A few examples of appraisal values for
UNIVERSITY OF MICHIGAN

• CELADON-GLAZED INCISED 'PARROTS' BOWL GORYEO
  CELADON-GLAZED INCISED 'PARROTS' BOWL GORYEO DYNASTY ???? ???????of conical form with very gently inverted rim, incised to the interior with three long-tailed parrots in flight amongst clouds, covered overall saved for the three spur marks on the base with a translucent pale green glaze(1)17.3cm diameterProvenance: Bluett & Sons Ltd., 16 June 1978, with an original receipt and an associated label on base.Dr. Kenneth P. Lawley's inventory number: Cer.75.Note: As an auspicious pattern signifying harmony, a parrot design was widely adopted in the earliest days of Korean celadon from the Chinese Yue ware, and particularly popular between the twelfth and early-thirteenth century. The pattern commonly features a pair of parrots, but this bowl contains three such birds. A highly comparable example, also incised with three parrots, Goryeo Dynasty, is in the National Museum of Korea, accession no. Deoksu 164, also see Cleveland Museum of Art, museum no. 1918.482. Examples with a pair of parrots are in several museum collections, compare to one in theBritish Museum, museum no. 1973,0726.393, one in the Cleveland Museum of Art, museum no. 1924.136., and the other in University of Michigan Museum of Art, accession no. 1965/2.69; Also see examples in the open market, one sold at Christie's New York, 21 July 2016, lot 34, and the other at Sotheby's New York, 30 Sep 2020, lot 1070.Please note this lot will be offered with no reserve. ???????
• LEROY NEIMAN / RIVALRY (1973)LeRoy Neiman (American,
  LEROY NEIMAN / RIVALRY (1973)LeRoy Neiman (American, 1921-2012) Rivalry (Michigan and Ohio State) , 1973 Serigraph on paper 21" x 28" An artist's proof from the Ohio State Buckeye suite, pencil-signed and numbered (A.P. XX/L) to the bottom margin. Presented behind glass in a yellow metal frame that measures 31" x 37". Provenance : From the art collection of a former University of Michigan starting football player, from the 1969 team that famously upset Ohio State in Bo Schembechler's first season as head coach. Condition Very good condition. Not removed from the frame.
• George Nakashima. Slab coffee table.
  George Nakashima. Slab coffee table. 1957, American black walnut, rosewood. 13 h × 79½ w × 25½ d in. result: $40,000. estimate: $18,000–22,000. Table features two free edges, a large natural reticulation, and two rosewood butterflies. Sold with a digital copy of the original order card. Provenance: Acquired in 1957 directly from the artist by Professor H. Richard Crane, University of Michigan Nuclear Physicist and Recipient of the National Medal of Science | Thence by descent
• PETTYCOAT SURGEONMaxwell, John Alan
  PETTYCOAT SURGEONMaxwell, John Alan (American, 1904 _ 1984). Pettycoat Surgeon. Circa 1950. Lot of two full color acrylic on board illustrations by this noted American illustrator. –Pettycoat Surgeon” is a biographical narrative of the life of Bertha Van Hoosen. Born in 1863, the pioneering female surgeon was raised on a farm in South East Michigan and followed her calling in medicine to the University of Michigan. With a successful obstetrical and surgical practice in Chicago, Bertha worked tirelessly for the advancement of women in medicine. In 1915 she became the founder and first president of the American Medical Women's Association. These images were published in the Peopleês Book Club edition of Pettycoat Surgeon. Images measure 17 x 13 inches and 13 x 10 _ inches, respectively. Signed by artist. Slightly darkened borders not affecting painted images. Very good.
• ALFRED EISENSTAEDT(German/America, 1898-1995) Drum
  ALFRED EISENSTAEDT(German/America, 1898-1995) Drum Major and Children, University of Michigan, 1951, printed later (n.d.), signed recto lower right "Eisenstadt" and editioned 65/250, inscribed verso in pencil with Time Life Photo Lab information; "Print made in Time Life Photo Lab", gelatin silver print, image 16-1/2 x 21-1/4 in.; black and silver finished wood frame, 29-1/2 x 34-1/2 in. Provenance: Estate of Sally Kennedy, Asheville, North Carolina Condition: not examined out of frame, rippling at lower edge especially at lower center, print in otherwise good condition; frame with some wear especially at corners
• WAYNE HIGBY (AMERICAN, B. 1943) LANDSCAPE
  WAYNE HIGBY (AMERICAN, B. 1943) LANDSCAPE BOWL SERIES Raku-fired glazed earthenware. Edge of base impressed with artist's seal.Wayne Higby (American, b.1943) Wayne Higby is an American artists working in cermaics. The American Craft Museum considers him a visionary of the American Crafts Movement and recognized him as one of seven artists who are genuine living legends representing the best of American artists in their chosen medium. Born in Colorado Springs, Colorado, Higby received a B.F.A. from the University of Colorado Boulder in 1966 and an M.F.A. from the University of Michigan, Ann Arbor, in 1968. Since 1973, he has been on the faculty of the New York State College of Ceramics at Alfred University, Alfred, New York. Working as both a ceramic artist and an educator, Higby has earned international recognition since his one-person show at the American Craft Museum in 1973. His work focuses on landscape imagery as a focal point of meditation and ranges from the vessel from to tile and sculptural works. Rather than focusing on its functional aspects, Higby uses the vessel form as a vehicle for imagery, often inspired by the western landscapes of his childhood, that highlight the interplay between light, space, and time.
