Ripley AuctionsFine Art + Design Thursday, January 24, 2013 | 6 pm ESTSale Highlights

Lot # 1

George Winter(American/Indiana; 1810 - 1876)A Western Lake, 1867Oil on canvas20” x 23” ovalSignature verso

Estimate: $15,000 - 20,000

Lot #3

William Forsyth(American; 1854 - 1935)Winter Landscape, c. 1910Oil on board24” x 20”Signed. Fine contemporary carved frame.

Estimate $10,000-15,000

Lot #5

Ada Walter Shulz(Wisconsin/Indiana; 1870-1928)Grandma Barnes Cabin, c. 1920Oil on board24” x 27”Signed. Original frame.

Exhibited: Chicago Galleries Assn and another exhibition in Wisconsin (labels verso)

This is a highly important landscape painting of one of Brown County’s most important landmarks.

Estimate $50,000-70,000

Lot # 19

Achille Emile Othon Friesz(1879 - 1949)Winter sceneOil on canvas.23 1/2” x 28 3/4”Signed LL.

Estimate $15,000-20,000

Exhibited Musee Galliera, Paris November 1959. Exhibition label verso.Accompanied by exhibition poster for which this painting was highlighted.

Born in Le Havre, France to a family of navigators, Achille Friesz studied first at the lycee in his home-town on the Normandy coast, and at the Ecole des Beaux-Arts in Paris. Although he studied the great painters like Veronese, Rubens, Chardin, Delacroix and Corot and made copies of their canvases at the Louvre, he admired the work of the modernists, such as Raoul Dufy, Henri Matisse, George Braque and the Fauves.

Friesz collaborated with Dufy on the decoration of the Palace of Chaillot. A member of the Salon d’Automne, Friesz did portraits and landscapes of Brittany and Normandy, as well as other areas, including Germany, Italy and Portugal.

He painted in the United States, and in 1925, won the prestigious Carnegie Prize. Friesz painted, taught art students and illustrated books, including an edition of Ronsard. The artist’s work is in major museums throughout the world.

Lot #27

Konrad Cramer(American; 1888 - 1963)Two Dancers, 1954Casein on board16” x 20”Estate Stamp, Date & Title verso.

Estimate $5,000-7,000

A painter of abstraction including numerous still lifes and non-objective work, he became one of America’s earliest modernist painters who founded and directed the Woodstock, New York Art Association and the Woodstock School of Painting. In painting style, he was one of the more radical artists working there, adapting cubism to the local landscape.

He divided his time between Woodstock and Manhattan and was highly prominent in progressive art circles. He was a close friend of Alfred Stieglitz, who interested him in photography, and this led to Cramer’s directing and teaching at The Woodstock School of Miniature Photography. He was also a skillful illustrator and textile designer.

He was born in Wurtzburg, Germany, and was early influenced by the Munich expressionists called der “Blaue Reiter,” translated “Blue Rider.” The group was founded by Wassily Kandinsky and was the avant-garde art movement of its day. Cramer used oil, watercolor, and ink in a loose, free flowing style that depicted fish, nudes and other objects. From that subject matter, he switched to Cubism, inspired by Cezanne’s planes of light.

In 1911, he married an American art student and emigrated to America, where he began his distinguished career. In 1913, he established his American reputation with a pioneering series of abstract paintings. His post World War I style became a fusion of European modernism with imagery of American culture such as common household objects in his still lifes.

His work is in numerous museums including the Phoenix Art Museum in Arizona.

Lot #38

John Hauser(1858/59 - 1913)Four Indians on horseback, 1909Gouache on paper11 3/4” x 17 3/4”Signed and dated LR.

Estimate $9,000-12,000

Born in Cincinnati, Ohio, John Hauser was one of several early 20th-century Ohio artists known for paintings of Western Indians. His birth date is given as both 1858 and 1859. He is given credit for do-ing much to educate Americans about the culture of frontier Indians, including Apache, Navajo, Pueb-lo, and Sioux. He also did a series of portraits of Indian chiefs such as Sitting Bull, Red Cloud, Spotted Tail and Lone Bear.

Hauser was the son of a German cabinet maker and showed early aptitude for art. Before age 15, he studied at the Ohio Mechanic’s Institute and at the Cincinnati Art Academy, and he later studied with Thomas Noble at the McMicken Art School. In 1880, he enrolled in the Munich Royal Academy of Fine Arts as a student of Nicholas Gysis and then did further study in Dusseldorf and Paris, staying in Europe until 1891.

He taught drawing in the Cincinnati public schools, and in 1891, the same year he accepted that teaching assignment, he traveled to Arizona and New Mexico where he was captivated by the scenery and Indians. After this initial trip, he continued to make yearly visits to reservations where he did highly realistic depictions of Indian figures, genre, and animals.

