WOLFS

Bruno Tornati (Italian, 1893-1987) Modern Scorpion Fish, Early 20th Century Bronze on marble base 23 x 22 x 10 inches Bruno Tornati was an Italian sculptor known for his Art Deco te...

After Giambologna (Italian, 1529-1608) Mercury Standing on the Breath of Zeus Bronze 27.5 x 14.25 x 5.5 inches The sculpture depicts Mercury wearing his winged helmet and sandals and holding a caduceus. Created after one of Giambologna's most celebrated sculptures in the Renaissance, Mercury, was designed as part of a fountain for the Villa Medici in Rome.The head on which Mercury steps symbolizes the figure being “exhaled, purified, unburdened.” When the Giambologna sculpture...

Grand Tour Italian, 19th Century Sandaled Foot of an Antiquity Bronze 5.5 x 12 x 5 inches

William Morris (American, b. 1957) Petroglyph Vessel Blown glass Signed on bottom 26 x 20 x 7 inches William Morris was born in Carmel, California in 1957. He is an American glass a...

20th Century French School Dancer Patinated bronze 38 x 18.5 x 9 inches Provenance: The Tatti Family Collection

Joseph B. O'Sickey (American, 1918-2013) Evening Still Life Oil on canvas Signed lower right 32 x 24.5 inches 34.25 x 27.25 inches, framed Joseph O'Sickey, born in Detroit in 1918, ...

After Jean Goujon (French, 1510-1568) Bust of Diane de Poitiers Bronze with gilt socle base 9 x 3.75 x 2.75 inches Provenance: Removed from a private residence at the Pierre Hotel Di...

Auguste Moreau (French, 1834-1917) Swan Baby, 19th Century Bronze with reddish gold patination mounted on verdigris marble base Signed on base 6 x 9.5 x 5 inches Auguste Moreau was...

Tiffany & Co. 19th Century Cherub Bronze on marble base Engraved on back of base Sculpture: 6 x 13.5 x 7 inches Overall: 7.5 x 15.5 x 9 inches Tiffany & Co. is an American luxury je...

18th Century French Terra Cotta Bust of a Young Gentleman Terra Cotta Unsigned 25 x 18 x 10 inches 41 lb.

Eleanor Arnold Clark (American, 1911-1982) The Meeting Oil on canvas Signed lower right 25 x 29 inches 36 x 40 inches, framed Eleanor Arnold Clark was born in Pittsburgh, Pennsylva...

French Faience Tuilerie Normande Mesnil de Bavent Figure of a Lion, 19th Century Ceramic on a rectangular plinth Impressed 'TN Bavent' to underside 8 x 8 x 14 inches Tuilerie Normande Mesnil de Bavent is a French pottery factory. The first pottery factory here was set up in 1842 by industrialist Maurice Comptet. He bought a bit of production organization to an artisanal craft, enabling mass production of tiles, pots and architectural ornaments. The Tuilerie du Mesnil de Bavent (tuilerie means tile) business flourished and his sons inherited. One stayed in Bavent to make pots, the other developed a factory mainly producing pots, in Caen. Bavent pottery...

English Double Handle Footman, 18th Century Brass 12 x 18 x 17 inches

Daniel Grantham (American, 20th Century) Jellyfish, 2017 Cedar wood on maple Engraved signature on bottom of base 20 x 6.5 x 6 inches Daniel Grantham was born and raised in Clevela...

Ora Coltman (American, 1858-1940) Julia Maud De Forest, 1898 Watercolor on paper Signed and dated upper left 9.25 x 12.75 inches 15 x 18.25 inches, framed Ora Coltman was born in 18...

Andreas Roth (American, 1871-1949) Grand Canyon, 1943 Oil on canvas Signed and dated lower right 24 x 34 inches 29.5 x 39 inches, framed Andreas Roth was a German painter. Son of th...

Addison Thomas Millar (American, 1860-1913) Barn scene, 1892 Oil on board Signed and dated lower left 10.25 x 13.5 inches 15 x 18.5 inches, framed Addison Thomas Millar was an American painter and artist; best known for his genre scenes and Orientalist paintings. He was born to William H. Millar and Permelia Kennedy Millar. His father had emigrated to the United States from Scotland in 1845. He grew up in Warren, Ohio. During his primary education, he took some painting lessons from John Bell, a local landscape painter. In his late teens, he won three consecutive awards from The Youth's Companion, in their annual art contests. This prompted his parents to allow him to go to Cincinnati to take formal lessons from the genre painter, De Scott Evans...

