and had tapered legs. That
version appears in the early 1901 Tobey
Furniture catalog. By late 1901, the
pierced designs had been eliminated.
43
25. A 1902 Gustav Stickley book cabinet, Model
No. 514, inverted “V” rail above three shelves with
fine original leather facing and tacks, supported by
paneled sides, fine original finish, signed with red decal.
Dimensions: 15”w x 14.5”d x 35.5”h.
Reference: 1901 Chips from the Workshops of United Crafts
in The Early Work of Gustav Stickley, Turn of the Century
Editions, New York, 1987, p. 42.
Estimate: $6,000.00-$8,000.00
44
Chips from the Workshops of United Crafts.
26. A 1902 Gustav Stickley hall mirror, Model No.
608, peaked top over a rectangular mirror, four original
iron hooks, original finish, signed with red decal.
Reference: 1901 Chips from the Workshops of United
Crafts found in The Early Work of Gustav Stickley, Turn
of the Century Editions, New York, 1987, p. 38.
Estimate: $3,000.00-$5,000.00
This mirror was ordered for the vestibule of
the residence on June 24, 1902 from G. W.
Richardson & Son of Auburn, New York. G.W.
Richardson & Son was one of the first furniture
stores to offer the work of Gustav Stickley.
45
27. A 1902 Gustav Stickley table, Model No.
436, circular top above a stacked and trumpeted
cross-stretcher base with a central faceted peg,
supported by double thru-tenon construction,
Dimensions: 24.5”dia. x 28”h.
Estimate: $5,000.00-$7,000.00
original green finish, some roughness and
staining to top, signed with red decal.
Estimate: $3,000.00-$5,000.00
A bedroom (ca. 1904) at La Hacienda is illustrated above. A Model
No. 436 table is in the foreground. La Hacienda had some of the
earliest honeycomb-patterned Stickley drugget rugs. A portion of one
of the rugs can be seen in the above photograph. None of them survive.
46
of the Century Editions, NY, 1987, Model No.
436, p. 50.
Estimate: $5,000.00-$7,000.00
This form was first shown in Chips from the Workshops of United Crafts. A ca. 1904 photograph of an upstairs bedroom at
La Hacienda (upper right) shows a Sterling Brothers wicker chair and one of the four Model No. 436 tables purchased
by John and Lucy Jerome (one example was badly cut down and is not in this sale). Photograph by Irene Jerome Hood.
47
Irene Jerome Hood painted this watercolor of the dining room in 1902.
This 2011 dining room photograph shows how little
the original room settings had been altered since 1902.
48
30. A 1902 Gustav Stickley sideboard, Model No. 967, massive form with
two half drawers and one full drawer above two cabinet doors, original
iron star and strap hardware, paneled sides supported by flush thru-tenon
construction, fine original finish, signed with red decal. Dimensions:
60”w x 24.5”d x 44”h.
References: The Early Work of Gustav Stickley, Turn of the Century
Editions, New York. 1987, Model No. 967, p. 111. See Gustav Stickley
and the American Arts and Crafts Movement, Kevin Tucker of the Dallas
Museum of Art, Yale University Press, 2010, p.125, for an illustration of a
dark brown version of this sideboard owned by William and Patsy Porter.
Estimate: $30,000.00-$40,000.00
Many of the pieces of Stickley furniture in La Hacienda were finished
in a green stain that Stickley used ca. 1901 to 1902. The green color
was fugitive and washed out to a honey color when the furniture was
exposed to the sun’s ultraviolet rays. The interior drawers and rear
panels of the pieces still exhibit most of the original green color.
49
Gustav Stickley published this illustration in the June 1902 issue of The Craftsman. On June
4, 1902, John Jerome wrote to the G. W. Richardson Company of Auburn and Buffalo, New
York. He previously had ordered Stickley designs that appeared in Stickley’s earlier catalogs.
He added the sewing rocker and bookcase that are illustrated in the above photograph. The
bookcase was removed from La Hacienda at an unknown date and is not part of this sale.
31. A 1902 Gustav Stickley
Thornden sewing rocker, Model No.
2635, two wide horizontal slats at
back above a fine original rush seat,
original finish, signed with red decal.
Dimensions: 18”w x 25”d 31”h.
Reference: The Early Work of
Gustav Stickley, Turn of the Century
Editions, New York, 1987, Model
No. 2635, p. 65.
50
Estimate: $1,000.00-$1,500.00
32. A 1902 Gustav Stickley plant
stand, Model No. 41, square top
above a notched apron, lower vertical
stretcher supported by key and
tenon construction, original finish,
signed with red decal, holes to top.
Dimensions: 14”w x14”d x 28”h.
Reference: The Early Work of Gustav
Estimate: $2,500.00-$4,000.00
33. The early Gustav Stickley mirror and cabinet shown at
left appears to have been designed as one piece of furniture.
It may have served as a shaving mirror stand for John Jerome.
The mirror was cut off from the cabinet and used in a second
floor bathroom. The five-drawer cabinet was used in the first
floor hallway. Both examples retain their original green finish
and the mirror is signed with a large red decal. We elected
not to reunite the two pieces of furniture but instead offer
them as found in the estate. Dimensions: mirror, 16”w x
20”h; chest of five drawers, 20”w x 15”d x 32”h.
Estimate: $2,000.00-$3,000.00
34. A 1902 Gustav Stickley library table, Model No. 441,
cut down, circular top above a stacked trumpeted crossstretcher base with central faceted peg supported by thrutenon construction, original finish, signed with red decal.
Dimensions: 36”dia. x 25”h.
Estimate: $800.00-$1,000.00
51
PIERO CAPRONI PLASTER FRIEZES AND DECORATIVE ART
Pietro Paulo Caproni (1862–1928) was the founder and co-owner of Piero Caproni & Brother, Boston, Massachusetts.
He toured European museums in the late 1890s and made casts of classical figures and friezes. He and his brother
Emilio Caproni manufactured plaster reproductions of classical and contemporary statues for art schools, major
universities and museums in the United States. Like Stickley, Caproni advertised his work through magazines. Frank
Lloyd Wright purchased examples of Caproni’s classical plaster friezes for his own residence in Oak Park and for
clients. Darwin Martin installed a full-sized example of the Winged Victory of Samothrace statue in his conservatory.
35. Pietro Paulo Caproni plaster frieze, ca. 1901, after
Luca della Robbia's "Cantoria" from the Museo dell'Opera
del Duomo in Florence, signed with metal hallmark and
numbered 8359, 37.5"w x 40"h, some minor edge chips.
This frieze was used in the living room of La Hacienda.
Estimate: $1,000.00-$1,500.00
52
Caproni casts can be identified by a metal hallmark
imbedded into the base of the cast. Early casts
have brass hallmarks bearing "PP CAPRONI &
BROTHER PLASTIC ARTS, BOSTON, MA”.
36. Pietro Paulo Caproni plaster sculptures,
pair, ca. 1901-1902, depicting classical runners,
signed with metal hallmark, each: 10"w x 4"d x
11"h, some chips and damage.
Estimate: $500.00-$700.00
37. A Pietro Paulo Caproni plaster frieze, ca. 1901, classical
scene, unsigned, 50"w x 28.5"h, some cracks.
This frieze was installed in a guest bedroom at La Hacienda.
Estimate: $1,000.00-$1,500.00
Period Stickley interiors had Caproni plasters. This 1904
Stickley interior had two installed over the sideboard.
53
38. Franz Skarbina (German, 1849-1910) "Das Königliche Schloss
zu Berlin (The Royal Palace in Berlin)," 1901, color lithograph,
28.5" x 40.25", published by R. Voigtländer, Leipzig, framed.
Estimate: $1,000.00-$2,000.00
39. Handel lamp, nine-sided slag glass shade with brick
and landscape overlay design, on a bronze base, break to one
glass panel, shade signed, 22”w x 26”h, very good condition.
Estimate: $5,000.00-$7,000.00
54
40. Henri de Toulouse Lautrec (French, 1864-1901),
"La Revue Blanche (The White Review)," 1895,
lithographed poster, 49" x 35.75", published by G.
Charpentier and E. Fasqualle for La Revue Blanche,
printed by Edward Ancourt, Paris, framed.
This poster depicts Madame Misia Natanson, also known
as La Belle Misia, on the cover of La Revue Blanche, a
literary and artistic journal published in Paris.
Estimate: $15,000.00-$20,000.00
55
41. A Hopi Kachina doll, cottonwood with hand
painted decoration ca. 1890.
Dimensions: 6.5"w x 7.5"l.
Estimate: $4,000.00-$6,000.00
The Hopi People live in Northeastern Arizona.
Kachina dolls are made by the Hopi tribe and
represent living and dead beings. This is an early
version of a Kachina carved from cottonwood and
painted with colors derived from plants and clay.
This version was collected by John and Lucy Jerome
about 1895 and remained with the family when La
Hacienda was designed and built in 1901-1902.
42. A Red Mesa rug ca. 1900, very good
condition with minor repairs.
Dimensions: 53"w x 79"l.
Estimate: $3,500.00-$4,500.00
Red Mesa Outline
The Red Mesa Outline evolved from the Eyedazzler
weavings of the Transitional Period (1863-1890),
and is sometimes associated with Teec Nos POs
weavings due to their physical proximity, though
their origins and styles are different. Red Mesa
outline rugs feature serrated diamonds outlined in
multiple colors for a dizzying effect. Many of these
weavings have a very nice border treatment.
56
These two bookplates can be found in the majority of the Hart estate book
collection. The bookplate on the left was designed by Irene Jerome Hood.
John Jerome and Lucy Jerome each signed
the books in their collection on page 125.
43. William Morris and A.J. Wyatt, The Tale of
Beowulf, 1985, Hammersmith: Kelmscott Press,
an edition of 300 printed on Perch paper, original
limp vellum binding with silk ties and gilt lettering
to spine, "Note to Reader" slip, as well as handwritten slip stating "William Morris and A.J. Wyatt,
Printed by William Morris at the Kelmscott Press."
"Note to Reader: In this translation of Beowulf, the final
ed, where the e is not elided by the printer, is intended to
be pronounced in every case."
Estimate: $5,000.00-$7,000.00
57
44. The work of Robert Louis Stevenson, a group of eighteen books, including:
Across the Plains, Memories and Portraits, Prince Otto, St. Ives, Treasure Island, Familiar Studies of Men
and Books, Strange Case of Dr. Jekyll and Mr. Hyde, A Child's Garden of Verses, Travels with a Donkey,
The Silverado Squatters, Underwoods, Kidnapped, The Amateur Emigrant, David Balfour, A Foot Note to
History: Eight Years of Trouble in Samoa, The Master of Ballantrae, Edinburgh, and Weir of Hermis Ton.
Estimate: $1,000.00-$1,500.00
45. A grouping of books relating to Ornithology, including: Edwyn Sandys and
others, Upland Game Birds, Neltje Blanchan, Birds that Hunt and are Hunted, Edward A. Samuels, Our
Northern and Eastern Birds, F. Schuyler Mathews, Field Book of Wild Birds and Their Music, Fannie
Hardy Eckstorm, The Woodpeckers, Neltje Blanchan, Bird Neighbors, Ed. William Kerr Higley, Birds
and Nature In Natural Colors (eight volumes), Herbert K. Job, Among the Waterfowl, Fannie Hardy
Eckstrom, The Bird Book, J. Lewis Bonhote, Birds of Britain, and Elliot Coues, Key to North American
Birds.
Estimate: $200.00-$300.00
46. The work of Henry James, Jr., a group of
three books, including: The American, The Portrait of
a Lady, and Daisy Miller & An International Episode.
Estimate: $300.00-$500.00
47. Ludovic Halevy, The Abbe Constantin,
1888, Chatto and Windus, Piccadilly.
Estimate: $300.00-$500.00
48. Interior Decoration and Architecture
books, group of three, including: Mrs. H. R. Haweis,
The Art of Decoration, Gardens Old & New: The Country
House & Its Garden Environment, and Clarence Cook, The
House Beautiful.
Estimate: $100.00-$200.00
49. The work of Washington Irving, a group
of seven books, including: The Works of Washington
Irving, Vol. 1 and 2, and Life of George Washington, Vol. 1-5.
Estimate: $200.00-$300.00
50. Art books, a group of three, including: Robert
Herrick, Selections from the Poetry of Robert Herrick with
Drawings by Edwin A. Abbey, Mario Uchard, My Uncle
Barbassou, and Edward Fitzgerald, Rubaiyat of Omar Khayyam.
Estimate: $200.00-$300.00
51. Miscellaneous Literature and Reference
books, group of seven, including: Richard Harding Davis,
In the Fog, Rudyard Kipling, Departmental Ditties, Barrack-Room
Ballads and Other Verses, Frank R. Stockton, The Lady, or the Tiger,
Rand McNally & Co.'s Enlarged Business Atlas and Shippers'
Guide, International Boundary Commission, Joint Report upon the
Survey and Demarcation of the International Boundary between
the United States and Canada, Philip Gilbert Hamerton, Human
Intercourse, and The Rev. H. Martyn Hart, The World of the Sea.
Estimate: $400.00-$600.00
52. A group of works by Ernest SetonThompson & Grace Gallantin SetonThompson, including: Grace Gallatin
Seton-Thompson, A Woman Tenderfoot, Ernest SetonThompson, Monarch the Big Bear, The Biography of a
Grizzly, Lives of the Hunted, The Trail of the Sandhill
Stag, Wild Animals I Have Known, and Pictures of Wild
Animals.
Estimate: $1,000.00-$1,500.00
53. The work of Mark Twain, a group of nine
books, including: The Innocents Abroad, The Prince and
the Pauper, A Yankee in King Arthur's Court, Library of Humor,
Punch, Brothers, Punch!, Following the Equator, Merry Tales,
The Adventures of Tom Sawyer, and The Stolen White Elephant.
58
Estimate: $1,500.00-$2,500.00
54. A grouping of Children’s books, including: Henry B. Beston, The Firelight Fairy Book,
Illus. L. Leslie Brooke, Johnny Crow's Garden, Celia Thaxter, Poems for Children, Joel Chandler Harris,
Little Mr. Thimblefinger, Beatrice F. Cresswell, The Royal Progress of King Pepito, Kate Douglas Wiggin,
The Diary of a Goose Girl, Daisy Ashford, The Young Visiters, Ottilie A. Liljencrantz, The Ward of King
Canute, Randolph Caldecott, The Panjandrum Picture Book, Walter Crane, A Romance of the Three R's,
Queen Summer or the Lily & the Rose and Legends for Lionel, Kate Greenway, Book of Games, Jane
and Ann Taylor, Little Ann and Other Poems, M. Arnaud, One Day in a Baby's Life, T. Pym, Pictures
from the Poets, J. G. Sowerby and Thos. Crane, At Home, Fred E. Weatherly, Through the Meadows, T.
Baldrich, The Story of a Cat, Oliver Herford, A Child's Primer of Natural History, Juliana Horatia Ewing,
A Week Spent in a Glass Pond by the Great Water Beetle, Frederick J. Waugh, The Clan of Munes, A
Child's Book of Stories, Randolph Caldecott, Some of Aesop's Fables with Modern Instances and The
Hey Diddle Diddle Picture Book, and Owen Wister, The Dragon of Wantley: His Rise, His Voracity &
His Downfall.
Estimate: $200.00-$300.00
55. A grouping of books relating to the Colorado and Rocky Mountain
Natural History, Botany, and Wildlife, including: Clarence King, Mountaineering in
the Sierra Nevada, Julia Ellen Rogers, Tree Guide: Trees East of the Rockies, Chester A. Reed, Western
Bird Guide: Birds of the Rockies and West to the Pacific, Charles Francis Saunders, The Western Flower
Guide: Wild Flowers of the Rockies and West to the Pacific, Chester A. Reed, Bird Guide: Part 2 Land
Birds East of the Rockies, Florence Merriam Bailey, Handbook of the Birds of the Western United States,
Enos A. Mills, The Grizzly and The Rocky Mountain Wonderland, Edward Royal Warren, S.B., The
Small Mammals of Colorado, W. W. Cooke, The Birds of Colorado (three editions) and Further Notes
on the Birds of Colorado, W. H. Bergtold, The Birds of Denver: An Annotated List, M. B. Williams,
The Heart of the Rockies, George W. Kelly, Rocky Mountain Horticulture is Different, Ruth E. Ashton,
Plants of Rocky Mountain National Park, Edith S. Clements, Flowers of Mountain and Plain, Ronald
J. Taylor, Rocky Mountain Wildflowers, Ed. Robert M. Ormes, Guide to the Colorado Mountains,
Text-Book of Western Botany, P. A. Rydberg, Flora of Colorado, Leander, Keyser, Birds of the Rockies,
Richard Kauffman, A portfolio of fifteen color prints from Gentle Wilderness: The Sierra Nevada, Julia
W. Henshaw, Mountain Wild Flowers of America, City Forester's Office, What Tree is This?: How Leaves
Tell Their Names, Mountain Wild Flowers of Colorado, Harold and Rhoda Roberts, Some Common
Colorado Wild Flowers, Robert E. More, Colorado Evergreens and Burton O. Longyear, Evergreens of
Colorado and Some Colorado Mushrooms.
Estimate: $400.00-$600.00
56. A grouping of books relating to History and
Historical Biographies, including: Seymour Van
Santvoord, The House of Caesar, John Lothrop Motley, D.C.L.,
History of the United Netherlands (four volumes), The Rise of the
Dutch Republic (three volumes) and The Life and Death of John
of Barneveld (two volumes), Ed. William Carew Hazlitt, Essays of
Montaigne (two volumes), Allan Fea, King Monmouth and The
Flight of the King, Spencer Walpole, The Life of Lord John Russell
(two volumes), Edgar Sheppard, M.A., Memorials of St. James's
Palace (two volumes), E. B. Washburne, Recollections of a Minister
to France 1869-1877 (two volumes), and John S. C. Abbott, The
History of Napoleon Bonaparte (two volumes).
Estimate: $200.00-$300.00
57. A grouping of books relating to Botany,
Forestry and Gardening, including: James Lane Allen,
The Blue-Grass Region of Kentucky, William T. Hornaday, Wild Life
Conservation, G. Frederick Schwartz, Forest Trees and Forest Scenery,
John Muir, A Thousand-Mile Walk to the Gulf, The Evergreen: A
Northern Seasonal, parts I and II, Elizabeth Marie Dunham, How
to Know the Mosses, Joseph Le Conte, A Compend of Geology,
Alice Morse Earle, Sun-Dials and Roses of Yesterday, F. Schuyler
Mathews, Field Book of American Wild Flowers, Field Book of
American Trees and Shrubs and Familiar Trees and Their Leaves,
Charles G. D. Roberts, The Heart of the Ancient Wood, Clifton
Johnson, Among English Hedgerows, Rev. Hilderic Friend, Flowers
and Flower Lore, Rev. H. N. Hutchinson, Extinct Monsters, William
Lyman Underwood, Wild Brother: Strangest of True Stories from
the North Woods, Montague Free, All About House Plants, Dallas
Lore Sharp, Where Rolls the Oregon, Bayard Taylor, Views Afoot or
Europe Seen with a Knapsack & Staff, Elizabeth S. Tucker, Leaves
from Juliana Horatia Ewing's "Canada Home," John Muir, Travels in
Alaska, Charles Dudley Warner, Back-Log Studies and My Summer
in a Garden, John Bickerdyke, Days of My Life, E. J. Wallis, Royal
Botanic Gardens, John Nisbet, Our Forests and Woodlands, George
A. B. Dewar, Wild Life in Hampshire Highlands, Dallas Lore Sharp,
Wild Life Near Home, Josephine Diebitsch-Peary, My Arctic Journal:
A Year Among Ice-Fields and Eskimos, T. Rice Holmes, A History of
The Indian Mutiny, William J. Long, School of the Woods, Viscountess
Wolseley, In a College Garden, Alphonse Karr and The Rev. J. G.
Wood, A Tour Round My Garden, Frederick Schwatka, Nimrod
in the North, A. Heaton Cooper and A. R. Hope Moncrieff, Isle of
Wight, Samuel Scoville Jr., Everyday Adventures, John D. Sedding,
Garden-Craft: Old and New, Paul Laurence Dunbar, Poems of Cabin
and Field, William Davenport Hulbert, Forest Neighbors, Asa Gray,
Gray's School and Field Book of Botany, W. H. Hudson, The Book
of a Naturalist, Charles H. Peck, University of the State of New York
Annual Report of the State Botanist, Maurice Maeterlinck, The Life
of the Bee, M. Walter Pesman, Meet the Natives, W.W. Robbins and
Breeze Boyack, The Identification and Control of Colorado Weeds, Dr.
W. G. Farlow, Some Edible and Poisonous Fungi, S. Reynolds Hole,
Our Gardens, and J. H. Fabre, Social Life in the Insect World.
58. A grouping of books relating to Fishing and
Hunting, including: Stonehenge, The Dog: In Health and
Disease, John Burroughs, Squirrels and other Fur-Bearers, Henry
P. Wells, Fly-Rods and Fly-Tackle, Charles F. Orvis and A. Nelson
Cheney, Fishing with the Fly, William Henry Burt, A Field Guide to
Mammals, Lord Walsingham and Sir Ralph Payne-Gallwey, Shooting:
Moor & Marsh and Shooting: Field & Covert, H. CholmondeleyPennell, Fishing: Salmon and Trout and Fishing: Pike and Other
Coarse Fish, Edward Hamilton, Fly-Fishing: Salmon, Trout &
Grayling, J. Otho Paget, Hunting, Sir Edward Grey, Fly Fishing,
James A. Henshall, Book of the Black Bass, Ed. Edward Jesse, Esq.,
The Complete Angler or The Contemplative Man's Recreation of
Izaak Walton and Charles Cotton, David Webster, The Angler and
The Loop-Rod, Frank Sherman Peer, Cross Country with Horse and
Hound, J. Turner-Turner, The Giant Fish of Florida, Mary Rogers
Miller, The Brook Book, George A. B. Dewar, The Book of the Dry
Fly, Alfred M. Mayer, Sport With Gun and Rod in American Woods
and Waters, and H. E. Anthony, M.A., Field Book of North American
Mammals.
Estimate: $750.00-$1,500.00
Estimate: $600.00-$800.00
59
TERMS OF SALE: Cash or check with positive I.D. Auctioneer determines the highest bidder and resolves any disputes. All purchases are subject to state tax unless
buyer has proof of exemption or merchandise will be shipped out of state, other than Ohio, no exceptions. Buyers premium is 22%, if bidding by phone or absentee directly
through the Gallery, if bidding via internet buyers premium is 25%. Forms of payment accepted; Check, Money Order, Bank Wire, Amex, Visa or MasterCard, please note;
there is an additional 2.5% added to your premium if paying by credit card. If you are a resident of Illinois or Ohio, OR are picking up your purchase at our gallery, you must
pay sales tax unless you have a valid tax ID number.
Jurisdiction: Buyer agrees that the state and federal courts in Hamilton County, Ohio or Cook County, Illinois shall have exclusive jurisdiction over all
matters arising out of the Buyer’s purchase of items from Treadway/Toomey Galleries, and that service of process in any such proceeding shall be effective if
mailed to Buyer at the Buyer’s address supplied to Treadway/Toomey Galleries.
Late Payments/Default Rates and Fees: If any payment is not paid when due or within 10 days thereafter, or if Buyer defaults in its dealings with Treadway/Toomey Galleries
or breaches Buyer’s obligations, Buyer agrees to pay to Treadway/Toomey Galleries all damages and attorneys fees and expenses, together with interest at the highest rate allowed
by law or 21 percent per annum. Treadway/Toomey Galleries may impose, and purchaser agrees to pay a monthly storage charge of 1.5 percent of the purchase price as well as
a monthly interest charge of 1.5 percent for any lot or item not paid for or removed by purchaser within 10 days of the sale. Treadway/Toomey Galleries shall have no liability
for any damage to property left on its premises after the date of sale. In addition, Treadway/Toomey Galleries may charge such damages, costs and expenses to any credit card
that Buyer has identified to Treadway/Toomey Galleries and Buyer hereby authorizes Treadway/Toomey Galleries to do so.
Delivery to any location other than auction site carries a transportation charge.
••• Please read our guarantee carefully •••
OUR GUARANTEE: We guarantee the authenticity of every item that we sell for 30 days after the auction, except those lots listed as: “in the style of ”, “attributed
to”, “the school of ”, “in the manner of ”, or “after”. We are not responsible for errors or omissions in the catalog, or in written or oral condition reports. All measurements are
approximate. We make every effort to accurately describe our merchandise, but in the event that errors occur, we cannot be held responsible. It is the bidder’s sole responsibility
to be well-informed before bidding. We sell clocks, lamps, and all electrical items only for their decorative value. They are not represented to be in working order, but they may
be. Bidding in our auctions indicates that you accept these terms and any announced the day of the sale. Shipping costs are non refundable.
If you have any questions regarding the condition, we would be happy to provide an opinion of the condition, but all works are sold as viewed. If a work is in obvious need of
repair, or has obvious imperfections, we will attempt to note it in the description. If a painting is excessively dirty, we will attempt to note it in the description; however, we do
not feel that the normal darkening of varnish over years is problematic, and it will not be noted in the description. If you would like for us to give our opinion regarding whether
or not a work needs to be cleaned, please contact us. We believe it is important for you to know the condition of a work before you bid on it. We strongly recommend that you
personally inspect potential purchases before the sale, or have your representative inspect it on your behalf. If this is not possible, we urge you to call us for a detailed verbal or
written condition report. This report is not a professional conservator's evaluation, but is given to the best of our opinion.
Ceramics offered in this sale are free of repairs, chips or cracks post production unless noted in the description of each lot. Our term “mint” refers to the object being in the
same condition that it was in when originally produced. Sizes are approximate. Crazing, surface scratches, firing lines, bubbles, glaze crawls, stilt marks, firing flaws and base
flakes will be noted if we feel that they are objectionable. Many of these flaws may have occurred when made. Most ceramics can be crazed, we generally will not mention it.
Many producers have ground the bottom of their vases causing minute chips or flakes. Unless we feel that they are objectionable, they will not be mentioned. Grueby and other
makers of carved pots or those with high relief will often have flakes on edges of the leaves or points in high relief, we will only mention anything we feel objectionable and will
still consider these pieces to be mint. Clewell is copper-clad and patinated; this patina occasionally has small flakes, we mention any we feel is significant. Some framed tiles
or plaques may have chips which are hidden by their frames. We will not be responsible for their disclosure unless we feel it is significant. Some pieces will be dirty or stained,
this will usually not be mentioned. In any case, if you are particular about minor flaws, you should examine pieces in person or have our staff answer any questions. Please ask
questions before you buy.
Furniture has its original hardware and wood unless otherwise noted. Finishes and marks are carefully described. Some original finishes have minor restoration such as added
color or a recoating. We will describe to the best of our ability, but it is the buyers responsibility to obtain an in depth description. The wood is oak, unless otherwise stated, and
the dimensions are approximate. The furniture is old and over the years has acquired a few dents, drink rings, separations, burns, chips and assorted flaws. We will only mention
those that we feel are objectionable. When we describe a piece of furniture as being in “excellent condition”, it generally implies that the finish is original and the structure is in
fine shape. A piece that has been totally or partially refinished and is in good structural shape will generally be described as being in “very good condition”. A piece that needs
to be refinished or that has a less than stable structural state (i.e. needs gluing, redoweling, etc.) may be generally described as being in “good condition”. The majority of this
furniture is ready to be put in the home.
Carpets, Rugs and textiles will be described on their overall condition. A piece that is without holes or major wear, but needing minor side or end repair will be described as in
excellent condition. Pieces containing reweaves, re-piling or other professional repairs will be described as in very good condition. Pieces with wear or flaws and possibly needing
repair will be described as in good condition. Certain pieces are rare in any condition and may be described as good condition regardless of appearance.
Lamps will be described based on patina and condition of glass. Leaded lamps may have cracked segments, most will. Some parts may have been replaced through the years, and
we will mention it if we feel objectionable. Shades with mica may contain minor flaking or burn spots that will be mentioned if we feel objectionable.
Metalwork will be described based on patina and the condition of the object. Dents, scratches, wear and assorted flaws will be mentioned if we feel that they are objectionable.
A piece with original patina, free of major dents or scratches usually will be described as in “excellent condition”.
Art Glass will sometimes contain air bubbles, surface scratches, lines in the making and chips to the pontil. We will mention anything that we feel to be objectionable. Some glass
may be ground at the factory causing minor chips or flakes. We will mention anything we feel to be excessive. Discoloration on the interior is usually present when originally
produced and will not be noted unless we feel it is excessive.
Paintings, Drawings, Prints and Bronzes. We guarantee objects to be an authentic work by the artist listed. Any and all information listed in the catalog that is not printed in bold
type is given to the best of our knowledge, is merely our opinion, and is not guaranteed to be correct or authentic. We make every effort to insure 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. 1) A written letter from a noted
authority presented to us, declaring the object to be executed by someone other than the artist listed. 2) This authority has no vested interest in the artist's work or the estate of
the artist. 3) The object is returned to us in the same condition in which it was purchased. The purchase price will be refunded only; there will be no compensation for damages,
loss of profit, professional fees, transportation or any other costs.
CONDITION REPORTS: It is the buyer’s sole responsibility to be knowledgeable about the condition of the property before bidding. We are open for
preview the week prior to every auction, or by appointment. We encourage you to visit and inspect all lots at this time. If you cannot personally examine items, we
encourage you to call, e-mail or fax us 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. This information is solely our opinion and is not to be relied on as representations or statements of fact. It is the buyer’s responsibility to
be aware of all conditions, addendums, and corrections before the sale. Condition Reports for the auction are obtainable by contacting the John Toomey Gallery at
708-383-5234, they would be happy to assist you with detailed reports and photographs. Also, all secondary condition reports are listed on our website at the top of
each online catalog page. There is a button that says "Condition Reports" that when clicked on, serves as a link to a lot numbered list of reports. Finally, we do our
best to place a condition report with every lot listed on Artfact.
PREVIEW:
We will have a preview of the items offered in this sale, at the John Toomey Gallery, 818 North Blvd. in Oak Park, on the following dates:
Saturday, May 12, 2012 10:00 a.m. - 5:00 p.m., Sunday, May 13, 2012 CLOSED, Monday, May 14, 2012 10:00 a.m. - 5:00 p.m., Tuesday, May 15, 2012 10:00
a.m. - 5:00 p.m., Wednesday, May 16 2012 10:00 a.m. - 5:00 p.m., Thursday, May 17, 2012 10:00 a.m. - 5:00 p.m., Friday, May 18, 2012 10:00 a.m. - 5:00 p.m.,
Saturday, May 19, 2012 10:00 a.m. - 5:00 p.m. Also open by appointment when available. We're glad to offer an advance preview, usually for six weeks prior to sale
date on most of the items in this sale to benefit those traveling through Chicago or for those who may find it inconvenient to preview at our normal times. Call for
an appointment if you wish to arrange special viewing or evening viewing and we will try to accommodate you; contact John Toomey or Anne Dickinson at (708)
383-5234 in Oak Park. We extend this courtesy to all our clients but request an advance phone call to make arrangements.
ESTIMATES: Our price estimates are purely that, an estimate, reflecting the range in which the price may fall. This should give buyers an idea of what they
should bid in order to have a good chance of being successful. In some cases the price range may be wider than others, due to the uniqueness of the individual piece. A
few items have reserves. We implement them to offer items that may not have been available without them. You will find that few of the pieces offered have reserves.
In most instances, the reserves will be less than the low estimate.
ABSENTEE BIDS/PHONE BIDS:
If you can't attend our sale, it is quite easy to get involved. You can bid over the phone during the sale or leave bids
which will be executed by one of our representatives in the audience. When leaving a bid the only disadvantage you have is that you can't advance your bid as you
might if you were there in person. Your bids are executed as though you are there in person. We get you into the bidding at the first opportunity to insure your chance
of being successful at the lowest price. Because of this, the lot may sell for your highest left bid, but not to you because you were "in" at the previous bid.
We respectfully ask that you refrain from calling during the auction to set up phone or leave absentee bids, as we use these lines to make calls to pre-arranged
phone bidders. Advance arrangements are crucial to insure your bids will be handled without problems.
Note: Please try to send in absentee bids and/or arrangements for phone bidding to us as early as possible. We have a limited number of phone lines available,
and they do fill up very quickly, so make arrangements early to insure yourself a line. We cannot guarantee you will get a line if you make arrangements later than
5:00 p.m. (EST) on the Friday prior to the sale. Also, please remember we prefer to avoid phone bidding on items estimated under $500. Be sure absentee bids
are given in the correct increments (see chart below). Keep in mind, when tie absentee bids come in, we will honor the first one received. However, absentee bids
have an equal chance of being successful as do telephone or in-person bids and in no way take precedence. Again, please mail, fax or phone in absentee bids prior
to 5:00 p.m. (EST) on the Friday prior to the sale, as we cannot guarantee execution after this time. If you mail your bids in, to avoid confusion, please do not also
fax them (and vice versa). If you wish to confirm that your bids were received, please phone us. If you phone in to make additions to left bids, be sure you mention
that you've already left bids. Call Janet Rogers in Cincinnati with any questions concerning absentee bids or phone bidding. NOTE: PLEASE DO NOT CALL
FOR RESULTS OF SALE THE MONDAY AFTER THE AUCTION. WE WILL BE HAPPY TO ASSIST YOU AFTER ALL INFORMATION HAS
BEEN CHECKED FOR ACCURACY.
AUCTION INCREMENTS: We use the following increment multiples at our auctions. When leaving absentee bids, please make sure
your bids fall within the proper increments. This is crucial to the success of your bids. If your bid is out of
increment, we will drop it down to the closest increment.
0-500
500-1000
1,000-3,000
$25. increment
$50. increment
$100. increment
3,000-5,000
5,000-10,000
10,000+
$250. increment
$500. increment
$1000 increment or auctioneer's discretion
DELIVERY: We use the safest and most economical methods that we are aware of to deliver purchases. You can obtain estimates for shipping prior to the auction by providing us with a full shipping address and lot(s) you are interested in purchasing. Domestic shipping quote requests must be received three business days
prior to the sale; international quote requests must be received five business days prior to the sale. A single piece of furniture shipped within the US will range from
$200-600 before insurance; a piece of pottery or glass of average size costs $35-60 before insurance; an average sized framed painting will range from $55-95 before
insurance. All furniture delivery quotes are for delivery to a first floor or elevator building. Oversized items can cost significantly more to ship. All items are shipped
fully insured, unless the buyer sends a signed waiver. If you have questions about the shipping or delivery cost of any item please inquire. The buyer is free to make
his or her own shipping arrangements. Treadway/Toomey Galleries are not responsible for items that are damaged in any way by shippers. If a problem arises, all
claims must be settled between the buyer and the shipper.
CONSIGNMENTS WANTED
We are seeking fine quality consignments for our auctions. We will match or beat anyone's consignment rate for
better items. Check with us before going elsewhere; you will be glad you did. We are not limited to our geographic
area and can easily arrange shipment of any item. Call or write for a proposal. We are very interested in buying a
single piece or any entire collection. Please call us if you have anything to consign or sell.
1
w w w . tr e ad w ay g a l l ery .c om
2
Treadway • Toomey Galleries
La Hacienda: The John L. Jerome Collection and
20th Century Art and Design
May 20th, 2012
John L. Jerome Collection
Session One
10:00 a.m.
Arts & Crafts/Art Nouveau
Session Two
Immediately following the conclusion of Session One.
American and European Paintings, Prints and Works on Paper
Session Three
Immediately following the conclusion of Session Two.
1950s/Modern
Session Four
Immediately following the conclusion of Session Three.
Preview Dates:
Saturday, May 12, 2012 10:00 a.m. - 5:00 p.m.
Sunday, May 13, 2012 CLOSED
Monday, May 14, 2012 10:00 a.m. - 5:00 p.m.
Tuesday, May 15, 2012 10:00 a.m. - 5:00 p.m.
Wednesday, May 16, 2012 10:00 a.m. - 5:00 p.m.
Thursday, May 17, 2012 10:00 a.m. - 5:00 p.m.
Friday, May 18, 2012 10:00 a.m. - 5:00 p.m.
Saturday, May 19, 2012 10:00 a.m. - 5:00 p.m.
Also open by appointment when available
at
John Toomey Gallery
818 North Blvd • Oak Park, Illinois 60301
(708) 383-5234
[email protected]
www.treadwaygallery.com
IL Lic. #444000195, #441001663, #441001222
OH Lic. #2007000142
A PRESENTATION BY TREADWAY GALLERY, INC. OF CINCINNATI, OHIO
I N A S S O C I A T I O N W I T H J O H N T O O M E Y G A L L E R Y , INC. O F O A K P A R K , I L L I N O I S
3
The following list of lots is from Session One,
La Hacienda: The John L. Jerome Collection.