He did many portraits of famed Indian chiefs including Lone Bear, Spotted Tail, and High Horse. His love and sympathy for the Indians was recognized in 1901 when he and his wife were adopted into the Sioux nation, and he was given the name “Straight White Shield” and his wife was named “Bring Us Sweets.”

His last work was a mural titled Perry’s Victory for the Cincinnati Yacht Club, of which he was one of the founders.

Lot #39

Ralph Albert Blakelock(American; 1847 - 1919)Indian EncampmentOil on board8 3/4” x 15 3/4”Signed “R.A. Blakelock” LR.

Verso: “University of Nebraska-Lincoln #376”

Estimate $5,000-7,000

Born in NYC on Oct. 15, 1847, the son of a prominent physician. His father offered to finance his art studies in Eu-rope; however, at age 22 Blakelock embarked on a six-year horseback trip through the West. He lived among the Plains Indians and sketched across the Rockies and Sierra Nevada While in California, he painted scenes of Oakland, San Francisco, the redwoods, and coastal scenes. From San Francisco he journeyed south toward Mexico and then returned to NYC. He remained a self-taught artist and ultimately was elected to the National Academy. Blakelock was not successful in selling many of his paintings during his career and lived in poverty with his wife and nine children. The strain of supporting such a large family led to a mental breakdown in 1899. The remaining years of his life were spent in a mental institution in Middletown, NY. Recognition came soon after his confinement and paintings he had sold for very little were then resold for thousands. He died on Aug. 9, 1919. Exh: NAD and Society of American Artists, 1879-88; Paris Expo, 1900; PPIE, 1915; Newhouse Gallery (LA), 1927 (retrospective). In: Oakland Museum; Newark (NJ) Museum; St Louis Museum; Worcester (MA) Museum; Whitney Museum (NYC).

Lot #49

Oscar Bluemner(German/American; 1867 - 1938)Longhill, New Providence, NJ, c. 1915Colored pencil on paper4 1/2” x 5 3/4”

Provenance: Hirschl & Adler.

Estimate $800-1,200

An early modernist painter, Oscar Bluemner was trained as an architect in Berlin. A disagreement over art with Empo-rer William II led to his emigration to America (Chicago) in 1892. After moving to New York City, he won a competition in 1900 for the design of the courthouse in Bronx, New York, but his partner stole the commission from him. Eventu-ally he won a lawsuit against him, but by then he had turned to painting and away from architecture. Bluemner first adopted the impressionist style and urban subject matter of Maurice Prendergast, but after a trip to Europe, his style changed drastically to that which was geometric and reflected Cubism and Futurism.

His work was well received by the critics, especially when he was endorsed and promoted by Alfred Stieglitz who sponsored Bluemner’s first American exhibition. However, sales were not strong during most of his career. As he suf-fered increasing poverty and poor health, he became more and more depressed and committed suicide in 1938.

During his career, he exhibited at the Royal Academy of Berlin, 1892 (medal); Gurlitt Galleries, Berlin, 1912 (solo); Armory Show, NYC, 1913; 291 Gallery, NYC, 1915 (solo); Forum Exhibition of Modern American Painters, 1916; Bourgeois Gallery, NYC, 1917-1923; The Intimate Gallery, NYC, 1928 (solo); Whitney Museum of American Art, 1932; Salons of America; University Gallery, University of Minnesota, 1939 (retrospective).

His work can be found in the Whitney Museum of American Art; Philadelphia Museum of Art; Metropolitan Museum of Art; the Fogg A. Museum, Harvard University; and the University Gallery, University of Minnesota, Minneapolis.

Lot # 60

Carl Hoeckner(American; 1883 - 1972)Untitled (War Series), c. 1920Oil on canvas40” x 30”Signed. Original frame.

Estimate $6,000-8,000

After arriving in America in 1910, he worked in Chicago at Marshall Field’s department store in their advertising depart-ment and stayed there throughout the war, while at the same time pursuing his interest in fine art. Becoming increas-ingly political and protesting of war as a result of World War I, he painted a piece called “War”, which was exhibited in 1918 at the Architectural League, New York. Between 1918 and 1927, he sent his protest paintings on exhibition throughout the states, meeting with some success. One of them, “The Homecoming of 1918”, showed a crowd of gaunt, wounded people with nightmarish expressions marching towards the viewer. Bulliet described the painting as “perhaps the most powerful indictment of war ever painted in America.” Hoeckner was a founding member of an avant-garde group of Chicago artists known as the Cor Ardens (Ardent Hearts) along with Raymond Jonson and Rudolph Weisenborn.