Cynthia Bissell (American, 1924-2000) Changing Bear Maiden, 1962 Oil on canvas Signed and dated lower right 20 x 50 inches 26 x 56 inches, framed Cynthia Bissell was an American art...

William Gould (American, 1930-2017) Bridge in the Flats, 1990 Watercolor on Arches paper Signed and dated lower right 21 x 28.5 inches 28 x 35.5 inches, framed Cleveland Arts Prize ...

Jules Andre Smith (American, 1880-1959) In the Art Gallery, 1936 Watercolor and pen and ink Signed Andre Smith, 1936 lower right 10.75 x 8.5 inches 20.25 x 17.25 inches, framed Jule...

Max Herve (French, 1926-2018) La Clarinette et La Baignoire oil on canvas signed lower right 21.5 in. h x 25.75 in. w., canvas 28 in. h. x 31.25 in. w., as framed Max Hervé was an a...

Guillermo Meza (Mexican, 1917-1997) Sentada Desnuda, 1941 Oil on canvas Signed and dated lower right 23.5 in. h. x 19.5 in. w. 31 in. h. x 27 in. w., as framed He was born in México...

Luigi Morgari (Italian, 1857–1935) The Nun Oil on canvas mounted on board Signed lower right 14 x 12 inches 21.5 x 19.5 inches, framed There is a minor chip to the bottom right corn...

Paul Riba (American, 1912-1977) Rhino Oil on paper Signed lower right 22.5 x 29 inches 27.5 x 34.25 inches, framed Paul Riba was a painter of Magic Realism. He explored the unreal ...

Paul Riba (American, 1912-1977) Bighorn Sheep Oil on paper Signed lower right 25 x 30.5 inches 30.5 x 36 inches, framed Paul Riba was a painter of Magic Realism. He explored the un...

Dale Slavin (American, 1946-2024) Around the Kitchen Table, 1987 Oil on canvas Signed lower right 43 x 42 inches Dale had an accomplished art career serving as a sculptor, painter ...

Pietro Chiapparelli (Italian, 19th Century) Sleeping Ariadne, c. 1865 Bronze on marble base Inscribed 'P. Chiapparelli F.I. Roma' 22 x 24 x 10.5 inches 136 lb. (34 lb. bottom marble,...

Louis Bosa (American, 1905-1981) Skinny Dippers Oil on board Signed lower right 15.5 x 20 inches 21.25 x 25.5 inches, framed Born in Codroipo, a small village only a few miles from ...

John Teyral (American, 1912-1999) Aegean Temple, 1966 Oil on canvas Signed and dated lower left 25 x 34 inches John Teyral was one of Cleveland's most acclaimed artists. He exhibite...

Marie Martelli-Chautard (French, 1884-1982) Afternoon in the Park Oil on panel Signed lower right 47 x 31 inches 52 x 36.5 inches, framed

Louis Bosa (American, 1905-1981) The Beach, c. 1960 Oil on board Signed lower left 11.75 x 19.5 inches 20 x 28 inches, framed Born in Codroipo, a small village only a few miles fro...

Abel Warshawsky (American, 1883-1962) Still Life Oil on canvas Signed upper right 32 x 25.5 inches Provenance: From the Alexander Warshawsky Estate Impressionist painter A.G. Wars...

Clara Deike (American, 1881-1964) Cactus (Mexico), 1930 Watercolor on paper Signed lower right, titled and dated on label verso 15.25 x 13.25 inches 25 x 22.5 inches, framed A gradu...

Kae Dorn Cass (American, 1901-1971) New England Coastal Town Watercolor on paper Signed lower right 9 in. h. x 11.5 in. w. 17 in. h. x 19 in. w., as framed Kae Dorn Cass was born...

