Our friend Tamara Herrod, who handles PR for the folks at Treadway-Toomey, forwards us the following press release. $60,000! Well, some folks have an awful lot of money, don’t they? Not that these aren’t gorgeous – they certainly are – but, well, goodness.
Rare Pair of Kappa Candlesticks by Chicago Metalsmith Robert Jarvie Brings Record $60,000 at Treadway-Toomey Galleries’ Auction
But man, the twofold creature, apprehends the twofold manner, in and
outwardly, and nothing in the world comes single to him, a mere itself,
– cup, column, or candlestick.
~ Elizabeth Barrett BrowningOAK PARK, Ill. — A rare and perfectly matched pair of Kappa model
bronze candlesticks handwrought by Chicago metalsmith Robert R. Jarvie
fetched a record $60,000 at Treadway-Toomey Galleries’ 20th Century Art
& Design Auction on May 7. The presale estimate was $10,000 to
$15,000 for the pair. The graceful, 14-inches tall candlesticks had
their fine original patinas and removable bobêches.
"These candlesticks were a great version of that particular Jarvie
form," said Don Treadway, gallery owner. "Two bidders – one from the
east and the other on the west coast – were well aware of how difficult
they are to find. That model is quite rare and the condition was
superb. With Jarvie, the model is what dictates the value, and then the
condition creates an additional level of interest and desire. These
were exceptional."
In the late 19th Century, Robert Riddle Jarvie (1865-1941) began
crafting elegant candlesticks and lovely lanterns as a hobby. In 1904
he quit his job at the Chicago Department of Transportation and
launched the Jarvie Shop in downtown Chicago to pursue his metalworking
passion full-time.
"Between 1890 and the outbreak of World War I, metalsmithing in Chicago
was infused with a new vitality that flowed from the Arts and Crafts
movement, which had its origins in England," wrote Sharon Darling in
"Chicago Metalsmiths," her 1977 exhibition catalog. As Curator of
Decorative Arts at the Chicago Historical Society, Darling had also
organized the exhibition.
"A number of metalsmiths studied the simple, forthright forms of
silverwork produced during the Colonial period and some, like Robert
Jarvie and employees of Marshall Field & Company, reproduced them
in addition to more innovative pieces," Darling wrote. "The idealized
figure of the Colonial silversmith, proud of his work and imbued with
revolutionary spirit, served as an inspiration for the American
metalworker in much the same way that the medieval guild craftsman did
for the 19th Century British craft worker."
Metalwork by California-based coppersmith Dirk Van Erp of The
Netherlands was also in demand at the sale. An 18-inches tall Van Erp
table lamp with original patina and four-panel mica shade achieved
$25,200 (est. $10,000-$15,000). In a style much like Van Erp’s, a
7.5-inches high lamp, which featured a hammered copper base in a
stocky, bean-pot shape and a mica shade, sold for $2,400 (est.
$900-$1,200).
An unconventional Tiffany Studios lamp that showcased the natural
beauty of a genuine nautilus shell with an opalescent finish as its
shade brought $12,000 (est. $6,000-$8,000). Supported by a bronze base
with its fine original patina, the 13-inches tall lamp was signed
‘Tiffany Studios New York #25893.’
A 51-inches tall Gustav Stickley chest, style no. 913, with six small
drawers over three large drawers and an arched front, sold for $11,400
(est. $7,000-$9,000).
Architectonically inspired designs from The Gates Potteries fared
extremely well. A handsome Teco vase by Harold Hals sculpted in a
four-sided form with looping handles at the bottom brought $26,400
(est. $20,000-$25,000). Hals’ stately creation stood 13 inches tall and
was covered in one of the magnificent matte green glazes for which Teco
was renowned. An 11.5-inches high Teco vase by Max Dunning in a
four-handled and four-footed form, which was covered in a green matte
glaze with charcoal highlights, sold for $9,000 (est. $5,000-$7,000).
According to the firm’s 1905 catalog, Dunning’s vase was "especially
adapted for rooms with Mission furnishings."
Two Teco vases covered in rare and exquisite matte dandelion-yellow
glazes were also of interest. One, a splendid, four-buttress design by
founder William Day Gates, fetched $4,800 (est. $2000-$3000). The
other, a curvaceous Fritz Albert find, sold for $3,120 (est.
$1,700-$2,700).
An outstanding Newcomb College vase, which had been painted by Anna
Francis Simpson with a magnificent monochromatic blue landscape of
moss-laden oaks, sold for $13,200 (est. $4,000-$6,000). Executed by
Henrietta Bailey, a 13-inches high Newcomb College vase in a large
classic shape decorated with carved and painted pinecones brought
$12,000 (est. $5,000-$7,000).
By French ceramist Adrien Dalpayrat, a vase covered in a magnificently
mottled glaze of green, red, blue and brown fetched $9,600 (est.
$5,500-$7,500). The Musée d’Orsay in Paris owns a number of Dalpayrat’s
works, including vases with his remarkable glazes.
An 11.5-inches tall Grueby vase in a large gently tapered form with
carved and applied vertical leaves sold for $7,200 (est.
$5,000-$7,000). Covered in a suspended matte green glaze, the design
was suggestive of a sturdy watermelon.