Lot # 65

Paul Cornoyer(American; 1864 - 1923)Afternoon, Gloucester, c. 1920Oil on canvas18” x 23 1/2”

Estimate $12,000-15,000

Provenance: To: Victoria Bradshaw (the artist’s niece), From: the Artist; to McCaughen and Burr Fine Art St. Louis. (Doc-umentation available).

Best remembered for depictions of New York City, Paul Cornoyer was born and raised in St. Louis, Missouri. He studied painting at the School of Fine Arts, St. Louis and at the Academie Julian in Paris under Jules Lefebvre, Benjamin Con-stant, and Louis Blanc. He based his studio in New York, and his work was aligned with the Ash Can School aesthetic, although his work was less gritty than the street scenes of Robert Henri, William Glackens, John Sloan, George Bellows, George Luks, and Everett Shinn.

Cornoyer exhibited at the American Art Association of Paris, 1892(prize); the St. Louis Association of Painters and Art-ists, 1895 (gold); Pennsylvania Academy of Fine Art, 1896-1919; Art Institute of Chicago; National Academy of Design, 1900; Salmagundi Club, 1905 (prize), 1906 (prize), 1908 (prize); Boston Art Club, 1907, 1909; Corcoran Gallery, 1907-1910, Philadelphia Art Club, 1917.

Cornoyer died in East Gloucester, Massachusetts in 1923. His work can be found in the collections of the Dallas Art As-sociation, Saint Louis Art Museum, Seattle Art Museum, Kansas City Fine Art Museum, Newark Art Association, and the Brooklyn Instit. Museum.

Lot # 70Lalique Art Glass Cactus Table, Marc Lalique (1900-1977) crystal with chrome ring, model introduced in 1946. En-graved: “Lalique France”. Cactus leaves have no damage. Table top measures 5’ 1/4” dia. x 3/4” thick with a small chip as shown in images. Otherwise in very good condition.Estimate $20,000-25,000

Lot #88Harvey LittletonAmerican; b. 1922Glass Loop, 1972sculpted glass, 5” HEstimate $1,500-2,500

An early Glass Loop by “father of the Ameri-can Studio Glass Movement” Harvey Little-ton. This solid sculpted, polished glass arch adorned with subtle, sparkling gold powders demonstrates a particularly graceful sense of movement and gesture. Etched signature “Harvey K. Littleton 1972 153/500.”

Littleton’s Loop series, which he created dur-ing the mid to late 1970’s, was inspired by the natural movement of glass when subjected to gravity on a blowpipe. Exploration of this phenomenon led to several later series includ-ing the Interrupted Loops and Archs.

About Harvey Littleton:

Harvey Littleton grew up in Corning, NY, where his father worked for the famous glass factory. Littleton studied both physics and ceramics, and worked at the Corning fac-tory himself, before orchestrating the famous Toledo Workshop that launched the Studio Glass Movemenet in 1962. He started the first university glass department at University of Madison, WI, where he taught artists such as Dale Chihuly, Marvin Lipofsky, Fritz Dreis-bach and Christopher Ries. In 1972, he made the famous statement “Technique is cheap,” inspiring a debate that continues in the glass community to this day.

Lot #89

Joel Philip MyersAmerican, b. 1934Contiguous Fragment series vessel, 1979blown glass, 7 1/2”

Estimate $2,500-3,000

A gorgeous, early example of a Contigu-ous Fragment series vessel, with abstract patterns executed in black and white over a rich, transparent brown ground. This piece gracefully demonstrates the characteristic simple form, intimate size and glowing lumi-nosity for which early pieces from this series are known. Etched signature “Joel Philip Myers 1979.”

About the Contiguous Fragment series:

The painterly, blown glass vessels that make up Joel Philip Myers’ Contiguous Fragment series were inspired by Myers’ experiences on sabbatical in Austria in the mid 1970s. In-spired by vineyards, he began to experiment with drawing on the surface of vessels using glass cane.

“Upon returning to the United States, he wanted to extend his palette by creating large planes of color. ‘A painter can take a brush and paint large volumes of space and color and linear aspects. I wanted to have that.’ The cane drawings were limiting and Myers began experimenting with large shard elements. These were made by blowing

spheres, then breaking them and flattening the pieces, which could then be cut with hot wire. Over time the shards became more complex using cased glass that had two colors. The shards were reheated and sometimes blasted and laid onto the surface of the vessel forms, either singly or in layers in a process best described as marquetry. Eventually this led to what has become known as the Contiguous Fragment series that he stayed with for a good while during the 1980s. The vessel forms in this series were distinguished simply by colors, numbers and dates. The Contiguous Fragment series were small and intimate, very simple blown cased forms with a certain amount of lumi-nosity to them, with a great deal of surface involvement using shards and sandblasting. They were ‘semi-cylindrical, soft forms that curved toward the bottom with very small bases.’”