Rolf Stoll (American, 1892-1978) Kae Dorn Cass, 1940 Oil on canvas Signed upper right 32 x 25 inches 38 x 31 inches, framed Exhibited: The 27th Annual May Show, Cleveland Museum of Art, Cleveland, OH, 1940 This work won first prize for oil painting- Portrait category Provenance: Collection of Kae Dorn Cass's niece Kae Dorn Cass Rolf Stoll Rolf Stoll, a painter of figure subjects, landscapes and floral still lifes, was an important member of the Cleveland art scene during the second quarter of the century. He was also an influential teacher, as well as one of Ohio’s foremost portrait painters. Rolf Stoll was born in Heidelberg, Germany, in 1892. As a boy, he attended a military academy, during which time he developed an interest in art. He received his early formal training at the Academy of Fine Arts in Karlsruhe and at the Academy of Fine Arts in Stuttgart. He emigrated to the United States in 1912, settling in New York City. A decade later, after studying at the school of the National Academy of Design and supporting himself by working as a commercial artist, Stoll decided to leave New York. Upon the recommendation of Warren Pryor, one of his teachers, he decided to move to Cleveland, Ohio. After arriving in Cleveland, Rolf Stoll continued to work as a commercial artist. However, in 1926, he joined the faculty of the Cleveland School of Art, where he taught drawing. Two years later Stoll was appointed head of the school’s portrait painting department. A talented portraitist, Stoll’s sitters included industrialists, community leaders and many prominent members of Cleveland and Ohio society, as well as over twenty faculty members from Case Western Reserve University. Stoll also gave portrait classes at the John Huntington Polytechnic Institute from 1926 to 1953. In his male portraits especially, he was admired for his ability to convey the dignity of his sitter’s professional position without sacrificing individuality. As noted by one contemporary reviewer, Stoll was a “master of rich color, a searching student of human types, a forceful portrayer of all that the face reveals of the mind and the soul.” In addition to his activity as a portraitist, Rolf Stoll painted figure subjects and floral still lifes. He was also known for his views of the Ohio countryside...

Louis Bosa (American, 1905-1981) Costa Brava, Spain Oil on board Signed lower right 14 x 24 inches 23 x 33 inches, framed Born in Codroipo, a small village only a few miles from Ven...

Carl Frederick Gaertner (American, 1898-1952) Rocky Cove, 1947 Oil on canvas Signed lower left 24 x 30 inches 31 x 37 inches, framed Carl Gaer...

Hugh M. Poe (American, 1902-1973) Night Riders, 1962 Oil on artist's board Signed lower right 20 x 25 inches 26.75 x 31.75 inches, framed Condition: Craquelure throughout. There are...

Paul Riba (American, 1912-1977) Wart Hog Oil on paper Signed lower right 18 x 15 inches 24.25 x 21 inches, framed Paul Riba was a painter of Magic Realism. He explored the unreal j...

Paul Riba (American, 1912-1977) Walrus Oil on paper Signed lower right 29.25 x 24.5 inches 34.75 x 30 inches, framed Paul Riba was a painter of Magic Realism. He explored the unrea...

Cathy Diamond (American, 20th Century) Rain Garden II, 2023 Pigment dispersion and acrylic on paper Signed lower left, signed and dated verso 11 x 14 inches Cathy Diamond currently ...

Figure of Recumbent Lion, 19th Century Carved gray veined marble 4.5 x 8 x 4.5 inches

David Deming (American, 20th Century) Contortion Nude Bronze Signed on base 14 x 12 x 9 inches David Deming is a nationally recognized contemporary Ameri...

Sally Lachina (American, 20th Century) White Stone, 1994 Acrylic on canvas Signed and dated lower right, signed, dated and titled verso 42 x 42 inches Sally Lachina is an American a...

Louis Bosa (American, 1905-1981) Flood in Venice, c. 1970 Oil on canvas Signed Bosa lower left and verso 34 x 50.5 inches 40.5 x 56.5 inches, framed Exhibited: 148th Annual Exhibiti...

Abstract Cityscape, c. 1950-60 Painted mixed metal 19.25 in. h. x 19.5 in. w. x 11.5 in. d.

After Antonio Canova (Italian, 1757-1822) Bust of Young Napoleon as Caesar, 19th Century Hallow cast bronze with verdigris patina, attached to rouge...