The complete listing for this session is
available for viewing on our website. The
separate hardbound catalog for this session
can be purchased online or by telephone.
www.treadwaygallery.com
513-321-6742 or 708-383-5234
4
1. Gustav Stickley “crib” settle, Model No. 173, canted form with thirteen vertical
slats at back and five under each arm, original rope foundation and fine original
finish, signed with red decal, 71"w x 34"d x 38.25"h 15,000-20,000
2. Gustav Stickley lounge (daybed), Model No. 191, five vertical slats at each
side supported by thru-tenon construction, original leather cushion and pillow over
original rope foundation, a portion of the lacing has been replaced, fine original
finish, signed with red decal, 81”l x 31”w x 29.5”h 5000-7000
3. Gustav Stickley hall clock, Model No. 3, beveled top over an original brass and
copper face with sunburst patterns at corners over a single door with glass pane
and original hardware, original pendulum and weights, fine original finish, signed
with red decal, 21.5”w x 13.5”d x 71.5”h 20,000-30,000
4. Gustav Stickley Morris Chair, Model No. 2342, flat-arm form with five
vertical slats under each arm, original faceted pegs and original seat foundation
covered in green muslin, fine original finish, signed with red decal, 31”w x
36.5”d x 40”h 8000-10,000
5. Gustav Stickley armchair, Model No. 2590, fixed-back form with four horizontal
slats at back and hip rails at sides, original seat frame covered in green muslin, fine
original finish, signed with red decal, 32”w x 33”d x 38.5”h 3000-5000
6. Gustav Stickley footstool, Model No. 729, arched rails supported by thrutenon construction, original green finish, signed with red decal, replaced leather
seat, 20.5”w x 16.5”d x 16”h 1500-2000
7. Gustav Stickley footstool, Model No. 728, original rush seat above arched
rails, fine original finish, signed with red decal, 18.5”w x 18.5”d x 16”h 4000-6000
8. Gustav Stickley “monk” footstool, Model No. 302, original leather
upholstery, with a notched foot, signed with red decal, original finish, 12.5”w x
12.5”d x 15”h 1000-1500
19. Gustav Stickley library table, a variation of Model No. 454, fine original
leather top, inverted tapering legs, thru-tenon construction, two drawers with
original iron hardware and a central blind drawer, fine original finish, original
tacks, unsigned, 54.5 ”w x 33”d x 29”h 40,000-60,000
20. Gustav Stickley library table, Model No. 404, massive form with cutcorner top over two drawers with original iron star hardware, inverted “V” apron
and stretchers at sides, heavy corbel construction and thru-tenon supports, fine
original finish, signed, 60”w x 36”d x 29.5”h 40,000-60,000
21. Gustav Stickley desk, uncataloged model, letter rack at back over worn
original leather top and original tacks, two drawers with original brass strap
hardware above a lower shelf supported by double key and tenon construction,
chamfered board sides with thru-tenon construction, original finish, signed with
red decal, 36.5”w x 20.5”d x 34”h 2000-3000
22. Gustav Stickley desk, uncataloged model, letter rack at back over
wood top, two drawers with original brass strap hardware above a lower shelf
supported by double key and tenon construction, chamfered board sides with
thru-tenon construction, fine original green finish, signed with red decal, 36”w x
20”d x 34”h 3000-5000
23. Gustav Stickley Morris chair, Model No. 2341, flat-arm form with original
leather seat and back cushions on an original leather slung seat, two vertical
slats and corbel supports under each arm, original tacks, signed with red decal,
fine original finish, 29.5”w x 33.5”d x 37”h 15,000-18,000
9. Gustav Stickley “monk” footstool, Model No. 302, recovered, with a notched
foot, signed with red decal, original finish, 12.5”w x 12.5”d x 15”h 1000-1500
24. Gustav Stickley chalet desk, paneled drop-front form supported by slab sides
with key and tenon construction, with chamfered board back, complete interior with
original leather writing surface, rare original woven basket, fine original green finish,
signed with red decal, 24”w x 16”d x 46”h 4000-6000
9A. Gustav Stickley chair, Model No. 1297, set of chairs, four-rung
ladderback form over original leather drop-in seat, notched seat rail, original
finish, signed with red decal, 18”w x 16.5”d x 37.5”h 3000-5000
25. Gustav Stickley book cabinet, Model No. 514, inverted “V” rail above three
shelves with fine original leather facing and tacks, supported by paneled sides,
fine original finish, signed with red decal, 15”w x 14.5”d x 35.5”h 6000-8000
10. Gustav Stickley dining table, cut-corner top on a cross-stretcher base, key and
tenon construction, eight original 10.25” leaves, original finish, signed with red decal,
60”w x 60”d x 29.5”h; table opens to 11’ 10” when fully extended 15,000-20,000
26. Gustav Stickley hall mirror, Model No. 608, peaked top over a rectangular
mirror, four original iron hooks, original finish, signed with red decal, 36”w x 7”d
x 26”h 3000-5000
11. Gustav Stickley server, Gothic-influenced two-drawer form, original star hardware,
beveled top and a curved-front lower shelf supported by thru-tenon construction on a
notched foot, signed with red decal, 42”w x 20”d x 39”h 15,000-20,000
27. Gustav Stickley table, Model No. 436, circular top above a stacked and trumpeted
cross-stretcher base with a central faceted peg, supported by double thru-tenon
construction, original green finish, signed with red decal, 24.5”dia. x 28”h 5000-7000
12. Gustav Stickley china closet, trapezoidal form, single door with nine
panes of glass and mitered mullions over two chamfered board doors with
butterfly joint construction, corbel supports at top with cutout details, original
hardware, fine original dark finish, signed with red decal, one cracked pane of
glass, 37.5”w x 15.5”d x 64”h 30,000-40,000
28. Gustav Stickley table, Model No. 436, circular top above a stacked and
trumpeted cross-stretcher base with a central faceted peg, supported by double
thru-tenon construction, original green finish, some roughness and staining to
top, signed with red decal, 24.5”dia. x 28”h 3000-5000
13. Gustav Stickley gong, five-footed base supporting tapered posts, arched
crossbar, original hammered copper gong, original striker with restoration and
rewrapped leather, worn original finish, signed with remnant of red decal, 24”w
x 10”d x 36”h 4000-6000
14. Gustav Stickley chair, Model No. 1297, set of ten, four-rung ladderback
form over original leather drop-in seat, notched seat rail, original finish, signed
with red decal, 18”w x 16.5”d x 37.5”h 10,000-15,000
15. Gustav Stickley armchair, Model No. 1297A, four rung ladderback form,
original rush seat, notched seat rail, original finish, signed with red decal, some
breaks to rush, 23”w x 20”d x 40”h 1000-1500
16. Gustav Stickley chair, Model No. 1297, four-rung ladderback form,
original rush seat, notched seat rail, original finish, signed with red decal, 18”w
x 16”d x 37”h 1000-1500
17. Gustav Stickley wardrobe, Model No. 624, beveled top above a paneled
door with early iron escutcheon, single drawer with faceted wood knobs,
paneled sides with flush tenon construction, interior includes six half pullout
drawers and five full drawers, fine original finish, signed with original decal.
35”w x 22”d x 72”h. 30,000-40,000
5
18. Gustav Stickley smoker’s cabinet, Model No. 522, single door, chamfered
board panels, heavy thru-tenon construction, interior contains single drawer
with faceted wood knob and open divided compartments, fine original finish,
signed with red decal, 17”w x 15”d x 27”h 8000-10,000
29. Gustav Stickley table, Model No. 436, circular top above a stacked and trumpeted
cross-stretcher base with a central faceted peg, supported by double thru-tenon
construction, original green finish, signed with red decal, 24.5”dia. x 28”h 5000-7000
30. Gustav Stickley sideboard, Model No. 967, massive form with two half
drawers and one full drawer above two cabinet doors, original iron star and
strap hardware, paneled sides supported by flush thru-tenon construction, fine
original finish, signed with red decal, 60”w x 24.5”d x 44”h 30,000-40,000
31. Gustav Stickley Thornden sewing rocker, Model No. 2635, two wide
horizontal slats at back above a fine original rush seat, original finish, signed
with red decal, 18”w x 25”d 31”h 1000-1500
32. Gustav Stickley plant stand, Model No. 41, square top above a notched
apron, lower vertical stretcher supported by key and tenon construction, original
finish, signed with red decal, holes to top, 14”w x14”d x 28”h 2500-4000
33. Gustav Stickley mirror and cabinet, appears to have been designed as
one piece of furniture. It may have served as a shaving mirror stand for John
Jerome. The mirror was cut off from the cabinet and used in a second floor
bathroom. The five-drawer cabinet was used in the first floor hallway. Both
examples retain their original green finish and the mirror is signed with a large
red decal. We elected not to reunite the two pieces of furniture but instead offer
them as found in the estate, mirror: 16”w x 20”h; chest of five drawers: 20”w x
15”d x 32”h 2000-3000
34. Gustav Stickley library table, Model No. 441, cut down, circular top above a
stacked trumpeted cross-stretcher base with central faceted peg supported by thrutenon construction, original finish, signed with red decal, 36”dia. x 25”h 800-1000
35. Pietro Paulo Caproni plaster frieze, ca. 1901, after Luca della Robbia’s
“Cantoria” from the Museo dell’Opera del Duomo in Florence, signed with metal
hallmark and numbered 8359, 37.5”w x 40”h, some minor edge chips. This frieze
was used in the living room of La Hacienda 1000-1500
36. Pietro Paulo Caproni plaster sculptures, pair, ca. 1901-1902, depicting
classical runners, signed with metal hallmark, each: 10”w x 4”d x 11”h, some
chips and damage 500-700
37. Pietro Paulo Caproni plaster frieze, ca. 1901, classical scene, unsigned,
50”w x 28.5”h, some cracks. This frieze was installed in a guest bedroom at La
Hacienda 1000-1500
38. Franz Skarbina (German, 1849-1910) “Das Königliche Schloss zu Berlin
(The Royal Palace in Berlin),” 1901, color lithograph, 28.5” x 40.25”, published
by R. Voigtländer, Leipzig, framed 1000-2000
39. Handel lamp, nine-sided slag glass shade with brick and landscape
overlay design, on a bronze base, break to one glass panel, shade signed,
22”w x 26”h, very good condition 5000-7000
40. Henri de Toulouse Lautrec (French, 1864-1901), “La Revue Blanche
(The White Review),” 1895, lithographed poster, 49” x 35.75”, published by
G. Charpentier and E. Fasqualle for La Revue Blanche, printed by Edward
Ancourt, Paris, framed 15,000-20,000
41. Hopi Kachina doll, cottonwood with hand painted decoration ca. 1890,
6.5”w x 7.5”l 4000-6000
42. Red Mesa rug ca. 1900, very good condition with minor repairs, 53”w x
79”l 3500-4500
43. William Morris and A.J. Wyatt, The Tale of Beowulf, 1985, Hammersmith:
Kelmscott Press, an edition of 300 printed on Perch paper, original limp vellum
binding with silk ties and gilt lettering to spine, “Note to Reader” slip, as well
as hand-written slip stating “William Morris and A.J. Wyatt, Printed by William
Morris at the Kelmscott Press.” 5000-7000
44. The work of Robert Louis Stevenson, a group of eighteen books 1000-1500
45. A grouping of books relating to Ornithology, including 200-300
46. The work of Henry James, Jr., a group of three books 300-500
47. Ludovic Halevy, The Abbe Constantin, 1888, Chatto and Windus,
Piccadilly 300-500
48. Interior Decoration and Architecture books, group of three 100-200
49. The work of Washington Irving, a group of seven books 200-300
50. Art books, a group of three 200-300
51. Miscellaneous Literature and Reference books, group of seven 400-600
52. A group of works by Ernest Seton-Thompson & Grace Gallantin SetonThompson, including 1000-1500
53. The work of Mark Twain, a group of nine books 1500-2500
54. A grouping of Children’s books 200-300
55. A grouping of books relating to the Colorado and Rocky Mountain
Natural History, Botany, and Wildlife 400-600
56. A grouping of books relating to History and Historical Biographies 200-300
57. A grouping of books relating to Botany, Forestry and Gardening 600-800
58. A grouping of books relating to Fishing and Hunting 750-1500
6
Arts & Crafts/Art Nouveau
Session Two
immediately following session one
59.
60.
7
Good Gustave Baumann (German/American, 1881-1971) “April,” c. 1936,
color woodblock print with silver leaf, pencil signed, titled and numbered,
edition 22 of 120, 14” x 13”, laid to board, original frame 7000-9000
Gustav Stickley serving tray, #347, in hammered copper with repoussé design to
edges, signed, minor touch up to original patina, 21”dia, very good condition 3000-4000
61.
Early Gustav Stickley bookcase, #542, good double-door form with eight panes of glass per door, mitered mullions with original
round copper pulls, good original finish, signed with early red decal, 36”w x 13”d x 56.5”h, very good condition 8000-10,000
62.
8
Gustav Stickley daybed, knock-down large custom form with seven vertical slats at each end,
supported by thru-tenon and peg construction, signed with large red decal, original finish, recovered
cushions, with Dianne Ayres coverlet, 44”w x 84”l x 33.5”h, very good condition 5500-6500
63.
64.
65.
9
Beautiful Rookwood vase, shouldered shape covered in a Porcelain glaze with a nicely painted Japanese inspired
landscape, superbly done by Arthur Conant in 1909, #2306, 3.5"w x 7"h, uncrazed and extremely fine 1500-2000
Exceptional Rookwood vase, large broad form in a Porcelain glaze with colorfully painted daffodils, executed by Kataro
Shirayamadani in 1944, #6869, 5.5”w x 9”h, uncrazed, exceedingly colorful piece with an elaborate decoration 1500-2000
Rare Rookwood vase, large bulbous form covered in a Blue Tinted glaze with a mythological hunting scene, executed by
Arthur Conant in 1919, #1122B, 5.5”w x 8.5”h, uncrazed, a very unusual subject matter rarely seen in Rookwood 1500-2000
Details / Phone bids call: (708) 383-5234 or (513) 321-6742
9
66.
Good Marblehead vase, stylized floral
design in brown and green on a tan
ground, artist signed HT, impressed mark,
3.5”w x 4.5”h 2000-3000
67.
69.
10 10
68.
Marblehead vase, tapered shape with
stylized tree designs covered in a multitoned gray matte glaze, impressed mark,
artist initials HT, 4”w x 7”h, restoration,
hairline; with a Marblehead vase, (not
shown), unusual bulbous shape covered
in a blue matte glaze, impressed mark,
4.5”w x 3”h, restoration 1000-2000
Good Marblehead vase, large gently tapered form covered in a powder blue
matte glaze with a stylized wisteria design, unmarked, 5.5”w x 7”h 3500-4500
Gustav Stickley armchair, #386, dramatic high-back form with spindles
at back and sides and corbel supports under each arm, original sling
seat holds a recovered leather cushion, original finish, signed with red
decal, 27.5”w x 25”d x 50”h, very good condition 3000-4000
70.
Unusual Gustav Stickley ladies’ desk, #724, Japanese-influenced
paneled drop-front form with original hardware, complete interior,
key-hole escutcheon missing, unsigned, cleaned original finish,
32”w x 12”d x 46”h, very good condition 3500-4500
w w ww. tr
w ewad
. trweay
adgwaal y
l ery
ga l.c
l ery
om.c om
11
71.
Good Rookwood vase, matte glaze
decorated with a stylized lily design,
painted by Kataro Shirayamadani in 1944,
#6866, 4”w x 9”h 900-1200
72.
Exceptional Rookwood tile, landscape
pattern covered in a good matte glaze,
18”sq, overall: 25”sq, framed, an unusually
nice architectural tile 2500-3500
73.
Nice Rookwood vase, Vellum glaze, with
a finely painted floral design, executed
by Margaret McDonald in 1912, #2018,
3.25”w x 7”h 450-550
74.
Exquisite Rookwood vase, shouldered
shape, in a Vellum glaze with an
exceptional painting of a blossoming vine,
executed by Ed Diers in 1924, #1369F,
3.25”w x 6.25”h, uncrazed and beautifully
decorated 500-700
75.
Rookwood vase, large form, with a
geometric design, covered in a beautiful
and unusual purple matte glaze, 1924,
#2421, 6”w x 10”h, uncrazed 300-400
76.
Unusual Rookwood vase, Vellum glaze,
landscape with windmill, nicely painted
by Ed Diers in 1912, #1667, 4.5”w x
11”h, well done 1200-1700
77.
Nice Rookwood vase, shouldered shape,
in a Vellum glaze, beautifully painted
landscape, by Fred Rothenbusch in 1919,
#1369D, 5”w x 9.25”h 1200-1700
78.
E.T. Hurley drawing, "Park Scene with
Figures and Cars," pastel on paper,
signed, dated, framed, 10" x 8" 500-700
79.
Good Rookwood vase, tapered shape,
covered in a Vellum glaze, finely painted
landscape, with pink interior, executed by
Fred Rothenbusch in 1930, #2544, 4”w x 8”h,
uncrazed and beautifully done 1200-1700
80.
L & JG Stickley trestle table, #593, from the Onondaga Shops,
rectangular top above a lower shelf supported by double key and
tenon construction on a shoe-foot base, retouched original finish,
unsigned, 48”w x 30”d x 29”h, very good condition 1200-1500
81.
Gustav Stickley library table, #675, rectangular top above two drawers
with original iron hardware, lower stretcher supported by double key and
tenon construction, signed with red decal, refinished, some stains to top,
48”w x 29.5”d x 30”h, very good condition 900-1200
82.
L & JG Stickley armchairs, pair, #352, three horizontal slats at
back above a worn original leather seat, original finish, signed with
Handcraft decal, 25”w x 21”d x 37”h, very good condition 700-900
83.
Good Gustav Stickley side chairs, pair, #354 ½, “V” back form with
five vertical slats above an original hard leather seat with original
tacks, original finish, branded signature, partial paper label to one,
19”w x 17.5”d x 36”h, very good condition 1000-1500
84.
12
Gustav Stickley chest of drawers, #627, two half drawers over four full drawers with original oval iron pulls, chamfered board sides supported by
thru-tenon construction, original finish, signed with red decal, minor stains and restoration, 40”w x 22”d x 54”h, very good condition 5500-7500
86.
85.
Fine Rookwood vase, Porcelain glaze with a
well painted floral design, executed by Harriet
Wilcox in 1919, #1121C, 4.5”w x 9.5”h, ground
X, uncrazed and nice 700-900
87.
13
Unusual Rookwood Pottery retailer’s sign,
textured glass pane with applied black and
gold foil graphic, 4”w x 17”l 250-350
89.
Good Rookwood vase, Vellum glaze with
a with a beautifully painted floral design,
executed by Lenore Asbury in 1909,
#556B, 6”w x 14”h, very unusual design,
nice example of American Art Nouveau
ceramics 1500-2500
92.
Unusual Rookwood vase,
Green Vellum glaze, beautifully
painted landscape by Lorinda
Epply in 1911, #1656E, 3”w x
7.25”h 600-800
93.
90.
Good Rookwood vase, Vellum glaze
with a beautifully painted landscape,
executed by E.T. Hurley in 1912, #904D,
3.5”w x 9”h, one of Hurley's favorite color
combinations 1000-1500
91.
Fine and flawless Rookwood vase,
Vellum glaze with a beautifully detailed
painting of wisteria, done by Ed Diers in
1923, #839B, 3.5”w x 9.5”h, uncrazed and
very well executed 1000-1500
Kenton Hills vase, large bulbous
shape covered in a deep red glaze with
gold and silver crystalline highlights,
marked, #100, 6.5”w x 6.75”h 250-350
Fine Rookwood vase, bulbous shape
covered in an Iris glaze, with an Asian
inspired cherry blossom design with incised
borders, executed by L.N. Lincoln in 1906,
#11220, 5”w x 4.5”h 700-900
Good Rookwood vase,
bulbous shape, in an Iris
glaze, with nicely painted
crocus, executed by Laura
Lindeman in 1904, 3.25”w x
5”h 500-700
88.
94.
Rookwood vase decorated
by Sally Coyne in 1915,
Vellum glaze, with an
underwater scene showing
three sea horses, #1656E,
3"w x 7.5"h 550-750
95.
Rookwood vase,
shouldered shape, in a
Vellum glaze, nicely painted
cherry blossom design by
E.T. Hurley in 1911, #1663D,
4.5”w x 9”h 500-700
13
96.
14
Arts & Crafts side table, single drawer with original hardware
above a lower shelf on a shoe-foot base, original finish to base, top
refinished, some roughness to top, 34”w x 21”d x 29.5”h, very good
condition 300-400
98.
Shop of the Crafters side chairs, pair, #320, inlaid stylized floral
design at back over original leatherette seats, original finish, veneer
repair to top edge, unsigned, 18.5”w x 22”d x 43.5”h, very good
condition 900-1200
100.
Good Gustav Stickley book rack, #74, “V” trough over a lower shelf
supported by slab sides with cut-outs and double key and tenon
construction, fine original black finish, signed with red decal, 32”w x
10”d x 31”h, very good condition 2500-3500
97.
L & JG Stickley rocker, #451, six vertical slats at back and under
each arm with corbel supports at sides, recovered original spring
cushion, original finish, signed “The Work of…” 28.5”w x 30”d x 37”h,
very good condition 1000-1500
99.
Charles Stickley rocker, #1910, wide form with horizontal slats at
back and vertical slats under each arm, supported by thru-tenon
construction, nicely recovered leather seat and back cushions,
signed, retouch to original finish, 31.5”w x 38”d x 31.5”h, very good
condition 1200-1500
101.
Stickley Brothers rocker, #641, flat-arm form with five vertical slats
at back, thru-tenon construction, recovered leather seat and back
cushions, original finish, signed with partial paper label, 34”w x 37”d
x 34”h, very good condition 900-1200
102.
103.
15
Rare Tiffany Studios table lamp, enameled bronze canister base with three arms that support
a leaded yellow mottled glass shade with a green leaf and vine pattern, base with impressed
SG136, shade signed Tiffany Studios, New York, overall: 14”w x 17”h 10,000-15,000
Rare Teco vase, large four buttress form covered in a beautiful green
matte glaze with excellent charcoal highlights, impressed marks,
shape #223, 8"w x 14"h 6000-8000
104.
Important Teco umbrella stand, #100A, designed by W.D. Gates,
monumental form with four broad-strap handles under a good green
matte glaze, impressed marks, 12”w x 21”h 12,000-17,000
15
105.
Arts & Crafts playing card
case, English, c. 1905,
by Cambray, hammered
copper with an enameled
element on lid, marked,
4.75”w x 1”h 500-700
108.
Liberty & Co. bowl, two handles, hammered
pewter with a clover design, blue and green
enameling to interior, marked Solkets,
#0287, 11.5”w x 2”h 250-350
106.
109.
111.
16 16
107.
Jennings Brothers candelabras, pair, American, c. 1915,
after a Liberty & Co. Archibald Knox design, silver plate twinbranch forms, marked, #2726, 9.5”w x 11.5”h 1500-2500
110.
Liberty & Co., Tudric jewel
box, England, c. 1920, pewter,
enamel panel on lid with irises,
marked Solkets, #01260,
7.5”w x 2.5”h 900-1200
Noel Collett dish, French, c. 1928, large
form in copper, signed, marked, 12.5”w x
1.5”h 150-250
Art Nouveau tile frieze, England, c. 1900, portrait of a woman composed of
four colorful tiles, framed, each tile: 6”sq, overall: 7.5”w x 25.5”l 700-900
Liberty & Co. hot water pot, England,
c. 1905, pewter with wicker wrapped
handle, designed by Archibald Knox, Tudric
range, marked, #0280, 5”w x 8”h 350-550
112.
Liberty & Co. vase, three-handled form in
Tudric pewter, stylized repoussé designs,
marked, #0226, 5”w x 7.5”h 250-350
113.
Liberty & Co. Tudric vase, England,
c. 1905, pewter, designed by Archibald
Knox, marked, #0227, 5”w x 9.5”h 600-800
w w ww. tr
w ewad
. trweay
adgwaal y
l ery
ga l.c
l ery
om.c om
114.
115.
Weller Eocean vase, tapered shape with
a portrait of a dog, artist signed, marked,
5”w x 8”h 800-1100
118.
17
Rare and important Rozane Woodland vase, monumental form with an incised and painted portrait of a woman,
in the style of Alphonse Mucha, marked, 8”w x 18”h, a large and exceptional example of Rozane 10,000-15,000
116.
Unusual Weller Hudson pictorial vase,
bulbous shape with a courtship scene,
marked, 4.5”w x 10.25”h, rare and nicely
painted decoration 1500-2500
117.
Rozane vase, monumental size in a brown
glaze with a nicely painted St. Bernard,
executed and signed by F. Steele, marked,
#931, 9”w x 17”h 1000-2000
Rare Weller Hudson pictorial vase, large round and shouldered shape with a nicely detailed seascape with ships
at sea, probably decorated by Mae Timberlake, 8.5”w x 9.5”h, an unusually nice example of Weller 3500-4500
119.
Arts & Crafts blanket chest, lift-top form with strap hardware and
original brass handles, paneled sides, fine original finish, slight
warp to top, 43”w x 21.5”d x 18.5”h, very good condition 600-800
121.
122.
18
120.
Arts & Crafts table, in the style of Rose Valley, possibly by Biltmore
Industries, gothic revival form with carved floral designs above a
lower stretcher supported slab sides with key and tenon construction,
overall roughness and keys missing at top, worn original finish,
51.5”w x 25”d x 30”h, very good condition 1000-1500
Exceptional Handel hanging fixture,
leaded glass shade with intricate cherry
tree design, original chain and ceiling cap,
25”dia x 14”h, excellent condition, beautifully
detailed and expertly crafted 5000-7000
Rare Gustav Stickley settle #206, desirable graceful form with tapered posts and slatted canted sides, replaced cushion supported by a rope
foundation, some retouch to original finish, signed with red decal, breaks to rope foundation, 61”w x 28.5”d x 40”h, very good condition 7000-9000
123.
19
Interesting and early Rookwood vase,
Iris glaze with finely painted grasses,
executed by Olga Reed in 1896, #732C,
3.5”w x 7”h, ground X 1000-1500
126.
Rookwood vase, shouldered shape in a
matte glaze with a colorful stylized design,
done by Delia Workum in 1928, #1926,
3.5”w x 6.5”h 300-400
129.
Unusual Rookwood vase, bulbous shape,
with painted blue leaves against a mottled
cream and brown background, executed
by Ruben Menzel in 1952, S for special
piece, 5”w x 6.5”h 300-400
124.
Rookwood vase, Green Vellum glaze,
finely painted scene with cranes in flight and
bamboo trees, executed by Lenore Asbury
in 1912, #1920, 4.5”w x 9.5”h 1200-1700
127.
Fine E.T. Hurley etching, "Flower Market
in Winter", 1921/1929, 9" x 10.75", nicely
framed, good image 300-400
130.
Nice Rookwood vase, large doublehandled form in a bisque finish, beautiful
and elaborate decoration executed by
Matt Daly in 1888, #339B, impressed
marks, 8"w x 13"h, excellent piece of early
Rookwood 1200-1700
125.
Good Rookwood vase, bulbous shape, in
pink with a nicely painted cherry blossom
design, executed by E.T. Hurley in 1934,
S for special piece, painted #5951, 3.5”w
x 6.5”h, uncrazed 450-650
128.
Rookwood vase, Vellum glaze, beautifully
painted landscape by Ed Diers in 1921,
#913D, 4.75”w x 8.25”h, restoration 500-700
131.
Fine Rookwood vase, bulbous shape with
a nice blue morning glory design, painted
by E.T. Hurley in 1942, #6822, 4”w x 5”h,
uncrazed and very clean 500-700
19
132.
20
133.
Gustav Stickley china cabinet, #820, single door with twelve
panes of glass and original hardware, signed with red decal and
remnant of paper label, original finish, 36”w x 15”d x 62.5”h, very
good condition 3000-4000
134.
Gustav Stickley china cabinet, single door with original copper
hardware, thru-tenon construction at sides, good original finish,
signed with red decal and paper label, 35.5”w x 13”d x 58”h, very
Early Gustav Stickley bookcase, #532, divided open-form with slab
sides supported by double thru-tenon construction, some wear and
retouch to original finish, signed with early red decal, 35.5”w x 12”d x
56”h, very good condition 4000-6000
135.
Excellent Van Briggle vase, c. 1903, large round shape with heavily carved poppies covered with
a nice red, green and blue matte glaze, 8.5"w x 9"h, great glaze, exceptional definition 6000-8000
136.
137.
138.
21
Beautiful Van Briggle vase, c. 1907-12, raised floral design covered
with a nice blue and green suspended matte glaze, 4.5"w x 11.5"h, the
glaze is quite attractive with the dark clay body 2000-2500
Fine and early Van Briggle vase, c. 1903, large double gourd
form with two whiplash handles, deeply carved organic design
under a good red matte glaze, 9.5"w x 7"h 3000-4000
Large and fine Van Briggle vase, c. 1903, beautiful broad and tapered form with large sculpted leaves and pods, the exceptional definition on
this vessel is covered in a deep maroon matte, shape #239, incised 1903, III, 2.5"w x 9"h, excellent example of early Van Briggle 5000-7000
21
22 22
139.
Rookwood vase, Vellum glaze with several
white crocus buds, decorated by Ed Diers in
1906, #900D, 3.5"w x 8"h 500-700
140.
Rookwood vase, raised organic design
under a pink and green matte glaze,
designed by Sallie Toohey, 1912, # 1722,
5"w x 8.5"h 300-400
141.
Rookwood vase, high glaze, spider
wort design decorated by Kataro
Shirayamadani, 1924 #913F, 3.5"w x
5.5"h, ground X 500-700
142.
Rookwood vase, shouldered form in a matte
glaze, stylized floral design created by Jens
Jensen in 1930, #1781, 5"w x 6"h 450-650
143.
Rookwood vase, decorated by Charles
Todd in 1934, covered in a grey to blue
matte Ombroso glaze, signed, #604D,
5.5"w x 7.5"h 500-700
144.
Rookwood vase, buttress design with a
blue and green vellum glaze, made 1932,
#2380, 5"w x 6"h 200-300
145.
Unusual Rookwood vase, painted by
Margaret Helen McDonald, decorated in
1917, vellum glaze with trailing flowers,
vines and four butterflies, #926D, 3.5"w x
8"h 600-800
146.
Rookwood vase, beautiful porcelain
glaze, blue and pink flowers on a
trailing vine, unusual geometric band at
shoulder, decorated by Lorinda Epply in
1920, 5"w x 8.5"h 600-800
147.
Exquisite Rookwood vase, early bisque
glaze with a colorful rose design, painted
by Emma Foertmeyer in 1891, #533C,
4.5"w x 8.5"h, great example with finely
painted designs 800-1000
w w ww. tr
w ewad
. trweay
adgwaal y
l ery
ga l.c
l ery
om.c om
148.
Exceptional Roycroft writing desk, #092, drop-front above three
drawers with original hammered copper hardware, paneled sides,
complete interior with letter racks, signed with Orb, fine original
finish, 36”w x 18”d x 53”h, excellent condition 12,000-15,000
149.
23
Roycroft dresser, #0108, adjustable beveled glass mirror at back above two half
drawers and two full drawers with original copper hardware, signed with Roycroft
script signature, original finish, 45”w x 26”d x 58”h, very good condition 6500-8500
150.
Nice Clewell bowl, copper-clad pottery,
original patina, marked, #3-8, 6.5”w x
3.5”h 300-400
151.
154.
153.
Dedham Pottery vase, bulbous shape
under a beautiful thick gray and green drip
glaze with red highlights, marked, artist
signed, 5”w x 6”h, hairlines 500-1000
156.
Marblehead vase, large tapered form
covered with a blue matte glaze, marked,
5”w x 8.5”h, unusually large 400-500
159.
24
Tropico Potteries tile, c. 1920, stylized
white flowers and green leaves on a
turquoise background, framed, marked,
tile: 3”sq, overall: 6”sq 100-150
152.
North Dakota School of Mines vase,
painted tribal designs in brown, red and
tan, signed Halverson, dated 1-20-1941,
marked, 5”w x 3.5”h 350-450
Grueby tile, carved and painted landscape under a
matte glaze, impressed mark, 4" square 300-500
157.
Nice Van Briggle vase, c. 1920s, double
handled shape with molded vertical leaves
covered in a dark blue matte glaze, incised
marks, 7”w x 13.25”h 350-550
155.
titled “Duck Hunter,” carved hunting scene
covered in a green and brown matte glaze,
artist initials, marked, 4”w x 6.5”h 900-1200
158.
Rare Denver Pottery vase, shouldered form
in a blue matte glaze with painted white
trees, marked, 4.5”w x 6”h 300-500
Good Arequipa vase, raised organic squeeze bag design in brown at top, classic hand-thrown
swollen form, all covered in a nice purple matte glaze, painted mark, #9T, 4"w x 7"h 5000-7000
160.
Rare Teco vase, designed by
Fritz Albert, good green matte
glaze with charcoal highlights,
impressed marks, shape #196,
4.5"w x 13"h 2500-3500
161.
162.
25
Large Teco vase, designed by W.B.
Mundie, covered with a very good
green matte glaze with charcoal
highlights, impressed marks, shape
#288, 7.5"w x 8"h 4000-6000
Teco vase in a shouldered form
designed by W.J. Dodd, leaflike forms on exterior covered
in a good green matte glaze
with charcoal highlights, 4.25"w
x 11.5"h, one of the best Teco
glazes you will find 5000-7000
25
163.
Rare Parke Edwards sewing cabinet, lift-compartments at top with original hand wrought iron hardware above two drawers, carved shield and linenfold panels to
front and back, and carved trefoil details at sides and legs, 20.5”w x 19”d x 31.5”h, original finish, very good condition 5000-7000
Parke Edwards (1892-1975) was an important Arts and Crafts artist from the Philadelphia School who studied with Samuel Yellin and Howard Freemont Stratton.
Provenance: Phillips June 27, 1987 (Collection of Robert Edwards) lot 207
165.
164.
Good Jarvie candlesticks, pair,
early Art Nouveau form in bronze,
original patina, replaced bobeches,
unmarked, 6”w x 14”h 3000-5000
167.
26
Good Merrimac jardiniere, large ribbed
form covered in a nice green matte glaze,
marked, 12.5”w x 8”h 800-1100
166.
Roycroft candlesticks, pair, hammered
copper, original patinas, impressed
mark to each, 4”w x 14”h 2000-3000
Rare Limbert table, uncataloged bold form with a circular top and arched side rails with heavy corbel supports above a lower stretcher
with thru-tenon construction, original finish to base, top refinished, branded signature, 40”dia x 29”h, very good condition 2000-3000
169.
168.
Batchelder tile, rectangular form with three dancing
cupids on a green background held in an Art &
Crafts frame, signed and numbered 16937, tile:
11.5”w x 7.5”h, overall: 19”w x 15”h 500-700
Van Briggle vase, c. post-1920, Lorelei, large
form under a purple and blue matte glaze,
incised marks, 4.5”w x 11.5”h 400-600
171.
170.
172.
175.
27
Van Briggle vase, probably c. 1906, molded
leaf design under a mottled green matte glaze,
4.5”w x 3.5”h, excellent matte glaze 350-450
Rookwood bowl, low form
with a geometric design
covered in a green and
brown matte glaze, executed
by an unidentified artist in
1901, #365Z, 5.5”w x 1.5”h,
ground X, great Arts & Crafts
design under a wonderful
matte glaze 150-250
173.
Van Briggle vase, c. 1907-1912, carved
stylized tulip design under a blue and
green matte glaze, incised marks, #751,
4.5”w x 12”h, nice definition with a good
matte glaze 1000-1500
174.
Marblehead bowl, small form
covered with a pink matte
glaze and blue interior, mark
covered with glaze, 3.5”w x
1.75”h 150-250
Rare Van Briggle tile, probably c. 1901-1907, retail sign covered in a green matte glaze with blue
lettering, held in an Arts & Crafts oak frame, tile: 11.5”w x 5.75”h, overall: 17”w x 10.5”h 1000-2000
Marblehead vase, cylindrical form covered
with a mottled gray matte glaze, marked,
4”w x 4.25”h, nice glaze 300-400
176.
Grueby vase, bulbous shape with
carved leaves and buds, covered in a
green matte glaze, original paper labels,
5”w x 7”h, restoration to rim, glaze chip
restoration 600-800
177.
Marblehead vase, broad form covered
with a mottled green matte glaze, marked,
5”w x 4”h, probably an early example,
unusual form, good glaze 350-450
27
178.
179.
182.
28 28
Good Newcomb College vase, broad shouldered form with a well carved and painted floral design, nicely
executed by Henrietta Bailey, impressed marks, OU20, 66, original label, 7.5"w x 4.5"h 1700-2200
Good Newcomb College vase, nicely
sculpted and painted design executed by
Sadie Irvine, impressed marks, PZ46, 36, 5"w
x 5"h, unusually nice color 1200-1700
Newcomb College vase, carved and painted
unusual organic design, probably executed by
Corinne Chalaron, signed indistinctly, #NH4,
5”w x 9”h, restoration 900-1200
181.
180.
Newcomb College covered vessel, top
with flower and finial, bottom with a ribbed
design, all covered in a good matte glaze,
executed by Sadie Irvine, impressed
marks, PP73, 304, 3.5"w x 3"h 800-1100
183.
Newcomb College bowl, carved and painted
jonquil design, executed by Anna Frances
Simpson, #LH8, 7.5”w x 4.5”h 1500-2500
184.
Newcomb College vase, sculpted and
painted design with raised ribs, covered
in a nice matte glaze, executed by Sadie
Irvine, impressed marks, PE84, 186,
5.5"w x 4.5"h 1000-1500
Clewell vase, copper clad pottery, flaring
footed form, with it's original patina,
minor flaking at foot, signed and incised
426-25, 3.5"w x 8.5"h 350-450
w w ww. tr
w ewad
. trweay
adgwaal y
l ery
ga l.c
l ery
om.c om
29
185.
Rare L & JG Stickley cellarette #505, from the Onondaga Shops,
overhanging top above a single drawer and door with butterfly joint
construction, original copper hardware, interior with shelf and bottle
racks, signed with partial decal, original finish, 28”w x 13”d x 33”h, a
beautiful and useful form in excellent condition 5000-7000
Reference: Innovation and Derivation the Contributions of L & JG
Stickley to the Arts and Crafts Movement, by Donald Davidoff and
Stephen Gray p. 90
186.
Good Gustav Stickley bookcase, #700, Harvey Ellis-influenced
architectural form, single door with divided and leaded glass panes above
an arched rail and thru-tenon construction, signed with red decal, fine
original finish, 35.5”w x 14”d x 58”h, excellent condition 8000-10,000
187.
Fine Van Briggle vase, c. 1903,
nicely carved example with a fine
green to blue matte glaze, impressed
marks, 2.75"w x 3.5"h 1000-1500
188.
189.
190.
30
Roycroft vase, unusual form in
hammered copper, new patina, marked,
4.5”w x 9”h 300-400
Early Van Briggle vase, 1903, carved
floral design with four open handles at
top covered in a nice red matte glaze
with light green highlights, incised
marks, 4.5"w x 5"h 2000-3000
Good Marblehead bowl, low form in a tan matte
glaze with a holly design, impressed mark, original
paper label, museum numbers, 7.5”w x 2”h, an
unusual form with four colors 2000-3000
191.
Kalo necklace, geometric linked forms in
sterling silver, marked, #49, 20”l 500-700
192.
Clewell vase, copper-clad pottery, large
footed form, good original patina, marked,
#366, 8”w x 15”h 1000-1500
193.
197.
31
Good Newcomb College
vase, carved and painted
scene with moss-laden oak
trees and moon, executed by
Sadie Irvine, #RW67, original
paper label, 3.5”w x 8”h,
good definition, excellent
color 3700-4200
195.
194.
Chelsea Keramic vase, bulbous shape
covered in an ox blood glaze, marked,
3”w x 4.25”h, an unusual shape with an
exceptional glaze 500-700
Fine and early Newcomb College charger, large round shape
with white lilies and green leaves against a blue background,
the flowers with deeply carved minute details, covered in a
high glaze, executed by Henrietta Bailey, #BK10, partial paper
label, similar example shown on cover of History of American
Ceramics, by Levin, 13”dia x 1.75”d, circa 1905 5500-7500
196.