A rare E.T. Hurley bronze bowl, which was sculpted with more than a
dozen turtle hatchlings scampering inside the vessel, fetched $6,600
($1,500-$2,000). Its rich and beautiful verdigris patina proved to be
an especially stunning finish for Hurley’s delightful design of
scurrying turtles.
Carved and painted with a stylized floral design, a 2.5-inches high
Overbeck vase that was covered in a tan and mauve glaze brought $6,000
(est. $2,500-$3,500).
An unusual Weller vase in a 12-inches tall, tapered form that was
sculpted with flowing tasseled tufts of wheat brought $3,000 (est.
$1,000-$1,500). Its matte glaze was a dappled blend of wheat-toned
yellow, red and green.
The Fine Art and Paintings session featured works from the prominent
collection of former United States Senator William C. Benton
(1900-1973). Benton and his modern art collection were the targets of
attacks by Joseph McCarthy in the early 1950s. Paintings by Reginald
Marsh (1898-1954), an American who painted social realist scenes of New
York, were among the offerings. "Gypsy Rose Lee, The Star and Garter,"
a circa 1943 watercolor and ink on paper, was the top-selling lot at
$54,000 (est. $50,000-$70,000). Marsh’s "Fun in the Dark," a circa 1950
double-sided watercolor and ink on paper, sold for $18,000 (est.
$20,000-$30,000), while his "Girl Bicyclist," a circa 1951 tempera on
masonite, brought $12,000 (est. $15,000-$25,000).
Other works from Senator Benton’s collection also fared well. "The
Family," a circa 1958 oil and wax with applied gold leaf on masonite,
by German-American artist Siegfried Gerhard Reinhardt (1925-1984) sold
for $11,400 ($6,000-$8,000). "Volcanic Range," a circa 1947 oil on
canvas by American painter Reuben Tam (1916-1991) achieved $9,600 (est.
$3,000-$5,000). "Storm Composition #4," a circa 1955 oil on masonite by
American Abraham Rattner (1895-1978) brought $9,000 (est.
$6,000-$8,000).
Vintage gelatin silver prints by noted American photographer Edward
Steichen (1879-1973) were of interest. "Goats on Michigan Beach," a
circa 1930s silver print, fetched $2,040 (est. $400-$600). A lot of two
images, "Mary with the Sandburg’s Goats," also brought $2,040 (est.
$800-$1,200). "Little Girl with Dog" sold for $840 (est. $800-$1,200)
and "Daughter and Friend at Voulangis" achieved $720 (est. $600-$800).
Fetching avian etchings by American artist Frank Benson (1862-1951)
were especially in demand. "Finch on a Branch" sold for $3,480 (est.
$200-$300). Circa 1920 "Duck on a Pond" brought $1,080 (est.
$200-$300). "Black Birds" also sold for $1,080 (est. $500-$1,000), and
"Sand Pipers" went for $1,800 (est. $500-$1,000).
In the 1950s to Modern session, designs by George Nelson were coveted.
Reminiscent of a giant set of watercolors, the George Nelson
Marshmallow Sofa sold for $20,400 (est. $15,000-$20,000). Manufactured
by Herman Miller circa 1960, it featured the original multi-colored
wool upholstery over 18 individual cushions on a black enameled and
polished steel base in its original finish.
George Nelson rosewood cabinets by Herman Miller also fared well. One
with four drawers brought $3,000 (est. $1,800-$2,200) and the other,
which featured two doors and four drawers, sold for $6,000 (est.
$3,000-$4,500).
A large iridescent clam-shell shaped glass vase by Ercole Barovier for
Barovier & Toso achieved $5,400 (est. $1,200-$1,500).
An Edward Wormley cabinet by Dunbar, which was formed with a slightly
concave shape and crafted of dark mahogany and burled wood, sold for
$8,400 (est. $3,500-$4,500).
A Philip and Kelvin Laverne "Chan" coffee table from the 1960s fetched
$6,600 (est. $3,000-$3,500). Carved of bronze and pewter, its enamel
top featured an acid-etched and carved design of a sacred Chinese
ceremony honoring an Emperor’s son.
A pair of Ludwig Miles van der Rohe Barcelona ottomans, which were made
by Knoll circa 1973 of brown leather tufted cushions on polished steel
"X" bases, sold for $8,400 (est. $1,500-$1,800).
A set of eight "Beaubourg" chairs created by Michael Cadestin and
George Laurent brought $12,000 (est. $9,000-$12,000). Made by Teda of
France circa 1976, the steel wire forms featured attached black leather
seats and back cushions. Designed specifically for the Pompidou Center
in Paris, the Beaubourg chair was conceived by Richard Rogers and Renzo
Piano. The final form devised by Cadestin and Laurent was chosen as the
winning chair by a jury headed by Jean Prouvé.
Treadway-Toomey Galleries’ proprietors are always seeking consignments.
As specialists in 20th Century Design, both Don Treadway and John
Toomey offer appraisal services, private consultations, as well as
purchasing and acquisition services. In addition, Treadway Gallery now
handles estate sales services.
For more information, call Treadway Gallery at 513.321.6742 or John Toomey Gallery at 708.383.5234, or visit their website.