• ALESSANDRO MASTRO-VALERIO, ITALIAN AMERICAN
  ALESSANDRO MASTRO-VALERIO, ITALIAN AMERICAN (1889-1953), ARISING, FEMALE NUDE, MEZZOTINT, 17 1/4"H X 15 1/4"W (FRAME), 3 1/2"H X 4"W (SIGHT)Alessandro Mastro-Valerio, Italian American, (1889-1953) Arising, female nude, mezzotint Signed in pencil lower right and published as an edition of 200 copies exclusively for members of the Miniature Print Society, Kansas City, Missouri, 1942. Provenance: From a private collector in Zionsville / Indianapolis. Biography from the Archives of AskArt: Alessandro Mastro-Valerio was born in Italy, was educated at the Salvador Rosa Institute in Naples, Italy (1906-1912), and came to the U.S. in 1913. He settled in Chicago, and after a brief period as a commercial artist, established a portrait studio near the Loop. Among his patrons were the industrialists Harvey S. Firestone and Anheuser Busch. He moved to Ypsilanti, Michigan in 1919 and received a mural commission the following year from the Ypsilanti National Bank. Mastro-Valerio taught at Ypsilanti Normal College (now Eastern Michigan University) during the summers of 1922 and 1923. He was also on the part-time faculty at the University of Michigan (1924-26) where, after a trip to Italy in 1927, he was appointed to the full-time faculty. In addition to portraits and murals, his oeuvre includes landscapes, seascapes, and figure studies in oil and watercolor. He is best known for his mezzotint* prints, particularly his female nudes. His work helped to revive mezzotint as an artistic medium in the United States. A member of the Ann Arbor Art Associate, the Chicago Society of Etchers*, the Society of Design (Associate 1951), he retired from the University of Michigan in 1952. He died in Ann Arbor in 1953. Source: Annex Galleries mezzotint Dimensions: 17 1/4"H x 15 1/4"W (frame), 3 1/2"H x 4"W (sight)
• ARMIN LANDECK, AMERICAN (1905-1984),
  ARMIN LANDECK, AMERICAN (1905-1984), YORK STREET TENEMENTS, NEW YORK CITY, 1938, DRYPOINT ETCHING, ED. 100, 10 1/2"H X 9"W (IMAGE), 17 1/2"H X 16 1/4"W (FRAME)Armin Landeck, American, (1905-1984) York Street Tenements, New York City, 1938, drypoint etching, Ed. 100 pencil signed, dated and titled lower margin. Armin Landeck was born in Wisconsin in 1905. He studied at the University of Michigan, Ann Arbor (B.A.), and Columbia University (M.A.). While in New York, he took classes at the Art Students League*, and began experimenting with printmaking, studying briefly at the Atelier 17* with Stanley Hayter. In the 1930s he opened the School of Printmakers with Martin Lewis, in George Miller's 14th Street Studio in Manhattan (closed due to the economic crisis of the Depression). He was a member of the Society of American Etchers ad was elected to the National Academy of Design*, the Institute of Arts and Letters, and the Institute of the American Academy. Exhibitions include: the International Graphics Exhibition, Yugoslavia (1932) Salons of America* (1934); AIC (1942); LOC (1943-45); Boston Printmakers (1969); South American Graphic Arts (1969); Conn. Graphic Arts Center (solo) (1998). His work is included in collections at the Metropolitan Museum of Art; the Museum of Modern Art; the Library of Congress; the Swedish National Museum; and the Kaiser Friedrich Museum, Berlin. Source: Annex Galleries drypoint etching, Ed. 100 Dimensions: 10 1/2"H x 9"W (image), 17 1/2"H x 16 1/4"W (frame)
• SAMUEL V. CHAMBERLAIN, AMERICAN (1895-1975),
  SAMUEL V. CHAMBERLAIN, AMERICAN (1895-1975), DRIZZLY MORNING IN CHICAGO, 1929, DRYPOINT ETCHING, 3 1/2"H X 7"W (IMAGE), 13 1/2"H X 15 1/4"W (FRAME)Samuel V. Chamberlain, American, (1895-1975) Drizzly Morning in Chicago, 1929, drypoint etching pencil signed, titled and numbered 34/100 lower margin. Biography from Whistler House Museum of Art: Samuel V. Chamberlain was born in Cresco, IA on October 28, 1895 and died in Marblehead, MA in 1975. He was an accomplished etcher, lithographer, writer, teacher, and lecturer. Chamberlain taught at the Massachusetts Institute of Technology and lectured on various graphic techniques such as etching, drypoint, and softground etching. His main residence was Marblehead, MA but, in 1929, his address was listed as Rue Jean Dolent; care of Guaranty Trust Co., 3 rue des Italiens, Paris, France and, in 1934, Senlis, France. Chamberlain's education took place at the University of Washington in