Good Newcomb College candlesticks,
pair, finely carved and painted flowers,
done by Anna Frances Simpson, #OL77
and OL78, 4.5”w x 7.5”h 2500-3500
198.
Fine Newcomb College vase, intricately
carved and painted landscape with mossladen trees and a pink sky, executed by
Anna Frances Simpson, #JN96, 4”w x
4.25”h, nice definition 2200-2700
199.
Chelsea Keramic vase,
bulbous form covered in
a mottled ox blood glaze,
unmarked, 3”w x 5.5”h, a very
nice glaze 500-700
Charles Volkmar bud vase, bulbous
bottom with a long slender neck, covered
in a green matte glaze, marked V., 3”w x
6”h 200-300
31
201.
200.
208.
32
203.
Weller Fru Russet vase, organic design
covered in a great maroon matte glaze
with green highlights, marked, 6”w x 8.5”h,
beautiful matte glaze 500-700
202.
204.
Unusual Weller Sicard plate, cherry
blossom design, colorful metallic glaze,
marked, 6.25”dia 400-600
Weller Sicard vase, threesided with a stylized floral
design, covered in a colorful
metallic glaze, signed, 3”w x
5.5”h 300-400
Weller Jap Birdimal vase,
designed by Frederick Rhead,
unusual shape form with a
squeeze bag design of a geisha,
marked, artist initials, #181,
4.75”w x 12”h 1000-1500
205.
209.
Owens Utopian vase, large bulbous form
in a brown glaze, nicely painted kitten
face, marked, artist signed, 8”w x 11.5”h,
beautifully decorated 2500-3500
Very rare Rozane Azurean vase, double handled pillow
shape with a painted landscape, artist initials Anthony
Dunlavy, marked, #882, 11”w x 9”h 1200-1700
Fraunfelter vase, bulbous
shape with dutch scenes
in blue against a pink and
white ground, overall luster,
marked, 4”w x 6”h 500-700
206.
210.
Weller Aurelian vase, large
cylindrical shape with a finely
painted portrait of a man,
executed and signed by Fouts,
marked, 5”w x 17.5”h, drilled
hole in bottom 500-700
Weller Besline vase,
designed by Lessell, double
handled shape covered in
an orange luster glaze with
leaf and berry designs, #8,
5”w x 6.5”h 200-300
207.
Weller LaSa vase, detailed
landscape design, colorful
metallic glaze, marked,
3.5”w x 7.5”h 350-450
211. Weller Sicard vase, large twisting
Weller Louwelsa vase,
shape, stylized floral designs under
large cylindrical form in
a colorful metallic glaze, signed,
a brown glaze, painted
#23, 5”w x 11.5”h 800-1100
portrait of a cavalier,
signed M. Rauchfuss,
marked, #547, 6”w x 20”h, w w w . tr e ad w ay g a l l ery .c om
restoration 500-700
212.
213.
33
Very nice Overbeck vase, interesting tapering shape with an unusual carved organic
design, all covered in a good brown matte glaze, marked, 3"w x 5.5"h 6000-8000
Good Gustav Stickley desk, #706, inlaid panel drop front with an organic design
in copper, pewter and fruit woods, drop-front encloses a complete interior over
a lower shelf, fine original finish, an exceptional example of this important form,
signed with red decal, 30”w x 11.5”d x 44”h, very good condition 20,000-30,000
33
214.
Good Gustav Stickley tea table, similar to #648, circular top above
an arched cross-stretcher base with thru-tenon construction, signed
with red decal, original black finish to base, color added to top, 30”dia
216.
217.
34
215.
Good Gustav Stickley lamp table, #644, circular top above a notched
cross-stretcher base with central peg supported by thru-tenon
construction, original finish, signed with red decal and paper label,
30”dia x 29”h, very good condition 2000-3000
L & JG Stickley server, #741, three drawers with original hardware above a lower shelf, original finish, back
professionally replaced, some roughness to top, 44”w x 18”d x 40”h, very good condition 1200-1500
Good L & JG Stickley rocker, #499, bent-arm form with slatted
sides and corbel supports above original leather cushions, original
finish, signed with Handcraft decal, a beautiful form in fine original
condition, 31”w x 36”d x 42”h, very good condition 2500-3500
218.
Good L & JG Stickley rocker, #499, bent-arm form with slatted
sides and corbel supports above original leather cushions, original
finish, signed with Handcraft decal, a beautiful form in fine original
condition, 31”w x 36”d x 42”h, very good condition 2500-3500
35
220.
Rookwood vase, large
shouldered form with a
floral design covered with
a matte glaze, executed by
Sallie Coyne in 1927, #2785,
13.5"h 800-1100
221.
Rookwood vase, unusual
example with large raised
leaves, covered in a
purple and green matte
glaze, designed by William
McDonald, #2482, made
1935, impressed marks,
4.5"w x 11.25" 400-600
222.
Unusual Rookwood
vase, Vellum glaze with a
painted dragonfly design,
executed by Lenore
Asbury in 1908, #1357E,
3.25”w x 7.25”h 500-700
Nice Rookwood vase,
unusual form in a Vellum
glaze, nicely painted Arts &
Crafts rose designs by Alice
Craven in 1917, #949D,
3.5”w x 9.5”h 500-700
225.
Rookwood vase, decorated
by Olga Reed, Iris glaze
with a clover design, 1902,
#932E, 3"w x 7"h 300-500
226.
Rookwood vase,
shouldered shape, in a
Vellum glaze, nicely painted
cherry blossom design by
E.T. Hurley in 1911, #1663D,
4.5”w x 9”h 500-700
219.
Rookwood vase, Vellum
glaze with a finely detailed
Venetian harbor scene,
painted by Carl Schmidt in
1926, #356E, 3.5”w x 6.5”h,
uncrazed and typically well
painted 1500-2000
223.
224.
Rookwood vase, unusual
shape in a Vellum glaze,
beautifully painted meadow
landscape, executed by Fred
Rothenbusch in 1920, #1652D,
5"w x 9.5"h 1200-1700
227.
Unusual and nice Rookwood vase,
Vellum glaze with a finely detailed
landscape, painted by E.T. Hurley in
1941, #951D, 4”w x 9.25”h, uncrazed and
handsome 1200-1700
228.
Rookwood vase, Vellum glaze with a
finely detailed landscape design, painted
by Ed Diers, 4”w x 9.75”h, ground X, chip
to rim, drilled hole in base 250-350
229.
Excellent Rookwood vase, tapered shape
in a Vellum glaze, nicely detailed river
landscape, painted by Sallie Coyne in
1922, #904E, 3.5"w x 7.5"h 1200-1700
35
36 36
230.
Weller Cloudburst vase, designed
Lessell, double handled shape, blue luster
glaze with crackle design, unmarked,
7.5”w x 5.5”h 300-500
231.
Weller Eocean, Late Line bud vase,
painted berry design, unmarked, 2.25”w
x 6”h; with Weller Sicard vase, colorful
metallic glaze with a stylized peacock
feather design, marked, 3”w x 8.5”h,
hairlines, restoration 300-500
232.
Weller Blue Louwelsa handled vessel,
low form with painted pansies, marked,
#519, 5.5"w x 3"h 250-350
233.
Weller Lamar vase, red luster glaze with
a silver-colored landscape, unmarked, 4”w
x 8.5”h 400-600
234.
LoyNel vase, brown glaze with a painted
colorful pansy design, unmarked, 5.5”w
x 12”h; with a Weller Louwellsa handled
vessel, brown glaze with a nicely painted
wild rose design, signed MH, marked,
#601, 5.5”w x 10.5”h 200-300
235.
Weller Louwellsa vase, large tapered
shape in a brown glaze, painted portrait of
a hooded figure, signed Dunlavy, marked,
#571, 5.5”w x 11.5”h 500-700
236.
Weller Louwellsa vase, tapered shape
in a brown glaze with a portrait of a dog,
signed L. Blake, marked with X, 5”w x
11.5”h 500-700
237.
Weller Louwelsa vase, brown glaze with
a nicely detailed Native American portrait,
painted by Levi Burgess, impressed mark,
7"w x 13”h, minute flakes to rim, stilt chips
to base 1000-2000
238.
Rozane vase, slender shape in a brown
glaze with a painted carnation design,
marked, artist signed, #835, 3”w x
10.75”h 100-200
w w ww. tr
w ewad
. trweay
adgwaal y
l ery
ga l.c
l ery
om.c om
239.
Fine Rookwood vase,
Black Iris glaze with a nicely
painted poppy design,
executed by Sara Sax in
1904, #925CC, 4.5”w x 8.5”h,
ground X, good glaze, a
very nice example with great
contrast 5000-7000
240.
243.
37
Fine Rookwood vase, Vellum glaze with a
nicely detailed landscape, painted by Fred
Rothenbusch in 1930, #892C, 4.5”w x 9”h,
uncrazed and beautifully fired 1500-2500
241.
Excellent Rookwood vase, good Iris
glaze with a nicely painted iris design,
executed by Carl Schmidt in 1905, #907F,
3”w x 7”h 2000-3000
242.
Rare Rookwood vase, porcelain glaze, finely
painted landscape, by Fred Rothenbusch
in 1928, #317B, 5”w x 10”h, uncrazed and
exceedingly unusual 2500-3500
Exceptional Rookwood vase,
cylindrical shape in an Iris
glaze, beautifully painted birds
in flight, executed by Albert
Valentien in 1905, #952C, 4"w
x 10.5"h, uncrazed and very
fine 5000-7000
244.
Early Gustav Stickley Bungalow rocker, variation on #2555, in
mahogany, hump-back above a recovered leather back and seat
over a cloud-lift rail, enhanced original finish, unsigned, 28”w x 24”d
246.
Gustav Stickley Bungalow
chair, #1289, hump-back
above trumpeted vertical
slats, recovered leather
seat over a cloud-lift rail,
refinished, unsigned, 18.5”w
x 17.5”d x 38”h, very good
condition 500-700
247.
Early Gustav Stickley Bungalow armchair, variation on #2556, in
mahogany, hump-back above a recovered leather back and seat
over a cloud-lift rail, enhanced original finish, unsigned, 28”w x 30”d
x 38.5”h, very good condition 800-1000
Arts & Crafts child’s screen, low form with heart cut-outs at each side,
original finish, each panel: 13.5”w x 32”h, very good condition 300-400
249.
38
245.
248.
Gustav Stickley armchair,
#310 ½, three horizontal slats
at back over a worn original
leather seat, corbel supports
at sides, original finish, signed
with red decal and paper
label, 25”w x 22”d x 32.5”h,
Gustav Stickley child’s rocker, #343, three horizontal slats at
back over an original leather seat, original finish, signed with red
decal, 17.5”w x 20”d x 25”h, very good condition 300-400
250.
251.
252.
39
Gustav Stickley sideboard, #814, plate rail at back above a series of drawers and doors with original iron
and strap hardware, variation with thru-tenon construction, original ooze leather to top drawer, original
finish, signed with red decal, minor repair to door, 66”w x 24”d x 48”h, very good condition 5500-7500
Important and rare Pewabic vase, unusual gourd form with six lobes underneath a tapered neck covered in a unique yellow
to gold metallic glaze with light green highlights, early incised signature, 6.5"w x 10.5"h, a great example 5000-7000
Good L & JG Stickley settle, #222, dramatic slatted-form with tapered posts, recovered leather cushion, good original
finish, three back cushions included, signed with Handcraft decal, 76.5”w x 30.5”d x 39”h, very good condition 6000-8000
39
253.
257.
Dedham Pottery vessel, round shape with
a blue and white design of rabbits, marked,
5.5”w x 4.5”h, missing lid 250-350
254.
Fulper vase, double handled form
covered in a black glaze with crystalline
highlights, marked, 6.5”w x 5”h 200-300
256.
Niloak Missionware vase, miniature with
swirl design, marked Rock Mtn., 1.5”w x
2.5”h, made as a party favor; with a Niloak
Missionware jug, attribution, colorful swirl
design, unmarked, 5”w x 7”h 600-800
Catalina Pottery vase, classic flaring
shape covered in a red flambé glaze,
marked, 5”w x 8.5”h 250-350
258.
260.
40
Rare Clewell vase, copper-clad pottery,
unusual double handled shape, marked,
#474, 3.5”w x 6.5”h 400-600
255.
bulbous form with incised vertical leaves
covered in a green and tan matt glaze,
marked, #34, 5”w x 3.5”h 300-400
259.
Niloak Missionware vase, large form with
a multicolored swirl design, marked, 5”w x
10.25”h 250-350
Teco handled vessel, ribbed shape under a
good green matte glaze with charcoal highlights,
impressed marks, 4”w x 3.75”h 200-300
261.
Good Newcomb College vase, tapered
shape with a carved and painted floral
design, executed by Sadie Irvine, #OJ96,
5.5”w x 8.5”h 1500-2000
262.
Van Briggle vase, 1917, raised twisting
leaf design under a blue and green matte
glaze, incised marks, 3”w x 7”h 250-350
263.
264.
266.
41
Nice Pewabic vase, hand-thrown bulbous shape covered in a multi-toned
green metallic glaze, marked, 6.5”w x 5”h, very good glaze 1000-1500
Good Arequipa vase, c. 1913, shouldered shape covered in a mottled and textured
green matte glaze, marked, #1128, 4”w x 8”h, very nice example 1000-1500
Nice Pewabic vase, large shouldered
form covered in a silver and pink metallic
glaze, good overall iridescence, marked,
6.5”w x 12”h 1200-1700
265.
Newcomb College vase, small round
form covered with a high glaze, impressed
marks, initials KR, 4"w x 2.75"h 250-350
267.
Good Pewabic bowl, small form covered
in a colorful metallic glaze, marked, 3”w x
1.5”h, excellent glaze 250-350
268.
Good Pewabic vase, bulbous shape,
covered in a beautiful metallic glaze
with overall iridescence, marked, 6”w x
10”h 1000-1500
41
269.
270.
Rookwood vase, bulbous
shape, nicely painted floral
design, executed by Fred
Rothenbusch in 1900, #867,
4”w x 6”h, restoration 100-200
42
274.
Rookwood vase, Standard
glaze with a detailed clover
design, painted by Katharine
Hickman in 1896, #763C,
3.5”w x 6.5”h 250-350
Large Rookwood handled
vessel with stopper,
Standard glaze with a cherry
design, nicely painted by
Sara Sax in 1899, #512A,
6”w x 11”h 700-900
275.
276.
277.
Rookwood handled vessel, Standard
glaze with well executed portrait titled
after Franz Hal, done by Grace Young in
1897, #837, 5.5”w x 5”h 400-600
Rookwood vase, double handled shape in a Standard glaze, nicely painted water lily
design, executed by Mary Nourse in 1900, #604C, 6.5”w x 9”h, ground X 500-700
273.
272.
271.
Rookwood handled vessel, Standard
glaze with a well executed portrait of
a man, painted by M.A. Daly in 1896,
#587C, 5”w x 4.75”h 400-600
Unusual Rookwood handled
vessel, Standard glaze with a
nicely painted design of corn,
executed by Caroline Steinle
in 1902, #512C, elaborate
Sterling silver stopper with
a repoussé corn design,
impressed hallmarks, overall:
5”w x 8.5”h 500-700
Early Wheatley vase, c. 1880, large form with nicely
painted flowering branches, marked, 7”w x 12”h 500-700
Big and beautiful Rookwood vase, large
tapered shape, in a Standard glaze,
wonderfully detailed chrysanthemum
278.
decoration, painted by M.A. Daly in 1902,
#907C, 5.4”w x 14”h 1500-2000
279.
Rookwood covered vessel, standard glaze
decoration of buckeyes, executed by Sally Toohey,
produced 1895, #729, 5.5"h X 4.5"w 400 -600
Early Rookwood vase, Tiger Eye glaze
with finely painted chrysanthemums,
executed by Albert Valentien in 1884,
#30B, 4.5”w x 12”h 1200-1700
281.
280.
Roycroft tall pedestal, #080, important dramatic design with
five shelves supported by slab sides and carved Orb and
oak leaf, double key and tenon construction, monogrammed
initials “WHW” carved at front, original finish, some chips to
feet, 22"w x 18"d x 64"h, very good condition 9000-12,000
282.
43
Roycroft vase, hand hammered
copper with applied nickel decoration,
original patina, 3"w x 6"h 700-900
The Art Crafts Shop desk set, 6 pieces, enamel
design on copper, all with original patina, some
minor losses to enamel 9”w x 5.5’h 500-700
283.
Good Roycroft Ali Baba bench, #046, desirable slab sided form
supporting a wide split log top, lower stretcher with key and tenon
construction, this is the rarer version of the Ali Baba bench with the
wide top and slab sides, signed with Orb, original finish, some repair
to bark, 42”w x 15.5”d x 19”h, very good condition 9000-12,000
43
284.
44
Lakeside Craft Shops
wastebasket, slatted form with
two handles, original finish,
unsigned, 12”w x 12”d x 16”h
285.
Harold L. Doolittle (American, 1883-1974) “From the Canyons
Rim,” etching, pencil signed and titled, 9” x 12”, unframed 700-900
Exhibited: California Design 1910, and illustrated in accompanying
book by Timothy J. Andersen, Eudorah M. Moore, Robert W.
Winter, page 35
Provenance: Annette T. Handy Trust
Private Collector
287.
Handel table lamp, reverse-painted acidetched shade with landscape pattern,
shade and base signed, 18”dia x 23.5”h,
290.
Heintz vase, sterling on bronze, applied
floral design, original patina, impressed
mark, #3807, impressed R.H. Macy &
Co., 5”w x 10”h 400-600
288.
291.
286.
Good Limbert waste paper
box, #255, slab sides with
cut-outs at top, original
finish, branded signature,
11”w x 11”d x 18”h, very
Jarvie chamber stick, flaring
form, in brass, bobeche missing,
signed, 6”w x 6”h 250-350
289.
Pairpoint lamp, floral motif with a reversepainted shade on a pedestal base with
two sockets, base signed, 16”w x 20.5”h,
William Dorsey (American, b. 1942)
“Landscape,” oil on canvas, signed lower
right, 30” x 40”, framed 1000-1500
292.
Heintz vase, attribution, sterling on
bronze, cylindrical shape with an
applied windmill design, original patina,
unmarked, 5”w x 12”h 600-800
293.
294.
45
Good Merrimac vase, large hand-thrown form covered in a brown matte glaze with a textured
green and yellow drip, marked, 9"w x 10"h, a large example with a great glaze 3000-4000
Unusual Charles Rohlfs armchairs, set of eight, shaped posts support a canted back with a stylized “S” cut-out, probably
a family monogram, saddle seat supported by thru-peg construction, carved signature and dated 1903, good original
finish, rarely does a large set of Rohlfs chairs come to market, 27”w x 21”d x 39”h, very good condition 7000-9000
45
295.
Rare Weller Marengo Ware
vase, designed by Lessell,
stylized landscape design in
colorful metallic glazes, partial
original paper label, 3.5”w x
8.25”h 400-600
296.
Rare Camark Pottery
vase, Castle Series, fan
shape in a white glaze
with a hand-painted castle
scene in red, marked, 7.5”w
x 10.5”h 300-500
300.
46 46
299.
Exceptional and rare Swastika Keramos
vase, large form in colorful metallic glazes
with a painted landscape featuring a
peacock, marked, design attributed to
Lessell, 7”w x 13”h 1000-2000
302.
303.
Swastika Keramos vase,
double handled shape with
a copper-colored glaze and
stylized floral design in red and
green, 4.5”w x 12”h 300-500
297.
Rare Camark Pottery wall
pocket, stylized landscape
in a silver glaze outlined in
gold, signed Lessell, 4”w x
8”l, minor chips and glaze
flakes 700-1000
298.
Weller LaSa vase, tapered
shape with a landscape
design, covered in a colorful
metallic glaze, unmarked,
3.5”w x 6”h, exceptional
example with very few glaze
issues 350-450
Fraunfelter candlestick, stylized landscape in a
silver glaze against an ivory ground, 5”w x 8”h;
with a Fraunfelter bowl, covered in an opalescent
glaze with a green metallic stylized landscape, both
signed Lessell, 9”w x 3”h 350-550
Camark Pottery lamp base,
tropical landscape design
covered in colorful metallic
glazes, signed Lessell,
5.75”w x 13.75”h, very nicely
painted 600-800
301.
304.
Camark Pottery vase, attribution, large
bulbous shape covered in a black high
glaze with a metallic design of a buck in a
landscape, signed Lessell, 7”w x 13”h, a
great example 2000-3000
Weller LaSa vase, cylindrical 305. Extremely rare Camark
form with flared rim and
Pottery vase, shouldered
base, colorful metallic glaze
form covered in an
with an etched landscape
experimental mottled green
design, marked, 3.5”w x
and black glaze, marked,
7.75”h 300-400
x 12”h
w w w . tr e4”w
ad w
ay g a l1000-1500
l ery .c om
306.
307.
47
Good Limbert bookcase, #360, single door with organic cut-out design and
open shelf above a glass panel divided by a vertical mullion, original pull,
original finish, ghost of a paper label to back, a desirable form that rarely
comes to market, 25”w x 12”d x 58”h, very good condition 7500-9500
Limbert Morris chair, flat-arm form with arched rail and curved rear legs, some retouch to
original finish, branded signature, 28.5”w x 38.5”d x 36”h, very good condition 1200-1500
47
308.
Arts & Crafts inkwell, handled form in
brass with tooled designs, colorful central
enameled element, unmarked, includes
glass insert, 7”w x 4.5”h 200-300
309.
312.
48 48
310.
Unusual Lebolt dish, handled form in
hammered sterling silver, three cut glass
sections, applied monogram “K”, marked,
#491, 8.5”w x 6.5”h 250-350
Roycroft vase, smaller version of the
"American Beauty," hammered copper, good
original patina, marked, 3.5”w x 7”h 500-700
Fulper vase, attribution, small tapered shape
covered in a beautiful green crystalline glaze,
marked B, 1.75”w x 3.75”h 250-350
311.
Van Briggle vase, c. post 1920, three
Native American faces, under a brown
and green matte glaze, incised marks,
5”w x 11”h 300-500
313.
Fulper vase, c. 1915, double handled
shape covered in a green leopard skin
glaze, marked, shown in the Panama
Pacific Exposition, 4.5”w x 11.25”h, very
nice glaze 500-700
314.
Fulper jardiniere, monumental form
covered in a multi-toned brown and
gray flambé glaze with blue crystalline
highlights, marked, 12”w x 12”h,
restoration to rim 500-700
316.
Fulper bowl, broad form with an unusual
raised design of fish, covered in a green
red and tan flambé with a green crystalline
center, marked, 11.25”w x 3”h, restored
chip to lip 300-400
315.
Large Fulper vase, monumental form
covered in a Flemington Green glaze,
marked, partial original paper label, 8.5”w x
17”h 1000-2000
w w ww. tr
w ewad
. trweay
adgwaal y
l ery
ga l.c
l ery
om.c om
318.
317.
Gustav Stickley Morris chair, #336, early bow-arm form with hip rail
and corbel supports at sides, recovered leather seat and back cushions,
refinished, some restoration to arm, replaced pegs and rope foundation,
31.5”w x 37.5”d x 38.5”h, very good condition 3500-4500
319.
49
Early Gustav Stickley Morris chair, #2432, flat-arm form with five vertical
slats supported by corbels and thru-tenon construction, nicely recovered
leather seat and back cushions, original finish, recoated finish to arms,
signed with early box mark, original chamfered pegs, 31.5”w x 38”d x 39”h,
Good Gustav Stickley Morris chair, #369, drop-arm form with five vertical
slats and corbel supports, thru-tenon construction, recovered leather seat
and back cushions, signed with red decal, 33”w x 38”d x 39”h, a nice
example of this desirable form, very good condition 7500-9500
320.
Limbert settle, #570, three-quarter drop-arm form with slatted back and thru-tenon construction,
refinished, replaced cushions, branded signature, 80”w x 31.5”d x 30”h, very good condition 2500-3500
322.
Arts & Crafts costumer, single post
with long corbel supports, recoated
original finish, 22”w x 22”d x 76”h,
324.
Early Limbert magazine stand,
#217, unusual form with a single
shelf and cut-out slab sides above
a cut-out design at base, refinished,
unsigned, 12”w x 11.5”d x 38”h,
Limbert daybed, #850, curved headrest with recovered leather cushions, original finish,
branded signature and numbered, 30”w x 79”l x 25”h, very good condition 800-1000
323.
50
321.
Arts & Crafts period swing, in woven wicker, missing chains and
seat cushion, 85”w x 31”d x 27”h, very good condition 700-900
51
325.
Small Teco vase, designed by W. Gates,
four buttress shape with a good green
matte glaze, impressed marks, 2.5"w x
6.25"h 1000-1500
326.
Teco wall pocket, designed by F.R.
Fuller, raised floral design under a good
green matte glaze, impressed marks,
10"w x 7"h 500-700
327.
Teco vase, designed by Fritz Albert, handled
form covered with a green matte glaze,
impressed marks, 5"w x 9.25"h 1000-1500
328.
Teco vase, two handles designed by W.
Gates, covered with a green matte glaze,
impressed mark, 6"w x 8"h 1500-2500
329.
Good Teco vase, #197, design attributed
to Fritz Albert, unusual form under a good
green matte glaze with nice charcoal
highlights, impressed marks, 7.5”w x
10.5”h 2000-3000
330.
Large Teco vase, probably designed by
W. Gates, bulbous shape with flared rim,
covered in a green matte glaze, impressed
marks, 9.25"w x 9.25"h 500-700
331.
Teco vase designed by W. Gates, hand
thrown form with swollen bottom under
a good green matte glaze, impressed
marks, 3.75"w x 3.75"h 300-500
332.
Teco handled vessel, ribbed shape
with an applied monogram and date on
front, under a good green matte glaze,
impressed marks, 6”w x 6.5”h, restoration
to rim 500-700
333.
Teco vase, tapered form with a green
matte glaze, impressed marks, 3.5"w x
5.5"h 250-350
51
334.
Newcomb College vase, hand thrown form 335.
with a drip glaze, made by Jules Gabry,
impressed marks, 4.5"w x 5"h 500-700
337.
Walley vase, bulbous shape covered in a
multi-toned blue drip glaze, marked, 3.5”w
x 3.5”h 300-400
338.
340.
341.
52 52
design with birds and branches, original
patina, impressed mark, #3681C,
impressed R.H. Macy & Co., 4.5”w x
12.25”h 400-600
336.
English Arts & Crafts mirror, c. 1905,
rectangular beveled glass mirror held in a
copper repoussé frame, 19.5”w x 25”h, very
Newcomb College vase, hand-thrown
shape covered in a green matte glaze,
signed JM, 4.5”w x 3.5”h 250-350
339.
George Ohr vase, bulbous shape with a
crimped rim, covered in a multi-tone brown
glaze, marked, 4.5”w x 3”h 700-900
343.
iris design, original patina, impressed
mark, #2627B, 5”w x 12”h 600-800
George Ohr vase, unusual form with a
crimped rim, covered in a mottled brown
and green matte glaze, signed, 3”w x
3.5”h, minor flaws to base 900-1200
Arts & Crafts chamber sticks, pair, leaf shape
in copper with tooled designs, 6”w x 2”h; with a
Copper plate, (not shown), unusual face design,
5.75”dia, original patinas, all unmarked 200-300
342.
Heintz humidor, sterling on bronze, applied
griffin design, original patina, impressed
mark, #2581, 5”w x 8”h 500-700
w w ww. tr
w ewad
. trweay
adgwaal y
l ery
ga l.c
l ery
om.c om
53
345.
Rookwood vase, covered in a standard
glaze, nicely painted portrait of Chief White
Buffalo of the Arapahoe tribe, decorated
by E.T. Hurley, #614D, impressed marks,
4.25"w x 8.25"h 2500-3500
346.
Early and rare Rookwood handled
vessel, panoramic design with painted
bar room scenes depicting characters
interacting, executed by Edward Cranch in
1886, #286, 6”w x 8.5”h 1500-2000
344.
Rookwood handled vessel, early Limoges
style with delicately painted cherry
blossoms, executed by Sallie Toohey in
1888, #40C, 4”w x 6.5”h, delicate and finely
executed artwork 300-500
347.
Unusual Rookwood covered
vessel, a very early Standard
glaze with a painted floral
design and molded lid,
executed by Anna Marie
Bookprinter in 1891, #240G,
7”w x 9”h 300-400
348.
glaze with finely painted
leaves, done by Rose
Fechheimer in 1900, #670C,
7”w x 9”h, nice artwork with
a good glaze 350-450
349.
Good Rookwood vase,
Standard glaze with a nicely
painted cherry blossom
design, applied silver
overlay, executed by Sadie
Markland in 1894, #566,
4.5”w x 7”h 1000-1500
350.
glaze with a finely painted
floral design, by L.N.
Lincoln in 1905, #605E,
3.5”w x 5”h 250-350
351.
Fine Rookwood vase, large
example, in a Standard
glaze, beautifully painted
orange poppies, executed by
M.A. Daly in 1902, #904C,
4.5”w x 12”h 1000-1500
352.
Unique Rookwood handled
vessel, large form, in a
Standard glaze, with an
exquisitely painted portrait of
a geisha, executed by Kataro
Shirayamadani in 1891,
#496A, hand signed on base,
5”w x 13”h 1500-2500
353.
Exceptional Rookwood ewer,
big version in a Standard
glaze with several prancing
geese, decorated by Kataro
Shirayamadani in 1891, #469A,
8.5”w x 12.5”h 2000-3000
354.
Early Rookwood vase,
experimental Limoges glaze
with painted and incised
crabs and vegetation, finely
executed by Albert Valentien
in 1884, #30B, 4.5”w x 12”h,
firing imperfection 800-1100
355.
54
Good Stickley Brothers bookcase, three-door form with leaded slag-glass panes at top above divided panels and
original copper pulls, paneled sides, fine original finish, unsigned, 59”w x 12”d x 60”h, very good condition 4500-5500
356.
Arts & Crafts period tile-top table,
fifteen tiles at top on a twisted and curled
wrought iron base, 22”w x 13.5”d x 19”h,
357.
Old Hickory style magazine holder,
woven willow with handle at top, 20”w x
14”d x 20”h, very good condition 100-200
358.
Arts & Crafts andirons, in twisted and
curled wrought iron with connecting chain,
each: 11”w x 29”d x 28.5”h, very good
condition 300-500
359.
Stickley Brothers drink table, #2615,
circular copper top above a wide notched
arched apron on a tapered leg, some
cleaning to original copper top, worn
recoated original finish, unsigned, 17”dia x
360.
Stickley Brothers library table,
hexagonal top above six tapered legs
with thru-tenon construction, refinished,
unsigned, 46.5”w x 40”d x 30”h, very good
condition 600-800
361.
Arts and Crafts drink table similar to
Stickley Brothers #2615, in maple, circular
copper top above a wide inverted “V”
apron on a tapered leg, refinished, some
cleaning to original copper top, 18”dia x
363.
362.
Robert Thompson or Mouseman ashtray, attribution,
carved wood with a mouse figural, original finish, faint
and illegible writing on bottom, 4”w x 2”h 150-200
364.
Arts & Crafts box, rectangular form
in oak, hinged lid, original finish,
unmarked, 11”w x 7”h 100-200
366.
365.
369.
55
Liberty & Company mirror, c. 1905, oval copper
mirror with inset enamel plaques, original label,
25”w x 20.5”h, very good condition 2000-3000
367.
William Hutton Art Nouveau
photo frame, London, 1905, silver,
wood and enamel, marked, 7”w x
8”h, wood refinished 1500-2000
368.
Liberty & Co. jardiniere,
Tudric pewter form with two
handles and feet, stylized
repoussé designs, marked,
original patina, #0229, 13”w
x 6”h 1000-1500
Rare Liberty & Co. Tudric
biscuit barrel, England, c. 1905,
pewter, designed by Archibald
Knox, marked, #0193, 4.5”w x
4.5”h 1200-1700
English Arts & Crafts jardiniere, four-sided form in copper with repousse ship
designs and enameled escutcheons, unmarked, 12.5”w x 10.5”h 500-700
WMF Arts & Crafts candlesticks, pair,
German, c. 1905, silver plate and wood,
marked, 4.5”w x 8.5”h 300-400
371.
370.
George H. Trautmann lamp base, in
hammered copper with a three-socket
fixture, signed, needs wiring, 7.5”dia x
AE Jones Arts & Crafts candlesticks,
pair, attribution, English, c. 1920, silver
plate with hammered surface and raised
designs, 3.75”w x 7.5”h 350-450
55
372.
373.
Hartford Faience tile panel, #112, c. 1910, incised owl motif flanking a landscape scene, all covered in a seven color matte glaze, unusual
technique imitating a leaded glass window by the use of metallic glaze on the incised lines, unframed, a similar tile is shown in "Stickley
Style-Arts and Crafts Homes in the Craftsman Tradition," by David Cathers and Alexander Vertikoff, p. 108, 35.75"w x 9.25"h 8000-10,000
Arts & Clay Co. lamp, in hammered and
riveted copper with a mica base on a
single-socket trumpeted base, 17”dia x
19.5”h, very good condition 1500-2500
376.
56
374.
Shop of the Crafters cellarette, #255,
marquetry inlaid design with monk motif,
escutcheon missing, complete interior,
some retouch to original finish, minor
looseness, unsigned, 15”w x 15”d x 46”h,
375.
Arts & Clay Co. lamp, large form in
hammered copper supporting a flaring
mica-lined shade, original patina, signed
CMW, overall: 21.5”w x 19”h 1500-2500
Arts and Crafts bed, double-size with arched and paneled head and footboards, reversetapered legs, original finish, 58.5”w x 78”l x 56”h, very good condition 1200-1500
377.
Exquisite Rookwood vase, Vellum
glaze with an exceptionally painted blue
iris, executed by Carl Schmidt in 1925,
#2544, 4"w x 8"h, uncrazed, flawless,
beautiful 2000-3000
380.
Rookwood vase, Vellum glaze with a
colorful cascading floral design, painted
by Lenore Asbury in 1928, #356D, 4.5”w x
8.5”h, finely decorated with a wide array of
colors, uncrazed and flawless 1200-1700
379.
Fine Rookwood vase, Vellum glaze
with nicely painted white carnations on a
blue background, executed by Ed Diers
in 1926, #2544, 4”w x 8”h, uncrazed
and beautifully decorated by one of
Rookwood’s best artists 1500-2000
Important Rookwood plaque, fine Vellum glaze with a finely painted Venetian scene titled “On the Riva,” beautifully executed
by Ed Diers, framed, plaque: 15”w x 9”h, overall: 20.5”w x 15”h, uncrazed and absolutely breathtaking 10,000-15,000
381.
57
378.
Rookwood vase, large flaring shape with a Vellum glaze, unusual decoration of birds flying
through palm trees, executed by Kataro Shirayamadani in 1909, #1663C, 5.5"w x 11"h 3000-4000
382.
Beautiful Rookwood vase, Iris glaze with a finely painted decoration of irises, nicely executed by Sallie
Coyne in 1910, #907DD, 4”w x 10”h, a very good example of Rookwood's Iris glaze 2500-3500
384.
383.
Fine Rookwood vase, beautiful Vellum glaze with five nicely painted black swans, decorated in 1915
by Carl Schmidt, #932E, 3.5"w x 8"h, another example of Schmidt's superb painting 3500-4500
385.
58
Rookwood vase, black opal glaze with seven
carved and painted birds, decorated in 1925
by Sara Sax, 7"w x 4.75"h 1000-1500
Exceptional Rookwood vase, large tapered shape in an Iris glaze, beautifully painted scene featuring
several swans, beautifully painted by Kataro Shirayamadani in 1898, #1295, 7”w x 13”h 8000-11,000
386.
389.
Unusual Marblehead vase, shouldered
shape, covered in a purple matte glaze,
marked, 3.5”w x 5”h 350-450
388.
387.
Marblehead vase, large round shape,
covered in a pink matte glaze, marked,
partial paper label, 6.5”w x 5”h 500-700
392.
391.
Wheatley Pottery vase, bulbous shape
with carved leaves and buds covered
in a green matte glaze, marked, 6”w x
4.25”h, nicely executed good example of
Wheatley's Arts & Crafts pottery 300-400
395.
394.
59
Beautiful Grueby vase, large round shape
with a bottle neck, covered in a suspended
yellow matte glaze, marked, 8”w x 9.5”h,
great form, great glaze 2500-3500
Good Marblehead vase, bulbous shape,
covered in a brown matte glaze, marked,
4”w x 5”h 300-400
Unusual Norse vase, large broad shape
with big leaves, covered in a bronze to black
matte glaze with green highlights, marked,
#21, 8"w x 7"h, very nice 800-1100
Good Grueby vase, unusual form covered
in a mottled green matte glaze, artist
initials EW, marked, 6.25”w x 4.5”h, very
nice glaze 800-1100
Nice Marblehead vase, cylindrical
shape, covered in a brown matte
glaze, marked, 4”w x 4”h 350-450
390.
Pauline Pottery vase, carved and painted
floral design on a squat round form,
impressed marks, 5"w x 2"h 500-700
393.
Norse bowl, footed shape with incised
designs covered in a metallic glaze,
marked, #61, 7.5”w x 5.5”h 300-400
396.
Marblehead vase, tapered shape,
covered in a blue matte glaze, marked,
paper label, 2.5”w x 3.5”h 250-350
59
397.
398.
401.
Rookwood vase, geometric design, tobacco
brown matte glaze, 2.75”w x 6”h 100-200
Rare and important Cowan sculpture, stylized head on a square column
base, covered in a black matte glaze, marked, 3.5”w x 14”h 3500-4500
400.
Moorcroft vase, small
shouldered form with a
colorful orchid design, signed,
2.5”w x 3.5”h 200-300
404.
405.
Moorcroft bottles with stoppers, pair, c.
1950, bulbous shape, spring flower design,
signed, marked, 4”w x 6”h 500-700
407.
60
399.
Good Rookwood vase, raised daffodil
designs under a tan matte glaze, 1920,
#2476, 3.5”w x 8.25”h 200-300
Rookwood bookend, one,
nude female kneeling,
covered in a white hi-glaze,
designed by Louise Abel,
1930, #6159, 4.25”w x 7”h,
uncrazed 250-350
402.
Decorative Vernon Kilns
charger, designed by
Rockwell Kent, titled
Salamina, signed, marked,
fitted with metal ring for
hanging, 14”dia 200-300
Rookwood vase, blue matte glaze with brown 406.
highlights, 1923, #1089D, 5”w x 3.5”h, ground
X; with a Rookwood vase, raised design of
rooks, under a green aventurine glaze, 1924,
#2705, 3.5”w x 7”h, exceptional glaze 500-700
403.
