STEVE KLINE (AMERICAN/NEW ORLEANS, 20TH C.)Steve Kline (American/New Orleans, 20th c.), "Dancing Daze", 1992, polyurethane on brushed aluminum, signature and date stamped on self-base, h. 24 in., w. 31 3/4 in., d. 21 in. Provenance: Sylvia Schmidt Gallery, New Orleans, LA, 1993
FRANZ KLINE POST IMPRESSIONIST LANDSCAPE PAINTING Franz Josef KlineMassachusetts, New York,1910-1962Titled "Sunny Afternoon", the work depicts a farmer and his donkey leaving a village on a dirt road in the foreground with a mountainous background beneath a blue sky. The painting is a very early example from Kline's career prior to meeting Willem de Kooning (1904-1997) in 1948.Oil on boardSigned "Kline" in pencil lower right on painting, and signed and titled in script on mat, "Franz Kline" lower right, "Sunny Afternoon" lower left.Sight size 10" x 13",Framed 16" x 21"From the collection of a Providence, Rhode Island lady.
Attributed to Franz Josef Kline (American, 1910-1962), oil on canvas laid down on board, children playing on roller skates with a cityscape in the background, unsigned, inscribed with the artist's name verso on dustcover, old applied label reading "209. Palmerston, Pa……Franz Kline" attached verso, framed under glass in a gilt frame with attached name plaque, ss. 10" h. x 8" w. [Provenance: Sold through Phillips (New York), May 21, 1996, lot #88 (p. 50 in the catalog).]
(n/a) Franz Kline (American, 1910-1962)
Untitled, 1952
signed 'Kline' (lower left)
oil on cardboard
9 x 10 1/2in (23 x 27cm)
Willets Belleek porcelain vase; Arts & Crafts decoration with roses, shades of brown, amber, and butterscotch; stamped under base and artist signed 'A. Kline'. 11 1/2"H. Very good condition with no chips, cracks or repairs.
KLINE, FRANZ (Wilkes Barres/ Pennsylvania 1910 - 1962 New York) Study for Wanamaker Block. 1955. India ink on paper.Signed lower left: KLINE. 25 x 16 cm. Provenance : - estate of the artist, New York. - Elizabeth Kline, New York. - collection of Allan Stone. - collection of Eva J. Pape, New York.
FRANZ KLINE (1910-1962): JIMMY Charcoal, ink and gouache on paper, c. 1945, signed 'Kline' and titled lower right; Gene, pencil and watercolor on paper, c. 1945, signed 'Kline' at center, titled lower right; Joe, pencil on paper, c. 1945, signed 'Franz Kline' lower right, titled lower center; and The Barber Next Door, charcoal on paper, c. 1945, signed 'Kline' lower right, titled lower center, with labels from Jeremy Stone Gallery, San Francisco; and Allan Stone Gallery, NY. All approx. 11 x 8 in. (sheet), 19 1/2 x 16 in. (frame). Estimate $ 1,200-1,500
AARON SISKIND (1903-1991) Rome 2 * Rome 156. Together, 2 photographs from the series Homage to Franz Kline. Silver prints, 14 1/4 inches square and 14x16 1/4 inches (36.2 and 35.6x41.3 cm.), sheet size 16x20 inches (40.6x50.8 cm.), each with Siskind's signature, title, and date, in pencil, and numeric notations, also in pencil, in an unknown hand, on verso. 1973 (2)As Siskind's friend, the photographer Carl Chiarenza writes, "In his work, Aaron Siskind explores the importance of friendship between individuals as well as the larger concept of communication within the artistic community. As a result of his personal friendship with and aesthetic influence from Franz Kline, Siskind uses media such as broken walls and flaking plaster to achieve similar effects on film to those Kline achieved in paint."
FRANZ KLINE (1910-1962): EDNA; AND HUGHIE Two pencil on paper, c. 1940, both signed 'Kline' lower right and titled at bottom; and Grover Whalen, watercolor and gouache on brown paper, signed 'Kline' and titled lower right. All 11 1/2 x 8 1/2 in. (sight), 20 x 17 in. (frame). Estimate $ 900-1,200
PAUL KLINE (AMERICAN, 21ST C.) "THE HUNT", 2014, DIPTYCH, ENCAUSTIC ON PANEL, ABSTRACT FORMS IN CREAM, BLACK, ORANGE AND BLUE, SIGNE...Paul Kline (American, 21st C.) "The Hunt", 2014, diptych, encaustic on panel, abstract forms in cream, black, orange and blue, signed in left panel, lower right, floating mount, together in one frame, wear consistent with age, not examined out of frame, each 12" h. x 12" w.