Seattle, WA; the Massachusetts Institute of Technology in Cambridge, MA; and the Royal College of Art in London. He was a pupil of Edouard Henri Léon (1873-?) in Paris and Malcolm Osborne (1880-1963) in London. Chamberlain was a member of the National Academy of Design in New York City; the Society of American Etchers in Brooklyn, NY; the American Academy of Arts and Sciences; the Chicago Society of Etchers; Associate member of the National Academy of Design, 1939; the Northwest Printmakers; the Société de la Gravure Originale Noir in Paris; and a Guggenheim Fellow, 1926. Exhibitions and awards include an honorable mention at the Paris Salon in 1925; medaille de Bronze at the Paris Salon in 1925; a gold medal at the Boston Tercentenary in 1930; a prize at the Society of American Etchers in 1933; the National Academy of Design, annually; and the Salons of America. Chamberlain was the author and illustrator of "France Will Live Again," 1940; "Fair is Our Land," 1942; "Sketches of Northern Spanish Architecture," 1928; "Domestic Architecture in Rural France," 1928; "Tudor Homes of England," 1929; "Through France with a Sketch Book," 1929; and French Provincial Houses," 1932. Collections representing Chamberlain include the Whistler House Museum of Art in Lowell, MA; the Metropolitan Museum of Art in New York City; the Museum of Fine Art in Boston, MA; the Victoria and Albert Museum in England; the Art Institute of Chicago; the Mobile Museum of Art in Mobile, AL; the San Diego Museum of Art in CA; the Cummer Museum of Art and Gardens in Jacksonville, FL; the Georgia Museum of Art in Athens, GA; the Peabody Essex Museum in Salem, MA; the University of Michigan Museum of Art in Ann Arbor, MI; the Frederick R. Weisman Art Museum in Minneapolis, MN; the Nelson-Atkins Museum of Art in Kansas City, MO; the Art Gallery, University of New Hampshire in Durham, NH; and the Sheldon Swope Art Museum in Terre Haute, IN. drypoint etching Dimensions: 3 1/2"H x 7"W (image), 13 1/2"H x 15 1/4"W (frame)
• SAMUEL V. CHAMBERLAIN, AMERICAN (1895-1975),
  SAMUEL V. CHAMBERLAIN, AMERICAN (1895-1975), "SOARING STEEL", 1929, SILVER POINT ETCHING, 12"H X 9 1/2"W (IMAGE), 17 1/4"H X 14"W (FRAME)Samuel V. Chamberlain, American, (1895-1975) "Soaring Steel", 1929, silver point etching pencil signed and numbered 45/100. Biography from Whistler House Museum of Art: Samuel V. Chamberlain was born in Cresco, IA on October 28, 1895 and died in Marblehead, MA in 1975. He was an accomplished etcher, lithographer, writer, teacher, and lecturer. Chamberlain taught at the Massachusetts Institute of Technology and lectured on various graphic techniques such as etching, drypoint, and softground etching. His main residence was Marblehead, MA but, in 1929, his address was listed as Rue Jean Dolent; care of Guaranty Trust Co., 3 rue des Italiens, Paris, France and, in 1934, Senlis, France. Chamberlain's education took place at the University of Washington in Seattle, WA; the Massachusetts Institute of Technology in Cambridge, MA; and the Royal College of Art in London. He was a pupil of Edouard Henri Léon (1873-?) in Paris and Malcolm Osborne (1880-1963) in London. Chamberlain was a member of the National Academy of Design in New York City; the Society of American Etchers in Brooklyn, NY; the American Academy of Arts and Sciences; the Chicago Society of Etchers; Associate member of the National Academy of Design, 1939; the Northwest Printmakers; the Société de la Gravure Originale Noir in Paris; and a Guggenheim Fellow, 1926. Exhibitions and awards include an honorable mention at the Paris Salon in 1925; medaille de Bronze at the Paris Salon in 1925; a gold medal at the Boston Tercentenary in 1930; a prize at the Society of American Etchers in 1933; the National Academy of Design, annually; and the Salons of America. Chamberlain was the author and illustrator of "France Will Live Again," 1940; "Fair is Our Land," 1942; "Sketches of Northern Spanish Architecture," 1928; "Domestic Architecture in Rural France," 1928; "Tudor Homes of England," 1929; "Through France with a Sketch Book," 1929; and French Provincial Houses," 1932. Collections representing Chamberlain include the Whistler House Museum of Art in Lowell, MA; the Metropolitan Museum of Art in New York City; the Museum of Fine Art in Boston, MA; the Victoria and Albert Museum in England; the Art Institute of Chicago; the Mobile Museum of Art in Mobile, AL; the San Diego Museum of Art in CA; the Cummer Museum of Art and Gardens in Jacksonville, FL; the Georgia Museum of Art in Athens, GA; the Peabody Essex Museum in Salem, MA; the University of Michigan Museum of Art in Ann Arbor, MI; the Frederick R. Weisman Art Museum in Minneapolis, MN; the Nelson-Atkins Museum of Art in Kansas City, MO; the Art Gallery, University of New Hampshire in Durham, NH; and the Sheldon Swope Art Museum in Terre Haute, IN. silver point etching Dimensions: 12"H x 9 1/2"W (image), 17 1/4"H x 14"W (frame)
