What you see: Wharton Esherick’s 1933 sculpture “essie”/”rebecca”, fashioned from cocobolo wood. Estimated at $60,000 to $80,000, it sold for $123,750 in November 2014 at Freeman’s. The sculpture now belongs to the Modernism Museum Mount Dora in Mount Dora, Fla.
Who is Wharton Esherick? He’s an American artist who is best known for his sculptural furnishings, which foreshadowed the American studio furniture movement. Esherick started out as a painter but shifted his focus when people reacted to his hand-carved frames more than his canvases. He died in 1970 at the age of 82.
How rare are Wharton Esherick sculptures? “They’re incredibly rare,” says Tim Andreadis, department head of 20th century design at Freeman’s. “All of Esherick’s things are rare in comparison to the generation of craftsmen who came after him. Esherick produced maybe a few thousand pieces and maybe a hundred sculptures, if that.”
Is the Wharton Esherick sculpture “essie”/”rebecca” based on a human model? It was his daughter, Mary, who played a character named Essie in a production at a local theater that the Eshericks supported. “He often used family members and friends as models, and turned the sketches and maquettes into fully realized sculptures,” Andreadis says. “This was later named Rebecca after the Biblical figure of Rebecca at the well. In the 1960s, it finally found a buyer, and it had been with that family ever since.”
What makes “essie”/”rebecca” stand out among Esherick’s works? “This would have been a little more unusual. He would have carved it in one solid piece. It makes it much more challenging,” he says. “It was a celebrated piece, one of those works that were really personal to the artist. And it’s beautiful from any angle. It’s definitely made to be viewed in the round.”
Why did the Wharton Esherick sculpture do so well? “The stars were perfectly aligned,” Andreadis says. “It was a sculpture of grand scale. Esherick used cocobolo, a rare, exotic wood. Its patina has never been touched. There aren’t many Esherick pieces in private hands. And it’s really personal subject matter, using his daughter as a model for the work. It’s beautifully signed by Esherick. And you can never ask for anything better than to see period photos of the artist standing with the work. Buyers just responded to that. They recognized a rare opportunity that’s not going to come up again for some time.”
Image is courtesy of Freeman’s.
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