ABASTENIA ST. LEGER EBERLE American, 1878-1942 Girl with Doll, 1910 bronze dated and signed on the base "ASL Eberle", "S. Klaber & Co." foundry mark on the base
ABASTENIA ST LEGER EBERLE American, 1878-1942 "Yetta and The Cat Wake Up", 1916 bronze signed and dated on the base "A.S.L. Eberle. / 1916", with foundry mark "Kunst-Foundry-N.Y."
Abastenia St. Leger Eberle (American, 1878-1942), "The Golden Web", Patinated Bronze Sculpture, signed "A. Eberle" and marked "Roman Bronze Works, N.Y." to base, mounted on wooden plinth. 17" H x 4.5" W x 4.5" D. Provenance: From a New York City Collection. Keywords: Fine Art, Statue, Female Figure, Figural, Nude woman, Hair, Brush, Venus
ABASTENIA ST LEGER EBERLE American, 1878-1942 Hide and Seek Bookends bronze signed on the base "A Eberle", inscribed on the base "Copy 1911", with foundry mark Griffoul, Newark, N.J.
Abastenia St. Leger Eberle Hide and Seek (bookends), pair Griffoul Foundry 1911 patinated bronze 6.625 h x 4.75 w x 2.75 d in (17 x 12 x 7 cm) 6.375 h x 4.625 w x 2.625 d in (16 x 12 x 7 cm) Cast signature, date and inscribe to lower left of each example 'A. Eberle Copy. 1911' with impressed manufacturer's mark to lower edge 'Cast by Griffoul, Newark N.J.'. Literature: Abastenia St. Leger Eberle: Sculptor (1878-1942), Noun, no. 15 Rediscoveries in American Sculpture: Studio Works 1893-1939, Conner and Rosenkranz, pg. 30 This work will ship from Chicago, Illinois.
Sculpture from the Estate of Angela Gross Folk Abastenia St. Leger Eberle 1878 - 1942 Hurdy Gurdy inscribed A.S.L. Eberle. (on the base); inscribed ROMAN BRONZE WORKS- N.Y. (along the base) bronze height: 14 in. on a 1 1/4 in. base height: 35.6 cm. on a 3.2 cm. base
Abastenia St. Leger Eberle 1878 - 1942 Victory inscribed A. St L. Eberle. 15 and stamped GORHAM CO. FOUNDERS QACP (along the base) bronze height: 29 ½ in. height: 74.9 cm. Conceived in 1915.
Sculpture from the Estate of Angela Gross Folk Abastenia St. Leger Eberle 1878 - 1942 Yetta and the Cat Wake Up inscribed A St L. Eberle. / 1916 (on the base); stamped E. GARGANI. FDRY (along the base) bronze height: 11 ¾ in. height: 29.8 cm. Conceived in 1916.
Iowa) Hide and Seek, pair of patinated bronze bookends, 1911. Signed A. Eberle Cop.1911. Cast by Griffoul in Newark, New Jersey and retailed by Theodore B. Starr Inc. New York. 6 3/4" high, 4 3/4" wide, 2 3/4" deep. Very good condition.
St. Leger Eberle, Abastenia (1878-1942) Anne. New York: Kunst Foundry, 1921. Bronze, with the artist's signature and date incised on the upper side of the base , with foundry mark on inner edge, 12 1/2 x 5 x 5 in. Ex-collection private collection, Pennsylvania. St. Leger Eberle's most famous work, The White Slave, was exhibited at the 1913 Armory Show, where its content, a barely pubescent nude girl under the cloak of a leering older man in the process of offering her for sale, proved controversial. The juxtaposition of the nude female form as an object of exploitation did not suit the taste of many contemporary observers. St. Leger Eberle's studio was on New York's Lower East Side, and her subjects were predominantly the poor and working-class children who inhabited the neighborhood. She felt a personal responsibility as an artist to "see for people -- reveal them to themselves and each other."
St. Leger Eberle, Abastenia (1878-1942) Anne Hart. circa 1915. Bronze, with the artist's initials incised on along front edge, 3 x 3 1/2 x 2 in. Ex-private collection, Pennsylvania.