ALFRED MORANG (american 1901-1958) "NIGHT OVER SANTA FE" Signed 'ALFRED MORANG' bottom right, oil on canvas 10 x 26 in. (25.4 x 66cm) Executed circa 1948. provenance: Fred R. Kline Gallery Inc., Santa Fe, New Mexico. ,500-2,500 Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman''s Conditions of Sale.
AFTER JOE KLINE, 'RIDERS ON THE STORM', FRAMED PRINT, FRAME: 32 X 39 1/4 IN. (81.28 X 99.70 CM.)After Joe Kline, 'Riders on the Storm', Framed Print,, Dimensions: Frame: 32 x 39 1/4 in. (81.28 x 99.70 cm.)
JOHN SKOLLE, (GERMAN AMERICAN, 1903-1988), GEOMETRIC ABSTRACTION, 1945, OIL ON MASONITE, 16" X 24". STEEL FRAME, 20 1/4" X 26 1/2".John Skolle (German American, 1903-1988) Geometric Abstraction, 1945 oil on masonite signed lower left. Biography from Fred R. Kline & Co JOHN SKOLLE (a sketch by his son Philip Skolle; edited by Fred R. Kline) John (Hanns) Skolle—artist, explorer, teacher, writer—was born in 1903 in Plauen, Germany. He was brought up in a circus in Czech Bohemia and the Sudeten region (his father created a school for acrobats in Prague and eventually became a teacher, a painter and a writer). He studied at the KunstAkademie in Leipzig. When he was barely 20, an uncle unexpectedly appeared in his life and played his destiny by tossing a coin in the air. Heads: New York; tails: Brazil. In May 1923 they arrived in New York. His uncle gave him 120 dollars and a piece of advice: "Now, get a job". In Brooklyn and Manhattan, where he lived, he studied at the Art Students League, and soon made friends, among them: the poet Hart Crane, the screenwriter Ben Hecht, the photographer Walker Evans with whom he shared an apartment and who became one of his closest friends. He married a French bourgeoise, Elisabeth (Lil) and became the father of a daughter, Anita, in 1927. But the couple parted and John started traveling in Europe and North Africa. In Paris, Amsterdam and on the French Riviera he worked for fashion houses, publishers and magazines and met Picabia, Giacometti, Pascin, Noguchi, Van Dongen, Hilaire Hiler, Picasso and the film-score composer Georges Antheil. Back in the U.S. in 1939, he moved west and worked on ranches in charge of horses before becoming an art teacher. In the West, he had encounters with the architect Frank Lloyd Wright. In the 1950s, he went back to the Sahara and crossed part of it with a caravan of Tuareg tribesmen. The account of his trek - Azalaï - was published in 1956, in the U.S., Great Britain and Japan. The book is still available half a century later. In Africa, John Skolle befriended the Hollywood actor Peter Lawford (who was Marilyn Monroe's friend, President Kennedy's brother-in-law and member of Frank Sinatra's Rat Pack). They remained good friends after sharing adventures together. In the 60s and 70s, John Skolle mostly traveled to Africa and Central America, where he found inspiration both in art and ethnography. He eventually became Associate Director of the Department of Art at the University of New Mexico. He published a monography on the Seri Indians of Sonora, Mexico and wrote his autobiography in the 1980s -Biography of a Double. John Skolle's paintings were exhibited and collected by many American museums, including: Dallas Museum of Fine Arts, Museum of New Mexico in Santa Fe, Denver Art Museum, Jonson Gallery at UNM in Albuquerque, Wurlitzer Foundation in Taos, California Palace of the Legion of Honor in San Francisco, Museum of Modern Art in New York, National Gallery in Washington, the Carnegie Institute in Pittsburgh, Santa Barbara Art Museum, Seattle Art Museum, Princeton University Art Gallery, and at the Bonestell Gallery in New York; and many private collections throughout the world. He was awarded a number of prizes in New Mexico and California for his artistic achievements. The Skolle family archives related to Walker Evans are kept at the Metropolitan Museum of Art in New York and at Yale University, and include paintings and photographs of-and-by John Skolle and Walker Evans, and correspondence between Evans and John or Lil Skolle. Many portraits of Skolle (and his wife and child) made by Walker Evans appear in recent publications along with the detailed account of the whole relationship between Skolle and Evans in New York and Connecticut between 1926 and 1934. Walker Evan's biographers note that Skolle exerted a strong encouraging influence on Evans during depressive periods in the photographer's life and inspired the photographer to develop his talent. Among the many anecdotes that colored Skolle's life, he liked to recount once sleeping with a rattlesnake in his tent and being attacked by sea-eagles in the Sonora Desert of Mexico; and barely surviving a dinner during the Mau Mau uprising in South Africa that served him ground glass and poisonous insects. He died of old age on Christmas Day 1988. He was 86. 16" x 24". STEEL Frame, 20 1/4" x 26 1/2". oil on masonite Dimensions: 16" x 24". STEEL Frame, 20 1/4" x 26 1/2".