From an essay by Dan Klein, written for Wexler Gallery’s October/November 2007 exhibition catalog.

About Joel Philip Myers:

After graduating with honors from the Department of Advertising Design at Parsons School of Design in 1954, Joel Philip Myers traveled to Copenhagen, Denmark where he spent a year studying ceramic design. Upon returning to the United States, Myers enrolled in the Ceramics department at Alfred University in New York, where he earned both his BFA and MFA. After gradating in 1963, Myers was invited to serve as Director of Design at Blenko Glass Com-pany in Milton, WV. Myers was aware of the work Harvey Littleton was doing in glass, and began to teach himself about the process during his free time in Blenko’s studios. In 1970, he accepted a position at Illinois State University in Normal, IL, where he established a widely respected glass art department. Myers served as Distinguished Profes-sor of Art at ISU until 1997, where he contributed to the development of a long list of noteworthy glass artists.

Joel Philip Myers has received both the Honorary Life Member and Lifetime Achievement Award from the Glass Art Society, is a Fellow of the American Crafts Council, and a Fellowship recipient from the National Endowment for the Arts. His work has been shown in group and solo exhibitions at galleries and museums throughout the world. Pub-lic Collections include The Art Institute of Chicago, IL: Indianapolis Museum of Art, IN; Museum of Decorative Art, Prague; Metropolitan Museum of Art, NY; Corning Museum of Glass, NY; and Hokkaido Museum of Modern Art, Japan.

Lot # 90

David HuchthausenAmerican; b. 1952Baden bei Wien, 1978blown glassEngraved signature, title and date: “David R. Huchthausen, Baden bei Wein, 1978, No. 173.”, 8”H. Good condition

Estimate $1,500-2,000

Lot # 91

David HuchthausenAmerican; b. 1952Air Trap Vessel, 1980blown glassEngraved signature: “Milropa 1980 ATF016 HUCHTHAUSEN,” 7 1/2”H. Very good condition.

Estimate $1,000-1,500

Gorgeous examples of American Studio Glass pioneer David Huchthausen’s early Air Trap series. The shimmering internal decoration of these vessels were created using an adaptation of the Scandinavian ariel technique. Combining strategically placed air bubbles with iridescent glass powders, the simple, abstract surface designs in the thick glass walls of these pieces both demonstrate the influence of primitive art found in the artist’s early work and foreshadow the importance of coldworking later in his career.

About David Huchthausen:

David Huchthausen earned a B.S. in 1975 from the University of Wisconsin in Madison and an M.F.A. from the Uni-versity of Illinois, Normal, where he directed its glass program under the supervision of Joel Philip Myers. As a Ful-bright Scholar, he studied at the University of Applied Arts, in Vienna, Autstria, and served as master craftsman and director of the Glass Program at the Appalachian Center for the Arts in Smithville, TN, and associate professor of art and director of glass programs at the Tennessee Tech University. Huchthausen has had numerous one-man shows and group shows abroad and in the United States, including 200 Years of American Glass at the Corning Museum of Glass. His work is a part of more than 40 museum collections in the United States and abroad, including the Metro-politan Museum of Art in New York and the Smithsonian in Washington, D.C. He lives and works in Seattle, WA.

Lot # 92

Paul StankardAmerican; b. 1943Untitled Paperweight, 1980flameworked and solid sculpted glass3 1/2” D

Estimate $2,000-3,000

Paul Stankard’s meticulously detailed, intricately flameworked flowers, insects and natural elements, are encased in clear crystal, creating fascinating, perfectly preserved worlds suspended in a permanent state of beauty. In this ex-ample, a single bee hovers next to a beautifully executed apple blossom branch. Signed with an “s” murrine and an etched “A458 1980.”

About Paul Stankard:

Considered a living master in the art of the paperweight, Paul Stankard’s work is represented in over 50 major muse-ums around the world. He is a Fellow of the American Craft Council, a recipient of the Urban Glass Award - Innovation In A Glassworking Technique and was presented with an Honorary Doctor of Fine Arts degree from Rowan University and Muskingum College. Stankard’s work was recently featured in Beauty Beyond Nature, a retrospective exhibition produced by the Museum of Glass in Tacoma, WA. The exhibition was accompanied by a comprehensive, full-color catalog.

Lot # 93

Jon KuhnAmerican; b. 1949Orange Bud Vase, 1983blown, cut and polished glass10” H

Estimate $550-750

Small studio glass vase by Jon Kuhn. The cut and polished windows in this small vessel reveal fas-cinating, twisted cane patterning on the inside of the vessel, an early demonstration of the artist’s ongoing interest in the interior world, both of glass and of human consciousness. Etched signature: “Jon Kuhn 1983.”

