Inaugural Summer Arts Festival Puts Ridgefield, Conn., On The Map Silk & ‘Ice’ At Kodner Galleries
Case’s Summer Auction Attracts Largest Post-Pandemic Audience
Goosefare’s
Lark Mason Jump-Starts Summer With Diverse Trio Of Auctions
Alexis Fournier Exhibition In East Aurora Club News
Copake Estate Auction Reaps
The Allure Of French Posters & More
Special Show Sections Inside:
• New Hampshire Antiques Show August 8-10
Jan Van Der Waarden
Emily Hoffmeier - Nantucket Robert Stark Jr. Anne Ramsdell Congdon
John & Wm Cary Globes and Artifacts
Black Forest Collection
4 José Reyes
Attrib. Ralph Cahoon Martha Cahoon
4 Thomas Hart Benton
Signed Jean Avisse
Charles Camoin
Jacob Collins Self Portrait
Estate European Bronzes
Jacob Haag, 1857 Donald Jurney
George Washington Society of the Cincinnati
Scarce NantucketSilver Benjamin Bunker Adrian Gottlieb
Scrimshaw
Wm. Stubbs Robert Salmon
Derek G. Montague Gardner
China Trade
Wm. Gay Yorke
Wm. Yorke
Frederick Roux Wm. Edward Norton Brian Coole
Barry Mason George Marshall Ship Signals Port New Bedford
7 Woollies
Estate Carpets
MIDSUMMER ESTATES AUCTION
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Pair of Life Size Marble Classical Figures
Continental Gold Emerald and Pearl Bracelet
CASSINA Stacking Tables
Polflex Innovation Benches
Hand Knotted Feraghan Sarouk
Charles Levier
Jimmie Lee Sudduth (African American)
Robert Robinson Ian Davis
Allen Tucker (1 of 2)
Wayne Thiebaud & The Skateroom Skateboard Decks
Otto Duecker
Antique Chinese Nanmu? Cloisone Saddle
Itzchak Tarkay
1.77ct Pear Faceted Diamond and Gold Ring
Louis Comfort Tiffany
Kayla Carlsen
The last time Antiques and The Arts Weekly interviewed Kayla Carlsen it was early in 2018 and she had been recently hired as vice president, head of Sotheby’s American art department. Carlsen, who is from the Hudson River Valley and whose parents are Freehold, N.Y., auctioneers
Abby and Russ Carlsen, has a rich resume that includes high-level stints at Sotheby’s, Christie’s and Bonhams. She holds a bachelor of arts degree in art history from Clark University in Worcester, Mass., completed the Historic Deerfield Summer Fellowship Program in American History and Material Culture and attended a master’s program at Hunter College in New York. Recently, the Albany Institute of History & Art (AIHA) selected Carlsen to be its next executive director following a national search that attracted more than 70 candidates. She will begin her tenure on July 15.
How has holding senior positions at three of the world’s leading art businesses prepared you to lead an institution that has two centuries under its belt of strategic collecting of historical objects, paintings, photographs and furnishings?
In some ways, I think my experience working across various auction houses has uniquely prepared me for this role. It’s not often that auction house professionals move into the museum space, so it’s not lost on me about how lucky I am to be doing this. Much of what I did over the last two decades — client development, strategic planning and even budget planning will be useful to my new role. Luckily, as head of a department at Sotheby’s, I wore many hats and I expect to do the same in Albany.
From seeking what’s hot in the American art market to stewarding that which fits the collecting rubric of the museum, how big a change is this for you?
It doesn’t change my line of thinking all that much. What is commercially successful should also, in theory, have wide appeal to museumgoers. I think this position does allow me to perhaps think more broadly though. For example, the museum is mounting an exhibition that will open in September titled “Delights of the Senses: Seventeenth Century Dutch Art and Life” featuring paintings from the Leiden collection. This would have been far from my field of view as head of American art at Sotheby’s and I am very much looking forward to it!
What early experiences drew you into the American art and material culture field?
Growing up in the auction world, I was exposed to art and historic objects at a young age. We frequently went to museums when we traveled as a family, and I have always felt really lucky to live in the Northeast where museums are plentiful. My interest in American art was most
certainly founded in our proximity to the Hudson Valley and the locales frequented by the Hudson River School painters. After college, I completed the Material Culture Fellowship at Historic Deerfield, which opened up my understanding of historic house museums and cemented my love of objects that tell stories.
What is it about this museum and its collection that drew you out of the auction world?