FRANZ KLINE (1910-1962): AL SMITH; JAMES A. FARLEY; AND FREDDY ELEPHANT FINGERS Three watercolor, ink and gouache on paper, c. 1945, all signed 'Kline' lower right James A. Farley titled lower right, Freddy titled center right. All approx. 10 1/2 x 8 in. (sight), 17 1/2 x 13 1/2 in. (frame). Exhibited: Neuberger Museum, Franz Kline: Early Works as Signals, Sept. 25 - Nov. 6, 1977. Estimate $ 900-1,200
Franz Kline Post Impressionist Landscape Painting: Franz Josef Kline. Massachusetts, New York, 1910-1962. Titled "Sunny Afternoon", the work depicts a farmer and his donkey leaving a village on a dirt road in the foreground with a mountainous background beneath a blue sky. The painting is a very early example from Kline's career prior to meeting Willem de Kooning (1904-1997) in 1948. Oil on board. Signed "Kline" in pencil lower right on painting, and signed and titled in script on mat, "Franz Kline" lower right, "Sunny Afternoon" lower left. Sight size 10" x 13", Framed 16" x 21". From the collection of a Providence, Rhode Island lady. Condition Inspected out of frame, matted areas show they need to be cleaned, overall good estate fresh condition.
Franz Kline Post Impressionist Landscape Painting: Massachusetts, New York, 1910-1962. Titled "Sunny Afternoon", the work depicts a farmer and his donkey leaving a village on a dirt road in the foreground with a mountainous background beneath a blue sky. The painting is a very early example from Kline's career prior to meeting Willem de Kooning (1904-1997) in 1948. Oil on board, Sight 10" x13", Frame 16" x 21". Signed "Kline" in pencil lower right on painting, signed and titled in script on mat, "Franz Kline" to lower right and "Sunny Afternoon" to lower left. From the collection of a Providence, Rhode Island lady. Condition Inspected out of frame, matted areas show they need to be cleaned, overall good estate fresh condition.
AMERICAN SCHOOL: PORTRAIT SKETCH Pencil and ink on paper, 10 1/2 x 7 7/8 (sheet, signed). Said to be a self-portrait by Franz Kline.
FRANK STELLA, AMERICAN (1936- ) RELIEF GEOMETRIC PAPER SCULPTURE. Sella was one of the leading abstract expressionist in New York in the 50’s and 60’s. He began with a minimalist movement, and later began to incorporate sculpture in his artwork. He is influenced by J. Pollack, F. Kline, and B. Newman. Original M. Knoeler and Co., New York paper label on reverse. Titled “Frank Stella Kzangrodek (II-19) 1975 paper relief.” SIZE: 25-1/2” x 21-1/2” x 1-3/4”. The work in its original plexiglass framed case. 9-72997 ($4,500.00-$8,500.00)
FRANZ KLINE POST IMPRESSIONIST LANDSCAPE PAINTING Massachusetts, New York,1910-1962Titled "Sunny Afternoon", the work depicts a farmer and his donkey leaving a village on a dirt road in the foreground with a mountainous background beneath a blue sky. The painting is a very early example from Kline's career prior to meeting Willem de Kooning (1904-1997) in 1948.
HOWARD KLINE (CALIFORNIA/MAINE, 20TH CENTURY), THE "WENDY L"., OIL ON CANVAS BOARD, 16" X 20". FRAMED 21" X 25".HOWARD KLINE, California/Maine, 20th Century, The "Wendy L". Signed lower right "Kline". Titled verso. Dimensions: Oil on canvas board, 16" x 20". Framed 21" x 25".