Algesa O'Sickey (American, 1917-2006) Woman Painting Watercolor and ink on green paper Unsigned 9 x 12 inches 13.75 x 16 inches, framed Born Algesa D’Agostino on June 4, 1917, Alges...

Mario Spampinato (Italian 1912–2000) Nude Bronze Signed on base 17.5 in. h. x 5.75 in. w. x 6 in. d. The artist was born, raised and trained in Italy. During one of his exhibits (at San Marcos in Rome) the Director of a New York Gallery asked him to come to New York to work for him. The American Consul, before issuing his visa, asked Spampinato to create a bust of him. In exchange, the Consul paid for his passage on the boat to New York. In New York, he worked with his brother Clemente Spampinato who is a well known sculptor as well. After moving to Chicago in 1954, he discovered that there was no foundry in the Midwest that could cast his bronzes. So, he opened his own foundry called the Spampinato Art Foundry, casting in the lost wax process. He also started his own private school (Spampinato Art Workshop, Ltd) and did some teaching at the University of Chicago and conducted seminars at Lawrence University in Kansas. Many of his own works are pictured and cataloged in Volumes 2 & 3 of Bronzes: Sculptors and Founders, 1800-1930 by Harold Berman. Between 1959 and 1967, Spampinato recast a number of Charles M Russell...

Three Skunks of WWII c. 1940s Carved and painted wood Unsigned 8 x 10 in. h. each These skunks are depicted as Adolf Hitler, Benito Mussolini, and Hideki Tojo. Condition: There ...

Kristen Newell (American, b. 1989) Beast of the Apocalypse, 2019 Glazed stoneware, epoxy and acrylic Signed and dated on bottom 24 x 28 x 10 inches Kri...

Abel Warshawsky (American, 1883-1962) Mural Study Oil on board Signed and inscribed verso 9.5 x 18 inches 15.75 x 24.25 inches, framed Impressionist painter A.G. Warshawsky was acti...

James Massena March (American, 1953-2021) Untitled Oil on canvas 30 x 48 inches "My paintings are about space, form and energy. I generally start ...

James Massena March (American, 1953-2021) Untitled Oil on canvas 30 x 24 inches "My paintings are about space, form and energy. I generally start ...

James Massena March (American, 1953-2021) Cosmic Woman Acrylic on canvas Signed center right, signed and titled verso 30 x 40 inches "My paintings...

Bronze Bust of Julius Caesar, 19th Century Patinated bronze mounted to stone base Unsigned 11.25 x 4.5 x 4.5 inches Gaius Julius Caesar was a Roman general and statesman. A member o...

Johann Till II (Austrian, 1827-1894) Plethora, c. 1860 Oil on canvas Signed lower right 47.5 x 35.5 inches 54.5 x 43 inches, framed Johann Till the Younger trained in Vienna under h...

Mary Spain (American, 1934–1983) Janet and Bill, 1970s Oil on canvas Signed middle right, titled verso 26 x 30 inches 32.5 x 36.5 inches, framed Set in a realm of fantasy, Mary Spai...

Ora Coltman (American, 1858-1940) House in Hudson, OH Oil on canvas Signed lower left 22 x 26 inches 27.5 x 31.5 inches, framed 21 Aurora Street is locally known as the Isham-Beebe ...

