Anders Leonard Zorn

LOT 214 PROPERTY OF A PRIVATE AMERICAN COLLECTION ANDERS LEONARD ZORN 1860 - 1920 OMNIBUS (HJERT & HJERT 183) Etching, 1892, the third (final) state, signed in pencil, from the edition of 75, on heavy laid paper, framed 276 by 198 mm 10 7/8 by 7 3/4 in sheet 375 by 301 mm 14 3/4 by 11 7/8 in

Anders Zorn (Swedish, 1860-1920) Portrait of Adolphus Busch signed and dated 'Zorn 1897' (lower right) oil on canvas 51 x 37½ in. (129.5 x 95.2 cm.) Adolphus Busch, St. Louis, commissioned directly from the artist. Thence by descent to Adolphus Busch IV, St. Louis. W. and W. Hagans, Zorn in America: A Swedish Impressionist of the Gilded Age, Chicago, 2009, pp. 113-14. St. Louis, City Museum of St. Louis, Exhibition of Paintings owned in St. Louis, 25 June - 31 October 1911, no. 91. One of the leading portraitists of his day, Anders Zorn painted his august sitters with a bravado akin to that of his contemporary John Singer Sargent. Zorn's signature vigorous brushwork is on full display in his rendering of Adolphus Busch, co-founder of the St. Louis brewery Anheuser-Busch. Composed of loose but controlled strokes, Adolphus stands with his left arm akimbo while he rests his steely gaze beyond the picture plane. A German immigrant who built one of the largest breweries in the United States, he appears every inch the intense businessman he was. Adolphus Busch arrived in St. Louis in 1857 and shortly thereafter set up a brewery supply business with his brother Ulrich. The Busch brothers had the great fortune early on of having the prosperous brewer Eberhard Anheuser as a client, who also happened to have two eligible daughters. In 1861, Adolphus and Ulrich married Anheuser's daughters Lilly (see lot 44) and Ann in a double ceremony, thereby solidifying a beer empire. After Anheuser's death in 1879, Adolphus added the Busch name to his late father-in-law's brewing company and took over as president. By then business was booming thanks to Adolphus' new lighter and less sweet beer called 'Budweiser.' In addition to his triumphs in the beer industry, Adolphus went on to corner the market on the manufacturing of diesel engines, become a bank president and to build the luxury hotel, The Adolphus, that is still in operation in Dallas today. The consummate power portraitist, it is no surprise that Busch chose Zorn to capture his likeness as the Swedish artist was much sought after in the United States. After his American debut at the 1893 World's Fair, Zorn received requests for commissions from the new class of millionaires and three U. S. presidents (fig. 1). The present work was executed during Zorn's second trip to the United States from 1896 to 1897. While in St. Louis, Zorn must have had the Busches sit for their portraits. However, Zorn may have also been aided by a contemporary photograph of Adolphus that bears a striking resemblance to this painting (fig. 2). Zorn's portraits of the Busches may have been one more paid commission, or they may have held a personal resonance for the artist. Zorn's father was a German brewer who seduced a young seasonal employee at the brewery. Zorn grew up alone with that brewery employee and never met his father.

Lot 326 Property from the Estate of Mary Draper Janney Anders Leonard Zorn (Swedish 1860-1920) The Seaward Skerries (Asplund 256) Etching, signed A. Zorn in pencil l.r. and dated 1913 in the plate l.l.; toning and minor foxing. Framed.* Plate size: 178 x 248 mm (7 x 9-3/4 in) Estimate $700-900 With Van Gelder Zonen watermark and collector's stamp on verso; margins trimmed, sheet size measures approximately: 11-1/2 x 14-13/16 in; with some toning and mat toning; minor spots of foxing in lower margin; linen tape hinged at top. Weschler's provides written condition reports, upon request, for any lot in our auctions. Such a condition report is provided as a courtesy to our clients and should in no instance replace first hand inspection by a prospective buyer or his/her agent. All property is sold "as is" in accordance with the terms set forth in paragraph 3 of Conditions of Sale. Neither Weschler's nor the consignor makes any express or implied warranty or representation as to the condition of any lot offered for sale, and no statement made at any time, whether oral or written, shall constitute such a warranty or representation.

Anders Zorn (Swedish, 1860-1920), "The Precipice," 1909, etching depicting nude woman pressed anxiously against the side of a cliff, laid down, Ed. 100?, Hjert & Hjert 253, ii/II; Asplund 226, printed in black ink probably by artist, monogrammed and dated in stone LR, bears pencil signature "Zorn" LR, some wavering of paper, discoloration and fading to mat, original Arthur H. Hahlo & Co. Rare Etchings & Engravings, New York label as well as pen inscription listing title and artist verso, matted and framed behind glass, not examined out of frame, ss: 11 3/4" h. x 7 3/4" w.

Anders Leonard Zorn, Swedish 1860-1920 - "Dagmar", 1912; etching, signed and dated 1912 within the plate, signed in pencil, bears label for W B Simpson, 84 St Vincent Street, Glasgow attached to the reverse of the frame, 24.5x17.3cm: - "Mona", 1911; etching, signed and dated 1911 within the plate, signed in pencil, bears label for W B Simpson, 84 St Vincent Street, Glasgow attached to the reverse of the frame, 24.5x17cm., (2)