Victor Arnautoff “The Felt Hat” Oil on Canvas c. 1930
VICTOR ARNAUTOFF (1896-1979) USA
The Felt Hat c. 1930
Oil on canvas, white gold frame
Signed: V. Arnautoff, lower right
Exhibited: Art Center San Francisco, 1931 (see image of the review in the San Francisco Examiner, July 12th, 1931)
For more information see: The New Deal for Artists, Richard D. McKinzie (Princeton, NJ: Princeton University Press, 1973), Coit Tower, San Francisco : Its History and Art
Painting: H: 26” x W: 21”
Framed: H: 32 ½” x 27 ½”
Victor Arnautoff created paintings and watercolors, focusing on portraits, still lifes and rural landscapes in his early years, and moved to more socially conscious themes later in his career. Arnautoff was a native of Russia, to which he returned during the 1960s after thirty years in the United States. He came to San Francisco from Russia via China, bringing his wife and children with him, and studied at the California School of Fine Arts studying with Ralph Stackpole and Edgar Walter before going to Mexico. There he worked as an assistant to the famous Mexican muralist Diego Rivera. During the 1930s, Arnautoff worked as project director and one of the artists selected to create the famed Coit Tower murals, he played a key role in determining the political and social content of the frescoes painted in the San Francisco landmark. His own contribution, City Life, appears to be a lively, non-political melding of downtown San Francisco scenes; however, closer study reveals two leftist newspapers on the newsstand, while the city’s most mainstream daily, the San Francisco Chronicle, is strangely missing. Arnautoff also painted frescoes in the Military Chapel at San Francisco’s Presidio, in the Anne Bremer Library of the San Francisco Art Institute, and in high schools and other buildings in the Bay Area. He was a professor of art at Stanford University from 1939 until his retirement in 1963.
DAUM FRÈRES Nancy, France
“Star” footed bowl c. 1930
Deep jade green crystal acid-cut with geometric star motif
Marks: Daum Nancy with the Cross of Lorrain
For more information see: Glass: Art Nouveau to Art Deco, Victor Arwas (NY: Abrams, 1987).
H: 4 1/4″ x Dia: 11 5/8″
Daum was founded in 1878 by Jean Daum. After settling in Nancy, Jean came in contact with a group of industrialists who wanted to start a glassworks called “Verrerie Sainte Catherine” (1875) and he was persuaded to become a cofinancer. At first the glassworks produced glass for watches, mirrors and tables. When the factory came in financial problems, already in 1876, Jean decided to withdraw from the sinking ship. His copartners however weren’t able to refund his share. Jean saw no other way than to take over the complete works of his compagnons and bought them out. He altered the name of the factory to “Verrerie de Nancy”.
His sons, Auguste and Antonin Daum, took over the glassworks after their father’s death in 1885. From this moment on the glassworks was named Daum Frères.
The glassworks of Daum has been associated with technical innovation as well as outstanding artistic creativity. An example of a new technique introduced by Daum is vitrification, also known as jade glass. Jade glass was created by reheating colored glass powder resulting in a cloudy, mottled type of glass.
Verreries D’Art Lorrain:
Pierre D’Avesn was employed by Daum to design and supervise production of the Croismare Glassworks near Luneville which Daum took over in 1927 and renamed Verreries D’Art Lorrain. The purpose of buying this factory was to compete with Lalique and others for the lucrative market of Department Stores and large-scale retailers, particularly in the USA.
Art glass produced by Daum for this market, either at the Lorrain glassworks or another one they called “Verreries de Belle-Etoile” was signed either “P.d’Avesn” or “Lorrain” or “Val” (company initials), or “Verreries de Belle-Etoile”. Due to the great depression in Europe and the US, the Lorrain glassworks was closed in 1932.
GERTRUDE BURGESS MURPHY (b. 1899) USA
Reclining nude sculpture c. 1950
Fired and glazed earthenware on a wooden base
Marks: original paper exhibition label (San Francisco Museum of Art, Rental Gallery); tape with the name of the artist
For more information on Murphy see: Who Was Who in American Art, ed. Peter Hastings Falk (Madison, Conn.: Sound View Press, 1985), p. 439.
H: 5 7/8” x L: 10 5/8” x D: 5”