• LYNN SHALER, AMERICAN (B. 1955), L'HORLOGE
  LYNN SHALER, AMERICAN (B. 1955), L'HORLOGE (THE CLOCK), 1982 / TOTEM, 1978, AQUATINT ETCHINGS, 3 7/8"H X 3 3/8"W (SIGHT), 10"H X 8 5/8"W (FRAME)Lynn Shaler, American, (B. 1955) L'Horloge (The Clock), 1982 / Totem, 1978, aquatint etchings L'Horloge: Titled lower left, numbered 38/50 lower middle, Signed and dated lower right. Totem: Titled lower left, numbered 16/20 lower middle, Signed and dated lower right. Biography from Artlex.com: Lynn Shaler is an American artist best known for her color aquatint etchings, featuring locations in Paris, as well as architectural details, and objects such as a dog, a cat, and an umbrella. Born in 1955, Shaler studied printmaking at the University of Michigan. She also received her Master of Fine Arts degree from the Pratt Institute. In 1984, Shaler won a Fulbright scholarship to pursue postgraduate studies at Atelier 17 in Paris. Since 1975, she has produced more than 200 etchings, many of which are hand-colored. Shaler's work can be found in collections at the Bibliothèque nationale de France, the Metropolitan Museum of Art, the Library of Congress, and the Victoria and Albert Museum. She has been a full-time artist since 1988 and continues to live and work in Paris. aquatint etchings Dimensions: 3 7/8"H x 3 3/8"W (sight), 10"H x 8 5/8"W (frame)
• NANCY LORENZ (B. 1962): MOON GOLD WAVE
  NANCY LORENZ (B. 1962): MOON GOLD WAVE SCREENNancy Lorenz, B. 1962 Moon Gold Wave Screen, mother of pearl, gilder's clay, and moon gold leaf on panel in twelve panels mother of pearl, gilder's clay, and moon gold leaf on panel Dimensions: Overall: 8'8" x 18'6" Provenance: Commissioned for a Private Collection (a Michael Smith installation), with copy of invoice. Note: Nancy Lorenz is an abstract painter whose work incorporates techniques from traditional Asian craft. She uses materials such as mother-of-pearl inlay, lacquer and gold leaf in painterly gestures to create fine and decorative works of art. Lorenz earned a BFA Summa Cum Laude in Painting and Printmaking at the University of Michigan. She received a MFA in Painting from the Tyler School of Art and a John Simon Guggenheim Award in 1998. She lives and works in New York City. Condition: Overall good condition. A few scattered faint scratches. Most panels with areas of superficial wear along edges and at corners. No apparent losses or lifting to shell inlay.
• (16) BOOKS ON PRINTMAKING AND PRINTMAKERS
  (16) BOOKS ON PRINTMAKING AND PRINTMAKERS Including: "American Prints in the Library of Congress: A Catalog of the Collection", compiled by Karen F. Beall, John Hopkins Press, Baltimore and London, 1970; PLUS "The Art of the Print: Masterpieces, History, Techniques" by Fritz Eichenberg, Harry N Abrams, NY, 1976; PLUS "Contemporary American Printmaking, by Malone, Yingxue & Wampler, Jilin Fine Arts Publishing House, Changchun, China, 1999; PLUS "Printmaking, Methods Old and New" by Gabor Peterdi, MacMillan Co, NY, 1959; PLUS "Edward Hopper, The Complete Prints" by Gail Levin, WW Norton Co, NY, 1979; PLUS "Dore's Illustrations for 'Idylls of the King'" by Gustave Dore, Dover Publications, NY, 1995; PLUS (2 copies) "The Dore Illustrations for Dante's Divine Comedy", ibid, 1976; PLUS "Dore's Illustrations for the Fables of La Fontaine", ibid, 2003; PLUS "Forgotten Printmakers of the 19th Century", Kovler Gallery, Chicago, Dec 67-Jan 68; PLUS "Durer's Cities: Nuremberg & Venice", edited by Robert A. Yassin, University Of Michigan Museum of Art, Ann Arbor, Sept-Oct, 1971; PLUS "Arthur William Heintzelman" by John Taylor Arms, Milton, Balch & Co, NY, 1927; PLUS "James McNeill Whistler", intro by Malcolm C Salaman, The Studio, London; PLUS "Frank Brangwyn", ibid, 1924; PLUS "James McBey", ibid, 1924; PLUS "Arthur Briscoe", ibid, 1930.
