December 10, 2018 14:00 EST

Design

 
  Lot 62
 
Lot 62 - WHARTON ESHERICK (1887-1970)

62

WHARTON ESHERICK (1887-1970)
HESSIAN HILLS SCHOOL CHAIR, PAOLI, PENNSYLVANIA, 1931

Maple, leather.

H: 26 1/2, W: 15, D: 26 1/2 in.

Provenance: Brimfield Antiques Flea Market, Brimfield, Massachusetts
Acquired from the above, May, 2018
Private Collection, New York State

Sold for $3,750
Estimated at $6,000 - $8,000


 

Maple, leather.

H: 26 1/2, W: 15, D: 26 1/2 in.

Provenance: Brimfield Antiques Flea Market, Brimfield, Massachusetts
Acquired from the above, May, 2018
Private Collection, New York State

LOT ESSAY:

"Education, I feel, is of no value if it destroys the spirit and character of the child." -Wharton Esherick

In 1924, Wharton Esherick created a prototype for a child's chair, now in the permanent Collection of the Wharton Esherick Museum, of which he would make six the following year. These chairs were made in lieu of tuition payment for his then 9-year-old daughter Mary, to accompany her to the newly minted progressive school for children in Croton, New York, known as the Hessian Hills School. In the fall of 1930 the School suffered a fire which took with it the chairs Esherick had delivered in 1925. Funded by insurance money, Esherick made fifteen replacement chairs in 1931.

Around the time Esherick completed his chairs, William Lescaze and George Howe were selected to design a new school building. The outfitting of the classrooms with tubular chrome furniture may have led Esherick's chairs to find new homes or uses. Three of the Hessian Hills School chairs are known to be extant, the present lot and two others in the permanent Collection of the Modernism Museum Mount Dora. Another example of the chair, made at the same time for Helene Koerting Fischer, is now in the Collection of Mansfield (Bob) Bascom.

LITERATURE:

Homes of the Master Wood Artisans, Skinner and Whitsitt, p. 40 (for an illustration of the 1924 prototype for this chair in the permanent Collection of the Wharton Esherick Museum.)
Wharton Esherick and the Birth of the American Modern, Eisenhauer and Farrington, pp. 108-109
Wharton Esherick: The Journey of a Creative Mind, Bascom, pp. 66, 101, 120

NOTE:

We would like to thank Mark Sfirri for his review and assistance in the cataloguing of this lot.

This lot is accompanied by photocopies from Wharton Esherick's ledger book reflecting the order for these chairs.


Images *

Drag and drop .jpg images here to upload, or click here to select images.


Wharton Esherick

Wharton Esherick—the master wood craftsman of Paoli, Pennsylvania—was born and raised in Philadelphia, where he was educated in many artistic specialties. Esherick learned woodworking at Manual Training High School, drawing and printmaking at the Pennsylvania Museum and School of Industrial Art, and painting at the Pennsylvania Academy of Fine Art.

As Philadelphia’s auction house, Freeman’s is a popular choice for consignors wishing to auction their Esherick works, making Freeman’s a market leader in the sale of his work. Recent successes include the 2020 sale of an important “Thunder Table” for Hedgerow Theatre in Paoli, Pennsylvania for $187,500, the 2014 sale of an important cocobolo sculpture, Essie/Rebecca, for $123,750, and the 2020 sale of a staircase for Hedgerow Theatre, which achieved $81,250.

Esherick began his career as a painter, swapping his Philadelphian surroundings for the Paoli countryside. He and his wife Leticia settled down in an old farmhouse, where they grew their own food—essential when the sales of his paintings became quiet, a frequent issue. It wasn’t until 1920 that Esherick began to use the woodworking skills he’d learned at Manual High School; he began to craft frames for his paintings, create woodcut prints, carve designs in furniture, and finally, craft sculptures. The wooden frames were Esherick’s attempt to increase the salability of his paintings, but it quickly became clear that prospective buyers were more interested in the unique frames than the paintings themselves. Despite his initial displeasure, Esherick understood this indication that he would have a more successful career in woodworking than in painting. He began to focus on sculpting wood, eventually completely abandoning the idea of carving designs into furniture, believing that the sculpting of the items themselves was art in a purer form, standing on shape and design alone. The freeform designs for which he is now best known can find their origins in the influences of his early work, namely Rudolf Steiner, German Expressionism, and Cubism.

Just as Esherick found his calling as a woodworker, unfortunately, the market for such handcrafted items dropped off dramatically. Furthermore, Esherick and his wife separated in the 1930s; he led a lonely existence, constantly chased by the threat of debt. However, the market did eventually gain momentum, particularly in the 1960s, as a result of the postwar baby boom. Esherick’s work became widely recognized as a significant contributing factor to the resurgence of the Arts and Crafts movement—so much so that he was named “Dean of American Craftsmen” shortly before his death in 1970.