The AIHA has always been near and dear to my heart as a local of the Capital District. Its collection of Hudson River School paintings was of particular interest when I was in college and interning at Olana State Historic Site, and so I’ve tangentially watched the goings on at the institute for years. I think this role presents a multitude of opportunities to someone with my background.
I’ve had a very narrow specialty over the last 20 years and I am looking forward to exposure to other areas of expertise and a community that supports those visions.
Do you expect that you will come to miss the fast pace of the auction industry?
I will certainly miss the wonderful colleagues I’ve gained at Sotheby’s and elsewhere over the years. That said, given the proximity of the museum to New York City and the strength in its American art
collection, I expect overlap with my clients and hope that I will still get to work with many of them in new ways. The American art market is actually very much driven by scholarship, and collectors are usually passionate about the category because of an interest in preserving our nation’s history. That very much aligns with the goals of any museum.
Most museums rely in part on the generosity of museum members and donors, but fundraising events are also necessary. How do you feel about these as a means of support?
Fundraising events often allow museums to publicly thank those who help them accomplish their missions behind the scenes — whether that be as a result of financial gifts or other efforts. They can often also be a nice celebration of the community and a way to get people together and energize support for specialized initiatives. Having been on the other side of these events over the years, I see them as a positive and I look forward to meeting everyone in the museum’s orbit at events like this in the coming months.
Any neglected areas within the museum’s collection that you would like to see more robustly represented?
Like many institutions, the museum is looking to fortify collections of female and minority artists that will allow us to tell a more complete history of our region. Specifically, female Hudson River School artists who have historically been overlooked and objects that will help us to tell specific stories as they relate to Albany, the Capital Region and the greater Hudson River Valley. Albany recently had the honor of receiving a two-year project grant for an African American History Project. This project allowed the museum to record a series of oral histories, which I am looking forward to spending more time with when I arrive.
—W.A. Demers
Exterior of the Albany Institute of History & Art. Courtesy of the museum.
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Three Dealers Added To Exhibitor List
For 67th NH Antiques Show
MANCHESTER, N.H. — The board of directors of the New Hampshire Antique Dealers Association (NHADA) announced the addition of three exhibitors to the show — J&G Antiques, Ziebarth’s Gallery and Robert Burger Antiques, bringing the total exhibitors to just under 60 for the annual show.
Owners Jane and Gerry Enorksen own and operate J&G Antiques of Amityville, N.Y. They began as collectors in 1965, while trying to furnish their home with antiques, quickly realizing their passion.
“The hunt was on. Furniture, vintage decoys, folk art and
much more, soon became a driving force in our lives. We began to “up grade,” we began selling the objects we were replacing.
This in turn led to doing shows, which in turn became a business,” stated Jane and Gerry Enorksen. They have exhibited in shows in Connecticut, Tennessee, New Hampshire, Maine, Massachusetts and Vermont.
Founder of Ziebarth’s Gallery, Zac Ziebarth is a second-generation antiques and art dealer specializing in Native American art, historic militaria and antique Americana. At age 32, he is president-elect of the Antiques Dealers Association of America, representing a youth-
ful wave of energy to the antiques trade while being guided by his traditional roots. Some of Ziebarth’s fondest childhood memories include traversing the Midwest to pick early Americana antiques with his father, Terry, a 50-plus-year veteran collector and dealer, still active in the trade to this day. Ziebarth and his wife, Erin, reside in the historic Wisconsin Driftless community of Mount Horeb, one of Wisconsin’s earliest Norwegian settlements and the ancestral land of the Ho Chunk Nation.
Lastly, a new exhibitor, Robert Burger Antiques of Mount Vernon, Ohio. Burger has been
MCHC Dives Deeper Into Permanent Collection With New Exhibition
BALTIMORE, MD. — Now open at the Maryland Center for History and Culture (MCHC), the exhibition “Collecting Maryland: Art, Artifacts, Community” presents a new exploration of the largest museum collection of Maryland history and culture. It is on view through June 2026.
MCHC — formerly the Maryland Historical Society — is the oldest continuously operating nonprofit cultural institution in the state, housing a collection of seven million books, documents, manuscripts and photographs, and 350,000 objects in its museum and library.
The artworks and artifacts within the museum collections of MCHC tell the stories of Maryland’s interconnected communities, and many of the paintings, folk art objects and ephemera featured in this exhibition have long been away from public view.
“We like to think that ‘Collecting Maryland’ is more than an exhibition,” says president and chief executive officer Katie Caljean. “It is an active initiative to bring more of the MCHC collec -
tions on view in a nimble and thoughtful way. We are looking forward to continually adapting this space to tell new stories about Maryland in a reflective way that engages with our own institutions’ long history.”