• CHINESE EMBROIDERED RANK BADGE OF A
  CHINESE EMBROIDERED RANK BADGE OF A CIVIL BUREAUCRAT, CHING DYNASTY. DEPICTING A HSIEH-CHAI, (ONE HORNED MYTHICAL CREATURE), 10.5 BY 11.5 IN., OVERALL 14.5 BY 14.75 IN., CF. AS PRINTED, UNIVERSITY OF MICHIGAN EXCHANGE...CHINESE EMBROIDERED RANK BADGE OF A CIVIL BUREAUCRAT Ching Dynasty. Depicting a Hsieh-Chai, (one horned mythical creature) 10.5 by 11.5 in., overall 14.5 by 14.75 in. Cf. As printed, University of Michigan Exchange, this group of officials conducted investigations for the emperor to identify wrongdoing or inefficiency among general bureaucrats. The square rank badge worn by these investigators illustrated a mythical creature known as a xiè zhì, (hsieh-chi) particularly appropriate because mythically this creature could determine truth from lies. The animal was white with a dragon's head, a lion's body, a bear's tail, a mane, paws, and a single horn on its head. The mouths of this creature are shown open to bare their teeth in warning. These mythical animals are often mistaken for a bear or lion due to the inconspicuous nature of the single horn on its head. During the late Qing Dynasty judges and magistrates also wore this type of square badge.
• EDGAR YEAGER, AMERICAN (1883-1969),
  EDGAR YEAGER, AMERICAN (1883-1969), SEATED NUDE, 1942, OIL ON CANVAS, 28"H X 23 3/4"W (FRAME), 23 1/2"H X 19 1/2"W (SIGHT)Edgar Yeager, American, (1883-1969) seated nude, 1942, oil on canvas signed and dated lower right. Provenance: From a private collector in Zionsville / Indianapolis. Biography: Edgar Louis Yaeger (1904–1997) was an American modernist painter from Detroit, Michigan. Yaeger studied under Robert A. Herzberg at the Detroit School of Fine and Applied Arts, by which he was awarded the Founder's Society Purchase Prize. Subsequently, with the backing of the Anna Scripps Whitcomb Traveling Scholarship, Yaeger embarked on a study tour of eight European countries, from France to Czechoslovakia. Yaeger was best known for his contributions to the Michigan Federal Art project and the Works Progress Administration scheme during the Depression era, to which he contributed a number of murals that were displayed in public buildings. Some of his contributions are located at the West Quad Dormitory at the University of Michigan and the Detroit Public Lighting Commission Building. oil on canvas Dimensions: 28"H x 23 3/4"W (frame), 23 1/2"H x 19 1/2"W (sight)
• ARMIN LANDECK, AMERICAN (1905-1984),
  ARMIN LANDECK, AMERICAN (1905-1984), ARTIST STUDIO, 1936, ETCHING, 17 1/2"H X 20"W (FRAME), 10 1/2"H X 13"W (SIGHT)Armin Landeck, American, (1905-1984) Artist Studio, 1936, etching Edition of 100, signed and dated lower margin. From the Archives of AskArt: Armin Landeck was born in Wisconsin in 1905. He studied at the University of Michigan, Ann Arbor (B.A.), and Columbia University (M.A.). While in New York, he took classes at the Art Students League*, and began experimenting with printmaking, studying briefly at the Atelier 17* with Stanley Hayter. In the 1930s he opened the School of Printmakers with Martin Lewis, in George Miller's 14th Street Studio in Manhattan (closed due to the economic crisis of the Depression). He was a member of the Society of American Etchers ad was elected to the National Academy of Design*, the Institute of Arts and Letters, and the Institute of the American Academy. Exhibitions include: the International Graphics Exhibition, Yugoslavia (1932) Salons of America* (1934); AIC (1942); LOC (1943-45); Boston Printmakers (1969); South American Graphic Arts (1969); Conn. Graphic Arts Center (solo) (1998). His work is included in collections at the Metropolitan Museum of Art; the Museum of Modern Art; the Library of Congress; the Swedish National Museum; and the Kaiser Friedrich Museum, Berlin. Source: Annex Galleries etching Dimensions: 17 1/2"H x 20"W (frame), 10 1/2"H x 13"W (sight)
• MARY LOU DOOLEY WALLER, AMERICAN (20TH
  MARY LOU DOOLEY WALLER, AMERICAN (20TH CENTURY), ACCESS TO LIGHT, LARGE OIL ON CANVAS, 29 3/4"H X66"W, 31 1/2"H X 67 3/4"W (FRAME)Mary Lou Dooley Waller, American, (20th Century) Access To Light, LARGE oil on canvas Biography from the archives of AskArt: My painting process begins with making marks, drawing, or laying washes of color on canvas or paper until what develops there begins to suggest to me a structure of forms and color relationships. I let images that develop in this manner suggest the direction of the painting and ways in which light and space may be manipulated into a coherent whole. Consequently it is not always possible for me to know at the beginning what direction the work ultimately will take. I am always conscious of color EDUCATION: MFA, University of Michigan, 1982 MFA Candidate, University of Kansas, 1969-1970 BFA, Kansas City Art Institute and School of Design, 1958 Rockhurst College, Kansas City, Missouri, l957 AFFILIATIONS Who's Who in American Art AWARDS School of Art Graduate Scholarship, University of Michigan, 1980 Margaret Allen Barnett Award, Outstanding Graduate, Kansas City Art Institute, 1958 A. B. Gernes Honor Scholarship, Kansas City Art Institute, 1954 The Art Directors Award, Four-year Scholarship, Kansas City Art Institute, 1954 National Scholastic Art Award, One-year Scholarship, Kansas City Art Institute, 1954 Source: Website of Indyartsguide, 2021 LARGE oil on canvas Dimensions: 29 3/4"H x66"W, 31 1/2"H x 67 3/4"W (frame)
• EDGAR LOUIS YAEGER, MICHIGAN / FRANCE