Kuhn is best known for his laminated glass work, which is cut, polished, and fused into a myriad of shapes from the inside out. The result is a sculp-ture that takes in surrounding light, then reflects and refracts it back into space, creating what the artist calls “architectural models for an inner world.”

About Jon Kuhn:

With works featured in over 40 international mu-seums including the Metropolitan Museum of Art, the Vatican Museums, the Carnegie Museum of Art, the White House Permanent Collection, the National Museum of American Art and hundreds of private residences and public spaces, Jon Kuhn is regarded as one of the premier glass artists of his generation.

Lot # 94

Richard RoyalAmerican; born 1952Diamond Cut Vessel, 1991blown glass, 26” H x 21” W, Etched signature: “Richard Royal 1991.”

Estimate $2,500-3,500

Studio glass vase by Seattle artist Richard Royal. A particularly attractive example from Royal’s Diamond Cut series, this piece combines a soothing color palette with a graceful sense of movement. The pattern in this monumental vessel was created by layering deep sea green, opaque white, and transparent blue in an internal “blank” which was cooled and cut using a “diamond saw” before being reheated, gathered over, and blown into its final form.

According to Royal, “the Diamond Cuts are about color and form, expressing joy and spontaneity. The simple color applications are an indication of the ‘inner self’ and the ‘outer self’ becoming more integrated and willing to be seen.”Richard Royal is best known for creating large, colorful blown glass sculptures. His work is sensual, fluid and bold. Throughout his career, Royal has used the vessel as a canvas for exploring complex emotional and spiritual concepts.

Richard Royal began working as a hot glass sculptor in 1978 at the Pilchuck Glass School. He worked his way through the ranks and became one of Dale Chihuly’s main assistants, which consequently led to his emergence in the fine art glass world in the early 1980’s. Royal has since been exhibiting his work internationally in solo and group exhibitions for over 30 years. His work is included in renowned public and private collections worldwide. Recognized internationally as one of the most skilled and talented glassblowers in the American studio glass movement, Royal often teaches as both a guest artist and teacher at various universities and at Pilchuck Glass School.

Lot # 95

Lino TagliapietraItaly; b. 1934Vessel, 1998blown and carved glass, 17 1/2” H x 8” WEstimate $3,000-5,000

Large bottle form with red and black cane interior and yellow body wrap; surface universally carved with inciso patterning. Etched signature: “Lino Tagliapietra 98.”

About Lino Tagliapietra:

Born on Murano in 1934, Lino Tagliapietra grew up sur-rounded by the culture of glass. He traveled on streets named for glassmaking techniques and famed glass families before beginning his apprenticeship in the fac-tory of Archimede Seguso at the age of 12. Lino was named a maestro at the age of 21, and was a respect-ed craftsman on the island for many years, working for varying periods of time at the factories of Galliano Ferro, Venini, La Murrina, and Effetre.

Tagliapietra first visited the United States in 1979 to teach at Pilchuck Glass School. There he encountered an energetic, if technically naive, group of students who voraciously devoured his teaching with aspirations of creating fine art, rather than a commercial product, using glass. He found the Americans’ lack of a glass tradition and willingness to take risks for the sake of art shocking, but also exhilarating. Ultimately, it inspired him to think differently about glass and the many sculptural opportunities it offered. He soon left his position at the factory in Murano to teach, travel, and make his own work full time - successfully transforming himself from respected craftsman to innovative artist, always pushing himself to explore new techniques, forms and ideas.

Lot # 96

Joseph PaganoAmerican; born 1965Reticello Vessel, 1996blown glass22 3/4” H

Estimate $1,500-2,000

Large vessel with reticello cane patterning executed in opaque white and transparent tobacco. Etched signature: “Pagano 5.96”

About Joseph Pagano:

After graduating from the University of the Arts in Philadelphia with a BFA in Industrial Design and Glassblowing, Joseph Pagano moved to New York where he started his own glass studio to produce decorative art, furni-ture and lighting. His work combines beautiful materials with functional design, with a spe-cial emphasis on craftsmanship.

Lot # 97

Curtiss BrockAmerican; born 1961Stone Groupingblown glass22 1/2” H

Estimate $1,500-3,000

A sensuous grouping of three blown glass sculp-tures by widely respected Appalachian Center for Craft professor Curtiss Brock. Gorgeous, pow-der color application on the surface of the forms mimic the appearance of river-tumbled stones sparkling in the sunlight.