Kline, Franz (1910-1962) Autograph Letter Signed with Drawings and Envelope, 18 November 1931. Single page of Boston University stationery, inscribed on both sides, with the holograph envelope. To Lavona Edgar, giving news of college life and inquiring about friends at home, and plans for the upcoming winter holidays. Single page, folded into thirds, slight chip, ink a bit blurred on the recto, touching the ends of four lines; fading and fly specking to envelope, 10 1/2 x 7 1/4 in. Kline sends regards to his friend in Lehighton, Pennsylvania, reports that he's growing a moustache, won't be home for Thanksgiving but will return for Christmas. The letter is written in a stylized hand, with many humorous cartoons added, including a sketch of Duke Ellington and a mutual friend drawn as "a Clara Bow." Estimate $2,000-3,000 The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
FRANZ KLINE, AMERICAN (1910-1962), UNTITLED, 1957, OIL AND INK ON PAPER, 8 3/4"H X 11 3/4"W (IMAGE), 15 3/4"H X 18 3/4"W (FRAME)Franz Kline, American, (1910-1962) Untitled, 1957, oil and ink on paper Signed in pencil lower right. Provenance: Purchased from Sidney Janis Gallery 1958. Original Exhibition Poster included. From AskArt: Born in Wilkes-Barre, Pennsylvania, Franz Kline became one of the most prominent 20th-century American artists working in abstract and non objective styles. His name is most associated with large-scale black and white paintings, and these linear abstractions brought him his first notable public attention in 1950 when they were shown in New York City. Of these paintings with no coloration, Kline said: "People sometimes think I take a white canvas and paint a black sign on it, but this is not true. I paint the white as well as the black, and the white is just as important." (Herskovic 186) Franz Kline began his career as a figure and landscape painter, and studied in the Art Department of Boston University from 1931 to 1935 and Heatherley School of Art in London from 1937 to 1938. He then settled in Greenwich Village of New York where he painted in realist style the local scenery including street scenes and Bohemian night clubs. Some of these in 1940 included Bleeker Street murals of jazz musicians but were not focused on social conditions but on American scenes, which was the prevalent style of that time. In 1946, he did his first abstract work, and in 1949, became committed to Abstract Expressionism when a friend put several of his small sketches into a projector, magnifying the bold linear strokes and making obvious his talent for that style. From that time, he often used a "Bell-Opticon enlarger to project forms on a wall as a means to abandon representation." (Baigell 196). Much of Kline's early abstraction was black and white with boldly geometric lines cut with asymmetry and opening edges. Later his lines became much thicker and his forms slablike. He used brushes up to eight inches in width. Abstract Expressionist Willem de Kooning was especially encouraging to Franz Kline. who by 1950, was producing large-scale Abstract Expressionist works with calligraphic images in black on white ground. From 1958, his gestural paintings had bold coloration. It was written that "his use of color had the effect of slowing down the velocities of his great bars and color sections." (Baigell 196). Many of his works were done with wide house-painter brushes, heavily loaded with paint across large canvases. Although primarily a painter, Franz Kline taught briefly at Black Mountain College in 1952; Pratt Institute in 1953; and the Philadelphia Museum School in 1954. From the late 1950s until his death, Kline was also active in Provincetown, Massachusetts. He died in New York City in 1962. oil and ink on paper Dimensions: 8 3/4"H x 11 3/4"W (image), 15 3/4"H x 18 3/4"W (frame)
Franz Kline Sidney Janis Gallery Exhibition Poster: Franz Josef Kline, Massachusetts, New York, 1910-1962. Original exhibition poster for Franz Kline at Sidney Janis Gallery, New York, May-June, 1958. Sight 26 5/8" x 21 3/4", Frame 28 1/4" x 23". .
Harry Bertoia (American 1915-1978), Untitled, 1940s, fine, large and early wood block painting in shades of yellow orange and green on heavy Italian fabriano paper, mounted in a solid walnut Leroy Kline frame. Marked HB255 on verso. Sight: 38 1/2" x 23 1/2" Note: For a detailed examination of Bertoia's work in this medium, see "Harry Bertoia, Printmaker: Monotypes and other Monographics," by June Kompass Nelson, Wayne State University Press, 1989.
(Photography, 20th Century), Siskind, Aaron, Homage to Franz Kline, Pepperell, Massachusetts: Palm Press, Inc., 1989, loose as issued in clamshell box, number five of a total edition of fifty-four, complete with six photogravures, each print signed, numbered and titled, folio, (excellent).
Note: this lot is complete with its six PHOTOGRAVURES (not photographs).
dimensions:
clamshell box: 27 1/2 x 23 1/4
sheet size: 26 x 22 3/8
image size: 14 1/2 x 14 1/4 in.
excellent condition, with very minor soiling to clamshell box.