  EDGAR LOUIS YAEGER, MICHIGAN / FRANCE (1904 - 1997), UNTITLED ABSTRACT, 1937, OIL ON CANVAS, 20 1/2"H X 27 1/2"W (SIGHT), 25"H X 32"W (FRAME)Edgar Louis Yaeger, Michigan / France, (1904 - 1997) untitled abstract, 1937, oil on canvas signed lower right. Biography from the Archives of askART: Biography from Papillon Gallery Edgar Louis Yaeger was born in 1904 in Detroit, Michigan, the son of a shoe store owner and the fourth generation of his family to live in the area. Yaeger's family was hesitantly supportive of his artistic pursuits. In the early years of his life, Yaeger learned a succession of skills from his beloved grandfather, who taught him to draw, to carve figures from blocks of soap and to paint using discarded paints found in an alley, thus laying the foundation for capabilities Yaeger would use throughout his life. By his own account, Yaeger showed little interest for any vocation apart from art; while his father was disappointed that his son wouldn't follow him into the family shoe business, he lent his grudging support to Yaeger's artistic pursuits, saying that so long as he was able to earn a living he was free to continue. ?Yaeger's talent began to emerge in earnest during his high school years as he started winning prizes for his drawings and paintings. Scholarships enabled him to pursue his formal artistic training at the University of Detroit, the John P. Wicker School of Fine Arts, and Robert Herzberg's Detroit School of Fine and Applied Arts. Both to economize and to support himself, Yaeger ground paints for his own use and for sale to fellow students. Concurrently, his work began to attract the attention of a broader audience of influential art patrons. Early recognition arrived in the form of acceptance into the Carnegie International Exhibition in 1930 – a show juried by Henri Matisse. In 1932, Yaeger won two prizes which would provide a significant boost to his budding career: The Detroit Institute of Arts' Founders' Society Purchase Prize and the Detroit News'Anna Scripps Whitcomb Traveling Scholarship. Apart from the increased public profile and prestige afforded by the awards, the $500 Scripps cash award enabled Yaeger to pursue his art education overseas. Yaeger departed for Paris, then still the center of European artistic activity and the home to legions of American expatriates, where he studed at the Academe Andre L'hote and the Ecole Scandinav, where he received instruction from L'hote, Marcel Gromaire and Orthon Friesz. Yaeger embraced the opportunities for education and inspiration afforded him by life in Paris, relishing the chance to meet other artists, peruse cutting-edge Paris galleries, and to paint in the French countryside as well as the advanced education provided by his European instructors. Forced by economics to return home midway through his European tenure, Yaeger was awarded an additional $500 by the Whitcombs in recognition of his talent and thrift, enabling him to return to France, Yaeger purchased a $10 bicycle upon which he traveled across the continent, drawing, sketching and painting directly from life in a panoply of European settings. ?A confluence of factors including escalating tensions in prewar Europe and the American economic depression led Yaeger to return to the United States in 1935. Yeager settled once again in Detroit, taking up residence in his family home where he would remain for the rest of his life. Shortly after his return, Yaeger began to work on a succession of murals commissioned by Franklin Roosevelt's Works Progress Administration and its landmark Federal Arts Project. While not enamored of the officially-sanctioned Social Realist style favored by program administrators, Yaeger nonetheless joined the ranks of American artistic luminaries commissioned by the FAP to create murals, paintings, and sculptures for WPA sites in Detroit and Ann Arbor. Yaeger's FAP commissioned works included murals for Detroit Receiving Hospital's Children's Ward, the Ford Grammar School in Highland Park, and Western Market (all now destroyed). A commission for the Detroit Public Lighting Commission, a landmark mural celebrating the historical development of electric light, was partially saved from oblivion prior to the building's 1977 demolition and is now visible at Michigan State University's Kresge Art Museum. Surviving Yaeger WPA murals exist at the Brodhead Naval Armory (now closed), Grosse Pointe South High School in Grosse Pointe, and the University of Michigan's West Quad Dormitory. ?Yaeger was somewhat dismissive of his WPA-era projects; his reluctance to embrace social realism and his resistance to the influence of program administrators and site managers led him to leave many of these works unsigned. Ironically, they become a cornerstone of his artistic reputation, and likely to his regret, a prism through which the remainder of his life's work would be perceived by critics and the public. He became pigeonholed in the eyes of some as a "WPA" artist, and with Social Realism's fall from stylistic favor he received a corresponding lessening of attention and appreciation. ?Nonetheless, Yaeger continued to work at a frenetic pace, completing private commissions including mosaics for churches and murals for private clients as well as an endless succession of paintings and drawings. Prizes, gallery exhibitions, and purchases continued to accrue, albeit at a lessened frequency, through the 1960s—even during the Abstract