“Rocks and minerals can be seen as the clock that dates the earth itself,” says the artist in a statement on his work. “They preserve the foot-prints of life’s struggle and its evolution. Sedimen-tary rocks provided us with the necessary infor-mation to recognize and understand our planet’s age and history. They are the concrete evidence of things far more powerful and enduring than we are. The Stone Groupings series is focused on natural forms and their interdependency. My aim is not to reproduce nature, but to draw from the colors, textures and forms of nature. In these pieces I use hand blown opalescent glass to cre-ate work that looks like solid stones. When light passes through them, they emit an unexpected glow that reveals their transparency.”

Lot # 98

Set of two whimsically designed blown glass gob-lets in the style of the late Seattle artist Bill Akers. Executed in cheerful, primary colors; decorated with frit patterns and applied glass bits. Unsigned. 12” H (tallest)

Estimate $200-400

Lot #99

Roger ParramoreAmerican; born 1962Lidded Gobletflameworked borosilicate glass17 1/4” H

Estimate $200-400

The flameworked glass of Roger Parramore expresses great respect for the Venetian tradition. Parramore has worked with glass since the age of ten and earned a B.A. in philosophy and an M.A. in English literature. He rededicated himself to glassmaking and began teaching and exhibiting widely. Parramorre’s work is in the collec-tion of the Renwick Gallery at the Smithsonian Ameri-can Art Museum. He has taught throughout the world, including classes at Canberra Glassworks in Australia and Osaka University of the Arts in Japan.

Lot #100 Molly StoneAmerican; born 1950Reflecting Bowl, c. 1992blown, cut and polished glass, 7.5” dia.

Estimate $500-700

Designed to radiate incandescent light from within, the top surface of this piece was cut and polished to achieve a glowing effect. The interior of the work is gilded with metallic leaf.

About Molly Stone:

Molly Stone received her B.A. in Art from University of California, Berkeley in 1975, after first attending Columbus College of Art in Columbus, Ohio. Her education continued at Orrefors Glaskolan in Orrefors, Sweden, Pilchuck Glass School in Stanwood, WA and California College of Arts and Crafts. She received a National Endowment for the Arts fellowship in 1981 and the Niche Award for outstanding glass in 1994. Stone’s work is included in the permanent collection of the Corning Museum of Glass, Detroit Institute of Art, The Tampa Museum of Art, the Charles A. Wustum Museum of Fine Art in Racine, WI and the First Contemporary Glass Museum in Alcorcon, Madrid, Spain. She has been fea-tured in numerous exhibitions nationally and internationally dating back to 1980. She also designed an ornament for the White House Christmas tree in 1997.

Lot #101

Jeff CrandallAmerican; born 1964Lot of three Poet’s Bottles from Inverse Studios, 1999 - 2001sandcarved found glass bottles13” H (tallest)

Estimate $120-150

Inscriptions read: Joy (contains happiness, smiles, delight, warm humor, easy breezes and a dash of laughter); Comfort (contains simple pleasures, sweet joys, warmth, solace, ease and soothing dreams); and Love (warning causes dizziness). Each with etched “Inverse Studios” signature and year.

About Jeff Crandall:

Jeff Crandall began his career as a poet, and became actively involved in glass art while working as a grant writer at the Pilchuck Glass School. He now works in Seattle, as both a nationally recognized poet and an accomplished glass artist. His Poet’s Bottles beautifully rep-resent his abilities in writing and in glass, while poking fun at marketing and warning labels.

Lot # 102

James NowakAmerican; born 1956Two spheres with murrine patterning, 2003 - 2004blown glass, 6” dia. (largest)

Estimate $200-400

Two orange spheres displaying the colorful, festive combination of cane, murrine and dichroic glass patterning for which the artist is recognized. Etched signatures: “Nowak 2003” and “Nowak 2004.”

About James Nowak: James Nowak lives and works in Seattle, Washington. Having studied at Pilchuck Glass School, Pratt Fine Arts Center and Corning, New York provided James with a strong foundation to pursue his glass blowing career. By working closely with many of the Northwest’s finest artists, such as Dale Chihuly, Ben Moore, Dante Marioni, Karen Willenbrink, Billy Mor-ris and many others; James has developed a style which incorporates the best of the old European techniques coupled with newly developed processes and materials such as dichroic glass, glow glass, photographic glass and fluorescent glass. The incorporation of these new materials along with traditional Murano techniques like filligrane canes and murrine segments gives the work a contemporary flair with classical roots. The surfaces of Nowak’s blown pieces are alive with baroque designs and hidden surprises. James continues to be involved in the glass community by instructing and attend-ing glass classes yearly.

(from www.james-nowak.com)

Lot # 103

Richard MarquisAmerican; b. 1945A Noble Effort vase, 1986blown glass5 3/4” H

Estimate $1,800-2,400

A conical vase with star, bat, rabbit, penguin, lion, sailboat and cat murrine, from Richard Marquis and Ro Purser’s collaborative line, A Noble Effort. Marquis and Purser worked togeth-er from 1983-1987 to produce what Marquis refers to as “some of the strangest production glass ever made.” Signed with a murine spelling out “Noble Effort 1986.”