Royal Doulton Noke vase,
tapered shape in a sung
glaze with abstract designs,
executed by F. Allen, marked,
#2040, 4”w x 7.5”h 400-600
Rookwood bookends, pair, Dutch boy
and girl, designed by Sallie Toohey, 1929,
#6022, 4.25”w x 6”h 350-450
Art Pottery bookends, Art Deco design of a man and woman, covered in a white high glaze,
unmarked, 5”w x 5”h; with a Lenox vase, footed shape, covered in a yellow glaze, designed
in honor of New York World’s Fair, Ovington’s, New York, #3041, 3.5”w x 5”h 200-300
408.
Frank Lloyd Wright
desk, designed for
the Richard C. Smith
House, Jefferson,
Wisconsin, 1951,
cypress, triangular
form on angled legs
and three drawers with
original brass handles,
restored finish, 58”w x
50”d x 26”h, very good
condition 4000-6000
409.
Frank Lloyd Wright
cabinet, manufactured by
Heritage Henredon, three
drawers with recessed
handles and Taliesin
design at edges, worn
original finish, some
staining to top and chips
to edges, signed with red
decal and script signature,
21.5”w x 20”d x 28”h, very
Provenance: Domino’s
Center for Architecture
& Design, Christie’s
June 1994
410.
Frank Lloyd Wright
cabinet, manufactured by
Heritage Henredon, three
drawers with recessed
handles and Taliesin
design at edges, worn
original finish, some
staining to top and chips
to edges, signed with red
decal and script signature,
21.5”w x 20”d x 28”h, very
411. 412. 61
Frank Lloyd Wright chair from the Imperial Hotel, Tokyo, c. 1922, "Peacock chair", hexagonal
shaped construction with Chevron motif relates directly to the design of the hotel, upholstered
originally by the hotel in a beige oil cloth fabric, worn original finish, this iconic chair was used in
several public rooms throughout the Imperial Hotel, overall roughness, some restoration, painted
hotel inventory number on bottom, 15.5"w x 16.5"d x 38"h, very good condition 7000-9000
Luxfer prism window, 100 prisms held
together with leaded glass, twenty Frank
Lloyd Wright designed-prisms make up the
central border, one signed Luxfer, glass:
39.5”w x 40”h, very good condition 500-700
413. Details / Phone bids call: (708) 383-5234 or (513) 321-6742
Luxfer prism window, 100 prisms held
Lloyd Wright designed-prisms make
up the central border, glass: 39.75”w x
414. Luxfer prism window, 100 prisms held
Lloyd Wright designed-prisms make up
the central border, one signed Luxfer,
glass: 37.5”w x 40.25”h, very good
condition 500-700
61
415.
62
Frank Lloyd Wright side table, manufactured by Heritage
Henredon, paneled top above a single drawer with recessed handle
above open storage, Taliesin design at edges, good original finish,
signed with red monogram and script signature, 26”w x 29”d x 23”h,
417.
Frank Lloyd Wright mirror, manufactured by Heritage Henredon,
rectangular form with Taliesin design at edges, original finish,
unsigned, numbered 2000, 47”w x 35”h, very good condition 500-700
419.
Frank Lloyd Wright side table, manufactured by Heritage
Henredon, paneled top above a single drawer with recessed handle
above open storage, Taliesin design at edges, good original finish,
signed with red monogram and script signature, 26”w x 29”d x 23”h,
416.
Frank Lloyd Wright chest of drawers, manufactured by Heritage
Henredon, series of ten drawers with recessed handles, Taliesin
design at edges, original finish, script signature, 65.5”w x 20”d x
418.
Louis Sullivan back plates, group of three, one with handle, two
from the Chicago Stock Exchange Building, 1893, 10.5” x 3.5”, one
from the Union Trust Building, Saint Louis, 1893, 13.5” x 3.5”, very
420.
Frank Lloyd Wright desk, manufactured by Heritage Henredon,
rectangular top with Taliesin design at edges above a series of
drawers with recessed handles, signed with red monogram, original
finish, 52”w x 20”d x 28”h, very good condition 1500-2500
421.
Frank Lloyd Wright sectional sofa, manufactured by Heritage Henredon, two pieces with Taliesin design
at base, nicely reupholstered in Schumacher fabric, Imperial Crystals pattern, four matching throw pillows
included, original finish, unsigned, each piece: 64"w x 31"d x 30.5"h, very good condition 2000-3000
422.
Frank Lloyd Wright headboards, pair, manufactured by Heritage Henredon, twin-size with Taliesin
design at edges, original finish, signed with script signature, 40”w x 38.5”h, excellent condition 700-900
423.
63
Frank Lloyd Wright headboard, manufactured by Heritage Henredon, king-size with Taliesin design
at edges, original finish, signed with script signature, 79”w x 39”h, very good condition 500-700
424.
Unique Art Glass & Metal Company
table lamp, attribution, floral leaded
glass shade on a pedestal base,
unsigned, original patina, 17”dia x
425.
426.
428.
64
Handel lamp, leaded glass shade with
red flowers and multicolored green
leaves, supported by a bronzed metal
pedestal base with a leaf design on the
foot, signed Handel, 16”w x 20”h, very
Chinese Art Deco rug, c. 1930, floral design with birds and urn,
minor wear, 109” x 136”, very good condition 800-1200
Kalo ring, 14k gold with a
427.
central citrine stone, marked,
small size, .75”l 400-600
429.
Kalo brooch, hand wrought sterling
silver with floral and leaf designs,
marked, #234, 2.75”w 100-200
Turkoman rug, semi-antique, stylized floral design on a red field,
minor wear, 86” x 148”, very good condition 2000-2500
431.
430.
Julius Dresser vase, double handled
shape with an organic design, covered in
a rust-colored matte glaze, marked, #775,
5.5”w x 8.5”h 300-500
434.
65
433.
Ceramika Wilenska vase, Poland, large
form with a dark blue glaze with painted
orange designs, marked, 6”w x 13.5”h,
minor chip to base 300-400
436.
Wiener Kunstmacher Keramik
Werkstatte vase, unusual multi-sided
shape with an organic twisting top, covered
in a mottled red, gray and tan glaze,
marked, #964, 5.5”w x 7”h 500-700
437.
Pierrefonds vase, organic shape covered
in a tan and brown glaze with green
crystalline highlights, applied metal
roses design, marked, 2”w x 4.5”h; with
a Pierrefonds vase, bulbous shape
covered in a green and brown glaze with
crystalline highlights, marked, 3”w x 3.5”h,
typically nice glazes 300-400
432.
Sevres vase, tapered shape covered
in a mottled brown glaze with green
highlights, applied copper overlay with leaf
and flower designs, marked, 4”w x 9”h,
restored 250-350
435.
Sevres vase, attribution, large form with
a lobed rim, covered in an ox blood glaze,
unmarked, 4”w x 18”h, restoration 250-350
438.
Rambervillers vase, designed by Rene
Jeandelle, unusual form with a pond
scene featuring a female profile, covered
in an iridescent green glaze, marked,
artist signed, 5”w x 8.5”h 500-700
Anon vase, attribution, organic form with
two handles, signed indistinctly, 3.5”w x
7.25”h 300-500
Pennier Brothers floor vase, shouldered
shape with raised ball design at top,
covered in a mottled brown and tan matte
glaze, marked, 7”w x 23”h 900-1200
65
440.
439.
Zsolnay vase, organic shape with red
leaves at bottom, covered in an eosin
glaze, marked, 3.5”w x 4.5”h 400-600
442.
441.
443.
Pierre Adrien Graillon sculpture, 19th
century, intricately carved clay figure with
a walking stick and hat, signed, 4.25”w x
12”h 250-350
446.
Edouard Colonna sculpture, attribution,
c. 1900, standing figure in carved wood
with ivory face, hands and feet, unsigned,
2”w x 8.25”h, minor chip 250-350
Massier vase, attribution, unusual shape
with four handles covered in a blue and
green metallic glaze, unmarked, 4”w x
7”h 300-400
Art Pottery tile, organic design, covered in a multi-toned
brown glaze, framed, overall: 7.25”sq; with an Art Pottery
tile, (not shown), organic design, covered in a greenishbrown glaze, framed, overall: 7.25”sq 200-300
444.
66
P. Ipson sculpture, bust of Dante covered
in a mottled green matte glaze, marked,
#733, 9”w x 7”h, restoration 300-400
Barye plaque, rectangular plaster form with
a lion in high relief covered in an ivory matte
glaze, signed, 15.75”l x 7.5”hl; with a Minton 445.
Hollins & Co. tile, (not shown), trellised
branches with a large central flower, covered in
a iridescent green glaze, marked, framed, tile:
6”sq, overall: 6.75”sq 600-800
447.
Wilhelm Schiller Egyptian Revival
vases, two, colorful carved and
painted designs, both marked WS&S,
Co., #718 and 719, largest is: 6.5”w x
15”h, both repaired 500-700
448.
Sevres sculpture, executed by Alphonse
Cordonnier, head of Dante covered
in a mottled brown glaze, artist signed,
impressed mark, mounted on a marble
base, 8.5”w x 16.5”h 3000-5000
Paul Maximilien Landowski sculpture,
c. 1928, plaster, model for the Virgin
and Child monument, Paris, covered in
a tan matte glaze, signed, 3”w x 11”h,
restoration 300-400
449.
Amphora planter, large form with a sculpted female figure
seated on lily pads gazing at a frog, executed and signed
by Edouard Stellmacher, marked, #765, 12.5”w x 13”h,
several areas of restoration 900-1200
450.
Alfred-Louis-Achille Daguet box, hammered and tooled
copper with a fish design to lid, signed, original patina, 12”w
x 2”h, boxes similar to those pictured here can be found in
Exotica, by Jason Jacques, p. 78-95 2000-3000
451.
Alfred-Louis-Achille Daguet box, hammered
and tooled copper with a stylized floral design to
lid, signed, original patina, 12”w x 2”h 2000-3000
453.
452.
67
Unusual Kayserzinn candelabras, pair, pewter with a repoussé bat motif,
original patina, marked, #4506, removable bobeches, 10.5”w x 12”h 5000-7000
Alfred-Louis-Achille Daguet box,
hammered and tooled copper with a ship
design and applied jewels to lid, signed,
original patina, 8.5”w x 4.5”h 1200-1700
67
454.
Heliosine vase, organic shape with an
applied beetle, under a blue and green glaze,
unmarked, 4”w x 5”h, very unusual example
with a typically nice glaze 400-500
455.
Wilhelm Schiller vase, unusual form
covered in a red and green glaze, applied gilt
metal mount with stylized flowers and clover,
marked, #14058B, 5.5”w x 10.5”h 400-500
456.
Rorstrand vase, porcelain form with an
unusual jellyfish design, artist signed, marked,
#21, 3.5”w x 7”h, uncrazed 600-800
457.
Bigot vase, organic shape with raised
stylized leaves, covered in a green, tan
and brown crystalline glaze, marked,
5.5”w x 10”h, excellent matte glaze on a
very nice shape 600-800
458.
Amphora vase, probably designed by
Eduard Stellmacher, large form in a brown
glaze with water plants design in green
and red, marked, #3437, 7”w x 15.5”h,
hairlines 500-700
459.
Heliosine vase, made by Royal Bereuth
organic shape with four handles, covered
in a purple, blue and tan glaze, numbered
7031, 6.5”w x 10”h 500-700
460.
Denbac vase, large form in a blue glaze
with a black drip, applied lobster figures at
bottom, signed, 7”w x 8.5”h 350-450
462.
Villeroy & Boch vase, large shouldered
form covered with a mottled brown, tan
and gray glaze with crystalline highlights,
marked, #316, 8”w x 11”h; with an Art
Pottery vase, (not shown), double
handled shape covered in a cream and
brown glaze, marked WH, #162/16, 3.5”w
x 6.5”h 250-350
461.
68
Pannier Brothers vase, large and
attractive form with a bulbous bottom and
long neck, covered with a good brown,
orange and gray crystalline glaze, signed,
#2-241, 7”w x 17”h 600-800
463.
464.
Loetz Asträa vase, attribution, bulbous
shape in gold glass with a ruffled rim,
unmarked, 3.5”w x 4.5”h 250-350
465.
466.
69
Bohemian vase, unusual shape in
green glass with an applied sterling
silver floral decoration, marked
‘Sterling’, 3”w x 7.5”h 300-400
Loetz Chine vase, glass
with a polished pewter
mount, Austrian, c. 1910,
4”w x 11”h 800-1100
468.
467.
469.
Loetz Candia Papillon vase, attribution,
unusual shape with three ball-feet in gold
glass with overall iridescence, unmarked,
5”w x 5.5”h 350-450
Loetz Cobalt Papillon vase, attribution,
dimpled form in blue glass with yellow
iridescence, unmarked, 4”w x 9.5”h 500-700
Loetz Phänomen Genre vase,
attribution, bulbous shape
with a long neck and ruffled
rim in gold glass, overall
iridescence, unmarked, 4”w x
10”h 1000-1500
Amphora vase, unusual shape, four gold handles
with carved designs, covered in a green matte glaze,
marked Austria, #1098, 7.5”w x 6.5”h; with an Amphora
vase, bulbous shape with a pinched bottom and gold
top with tooled designs, covered in a blue matte glaze,
marked Austria, #1177, 5”w x 7”h 300-400
470.
Loetz Phänomen Genre vase, attribution,
geometric shape in gold glass with
a colorful iridescent pulled design,
unmarked, 6”w x 4.5”h 350-450
471.
Good Poschinger vase, Austria, c. 1905,
Art Nouveau design, in colored satin glass
with an applied silver overlay decoration,
unmarked, 3”w x 8.5”h, unusual silver
overlay 600-800
69
472.
Gustav Klimt (Austrian, 1862-1918) “Upper
Austrian Farmhouse,” collotype from the first
edition portfolio, signed with signet, 18.75”
x 18”, unframed; with a Gustav Klimt
(Austrian, 1862-1918) “Roses Under Trees,”
collotype from the first edition portfolio, (not
shown), signed with signet, 18.75” x 18”,
unframed 1000-1500
475.
476.
70
474.
473.
Utagawa Hiroshige (Japanese, 1797-1858)
“A Wild Duck Swimming Beneath SnowLaden Reeds,” c. 1830, woodblock print, 15”
x 6.75”, stamped, unframed 2000-4000
Gustav Klimt (Austrian, 1862-1918) “Portrait
of Marie Hennenberg,” collotype from the
first edition portfolio, signed with signet,
18.75” x 18”, unframed; with a Gustav
Klimt (Austrian, 1862-1918) “Portrait of
Sonja Knips,” collotype from the first edition
portfolio, (not shown), signed with signet,
18.75” x 18”, unframed 1000-1500 Georg Jensen candlesticks and compote, three pieces, sterling silver with grape
designs, all marked, #263, compote: 7”w x 7”h, each candlestick: 3”w x 6”h 6000-8000
Gustav Klimt (Austrian, 1862-1918) “Pond,”
collotype from the first edition portfolio,
signed with signet, 18.75” x 18”, unframed;
with a Gustav Klimt (Austrian, 1862-1918)
“The Swamp,” collotype from the first edition
18.75” x 18”, unframed 1000-1500 477.
Gustav Klimt (Austrian, 1862-1918) “Untitled
Portrait,” collotype from the first edition
portfolio, signed with signet, 18.75” x 18”,
unframed; with a Gustav Klimt (Austrian,
1862-1918) “Portrait of Frau G. Eissler von
Terramere,” collotype from the first edition
18.75” x 18”, unframed 1000-1500
478.
Gustav Klimt (Austrian, 1862-1918)
“The High Poplar,” collotype from the
first edition portfolio, signed with signet,
18.75” x 18”, unframed; with a Gustav
Klimt (Austrian, 1862-1918) “Fruit Trees,”
collotype from the first edition portfolio,
(not shown), signed with signet, 18.75” x
18”, unframed 1000-1500
479.
482.
71
Dalpayrat vase, miniature form covered
with a white, red and green glaze,
unmarked, 1.25"w x 2"h 150-250
480.
Amphora Edda vase, probably designed
by Fritz Eichmann, organic shape covered
in a blue, brown and cream drip glaze,
marked, #3622, 6.5”w x 9”h, this vase is
pictured in House of Amphora, by Richard
Scott, p. 169 1000-1500
481.
Amphora Allegory of Austria-Hungary
vase, designed by Nikolaus Kannhäuser,
finely detailed portrait with a golden sun
and applied colorful jewels, marked,
#0664, 4.5”w x 7”h 1000-1500
Fine Raoul Larche lamp, manufactured by Siot Decauville Foundry, Paris, sculpted bronze figure
of a woman in flowing garments, good original gilt finish, signed, 10”w x 17”h 10,000-15,000
71
484.
483.
Steuben vase, stylized jack-in-thepulpit form in gold Aurene glass, brilliant
iridescence and veining, signed aurene,
#152, 4”w x 5.25”h, wonderful iridescence,
very unusual form 1000-1500
486.
487.
490.
72
Tiffany Studios lamp base,
harp form with five ball feet
in bronze, original patina with
enhancement, signed Tiffany
Studios, New York, #419, 9.5”w
x 13”h 700-900
L.C. Tiffany vase, organic shape with
protrusions, in gold favrile glass, overall
iridescence, signed L.C.T, #D1059, 3”w x
2.5”h 350-450
L.C.Tiffany Favrile vase, flaring ruffled
top in blue favrile glass, signed L.C.
Tiffany Favrile, #1529-2734, 4.5"h x
6"w 800-1000
485.
L.C. Tiffany vase, bulbous and footed
shape in favrile glass with blue and green
iridescence, signed L.C. Tiffany-Favrile,
#6715E, 4.5”w x 6.5”h 650-850
Tiffany Studios box, bronze in the American
Indian pattern, original patina, signed Tiffany
Studios, New York, #1192, 5.75”w x 2”h 200-300
489.
488.
491.
Tiffany Furnaces tray, bronze with original
patina and enamel, signed Louis C. Tiffany
Furnaces, Inc., #306, 4”w; with a Tiffany & Co.
clock, round shape with hinged lid, in gold plate,
marked, #200570, 2.5”w x 1.5”h 200-300
Tiffany Furnaces lamp base, bronze with an
original gold doré patina, enameled geometric
designs, signed Louis C. Tiffany Furnaces,
Inc., #369, 5”w x 14.5”h 800-1100
492.
Tiffany Studios lamp base, harp
form with five ball feet in bronze,
good original patina, signed
Tiffany Studios, New York, #419,
9.5"w x 13"h 800-1100
Loetz vase, attribution, green iridescent
glass with an applied silver overlay,
unmarked, 4"w x 2.5"h 350-450
493.
494.
73
Fine L.C. Tiffany vase, floriform in blue favrile glass with beautiful overall iridescence,
signed L.C. Tiffany Inc.-Favrile, #1525-969N, partial foil label, 3”w x 11.5”h 1500-2000
Exceptional L.C. Tiffany vase, large and unusual jack-in-the-pulpit form, gold favrile glass
with exceptional iridescence and veining, inscribed with Presented to Church of Our Lady of
Sorrows, by Tiffany Furnaces, signed L.C. Tiffany-Favrile, #9987B, 9”w x 18.5”h 7000-9000
73
XXX
495.
496.
L.C. Tiffany glasses, set of 6, gold favrile glass, with pulled design and faceted
stem, overall iridescence, all signed L.C.T., #615, each: 2.5”w x 4.5”h 1000-2000
497.
498.
74
Rare L.C. Tiffany shade, bulbous form in
frosted favrile glass with pulled green feather
design, #o2640, 4”w x 5.5”h 1000-1500
Good Tiffany Studios candlestick, bronze
with an original patina, original blown-out
green glass at top, signed Tiffany Studios,
New York, #2186, 6”w x 15”h 1500-2500
499.
501.
L.C. Tiffany cordial glasses, set of six, gold favrile glass with overall
iridescence and enameled monogram, one signed L.C.T., some
marked either C73O, C717 or C74O, each: 2"w x 3.5"h 1000-2000
Tiffany Studios candlestick, bronze
green glass at top, removable bobeche,
signed Tiffany Studios, New York, 6”w x
18”h 1250-1750
500.
Good Tiffany Studios candlestick, bronze
green glass at top, signed Tiffany Studios,
New York, #2186, 6”w x 15”h 1500-2500
503.
Tiffany Studios candlestick, bronze
signed Tiffany Studios, New York, #1213,
6”w x 17”h 1250-1750
Tiffany Studios letter rack, bronze in the Zodiac
pattern, original gold doré patina, signed Tiffany
Studios, New York, #1030, 12”w x 8”h 200-300
502.
Fine Tiffany Studios candlestick, unusual
and interesting footed form, bronze with
an original patina, original blown-out
signed Tiffany Studios, New York, #1200,
5.5”w x 14.75”h 2500-3500
504.
75
505.
Amphora vase, designed by Eduard
Stellmacher, large form with a sculpted
pheasant and organic designs, covered
in a green and brown matte glaze,
marked, #4274, 10”w x 16”h 1000-1500
506.
Good Amphora vase, c. 1910-1911,
designed by Paul Dachsel, large tapering
form with a carved stylized pine tree
design, marked Terex, #2037, 8”w x
11.25”h 2500-3500
508.
Amphora vase, designed by Eduard
Stellmacher, large form with a pierced
trefoil design covered in a green matte
glaze with blue highlights, marked, #2019,
6.5”w x 8”h, very nice blue to green matte
glaze 500-700
509.
Amphora vase, cylindrical shape with
stylized organic designs covered with
a textured green and red matte glaze,
marked, #3737, 4”w x 7”h 400-600
507.
510.
Nice Amphora vase, designed by Paul
Dachsel, bulbous shape with stylized trees,
marked Terex, #2028, 5.5”w x 6”h 1000-1500
Amphora Gres Bijou Dornenkrone vase,
large tapered shape with raised stylized
floral designs covered in colorful glazes,
marked, #3256, 6”w x 14”h 800-1100
Exceptional Amphora vase, designed
by Paul Dachsel, large bulbous form with
stylized tree motif, marked, #113, 6.5”w x
13”h, great glaze 4000-6000
75
511.
514.
516.
76
Gallé vase, unusual shape with a carved
cameo floral design in orange, cameo
signature, 2.5”w x 6”h 500-700
512.
Large and nice Daum vase, footed shape
in mottled frosted, yellow and orange glass
with a detailed cameo landscape in purple,
cameo signature, 7”w x 9.5”h, extremely
unusual color combination, hammered
surface around top 3500-4500
Charder vase, large footed form in mottled
frosted and blue glass with a cameo cut
butterfly design in orange and blue, cameo
signature, 6.5”w x 12.5”h 800-1100
Good Daum vase, slender shape with a
wonderfully executed cameo landscape in
deep red on a mottled yellow-orange ground,
signed, 2.25”w x 9.25”h 1000-1500
517.
Monumental Daum vase, mottled frosted
and yellow glass, exceptional cameo
decoration of cock’s comb in deep shades
of red and orange, cameo signature, 6”w x
21.5”h 2500-3500
513.
Gallé vase, frosted ground with a delicate
cameo design of purple flowers, cameo
signature, 1.5”w x 4.25”h 250-350
515.
Charder vase, unusual double handled
shape with cameo cut butterflies/moths in
red and blue against a mottled yellow and
green ground, cameo signature, “candy
cane” mark on foot, 5.5”w x 11”h 800-1100
518.
Nice Gallé vase, classic shape with
a nicely detailed cameo landscape in
multiple shades of green and brown
against a mauve to frosted background,
signed, 3.5”w x 11.75”h 1000-1500
519.
77
Beautiful Thomas Webb & Sons vase, rich
amber-colored glass with a finely detailed white
cameo scene revealing a woman holding a
basket, marked, signed by George Woodall,
4”w x 8.5”h, exquisite artwork 25,000-35,000
520.
Fine Gallé vase, swollen shape with cameo
carved yellow flowers with green leaves,
against a yellow background, cameo
signature, 4.5”w x 9.5”h 2000-3000
521.
Early Gallé vase, unusual leaf shape in
amber glass, signed Cristalleríe Emile
Gallé Nancy, 6.5”w x 8.5”h 700-900
77
522.
Tiffany Studios frame, bronze in the
grapevine pattern with a beaded edge,
over green and white glass, signed Tiffany
Studios, New York, #947, original patina,
8”w x 9.5”h 1500-2000
525.
Tiffany Studios frame, bronze with pine
needle pattern over caramel glass, original
gold doré patina, signed Tiffany Studios,
New York, #941, 6”w x 4”h 500-700
524.
Tiffany Studios frame, bronze, in the pine
needle pattern over green glass, original
patina, signed Tiffany Studios, New York,
#948, 6”w x 7.25”h 1200-1700
Good Tiffany Studios candlestick, bronze base with a Queen Anne's Lace
design, original patina, unusual fluted shade with a pulled yellow feather design,
shade numbered o3684, base marked 5, S1453, 8”w x 19”h 3250-4250
526.
78
523.
Fine L.C. Tiffany vase, floriform with a ruffled rim and a pulled green
feather design, signed L.C.T., #5055B, 4.5”w x 12”h 4500-5500
527.
529.
Gallé vase, bulbous shape, cameo
landscape in green and brown on a pink
and frosted background, cameo signature,
4”w x 5”h 800-1100
Good Zsolnay vase, design attributed to Lajos Mack, c. 1900, large form with foaming wave designs,
covered in a yellow eosin glaze with multicolored highlights, marked, #6760, 7.5”w x 18.5”h 4000-6000
530.
79
528.
Gallé vase, unusual shape with
cameo cut red bleeding hearts,
on a yellow and frosted ground,
cameo oriental signature, 4.5”w x
8”h 1200-1700
Exceptional Zsolnay vase, large bulbous form with six
twisted organic handles, covered in a red and green
eosin glaze, marked, #6204, 7”w x 9”h 8000-11,000
79
531.
Fine Quezal vase, nice flaring shape in iridescent glass, applied
silver overlay with a nicely detailed iris decoration, marked, #3, 3”w x
5”h, a beautifully decorated example 1000-1500
533.
Unusually nice Steuben vase, jack in the pulpit shape in gold aurene
glass, colorful iridescence, signed by Carder, marked, #130, 4.5”w x
9.5”h, exceptional 1500-2500
American stained glass window, a leaded, stained and painted glass interior window, having a central flowered
urn, flanked by two birds, possibly by Tiffany Studios, glass: 26"h x 23.5"w, overall: 30.5"h x 27"w 2500-4000
534.
80
532.
Fine Steuben vase, bulbous bottom teardrop shape in gold aurene glass, pulled and millefiori designs
in white and green, marked, #574 1/2, 3”w x 6”h, exquisite vase with an unusual decoration 2000-3000
535.
536.
81
Good Tiffany Studios lamp, unusual bronze base with three arms holding
favrile glass tulip shaped shades, base signed Tiffany Studios, New York,
#309, shades signed L.C.T., good original patina, overall: 10”w x 17”h,
shades are nicely matched, base with an excellent patina 8000-11,000
Fine Tiffany Studios lamp, bronze base supporting a leaded turtle-back shade,
base signed Tiffany Studios, New York, #533, shade signed Tiffany Studios,
New York, #1434, original patina, overall: 16”w x 22.5”h 15,000-20,000
81
82 82
537.
Frederic Danton vase, unusual shape
covered in an iridescent metallic glaze,
with insect and leaf designs, marked,
5.5”w x 9.5”h 500-700
538.
539.
540.
Clement Massier vase, bulbous shape
with stylized floral designs, covered in a
colorful metallic glaze, overall iridescence,
signed, marked, 3.5”w x 3.5”h 300-500
542.
Clement Massier vase, ribbed shape
543.
with a flaring base, stylized corn designs,
covered in a colorful metallic glaze, overall
iridescence, signed, marked, 4.75”w x
7.75”h, chips to rim 300-400
Clement Massier vase, three-handled
shape in a colorful metallic glaze with
impressed leaves, signed, marked, 5"w x
10"h, restoration 500-700
Clement Massier vase, bulbous shouldered 541.
shape, organic designs, covered in a colorful
metallic glaze, overall iridescence, signed,
marked, 6”w x 6”h 1000-1500
Amphora vase, female portrait with poppy
design, signed, 5.5"h x 5.5"w 400-600
544.
Clement Massier vase, double gourd
shape with indentations, interlocking
circle designs, covered in a colorful
metallic glaze, overall iridescence, signed,
marked, 3.5”w x 3.5”h 300-500
Clement Massier vase, large double
gourd shape, intricate floral designs,
covered in a colorful metallic glaze, overall
iridescence, signed, marked, 5”w x 9”h,
restored chip to rim 600-800
w w ww. tr
w ewad
. trweay
adgwaal y
l ery
ga l.c
l ery
om.c om
545.
547.
83
Fine Gallé vase, large pillow shape with a beautiful cameo
design of light blue fuchsia and green leaves on a frosted and
yellow ground, cameo signature, 8”w x 8”h, nice combination
of colors on an unusual shape, nicely detailed 3000-4000
Fine Gallé vase, large bulbous shape in frosted and yellow glass,
nicely detailed cameo design of cascading leaves and buds in
multiple shades of red, cameo signature, 5.5”w x 8”h 2500-3500
546.
548.
Fine Gallé vase, round shape in frosted and yellow glass with a
cameo design of fuchsia in multiple bold shades of red, cameo
signature, 5”w x 4.5”h, wonderful color combination 1500-2000
Good Gallé vase, soufflé shape featuring a finely executed
cameo design of red roses on a yellow and frosted ground,
cameo signature, 7.5”w x 8.5”h 3000-4000
549.
550.
551.
84
L.C. Tiffany bowl, flaring ribbed form in blue
favrile glass, signed L.C.T. Favrile, 7"w 600-800
Good Tiffany Studios table lamp, bronze canister base with four legs, holding
a leaded glass shade in a apple blossom pattern, shade signed Tiffany Studios,
New York, good original patina to bronze, overall: 16”w x 23”h 25,000-35,000
Unusually nice L.C. Tiffany glasses, set of 10, gold favrile glass with pulled design and
faceted stem, overall iridescence, all signed L.C.T., #615, each: 2.5”w x 4.5”h 1500-2500
552.
553.
85
Large and impressive Tiffany Studios table lamp, footed bronze base with an
exceptional original patina, supporting a leaded mottled green glass shade in
the leaf and vine pattern, base signed Tiffany Studios, New York, #531, shade
signed Tiffany Studios, New York, #498, overall: 20.5”w x 28”h 15,000-20,000
Fine Tiffany Studios grape trellis ornamental windows, pair, c. 1905, rendered in lead and copper
foil techniques, the grape clusters plated to enhance depth of color, overall: 24”h x 36”w, glass: 19”h
x 32”w. Originally installed in a private residence in Flushing, Queens, New York. 30,000-40,000
86
Fine American and
European Paintings,
Prints and Works
on Paper
Session Three
immediately following
Session Two
554.
555.
87
After Lord Frederic Leighton (British, 1830-1896) “Wedded,”
c. 1900, oil on panel, 22.25” x 11.75”, unsigned, framed 1000-2000
Everett Clark Bray (American, 20th century) “23rd Psalm,” c. 1930, oils on board,
set of six panels, each: 32.5” x 18.5”, signed lower right, framed 2000-4000
556.
559.
88
557.
Charles S. Graham (American, 1852-1911) “Ships,” c. 1900,
watercolor, 9” x 12”, signed lower left, framed 600-800
558.
Gabor Jaszay (Hungarian, 19th century) “The Enchanter,” c. 1900,
oil on canvas, 23” x 31”, signed lower right, framed 700-900
560.
Adam Emory Albright (American, 1862-1957) “Lady in Garden,”
1898, ink on paper, 13.5” x 20.25”, signed and dated lower left,
framed 700-900
Edith Field (American, 20th century) “Boy with Horn,” c. 1900, bronze
sculpture, good original patina, 12”h, signed, produced by Roman
Bronze Works, New York 800-1200
José Juliana Albert (Spanish, 1844-1890) “Old Peasant Woman,”
c. 1890, watercolor, 16” x 12”, signed lower right, Alexander Gallery
(New York, New York) label on verso, framed 800-1200
561.
562.
Enrique Serra y Auque (Spanish, 18591918) “Seated Woman,” 1895, mixed
media, 4” x 2.25”, signed and dated upper
right, framed 800-1200
565.
89
Granville Perkins (American, 1830-1895) “Fishermen and Lighthouse,” 1890, oil
on canvas board, 27.5” x 47.5”, signed and dated lower right, framed 3000-5000
563.
Artist Unknown (European, 19th century)
“Portrait of a Man,” c. 1850, oil on canvas,
4.5”diameter, signed indistinctly on verso,
framed 800-1200
564.
Frank Duveneck (American, 1848-1919)
“Model Seated with Cloaked Legs,” c.
1900, pencil drawing, 9” x 5.75”, unsigned,
Spanierman Gallery (New York, New York)
label on verso, framed 1000-2000
Oliver Dennett Grover (American, 1861-1927) “Rialto Bridge,” c. 1902, oil on
canvas, 34.5” x 45”, signed and dated indistinctly lower right, framed 3000-5000
566.
Jean Carries (French, 1855-1894) “Death Mask,” c. 1880,
stoneware sculpture, 9.5”h, unsigned 4000-6000
568.
569.
90
567.
Jean Carries, (French, 1855-1894) “Bébé,” c. 1880, terra cotta
sculpture, 6.5”h, unsigned 1000-1500
William Trost Richards (American, 1833-1905) “The Bell Bouy,” 1888,
watercolor, 11.25” x 20.5”, signed and dated lower left, framed 3000-5000
Joseph von Krahl (German, 19th century) “Old Man Singing,” c. 1900,
oil on canvas, 10.25” x 4.5”, signed lower right, framed 2000-3000
570.
Stanhope Forbes (British, 1857-1947) “Portrait,” 1881, oil on canvas,
43.5” x 31.5”, signed and dated lower left, framed 2000-4000
571.
Honoré Daumier (French, 1808-1879) “Bust,” c. 1950, bronze
sculpture, good original patina, 5”h, signed 2000-3000
573.
91
572.
Honoré Daumier (French, 1808-1879) “Jean-Auguste Chevandier
de Valdrome,” c. 1850, plaster sculpture, 8.5”h, signed 2000-4000
Charles Malfroy (French, 1862-1951) “Seascape,” 1900, oil on canvas,
28.75” x 45.5”, signed and dated lower right, framed 6000-8000
574.
575.
Francis William van Vreeland
(American, 1879-1954) “Interior Scene,”
c. 1920, watercolor, 23” x 19”, signed
lower left, framed 400-600
578.
92
John Califano (Italian, 1875-1930) “Street Scene,” c. 1900, oil
on canvas, 18.25” x 23”, signed lower right, framed 1000-2000
576.
Károly Ferenczy (Hungarian, 18621917) “Woman at Desk,” c. 1915, oil on
canvas, 18.25” x 22.5”, signed lower
577.
James Henry Moser (American, 18541913) “Samuel Washington,” 1885, graphite
drawing, 4.25” x 3.25”, signed with monogram,
titled and dated, framed 300-500
Thomas Creswick (British, 1811-1869) “Landscape,” c. 1867, oil on canvas,
20” x 26”, signed lower left and dated indistinctly, framed 2000-4000
579.
580.
Artist Unknown (20th century) “Fjord Scene,” c. 1930, oil on canvas,
30” x 40”, signed indistinctly lower left, unframed 700-900
582.
93
Charles P. Appel (American, 1857-1928) “Landscape,” 1926, oil on
canvas, 17.5” x 39.5”, signed and dated lower left, framed 4000-6000
581.
Lester Joseph Chaney (American, b. 1907) “Pounding Surf and
Rocks,” c. 1960, oil on canvas, 24” x 32”, signed lower right, titled on
stretcher, framed 800-1200
Reuven Rubin (Israeli, 1893-1974) “Arab Threshing Wheat,” 1937, ink on paper, 16.25”
x 19.5”, signed and dated lower right with annotation “Rubin 1937 Nazareth,” titled on
Dalzell Hatfield Galleries (New York, New York) label on verso, framed 3000-5000
583.
Marie Elsa Blanke (American, 18791961) “Au Sable River,” c. 1950,
watercolor, 14” x 10.5”, signed lower right,
framed 400-600
586.
587.
94
584.
Marie Elsa Blanke (American, 18791961) “Landscape with Houses,” c. 1950,
oil on canvas, 18” x 21.75”, signed lower
585.
Arrah Lee Gaul (American, 1883-1980)
"Landscape," c. 1930, oil on canvas
board, 20" x 16", signed lower right,
framed 1000-2000
Percy Gray (American, 1869 - 1952) “Sea and Rocks,” c. 1930,
watercolor, 6.75” x 9”, signed lower left, framed 5000-7000
Arthur Wesley Dow (American, 1857-1922) “Flower Market,” 1917,
watercolor, 6.25” x 7.25”, signed and dated lower left, framed 2000-4000
588.
Ada Walter Shulz (American, 1870-1928) "Summer Home," c. 1920, oil on board,
21.5" x 25.5", unsigned, with accompanying letter of authentication, framed 6000-8000
589.
95
Cullen Yates (American, 1866-1945) “Landscape,” c. 1930, oil on
canvas, 30” x 39.5”, signed lower right, framed 8000-10,000
96
590.
Rupert Scott Lovejoy (American, 1885-1975) “Landscape,” c. 1960,
oil on board, 9.75” x 13”, signed lower right, framed 600-800
592.
Edward R. Sitzman (American, 1874-1949)
“Camp Fire,” c. 1930, watercolor, 13.5” x
19.25”, signed lower right, framed 300-500
595.
Daniel Kotz (American, 1848-1933) “Landscape,” c. 1900, pastel,
12” x 15.5”, unsigned, framed 400-600
593.
591.
Gianni Cilfone (American, 1908-1990) “Gloucester,” c. 1975, oil on
canvas board, 15.75” x 19.5”, signed lower left, framed 600-800
Henry Leon Roecker (American, 18651941) “Landscape,” c. 1930, pastel, 16.25” x
596.
594.
Robert Fletcher Gilder (American, 18561940) “Landscape,” 1912, oil on canvas
board, 11.5” x 15.5”, signed and dated
Dorothy Visju Anderson (American, 1874-1960) “Landscape,”
c. 1930, oil on board, 21” x 29”, signed lower right, framed 400-600
97
597.
Marvin Cone (American, 1891-1964) “Poplars,” c. 1940, oil on
board, 12.75” x 14.25”, signed lower right, framed 15,000-20,000
Literature: This painting will be included as no. 1920.046 in the
forthcoming catalogue raisonné of the artist's work being compiled
by Joseph Czestochowski and published by International Arts.