St. Leger Eberle, Abastenia (1878-1942) Photographs of her Sculptures, Five Signed Examples. Including black-and-white silver gelatin images mounted on board of the following works: Hurdy Gurdy in clay; Girl Skating in bronze; Windy Doorstep in clay; Skirt Dancer, likely bronze; Dancing Children in clay; notes on versos of the mounts, some noting the name of the holding museum; some mount corners chipped and broken, affecting Girl Skating's mount most seriously, the photographs themselves not damaged; sizes vary, most images approximately 7 x 9 in. (5) St. Leger Eberle's most famous work, The White Slave, was exhibited at the 1913 Armory Show, where its content, a barely pubescent nude girl under the cloak of a leering older man in the process of offering her for sale, proved controversial. The juxtaposition of the nude female form as an object of exploitation did not suit the taste of many contemporary observers. St. Leger Eberle's studio was on New York's Lower East Side, and her subjects were predominantly the poor and working-class children who inhabited the neighborhood. She felt a personal responsibility as an artist to "see for people -- reveal them to themselves and each other."
ABASTENIA ST. LEGER EBERLE Anne. Bronze, 1921. 320x120x120 mm; 12 1/2x5x5 inches. With the artist's signature and date incised on the upper side of the bronze base. Cast by Kunst Foundry, New York, with the foundry mark on the edge verso. Ex-collection private collection, Pennsylvania.
ABASTENIA ST. LEGER EBERLE Little Mother. Bronze, 1907-11. 345 mm; 13 3/4 inches (height). With the artist's incised signature and dated "1911" on the left side of the bronze base. Cast by S. Klaber & Co. Founders, New York, with the foundry mark on the bronze base verso. Acquired from Post Road Gallery, Larchmont, New York, 1981; by the current owner, private collection, Pennsylvania. Conceived by Eberle (1878-1942) in 1907, this bronze was cast in 1911 and stands out among the artist's most important Ashcan School works. Eberle (1878-1942) was known for her politically and socially conscious small-scale bronze sculptures that depicted the poor residents of New York's Lower East Side. She was born in Webster City, Iowa and was raised in Canton, Ohio. She began teaching herself by copying tombstones and memorials before studying at the Arts Students League, New York. In 1907, she began composing sculptures in a social realist manner and was associated with the Ashcan School, which also included artists Robert Henri, John Sloan and George Luks, and photographers such as Jacob Riis and Lewis Hine, all of whom rebelled against American Impressionism and academic realism popular in the art market at the time. Many artists associated with the Ashcan School exhibited at the Macbeth Gallery, New York; Eberle showed there from 1907-13. In 1913, she exhibited two works at the Armory Show, one titled White Slave that depicted a child prostitute (child prostitution was then euphemistically reffered to as white slavery). The shocking combination of contemporary realism, with a man peddling the youth by his side, and her blatant nudity caused considerable controversy. Overall, Eberle believed art should have a social function and that the artist has, "No right to work as an individualist with no responsibility to others."
ABASTENIA ST. LEGER EBERLE Omar Khayyam Bookends. Pair of gilded bronzes, 1913. Both approximately 170x170x150 mm; 7x7x6 inches. Both with the artist's signature, date and copyright incised on the lower backs of the figures. Cast by Griffoul, Newark, New Jersey, with the foundry mark on the lower right edge of both figures. Ex-collection private collection, Pennsylvania Published "Noted Sculpture in M. U. Museum," The Missourian Magazine: A Monthly Supplement to the University Missourian, March 1915, page 1 (another cast listed); Noun, Abastenia St. Leger Eberle: Sculptor (1878-1942), Des Moines, 1980, page 13, number 18 (another cast illustrated); Rubinstein, American Women Sculptors: A History of Women Working in Three Dimensions, Boston, 1990, page 215 (another cast listed). Both ex-collection private collection, New Jersey.
ABASTENIA ST. LEGER EBERLE Anne Hart. Bronze, circa 1915. 70x90x50 mm; 3x3 1/2x2 inches. With the artist's initials incised on the front edge. Ex-collection private collection, Pennsylvania.