Lot # 104

Richard MarquisAmerican, b. 1945Teapot Goblet, 1991blown glass, 8 3/4” H

Estimate $3,000-4,000

Marquis began creating the Teapot Goblet series in 1988, in collaboration with Seattle artist Dante Mari-oni. This example combines a teapot-shaped stem with polychrome cane patterns with transparent yellow ballotini cane patterned bowl and foot with opaque red wraps. Signed “© Marquis 1991.”

About Richard Marquis:

Richard Marquis earned his B.A. and M.A. in glass and ceramics from the University of California, Berke-ley. He received the first of several Fulbright Scholar-ships to study glassmaking at Venini in Murano, Italy in 1969. He taught glass at University of Washington, University of California, Los Angeles, Haystack School of Crafts and Pilchuck Glass School before travelling to Australia and New Zealand at the invitation of artist Nick Mount. As a result of this trip, Marquis is widely credited as having helped start the thriving Studio Glass phenomenon that exists in Australia. He has work in important collections throughout the world, including Los Angeles County Museum of Art, CA; Metropolitan Museum of Art, NY; and the Mint Muse-um of Craft + Design, NC. Marquis has also received virtually every honor available in the glass world, including the Glass Art Society Lifetime Achievement Award, Pilchuck Glass School’s Libensky Award, and the Outstanding Achievement in Glass Award from Urban Glass, NY.

Lot # 105

Richard MarquisAmerican; b. 1945Gene Autry Toy Pistol, 2008murrine, found objects, steel7” Long on 8 3/4” x 3” base

Estimate $3,000-5,000

Typically irreverent and frequently witty, Richard Marquis regularly comments on art, craft and culture in his work. Throughout his career, Marquis has delighted in the paradox of combining cheap, manufactured objects such as toys and cages with extremely difficult and often inherently beautifully crafted glass. In the piece Gene Autry Toy Pistol, he adorns the handle of a toy gun with extremely technically involved glass murrine incorporating per-fectly formed butterflies, squirrels, bugs, ducks, horses and elephants.

See artist bio included with Lot #104.

Lot # 106

Dale ChihulyAmerican; b. 1941Venetian, Portland Press Studio Edition, 1999blown and sculpted glass15” H

Estimate $3,000-5,000

Conical lapis blue vessel with gold leaf surface patterning, adorned with deep red body wrap and sculpted leaf form. Etched marking: “PP99.”

Inspired by a collection of art deco glass the artist saw in a Venetian palazzo, pieces from the original Venetian series were quite large in scale. Chihuly enlisted the help of well-known Venetian glass artists such as Lino Tagliapietra and Pino Singoretto to help with the execution of this series. He later produced a selection of smaller Venetian pieces, designed to be practical to live with in smaller spaces. This Portland Press piece is one of a only a few Venetian designs produced as Studio Edition pieces throughout the years.

About Portland Press/Chihuly Workshop:

Now referred to as Chihuly Workshop, Portland Press was established to celebrate the innovation, imagination, and the bold creative spirit of the artist Dale Chihuly. Opened in 1992 as a small publishing company dedicated to the production of books about glassmaking, Chihuly Workshop slowly evolved into a place that not only published work about Chihuly’s art, but also became a staging ground for him as an artist and designer with the creation of his Studio Editions and Prints.

Lot # 107

Dale ChihulyAmerican; b. 1941Red Carnation Summer Macchia with Fern Green Lip Wrap, 2002blown glass, 13 1/2” H x 12 1/2” W

Estimate $9,000-11,000

Rare, mid-sized Macchia series piece, executed in transparent and opaque red, with opaque yellow and orange frit pat-terning. Like a Basket Series piece, this Macchia is designed to rest in two different orientations, for versatility of display. Etched signature: “Chihuly 02.”

About Dale Chihuly:

Born in Tacoma, Washington, Dale Chihuly was introduced to glass while studying interior design at the University of Washington. After graduating in 1965, Chihuly enrolled in the first glass program in the country, at the University of Wisconsin. He continued his studies at the Rhode Island School of Design (RISD), where he later established the glass program and taught for more than a decade. In 1968, after receiving a Fulbright Fellowship, he went to work at the Venini glass factory in Venice. There he observed the team approach to blowing glass, which is critical to the way he works today. In 1971, Chihuly cofounded Pilchuck Glass School in Washington State. With this international glass center, Chihuly has led the avant-garde in the development of glass as a fine art. His work is included in more than 200 museum collections worldwide. He has been the recipient of many awards, including eleven honorary doctorates and two fellowships from the National Endowment for the Arts.