598.
After Frederick William MacMonnies (American, 1863-1937) “Bacchante,”
c. 1940, composite sculpture, good original patina, 20”h, unsigned 2000-4000
600.
599.
Artist Unknown (American, 20th century)
“Portrait of Abe Shank,” c. 1930, oil on
canvas, 23” x 19.5”, signed lower left,
framed 2000-3000
602.
98
Willem van den Berg (Dutch, 1886-1970)
“The Potato Diggers,” c. 1940, oil on
board, 11.5” x 11.5”, signed lower right,
framed 1000-2000
601.
Emil James Bisttram (American, 18951976) “Nude,” c. 1930, graphite on paper,
17” x 12”, unsigned, unframed 800-1200
E. Piron (French, 20th century) “Pan,” c. 1930, bronze sculpture, minor
wear to original patina, 10.5”h, signed, held on a marble base 2000-3000
603.
604.
Jens Jakob Bregno (Danish, 1877-1946)
“Nude,” c. 1940, bronze sculpture, good
original patina, 10”h, signed 1500-2500
607.
99
Joseph Stella (American, 1877-1946) “Studies,” c. 1920, two pencil drawings,
largest: 6.75” x 4.5”, each signed lower right, Rabin-Krueger Gallery (Newark,
New Jersey) estate stamp on verso of one, framed 2000-3000
605.
Joseph Christian Leyendecker
(American, 1874-1951) “Seated Man,”
c. 1930, watercolor, 17.5” x 13.25”, signed
606.
Carl Gruppe (American, 20th century)
“Nude,” c. 1930, bronze sculpture, good
original patina, 10”h, signed, produced by
Roman Bronze Works 800-1200
Hans Weber Fürer (Austrian, 1882-1941) “Figure Studies,” c. 1923, pair of
mixed media drawings, 8.5” x 6.5”, both signed, one dated, framed 1500-2500
100
608.
F. Joseph Drouot (French, 20th century)
“Figure,” c. 1930, bronze sculpture, good
original patina, 11”h, signed, held on a
wood base 800-1200
609.
Otto Eugene Hake (American, 18761960) “Portrait of a Woman,” c. 1950, oil
on canvas, 20” x 16”, signed lower left,
framed 600-800
610.
After Elie Nadelman (American, 18851946) “Head,” c. 1920, bronze sculpture,
good original patina, 7”h, held on a marble
base 3000-5000
611.
William Dodge Stevens (American,
b. 1870) “Show Girl,” c. 1925, oil on
canvas, 24” x 19”, signed lower right,
framed 500-700
612.
Abraham Walkowitz (American,
1878-1965) “Isadora Duncan,” c. 1915,
watercolor, 11.5” x 7.5”, pencil signed
613.
Artist Unknown (French, 20th century)
“Lady with Umbrella,” c. 1940, oil on canvas,
24” x 18”, unsigned, framed 400-600
614.
Terence Romaine von Duren (American, 1907-1968) “Untitled,” 1934,
watercolor, 14.5” x 19.5”, signed and dated lower right, framed 500-700
615.
Marc Sterling (Russian, 1898-1976) “Reclining Nude,” c. 1930, ink
wash, 9.5” x 12.25”, signed lower left, unframed 800-1200
616.
618.
101
Joseph Raphael (American, 1869-1950) “Johanna (Portrait of the Artist’s Wife),”
c. 1920, oil on canvas, 16.5” x 14.5”, signed lower left, framed 7000-9000
“Portrait of a Girl,” 1936, oil on board, 17”
x 10.75”, signed and dated lower right,
framed 800-1200
617.
Artist Unknown (American, 20th
century) "Seated Nude," c. 1960, terra
cotta sculpture, 18”w x 15.5"h, signed
indistinctly 500-700
619.
Michel Adlen (Ukrainian, 1898-1980)
“Une Fereme en Ile-de France,” c. 1950,
oil on canvas, 13.5” x 18”, signed lower
right, titled on verso, unframed 500-700
620.
Rolland Harve Golden (American,
b. 1931) “Bass Player,” 1965, watercolor,
25.25” x 19.5”, signed and dated lower
right, Vincent Price Collection label on
verso, framed 700-900
621.
624.
102
622.
Leon Louie Dolice (German/American, 1892-1960), "New York
Harbor Scene," pastel on paper, 17.5" x 19", overall 18.5" x 25.5"
signed, framed 500-700
623.
Scene," pastel on paper, 18.75" x 11.75", overall 25.5" x 18.75"
625.
Harbor Scene," pastel on paper, 11.75" x 18.75", overall 18.5" x 25.5"
Hughie Lee-Smith (American, 1915-1999) “Untitled,” 1945, ink
drawing, 8” x 10.5”, signed and dated lower right, unframed 500-700
André Couchet (French, 20th century) “Cottage,” c. 1960, oil on
canvas, 8.75” x 10.5”, signed lower left, framed 300-500
626.
Jane Peterson (American, 1876-1955) “An Old Court Yard, Rothenburg,” c. 1930, mixed
media on paper, 17” x 11.25”, signed lower left, inscribed on verso, framed 3000-5000
627.
103
Pauline Palmer (American, 1867-1938) “Italian City Scene,” c. 1930,
oil on canvas, 24” x 36”, signed lower left, unframed 3000-5000
628.
Norman Henry Yeckley (American, 1914-1994) “Southwest Landscapes,”
c. 1970, pair of oils on canvas board, 7.75” x 9.5”, both signed, framed 500-700
630.
Seweryn Szrejer (Polish, 1899-1947) “Still Life,” 1938, oil on canvas,
28” x 35.5”, signed and dated lower right, framed 1000-2000
Provenance: Collection of Uri and Rami Nehostan, the Art Museum in Ashdot Yaacov
632.
104
631.
629.
Carlo Wostry (Italian/American, 18651943) “Chief,” c. 1925, pastel, 18.75” x
17.5”, signed lower left, framed 700-900
Dolly Hellweg (American, 20th century) “Tiffany Bowl,” c. 1940, oil
on canvas, 28” x 30.25”, signed lower right, titled on The All-Illinois
Society of the Fine Arts Incorporated label on verso, framed 500-700
Richard Hayley Lever (American, 1876-1958) “Still Life,” c. 1940,
oil on canvas, 17.5” x 23”, signed lower right, framed 2500-3500
633.
634.
Henri Farré (American, 1871-1934) “Still Life,” 1923, oil on canvas,
Henk Bos (Dutch, 1901-1979) “Still Life,”
c. 1960, oil on canvas, 17.75” x 19.75”,
signed lower right, framed 800-1200
635.
Stera Barchan (20th century) “Still Life,”
c. 1940, oil on canvas, 36” x 28.5”, signed
lower right, unframed 800-1200
Provenance: Collection of Uri and Rami
Nehostan, the Art Museum in Ashdot
Yaacov
637.
105
636.
“Still Life,” c. 1930, oil on canvas, 15.5” x
23”, unsigned, framed 300-500
Literature: "Mane-Katz," by Noa Tarshish
Enrique Monis Mora (Spanish, 1914-1984) “Floral Still Life,” c. 1960,
oil on canvas, 14” x 10.5”, signed lower right, framed 800-1200
638.
David Murginski (Israeli, 20th century) “Still Life,” c. 1960, oil on
masonite, 32.5” x 23.5”, signed lower right, framed 800-1200
w wRami
. tr e ad
w ay g athe
l l ery
om
Provenance: Collection of Uriwand
Nehostan,
Art.cMuseum
in Ashdot Yaacov
639.
642.
644.
106
640.
Auguste Rodin (French, 1840-1917) “La Ronde,” 1883-1884,
etching, 5.5” x 6.5”, unsigned, unframed 300-500
641.
William Samuel Schwartz (American/Russian, 1896–1977) “Lithograph
#26,” 1929, lithograph, 7” x 11.5”, unsigned, framed 200-400
643.
Reginald Marsh (American, 1898-1954) “Café du Dome,” 1928,
lithograph, 8.5” x 12”, pencil signed lower right, inscribed “To Adolph
Dehn, From R.M.,” edition of 30, Arnold Klein Gallery (Royal Oak,
Michigan) label on verso, framed 700-900
645.
George Elbert Burr (American, 1859-1939) “The Land of Mystery –
The Desert,” c. 1930, etching, 6.75” x 9.5”, pencil signed lower left, R.S.
Johnson Fine Art (Chicago, Illinois) label on verso, framed 400-600
Aubrey Vincent Beardsley (British, 1872-1898) “The Yellow Book,”
c. 1890, color lithograph, 25.5” x 10.25”, unsigned, Phyllis Lucas
Gallery (New York, New York) label on verso, framed 1000-2000
Pierre-Auguste Renoir (French, 1841-1919) “Louis Valtat,”
c. 1904, lithograph, 11.75” x 9.5”, unsigned, framed 1000-2000
Henri de Toulouse-Lautrec (French, 1864-1901) “Acrobat on
Stage,” c. 1890, color lithograph, 13.75” x 9.5”, unsigned, numbered
in pencil lower left, edition of 200, framed 600-800
646.
647.
107
After Auguste Rodin (French, 1840-1917) “Le Reveil de Adonis (L'ombre) La Resurrection,” c. 1950, bronze sculpture, good original patina, 33”w x 18”h,
signed and numbered, edition of 9, Pietrasanta foundry mark 9000-11,000
Edouard Manet (French, 1832-1883)
“Olympia,” c. 1867, woodcut, 5.25” x
7.25”, unsigned, unframed 300-500
648.
Edouard Manet (French, 1832-1883) “La
Convalescente,” 1876-1880, etching, 5” x
4”, unsigned, unframed 500-700
649.
Edouard Manet (French, 1832-1883)
“Olympia,” 1867, etching, 3.5” x 7”,
unsigned, unframed 800-1000
650.
Käthe Kollwitz (German, 1867-1945) “Mutterglück (Eltern mit Kind),”
1931, lithograph, 8.5” x 12”, signed in plate, framed 1000-2000
652.
654.
108
Edgar Degas (French, 1834-1917) “Danse,”
1936, etching, 10.25” x 7.5”, unsigned, pencil
numbered, edition of 305, framed 800-1200
653.
Thomas Hart Benton (American, 1889-1975) “White Calf,” 1945,
lithograph, 9.75” x 12.5”, pencil signed lower right, framed 1000-2000
651.
Käthe Kollwitz (German, 1867-1945) “Selbstbildnis,” 1934,
lithograph, 8” x 7.25”, unsigned, unframed 400-600
Thomas Moran (American, 1837-1926) “The Half Dome, View
from Half Point” and “Interior of a California Forest,” 1887-1888,
pair of etchings, 11.75” x 8”, unsigned, unframed 700-900
655.
Ralph M. Pearson (American, 1883-1958) “Cypress Grove Monterey,” 1922, etching, 5.5” x 9.75”, pencil signed lower right, titled
656.
109
The Collector’s Guild Limited, group of six prints, including works by Alberto Giacometti, Pablo Picasso
(two works), Georges Braque, Salvador Dali and Joan Miró, largest: 14” x 20”, framed 800-1200
657.
Hiroshi Yoshida (Japanese, 1876-1950) "Suzukawa," 1935, color
woodblock, 11" x 15.75", signed and titled in pencil, framed 400-600
659.
Adriaan Lubbers (Dutch, 1892-1954)
“Untitled,” 1952, etching, 15.5” x 11.75”,
pencil signed and dated lower right,
unframed 800-1200
660.
658.
William Henry Clapp (American, 1879-1954) “My Studio,” 1918,
color lithograph, 8” x 9.75”, pencil signed and dated lower right,
framed 2000-4000
Mariana Yampolsky (American, 19252002) “Nuclear Explosion,” c. 1960,
lithograph, 9” x 9”, pencil signed lower
661.
Adriaan Lubbers (Dutch, 1892-1954)
“Central Park,” 1930, lithograph, 10.25”
x 12”, pencil signed, titled and dated in
margin, edition of 50, unframed 800-1200
662.
663.
110
Tamara de Lempicka (Polish, 1898-1980) “Adam and Eve,” c. 1990, serigraph, 45”
x 28.5”, stamped lower right, numbered lower left, edition of 25, framed 2000-3000
After John James Audubon (American, 1785-1851) “Herring Gull, Plate
CCXCI” c. 1836, engraving with etching, aquatint and hand-coloring, 34.5”
x 23.5”, unsigned, printed by Robert Havell, framed 3000-5000
664.
After John James Audubon (American, 1785-1851) “Great
American Cock Male (Wild Turkey),” c. 1900, lithograph, 17” x 11.5”,
framed 800-1200
665.
667.
Kiyoshi Saito (Japanese, 1907-1997) “Buddha
Asyura Nara,” 1959, color woodcut, 17.25” x
23.5”, titled, dated and numbered in margin,
signed in plate, edition of 100, framed 400-600
Louis Icart (French, 1888-1950) “Musetta,”
1927, etching with drypoint, 20” x 13.25”,
pencil signed lower right, framed 1000-1500
670.
111
668.
666.
Fernand Léger (French, 1881-1955) “Untitled”
c. 1940, color lithograph, 16.75” x 12.25”,
stamped lower right, numbered lower left,
edition of 180, International Galleries (Chicago,
Illinois) label on verso, framed 600-800
Louis Icart (French, 1888-1950) “Spanish
Dancer,” 1929, drypoint, 20.75” x 13.25”,
pencil signed lower right, edition of 500,
framed 1000-1500
669.
Louis Icart (French, 1888-1950) “Rogers
and Gallet,” c. 1930, vintage poster, 13” x
9”, signed in plate, framed 800-1200
Louis Icart (French, 1888-1950) “Desdin de Femme,” “Footsie” and “Orgy,” 1945-1947, group
of three etchings, largest: 10” x 6.5”, each pencil signed lower right, framed 1000-2000
671.
672.
Juan Luis Lopez (20th century) “Untitled,”
c. 1960, oil on masonite, 11.25” x 23”,
signed upper right, framed 500-700
675.
112
Francisco Zuniga (Mexican, 1912-1998) “Nudes,” 1968, conte
crayon, 25” x 18.75”, signed and dated lower left, framed 3000-5000
673.
Raul Milian (Cuban, 1914-1986) “Untitled,”
1956, mixed media, 14” x 9.25”, signed
and dated lower right, framed 800-1200
674.
Aurelio Pescina (Mexican, 1938-1990)
“Landscape,” c. 1970, oil on canvas, 19” x
23”, signed lower right, framed 600-800
Jorge Luis Cuevas (Mexican, 20th century) “Seated Woman,” 1983, bronze sculpture,
good original patina, 5.25”h, signed and dated, held on a marble base 1500-2500
676.
Alfredo Ramos Martínez (Mexican, 1871-1946) “Untitled (Basket Vendor),” c. 1938 conte
crayon and tempera on newsprint, 20.25” x 16”, signed lower left, framed 10,000-15,000
We are grateful to María Ramos Martínez Bolster, Margarita Nieto and Louis Stern for their
assistance in confirming the authenticity of this work.
113
677.
Molli Chwat (Polish, 1888-1979) “The Village,” c. 1960, oil on
canvas, 14.75” x 23.5”, signed lower right, framed 800-1200
Provenance: Collection of Uri and Rami Nehostan, the Art Museum in Ashdot Yaacov
679.
680.
114
678.
Morris Davidson (American, 1898-1979) “Interior with Skylight,”
c. 1940, oil on board, 16.5” x 25.5”,unsigned, framed 800-1200
William Meyerowitz (American, 1887-1981) “Figures in Landscape,”
c. 1950, oil on canvas, 19” x 32.5”, signed lower right, framed 3000-5000
Ralph M. Rosenborg (American, 1913-1992)
“Glow of Night: An American Landscape,”
1964, oil on canvas, 24” x 36”, signed and
dated lower left, titled on period label on verso,
Property of New School University label on
681.
Ralph M. Rosenborg (American, 19131992) “Study for Growing Forms,” 1959,
watercolor, 6.5” x 10.75”, signed and
dated lower left, titled on Raydon Gallery
(New York, New York) label on verso,
framed 500-700
682.
John Ferren (American, 1905-1970)
“Untitled,” 1933, mixed media, 7” x 9”,
signed and dated lower right, signed and
dated on verso, framed 800-1200
683.
Robert Kipniss (American, b. 1931) “Secluded Shed,” c. 1970,
oil on canvas, 24” x 18”, signed lower right, titled on Merrill Chase
(Chicago, Illinois) label on verso, framed 1500-2500
685.
115
684.
Robert Kipniss (American, b. 1931) “Afternoon Shadows,” c. 1970,
oil on canvas, 36” x 34”, signed lower right, titled on Merrill Chase
(Chicago, Illinois) label on verso, framed 3000-5000
Mordechai Levanon (Israeli, 1901-1968) “Landscape,” c. 1940, oil on
paper on canvas, 27.25” x 19”, signed lower left, framed 4000-6000
686.
689.
116
687.
Jimmy Ernst (American/German, 1920-1984) “Untitled,” c. 1960,
gouache, 4” x 9”, signed lower right, framed 2000-3000
688.
Maurice Freedman (American, 1904-1984) “Hunter in Snow,” c. 1950,
oil on canvas, 18.5” x 31”, signed lower left, framed 1000-2000
690.
Irma Rene Koen (American, 1893-1974) "Harbor Scene," c. 1950, oil
on canvas, 16.25" x 20.25", signed lower right, framed 1500-2500
Richard Mayhew (American, b. 1924) “Study of a Tree, #73,”
1962, ink on paper, 12.5” x 9.5”, signed lower right, labels on verso
from Dayton’s Gallery 12 (Minneapolis, Minnesota), Lyman Allyn
Museum, Portland Art Museum, Paul Magriel Collection, Phoenix
Art Museum, University of Texas Art Museum, and Denenberg
Fine Arts (San Francisco, California), framed 1500-2500
Eduard Buk Ulreich (American, 1889-1962) “Untitled,” c. 1950,
watercolor, 9” x 6.75”, unsigned, framed 700-900
691.
Ernest Fiene (American, 1894-1965) “Mural Study,” 1958, oil on board, 8.5” x 31”, signed and
dated lower left, Midtown Galleries (New York, New York) label on verso, framed 1500-2500
692.
693.
117
In the style of Thomas Hart Benton (American, 1889-1975) “Fishermen,”
c. 1950, oil on canvas, 17.5” x 23.5”, unsigned, framed 2000-4000
Ralph Rapien (American, 20th century) “Barn and Silo in Naperville"
and "Winter Landscape,” c. 1975, group of two watercolors, largest:
14.5” x 19”, signed lower right, one dated, framed 400-600
694.
Yitzhak Frenkel-Frenel (Ukrainian,
1899-1981) “Vibrant Pastoral,” c. 1970,
watercolor, 19.5” x 25.25”, signed
lower right, framed 200-400
695.
696.
Leonard Nelson (American, 1912-1993) “Untitled (Musicians),” 1942, oil
on canvas, 12” x 16”, signed and dated lower right, framed 2500-3500
698.
118
William Zorach (American, 1887-1966) “Untitled (Female Figure),”
c. 1950, stone sculpture, 11.5”h, signed, held on a wood base 5000-7000
697.
Henry Varnum Poor (American, 1888-1970)) “Seated Man,” c. 1960,
oil on canvas, 24” x 26.5”, signed on stretcher, framed 2000-3000
George Segal (American, 1924-2000) “Sleeping Woman,” 1970, plaster, 16”w
x 6.5”h, signed, titled and numbered on label, edition of 125 2000-4000
699.
700.
119
Gertrude Abercrombie (American, 1909 - 1977) “Sunset,” 1954, oil on
board, 7.75” x 9.25, signed and dated lower right, framed 5000-7000
Gertrude Abercrombie (American, 1909 - 1977) “Title Unknown,” 1950, oil
on board, 7.75” x 9.25, signed and dated lower left, framed 8000-10,000
701.
703.
120
Adolf Arthur Dehn (American, 18951968) “Women with Birds,” 1953, oil
on board, 15.5” x 11.5”, signed and
dated lower right, framed 800-1200
Karl Priebe, (American, 1914-1976) “The
Lady,” 1944, gouache, 15.5” x 11.5”, signed
and dated lower left, titled on verso, Perls
Galleries Incorporated (New York, New
York) label on verso, framed 1000-2000
706.
704.
702.
Adolf Arthur Dehn (American, 18951968) “Up in the Sky,” 1951, oil on board,
left, titled on verso, framed 1000-2000
Margaret Keane (American, b. 1927) “Girl
with Cat,” c. 1970, oil on canvas, 27.75” x
705.
Oliffe Richmond (Australian, 1919-1977) “Striding Man I,”
1962, bronze sculpture, good original patina, 19”h 4000-6000
Muraina Oyelami (Nigerian, b. 1940)
“Virgin,” 1970, acrylic on artist board,
right, titled lower left, framed 2000-4000
707.
709.
710.
121
Joseph Casalane (American, 20th century) “Street Cleaners,” c. 1940,
oil on canvas, 20” x 24”, signed lower right, framed 800-1200
708.
Janoska (Hungarian, 20th century) “Madonna,” c. 1950, oil on
canvas, 33.5” x 27.5”, signed lower right, framed 800-1200
711.
Gregorio Prestopino (American, 1907-1984) “Standing Woman,”
c. 1960, oil on canvas, 18” x 22”, signed lower left, framed 1000-2000
Richard Anuszkiewicz (American, 1930) “Old Door,” 1953, watercolor,
20” x 14”, signed and dated lower right, unframed 1000-2000
Artist Unknown (American, 20th century) “City Skyline,” c. 1970, oil on
board, 19.25” x 23.25”, signed W. O’Farrell lower right, framed 1000-2000
712.
715.
Vivian Wall (American, 20th century)
“Bust,” c. 1970, terra cotta sculpture, 7”h,
signed 600-800
Artist Unknown (20th century) “Fish,” c.
1950, oil on canvas, 31” x 23”, unsigned,
framed 300-500
718.
122
713.
Edgar Stoëbel (French, 1909-2001)
“Motherhood,” c. 1960, oil on canvas, 36”
x 28”, signed lower left, framed 500-700
Nehostan, the Art Museum
in Ashdot Yaacov
716.
Emil Armin (American, 1883-1971)
“Mexican Gulf Bathing,” 1966, watercolor,
13.5” x 10.5”, signed, titled and dated
714.
Harold Persico Paris (American, 19251979) “Dying Prince,” 1954, bronze
sculpture, good original patina, 9”h,
signed, held on a wood base 400-600
717.
Graciela Rodo Boulanger (American, b.
1935) “Musicians,” c. 1980, oil on canvas,
10” x 8”, signed lower right, framed 500-700
Herb Kawainui Kane (American, b. 1928) “Ben Franklin,” 1968, oil on
canvas, 60” x 96”, signed and dated lower left, unframed 4000-6000
123
719.
Marc Chagall (French/Russian, 1887-1985) “Page from Donation
Marc et Valentina,” 1967, ink on paper, 12.25” x 9”, signed and dated
721.
“Industrial Scene,” c. 1960, oil on board,
23.5” x 35.25”, signed indistinctly lower
720.
Rudolph Weisenborn (American, 1881-1974) “The Sculptor,” 1941,
oil on canvas, 38” x 26”, signed and dated lower left, titled on period
722.
Samuel Sinaï (French, b. 1915) “Corner
in Paris,” c. 1960, oil on canvas, 39” x 25”,
in Ashdot Yaacov
724.
Fred Stonehouse (American, b. 1960) “Untitled, (Small Snake),”
1992, oil on board, 3.75” x 10.75”, unsigned, framed 800-1200
Provenance: Carl Hammer Gallery, Chicago, Illinois
Private Collector
725.
723.
Lowell Ellsworth Smith (American,
1924-2008) “Street Scene,” 1953, oil on
canvas, 12” x 16”, signed and dated lower
John Evans (American, b. 1945) “Landscape,” 1980, oil on canvas,
23.5” x 29”, signed and dated lower right, framed 600-800
726.
Lucy Carter Eliot (American, 1913-2010) “Factory –
Conglomeration,” c. 1970, oil on canvas, 35” x 55”, signed lower left,
titled on period label on verso, framed 700-900
728.
729.
124
727.
Lucy Carter Eliot (American, 1913-2010) “The Friendly Store,”
c. 1980, oil on canvas, 27” x 49”, signed lower edge, titled on period
Krishna Reddy (American, b. 1925) “Demonstrators,” c. 1960, color intaglio, 13.25”
x 17.25”, pencil signed, titled and numbered, edition of 10, framed 2000-3000
Regis de Bouvier de Cachard (French/
American, b. 1929) “City Scene,” 1962, oil
on canvas, 40” x 29.5”, signed and dated
upper right, International Galleries (Chicago,
Illinois) label on verso, framed 800-1200
730.
“Still Life with Yellow Teapot,” c. 1940,
oil on canvas, 16” x 20”, signed Dietz on
731.
Alexandre Berlant (20th century) “Still Life
with Oranges,” c. 1960, oil on canvas, 24” x
19.75”, signed lower right, unframed 200-400
in Ashdot Yaacov
732.
734.
736.
737.
125
Paul Kauvar Smith (American, 1893-1973) “Still Life,” c. 1970, oil on
masonite, 18.75” x 12.5”, signed on verso, framed 400-600
733.
Bruno Zupan (American, b. 1939) “Trojan Horse,” 1966, oil on canvas,
28” x 34”, signed upper right, dated upper left, framed 600-800
735.
Henry Lawrence Faulkner (American, 1924-1981) “Still Life,” c. 1960,
oil on masonite, 11.5” x 16”, signed lower left, framed 2500-3500
738.
George Westfall Reynolds (American, 1887-1966) “Daisies,” c. 1960, oil
on canvas board, 19.5” x 23.25”, signed lower right, framed 800-1200
Paul Kauvar Smith (American, 1893-1973) “Mining Town,” c. 1960, oil
on canvas board, 19.5” x 23.25”, signed on verso, framed 600-800
Paul Kauvar Smith (American, 1893-1973) “Denver Mansion,” c.
1950, oil on canvas on board, 14.25” x 18.5”, signed lower right,
unframed 500-700
Paul Kauvar Smith (American, 1893-1973) “Untitled,” c. 1950, oil on
artist board, 23.5” x 17.5”, signed lower left, framed 200-400
739.
740.
741.
126
Léopold Survage (Russian, 1879-1968) “Woman and Bird,”
c. 1930, watercolor, 16” x 11”, signed lower left, framed 1500-2000
John Sennhauser (American, 1907-1978) “Untitled,” 1937, watercolor,
Henri Robert Bresil (Haitian, 1952-1999)
“Flamingoes in Landscape,” c. 1980, oil
on canvas, 19.5” x 23.5”, signed lower left,
framed 500-700
742.
on canvas, 19.5” x 23.5”, signed lower left,
framed 500-700
743.
on canvas, 19.5” x 23.5”, signed lower
744.
745.
Alfred Gwynne Morang (American, 1901-1958) “Abstraction,” 1944, oil on board, 18” x 14”, signed and
dated lower right, Peyton Wright Gallery (Santa Fe, New Mexico) label on verso, framed 6000-8000
W. Glen Davis (American, 20th century)
“Blues in the Night,” 1946, oil on canvas,
24” x 20”, signed and dated lower left,
signed lower right, label on verso from
the Art Institute of Chicago “58th Annual
American Exhibition, Paintings and
Sculpture, 1947,” framed 400-600
748.
127
746.
“Boat,” c. 1950, oil on canvas, 36” x 9”, signed
indistinctly lower left, framed 300-500
747.
“Untitled,” c. 1960, oil on board, 11.25” x 9.25”,
signed indistinctly lower left, framed 300-500
Dorothy Dehner (American, 1901-1994) “Untitled,” 1948, gouache,
13” x 17”, signed and dated lower right, framed 3000-5000
749.
Karl Herman Baumann (American, 1911-1984) “Untitled (Hills and
Trees),” 1941, watercolor, 10.5” x 14.5”, signed and dated lower left,
estate stamped on verso, titled on Maxwell Galleries (San Francisco,
California) and George Kevsky Gallery (San Francisco, California)
labels on verso, framed 400-600
751.
752.
128
750.
Karl Gasslander (American, 1905-1997) “Abstract,” 1933,
watercolor, 10” x 7.5”, signed and dated lower left, framed 300-500
Boris Lovet-Lorski (American, 1894-1973) “Untitled,” c. 1950, group of three
mixed medias on paper, largest: 16” x 11”, each signed, unframed 800-1200
Karl Herman Baumann (American, 1911-1984) “Nocturne,” 1959,
oil on artist board, 14.5” x 18.5”, signed and dated lower right,
unframed 700-900
753.
Carl Schwartz (American, b. 1935) “Seated Woman,” c. 1960, oil on
canvas, 29.5” x 39”, signed lower left, framed 400-600
754.
Benjamin G. Benno (American, 1901-1980) “Lovers,” 1937, oil on canvas,
25.25” x 19.5”, signed and dated lower left, signed on verso, framed 5000-7000
755.
129
Benjamin G. Benno (American, 1901-1980) “Untitled,” 1933, watercolor,
11.75” x 15.5”, signed and dated lower left, framed 3000-5000
756.
Rudolph Weisenborn (American, 1881-1974) “Flite,” 1955, oil on
masonite, 36.5” x 23”, signed and dated lower left, framed 3000-5000
757.
Frederick I. Kann (American, 1884-1965) “Untitled,” 1956, oil on
board, 16.5” x 11.5”, signed and dated lower right, framed 2000-4000
758.
Charles Green Shaw (American, 1892-1974) “Shape of Tension,”
1960, oil on canvas board, 9” x 12”, signed lower right, signed and
dated on verso, titled on Albert Landry Galleries (New York, New
York) label on verso, framed 1500-2500
759.
Carl Robert Holty (American, 1900-1973) “The Park,” 1956, oil on
canvas, 14.5” x 22.5”, unsigned, Clare Walker Fine Art (Brooklyn,
New York) label on verso, framed 2000-4000
760.
130
Howard Daum (American, 1918-1988) “Untitled,” c. 1960, oil on
canvas on board, 3.5” x 16.75”, signed on verso, framed 1000-2000
761.
Rolph Scarlett (American, 1891-1984) “Untitled,” 1953, gouache,
8.25” x 10.75”, signed and dated lower right, framed 800-1200
762.
131
Medard P. Klein (American, 1905-2002) “Abstract,” c. 1960, oil on
board, 12.75” x 21.5”, unsigned, framed 1500-2500
766.
Medard P. Klein (American, 1905-2002) “A Volonte,” c. 1960, collage,
16.5” x 12.5”, signed lower left, titled on Temple University Libraries
(Philadelphia, Pennsylvania) label on verso, framed 700-900
Rolph Scarlett (American, 1891-1984) “Untitled,” c. 1950,
gouache, 9.5” x 12.5”, signed lower left, framed 800-1200
764.
765.
763.
Rolph Scarlett (American, 1891-1984) “Untitled,” c. 1950,
gouache, 8.5” x 11”, signed lower right, framed 800-1200
Rolph Scarlett (American, 1891-1984) “Untitled,” c. 1950, watercolor
and ink, 11.25” x 17.25”, signed lower right, framed 1500-2500
767.
132
Jimmy Ernst (American/German, 1920-1984) “Untitled,” 1954, acrylic
on paper, 14.5” x 21”, signed and dated lower right, framed 3000-5000
768.
John William Kennedy (American, 1903-1996) "Abstract," 1951, oil
on board, 18" x 30", signed and dated lower right, framed 2000-4000
770.
Eugene Bennett (American, 1921-2010)
“Mill Ends,” 1959, oil on artist board,
right, titled on period label on verso,
framed 800-1200
771.
769.
Charles Green Shaw (American, 1892-1974) “Growth,” c. 1960, oil
on canvas board, 8” x 10”, signed lower left, framed 1000-2000
Leon Wall (American, 1916-1980)
“Reflections in a Golden Eye,” 1958,
oil on canvas, 49.5” x 42”, signed and
dated lower right, titled on label on verso,
framed 700-900
772.
Leon Wall (American, 1916-1980)
“Hessians at Trenton,” 1960, oil on canvas,
42” x 68”, signed and dated lower right, titled
on Betty Parsons Gallery (New York, New
York) label on verso, unframed 800-1200
773.
133
Yannis Gaitis (Greek, 1923-1984) “Je Te Regarde Toujours avec les Yeux
des mes Petits Bonhommes,” 1966, oil on canvas, 45.25” x 35”, signed
lower right, signed, titled and dated on verso, framed 20,000-30,000
774.
775.
777.
134
Karl Herman Baumann (American, 1911-1984) “Still Life,” 1951, oil on canvas
board, 14.75” x 18.75”, signed and dated lower right, framed 2000-4000
Claire Falkenstein (American, 1908-1998) “Drawing I,”
1951, ink and crayon on panel, 10.25” x 8”, signed and
dated lower left, titled on Dusanne Gallery (Seattle,
Washington) label on verso, framed 1000-2000
Kenneth Shopen (American, 1902-1967)
“Arabesque,” c. 1950, watercolor, 19.75”
x 25”, signed upper right, titled on R. H.
Love Galleries (Chicago, Illinois) label on
778.
776.
Bert Pumphrey (American, 1916-2000)
“Untitled,” c. 1960, oil on board, 9.5” x 7.5”,
Copeland Charles Burg (American, 18951961) “Untitled,” c. 1950, gouache, 3.5” x
779.
Eve Garrison (American, 1908-2003)
“Abstract,” c. 1960, oil on board, 36” x 48”,
signed upper left, framed 300-500
780.
783.
135
Willard Grayson Smythe (American, 19061995) “Abstract Forms,” c. 1970, gouache, 14.25”
x 10”, signed lower right, framed 400-600
781.
Willard Grayson Smythe (American, 19061995) “Female Figure,” c. 1970, gouache, 11”
x 7.75”, signed lower right, framed 400-600
782.
Paul Jenkins (American, b. 1923) “Phenomenon: Cleopatra's Eye,”
c. 1975, watercolor, 30” x 41”, signed lower right, framed 5000-7000
Provenance: Private Collection, Morrisville, North Carolina
Private Collection, Indianapolis, Indiana
Editions Ltd Gallery, Indianapolis, Indiana
Alyda Powell (American, 20th century)
“Untitled,” c. 1960, oil on canvas, 15.5” x
784.
David Crissy Packard (American, 19281968) “Untitled,” 1964, bronze sculpture,
good original patina, 10”l, signed, dated
and numbered, edition of five 400-600
785.
Phillip Jewell Hampton (American,
b. 1922) “Blue Dogs on Red and White,”
1963, mixed media on canvas board,
19” x 39”, signed and dated lower right,
framed 500-700
786.
789.
136
787.
Richard Hull (American, b. 1955) “All But Gone,” 1980, oil on canvas,
24” x 28”, signed, titled and dated on verso, framed 1000-2000
788.
Mel Fowler (Italian/American, 1921-1987) “Untitled,” c. 1970, acrylic
on canvas, 20.75” x 33.5”, signed lower left, framed 500-700
790.
Joseph Meierhans (American/Swiss, 1890-1981) “Untitled,” 1949,
casein on paper, 10.5” x 13.5”, signed lower right, Snyder Fine Art
(New York, New York) label on verso, framed 1000-2000
Hap Tivey (American, 20th century) “Navajo Bridge Diptych,” 1979,
acrylic on canvas with plastic cover in two panels, each panel: 50.25”
x 38”, signed and titled on verso, dated on Margo Leavin Gallery
(Los Angeles, California) label on verso, framed 2000-4000
Andy Warhol (American, 1928-1987) “Campbell’s Tomato Soup,”
c. 1970, ink on paper, 10.75” x 775”, signed lower right, framed 2000-4000
791.
Préfète Duffaut (Haitian, b. 1923)
“Souvenir,” 1986, oil on canvas, 16” x
12.25”, signed and dated lower right,
titled on verso, unframed 400-600
793.
794.
137
792.
Joseph Meierhans (American/Swiss,
1890-1981) “Untitled,” c. 1970, mixed
media on board, 23.25” x 19.25”,
Winston Roeth (American, b. 1945) “Au Sable,” 1984, egg tempera on
canvas, 44” x 44”, signed, titled and dated on verso, framed 3000-5000
Joseph Meierhans (American/Swiss,
1890-1981) “Untitled,” c. 1970, mixed
media on board, 19.25” x 23.25”, signed
795.
W. Dean Gillette (American, 1930-2008)
“Untitled,” 1976, acrylic on paper, 24”
x 26”, signed and dated lower right,
framed 200-400
796.
George D. Green (American, b. 1943)
“A Place in France,” 1984, mixed media,
right, titled on Louis K. Meisel Gallery
(New York, New York) label on verso,
framed
w w w300-500
. tr e ad w ay g a l l ery .c om
797.
Salvador Dalí (Spanish,
1904-1989) “Plange, Virgo,
Accincta,” from Biblia Sacra,
1969, color lithograph, 19”
x 13.75”, pencil signed and
stamped on verso by Bruce
Hochman, framed 400-600
801.
1904-1989) “Omnes
de Saba Venient,” from
Biblia Sacra, 1969, color
lithograph, 13.25” x 19”,
pencil signed and stamped
on verso by Bruce Hochman,
framed 400-600
Rolf Nesch (German, 1893-1975)
“Kvinne,” 1968, metal print, 9.25” x 7.25”,
pencil signed lower right, numbered lower
left, edition of 25, unframed 1000-2000
804.
138
798.
802.
799.
1904-1989) “Noli Me
Tangere,” from Biblia Sacra,
1969, color lithograph, 19”
x 13.75”, pencil signed and
stamped on verso by Bruce
Hochman, framed 400-600
Marc Chagall (French/Russian, 1887-1985)
“Four Seasons, Chicago,” 1974, lithograph,
35” x 23.5”, unsigned, framed 1000-1500
803.
800.
1904-1989) “Licet Tributum
Dare Caesari,” from
Biblia Sacra, 1969, color
lithograph, 18” x 14”, pencil
signed and stamped on
verso by Bruce Hochman,
framed 400-600
Joan Miró (Spanish, 1893-1983)
“Lithograph II,” 1975, color lithograph, 12”
x 9”, pencil signed lower right, numbered
lower left, edition LXXX, framed 1000-2000
Steven Sorman (American, 1948) “What This Is,” 1980, set of four color etchings with aquatint,
each: 8.75” x 6.75”, pencil signed, titled, numbered and dated, edition of 28, framed 1500-2500
139
805.
Roger Brown (American, 1941-1997) “The
Jim and Tammy Show,” 1987, lithograph,
21.75” x 32”, signed and dated lower right,
edition AP, inscribed “For Margaret and
Billy” lower left, framed 400-600
808.