Abastenia St. Leger Eberle (American, 1878-1942) Pair of "Hide and Seek" Bookends patinated bronze signed "A. Eberle./Cop. 1911." stamped "Theodore B. Starr Inc. New York/Cast by Griffoul Newark, NJ" 6 3/4 x 4 1/2 x 2 3/4 inches
Abastenia St. Leger Eberle (1878-1942) Omar Khayyam Bookends inscribed 'Copyright. / 1913 / A. Eberle.' (on the back) and 'CAST BY GRIFFOUL NEWARK N.J.' and 'TIFFANY & Co. / NEW YORK' (along the base); inscribed 'Copyright. / 1913 / A. Eberle.' (on the back) and 'CAST BY GRIFFOUL NEWARK N.J.' (along the base), respectively bronze with reddish brown patina, each 6 1/4in high (15.9cm high), each Modeled in 1913. For further information on this lot please visit the Bonhams website
ABASTENIA ST. LEGER EBERLE American (1878-1942) Old Charwoman A Mother and Child (A Pair) (a) plaster, inscribed and dated "A.St.L. Eberle 1919" (b) clay maquette height: (a) 14 inches (b) 4 inches Provenance: Estate of the artist; Private Collection, Westport, Connecticut; Private Collection, Virginia. Other Notes: tags: sculpture, maquette, Ashcan, New York City, realism, female artist, woman artist The Old Charwoman (1919) explores the grittier world of women in the immigrant and working classes, and like her Ragpicker (1911) relates to the 'newspaper-reporter' style of the Ash Can school. Charlotte Rubinstein describes The Old Charwoman as "a warm portrayal of an Irish immigrant woman with dustpan and broom, who cleaned business buildings."[1] This observation hints at the greater metaphor at work relevant to the Progressive Era that Eberle was working in. This hardworking yet dignified woman stood for the correlation of women and women's suffrage with the perceived need of 'municipal housekeeping,' a key tenet of progressive politics. Rightly or wrongly, it was thought that women were uniquely qualified to clean up some of the most apparent societal problems like political corruption, inefficiency and waste, public health, etc. Eberle's The Old Charwoman seems ready and waiting to do the job and harks back to the theme of sweeping Eberle first introduced with Windy Doorstep. Another plaster for The Old Charwoman resides in the Kendall Young Library in Webster City, Iowa. [1] Rubinstein, Charlotte Streifer. American Women Sculptors. G.K. Hall, 1990. p.217 https://archive.org/details/americanwomenscu0000rubi
ABASTENIA ST. LEGER EBERLE American (1878-1942) "Girl Skipping Rope" bronze, signed and dated "A St. L Eberle 09," stamped with foundry mark "S. Klaber & Co. / Founders New York" height: 14 1/2 inches Provenance: Estate of the artist; Private Collection, Westport, Connecticut; Private Collection, Virginia. Exhibitions: The Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, "Annual Exhibition," January 23 - March 20, 1910, cat. no. 801; Maine State Building, Poland Spring, Maine, "16th Annual Exhibition Poland Spring Gallery," 1910; San Francisco, California, "Panama-Pacific International Exposition," February 20 - December 4, 1915, cat. no. 3057; The Buffalo Fine Arts Academy, Albright Art Gallery, Buffalo, New York, June 17 - October 2, 1916, cat. no. 202. Other Notes: tags: sculpture, bronze, female artist, woman artist, Ashcan Abastenia St. Leger Eberle was born in Webster City, Iowa in 1878. At the age of twenty-one, she moved to New York, alone and with few funds, to enroll in the Art Students League where she was taught by George Gray Barnard. Prior to this, her formal training in sculpture was limited to a couple of years with Frank Vogan at the Canton, Ohio, YWCA. Eberle had a strong, innate talent and quickly made up for her lack of formal training. Barnard was so impressed with her that he often left his class in her hands when he could not be there himself. During these early years, Eberle lived with several other young women artists - two musicians and the sculptor Anna Vaughn Hyatt (later Huntington) with whom she collaborated on at least three major pieces. In these collaborations, Eberle completed all the human figures while Hyatt created the animals. Gutzon Borglum, Huntington's teacher, urged them to submit their Men and Bull for the 1904 Society of American Artists exhibit, where it was greeted with enthusiasm by the jury, including Augustus Saint-Gaudens. Within two years, echoing the divisions in the art world, their