Waylande Gregory (American, 1905-1971) Polo Player, c. 1930s Ceramic Inscribed signature on bottom 11 x 8.5 inches Waylande Gregory was considered a major American sculptor during the 1930's, although he worked in ceramics, rather than in the more traditional bronze or marble. Exhibiting his ceramic works at such significant American venues for sculpture as the Whitney Museum of American Art in New York City and at the venerable Pennsylvania Academy of the Fine Arts in Philadelphia, he also showed his ceramic sculptures at leading New York City galleries. Gregory was the first modern ceramist to create large scale ceramic sculptures, some measuring more than 70 inches in height. Similar to the technique developed by the ancient Etruscans, he fired his monumental ceramic sculptures only once. Gregory was born in 1905 in Baxter Springs, Kansas and was something of a prodigy. Growing up on a ranch near a Cherokee reservation, Gregory first became interested in ceramics as a child during a native American burial that he had witnessed. He was also musically inclined. In fact, his mother had been a concert pianist and had given her son lessons. At eleven, he was enrolled as a student at the Kansas State Teacher's College, where he studied carpentry and crafts, including ceramics. Gregory's early development as a sculptor was shaped by the encouragement and instruction of Lorado Taft, who was considered both a major American sculptor as well as a leading American sculpture instructor. In fact, Taft's earlier students included such significant sculptors as Bessie Potter Vonnoh and Janet Scudder. But, Taft and his students had primarily worked in bronze or stone, not in clay; and, Gregory's earliest sculptural works were also not in ceramics. In 1924, Gregory moved to Chicago where he caught the attention of Taft. Gregory was invited by Taft to study with him privately for 18 months and to live and work with him at his famed "Midway Studios." The elegant studio was a complex of 13 rooms that overlooked a courtyard. Taft may have been responsible for getting the young man interested in creating large scale sculpture. However, by the 1920's, Taft's brand of academic sculpture was no longer considered progressive. Instead, Gregory was attracted to the latest trends appearing in the United States and Europe. In 1928 he visited Europe with Taft and other students. "Kid Gregory," as he was called, was soon hired by Guy Cowan, the founder of the Cowan Pottery in Cleveland, Ohio, to become the company's only full time employee. From 1928 to 1932, Gregory served as the chief designer and sculptor at the Cowan Pottery. Just as Gregory learned about the process of creating sculpture from Taft, he literally learned about ceramics from Cowan. Cowan was one of the first graduates of Alfred, the New York School of Clayworking and Ceramics. Alfred had one of the first programs in production pottery. Cowan may have known about pottery production, but he had limited sculptural skills, as he was lacking training in sculpture. The focus of the Cowan Pottery would be on limited edition, table top or mantle sculptures. Two of the most successful of these were Gregory's "Nautch Dancer," (fig. 1) and his "Burlesque Dancer," (fig. 2). He based both sculptures on the dancing of Gilda Gray, a Ziegfield Follies girl. Gilda Gray was of Polish origin and came to the United States as a child. By 1922, she would become one of the most popular stars in the Follies. After losing her assets in the stock market crash of 1929, she accepted other bookings outside of New York, including Cleveland, which was where Gregory first saw her onstage. She allowed Gregory to make sketches of her performances from the wings of the theatre. She explained to Gregory, "I'm too restless to pose." Gray became noted for her nautch dance, an East Indian folk dance. A nautch is a tight, fitted dress that would curl at the bottom and act like a hoop. This sculpture does not focus on Gray's face at all, but is more of a portrait of her nautch dance. It is very curvilinear, really made of a series of arches that connect in a most feminine way. Gregory created his "Burlesque Dancer" at about the same time as "Nautch Dancer." As with the "Nautch Dancer," he focused on the movements of the body rather than on a facial portrait of Gray. Although Gregory never revealed the identity of his model for "Burlesque Dancer," a clue to her identity is revealed in the sculpture's earlier title, "Shimmy Dance." The dancer who was credited for creating the shimmy dance was also Gilda Gray. According to dance legend, Gray introduced the shimmy when she sang the "Star Spangled Banner" and forgot some of the lyrics, so, in her embarrassment, started shaking her shoulders and hips but she did not move her legs. Such movement seems to relate to the "Burlesque Dancer" sculpture, where repeated triangular forms extend from the upper torso and hips. This rapid movement suggests the influence of Italian Futurism, as well as the planar motion of Alexander Archipenko, a sculptor whom Gregory much admired. The Cowan Pottery was a victim of the great depression, and in 1932, Gregory changed careers as a sculptor in the ceramics industry to that of an instructor at the Cranbrook Academy in Bloomfield Hills, Michigan. Cranbrook was perhaps the most prestigious place to study modern design in America. Its faculty included the architect Eliel Saarinen and sculptor Carl Milles. Although Gregory was only at Cranbrook