MICHAEL GOLDBERG, AMERICAN (1924-2007), UNTITLED, OIL ON PAPER, 10 7/8 X 13 7/8 INCHESMICHAEL GOLDBERG, American, (1924-2007) Untitled, oil on paper signed lower right "Goldberg" oil on paper Dimensions: 10 7/8 x 13 7/8 inches Provenance: Mrs. Vera List, philanthropist and supporter of contemporary art, Greenwich, Connecticut; descended in the family to Private Collection, Connecticut; Shannon's, Milford, Connecticut, October 24, 2013, lot 74; Private Collection, California. Framed dimensions: 15 5/8 x 18 1/2 x 1 1/8 inches Michael Goldberg was born in the Bronx in 1924 and began taking classes at the Art Students League at the age of 14. Known as a second generation Abstract Expressionist, he studied under Hans Hofmann from 1940-1942. His studies were interrupted by World War II, when he enlisted in the US Army as a paratrooper and served in North Africa, Burma and India. In 1946 he returned to New York, resuming his studies at Hofmann's school and the Art Students League. Goldberg frequented the legendary Cedar Bar, a popular watering hole for many avant-garde artists living in lower Manhattan. It was there he became friendly with many of the New York School painters, including Franz Kline, Jackson Pollock, and Mark Rothko. Goldberg participated in the landmark 951 Ninth Street Art Exhibition of Paintings and Sculpture, now known simply as the Ninth Street Show, alongside de Kooning, Joan Mitchell, Helen Frankenthaler, Franz Kline and others. In the mid-1950s, Goldberg took over Rothko's studio in the Bowery, where he continued working until his death in 2007. Goldberg was also influenced by Roberto Matta and Arshile Gorky, but it was de Kooning, and his use of fiery brush-work and explosive color, who proved to be Goldberg's greatest influence. You can sense the influence of de Kooning in the present lot, Untitled, particularly in the compelling gestural brushwork and vivid colors along with the texture of the impasto. Goldberg received his first of ninety-nine solo exhibitions at Tibor de Nagy Gallery in 1953. His works can now be viewed in public collections across the United States, including the Albright-Knox Art Gallery, Buffalo, New York; the Art Institute of Chicago; the Hirshhorn Museum, Smithsonian Institution, Washington, D.C.; The Museum of Modern Art, New York; the Philadelphia Museum of Art; the Solomon R. Guggenheim Museum, New York; and the Whitney Museum of American Art, New York. tags: works on paper, abstract, modern / contemporary, 20th century Condition: In overall very good condition; not examined out of the frame; paper has stained from oil, apparent along the edges; some craquelure in areas of heavy impasto; slight imperfections to the corners; hinged at the top two corners, slipping from hinges; additional photos available upon request We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE.
FRANZ KLINE AT SIDNEY JANIS EXHIBITION POSTER 1958 Franz Josef Kline (American, 1910-1962) original exhibition poster for Franz Kline at Sidney Janis Gallery, New York, May-June, 1958, housed in an ebonized wood frame. Image: 25.75" H x 21.5" W; frame: 27" H x 23" W.
Loving cup, 1912 Kline Kar Belmont auto racing trophy inscribed "First Prize won by Kline Kar Ten Mile Race Belmont, June 29-1912 time 9-55"
10.5"h x 11"dia
Condition: Tarnished.
Two French's Perfume cologne bottles, two-part molds with an applied lip, original paper labels and neck wraps marked "French's Perfume Smith, Kline & French Co. Philadelphia USA", one for "Carnation Pink Special" and one for "Jap Narcissus", back of jars marked "French's Reg." in relief, "SKF" monogrammed stoppers. MEASUREMENTS: 7-1/2" by 2-3/8". CONDITION: One with stuck stopper and minor losses to label, the other with blue interior residue.
FRED KLINE OIL ON CANVAS (American, 20th century)Titled "Neptune." Image measures 57" x 72", signed "Fred Kline" on stretcher, purchased in 1974. In a wood frame. Proceeds to benefit the Portland Art Museum.
MICHAEL KLINE GLAZED POTTERY VASENorth Carolina, 21st century, signed "Kline" on base, four handled form with flared lip and foot, covered in greenish brown glaze with stylized foliate decoration, 13-1/4 x 9 in. diameter
Provenance: Private Collection
Condition:
some surface dirt and accretion, glaze crackle throughout
William Aiken Walker (American/South Carolina, 1838-1921; Active New Orleans 1876-1905) "Cabin Scene with a Family Surrounded by a Dog, Pig, Chickens and a Cat Sleeping in the Doorway", oil on academy board, signed lower left "W A Walker", 6-1/8" x 12-1/4", with pencil inscription on board verso "Rev. Kline 1740 Mineral Spring Rd". Presented in a contemporary molded giltwood frame. To be included in John Fowler's forthcoming catalogue raisonne on William Aiken Walker.
FOUR CONTEMPORARY STUDIO POTTERY OBJECTS20th/21st century, comprising: Michael Kline pottery mug, with crackle glaze and floral design, strap handle, base signed "Kline", 3-5/8 x 6-1/2 in.; small teacup with engraved floral design on body and base, glazed interior with swirl design, 1-1/4 x 2-1/8 in.; Michael Kline pitcher style mug, with floral design, strap handle, base signed "Kline NC 52", 5-3/8 x 5-1/4 in.; cylindrical underglaze green vase, with carved and painted design of a leaf, base signed "Benning", 6-1/4 x 3 in.