careers went different ways. Huntington went to Paris to study and eventually focused her career on depictions of animals while Eberle remained in New York and became immersed in many of the progressive social issues of the time. Eberle's breakthrough came as the art world began to take notice of her small figures portraying the street life of lower Manhattan, particularly the Lower East Side. At the time, it teemed with the city's recent Italian, Irish, and Jewish immigrants. One of her most well-known early works of this genre, Roller Skating (1906), was acquired by the Metropolitan Museum of Art. In 1906, Eberle was elected to the National Sculpture Society, one of only seven women since its founding. Like many of her contemporary female artists, Eberle struggled to be taken seriously. This was evidenced by her reception in Naples, Italy. Looking to cast her work more inexpensively, Eberle went to Naples in 1907 and again in 1908. The foundry, never having handled the work of a woman artist before, had to be convinced that the work was indeed hers. Once they saw her at work, they realized their mistake and became respectful assistants. In 1909, Eberle built a small studio in the burgeoning artist colony in Woodstock, New York. There, she modeled one of her most successful pieces, Windy Doorstep (1910). By 1910, Eberle was well along in a personal transition that in some ways mirrored the larger forces moving through the art scene, and in the world beyond it. She became active in the suffrage movement and lead a contingent of women sculptors in the 1911 women's suffrage parade. She organized a show of women artists in 1915 at the Macbeth Gallery to raise funds for suffrage. This event had a major impact on New York's 1917 state expansion of the suffrage to include women, and the state's subsequent 1919 ratification of the 19th Amendment. The role of the artist, Eberle told The Survey, is to be "the specialized eye of society, just as the artisan is the hand, and the thinker the brain…the artist must see for the people-reveal them to themselves." According to the New York Evening Sun, "This is her way of helping combat the injustices and evils of our system. She does not preach; she makes us see." Eberle's career flourished, and she had two pieces in the ground-breaking Armory Show of 1913. She opened a studio in Greenwich Village and then later moved to a studio in a Lower East Side tenement. Children, particularly girls, were favorite subjects and Girl Skipping Rope is quintessential for this period. She held the children of the tenements in great esteem as examples of the sometimes-surprising joie de vivre of youngsters, despite their surroundings. The barefoot child of Girl Skipping Rope is similar to the Roller Skating girl - arms akimbo, tattered dress, enjoying the physicality of this type of play - and showcases Eberle's mastery at evoking movement. In addition, this focus on unselfconscious young girls playing in a physical way was emblematic of the women's movement in the early twentieth century. Women were gaining a sense of personal empowerment which included throwing aside all the self-limiting, restrictive societal mores hoisted on them, particularly those coming out of the Victorian era. Girl Skipping Rope was included in the Pennsylvania Academy of the Fine Arts 105th Annual Exhibition in 1910 as well as the Buffalo Fine Arts Academy's Contemporary American Sculpture Exhibition of 1916. It bears a label from the Poland Spring Gallery where it was exhibited in 1910. Most notably, Girl Skipping Rope was listed in the Panama-Pacific International Exposition catalog from 1915. This work, either a unique example or a from a small edition size, was likely the same cast from the Pan-Pacific Exhibition. It remained in the artist's collection and was later given to her friends and neighbors in the house adjacent her home and studio in Westport, Connecticut. In 1920 Eberle was elected to the National Academy of Design and a year later the Macbeth Gallery gave her a one-artist show. By this time, heart problems that had begun to plague her in 1915 became more insistent. At just forty-three, she was forced to retire, working only when she had the strength and the means to hire help for the heavy work sculpture demands. She died in 1942.