André Masson (French, 1896-1987) “Erotique,” c. 1960, lithograph,
13.5” x 19.25”, pencil signed lower right, numbered lower left, edition
of 125, framed 300-500
809.
Pat Hammerman (American, 20th century) “Aspects,” 1981,
screenprint, 16” x 20.75”, pencil signed, titled, numbered and dated,
edition AP, framed 400-600
810.
André Masson (French,
1896-1987) “Untitled
Composition,” c. 1970, color
lithograph, 26.5” x 20.75”,
pencil signed lower right,
numbered lower left, edition
of 130, unframed 400-600
812.
Peggy Smith (American, 20th
century) “Game of Marbles,”
c. 1960, lithograph, 14.75” x
8.5”, pencil signed lower left,
unframed 200-400
811.
806.
Jacques Villon (French, 1875-1963)
“Figures and Eagle,” c. 1940, color
lithograph, 15.75” x 11.5”, signed in ink
Victor Vasarely (French/
Hungarian, 1906-1997) “Or
Var,” c. 1980, screenprint,
35.5” x 27”, pencil signed
lower right, edition of 250,
framed 600-800
807.
Pablo Picasso (Spanish, 1881-1973)
“Dove,” 1952, lithograph, 19.75” x 25.25”,
signed and dated in plate, framed 700-900
813.
Will Barnet (American,
b. 1911) “Silent Seasons
- Summer,” c. 1975, color
lithograph, 28.75” x 22”,
signed, titled and numbered
in margin, edition of 200,
framed 200-400
814.
815.
Henry Miller (American, 1891-1980) “A Vous Cher Ami,” “The Joker,” “Marseilles,” “Anais” and “Amour,” c. 1970, group of five
serigraphs, largest: 20.5” x 17.5”, each stamped lower right, pencil numbered lower left, edition of 200, unframed 800-1200
Karel Appel (Dutch, 1921-2006) “I am an Animal,” 1971, color
lithograph, 23” x 33.5”, pencil signed and dated lower right, numbered
lower left, edition of 100, titled label on verso, framed 800-1200
817.
818.
140
816.
Francoise Deberdt (French, 1934) “Untitled,” c. 1980, etching, 9.75”
x 19.25”, pencil signed lower right, numbered lower left, edition of 75,
framed 200-400
Larry Rivers (American, 1923-2002) “Diana Raised II,” 1970-1971, lithograph, 17.75” x
23.5”, pencil signed, dated and numbered lower right, edition of 36, unframed 400-600
Roy Lichtenstein (American, 1923-1997) "As I Opened Fire," 1966, triptych of offset color lithographs,
each measures: 25" x 20.5", unsigned, published by Stedelijk Museum, unframed 500-700
819.
Vito Acconci (American, b. 1940) “Three Flags for 1 Space and 6 Regions,” 1979-1981, photoetchings with aquatint
in six panels, each sheet: 30.5” x 23.25”, overall: 70.5” x 62.5”, pencil initialed, titled, numbered and dated on lower
right panel, edition of 25, printed by Nancy Anello, published by Crown Point Press, framed 12,000-18,000
820.
821.
141
Wolf Kahn (American, b. 1927) "Barn and Forsythia III," 2003, screenprint,
27.75” x 38”, signed and dated lower right, edition of 108, unframed 1500-2500
Robert Longo (American, b. 1953) "Wave," 2003, lithograph and silkscreen, 15.5"
x 40", pencil signed, dated and numbered, edition of 108, unframed 1500-2500
823.
822.
James Browning “Jamie” Wyeth (American, b. 1946) “Portrait of Lady,” 1975, group of three
lithographs, largest: 12.25” x 22”, two pencil signed, edition of 354, unframed 300-500
824.
Robert Natkin (American, 1930-2010)
“Untitled,” 1979, screenprint, 27” x 36”,
pencil signed, numbered and dated,
edition of 75, unframed 200-400
827.
142
825.
Karel Appel (Dutch, 1921-2006) “Face,”
c. 1980, color lithograph, 28” x 20.5”,
left, edition of 100, framed 500-700
Ron Pokrasso (American, b. 1951) “Landscape 1985 #1,” “Landscape 1985
#2” and “Landscape 1985 #3,” 1986, group of three etchings, 34” x 23.25”,
pencil signed, titled, numbered and dated, edition of 20, framed 800-1200
826.
René Carcan (Belgian, 1925-1993)
“Untitled,” c. 1980, etching, 19.5” x 23”,
left, edition of 95, framed 300-500
Christo and Jeanne-Claude (American,
b. 1935) “Running Fence, Sonoma and
Marin Counties, California,” 1972-1976,
color off-set lithograph, 25” x 39”, signed
in marker upper left, unframed 800-1200
828.
Marcel Janco (Israeli, 18951984) “Still Life,” c. 1965, plaster
print on burlap, 29” x 21”, signed
143
829.
Yugi Hiratsuka (Japanese, b. 1955) “Contortionist,” 1998, etching
with chine colle, 23.75” x 36”, pencil signed, titled, numbered and
dated in margin, edition of 30, unframed 700-900
830.
Yugi Hiratsuka (Japanese, b. 1955) “Mime,” 1998, etching with
chine colle, 17.5” x 23.5”, pencil signed, titled, numbered and dated
in margin, edition of 35, framed 500-700
831.
Zao Wou-Ki (Chinese, b. 1921) “LXIV,” 1965, lithograph, 15” x 23”,
pencil signed and dated lower right, numbered lower left, edition of
125, framed 1000-2000
832.
Yozo Hamaguchi (Japanese, 1909-2000) “Three Butterflies,” 1985-1991,
mezzotint, 4.75” x 4.5”, pencil signed lower right, unframed 700-900
833.
Keiko Nelson Tsu (Japanese/American,
b. 1948) “My Garden,” 1980, monoprint,
17.5” x 35.5”, pencil signed, titled and
dated, framed 800-1200
834.
Léonard Tsuguharu Foujita (French/
Japanese, 1886-1968) “Seated Girl with
a Cat,” c. 1950, color lithograph, 14.75”
x 12.75”, pencil signed and numbered,
edition of 250, framed 200-400
835.
Pang Tseng Ying (Chinese/American,
1916-1997) “Untitled,” c. 1990, lithograph,
17.5” x 34.5”, pencil signed lower right,
numbered lower left, edition of 300,
framed 600-800
144
836.
Matthew Monahan (American, b. 1972) “Excerpts from Book One (New City),” 2002, carbon on
rice paper, 38” x 71”, unsigned, titled on Anton Kern Gallery label on verso, framed 12,000-15,000
Provenance: Anton Kern Gallery, New York, New York
Private Collector
837.
Michael Bauer (German, b. 1973) “Control Mama,” 2006, oil on canvas,
82.5” x 74.75”, signed, titled and dated on verso, unframed 15,000-20,000
Provenance: HOTEL, London, England
Private Collector
838.
Matthew Monahan (American, b. 1972) “Excerpts from Book One (Robot),” 2002, carbon on rice
paper, 38” x 71”, unsigned, titled on Anton Kern Gallery label on verso, framed 12,000-15,000
Provenance: Anton Kern Gallery, New York, New York
Private Collector
145
839.
Chris Ofili (British, b. 1968) “Charmant Seven,” 2005-2006, oil and acrylic on canvas, 20” x 15.75”,
signed, titled and dated on verso, Contemporary Fine Arts label on verso, framed 50,000-70,000
Provenance: Contemporary Fine Arts, Berlin, Germany
Private Collector
840.
Clare Rojas (American, b. 1976) “Untitled Red Room,” 2006, gouache
and latex on wood panel, 12” x 13.5”, unsigned, titled and dated on
Lizabeth Oliveria Gallery label on verso, unframed 5000-7000
Provenance: Lizabeth Oliveria Gallery, Los Angeles, California
Private Collector
841.
Angelina Gualdoni (American, b. 1977) “The Slow Continuum that
Proceeds in Your Absence (For Colin),” 2005, acrylic and oil on
canvas, 28” x 34”, signed, titled and dated on verso, label on verso
from Kavi Gupta Gallery, unframed 7000-9000
Provenance: Kavi Gupta Gallery, Chicago, Illinois
Private Collector
146
842.
Muntean & Rosenblum Markus Muntean (Austrian, b. 1962) and Adi
Rosenblum (Israeli, b. 1962) “Sometimes When One’s in a Bad Situation,
Life Seems Over and You’re Just Waiting for the Time to be Used Up,”
2001, oil on canvas, 45.25” x 45.25”, signed and dated on verso, label on
verso from Sommer Contemporary Art, unframed 12,000-18,000
Provenance: Sommer Contemporary Art, Tel Aviv, Israel
Private Collector
843.
Lucy McKenzie (Scottish, b. 1977) “Untitled (Portrait),” c. 2000, twosided graphite drawing on paper, 16.25” x 23.25”, unsigned, Timothy
Taylor Gallery label on verso, framed 4000-6000
Provenance: Timothy Taylor Gallery, London, England
Private Collector
844.
Chantal Joffe (British, b. 1969) “Reclining Woman on Yellow,” 2004,
oil on board, 120” x 48”, unsigned, unframed 25,000-35,000
Provenance: Victoria Miro Gallery, London
Private Collector
1950s Modern/Art Deco
Session Four
immediately following session three
845.
Natzler bowl, folded shape covered in a blue and brown
reduction glaze, signed, 8.75”w x 3.5”h 2000-3000
847.
848.
147
846.
Natzler bowl, flared shape covered in a red and orange
matte glaze, signed, #K117, 8”w x 2.5”h 1500-2500
Natzler vase, cylindrical shape with indented lip covered in a
copper luster crystalline glaze, signed, 3.5”w x 6.5”h 2500-3500
Natzler bowl, broad shape covered in a rose mariposa reduction
glaze with fissures, signed, #K981, 6.5”w x 3.5”h 2000-3000
849.
Natzler bowl, footed shape covered in a Dawn glaze with
crystalline highlights, signed, #O231, 6”w x 3”h 1500-2500
147
148 148
850.
Vivika and Otto Heino vase, very large
bulbous shape covered in a gray glaze
with a blue and black design, signed, 10”w
x 11”h 700-900
851.
853.
Rose Cabat Feelie vase, bulbous shape
under a green and brown matte glaze,
signed Cabat, X2, 64, 3”w x 4”h, good
glaze 350-450
855.
Harrison McIntosh bowl, low form
covered in a multi-toned gray and brown
glaze with a bursting swirl design, signed,
paper label, 5.5”w x 1.5”h 300-400
856.
858.
Robert Turner vase, bulbous shape
covered in a multi-toned brown matte
glaze with white highlights, signed, 7"w x
6"h 400-600
859.
Vivika and Otto Heino vase, bulbous shape
covered in a gray glaze with a brown spotted
design, signed, 6.5”w x 5”h 200-300
852.
Good Claude Conover vase, large foursided form with interlocking rings design,
marked, 12”h 1200-1700
854.
Toshiko Takaezu vase, bulbous shape
covered in a rust and tan glaze with
painted designs in brown, signed, 6”w x
5.5”h 800-1100
Rare Claude Conover sculpture, large cat
with cutout eyes, signed, 14.5”h 1000-2000
857.
Harrison McIntosh bowl, covered in a
multi-toned brown glaze with linear and
circular designs, signed, paper label,
5.75”w x 1.75”h 300-400
Rose Cabat Feelie vase, flattened
bulbous shape under a green and brown
matte glaze, signed, 3.5”w x 2.25”h, nice
glaze 350-450
860.
Ken Ferguson vase, ribbed shape
covered with a green, yellow and brown
glaze, signed, 6"w x 5.5"h 300-500
w w ww. tr
w ewad
. trweay
adgwaal y
l ery
ga l.c
l ery
om.c om
861.
863.
149
Akio Takamori ceramic bust sculpture, nude form
depicting a mother and child, hand-painted, signed “Akio”
on body, 17”w x 7”d x 26”h, mint condition 6000-8000
Clyde Burt ceramic wall sculpture, stoneware composition covered
in white, gray and textured brown glaze, incised signature "C. Burt"
at lower left, in the original wood frame, framed size: 26.5”w x 30”h,
excellent original condition 1000-1500
862.
Clyde Burt charger, 1960s, stoneware with light green glaze, handpainted decoration, signed with incised “CB”, paper label, 13.5”h,
mint condition 400-600
864.
Clyde Burt vase, stoneware with gray matte glaze and ivory linear
designs, signed with incised “CB”, 8.75”h, mint condition 700-900
866.
George Nelson jewelry chest, by Herman Miller, recent production, six
drawers with the original pulls, original finish, white laminate top, signed with
Nelson/Herman Miller tag, 30"w x 13"d x 6"h, excellent condition 1000-1500
867.
865.
George Nelson wall-mounted fire tools, by
Howard Miller, brush, shovel, and poker,
ash handles, black enameled mounting
plate, original finish, 10”w x 27”h, very
good original condition 600-800
868.
Charles & Ray Eames ESU 200, second series, by Herman
Miller, 1950s, open cube with birch top and bottom and one blue
panel, original finish, two glides missing, 24”w x 16.75”d x 20.5”h,
very good original condition 900-1200
870.
150
869. Sori Yanagi butterfly stool, rosewood,
brass hardware, original finish, stamped
“Sori Yanagi”, 16.75”w x 12”d x 15"h,
small chip to one bottom corner, very
Charles & Ray Eames ESU 200, second series, by Herman Miller,
1950s, three birch doors with the original handles, yellow, blue and
black panel, overhanging birch top, original finish, 47”w x 16”d x
George Nelson X-leg dining table, by Herman Miller, rectangular walnut top over brushed steel legs with angled
top supports, original finish, 60”w x 30”d x 28.75”h, some wear to top, very good original condition 800-1000
871. 151
Charles & Ray Eames radios, two, by Emerson, wood cases made
by Evans, c.1946, model #578A (at left) and 678A (at right), mahogany
and walnut veneers, original Bakelite knobs, brass and glass, 9.25”w
x 5.75”d x 6.5”h, 11”w x 5.25”d x 6.5”h, example at right is refinished,
both signed, cases in excellent condition 1000-1500
872.
Charles & Ray Eames radios, two, by Zenith, wood cases made by
Evans, c.1946, model 8H034 (at left) and 6D030 (at right), walnut
veneer, original knobs, brass and upholstery, 14.5”w x 7”d x 8.75”h,
and 13.5”w x 6”d x 7.75”h, example at right has a loose knob, both
refinished, both signed, cases in excellent condition 1000-1500
874.
Charles & Ray Eames high-back Soft Pad lounge chairs, pair, by
Herman Miller, five-point bases, aluminum armrests, original black
leather upholstery, tilt and swivel, 26"w x 31.5"d x 37.5"h, very clean
examples in excellent original condition 1200-1500
Between 1946-1952 many radio companies contracted with the
Evans Plywood Division of Evans Products to manufacture radio
cabinets. The original designs for these cabinets originated from
the radio companies. Evans in turn sent these designs to the
Eames Office to be adapted and redesigned to fit their tooling and
production capabilities.
873.
Charles & Ray Eames shell chairs, pair, by Herman Miller, Parchment
fiberglass seats over zinc legs, nylon glides, original finish, 18.5”w x
21.5”d x 31.25”h, excellent original condition 100-200
875.
Charles & Ray Eames RAR (rocking chair),
by Herman Miller, 1960s, gray fiberglass
shell with original black vinyl upholstery over
a black wire base and birch runners, 24.5"w
x 26"d x 26.5"h, splits to upholstery seams,
876.
George Nelson seating unit, by Herman Miller, black iron frame, two removable
seats, one table with white laminate top, replaced mohair upholstery, overall:
73”w x 28”d x 29”h, table is 24”w x 24”d x 13”h, very good condition 600-800
877.
Charles & Ray Eames Hang-It-All, by Tigrett Enterprises, USA, 1950s,
lacquered wood balls, white enameled steel frame, original finish to all
parts, 20”w x 6”d x 14.5”h, very good original condition 1000-1500
879.
Alexander Girard “Crosses”
Environmental Enrichment panel, 1972,
for Herman Miller, screen-print on linen
of geometric forms, printed signature and
date, image size: 23" x 63"h, good original
condition 300-500
882.
152
880.
878.
Herman Miller catalog, 1964, designed by George Nelson &
Co., Inc., comprehensive reference that includes wood samples,
fiberglass shell samples and Alexander Girard fabric samples, also
includes a “Herman Miller Inc. Specifications” booklet, 11.25”w x
2.75”d x 11.5”h, excellent original condition 200-300
Alexander Girard “Miller Stripe” men’s
jacket/sport coat, 1976, tailor-made in
London for a team of Herman Miller
architects, one of five known to exist,
approximate size 38-40, tailor’s label
sewn to inner lining, excellent original
condition 500-700
881. Alexander Girard “Mexidot” fabric,
1970s, for Herman Miller, white, pink
and gold cotton, illustrated in the Schiffer
Girard book, edges are bound, 67" x 50",
Charles & Ray Eames shell chairs, four, by Herman Miller, Greige fiberglass seats over zinc legs, nylon glides, original
finish, one signed with a paper Herman Miller label, 18.5”w x 21.5”d x 31.25”h, excellent original condition 400-600
883. Alexander Girard “Palace” Environmental Enrichment panel, 1972,
for Herman Miller, screen-print on cotton, printed signature and date,
image size: 40" x 40", good original condition 600-800
884.
Alexander Girard “Old Sun” Environmental Enrichment panel, 1972,
image size: 49" x 52", good original condition 600-800
885.
Alexander Girard “Stars” Environmental Enrichment panel, 1972,
image size: 50" x 67.5", good original condition 300-500
886.
Alexander Girard “Four Leaf Clover” Environmental Enrichment
panel, 1972, for Herman Miller, screen-print on linen, printed
signature and date, 53" x 63", good original condition 600-800
887.
153
Charles & Ray Eames vintage Sofa Compact, by Herman Miller, original Alexander Girard "Jacob’s Coat"
cotton/wool upholstery, back folds, 72"w x 28"d x 35"h, light wear, very good original condition 1500-2000
888.
Henry Dreyfuss thermos, by The
American Thermos Bottle Co., model
1549, ivory colored enameled metal,
with original removable glass lid, marked
on bottom, 5.75"h, very good original
condition 300-400
891.
Walter Dorwin Teague “Lens” bowl, by Steuben, USA, c.1932,
stepped form in green glass, 13.75”dia x 4”h, small chip to edge,
893.
154
889.
International Silver cocktail shaker,
stainless form with enameled decoration,
red bakelite cap and black bakelite base,
original finish, signed with “Meridien B. Co.”
and “International Silver Co. 366, Patented
Jan. 11, 1927”, 13.5”h, crack to base, very
Eugene Schoen “Deco Chair”, armchair, Art Deco form, fluted
mahogany platform base and feet, reupholstered in mohair fabric,
original finish, 29.5”w x 32”d x 32.5”h, very good condition 1000-1500
890.
Bauhaus style tea pot, possibly by
Cowan, modern form in white glazed
ceramic with black lid, unsigned, 7.25"w x
6"h, mint condition 400-600
892.
Lurelle Guild cocktail shaker, model no. 5840, by International Silver
Company, USA, c. 1934, silver-plated and red lacquered metal,
15.75"h, impressed "Lurelle Guild" signature and "International
Giftware 5840," also stamped “LACQUERED”, an uncommon
version with the original red lacquered finish, very good original
condition 2000-2500
894.
Frederick Weinberg andirons, pair, USA, 1950s, gilt metal and
iron, rearing horses, original finish, 11.5”w x 16.5”d x 17”h, very good
original condition 600-800
895.
Abel Faidy designs for the Board of Trade Flower Shop, Chicago,
four framed photographs probably taken by Hedrich Blessing, each
marked “Board of Trade Flower Shop” and signed “Original Design
by Abel Faidy”, framed, framed size: 11” x 14.5”, very good original
condition 300-400
897.
896.
Paul Frankl coffee table, by Johnson Furniture Co., biomorphic cork top
over four flared mahogany legs, refinished, signed with stenciled mark
“5005-190”, 47.50”w x 35.5”d x 15”h, very good condition 2500-3000
898.
155
Art Deco floor lamps, pair, 1920s, alabaster bases
support brass and iron standards, each topped with
an internally-lit, mica-lined hexagonal lamp flanked
by two candle style lights, bronze decoration of a
nude, original finish, original mica, 12.25”w x 9.5”d x
67.5”h, excellent original condition 4000-5000
Eliel Saarinen dining table and chairs, by Johnson, birch, large table with replaced top, eight chairs with replaced fine brown wool
upholstery, refinished, very good condition, table: 96”w x 44”d x 29.25”h, chairs: 23”w x 21”d x 29”h, not shown: original worn and stained
table top with two leaves is included, along with two chairs that are entirely lacking in upholstery, all in fair to poor condition 2000-3000
899.
900.
Robert Mallet-Stevens box, for Maison Desny, Paris, c. 1928, nickel-plated brass, three lift-top compartments, one drawer with wood
handle, stamped “Desny Paris Made in France Depose” under the drawer, 8.75”w x 8”d x 4”h, very good condition 25,000-30,000
Brett-Livingstone Strong (Australian, b. 1953), "World Friendship
Monument" sculpture, number 28/500, USA, c.1991, marble base
supports five twisting bronze sheaves of wheat representing five
populated continents, hand-blown glass globe to top produced by
Lundberg Studios, stamped marks "US 28/500 BLS 91", 12.25"dia x
17"h, excellent condition 3500-4500
902.
156
901.
Art Deco wrought iron table, scroll work and leaf details, original
finish with white accents, replaced glass top, 29.5”dia x 24”h,
excellent condition 300-500
Eileen Gray Transat chairs, pair, maker unknown, black lacquered wood frames, nickel-plated metal fittings, channeled
black leather upholstery, unsigned, probably recent production, 22.5"w x 42.5"d x 31"h, very good condition 2000-2500
903.
157
Tommi Parzinger table lamps, pair, by Lightolier, USA, c. 1950,
silver-plated brass, aluminum, 8.5”w x 6.25”d x 19”h, very good
904.
RK Parker table mirror, rotating mirrored base supports an upper
mirror backed with a woman holding a wing-like fan, brass and
bronze, stamped “Erté” and “1985 RK Parker AP 12/23”, 27”w x 12”d
x 15”h, excellent original condition 1200-1500
906.
Art Deco Revival center table, 1970s, black marble top with white
veining over a gilt wrought iron base, original finish, 39.5”dia x
905.
1930s aluminum gates, pair, solid aluminum, original finish, each is
29.5”w x 3.5”d x 80”h, very good original condition 1000-1500
907.
1960s wall light, cast iron base with pewter finish supports solid
acrylic rods, lower support bracket with scrollwork, original finish,
stamped mark “T. Elsley”, 30”w x 7.5”d x 51”h, very good original
condition 1200-1500
909.
908.
910.
Jean-Louis Domecq Model 1200 work lamp, by Jieldé, Lyon,
France, weighted steel base supports an arm with three adjustment
points, swiveling shade, original finish, signed with Jieldé metal tag,
as shown: 27”w x 26”h, very good original condition 400-600
Charlotte Perriand & Jean Prouvé wall shelf, by Ateliers Jean Prouvé, France, 1950s, oak top and bottom, black enameled metal supports, one
plastic sliding door, wood portions refinished, two mounting brackets to back, unsigned, 72”w x 11.25”d x 9.5”h, excellent condition 4000-6000
912.
911.
158
French wall shelf, in the manner of Jean Prouvé, triangular
laminated plywood top with the original light green plastic laminate
surface, black enameled metal support, original finish, signed with
paper label marked “Shipped by E.D.E.T. Montreuil Made in France”,
35.5”w x 15.5”d x 8.75”h, very good original condition 500-700
Charlotte Perriand wardrobe cabinet, France, finished back
covered in pine wood, one pine sliding door, lighted interior consists
of a removable cube with three black bins, two vertically divided
compartments, rod for hanging garments, original finish, 58”w x 21”d
x 68”h, very good original condition 1500-2000
Pierre Chareau sconces, pair, France, recent production, each with
two alabaster plates, original finish, unsigned, 14.5”w x 10”d x 16”h,
913.
Serge Mouille “Flamme” sconces, pair, (three views shown), Ateliers
Serge Mouille, France, 1960s, aluminum forms with original black
and white enameled finish, three views shown, 12”w x 15”h, very
914.
915.
Roger Capron small coffee table, France, ceramic tile top with a
geometric composition in red, orange and white, wrought iron trim
and legs, original finish, signed “R. Capron” in the surface of the top,
32”w x 16”d x 12”h, excellent original condition 1600-1800
917.
916.
159
Jean Royère tables, attribution, two, France, 1950s, taller table
with three legs and a v-shaped stretcher terminating in ring
supports, smaller table with original thick inset slate top over
four legs, repainted gold finish, large: 23.5”w x 9.5”d x 27.5”h,
small: 19.5”w x 9.5”d x 22”h, good condition 5000-7000
French armchairs, pair, black vinyl seats with sculptural armrests with
cutouts, upholstered in tan vinyl, wrought iron legs, original finish,
unsigned, 22.25”w x 21”d x 32”h, good original condition 600-800
George Nakashima New chair, walnut frame with slab seat, carved
hickory spindles, original finish, signed with client’s name (“Mallet”),
24.75”w x 25”d x 38.5”h, excellent condition 1500-2000
160
161
918.
Ico & Luisa Parisi architectural and interior renderings for the Floyd J. Kops residence, Milwaukee, WI, created in Italy
in 1953, includes 7 colorful gouaches with the architect’s overlay with notes, 39 blueprints, and correspondence from
Parisi’s studio including a price list for 33 items of furniture, rugs, and lamps to furnish the dining room, living room
and office, all stamped “Architetto Ico Parisi & Luisa Parisi Como Tel. 3658 Via A. Diaz N.8”, includes original mailing
envelope, one gouache is water damaged, otherwise all items are in very good original condition 10,000-15,000
Mr. and Mrs. Floyd J. Kops met architect Ico Parisi in Lake Como, Italy, in the summer of 1952. They commissioned
him to design a home for them. Despite the extensive design work, the home was never built.
Together, these works comprise the design for a house as well as its contents, including furniture, rugs and lighting. In
a letter dated July 1, 1953, Parisi wrote to Kops:
“The whole planning involved considerable work for me as your final drawings departed in several instances from
the original ones; on the former drawings I had planned the whole decoration. I trust I have correctly interpreted the
drawings in question as their preparation is entirely different from our usual practice.”
919.
San Polo table, Italy, biomorphic ceramic
top with hand-painted decoration of a
village, six brass prongs support a glass
top, four tapered legs with brass caps,
singed “San Polo Made in Italy” on
bottom, 29”dia x 17”h, very good original
condition 700-900
922.
162
920.
Pietro Chiesa side table, by Fontana
Arte, attribution, Italy, central ball support
over three tapered legs, wood carrying
handle to top, original finish, stamped
“Made in Italy”, 18”dia X 24”h, very good
921.
Aldo Tura occasional table, square wood
top covered in the original goatskin,
ebonized base with three brass legs,
original finish, 20”w x 20”d x 16.5”h, very
Gio Ponti coffee table, by Singer, original travertine marble top, walnut base with sculptural tapered legs,
original finish, 60”w x 17.5”d x 15.5”h, wear to finish of legs, otherwise very good original condition 2500-3500
923.
Giovanni (Nino) Zoncada sofa, Italy, 1950s, designed for an Italian passenger ship, angled form over brass and
black enameled metal legs, reupholstered in tan mohair fabric, 72"w x 30"d x 31"h, excellent condition 1000-1500
Architect Nino Zoncada collaborated with Gio Ponti in the late 1940s and early 1950s. He designed or contributed
to almost every major transatlantic Italian liner of the 1950s and 1960s.
163
924.
Ettore Sottsass “Murmansk” centerpiece, by Memphis, Italy, 1982, sterling silver, round top and base connected by zigzag supports, includes the original crate, base and inset plate stamped with "MEMPHIS MILANO" and "925", all pieces
also stamped “1622 MI” with a star mark, 14.5”dia x 11”h, excellent condition 15,000-18,000
The Murmansk centerpiece was offered in solid sterling silver and silver plate. This example is the sterling silver version.
925.
Marco Zanuso lounge chairs, pair, Italy, upholstered seats with curved
armrests, original red bouclé upholstery over black painted wood legs,
unsigned, 28”w x 28”d x 34”h, very good condition 1000-1500
926.
Guglielmo Ulrich occasional table, 1940s, Italy, round mahogany
top over four tapered legs, light wood criss-crossing slats to top,
refinished, unsigned, 27”dia X 19”h, some separation on joints,
reglued, wobbly, good condition 1000-1500
927.
Fontana Arte library ladder, Italy, brass frame with four 3/4” glass steps,
unsigned, 20”w x 20”d x 46.25”h, excellent condition 1000-1500
928.
Georg Jensen cooking pots, Denmark,
copper, two sauté pans, small sauce pan,
small Dutch oven with lid, one large lid
does not fit any of the pans, six pieces total,
original finish, pots signed with stamped
marks George Jensen Designs Denmark,
large pan: 10.5” dia x 19.75”long, good
929.
Poul Henningsen PH-5 hanging lamp, by
Louis Poulsen, Denmark, white enameled
metal with red and purple interior, includes
a ceiling cap, with original packing box,
20"dia, excellent condition 300-400
930.
Georg Jensen stainless flatware,
Denmark, eight demi-tassle spoons,
eights soup spoons, twelve dinner knives,
eight salad forks, eight teaspoons, twelve
dinner forks 8”, pickle fork, two large
serving spoons 8.25”, one large serving
fork, like-new, stamped “Georg Jensen
Stainless Denmark”, excellent original
condition 500-700
931.
Borge Mogensen secretary cabinet, oak,
Denmark, drop-front over three drawers,
interior contains two small drawers and
dividers, key included, original finish, signed
with Soborg Mobler label and stamped
Made in Denmark, 39.5”w x 19”d x 46.5”h,
932.
Poul Kjaerholm PK 22 chair, by E. Kold
Christensen, steel frame, replaced black
leather upholstery, original finish, signed
with E. Kold Christensen stamp, 25”w x
26.5”d x 28”h, leather sags, otherwise
933.
Ib Kofod-Larsen Elisabeth chair, by
Christensen & Larsen, teak frame with
upholstered suspended seat, original
finish, signed with “Made in Germany”
label, 29.75”w x 30”d x 28”h, very good
934.
164
Preben Fabricius & Jorgen Kastholm lounge chairs, pair, by Bo-EX, Denmark, c. 1970, polished steel frames with removable cushions,
reupholstered in thick black Spinneybeck “Ducale Velour” grain-sueded leather, 30”w x 30”d x 28”h, excellent condition 3500-4500
935.
936.
937.
165
Extra-Large Poul Henningsen Pendant hanging light, by Louis Poulsen, Denmark, 1920s, model 8/6, bronze fittings, enameled brass and
copper shades with the original dark green finish, 34”dia x 16”h, in good working condition, very good original condition 8000-12,000
Vintage Herbert Krenchel "Krenit" bowls, set of 33 pieces, Denmark, 32 bowls with salad servers, large green bowl: 15"dia, salad servers:
11.5", six 10" bowls, eleven 5" bowls, five 6.25" saucers, three 6.5" bowls, two medium height 10" bowls, one low 10" bowl, two 3.5" bowls, one
5" deep saucer, one 10" white bowl has a shiny black exterior, 13 are signed with "Krenit Denmark", very good original condition 3000-3500
Grete Jalk armchair, by Poul Jeppesen,
rosewood, carved arms, sculptural
backrest, rear legs pass through holes
in the armrests, original black leather
upholstery, original finish, signed with
Poul Jeppesen stamp and Danish Control
stamp, 25”w x 22”d x 32”h, very good
938.
Jens Quistgaard desk, by Lovig, Denmark, rosewood, hinged gallery top
folds flat as needed, four drawers, original finish, signed with Lovig stamp and
dated 1971, 64”w x 28.75”d x 34”h, very good original condition 2000-2500
939.
Roman Frak handmade bulldog rings, two, his and hers, heavy sterling
silver forms, each with colorful stone eyes, each stamped “Sterling” with
designer’s hallmark, total weight is 1.575 ounces, approximate sizes
10.25 and 6.5, very good original condition 800-1000
941.
166
940.
Art Deco style man’s ring, neoclassical double gladiator, carved
black and white onyx over carnelian, white gold band with yellow
gold and rose gold accents, size 10.5, stamped “10k” and “Hand
Wrought”, setting is .5”w x 11/16”h, very good condition 200-300
Roman Frak handmade bulldog link bracelet, sterling, heavy form with eight bulldog faces with colorful stone eyes,
stamped “Roman Frak 2001 Sterling” with designer’s initials on clasp, 8 3/8” long, very good original condition 1500-2000
942.
Varsano pomegranate sculpture, sterling silver with armature, to scale,
stamped “Varsano 925”, 4”dia x 4”h, excellent condition 500-700
943.
Hector Aguilar Fertility bracelet, handmade, .940 sterling, Taxco,
Mexico, 1940s, original chain clasp, approx. 7.25” long, pre-Eagle
stamped marks “HA Taxco 940” with bell stamp, 4.055 ounces,
944.
Hector Aguilar Fertility necklace, Taxco, Mexico, 1940s, handmade
form of graduated links that lay beautifully on the neck, original clasp,
stamped “HA 940 Taxco” with bell, 3.30 ounces, as shown: 6”w x
6.5”h, 16.5”long, very good original condition 2500-3500
945.
Vintage Ralph Lauren sterling silver curb chain, USA, extra-heavy
form from the 1970s, toggle closure, stamped “Ralph Lauren
Saddlers Est. 1967” and “925”, 6.43 ounces, 16” long, very good
946.
Cartier hinged cuff bracelet, Italy, 1940s,
sterling and tortoise, three curved
sections, screw closure, stamped “Cartier
Made in Italy” and “925 Prev. 356 A.F.”,
links are 1”w, bracelet is 7” long, very
947.
Antonio Pineda earrings, pair, Mexico,
sterling with amethyst quartz drops, screw
backs, stamped marks, .75"w x 2"h,
949.
Midcentury candlesticks, pair, maker
unknown, large forms in hammered nickel,
applied geometric designs of red, white
and blue stones, unmarked, removable
bobeches, 5.5"w x 15.5"h, very good
condition 300-500
950.
Impressive Emerald cocktail ring, Italy,
14k white gold with a large gem amethyst,
dramatic gallery of white gold grid
work under stone, stamped “Italy 14k”,
approximate size is 7, stone is .5” x .75”,
952.
167
948.
Midcentury cuff bracelet, 1960s, 14k gold
and sterling silver, hand made, hammered
surface, etched signature “14k Sterling
Hobson”, 2.5”w x 1.25”d x 2”h, very good
951.
Tiffany & Co. sterling silver and onyx
bracelet, Italy, 2002, three articulated rows
of squares, some onyx, some polished
sterling and some sterling with slightly
textured finish, tongue closure with two
safety mechanisms, marked “C. 2002
Tiffany & Co. 925 Italy”, authenticity
guaranteed, original box, blue felt bag,
receipts and Tiffany paperwork included,
1&3/8”wide, 7.25” long, total weight
is 5.02 ounces, scratches, very good
condition 1200-1500
Auguste Klein Aesthetic movement
sculpture, Paris, probably executed in
the late 1800s, brass and bronze dragon
holding a red marble bowl, bowl features a
shield and crest at front, stamped on base
“Auguste Klein Paris”, 12”w x 7”d x 13”h,
953.
955.
14k gold ring, 1960s-70s, square form
with a hammered surface, stamped
“14k”, ½”w, approximate size is 6, 12.0
grams, comfortable, very good original
condition 200-300
954.
956.
958.
Cameo cuff links, 18k gold, horse cameo over carnelian, left
facing and right facing, signed with “18k” and “jbd”, .5”w x .75”h,
nicely executed, very good original condition 1500-2000
1950s 18k gold ladies ring, asymmetrical
form with a half-moon-shaped malachite
disc set vertically in an 18k gold band,
undulating rows of channel-set diamonds
to each side of the stone, stamped “18k”,
approximate size is 4.75, setting is 1”w,
961.
168
10k gold and carnelian man’s ring,
neoclassic carnelian stone featuring a
helmeted and armored Mars with Venus at
his side, stamped “10k”, approximate size
is 11, setting is 1 1/8” x 7/8”, very good
957.
Art Deco cuff links, gold with etched designs and small
cabochon sapphires, stamped “LE314”, each is .5”w x
5/8”h x 1”long, very good original condition 700-900
960.
959.
Kinetic 18k gold man’s Poker ring,
1940s-50s, rectangular setting with two
inset pivoting playing card elements
with red and black enamel, 20.2 grams,
approximate size is 9.5, setting is .75”w,
stamped “18k”, very good original
condition 2000-3000
Vintage Monkey pin, 14k gold, inset
sapphire eyes, three-dimensional form
with all-over carving to body that simulates
fur, stamped “14k”, 1.25”w x 1.75”h, very
1950s 14k gold ring, prong-set ruby
cabochon with inset diamond-shaped ruby
on each side of setting, approximate size is
6.5, total weight with stones is 6.8 grams,
ruby is approximately 2.33 ct., stamped
“585", excellent condition 500-700
Fine Tuxedo set, 5 pieces, 14k gold and amethyst, cuff links and three buttons, all with fine gumdrop style amethyst stones,
stamped “14”, cuff links: 5/8”w x 1.75”long, buttons: .5”w x 1.25”long, not scratched, excellent condition 2000-2500
962.
169
Tiffany & Co. ladies 18k yellow gold and diamond necklace, France, bark textured graduated links of 18k yellow gold,
37 evenly spaced brilliant-cut diamonds set in four-prong platinum heads, diamonds are .06ct to 0.17ct estimated
weight each, and are VVS clarity, F-G color, total estimated diamond weight is 4.25ct., tongue-style clasp with hidden
safety, marked “4184C FRANCE Tiffany”, 17” long, 7-10.30mm wide, very good original condition 9000-12,000
963.
Ronald Pearson 14k gold pin, abstract form with four points,
stamped “Pearson 14k”, 12.0 grams, 3”w, very good original
condition 300-500
964.
1950s Italian ring and earring set, 18k gold, onyx and pavé
diamonds, Italy, ring is approximate size 4.75, earrings are 1”h x
.25”w, stamped “Italy 18k”, very good original condition 1500-2000
965.
Vintage cuff links, pair, gold and reverse-painted glass, each with the
face of a one-hair brush painted fox behind clear glass, unsigned,
.5w x 1.25”long, excellent original condition 1500-2000
966.