Expressionist, Pop, and Op-Art eras. With the ascendence of conceptualism in the late 1960s-early 1970s and its attendendant dismissal of both painting and representationalism in favor of pure abstraction, Yaeger began to recede into obscurity. ?The mid-1980s, however, witnessed something of an Edgar Yaeger renaissance. As conceptualism fell from style and interest in painting returned —thanks in large measure to American Neo-Expressionists such as Julian Schnabel and Jean-Michel Basquiat and Europeans such as Gerhard Richter and Sigmar Polke— stylistic devices favored by Yaeger came once again into vogue. Simultaneously, a Detroit-based group of Yaeger fans led by Yaeger's friend and agent John Joseph Jr. began evangelizing the artist's work on his behalf, a practice never undertaken in earnest by the modest Yaeger. A flurry of press attention and new public commissions followed, including an outdoor mosaic on the facade of Detroit's Scarab Club. For the majority of his remaining years, Yaeger's work continued to receive steady if low-key attention within Detroit and regional artistic and press circles. Yaeger's artistic reputation was also bolstered by growing appreciation for his craftsmanship. His patience and dedication to craft are evidenced by the meticulously created handmade frames he made for many of his paintings. Yeager's method involved assembling dozens of individually cut, sized, and carved pieces of wood into a single frame, carefully combing, filing and finishing the frame until it perfecty suited the picture it housed. Yaeger refused to use power tools for any of these creations, insisting upon a deliberate, careful process of gradual refinement. His exacting standards often resulted in more time being taken in the creation of a frame than in painting the picture itself. ?Yaeger's friends and business associates usually could count on a special annual treat: The arrival of one of his original Christmas cards. Yaeger's colorful hand-tinted cards were produced through the laborious linocut process; after making his initial sketches, Yaeger would hand-carve his design in reverse onto a piece of linoleum, which he would then ink and press into the individual sheets of paper. Once the ink dried, Yaeger would patiently hand-color each one. Edgar Yaeger died in 1997 at the age of 93, leaving behind thousands of completed paintings and drawings, a smaller number of reliefs and mosaics, and his legendary murals. Art historians and curators continue to wrestle with Yaeger's placement in the modernist pantheon, seemingly disinclined to rewrite an official 20th century art narrative which largely excluded him, but institutional support – notably from East Lansing's Kresge Museum – continues to reaffirm Yaeger's rightful status as an unheralded modernist master. Such a stature may have been something this introspective master craftsman never expected or pursued, but it is a position he richly deserves. oil on canvas Dimensions: 20 1/2"H x 27 1/2"W (sight), 25"H x 32"W (frame)
• A Dental Student's Brass Mounted Oak
  A Dental Student's Brass Mounted Oak Lift Top Cabinet Late 19th/Early 20th Century purportedly used at the University of Michigan. Height 41 1/8 x width 34 1/8 x depth 17 3/4 inches. Property from a Michigan Collector
• Michele Oka Doner (1945 USA) Totem with
  Michele Oka Doner (1945 USA) Totem with Five Masks?ca 1967-68Porcelain Steel; largest mask ht. 6 wd. 4.5 dp. 3 in.Michele Oka Doner's (b. 1945) hugely successful career working with sculpture jewelry public art ceramics furniture and other functional objects spans four decades. She is perhaps best known for the installation A Walk on the Beach (1995-1999) at the Miami International Airport which consists of a mile of dark terrazzo inlaid with bronze and mother-of-pearl. "People say sometimes with surprise You use so many different materials you make so many different things " says the artist of her material polygamy. To this she responds "Well of course. Why wouldn't you? Why do people feel they need to stake a claim in a small arena?"In the 1960s her arena was ceramics. We are pleased to offer five rare and important works from this period. Oka Doner studied ceramics at the University of Michigan Ann Arbor graduating in 1966. Within a couple of years her work had begun to make waves both aesthetically and politically. A piece from her Death Mask series in 1967 was selected as the cover of Generation the university's avant-garde student journal as campus unrest over the Vietnam War escalated. Students protesting the disfiguration caused by the use of the damaging chemical Napalm adopted her Tattooed Porcelain Dolls as their resistant symbol. These dismembered figures grew out of her earlier bowl and pod works. Historian and curator Suzanne Ramljak describes these early ceramic works as "a telling overture for an artist who would seek a connection with elemental 'first things' as she calls them. Earth and fire speak boldly through these works revealing an acceptance of nature and accident as creative partners."References: R. Stevens. "3rd Biennale Des Artistes Du Michigan " La Revue Modern des Arts et de la Vie Paris: ?June 28 1969.Michele Oka Doner. ?"Art Folio: I. Lithographs Etchings Ceramics by Michele Oka Doner " Generation Ann Arbor Michigan: 1968.Arthur C. Danto et al. Michele Oka Doner: Natural Seduction. ?New York NY: Hudson Hills Press 2003. Condition: Some light scratches on stand. Maker's cracks and fissures.