for one and one half years, he created some of his finest works there, including his "Kansas Madonna" (fig. 3). But, after arriving at Cranbrook, the Gregory's had to face emerging financial pressures. Although Gregory and his wife were provided with complimentary lodgings, all other income had to stem from the sale of artworks and tuition from students that he, himself, had to solicit. Gregory had many people assisting him with production methods at the Cowan Pottery, but now worked largely by himself. And although he still used molds, especially in creating porcelain works, many of his major new sculptures would be unique and sculpted by hand, as is true of "Kansas Madonna." The scale of Gregory's works were getting notably larger at Cranbrook than at Cowan. Gregory left the surface of "Kansas Madonna" totally unglazed. Although some might object to using a religious title to depict a horse nursing its colt, it was considered one of Gregory's most successful works. In fact, it had a whole color page illustration in an article about ceramic sculpture titled, "The Art with the Inferiority Complex," Fortune Magazine, December, 1937. The article notes the sculpture was romantic and expressive and the sculpture was priced at $1,500.00; the most expensive sculpture in the article. Gregory was from Kansas, and "Kansas Madonna" should be considered a major sculptural document of Regionalism. Gregory and his wife Yolande moved to New Jersey in the summer of 1933. And the artist began construction on his new home in the Watchung Mountains of Bound Brook (Warren today) in 1938. His enormous, custom kiln was probably constructed at the start of 1938. Gregory's new sculptures were the largest ceramic sculptures in western art, in modern times. To create these works of ceramic virtuosity, the artist developed a "honeycomb" technique, in which an infrastructure of compartments was covered by a ceramic "skin." Science and atomic energy were a theme in Gregory's most significant work, the "Fountain of the Atom" (fig. 4), at the 1939 New York's World Fair. This major work included twelve monumental ceramic figures at the fairground entrance from the newly constructed railway entrance, giving the work great visibility and prominence. The framework of the fountain itself was of steel and glass bricks. It consisted of a bluish green pool which was sixty five feet in diameter. Above it were two concentric circular tiers, or terraces, as Gregory called them; the first wider than the second. On the first terrace were eight "Electrons," comprised of four male and four female terra cotta figures, each approximately 48 inches high. These relate to the valance shell of the atom. Above them on a narrower terrace, were the much larger and heavier terra cotta figures depicting the four elements, each averaging about 78 inches in height and weighing about a ton and a half. Of the four, "Water" and "Air" were male, while "Earth" and "Fire" were female. This terrace represents the nucleus of the atom. In the center of the fountain, above the "Elements," was a central shaft comprised of sixteen glass tubes from which water tumbled down from tier to tier. At the top, a colorful flame burned constantly. The glass block tiers were lit from within, the whole creating a glowing and gurgling effect. Since the fair was temporary, the figures could be removed after its closing. But the credit for the design of the structure of the fountain belongs to collaborator Nembhard Culin, who was responsible for several other structures on the fair grounds as well. Although Gregory created a figure of "Fire" for the "Fountain of the Atom," he also executed a second, slightly smaller but more defined version which he exhibited at various locations (including Cranbrook, Baltimore Museum, etc.) in 1940-1941, during the second year of the fair (fig.5). Measuring 61 inches in height, "Fire" may be a metaphor for sexual energy, as well as atomic energy. Gregory stated, "Fire is represented by an aquiline female figure being consumed in endless arabesques of flame." Portraiture was also a significant focus of Gregory's sculpture. Gregory produced many commissioned portraits of local people as well as celebrities. He created Albert Einstein's portrait from life (fig. 6, ca. 1940) after Einstein had seen Gregory's "Fountain of the Atom." He also sculpted some of the leading figures in entertainment, including 2 sculptures of Henry Fonda, who became a personal friend. Gregory also sculpted a series of idealized female heads, both in terra cotta and in porcelain. These include "Girl with Olive" (ca. 1932) and "Cretan Girl;"(ca. 1937) both are very reductive and almost abstract works that call to mind Constantine Brancusi's "Mademoiselle Pogany" (1912, Philadelphia Museum of Art). But perhaps one of his most original female heads is "Head of a Child" (fig. 7, ca. 1933), a sensitive white glazed terra cotta portrayal with elaborately crafted braded hair, was originally created as one of a pair. Gregory also produced sculptural works for the Works Progress Administration. The WPA was a work relief project that greatly helped artists during the great depression. Founded by the Federal Government in 1935, an estimated 2500 murals were produced. Among these public works were the iconic post office murals. But, among the painted murals were also sculptural relief murals including Gregory's "R.F.D.," 1938, for the Columbus, Kansas Post Office. But, Gregory's largest WPA relief...