1940s-50s Celestial Burst pin, gold, three-dimensional gold rods
around a large central freshwater pearl, prong-set brilliant cut
diamonds and rubies, hinged ring to back for use as a pendant,
unmarked, 1.5”dia, excellent condition 1500-2000
967.
Parigi & Prina bar, attribution, Italy, molded white plastic top, tubular
metal base, castors, top with bottle inserts and ice bucket with lid to
center, removable trays, original finish, unsigned, 36.5”w x 20.25”d x
33”h, some yellowing, good original condition 400-600
969.
Verner Panton "Relaxer 2" rocking chair, by Rosenthal, c.1974,
crescent-shaped stained beech wood frame with slatted wood
supports, channeled upholstered cushion, refinished, 25"w x 39"d x
31"h, very good condition 900-1200
971.
170
968.
Shiro Kuramata “Apple Honey” chairs, pair, by UMS-Pastoe, Japan,
c. 1986, square seats with black vinyl upholstery, enameled steel
legs, tubular chromed steel backrests, original finish, 18.75”w x 20”d
x 28.75”h, excellent condition 700-900
970.
Philippe Starck “Lola Herzburg” freestanding sink/washbasin, by Rapsel,
Italy, chromed brass and stainless steel, two removable soap holder trays,
basin is 20”dia x 35”h, very good original condition 500-700
Pierre Paulin Ribbon chair and ottoman, by Artifort, the Netherlands, original rust-colored wool upholstery over a foam-covered metal frame on a
black lacquered base, each with Artifort label, 40"w x 30"d x 27"h, ottoman: 29"w x 19"d x 16"h, wear to fabric, good original condition 2000-3000
972.
1980s stools, pair, heavy polished metal rocket ship bases with three
legs, original red ultrasuede upholstery, unsigned, 16”dia X 17.5”h,
973.
Paolo Soleri posters, set of 16, in the original carton with the
accompanying booklet, created for the 1970 Paolo Soleri Retrospective
at Corcoran Gallery, box: 10”w x 10”d x 10.5”h, each poster is 9”h x
44”w, some fading, very good original condition 200-300
974.
Memphis Style table lamp, designer unknown, black, white and
red enameled metal, removable top diffuser, textured glass shade,
original finish, unsigned, 10.5”dia x 11.25”h, very good original
condition 300-500
975.
Studio 65 “Marilyn” sofa, by Gufram, Italy, 1980s, original stretchy
red fabric over polyurethane foam, unsigned, 83”w x 32”d x 33”h,
losses and stains to fabric, losses and stains to fabric, otherwise
good original condition, 1000-1500
976.
171
Design Institute of America dining table, metal frame with bronze-colored finish supports eight glass disks
and a large elevated center shelf, glass connects to base via small screws and has polished metal disks at
center, original finish, unsigned, 90.5”w x 48.5”d x 29.5”h, center: 37.5”h, excellent original condition 600-800
977.
Pierre Cardin table lamp, France, attribution, square base of
polished and black enameled metal, cloth shade with banded
metal trim, original finish, signed with “Made in France” label,
base: 5.25”w x 5.25”d x 10”h, shade is 17”w x 17”d x 16.25”h,
light wear to shade, base is in excellent condition 400-600
980.
Grosfeld House console, pedestal wood base with the original
red leather covering to the top with stamped gold trim, original
finish, 31.75”w x 15”d x 30.5”h, excellent condition 800-1000
Lorin Jackson china cabinet, for Grosfeld House, USA, 1940s,
curved front, bleached mahogany, lighted upper cabinet with two doors
with vertical acrylic rods, four glass shelves, mirrored back wall, two
lower doors with large acrylic medallion door pulls, original finish, key
included, 42”w x 18.5”d x 78”h, excellent condition 1000-1500
979.
1970s occasional table, designer unknown, birch,
square form with four legs featuring a draped fabric
carved design, original finish, unsigned, 27.25”w x
27.25”d x 22.5”h, very good original condition 200-300
981.
172
978.
Philip & Kelvin LaVerne “Creation of Man” coffee table, rectangular bronze top with cut corners and acid-etched decoration, two
fluted platform bases, original finish, signed in the surface of the top, 65”w x 23.5”d x 18”h, excellent original condition 3500-4500
982.
985.
173
Tommaso Barbi floor lamp, Italy, 1970s, a large brass leaf shade
is supported by a brass floor ring, original finish, signed with Made
in Italy label, 17"w x 18"d x 66.75"h, leaf is 17"w, very good original
condition 900-1200
Philip and Kelvin LaVerne "Chan" coffee table, 1960s, pewter,
bronze and enamel top with acid-etched and carved Asian motif
faceted platform base, signed in surface of top, Philip LaVerne
Galleries paper label, also includes a detailed description of the
Chan era on LaVerne letterhead, 47"dia x 17.5"h, excellent original
condition 3500-4500
983.
Alessandro Pianon “Pulcini” bird sculpture, for Vistosi, Murano,
Italy, 1960s, dark green glass with red murrines, copper feet, applied
glass eyes, 4”w x 4.25”d x 8.25”h, broken weld to foot, glass is in
984.
Karl Springer small console or occasional table, by Karl Springer
Ltd., New York, original goatskin over wood, original finish, signed
with round leather Karl Springer Ltd. label, 30”w x 15”d x 21.5”h,
986.
Large 1950s wall sconce, in the style of Fontana Arte, brass, curved
fronds support three lights with glass ring bobeches, unsigned, original
finish, 15”w x 11”d x 21”h, very good original condition 300-400
987.
Eero Saarinen Womb chair, by Knoll, light green wool upholstery over
chromed steel frame, 38"w x 34"d x 36"h, very good condition 900-1200
989.
990.
174
Norman Cherner armchairs, pair, by Plycraft, 1964, upholstered
seat and backrest, bentwood arms, plywood seats, original finish,
signed with Plycraft label to one, 27”w x 24”d x 31”h, small tear to
one seat, good original condition 1000-1500
Florence Knoll cabinet, by Knoll, teak, one door, five small drawers, two file drawers, polished steel base, original
finish, 74.25”w x 18”d x 25.75”h, one very tiny chip to edge of top, otherwise excellent original condition 3500-4500
Eero Saarinen stools, four, by Knoll, aluminum bases with the
original fused white plastic finish, seats swivel, original dark brown
wool upholstery, original finish, 15”dia X 15.5”h, wear to upholstery,
992.
988.
991.
Kurt Versen wall lamp, by Kurt Versen Inc., 1940s, original dark red
enameled steel form with adjustable aluminum shade, adjustable
neck, shade is 14”dia, 31”long, good original condition 200-300
Marcel Breuer coffee table and end tables, two, by Gavina, white laminate tops, tubular chrome bases, original finish, coffee table: 53.5”w
x 18.75”d x 13.5”h, end tables: 18.75”w x 17.75”d x 18”h, each end table with a Gavina label, very good original condition 500-700
993.
Lewis Butler for Knoll Associates coffee table, 1950s, rectangular
top composed of one black laminate square and one white laminate
square, black iron frame, original finish, signed with Knoll Associates
label, 48”w x 24.5”d x 16”h, excellent original condition 300-500
996.
995.
Laurel floor lamp, 1960s,
brushed chrome frame
with adjustable height post,
unsigned, height adjusts
from 46" to 64", original
shade, excellent original
condition 400-600
998.
175
994.
Walter Von Nessen floor lamp, brushed steel, adjustable standard
with curved stem supports an adjustable shade that rotates and
can be positioned as a downlight or as an uplight, original bakelite
handle, three sockets, cloth shade, stamped "Nessen Studios" on
base, 48"h, very good original condition 800-1000
Harry Bertoia dining chairs, set of six, by Knoll, white coated wire
construction, original tan vinyl seat pads, 21"w x 20"d x 29.5"h,
glides missing, otherwise excellent original condition 800-1000
997.
Hansen floor lamp, polished
metal, original finial, no
shade, base stamped
“Hansen Lamps New York”,
15”w x 48”h, good original
condition 400-500
Florence Knoll lounge chairs, pair, by Knoll Associates, tufted seats and backrests, polished steel
bases, original tan leather upholstery with glazed finish, each signed with Knoll Associates label,
32”w x 31.5”d x 30”h, some wear to leather, otherwise very good original condition 2000-2500
999. Modernist sculpture, figural form in
cast bronze over a marble base, signed
illegibly and numbered 1/24, appears
to read “Lopez”, 5”w x 5”d x 29.75”h,
1000. Brutalist sculpture, steel, 1950s-60s,
two figures over a triangular wood base,
appears to be signed “Engeles”, 12”w x
12”d x 37”h, excellent condition 500-700
1001. Isabel Simon sculpture, attribution, 1950s,
“Winged Ascension” bronze form of winged
figures, travertine marble base, signed with
illegible marks to the bronze base, 6”w x
6”d x 31”h, chips to marble 400-600
1002. John Widdicomb console, in the style of Mastercraft, low form with black lacquered
cabinet with chamfered top and three shallow drawers over solid cast brass legs,
original drawer pulls, signed with John Widdicomb label, includes original catalog
tear sheet, 62.5”w x 17.5”d x 23.5”h, very good original condition 400-600
1003. French floor lamp, 1940s,
maker unknown, standard
is composed of four vertical
supports alternating between
brass and steel, black paper
shade, European plug, heavy
and well made, original finish,
unsigned, base: 54”h, with
shade: 68”h, good original
condition 400-600
1004. Large Italian dining table, maker unknown, rectangular form of brass and polished metal, square
brass details, brass supports, glass rests on four brass pegs and is slightly elevated above the base,
5/8” thick top (no chips), original finish, 72”w x 42”d x 29”h, very good original condition 800-1000
176
1005. Belgian light fixture, geometric brass structure supports twelve lights
with dark metallic housings, brass support rod and ceiling cap, original
finish, signed with “Fabricant” S.A. Boulanger Belgique” paper label,
25"w x 25"d x 30"h, very good original condition 600-800
1006. Style of Paul Evans occasional table, small round form with black
laminate top and textured resin base with bronze finish, unsigned,
33.5”w x 29”d x 17.75”h, very good original condition 400-500
1007. 1970s ottomans, three, irregularly shaped geometric forms entirely
upholstered in cream-colored upholstery, unsigned, 22”w x 20”d
x 17”h, 18”w x 16”d x 17”h, and 16”w x 16”d x 17”h, very good
condition 200-300
1008. Evans Style Brutalist Sculpture, 1972, painted iron, dated and
signed illegibly on base, 30.5”w x 80.5”h, some wear to base, very
1009. 1970s cube chairs, pair, even-arm forms with bronze-finished metal bases, cream-colored
quilted upholstery, 36”w x 36”d x 31”h, reupholstered, unsigned, very good condition 600-800
177
1010. Los Castillo charger, Taxco, Mexico, copper
with sterling silver inlay, abstract bird design,
stamped “Los Castillo Taxco Metales Castillo
handwrought”, 12.5”w, needs polishing,
1011. Alfredo Burlini sculpture, “Family Unity”,
two-part bronze form over a black Lucite
base, sculpture signed "Alfredo Burlini
1977" and numbered 1/10, label under
base indicated title, 6.25”w x 6”d x 17.5”h,
1013. Danish coffee set, sterling silver, wood handles, pot with hinged lid,
signed “925 Sterling HGY Made in Denmark” on each, pot: 7.75”w x
8.25”h, sugar: 6”w x 3.5”h, very good original condition 800-1000
1015. Just Andersen candlesticks, pair, Denmark, bronze, Denmark, marked
"JUST B1476", 9.25"w x 5.5"h, very good original condition 600-800
1017. Ruth Duckworth tea bowl vase,
porcelain with green drip glaze, incised
“R” to bottom, 4.5”dia x 3”h, crazing, mint
condition 300-400
178
1012. Modernist sculpture maquette, artist
unknown, 1950s, in the style of Jean
Arp, plaster with applied verdigris patina,
acrylic base, 9.5”w x 5”d x 10.5”h, very
1014. Kristian Vedel bird figure, oak, with two rosewood bird figures,
maker unknown, each composed of two pieces so that the head can
be positioned as desired, original finish, oak bird is 4.75”h, rosewood
birds are 4.5”h, excellent condition 400-500
1016. Rorstrand ceramics, two, small Gunnar Nylund dish, blue-green
glaze with vertical incised lines, marked “Sweden GN ASH”, 3.5”dia
x 2”h, with a Carl-Harry Stalhane dish, cream-colored glaze, glaze
miss to rim, marked “Sweden CHS”, 7.75”w x 5.5”d, each marked
“Rorstrand”, mint condition 200-300
1018. Peter Ipsen vase, Denmark, multi-hued
brown glaze, applied copper design to rim,
marked “P. Ipsen 402 Kobenhavn Enaret”,
4.5”dia x 4.75”h, mint condition 200-300
1019. Eugene Deutch vase, 1951, textured
ceramic covered in a blue and brown
glaze, signed “E. Deutch 1951” on bottom,
6”dia X 5.75”h, mint condition 300-400
1020. Rare Russel Wright “Theme Formal” china, by Yamato China Co., Ltd., Japan, 1965, white porcelain, set consists of coffee pot with lid, 2 covered
casseroles, open vegetable dish, 2 covered sugar dishes, 7 dinner plates, 3 salad plates, 5 bread & butter plates, 8 cups, 11 saucers and one small
bowl, tiny nick to one covered casserole, signed on bottom, coffee pot: 11”h, dinner plate: 10.5”dia, overall excellent original condition 3000-4000
This set of china was featured in the exhibition “Russel Wright: Living with Good Design”, which traveled to four US cities in 2007-2008. Examples of
Theme Formal are included in the Metropolitan Museum of Art’s collection.
1021. Bunni Sovetski wood sculpture, hand-carved, original finish, signed
on base “Bunni”, 17.75”h, very good original condition 100-200
1023. Max Fleischer sculpture, bronze, wood base, signed
“Fleischer”, 10.5”w x 4”d x 6.75”h, excellent condition 200-300
1022. Pal Kepenyes sculpture,
metal figure over a wood
base, open to torso reveals a
red painted heart, inscribed
signature on back of torso “Pal
Kepenyes”, 12”h, very good
1025. Dennis Jones sculpture,
“Opposed Tension,” c.1990,
geometric stainless steel
form over a black laminated
base, can be removed from
base, study for a larger work
executed for the Tucson
Museum of Art, 14.5”w x
10.25”d x 50”h, base only:
38”h 1000-1500
1024. Maitland Smith lidded box, tesselated stone over wood with solid brass trim, hinged top,
interior is wood-lined, original finish, 19.25”w x 8”d x 7”h, excellent original condition 400-600
179
1026. Vasa (Velizar Mehich, b. 1933) Pyramid
sculpture, blue acrylic, etched signature
“#1058 Vasa 1977”, 15”w x 10.25”h, very
1029. Ercole Barovier vase, for Barovier &
Toso, Murano, Italy, attribution, 1950s,
translucent blue glass with swag prunts,
unsigned, 7.25”dia x 10”h, tiny chip to
bottom edge, scratches to bottom, very
1027. Venini obelisks, pair, attributed, solid
blue bases supporting solid clear cones
with internal orange spirals, 11"h, mint
condition 300-500
1030. Raymond Loewy “Confetti” china, by Continental China, Germany, set of 77 pieces, includes 18 dinner
plates, 18 salad plates, 18 bread plates, 14 saucers (no cups), teapot with lid, creamer, 13” platter, 15”
platter, large serving bowl, 2 soup bowls, 2 deep bowls with shaped rim (shown far right), all signed, a
few are marked “Johann Haviland Bavaria Germany”, very good original condition 300-400
1031. Midcentury sculpture, colorful glass elements in yellow, orange and
red suspended on metal wires, rectangular wood base, original finish,
unsigned, 14.5”w x 6.5”d x 19.5”h, very good original condition 1000-1500
180
1028. Edvin Ohrstrom for Orrefors "Ariel" bowl,
alternating pattern of clear air-trap and
burgundy striped glass, clear foot, c.1952,
signed "Orrefors E. Ohrstrom", 6"dia x
2.5"h, mint condition 300-400
1032. Loredano Rosin sculpture, large solid acrylic form in the shape of a
faceted stone, rests on a rectangular acrylic base, signed “Loredano
Rosin” on lower edge of sculpture, 13”w x 6”d x 17”h, excellent
condition 500-700
1033. Alfredo Barbini glass toucan sculpture,
1969, translucent tinted glass, signed
“A.Barbini 1969”, 7”w x 14”h, bottom not
entirely flat, mint condition 200-300
181
1034. Marc Bellaire “Mardi Gras” sculptures,
three, hand-painted glazed ceramic forms
with gold trim, two dancers on a metal
stand (removable), one seated figure, all
signed “Bellaire”, dancers: 12”w x 30”h,
seated figure:9.5”w x 15.5”d x 10”h, one
extra metal stand included, small chip to
foot of one dancer, otherwise excellent
condition 600-800
1035. C. Jeré kinetic sculpture, 1967, a dark
green wood base, metal rods support
brass and colorful plastic elements,
signed, 4”w x 3.5”d x 23.25”h, excellent
condition 600-800
1036. Large Marc Bellaire display items, two, hand-painted ceramic, small
disk with prominent text: “Original Ceramic Artware by Marc Bellaire”
with a Mardi Gras figure, large platter divided into four quadrants:
Aztec Mood, Dragon Flies, Mardi Gras and Meadowlark, unsigned,
disk: 8”dia, platter: 16.5”dia, chip to edge of large platter 200-300
1037. Large Marc Bellaire “Mardi Gras” platter, with a smaller plate, handpainted ceramic, each signed “Marc Bellaire”, large seated figure plate
also marked with a paper Exhibition label, seated figure: 16.5”dia,
smaller plate with black background has a more matte finish and is
12.5”dia, three tiny nicks to edge of large platter 200-300
1038. Murano glass vase, Italy,
large form in red glass with
gold leaf inclusions and large
controlled bubbles, black
glass base and applied rim
also with gold inclusions,
signed Murano and numbered
“11-6-2000”, 8”dia X 18”h,
1040. Barovier & Toso vase,
cylindrical form in clear glass
with red and opalescent white
swags, 12”h x 8”dia, very
1039. Franco Moretti vase, bulbous
form in iridescent clear glass
with heavy inclusions of gold
foil and applied flower forms
in red, yellow blue green
and black, c.1930, etched
signature, 13.25”h, mint
condition 400-600
1041. Venini “fili applicati” vase,
designed by Napoleone
Martinuzzi, translucent deep
green conical body with applied
vertical canes of red, 11.5”h,
1042. Sonneman floor lamp, polished
cantilevered tubular chrome form over
a disc base, 25.5”w x 45”h, excellent
condition 300-400
1043. Vladimir Kagan floor lamp, USA, three
aluminum tubes of varying heights, matte
black interior, 48"h, very good original
condition 400-600
1045. Vladimir Kagan coffee table, attribution, USA, sculptural walnut
base with three legs and three supports, irregularly shaped glass top,
original finish, glass is not symmetric and may have been altered,
58.5"w x 33.5"d x 16"h, very good condition 1000-1500
1044. 1960s floor lamp, black iron ring base
in the style of Ben Seibel, adjustable
shade with black enameled and polished
aluminum original finish, unsigned, 50”h,
1046. Tobia Scarpa “Pigreco” chairs, pair, by Gavina, rosewood, made
in Italy, curved backrest, original finish, signed with Stendig labels,
21.75”w x 17”d x 24”h, very good original condition 400-600
1047. Johnson Furniture Co. cabinet, walnut, four doors with geometric pattern to front, eight drawers behind each
pair of doors, original finish, signed with John Stuart medallion, 76”w x 19”d x 32”h, excellent condition 700-900
182
1048. Lightolier “Sputnik” light fixture, 1970s,
twelve polished chrome arms with the
original smoked glass globe shades,
matching chrome ceiling cap (not shown),
signed with Lightolier label, 23”w x 20”h,
1049. Alfred Burlini sculpture, 1979, polished
metal over a black lucite base, signed “2/10
Alfredo Burlini 1979”, overall: 22.25”h,
1051. Milo Baughman coffee table, polished chrome base, round top over four
legs, inset glass top, 49”dia X 15”h, very good original condition 700-900
1050. Paul Evans table lamps, pair, attribution,
burled wood and chrome, original
finish, unsigned, base only: 5”w x 5”d x
10.75”h, no shades, very good original
condition 500-700
1052. Karl Springer style tessellated fossil stone coffee table, possibly
by Maitland Smith, square top with inlaid brass detail, original finish,
unsigned, 40"sq x 15"h, excellent original condition 000-000
1053. Vladimir Kagan Capricorn lounge chairs, pair, wire frames, original vinyl upholstered pads, original
finish, 22”w x 36”d x 38”h, fading to pads, wear to finish, very good original condition 1200-1500
1054. Afra and Tobia Scarpa “Bastiano" chairs, pair, by Knoll in Italy and imported by Stendig, rosewood frames with fabric-covered loose
cushions, lightly cleaned original finish, marked with Stendig label, 35.5”w x 30”d x 27”h, some fading, very good condition 400-600
183
1055. Arne Jacobsen Ant chairs and tables, by Fritz Hansen, Denmark, rosewood, round table top cover
over four metal legs, four three-legged chairs, original finish, chairs signed with Fritz Hansen stamp,
table : 47"dia x 27"h, chairs: 18"w x 20"d x 30"h, some wear, good original condition 2000-2500
1056. Alvar Aalto chairs, pair, black seats, bentwood birch frames, original finish,
unsigned, 24”w x 28”d x 28”h, very good original condition 1000-1500
1057. Bruno Mathsson lounge chair, beech
frame, replaced straps, original finish,
signed with EDV-Wilberg Mobelfabrik
Moelv label, 22.5”w x 26.5”d x 32.5”h,
1058. Danish cabinet, by Jydsk Mobelindustri, Denmark, teak, four central drawers flanked by sliding doors, cutout
pulls, back is finished, original finish, signed, 71”w x 18.5”d x 27.5”h, very good original condition 1000-1500
184
1059. Extra-large Poul
Henningsen style PH lamp,
maker unknown, white
enameled metal, 48”dia x
20”h, to top of rod: 42”h,
some bends, very good
condition 500-700
1060. Extra-large Poul
Henningsen style PH lamp,
maker unknown, white
enameled metal, 48”dia x
20”h, to top of rod: 42”h,
some bends, very good
condition 500-700
1061. Charles & Ray Eames
DCM dining chair, by
Herman Miller, 1950s,
molded ash plywood seat
and back on black metal
frame, early glides, all
original shock mounts,
original finish, 19.5"w x
20.5"d x 29"h, wear to
finish of legs and wood,
1062. Charles & Ray Eames
DCM dining chair, by
Herman Miller, 1950s,
ebonized molded ash
plywood seat and back on
metal frame, original feet
missing, original finish,
all original shock mounts,
19.5"w x 20.5"d x 29.5"h,
rust to frame, wear to
finish, overall good
condition 100-200
1063. Komfort tables, three, Denmark, rosewood, coffee table and pair of end tables, notched glass tops
fit on four posts with small pegs, original finish, one signed with “Komfort Made in Denmark”, coffee:
47”w x 19.5”d x 16.25”h, end: 19.5”w x 19.5”d x 15.25”h, excellent original condition 400-600
1064. Riis-Antonsen rosewood chest, Denmark, lift-top with compartments
over one double drawer and three single drawers, original finish,
signed with branded mark, 23"w x 19"d x 48"h, excellent original
condition 600-800
185
1065. Danish dresser, 1960s, teak, six drawers with cutout pulls, tapered
legs, refinished, unsigned, 30.5”w x 16”d x 43.5”h, very good
condition 600-800
1066. Edward Wormley lounge chairs, pair, by Dunbar, mahogany legs,
brass tacktrim, original orange vinyl upholstery, original finish, signed
with Dunbar fabric in the cushion decking, 29”w x 31”d x 30”h, wear
to vinyl, some missing tacks, good original condition 600-800
1068. Edward Wormley coffee table, by Dunbar, mahogany, round top
over four legs with brass feet, original finish, signed with rectangular
brass tag, 38”dia X 16.5”h, stains to top, good condition 200-300
Not Pictured:
brass tack trim, original orange vinyl upholstery, original finish,
signed with Dunbar fabric in the cushion decking, 29”w x 31”d x 30”h,
wear to vinyl, some missing tacks, good original condition 600-800
1069. Edward Wormley loveseat, by Dunbar, sculptural mahogany legs,
original turquoise vinyl upholstery, original finish, signed with Dunbar
fabric in the cushion decking, 50”w x 32”d x 30”h, wear to vinyl, some
missing tacks, good original condition 800-1200
1070. Edward Wormley loveseat, by Dunbar, sculptural mahogany legs,
original turquoise vinyl upholstery, original finish, signed with Dunbar
fabric in the cushion decking, 50”w x 32”d x 30”h, wear to vinyl, some
missing tacks, good original condition 800-1200
1071. Edward Wormley sofa, by
Dunbar, large curved form
with tufted seat cushions and
down-filled back cushions,
six mahogany legs, original
off-white upholstery, signed
with Dunbar fabric in decking,
97.5"w x 36"d x 29"h, wear to
fabric, otherwise very good
1072. Large Edward Wormley sofa, by
Dunbar, sculptural mahogany legs,
original turquoise vinyl upholstery,
original finish, signed with Dunbar
fabric in the cushion decking, 93”w
x 31”d x 30”h, wear to vinyl, good
186
1073. Early Edward Wormley occasional table, by Dunbar, 1940s, oval top with
raised lip to sides, legs are carved to resemble bamboo, original finish,
signed with early brass tag, stamped “3227”, 29.5”w x 21.5”d x 22.5”h,
wear to finish, some looseness, good original condition 300-500
1075. Dunbar pedestal, rosewood, 1974, oak
trim to top, one spring-loaded door with
concealed hinge, dated, two shelves to
interior, original finish, signed with Dunbar
paper showroom sample label, 15”w x 15”d x
42”h, very good original condition 300-400
1074. Edward Wormley coffee table, by Dunbar, large rectangular top over
one shelf, brass stretchers, top is rosewood-patterned laminate, frame
is mahogany, original finish, signed with rectangular brass tag and
paper label, 48”w x 28”d x 22”h, very good original condition 400-600
brass tack trim, original dark blue-green vinyl upholstery, original finish,
signed with Dunbar fabric in the cushion decking, 29”w x 31”d x 30”h,
wear to vinyl, some missing tacks, good original condition 600-800
1077. Large Edward Wormley sofa, by Dunbar, sculptural mahogany legs, original
turquoise vinyl upholstery, original finish, signed with Dunbar fabric in the cushion
decking, 93”w x 31”d x 30”h, wear to vinyl, good original condition 1200-1500
187
1078. Edward Wormley upholstered bench, by Dunbar, mahogany frame
with brass spacers, original light blue vinyl upholstery, original finish,
65”w x 18”d x 14.5”h, very good original condition 700-900
1079. Edward Wormley wedge table, by Dunbar, trapezoidal top with
wood grain laminate surface, mahogany frame, original finish, signed
with green metal Dunbar tag, 20.5”w x 23.75”d x 22.5”h, excellent
1080. Edward Wormley cabinet, by Dunbar, mahogany, No. 4566, six
drawers, five drawers with angled fronts, original light finish, 42"w x
19"d x 33"h, very good original condition 600-800
1081. Small Edward Wormley bench, by Dunbar, mahogany frame with
brass spacers, original light blue vinyl upholstery, original finish, 33”w
x 18.5”d x 15”h, very good original condition 400-500
1082. Edward Wormley upholstered bench, by Dunbar, mahogany frame with brass spacers, original light
blue vinyl upholstery, original finish, 65”w x 18”d x 14.5”h, very good original condition 700-900
1083. Edward Wormley Janus Collection chairs, pair, by Dunbar, mahogany, original upholstery, original finish, each signed
with rectangular brass tag, 27.25”w x 27”d x 29.5”h, upholstery shows age, very good original condition 1200-1500
188
1084. Edward Wormley ottoman, by Dunbar, from the Janus Collection,
mahogany frame, white cotton upholstery with fringe, original finish,
signed with brass metal tag, 18”dia x 16”h, very good condition 600-800
1085. Edward Wormley magazine tree, by Dunbar, birch trunk and limbs
with sap walnut shelves, original finish, signed with green metal
Dunbar tag and stamped “Dunbar for Modern”, 28"w x 16"d x 25"h, top
refinished, one cracked shelf, overall very good condition 1500-2000
1086. Edward Wormley "Sheaf of Wheat" occasional table, by Dunbar,
round travertine top supported by laminated ash plywood base,
original finish, signed with green metal tag, marble stamped “Made in
Italy Carrara” 27"dia x 25"h, good original condition 1200-1500
1087. Edward Wormley game table, by Dunbar, square putty-colored
formica top with star-shaped cutouts that reveal natural wood,
bleached mahogany base, original finish, signed with rectangular
brass tag and label, 32”w x 32”d x 28.5”h, wear to finish, good
1088. Edward Wormley Janus Collection armchairs, pair, mahogany frames with the original
green wool upholstery, original finish, one signed with rectangular brass tag, 27.25”w x
27”d x 29.5”h, wear to tips of arms, otherwise very good condition 1200-1500
189
1089. Hans Wegner chairs, oak, set of four, by Fritz Hansen, curved backrest, three legs, original black leather upholstery, original finish,
signed with Fritz Hansen and Poul Dinesen stamps, 23.5”w x 19”d x 29”h, wear to leather, good original condition 900-1200
1090. Arne Vodder occasional table,
rosewood, green masonite shelf
and top, top has three round
cutouts, original finish, unsigned,
24.5”w x 24.5”d x 18”h, very
1091. Kurt Ostervig bookcase, Denmark, four adjustable shelves, teak
and beech, refinished, signed with Int’l Designer Group metal tag,
41”w x 16”d x 70.5”h, very good condition 300-400
1092. Arne Vodder lounge chair and ottoman, by Povl Dinesen,
rosewood, chair reclines, ottoman adjusts, removable headrest
cushion, original black leather upholstery, original finish, unsigned,
chair: 31”w x 32”d x 41”h, ottoman: 23”w x 19”d x 15.5”h, very
1093. Westnofa cabinet, rosewood, eight drawers, made in Norway, platform base, back is finished,
original finish, signed with Westnofa label, 71.5”w x 18”d x 28”h, excellent condition 800-1000
190
1095. Ib Kofod-Larsen lounge chairs, pair, by Selig, stained plywood
frames with rounded shape and spindle backs, replaced woven silk
upholstery, refinished, unsigned, 33.5”w x 28”d x 32”h, excellent
condition 600-800
1094. Erik Buck barstools, pair, by Oddense Maskinsnedkeri A-S, made
in Denmark, 1960s, teak frames with rosewood footrests, seats
upholstered in original black vinyl, both signed, original finish, 15.5"w
x 17.5"d x 29.5"h, excellent original condition 700-900
1096. Danish turned wood table lamps, pair,
teak, each with a slightly different base,
cloth drum shades, original finish,
unsigned, as shown: 32.5”h, bases: 22”h,
1097. Danish desk, rosewood, seven drawers to one side, one with lock,
locking drop-front and open storage to the other side, no key, original
finish, unsigned, 55”w x 29.25”d x 29”h, light wear, very good original
condition 400-500
1098. 1960s sideboard, possibly Scandinavian, four center drawers flanked by two doors, one shelf behind each door, original
sculptural carved wood pulls, tapered legs, unsigned, refinished, 72”w x 18.5”d x 30”h, excellent condition 700-900
191
1099. Mario Tempestini rocker and side table, by Salterini, wrought iron,
original black finish, rocker: 22.75”w x 30.5”d x 27”h, side table:
25.5”w x 18”d x 17”h, excellent original condition 300-500
1100. Mario Tempestini loveseat, by Salterini, wrought iron, original black
finish, 42”w x 22”d x 28.5”h, excellent original condition 300-500
1101. Mario Tempestini table and four chairs, by Salterini, wrought iron,
original black finish, table: 36.5”dia x 24”h, chairs: 22.75”w x 24”d x
1102. Mario Tempestini loveseat, by Salterini, wrought iron, original black
finish, 42”w x 22”d x 28.5”h, excellent original condition 300-500
1103. Arthur Umanoff “Mayan” patio set by Shaver-Howard, table with glass top, four chairs with sun decoration to
backrest, wrought iron frames, black vinyl seat pads, original upholstery, original finish, table: 42”dia x 29.5”h,
armchair: 19.75”w x 22”d x 34.5”h, side chair: 18”w x 17.5”d x 36.25”h, very good original condition 600-800
192
1104. Russell Woodard rocking chair, wire
frame and runners with white finish,
original finish, 27”w x 28”d x 28.5”h,
1105. Richard Schultz Leisure Line chaise lounge, two, by Knoll, white coated aluminum frame on
two wheels supports brown and white mesh seat, adjustable back, 25.5"w x 74"d x 26.5"h, wear
and staining to mesh, rubber trim missing from one wheel, overall good condition 500-600
1106. Richard Schultz Leisure Line dining/lounge chairs, four, white and brown vinyl and mesh seats in cast aluminum
frames with white coated finish, 26"w x 28"d x 26"h, wear to finish, discoloration to fabric, good condition 600-800
1107. Russel Woodard outdoor dining set, table and 8 chairs, 1950s, octagonal faux slate top with hole at center for umbrella over a painted
metal base, 8 wire mesh chairs, table: 59.5”dia x 26”h, chairs: 19.25”w x 24”d x 33”h, original finish, very good condition 800-1000
193
1108. T.H. Robsjohn-Gibbings coffee table, by Widdicomb, elliptical top
over tapered legs with block detail, walnut, contrasting grain to edge,
stamped “Sherry 2/56 3350” and signed with “Widdicomb designed
by Robsjohn-Gibbings” label, 50”w x 25.5”d x 16”h, refinished,
1109. T. H. Robsjohn-Gibbings desk and chair, by Widdicomb, mahogany,
“Sherry” finish, seven drawers with rounded birch trim, chair with
upholstered seat and back and rounded armrests, original finish,
signed with partial label, chair: 21”w x 22.5”d x 32”h, desk: 48”w x
24.5”d x 31.25”h, very good original condition 400-600
194
1110. 1960s teardrop mirror, brass and glass, ring to top for hanging,
original finish, 13.5”w x 33”h, excellent condition 300-500
1111. T. H. Robsjohn-Gibbings cabinets, pair, by Widdicomb, mahogany,
“Sherry” finish, each with three drawers, slab sides, original finish,
each signed with cloth Gibbings/Widdicomb label, 34.5”w x 21.5”d x
30.5”h, very good original condition 400-600
1112. T. H. Robsjohn-Gibbings dresser, mahogany, “Sherry” finish, five
drawers, by Widdicomb, original finish, signed with partial cloth label,
34.5”w x 21.5”d x 48.5”h, very good original condition 200-300
1113. Large T. H. Robsjohn-Gibbings mirror, by Widdicomb, walnut
frame, 1956, “Sherry” finish, original finish, signed with Widdicomb
Furniture Company paper label, 33.25”w x 2”d x 57.25”h, excellent
1114. 1960s hanging light, glass and brass-plated metal, suspended twists
and discs in both materials, matching glass ceiling cap, original finish,
unsigned, 24”dia x 22”h, very good original condition 900-1200
1116. T. H. Robsjohn-Gibbings folding table, attribution, bleached
mahogany with decorative veneer pattern, top folds open to double
the size of the surface area, original finish, unsigned, closed: 36”w x
36”d x 29.5”h, open: 72”w, very good original condition 500-700
1115. Victor Salmones bronze sculpture, Mexico, number three from
an edition of ten, on a brushed lucite base, stamped marks "V.
Salmones 3/10 e43", 13.25"w x 11"h, excellent condition 800-1000
1117. Harvey Probber coffee table, attribution, round top composed of
travertine veneer set in pie-shaped wedges over a plaster structure,
mahogany base with arched detail, original finish, unsigned, 42”dia x
15.5”h, small chips to edge, very good original condition 400-600
1118. T. H. Robsjohn-Gibbings lounge chair and ottoman, by Widdicomb, rounded frames in bleached walnut, spindle back, original light
blue tufted upholstery, original finish, chair: 26”w x 32”d x 31”h, ottoman: 27”w x 27”d x 17.5”h, very good original condition 2000-3000
195
1119. Paul McCobb dining chairs, four, by Calvin, mahogany frames, original tan leather woven seats and
backrests, original finish, unsigned, armchair: 22.5”w x 23.5”d x 35.5”h, very good original condition 600-800
1120. Paul McCobb sofa, by Custom Craft, trim form with classic 1950s styling, tapered wood legs, original upholstery,
signed with Custom Craft label, 76”w x 32”d x 30”h, wear and stains to fabric, good condition 600-800
1121. Paul McCobb Connoisseur Collection dining chairs, six, mahogany wood frames with caned backrests, original black leather upholstery,
original finish, signed with Connoisseur Collection/H. Sacks & Sons labels, 16.5”w x 21”d x 34.5”h, excellent condition 800-1000
196
1122. Large Murano glass lamps, pair, opaque
white glass forms, gilt wood bases,
original finish, glass portion: 23”h, base:
27”h, overall: 41”h, no chips, excellent
1123. Russel Wright cabinet, by Conant Ball, six drawers, maple,
original finish, signed with branded mark in drawer, 58.25”w x 20”d
x 32”h, light wear to finish, very good original condition 300-500
1124. Paul McCobb sofa, by Custom Craft, trim form with classic 1950s styling, tapered wood legs, original blue upholstery,
signed with Custom Craft label, 76”w x 32”d x 30”h, some hardening to foam, very good original condition 600-800
1125. Style of C. Jeré tree sculpture, dandelion
form with brass finish, wood base, unsigned
26”w x 51”h, excellent condition 400-600
197
1126. Paul McCobb Planner Group cabinet and bench by
Winchendon, four-drawer cabinet, original aluminum ring pulls,
bench with four tapered legs, original finish, 60”w x 19”d x 26”h,
light wear to finish, very good original condition 400-600
1128. 1950s coffee table, designer unknown, round black laminate top with notches to
allow for the four leg posts, sculptural wood frame with cross-stretchers, original
finish, unsigned, 40”dia X 13.75”h, very good original condition 200-300
1127. Jens Risom armless sofa, by Jens Risom Design Inc., striped upholstery,
walnut frame with exposed supports to back, signed with Jens Risom
label, 73”w x 30”d x 31h”, very good original condition 1500-2000
1129. 1950s rattan bar, carved form covered in vertical bamboo rods, wood top and base, brass foot
rail, back side consists of sliding doors, drawers and a pull-out work surface, one drawer lined
with zinc, original finish, unsigned, 70”w x 24”d x 42.75”h, very good original condition 500-700
1131. Jens Risom sofa/daybed, by Jens Risom Designs, Inc., walnut, seat slides forward, original
upholstery to seat cushion and backrest, original finish, unsigned, 82.5”w x 36”d x 30”h,
open: 44”d, some wear to upholstery, otherwise very good original condition 600-800
198
1130. Large C. Jeré tree
sculpture, large form with
philodendron style leaves,
bronze finish, painted wood
base, signed “C. Jeré 70”,
26”w x 72”h, very good
1132. John Follis Architectural
Pottery planter, USA,
stoneware bisque form
with removable ring to top
and original cross-shaped
wooden stand, 22"dia x
12.25"h very good original
condition 500-700
1133. John Keal tables, pair, by Brown-Saltman, walnut frames with inset copper
panels with enameled decoration of a flowering branch, original finish,
each signed with Brown-Saltman label, 18”w x 18”d x 15”h, wear and water
stains to wood, inserts are in very good original condition 150-200
1134. Martz table lamp, by Marshall Studios, ceramic with incised designs
and yellow-green glaze, signed “Martz” and has Marshall Studios
label, as shown: 36”h, base only: 21”h, mint condition 200-300
1135. Midcentury sculpture, artist unknown,
folded metal form with copper finish,
appears as candy wrappers, original
finish, unsigned, 23”w x 23”d x 40.5”h,
1136. Jens Risom dining table, by Jens Risom Designs, Inc., walnut,
square top with rounded corners, exposed stretchers, one 15.75"
leaf, 48"sq x 29.5"h, very good original condition 300-500
1137. Jens Risom occasional or console
table, walnut, by Jens Risom Designs,
Inc., original finish, 36”w x 19”d x 26”h,
199
1138. Jens Risom lounge chairs, pair, walnut frames, upholstered seats, original
upholstery, original finish, 30”w x 30”d x 32”h, excellent original condition 600-800
200
20th Century Art & Design
Galleries
Treadway Gallery, Inc.