(1878-1942) "Omar Khayyam" Bookends, 1913, copyright 1913 A. Eberle, cast by Griffoul, Newark, NJ, male figure stamped "Tiffany & Co. New York". 6"h x 7"w x 4-1/4"d and 6"h x 6-1/2"w x 4"d
Abastenia St. Leger Eberle American, 1878-1942 Hide and Seek, 1911: A Pair of Bookends Signed A. Eberle./Cop. 1911., the girl inscribed II; each stamped CAST BY GRIFFOUL NEWARK, NJ and THEODORE B. STARR INC. NEW YORK on the bases Bronze with green/brown patina Height of each 6 3/4 inches (17.1 cm) C
ABASTENIA ST. LEGER EBERLE American (1878-1942) "Windy Doorstep," 1910 bronze, signed "A.S.L. Eberle" and dated "1910," inscribed with foundry mark "S. Klaber and Co. Founders, NY" Height: 14 inches Provenance: Private Collection, New York. Literature: A.S.L. Eberle, "The East Side in Sculpture," The Macbeth Gallery, New York, 1921, n.p., another example illustrated J. Conner and J. Rosenkranz, "Rediscoveries in American Sculpture: Studio Works 1893-1939," Houston, Texas, 1989, pp. 29-30, another example illustrated. Searl, Marjorie. "Seeing America: Painting and Sculpture from the Collection of the Memorial Art Gallery of the University of Rochester." Rochester, NY: Univ. of Rochester Press, 2006, another example discussed; L.R. Noun, "Abastenia St. Leger Eberle, Sculptor," Des Moines, Iowa, 1980, pp. 8, 9, 11, fig. 13, another example illustrated. G.B. Opitz, ed., "Dictionary of American Sculptors," Poughkeepsie, New York, 1984, p. 112. B.G. Proske, "Brookgreen Gardens Sculpture," Brookgreen Gardens, Murrell's Inlet, South Carolina, 1968, pp. 153-154, another example illustrated. C.S. Rubinstein, "American Women Sculptors: A History of Women Working in Three Dimensions," Boston, Massachusetts, 1990, pp. 215-216, another example illustrated. A.A. Weinman, "The National Sculpture Society in Cooperation with the Trustees of the California Palace of the Legion of Honor, Contemporary American Sculpture," New York, 1929, pp. 94-95, another example illustrated. Other Notes: Click to read the accompanying essay for this lot. Tags: listed artist, 20th century
BRONZE HEAD OF CHILD, BY ABASTENIA ST. LEGER EBERLE (AMERICAN, 1878-1942) signed - the front right side initialed 'AE' Note: Eberle was born in Iowa and moved to New York in her early twenties, enrolling in the Art Students League. She won several scholarships and prizes and trained under sculptors Charles Y. Harvey and George Grey Barnard. From 1904-1906, she shared an apartment with Anna Vaugh Hyatt and the two women collaborated on several sculptures, with Hyatt creating the animals and Eberle the figures. In 1906, she became a member of the National Sculpture Society, and she exhibited her work regularly at the Pennsylvania Academy of Fine Arts annuals. She is known for her small bronzes depicting lower class immigrants and issues of social reform. Her work appears at the Metropolitan Museum of Art. h:2.50 in. Provenance: Purchased from Connor Rosencrantz Gallery in NYC about 20 years ago
Abastenia St. Leger Eberle (1878-1942) Old Woman Picking Up Coal inscribed 'A St L Eberle' (along the base)bronze with dark brown patina11 1/4in highModeled by 1908. LiteratureL. Mechlin, "The National Sculpture Society's Exhibition at Baltimore - II. Imaginative Work," International Studio, vol. XXXV, no. 138, August 1908, p. XLVIII, another example illustrated.Abastenia St. Leger Eberle: Sculptor (1878-1942), Des Moines, Iowa, 1980, n.p., no. 44, another example listed.C.S. Rubinstein, American Women Sculptors: A History of Women Working in Three Dimensions, Boston, Massachusetts, 1990, p. 215.While the exact size of the edition of Old Woman Picking Up Coal sculptures is unknown, an exhibition catalogue produced by the Des Moines Art Center, the author notes that Eberle's genre figures were believed to be cast in relatively limited numbers. (Abastenia St. Leger Eberle: Sculptor (1878-1942), Des Moines, Iowa, 1980, n.p.) Another example of Old Woman Picking Up Coal can be found in the collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.