Provenance: Private North Carolina Collection
Condition:
anomalies as made, wear to bases, Kline pitcher example with chip to rim near handle
Walter Emerson Baum American/Pennsylvania 1884-1956. "Frozen River". Water color on paper board. Signed lower left "W.E. Baum". Housed in oak flared frame. Inscribed verso "Frozen River W.E. Baum". Included: 12th annual Report of the Kline Baum Art School (c.1940) (attached with tacks verso). MEASUREMENTS: Sight 9-1/2" x 13-1/2". Frame 3-3/4". CONDITION: No defects noted.
SAM KLINE, READING, PA SIGNED CHILD'S PAINTED ARMca. 1840-1860; brown painted child's arm rocker with firehouse or bent back upper and six spindle back, plank seat on rocker base, fruit and nut stencil decoration of back and gold leaf stencil on seat front, signed on underside of plank seat, 14"x 19"x 17 1/4"; [Note: Samuel Kline was a furniture maker in Amity Twp. (Biographical Annals of Berks Co.)]; Condition: good
Kline decorated stoneware churn, salt glaze, one side with squiggly line below "2", marked on side "Kline" (Charles S. Kline, born 1854, Ohio, working Atlanta area late 19th century), 13-1/4 in. Rim chips, several small rim cracks. Billy Allen
ATRIBUTED TO FRANZ JOSEF KLINE (NY/MA, 1910-1962) Abstract, mixed media on board, unsigned, in black and mahogany cove frame, matted under glass, OS: 30 1/2" x 21", SS: 19 1/2" x 9 1/2".
Letter on back states this was purchased from the estate of W. Horace Litlefield, that it was approved by Betsy Zogbaum (chief director of the Franz Kline Society in NYC) and was part of Kline's early 'Chinese Calligraphy' period.
DAN RICE, American, (1926-2003) Untitled, oil on canvas signed and dated on the reverse "Dan Rice / 1962" oil on canvas 43 1/2 x 50 1/4 inches Provenance: Private Collection. Framed dimensions: 45 1/4 x 51 1/2 x 1 1/2 inches "Painting, or any other art form, is not about self-expression. This idea, which has spread somehow, is simply not true. And Abstract Expressionism itself is often thought of as some wild expression of the self, of emotion. This, again, is completely untrue. The last thing a painter thinks of is himself. Painting is truly a means of expressing the ineffable." -Dan Rice Dan Rice was a younger member of the New York School. He is considered a lyrical abstract expressionist and a key figure in the 1940s and 1950s at Black Mountain College. In 2014, Black Mountain College Museum hosted a retrospective of his work placing Rice's works in the context of his friends and contemporaries including Willem deKooning, Franz Kline, Mark Rothko, Jackson Pollock, Robert Rauschenberg and many others. From 1943-1945, at just 17 years old, Rice served in the Navy on experimental battleships. After the war, he studied at University of California, Berkeley. He then went to Black Mountain College where he studied and later taught alongside artists including Josef Albers, Cy Twombly, Willem de Kooning, Robert Rauschenberg and Robert Motherwell. After a decade of teaching at Black Mountain College, Rice became a key figure in the New York School of Abstract Expressionists. From 1956-1973, he exhibited his work in New York City at solo exhibitions hosted by Poindexter Gallery, Stable Gallery and Catherine Viviano Gallery. In addition to painting, Rice stretched canvases and mixed paints for his colleagues. His role as assistant to Mark Rothko, who was also a close friend, is famously depicted in John Logan's play "Red". In 1962 he became an advisor to the estate of Franz Kline and in 1969 an advisor to Rothko's estate. Rice was also an accomplished trumpet player and earned a Master's degree in Architecture from M.I.T. in 1953. He used his broad skill set in his artistic practice and worked with Merce Cunningham and John Cage in staging mixed media events. After leaving New York, Rice settled in Madison, Connecticut. There, he founded and led a group called the Friday Night Painters and taught painting classes at the New Haven Creative Arts Workshop, the Guilford Handcraft Center and University of Connecticut, Storrs. Today, Rice's paintings can be found in numerous private collections and at the Museum of Modern Art in New York City (MoMA), Yale University Art Gallery in New Haven, Connecticut, Princeton University Art Museum in New Jersey and at the Wadsworth Atheneum in Hartford, Connecticut. tags: oil painting, abstract expressionist, abstract expressionism, abstract, modern / contemporary, 20th century Condition: In overall excellent condition; unlined canvas; very minor scattered areas of restoration; additional photos available upon request We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE.
A MERCER ROSEWOOD CASED TWO-DAY MARINE CHRONOMETER Retail mark for Kline & Company New York No.621 The two-day movement with seconds and up-down subsidiary gimbal fitted to a brass bound three tier rosewood case 9.5 cm dial..