• Southern Federal walnut farm table early
  Southern Federal walnut farm table early 19th century rectangular top with rounded corners over single frieze drawer on square tapering legs. H29 3/4'' W52'' D33 1/2'' Provenance: The Estate of Laura Brodie great-granddaughter of General Paul Quattlebaum. Columbia South Carolina collection. Other Notes: This farm table was purchased from an on-site sale of the estate of Laura Brodie of Leesville SC. Brodie a herpetologist and eptomologist who worked at both the Field Museum in Chicago and the University of Michigan Museum was the great-granddaughter of Conferederate General Paul Quattlebaum. She resided in Quattlebaum's boyhood home where this piece was purchased in March of 2007. General Quattlebaum (1812-1890) was born in Lexington SC. He invented the Quattlebaum rifle and owned and operated a rifle works lumber business and flour mill. Quattlebaum had a long and distinguished military career that included serving in the First Regiment of South Carolina Volunteers (1836) during the Seminole War and the state militia (1838-1853). He served in the South Carolina Senate (1848-1851) and attended the Secession Convention (1860-1862) where he signed the Ordinance of Secession. Back    Inquiry      Previous Item   Next Item © Charlton Hall Auctions.  Images descriptions and condition reports used on this site are original copyright material and are not to be reproduced without permission. For further information telephone 803.779.5678     © 2012 CHARLTON HALL GALLERIES INC.
• SS Titanic survivor's jewelry & ephemera
  SS Titanic survivor's jewelry & ephemera lot, c/o 14K YG 14s Elgin ladies HC pocket watch, engraved "BERTHA FROM HEINRICH/April 6, 1889", not working, Waltham 14K YG 17j man's wristwatch, missing winding stem, 3 Phi Delta Chi fraternity pins set with pearls and diamond chips, the oldest Pharmacy Only Fraternity, founded on 2 November 1883 at the University of Michigan in Ann Arbor by 11 men, led by Dean Albert B. Prescott, inscribed Harry Tuthill, Fred Joel Swift, 1885, one unmarked, 4 gold school awards from Mackenzie School for "Excellent and Exemplary Conduct & Behavior/Albert Hays", 1925, "Head Boy, Senoir Class, 1929" , and 2 "Special Honors" Peekskill Academy, 1925/29, a gold ladies lorgnette, missing a lens & broken frame, with an English brown leather purse with initials MWS. A family history is as follows: Mrs. Frederic Joel Swift, Margaret Welles Swift of Nyack, NY. Her home is now owned by the Nyack Historic Society. A widow and passenger aboard the Titanic, who wound up on a lifeboat & survived. She is mentioned in Walter Lord's book. She adopted, Albert Hays, son of her maid whom died young. Later, she sent him to Military school and he graduated with honors. He found employment with a bank and lived a model like until he disappeared. There was a big shortage at the bank, Margaret never heard from him again. She died in 1940. Estimate $800-1,200
• A Neupert Double Manual Harpsichord,
  A Neupert Double Manual Harpsichord, ca. 1950, Bamberg, Germany, "Vivaldi" model, h. 37-1/4", w. 39-1/4". Provenance: Estate of Dr. Elise Cambon, New Orleans, Louisiana. Dr. Cambon served as organist and music director at the St. Louis Cathedral in New Orleans for 62 years. Proceeds from the sale of this harpsichord will benefit the Louise S. McGehee School, the St. Louis Cathedral, Newcomb/Tulane University, Loyola University, the Academy of the Sacred Heart and the University of Michigan.