ABASTENIA ST. LEGER EBERLE (1878-1942) Roller Skater (Girl Skating) inscribed and dated ‘’06 / A St L Eberle’ and stamped ‘B. Zoppo. / Foundry. N.Y.’ (along the base) bronze with brown patina 13in high Modeled in 1906.
Abastenia St. Leger Eberle (American 1878-1942) Hide and Seek : A Pair of Bookends Each signed on back ledge A. Eberle/ cop 1911, and impressed on back THEODORE B. STARR, INC. NEW YORK, each also impressed on sides CAST BY GRIFFOUL NEWARK NJ Each bronze bookend having a brown patina Height: 6-3/4 in (17.1 cm)Property of Various Owners
ABASTENIA ST. LEGER EBERLE American (1878-1942) Tobacco Jar, 1905 bronze with green-brown patina, signed "A. St. Eberle" and inscribed "Copyright 1905" and "Gorham Co. Q122" on the base. 3" H Provenance: Private Collection, Connecticut. Other Notes: Tags: Sculpture, Native American
ABASTENIA ST. LEGER EBERLE (1878-1942) Little Mother inscribed ‘A St L. Eberle. 1911.’ and stamped ‘S. KLABER & CO. / FOUNDERS, N.Y.’ (along the base) bronze with brown patina 13in high
ABASTENIA ST. LEGER EBERLE (1878-1942) Windy Doorstep inscribed ‘A. St. L. Eberle / 1910’ and stamped ‘CIRE PERDUE / E CARVILLANI’ (on the base) bronze with dark brown patina 14in high
Bronze. Signed on top of base "A.L.S. Eberle", also signed on side "B. Zoppo Foundry.N.Y.". Brown patina. REFERENCE: Full page image of this bronze on page 28 of "Rediscoveries in American Sculpture" by Conner & Rosenkranz. NOTE: To our knowledge we have not found this example sold or offered in recent auction history SIZE: 13" h x 11-1/4" from finger tip to finger tip CONDITION: Very good, figures right forearm and hand has been professionally replaced and nearly undetectable 50613-1
Abastenia St. Leger Eberle (American, 1878-1942) 'Hide and Seek' bookends each inscribed 'A. Eberle./Copy. 1911' and stamped 'Cast by Griffould. Newark NJ' bronze with brown patina 17.3cm high (2). Provenance: Estate of Emma Fordyce MacRae.
Abastenia St. Leger Eberle (American, 1878-1942), "Omar Khayyam Bookends", 1913, (2) bronzes with brown patina, signed and dated "A. Eberle - Copyright 1913", inscribed "Zalmon Gilbert Simmons...", cast by Griffoul Foundries, Newark, NJ, 7"h x 6.25"w x 4"d
Abastenia St. Leger Eberle (American, 1878 - 1942), pair "Hide and Seek" bronze bookends, with either bookend depicting boy and girl respectively leaning against or hiding behind supported books, signed "A. Eberle" and dated 1911 along front of base, Griffoul (Newark, NJ) foundry mark found on back of each child, "Theodore B. Starr, Inc., New York" retailer mark engraved along back of rectangular plinth base, casting information also along side of each base, expected wear including light verdigris, disintegration of green felt pad beneath girl bookend, 6 3/4" h.
Abastenia St. Leger Eberle American, 1878- 1842 Hide and Seek Bookends, 1911 Each signed A. Eberle, dated 11 and inscribed copy. 12 (the boy) or copy. 1912 (the girl) on the upturned back of the base; each marked cast by Griffoul Newark N.J. on the side of the base Bronze with dark brown patina The boy 6 7/8 x 4 5/8 x 2 3/4 inches; the girl 6 3/4 x 4 3/4 x 2 7/8 inches C
ABASTENIA ST. LEGER EBERLE American (1878-1942) Omar Khayyam Bookends bronze, signed and dated 1913. 6 1/4" H Provenance: Private collection, Connecticut.