KLINE, Franz (attr. ). Ink on Paper. Abstract. : Signed lower left. Franz Kline (American, 1910-1962). From a Chevy Chase, MD collection. - Dimensions: 5" high x 9" wide Condition Framed behind glass, not examined out of frame. Slight sheet toning.
CHINESE PORCELAIN WUCAI BEAKER VASE, Kangxi period, Wanli underglaze blue mark. - 6 1/2 in. high.
PROVENANCE: Estate of George M. Kline, Washington, DC
With chip and restoraton to the mouth
John Berninger Pennsylvania (1897-1981)
IMPRESSIONS OF AUTUMN
oil on board, framed, signed: lower left, John E. Berninger
H24" W20"
Other Notes: John Berninger from Allentown, Pennsylvania, is considered to be part of the New Hope School of Pennsylvania Impressionists who were influenced by the work of Walter Emerson Baum. Berninger was a student in Baum's first art class in 1926 and in 1932 became an art instructor himself at the Kline-Baum Art School. In 1936 he became the first curator of the Allentown Art Museum.
Good original condition and retaining original frame.
By C B. Lewy (20th century) - still life of fruit, bottles and jug, signed, 18" x 21.75"; by E Kline (19th/20th century) - still life study of a jug with three glasses, clay pipe, three dice and a tumbler upon a kitchen table, signed, 25.75" x 32" (a.f)
DAN RICE, AMERICAN (1926-2003), UNTITLED, OIL ON CANVAS, 43 1/2 X 50 1/4 INCHESDAN RICE, American, (1926-2003) Untitled, oil on canvas signed and dated on the reverse "Dan Rice / 1962" oil on canvas Dimensions: 43 1/2 x 50 1/4 inches Provenance: Private Collection. Framed dimensions: 45 1/4 x 51 1/2 x 1 1/2 inches "Painting, or any other art form, is not about self-expression. This idea, which has spread somehow, is simply not true. And Abstract Expressionism itself is often thought of as some wild expression of the self, of emotion. This, again, is completely untrue. The last thing a painter thinks of is himself. Painting is truly a means of expressing the ineffable." -Dan Rice Dan Rice was a younger member of the New York School. He is considered a lyrical abstract expressionist and a key figure in the 1940s and 1950s at Black Mountain College. In 2014, Black Mountain College Museum hosted a retrospective of his work placing Rice's works in the context of his friends and contemporaries including Willem deKooning, Franz Kline, Mark Rothko, Jackson Pollock, Robert Rauschenberg and many others. From 1943-1945, at just 17 years old, Rice served in the Navy on experimental battleships. After the war, he studied at University of California, Berkeley. He then went to Black Mountain College where he studied and later taught alongside artists including Josef Albers, Cy Twombly, Willem de Kooning, Robert Rauschenberg and Robert Motherwell. After a decade of teaching at Black Mountain College, Rice became a key figure in the New York School of Abstract Expressionists. From 1956-1973, he exhibited his work in New York City at solo exhibitions hosted by Poindexter Gallery, Stable Gallery and Catherine Viviano Gallery. In addition to painting, Rice stretched canvases and mixed paints for his colleagues. His role as assistant to Mark Rothko, who was also a close friend, is famously depicted in John Logan's play "Red". In 1962 he became an advisor to the estate of Franz Kline and in 1969 an advisor to Rothko's estate. Rice was also an accomplished trumpet player and earned a Master's degree in Architecture from M.I.T. in 1953. He used his broad skill set in his artistic practice and worked with Merce Cunningham and John Cage in staging mixed media events. After leaving New York, Rice settled in Madison, Connecticut. There, he founded and led a group called the Friday Night Painters and taught painting classes at the New Haven Creative Arts Workshop, the Guilford Handcraft Center and University of Connecticut, Storrs. Today, Rice's paintings can be found in numerous private collections and at the Museum of Modern Art in New York City (MoMA), Yale University Art Gallery in New Haven, Connecticut, Princeton University Art Museum in New Jersey and at the Wadsworth Atheneum in Hartford, Connecticut. tags: oil painting, abstract expressionist, abstract expressionism, abstract, modern / contemporary, 20th century Condition: In overall excellent condition; unlined canvas; very minor scattered areas of restoration; additional photos available upon request We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE.
DECORATED JAR, MICHAEL KLINE (NC) Ovoid stoneware jar with a botanical pattern stamped on a painted surface, glass runs from the handles, inscribed on the underside "Kline".