2029 Madison Road
Cincinnati, OH 45208
(513) 321-6742
Fax: (513) 871-7722
John Toomey Gallery, Inc.
818 North Boulevard
Oak Park, IL 60301
(708) 383-5234
Fax: (708) 383-4828
Arts & Crafts Department
John Toomey
708-383-5234
[email protected]
Don Treadway
513-321-6742
[email protected]
Fine Arts Department
Joe Stanfield
Lucy Toomey
[email protected]
[email protected]
708-383-5234
708-383-5234
Modern Design Department
Lisanne Dickson
708-383-5234
[email protected]
Auctioneers
Jennifur Condon • Kevin Mannella • Lucy Toomey
Directions
Accounting
Anne Dickinson
708-383-5234
[email protected]
Absentee & Phone Bidding
Lucy Toomey
708-383-5234
[email protected]
Shipping Information
Colleen Trimarco
708-383-5234
[email protected]
The auction is being held at 818 North Boulevard (not to be confused
with North Avenue) in Oak Park, a suburb of Chicago.
By automobile from the East; take I-90/94 to 290 West Eisenhower
X-way to Exit 21B, Harlem go north (right) to North Boulevard,
take a right to 818 North Boulevard.
By automobile from the South; take I-57 or I-55 to I-294 (Tri-State
Tollway) continue north until you come to I-290 (Eisenhower xway) go east on I-290 to Exit 21B, Harlem Avenue, go north (left)
approximately 10 blocks under viaduct to North Boulevard, take
right to 818 North Boulevard.
By automobile from the West; take I-80 or the East-West Tollway
to I-290 (Eisenhower x-way) go east on I-290 to Exit 21B, Harlem Avenue, go north (left) to North Boulevard, take right to 818
North Boulevard.
By automobile from the North; take I-90 East to I-294 South, to
I-290 (Eisenhower x-way) go east on I-290 to Exit 21B, Harlem
Ave., go north (left) to North Boulevard, take right to 818 North
Boulevard.
Shipping/Staff
Kevin Mannella • Marty Uribe
Bob Yuro • Joe Mannella
708-383-5234
Photography
Tom Vogel
513-321-6742
[email protected]
Catalog Design • Layout • Production
Carrie White • Kate Wilkins • Dave Warren
513-321-6742
Advertising & Website Development
Dave Warren
513-321-6742
[email protected]
Treadway Gallery Internet
Check our site on the World Wide Web
for the latest information:
http://www.treadwaygallery.com
Catalog price - $35.U.S., $45. Foreign
Photos: All Rights Reserved ©2012 Treadway Gallery
201
TERMS OF SALE: Cash or check with positive I.D. Auctioneer determines the highest bidder and resolves any disputes. All purchases are subject to
state tax unless buyer has proof of exemption or merchandise will be shipped out of state, other than Ohio, no exceptions. Buyers premium is 22%,
if bidding by phone or absentee directly through the Gallery, if bidding via internet buyers premium is 25%. Forms of payment accepted; Check, Money Order,
Bank Wire, Amex, Visa or MasterCard, please note; there is an additional 2.5% added to your premium if paying by credit card. If you are a resident of Illinois
or Ohio, OR are picking up your purchase at our gallery, you must pay sales tax unless you have a valid tax ID number.
Jurisdiction: Buyer agrees that the state and federal courts in Hamilton County, Ohio or Cook County, Illinois shall have exclusive jurisdiction over all
matters arising out of the Buyer’s purchase of items from Treadway/Toomey Galleries, and that service of process in any such proceeding shall be effective if
mailed to Buyer at the Buyer’s address supplied to Treadway/Toomey Galleries.
Late Payments/Default Rates and Fees: If any payment is not paid when due or within 10 days thereafter, or if Buyer defaults in its dealings with Treadway/
Toomey Galleries or breaches Buyer’s obligations, Buyer agrees to pay to Treadway/Toomey Galleries all damages and attorneys fees and expenses, together
with interest at the highest rate allowed by law or 21 percent per annum. Treadway/Toomey Galleries may impose, and purchaser agrees to pay a monthly
storage charge of 1.5 percent of the purchase price as well as a monthly interest charge of 1.5 percent for any lot or item not paid for or removed by purchaser
within 10 days of the sale. Treadway/Toomey Galleries shall have no liability for any damage to property left on its premises after the date of sale. In addition,
Treadway/Toomey Galleries may charge such damages, costs and expenses to any credit card that Buyer has identified to Treadway/Toomey Galleries and
Buyer hereby authorizes Treadway/Toomey Galleries to do so.
Delivery to any location other than auction site carries a transportation charge.
••• Please read our guarantee carefully •••
OUR GUARANTEE: We guarantee the authenticity of every item that we sell for 30 days after the auction, except those lots listed as: “in the
style of”, “attributed to”, “the school of”, “in the manner of”, or “after”. We are not responsible for errors or omissions in the catalog, or in written or oral
condition reports. All measurements are approximate. We make every effort to accurately describe our merchandise, but in the event that errors occur, we cannot
be held responsible. It is the bidder’s sole responsibility to be well-informed before bidding. We sell clocks, lamps, and all electrical items only for their decorative
value. They are not represented to be in working order, but they may be. Bidding in our auctions indicates that you accept these terms and any announced the
day of the sale. Shipping costs are non refundable.
Ceramics offered in this sale are free of repairs, chips or cracks post production unless noted in the description of each lot. Our term “mint” refers to the object
being in the same condition that it was in when originally produced. Sizes are approximate. Crazing, surface scratches, firing lines, bubbles, glaze crawls, stilt
marks, firing flaws and base flakes will be noted if we feel that they are objectionable. Many of these flaws may have occurred when made. Most ceramics can
be crazed, we generally will not mention it. Many producers have ground the bottom of their vases causing minute chips or flakes. Unless we feel that they are
objectionable, they will not be mentioned. Grueby and other makers of carved pots or those with high relief will often have flakes on edges of the leaves or points
in high relief, we will only mention anything we feel objectionable and will still consider these pieces to be mint. Clewell is copper-clad and patinated; this patina
occasionally has small flakes, we mention any we feel is significant. Some framed tiles or plaques may have chips which are hidden by their frames. We will not
be responsible for their disclosure unless we feel it is significant. Some pieces will be dirty or stained, this will usually not be mentioned. In any case, if you are
particular about minor flaws, you should examine pieces in person or have our staff answer any questions. Please ask questions before you buy.
Furniture has its original hardware and wood unless otherwise noted. Finishes and marks are carefully described. Some original finishes have minor restoration
such as added color or a recoating. We will describe to the best of our ability, but it is the buyers responsibility to obtain an in depth description. The wood is oak,
unless otherwise stated, and the dimensions are approximate. The furniture is old and over the years has acquired a few dents, drink rings, separations, burns,
chips and assorted flaws. We will only mention those that we feel are objectionable. When we describe a piece of furniture as being in “excellent condition”, it
generally implies that the finish is original and the structure is in fine shape. A piece that has been totally or partially refinished and is in good structural shape
will generally be described as being in “very good condition”. A piece that needs to be refinished or that has a less than stable structural state (i.e. needs gluing,
redoweling, etc.) may be generally described as being in “good condition”. The majority of this furniture is ready to be put in the home.
Carpets, Rugs and textiles will be described on their overall condition. A piece that is without holes or major wear, but needing minor side or end repair will
be described as in excellent condition. Pieces containing reweaves, re-piling or other professional repairs will be described as in very good condition. Pieces
with wear or flaws and possibly needing repair will be described as in good condition. Certain pieces are rare in any condition and may be described as good
condition regardless of appearance.
Lamps will be described based on patina and condition of glass. Leaded lamps may have cracked segments, most will. Some parts may have been replaced
through the years, and we will mention it if we feel objectionable. Shades with mica may contain minor flaking or burn spots that will be mentioned if we feel
objectionable.
Metalwork will be described based on patina and the condition of the object. Dents, scratches, wear and assorted flaws will be mentioned if we feel that they
are objectionable. A piece with original patina, free of major dents or scratches usually will be described as in “excellent condition”.
Art Glass will sometimes contain air bubbles, surface scratches, lines in the making and chips to the pontil. We will mention anything that we feel to be objectionable. Some glass may be ground at the factory causing minor chips or flakes. We will mention anything we feel to be excessive. Discoloration on the interior is
usually present when originally produced and will not be noted unless we feel it is excessive.
Paintings, Drawings, Prints and Bronzes. We guarantee objects to be an authentic work by the artist listed. Any and all information listed in the catalog that is
not printed in bold type is given to the best of our knowledge, is merely our opinion, and is not guaranteed to be correct or authentic. We make every effort to
insure 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. 1) A written letter from a noted authority presented to us, declaring the object to be executed by someone other than the artist listed. 2) This
authority has no vested interest in the artist's work or the estate of the artist. 3) The object is returned to us in the same condition in which it was purchased. The
purchase price will be refunded only; there will be no compensation for damages, loss of profit, professional fees, transportation or any other costs.
If you have any questions regarding the condition, we would be happy to provide an opinion of the condition, but all works are sold as viewed. If a work is in
obvious need of repair, or has obvious imperfections, we will attempt to note it in the description. If a painting is excessively dirty, we will attempt to note it in the
description; however, we do not feel that the normal darkening of varnish over years is problematic, and it will not be noted in the description. If you would like
for us to give our opinion regarding whether or not a work needs to be cleaned, please contact us. We believe it is important for you to know the condition of
a work before you bid on it. We strongly recommend that you personally inspect potential purchases before the sale, or have your representative inspect it on
your behalf. If this is not possible, we urge you to call us for a detailed verbal or written condition report. This report is not a professional conservator's evaluation, but is given to the best of our opinion.
202
CONDITION REPORTS: It is the buyer’s sole responsibility to be knowledgeable about the condition of the property before bidding. We are
open for preview the week prior to every auction, or by appointment. We encourage you to visit and inspect all lots at this time. If you cannot personally
examine items, we encourage you to call, e-mail or fax us 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. This information is solely our opinion and is not to be relied on as representations or statements
of fact. It is the buyer’s responsibility to be aware of all conditions, addendums, and corrections before the sale. Condition Reports for the auction are
obtainable by contacting the John Toomey Gallery at 708-383-5234, they would be happy to assist you with detailed reports and photographs. Also,
all secondary condition reports are listed on our website at the top of each online catalog page. There is a button that says "Condition Reports" that
when clicked on, serves as a link to a lot numbered list of reports. Finally, we do our best to place a condition report with every lot listed on Artfact.
PREVIEW:
We will have a preview of the items offered in this sale, at the John Toomey Gallery, 818 North Blvd. in Oak Park, on the following
dates: Saturday, May 12, 2012 10:00 a.m. - 5:00 p.m., Sunday, May 13, 2012 CLOSED, Monday, May 14, 2012 10:00 a.m. - 5:00 p.m., Tuesday, May 15, 2012 10:00 a.m. - 5:00 p.m., Wednesday, May 16 2012 10:00 a.m. - 5:00 p.m., Thursday, May 17, 2012 10:00 a.m. - 5:00 p.m.,
Friday, May 18, 2012 10:00 a.m. - 5:00 p.m., Saturday, May 19, 2012 10:00 a.m. - 5:00 p.m.
Also open by appointment when available. We're glad to offer an advance preview, usually for six weeks prior to sale date on most of the items in
this sale to benefit those traveling through Chicago or for those who may find it inconvenient to preview at our normal times. Call for an appointment
if you wish to arrange special viewing or evening viewing and we will try to accommodate you; contact John Toomey or Anne Dickinson at (708) 3835234 in Oak Park. We extend this courtesy to all our clients but request an advance phone call to make arrangements.
ESTIMATES: Our price estimates are purely that, an estimate, reflecting the range in which the price may fall. This should give buyers an idea
of what they should bid in order to have a good chance of being successful. In some cases the price range may be wider than others, due to the
uniqueness of the individual piece. A few items have reserves. We implement them to offer items that may not have been available without them. You
will find that few of the pieces offered have reserves. In most instances, the reserves will be less than the low estimate.
ABSENTEE BIDS/PHONE BIDS:
If you can't attend our sale, it is quite easy to get involved. You can bid over the phone during the sale or
leave bids which will be executed by one of our representatives in the audience. When leaving a bid the only disadvantage you have is that you can't
advance your bid as you might if you were there in person. Your bids are executed as though you are there in person. We get you into the bidding at
the first opportunity to insure your chance of being successful at the lowest price. Because of this, the lot may sell for your highest left bid, but not to
you because you were "in" at the previous bid.
We respectfully ask that you refrain from calling during the auction to set up phone or leave absentee bids, as we use these lines to make
calls to pre-arranged phone bidders. Advance arrangements are crucial to insure your bids will be handled without problems.
Note: Please try to send in absentee bids and/or arrangements for phone bidding to us as early as possible. We have a limited number of
phone lines available, and they do fill up very quickly, so make arrangements early to insure yourself a line. We cannot guarantee you will get a line if
you make arrangements later than 5:00 p.m. (EST) on the Friday prior to the sale. Also, please remember we prefer to avoid phone bidding on items
estimated under $500. Be sure absentee bids are given in the correct increments (see chart below). Keep in mind, when tie absentee bids come
in, we will honor the first one received. However, absentee bids have an equal chance of being successful as do telephone or in-person bids and in no
way take precedence. Again, please mail, fax or phone in absentee bids prior to 5:00 p.m. (EST) on the Friday prior to the sale, as we cannot guarantee
execution after this time. If you mail your bids in, to avoid confusion, please do not also fax them (and vice versa). If you wish to confirm that your bids
were received, please phone us. If you phone in to make additions to left bids, be sure you mention that you've already left bids. Call Janet Rogers in
Cincinnati with any questions concerning absentee bids or phone bidding. NOTE: PLEASE DO NOT CALL FOR RESULTS OF SALE THE MONDAY
AFTER THE AUCTION. WE WILL BE HAPPY TO ASSIST YOU AFTER ALL INFORMATION HAS BEEN CHECKED FOR ACCURACY.
AUCTION INCREMENTS: We use the following increment multiples at our auctions. When leaving absentee bids, please
make sure your bids fall within the proper increments. This is crucial to the success of your bids. If your bid is out of
increment, we will drop it down to the closest increment.
0-500
500-1000
1,000-3,000
$25. increment
$50. increment
$100. increment
3,000-5,000
5,000-10,000
10,000+
$250. increment
$500. increment
$1000 increment or auctioneer's discretion
DELIVERY: We use the safest and most economical methods that we are aware of to deliver purchases. You can obtain estimates for shipping
prior to the auction by providing us with a full shipping address and lot(s) you are interested in purchasing. Domestic shipping quote requests must
be received three business days prior to the sale; international quote requests must be received five business days prior to the sale. A single piece
of furniture shipped within the US will range from $200-600 before insurance; a piece of pottery or glass of average size costs $35-60 before insurance; an average sized framed painting will range from $55-95 before insurance. All furniture delivery quotes are for delivery to a first floor or elevator
building. Oversized items can cost significantly more to ship. All items are shipped fully insured, unless the buyer sends a signed waiver. If you have
questions about the shipping or delivery cost of any item please inquire. The buyer is free to make his or her own shipping arrangements. Treadway/
Toomey Galleries are not responsible for items that are damaged in any way by shippers. If a problem arises, all claims must be settled between
the buyer and the shipper.
CONSIGNMENTS WANTED
CONSIGNMENTS WANTED
We are seeking fine quality consignments for our auctions. We will match or beat anyone's consignment rate for better items. Check with us before going elsewhere; you will be glad you did. We are
not limited to our geographic area and can easily arrange shipment of any item. Call or write for a
proposal. We are very interested in buying a single piece or any entire collection. Please call us if
you have anything to consign or sell.
203
INDEX
10k gold - 954
14k gold - 953
1930s - 905
1940s-50s - 966
1950s - 958, 960, 964, 986, 1128, 1129
1960s - 907, 1044, 1098, 1110, 1114
1970s - 979, 1007, 1009
1980s - 972
Aalto, Alvar - 1056
Abercrombie, Gertrude - 699, 700
Acconci, Vito - 819
Adlen, Michel - 619
AE Jones - 371
Aguilar, Hector - 943, 944
Albert, José Juliana - 559
Albright, Adam Emory - 560
Alfred-Louis-Achille Daguet - 450, 451, 453
American stained glass window - 533
Amphora - 449, 458, 467, 480, 481, 504, 505,
506, 507, 508, 509, 510, 543
Andersen, Just - 1015
Anderson, Dorothy Visju - 596
Anon - 434
Anuszkiewicz, Richard - 709
Appel, Charles P. - 579
Appel, Karel - 815, 825
Arequipa - 159, 264
Armin, Emil - 716
Art Deco - 897, 901, 906, 940, 957
Art Glass & Metal Company - 424
Art Nouveau - 109
Art Pottery - 407, 442, 462
Arte, Fontana - 927
Artist Unknown - 563, 580, 599, 613, 617, 618,
636, 710, 715, 721, 730, 746, 747
Arts & Clay Co. - 373, 375
Arts & Crafts - 96, 105, 119, 120, 247, 308, 321,
323, 340, 356, 358, 361, 362, 376
Audubon, John James, After - 663, 664
Barbi, Tommaso - 982
Barbini, Alfredo - 1033
Barchan, Stera - 635
Barnet, Will - 813
Barovier & Toso - 1040
Barovier, Ercole - 1029
Barye - 444
Batchelder - 169
Bauer, Michael - 837
Baughman, Milo - 1051
Bauhaus style - 890
Baumann, Gustave - 59
Baumann, Karl Herman - 749, 752, 774
Beardsley, Aubrey Vincent - 639
Belgian - 1005
Bellaire, Marc - 1034, 1036, 1037
Bennett, Eugene - 770
Benno, Benjamin G. - 754, 755
Benton, Thomas Hart - 654
Benton, Thomas Hart, In the style of - 692
Berlant, Alexandre - 731
Bertoia, Harry - 996
Bigot - 457
Bisttram, Emil James - 601
Blanke, Marie Elsa - 583, 584
Bohemian - 465
Books - 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53,
54, 55, 56, 57, 58
Bos, Henk - 634
Boulanger, Graciela Rodo - 717
Bray, Everett Clark - 555
Bregno, Jens Jakob - 604
Bresil, Henri Robert - 741, 742, 743
Breuer, Marcel - 992
Brown, Roger - 805
Brutalist - 1000
Buck, Erik - 1094
Burg, Copeland Charles - 778
Burlini, Alfredo - 1011, 1049
Burr, George Elbert - 645
Burt, Clyde - 862, 863, 864
Butler, Lewis - 993
Cabat, Rose - 853, 859
Califano, John - 574
Camark Pottery - 296, 297, 301, 303, 305
Cameo - 956
Capron, Roger - 915
Carcan, René - 823
Cardin, Pierre - 978
Carries, Jean - 566, 567
Cartier - 946
Casalane, Joseph - 707
Catalina Pottery - 257
Ceramika Wilenska - 433
Chagall, Marc - 719, 802
Chaney, Lester Joseph - 581
Charder - 514, 515
204
May 20, 2012
Chareau, Pierre - 912
Chelsea Keramic - 195, 197
Cherner, Norman - 988
Chiesa, Pietro - 920
Chinese Art Deco - 425
Christo and Jeanne-Claude - 826
Chwat, Molli - 677
Cilfone, Gianni -591
Clapp, William Henry - 658
Clewell - 150, 184, 192, 260
Collett, Noel - 110
Cone, Marvin - 597
Conover, Claude - 852, 856
Couchet, André - 624
Cowan - 398
Creswick, Thomas - 578
Cuevas, Jorge Luis - 675
Dalí, Salvador - 797, 798, 799, 800
Dalpayrat - 479
Danish - 1013, 1058, 1065, 1096, 1097
Danton, Frederic - 537
Daum - 512, 516, 517
Daum, Howard - 760
Daumier, Honoré - 571, 572
Davidson, Morris - 678
Davis, W. Glen - 745
de Cachard, Regis de Bouvier - 729
de Lempicka, Tamara - 662
de Toulouse Lautrec, Henri - 40, 644
Deberdt, Francoise - 816
Dedham Pottery - 153, 253
Degas, Edgar - 652
Dehn, Adolf Arthur - 701, 702
Dehner, Dorothy - 748
Denbac - 460
Denver Pottery - 158
Design Institute of America - 976
Deutch, Eugene - 1019
Dolice, Leon Louie - 622, 623, 625
Domecq, Jean-Louis - 908
Doolittle, Harold L. - 285
Dorsey, William - 291
Dow, Arthur Wesley - 587
Dresser, Julius - 430
Dreyfuss, Henry - 888
Drouot, F. Joseph - 608
Duckworth, Ruth - 1017
Duffaut, Préfète - 791
Dunbar - 1075
Duveneck, Frank - 564
Hurley, E.T. - 78, 127
Eames, Charles & Ray - , 868, 869, 871, 872,873,
874, 875, 877, 882, 887, 1061, 1062
Edouard Colonna - 446
Eliot, Lucy Carter - 726, 727
Emerald - 950
English Arts & Crafts - 335, 368
Ernst, Jimmy - 687, 767
Evans Style Brutalist - 1008
Evans, John - 725
Evans, Paul - 1050
Evans, Paul, Style of -1006
Fabricius, Preben & Jorgen Kastholm - 934
Faidy, Abel - 895
Falkenstein, Claire - 775
Farré, Henri - 633
Faulkner, Henry Lawrence - 735
Ferenczy, Károly - 576
Ferguson, Ken - 860
Ferren, John - 682
Field, Edith - 556
Fiene, Ernest - 691
Fleischer, Max - 1023
Follis, John - 1132
Forbes, Stanhope - 570
Foujita, Léonard Tsuguharu - 834
Fowler, Mel - 788
Frak, Roman - 939, 941
Frankl, Paul - 896
Fraunfelter - 205, 300
Freedman, Maurice - 688
French - 909, 917, 1003
Frenkel-Frenel, Yitzhak - 694
Fulper - 254, 312, 313, 314, 315, 316
Fürer, Hans Weber - 607
Gaitis, Yannis - 773
Gallé - 511, 513, 518, 521, 527, 528, 545, 546,
547, 548, 520
Garrison, Eve - 779
Gasslander, Karl - 750
Gaul, Arrah Lee - 585
Gilder, Robert Fletcher - 594
Gillette, W. Dean - 795
Girard, Alexander - 879, 880, 881, 883, 884, 885,
886
Golden, Rolland Harve - 620
Graham, Charles S. - 557
Graillon, Pierre Adrien - 443
Gray, Eileen - 902
Gray, Percy - 586
Green, George D. - 796
Grosfeld House - 980
Grover, Oliver Dennett - 565
Grueby - 154, 176, 387, 395
Gruppe, Carl - 606
Gualdoni, Angelina - 841
Hake, Otto Eugene - 609
Hamaguchi, Yozo - 832
Hammerman, Pat - 809
Hampton, Phillip Jewell - 785
Handel - 39, 121, 287, 428
Hansen - 997
Hartford Faience - 372
Heino, Vivika and Otto - 850, 851
Heintz - 290, 292, 341, 342, 343
Heliosine - 454, 459
Hellweg, Dolly - 631
Henningsen, Poul - 929, 935, 1059, 1060
Hiratsuka, Yugi - 829, 830
Hiroshige, Utagawa - 473
Holty, Carl Robert - 759
Hopi Kachina - 41
Hull, Richard - 787
Hutton, William - 365
Icart, Louis - 667, 668, 669, 670
International Silver - 889
Ipsen, Peter - 1018
Italian - 1004
Jackson, Lorin - 977
Jacobsen, Arne - 1055
Jalk, Grete - 937
Janco, Marcel - 828
Janoska - 708
Jarvie - 164, 288
Jaszay, Gabor - 558
Jenkins, Paul - 782
Jennings Brothers - 106
Jensen, Georg - 475, 928, 930
Jeré, C. - 1035, 1130
Jeré, C., Style of - 1125
Joffe, Chantal - 844
Johnson Furniture Co. - 1047
Jones, Dennis - 1025
Kagan, Vladimir - 1043, 1045, 1053
Kahn, Wolf - 820
Kalo - 191, 426, 427
Kane, Herb Kawainui - 718
Kann, Frederick I. - 757
Kayserzinn - 452
Keal, John - 1133
Keane, Margaret - 704
Kennedy, John William - 768
Kenton Hills - 87
Kepenyes, Pal - 1022
Kinetic - 955
Kipniss, Robert - 683, 684
Kjaerholm, Poul - 932
Klein, Auguste - 952
Klein, Medard P. - 763, 766
Klimt, Gustav - 472, 474, 476, 477, 478
Knoll, Florence - 989, 998
Koen, Irma Rene - 690
Kofod-Larsen, Ib - 933, 1095
Kollwitz, Käthe - 650, 651
Komfort - 1063
Kotz, Daniel - 595
Kuramata, Shiro - 968
Lakeside Craft Shops - 284
Landowski, Paul Maximilien - 448
Larche, Raoul - 482
Laurel - 995
LaVerne, Philip & Kelvin - 981, 985
Lebolt - 310
Lee-Smith, Hughie - 621
Léger, Fernand - 666
Leighton, Lord Frederic, After - 554
Lenox - 407
Levanon, Mordechai -685
Lever, Richard Hayley - 632
Leyendecker, Joseph Christian - 605
Liberty & Co. - 107, 108, 111, 112, 113, 364, 366,
367
Lichtenstein, Roy - 818
Lightolier - 1048
Limbert - 167, 286, 306, 307, 320, 322, 324
Loetz - 463, 464, 466, 468, 469, 470, 492
Loewy, Raymond - 1030
Longo, Robert - 821
Lopez, Juan Luis - 672
Los Castillo - 1010
Louis Sullivan - 418
Lovejoy, Rupert Scott - 590
INDEX
Lovet-Lorski, Boris - 751
LoyNel - 234
Lubbers, Adriaan - 659, 661
Lurelle Guild - 892
Luxfer - 412, 413, 414
MacMonnies, Frederick William, After - 598
Malfroy, Charles - 573
Mallet-Stevens, Robert - 899
Manet, Edouard - 647, 648, 649
Marblehead - 66, 67, 68, 156, 174, 175, 177, 189,
386, 388, 389, 394, 396
Marsh, Reginald - 643
Martínez, Alfredo Ramos - 676
Martz - 1134
Massier - 441
Massier, Clement - 538, 539, 540, 541, 542, 544
Masson, André - 808, 810
Mathsson, Bruno - 1057
Mayhew, Richard - 686
McCobb, Paul - 1119, 1120, 1121, 1124, 1126
McIntosh, Harrison - 855, 857
McKenzie, Lucy - 843
Meierhans, Joseph - 790, 792, 794
Memphis Style - 974
Merrimac - 165, 293
Meyerowitz, William - 679
Midcentury - 948, 949, 1031, 1135
Milian, Raul - 673
Miller, Henry - 814
Miller, Herman - 878
Minton Hollins & Co. - 444
Miró, Joan - 803
Modernist - 999, 1012
Mogensen, Borge - 931
Monahan, Matthew - 836, 838
Moorcroft - 400, 404
Mora, Enrique Monis - 637
Moran, Thomas - 653
Morang, Alfred Gwynne - 744
Moretti, Franco - 1039
Moser, James Henry - 577
Mouille, Serge - 913
Muntean & Rosenblum - 842
Murano - 1038, 1122
Murginski, David - 638
Nadelman, Elie, After - 610
Nakashima, George - 916
Natkin, Robert - 824
Natzler - 845, 846, 847, 848, 849
Nelson, George - 865, 866, 870, 876
Nelson, Leonard - 696
Nesch, Rolf - 801
Newcomb College - 178, 179, 180, 181, 182, 183,
193, 194, 196, 198, 261, 265, 334, 336
Niloak Missionware - 256, 259
Norse - 392, 393
North Dakota School of Mines - 152, 155, 255
Ofili, Chris - 839
Ohr, George - 338, 339
Ohrstrom, Edvin - 1028
Old Hickory style - 357
Ostervig, Kurt - 1091
Overbeck - 212
Owens Utopian - 203
Oyelami, Muraina - 705
P. Ipson - 440
Packard, David Crissy - 784
Pairpoint - 289
Palmer, Pauline - 627
Pannier Brothers - 437, 461
Panton, Verner - 969
Parigi & Prina - 967
Paris, Harold Persico - 714
Parisi, Ico & Luisa - 918
Parke Edwards - 163
Parzinger, Tommi - 903
Paulin, Pierre - 971
Pauline Pottery - 390
Pearson, Ralph M. - 655
Pearson, Ronald - 963
Perkins, Granville - 561
Perriand, Charlotte - 911
Perriand, Charlotte & Jean Prouvé - 910
Pescina, Aurelio - 674
Peterson, Jane - 626
Pewabic - 251, 263, 266, 267, 268
Pianon, Alessandro - 983
Picasso, Pablo - 807
Pierrefonds - 431
Pietro Paulo Caproni - 35, 36, 37
Pineda, Antonio - 947
Piron, E. - 602
Pokrasso, Ron - 827
Ponti, Gio - 922
Poor, Henry Varnum - 697
Poschinger - 471
205
May 20, 2012
Powell, Alyda - 783
Prestopino, Gregorio - 711
Priebe, Karl - 703
Probber, Harvey - 1117
Pumphrey, Bert - 776
Quezal - 531
Quistgaard, Jens - 938
Rambervillers - 438
Raphael, Joseph - 616
Rapien, Ralph - 693
Red Mesa - 42
Reddy, Krishna - 728
Renoir, Pierre-Auguste - 642
Reynolds, George Westfall - 738
Richards, William Trost - 568
Richmond, Oliffe - 706
Riis-Antonsen - 1064
Risom, Jens - 1127, 1131, 1136, 1137, 1138
Rivers, Larry - 817
RK Parker - 904
Robsjohn-Gibbings, T.H. - 1108, 1109, 1111, 1112,
1113, 1116, 1118
Rodin, Auguste - 640
Rodin, Auguste, After - 646
Roecker, Henry Leon - 593
Roeth, Winston - 793
Rohlfs, Charles - 294
Rojas, Clare - 840
Rookwood - 63, 64, 65, 71, 72, 73, 74, 75, 76, 77,
79, 85, 86, 88, 89, 90, 91, 92, 93, 94, 95,
123, 124, 125, 126, 128, 129, 130, 131,
139, 140, 141, 142, 143, 144, 145, 146,
147, 172, 219, 220, 221, 222, 223, 224,
225, 226, 227, 228, 229, 239, 240, 241,
242, 243, 269, 270, 271, 272, 273, 274,
275, 277, 278, 279, 344, 345, 346, 347,
348, 349, 350, 351, 352, 353, 354, 377,
378, 379, 381, 382, 383, 384, 385, 397,
399, 401, 405, 406
Rorstrand - 456, 1016
Rosenborg, Ralph M. - 680, 681
Rosin, Loredano - 1032
Royal Doulton - 403
Roycroft - 148, 149, 166, 190, 280, 281, 283, 309
Royère, Jean - 914
Rozane - 114, 117, 202, 238
Rubin, Reuven - 582
Saarinen, Eero - 987, 990
Saarinen, Eliel - 898
Saito, Kiyoshi - 665
Salmones, Victor - 1115
San Polo - 919
Scarlett, Rolph - 761, 762, 764, 765
Scarpa, Afra and Tobia - 1046, 1054
Schoen, Eugene - 893
Schultz, Richard - 1105, 1106
Schwartz, Carl - 753
Schwartz, William Samuel - 641
Segal, George - 698
Sennhauser, John - 740
Serra y Auque, Enrique - 562
Sevres - 432, 435, 445
Shaw, Charles Green - 758, 769
Shop of the Crafters - 98, 374
Shopen, Kenneth - 777
Shulz, Ada Walter - 588
Simon, Isabel - 1001
Sinaï, Samuel - 722
Sitzman, Edward R. - 592
Skarbina, Franz - 38
Smith, Lowell Ellsworth - 723
Smith, Maitland - 1024
Smith, Paul Kauvar - 732, 734, 736, 737
Smith, Peggy - 812
Smythe, Willard Grayson - 780, 781
Soleri, Paolo - 973
Sonneman - 1042
Sorman, Steven - 804
Sottsass, Ettore - 924
Sovetski, Bunni - 1021
Springer, Karl - 984, 1052
Starck, Philippe - 970
Stella, Joseph - 603
Sterling, Marc - 615
Steuben - 483, 532, 534
Stevens, William Dodge - 611
Stickley Brothers - 101, 355, 359, 360
Stickley, Charles - 99
Stickley, Gustav - 1 thru 34, 60, 61, 62, 69, 70, 81,
83, 84, 100, 122, 132, 133, 186, 214, 215,
244, 245, 246, 248, 249, 250, 317, 318, 319
Stickley, L & JG - 80, 82, 97, 185, 216, 217, 218,
252
Stoëbel, Edgar - 713
Stonehouse, Fred - 724
Strong, Brett-Livingstone - 900
Studio 65 - 975
Survage, Léopold - 739
Swastika Keramos - 299, 302
Szrejer, Seweryn - 630
Takaezu, Toshiko - 854
Takamori, Akio - 861
Teague, Walter Dorwin - 891
Teco - 103, 104, 160, 161, 162, 258, 325, 326, 327,
328, 329, 330, 331, 332, 333
Tempestini, Mario - 1099, 1100, 1101, 1102
The Art Crafts Shop - 282
The Collector’s Guild Limited - 656
Thompson, Robert - 363
Tiffany & Co. - 488, 951, 962
Tiffany Furnaces - 488, 491
Tiffany Studios - 102, 486, 487, 489, 498, 499, 500,
501, 502, 503, 522, 523, 524, 525, 535,
536, 550, 552, 553
Tiffany, L.C. - 484, 485, 490, 493, 494, 495, 496,
497, 526, 549, 551
Tivey, Hap - 786
Trautmann, George H. - 370
Tropico Potteries - 151
Tsu, Keiko Nelson - 833
Tura, Aldo - 921
Turkoman - 429
Turner, Robert - 858
Tuxedo set - 961
Ulreich, Eduard Buk - 689
Ulrich, Guglielmo - 926
Umanoff, Arthur - 1103
Van Briggle - 135, 136, 137, 138, 157, 168, 170,
171, 173, 187, 188, 262, 311
van den Berg, Willem - 600
van Vreeland, Francis William - 575
Varsano - 942
Vasa - 1026
Vasarely, Victor - 811
Vedel, Kristian - 1014
Venini - 1027, 1041
Vernon Kilns - 402
Versen, Kurt - 991
Villeroy & Boch - 462
Villon, Jacques - 806
Vintage - 936, 945, 959, 965
Vodder, Arne - 1090, 1092
Volkmar, Charles - 199
von Duren, Terence Romaine - 614
von Krahl, Joseph - 569
Von Nessen, Walter - 994
Walkowitz, Abraham - 612
Wall, Leon - 771, 772
Wall, Vivian - 712
Walley - 337
Warhol, Andy - 789
Webb, Thomas & Sons - 519
Wegner, Hans - 1089
Weinberg, Frederick - 894
Weisenborn, Rudolph - 720
Weisenborn, Rudolph - 756
Weller - 115, 116, 118, 200, 201, 204, 206, 207,
208, 209, 210, 211, 230, 231, 232, 233,
234, 235, 236, 237, 295, 298, 304
Westnofa - 1093
Wheatley Pottery - 276, 391
Widdicomb, John - 1002
Wiener Kunstmacher Keramik Werkstatte - 436
Wilhelm Schiller - 447, 455
WMF - 369
Woodard, Russell - 1104, 1107
Wormley, Edward - 1066, 1067, 1068, 1069, 1070,
1071, 1072, 1073, 1074, 1076, 1077, 1078,
1079, 1080, 1081, 1082, 1083, 1084, 1085,
1086, 1087, 1088
Wostry, Carlo - 629
Wou-Ki, Zao - 831
Wright, Frank Lloyd - 408, 409, 410, 411, 415, 416,
417, 419, 420, 421, 422, 423
Wright, Russel - 1020, 1123
Wyeth, James Browning “Jamie” - 822
Yampolsky, Mariana - 660
Yanagi, Sori - 867
Yates, Cullen - 589
Yeckley, Norman Henry - 628
Ying, Pang Tseng - 835
Yoshida, Hiroshi - 657
Zanuso, Marco - 925
Zoncada, Giovanni (Nino) - 923
Zorach, William - 695
Zsolnay - 439, 529, 530
Zuniga, Francisco - 671
Zupan, Bruno - 733
206
207
208
209
210

May 2012

Transcription

Similar documents

May 20, 2012 - Treadway Gallery

March 2008

1001 2 PIECE SERVING SET Silver knife and fork, reticulated with

March 2012

Lot # 1 Lot # 2 Lot #3 Lot # 4

CatalogueX16 (Cold)