Biography source: www.dalechihuly.com)

Lot # 108

Dale ChihulyAmerican; b. 1941Sun Yellow Basket Set with Terra Cotta Lip Wraps, 2002blown glass14” H x 15” W

Estimate $16,000-20,000

Flawless 4 piece basket set, executed in yellow and terracotta. The piece is designed to rest in two separate orientations, allowing for versatility in presentation. Etched signature on one small piece: “Chihuly 02.” With documentation from Chihuly’s studio.

Chihuly’s Basket series was inspired by Indian baskets the artist saw at the Washington State Historical Society. He was struck by the grace of their slumped, sagging forms, and he wanted to capture them in glass. The artists has described this series as being a breakthrough for him, help-ing him to fully recognize how heat and gravity could be used as tools for glass working.

See artist biography included with Lot # 107

Lot # 109

Dale ChihulyAmerican; b. 1941Basket Drawing, 1995acrylic on paper41” x 29” (image)

Estimate $2,000-4,000

Large drawing of a Basket series form, executed in blue, purple, grey and metallic gold acrylic paint. While much of Chihuly’s two-dimensional work has been executed in paint throughout the years, the pieces are always referred to as “drawings.” Originally used as a means of communication between Chihuly and his glass working team, the drawings have come to represent an important part of the artist’s creative development and self expression throughout the years.

See Artist Biography included with Lot # 107

Lot # 120Pair Frank Lloyd Wright for Heritage Henredon side tables; c. 1950. size , mahogany, Greek key detail along edge. signed with red stamp. 26 1/2” x 26 1/2” x 12 1/2” H (each), Estimate $1,500-2,000

Lot #127Florence Knoll for Knoll International; pair of credenzas; black laminate, marble tops, on chrome base. 37 1/2” W x 25 1/2” H x 18” D (each). Estimate $3,000-5,000

Lot # 132 Storage unit, designed by Charles Eames for Herman Miller; c. 2000, birch plywood, laminate over plywood, lacquered masonite, zinc-plated steel, lacquered wood. 47” x 58 1/2” x 16 1/2” D. Estimate $2,000-3,000

Lot #138 Florence Knoll for Knoll round table; round marble top with a chrome base. Particularly striking piece of marble, and an excellent example of this variation of Knoll’s classic design. Estimate $1,500-2,500

Lot #148 Harry Bertoia (American, 1915-1978) Kinetic Spray Sculpture; steel wire on square chrome base. 26” HEstimate $2,000-4,000

Lot #172Alex Kosta, (Greek/American; 1925 - 2005), Modernist bust of a man, Bronze, 19”Estimate $3,000 - $5,000

Lot #181John Lennon, Bird On A Perch, Pen and ink on paper, c. 1966.. This original drawing is from the period Lennon was illustrating his book, “In His Own Write,” 7 1/4” x 7 3/4”. Estimate $15,000-20,000

Lot # 186John Dickinson “African” table; Signed. c. 1975. Iconic white painted plaster design; three sculpted legs with feet. 20 1/2” H x 16 1/2” Dia.,Repaired damage to one leg.Estimate $3,000-5,000

Lot #197

Frank Gehry for Knoll International; pair of Cross Check arm-chairs; bent and woven laminated birch. Signed “Frank Gehry” with branded mark. 28 1/2” x 25” x 34 1/2” H (each)Estimate $1,500-2,000

Lot # 200

Claes Oldenburg(b.1929)

Edition 153/250.Soap: 3/4” x 4 3/4” x 2 3/4”. Seri-graph: 9 1/2” x 12 1/2”.

The Soap at Baton RougeCast resin, vinyl filled aluminum sili-cate, serigraph on acetate sheet1990. This multiple is incised with the artist’s initials, includes a deluxe edition book with production histo-ries of all the artist’s multiples. 160 pages. 142 illustrations, 94 in color. The book is signed and numbered by the artist to accompany the mul-tiple, The Soap at Baton Rouge.

Estimate $2,000-4,000

Lot # 215Aaron Miley, (American), Pair of Upholstered Chairs with Walnut Wrapped back, Walnut, ash, upholstery, 29” x 35” x 33” H (each)Estimate $800 - $1,200

Lot # 216Jared Cru Smith, (American), Urban Landscape (wine rack), Ash, walnut, rebar, 40” x 79” x 13”Estimate $1,200 - $1,400

Ripley Auctions2764 East 55th PlaceIndianapolis, IN 46220317.251.5635www.ripleyauctions.com

Ripley Auctions is currently accepting consignments for our Spring Fine Art + Design Auction. Please contact Christopher West at cw@ripleyauctions or Grace Meils at grace@ripleyauctions.com for more information.