“Collecting Maryland” is composed of vignettes that highlight major collecting themes and dive into the depth and breadth of MCHC’s collections assembled over a 180-year history.
The objects found in this exhibition tell stories through the lens of “We Are...,” embracing the expansive and diverse stories conveyed by the collection. Sections such as “We Are Local Traditions” celebrate quintessentially Baltimore customs, such as Arabbers and painted screens, while “We Are Rethinking” advances new interpretations of some of the earliest artworks stewarded by MCHC.
Vignettes look inward to concepts like institutional growth and outward to topics like LGBTQ+ pride and Indigenous land acknowledgement, along with celebrations of local landmarks, folk art and maritime collec -
tions. Examples from the country’s largest collection of Joshua Johnson paintings, America’s first known Black professional portrait painter, as well as the largest collection of paintings created by the Peale family, founders of America’s first museums, are prominently shown.
The Maryland Center for History and Culture is at 610 Park Avenue. For more information, www.mdhistory.org or 410-685-3750.
involved in the antiques business since 1972, while attending Ohio State University. The love of the outdoors eventually led him to pursue a career in the sporting art, sporting collectibles and rustic specialty fields of the antiques business.
“We are thrilled to include these fine exhibitors to our show,” shared Richard Thorner, newly elected president of the board of directors for the New Hampshire Antique Dealers Association. “Their enthusiasm for all things Americana will certainly be a welcome addition to the show.
The tradition continues, as the Annual New Hampshire
Antiques Show returns for its 67th year to downtown Manchester, August 8-10. For information, visit www.nhada.org.
Hyde Park 10,000 sq. ft. Antique Mall Auctioneers & Appraisers Limited Dealer Space Available Rhinebeckantiqueemporium.com
New Hampshire Antiques Week Show - August 4 Regular Admission: $5 - 8:30am to 12:00pm Early Buyers $30 pp 7am to 8:30 am
Robert Burger Antiques
Zac Ziebarth
Jane and Gerry Enorksen own and operate J&G Antiques.
Bert Gallery Celebrates The Legacy Of Two Providence School Artists
PROVIDENCE, R.I. — Bert Gallery celebrates the legacy of two Providence School artists, the father and daughter, H.A. Dyer (1873-1945) and Nancy Dyer (1903-1979). The two Dyers are highlighted within a larger exhibit, “The Warm Cloak of Culture: Providence School 1850-1950” that is currently up and runs to July 27.
Visitors can view “The Dyers: A Father and Daughter Legacy” in person Thursday–Saturday from 11 am to 4 pm or by appointment. Exhibits are free and open to the public.
Early women artists often learned their craft during the Renaissance from their fathers, such as Artemisia Gentileschi from Orazio Gentileschi or Rosa Bonheur from Raymond Bonheur. In the case of Providence School’s H.A. Dyer, he encouraged his daughter’s art career by financing her art education and traveling extensively to
paint together. While they were kindred spirits in their use of the gouache medium, H.A. Dyer gravitated toward landscape whereas Nancy toward figura-
tive illustration. H.A. Dyer would enjoy a more prestigious career than his daughter as often is the case of women artists of Nancy’s era despite her
accomplished exhibition history and technical prowess.
This exhibit gathers a broad collection of watercolors by both artists. Few Rhode Island artists enjoyed the popularity and patronage that H. Anthony Dyer has in present day and during his lifetime. A descendent of the art-inclined Hoppin family, Dyer graduated from Brown University and Rhode Island School of Design. No one instructor dominated in H.A. Dyer's tutelage, rather it was the school of the “Old-style English method of watercolor painting” that the artist adopted. He was very adept at using both gouache and transparent washes on gray/earth toned watercolor sheets. This technique the artist considered paramount to his successfully rendered watercolors.
The work of Providence artist Nancy Dyer is characterized by quiet humor and keen insight. She created dozens of small watercolor and pastel caricatures and sculptures of people
Matt King
Emily Lampert
Betty Anne Lavallee
Jim LeFurgy & Judy Waner
Log House Antiques
Josh Lowenfels
Lanny Lumbert
in everyday situations, capturing their unstudied movements and poses with uncommon skill and humor. Born in Riverside, R.I., she studied at the Lincoln School, and later the Rhode Island School of Design. Nancy Dyer spent most of her life in Providence, but traveled regularly with her parents to Europe, where her father went to paint each summer. (In his history of the Art Club, Angell’s Lane: The History of a Little Street in Providence, George Miner writes: “Almost every year he [H.A. Dyer] drove his Cadillac aboard the Rex, the Comte Savoie, or some other transatlantic ship, with Mrs Dyer and Nancy and his color boxes. And five or six months later they would return to Providence (always on the Holland-America line) with portfolios of watercolors...”) Bert Gallery is located along the Providence waterfront at Corliss Landing, 24 Bridge Street For more information www.bertgallery.com or 401751-2628.