FRANZ KLINE (1910-1962): BILL BOYLAN BROOKLYN DODGERS Red crayon on paper, c. 1940, unsigned, titled lower left; Steve; and Andy, two charcoal on paper, both signed 'Kline' and titled lower right; and Rose, brown crayon on paper, signed 'Kline' and titled lower right, Andy and Steve with label from Jeremy Stone Gallery, San Francisco. All 12 x 9 in. (sheet), 19 x 16 in. (frame). Note: This series of portraits (lots 292 to 298) were drawn by Kline during the 1940s at Minetta Tavern in Greenwich Village. Kline was a regular there and sketched many of the tavern's patrons, selling them for 50 cents each to help pay his bar bill. During this period, Kline painted many studio portraits and landscape views, as well as murals depicting vaudeville and burlesque scenes. These caricature portraits, however, were done quickly in a bold, expressive style, and in them we can begin to see some of what would emerge later in his work the following decade. This group of drawings came from the original owner of Minetta Tavern, Mr. Endes Sieveri. Estimate $ 800-1,200
MICHAEL GOLDBERG, AMERICAN 1924-2008, UNTITLED, 1959, OIL ON CARD MOUNTED TO CANVAS, 11 X 14 INCHESMICHAEL GOLDBERG, American, 1924-2008 Untitled, 1959, oil on card mounted to canvas signed upper left "Goldberg" oil on card mounted to canvas Dimensions: 11 x 14 inches Provenance: Martha Jackson Gallery, New York, New York (label on the reverse); Collection of Jane Wade, New York, New York; Estate of Jane Wade, Palm Springs, California; Manny Silverman Gallery, Los Angeles, California (label on the reverse); Private Collection, Atlanta, Georgia Framed dimensions: 13 x 16 x 2 inches Michael Goldberg was born in the Bronx in 1924 and began taking classes at the Art Students League at the age of 14. Known as a second generation Abstract Expressionist, he studied under Hans Hofmann from 1940 to 1942. His studies were interrupted by World War II, when he enlisted in the US Army as a paratrooper and served in North Africa, Burma and India. In 1946 Goldberg returned to New York, resuming his studies at Hofmann's school and the Art Students League. Goldberg frequented the legendary Cedar Bar, a popular watering hole for many avant-garde artists living in lower Manhattan. It was there he became friendly with many of the New York School painters, including Franz Kline, Jackson Pollock, and Mark Rothko. Goldberg participated in the landmark 1951 "Ninth Street Art Exhibition of Paintings and Sculpture", now known simply as the "Ninth Street Show", alongside Willem de Kooning, Joan Mitchell, Helen Frankenthaler, Franz Kline, and others. In the mid-1950s, Goldberg took over Rothko's studio in the Bowery, where he continued working until his death in 2007. Goldberg was influenced by Roberto Matta and Arshile Gorky, but it was de Kooning, and his use of fiery brush-work and explosive color, who proved to be Goldberg's greatest influence. You can sense the influence of de Kooning in the present lot, Untitled, particularly in the compelling gestural brushwork and vivid colors along with the texture of the impasto. Goldberg received his first of ninety-nine solo exhibitions at Tibor de Nagy Gallery in 1953. His works can now be viewed in public collections across the United States, including the Albright-Knox Art Gallery, Buffalo, New York; the Art Institute of Chicago; the Hirshhorn Museum, Smithsonian Institution, Washington, D.C.; The Museum of Modern Art, New York; the Philadelphia Museum of Art; the Solomon R. Guggenheim Museum, New York; and the Whitney Museum of American Art, New York. Tags: works on paper, Abstract Expressionist, New York School, 20th century Condition: in overall very good condition; a few areas of cracking in the impasto; pinholes apparent along the edges; a few minor areas of paint loss; no restoration apparent; additional photos available upon request We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE.
FRANZ KLINE UNTITLED INK PAINTING ON PAPER Franz Kline (American, 1910-1962) Untitled black ink painting on paper mounted on canvas depicting an Abstract Expressionist composition, pencil signed upper left. 10" H x 12" W. Note: This work belonged to artist Norman Carton (Ukrainian/American, 1908-1980). Carton and Kline had exhibited together in group shows over the course of their careers, most notably at the 1955-1956 "Exhibit of Contemporary American Painting" at the Whitney Museum of American Art.
KLINE (AMERICAN, 20TH CENTURY) CABIN SCENE Watercolor: 4 1/2 x 6 1/2 in. (sight) Framed; lower left signed and dated: Kline 07
FRANZ KLINE (1910-1962): NELLIE; AND JIMMY FREHOLD Two pencil on paper, c. 1940, signed 'Franz Kline' and 'Kline' center right respectively, both titled lower center or right. Both approx. 11 1/2 x 8 1/2 in. (sight), 20 x 16 in. (frame). Estimate $ 600-800