‘Marc Hom: Re-Framed’ At The Fenimore Is A Portrait Of The Artist’s Restless Mind
COOPERSTOWN, N.Y. —
Danish photographer Marc Hom is recognized for his iconic portraits of some of the most recognized faces in the world. Over his decades-long career, he has artistically captured the likeness of Hollywood and cultural elites such as Anne Hathaway, Miley Cyrus, Angelina Jolie, Taylor Swift, King Frederik X of Denmark and a seemingly endless list of notable names.
“Marc Hom: Re-Framed,” on view at the Fenimore Museum of Art to September 2, is a summation of Hom’s work to date and a portrait of the artist’s restless mind. The new exhibition offers visitors two components. The first resembles a traditional gallery retrospective. The second brings Hom’s work into a wilder space — the outdoors. Here his polished studio portraits are printed 11 feet high and mounted on Masonite frames that catch the weather, swiveling in the wind.
Hom saw the exhibition as a chance to push against the conventions of a traditional gallery retrospective. For years, he had been fascinated by sculpture gardens — most of all Storm
King, the 500-acre outdoor museum of landscaped fields in New York’s Hudson Valley. There, he thought, was art that did not merely rest against the wall waiting for passing admiration; the pieces almost grab you as you walk among them. While experiencing the outdoor portion of Hom’s exhibition, visitors will make their way through 28 images of ageless elegance — Anne Hathaway, Johnny Depp, Sofia Coppola, Cher — larger than life and perched in formation overlooking the pristine waters of Otsego Lake and its environs.
“Marc Hom: Re-Framed” is organized by the Fenimore Art Museum. As a companion to the exhibition, Hom’s new book, ReFramed, features the entire selection of portraiture on display and also details the development of the exhibition. The 160-page hard-cover is available exclusively at Fenimore Art Museum’s retail shop and on the museum’s website through the summer.
The Fenimore Museum of Art is at 5798 State Highway 80. For information, 607-547-1400 or www.fenimoreart.org.
Copake Estate Auction Reaps The Allure Of French Posters & More
Auction Action In Copake, N.Y.
COPAKE, N.Y. — Peacocks, with their iridescent feathers with “eyes,” have, since ancient times, symbolized power, strength and confidence. They were the subject of Louis J. Rhead’s (1858-1926) poster advertising Le Journal de la Beauté, an early weekly, largeformat French fashion and beauty magazine. The 34-by62-inch poster was offered at Copake Auction’s July 6 estate sale with an $800-$1,200 estimate but did much better, unfurling to a $4,200 finish and going to a gentleman bidding in the gallery. Rhead was an English-born American illustrator of the Golden Age who gained an international reputation. Less known among poster aficionados was Eugène Samuel Grasset (French, 18451917), a Swiss decorative artist who worked in Paris in a variety of creative design fields during the Belle Époque. He is considered a pioneer in Art Nouveau design. Hid French poster, cataloged as a Marque Georges Richard Cycles & Automobiles poster after Grasset, was an example with a beautiful Art Nouveau maiden holding a giant fourleaf clover; it sold for $1,920. Printed on paper by Imp. De Vagirard & G. de Malherbe
Peacocks were the subject of Louis J. Rhead’s poster advertising Le Journal de la Beauté, an early weekly, large-format French fashion/beauty magazine. Topping Copake’s sale, the 34-by-62-inch poster with an $800-$1,200 estimate overachieved, posting a $4,200 finish. It was won by a gentleman bidding in the gallery.
Paris, the poster measured 42 by 57 inches. Georges Richard (1863-1922) raced cars and was one of the early entrants to the automobile industry.
The “four-leaf clover” trademark was one that Richard registered for his business.
Another Georges, Georges De Feure (French, 1868-1943) was represented in the sale with a lively poster image of Jane Dervale in the Folies-Bergère, which danced to $1,440. Printed by Art Etable Paris 1904, the poster measured 59 by 43½
A group of horses enjoying freedom in the field was the subject of this painting by Sawrey Gilpin, which brought $2,160 against an estimate of $800-$1,200. On its reverse, the 7½-by-11½-inch oil on panel bore a Maas Gallery label as well as one of Arthur Ackermann & Son.
Among well-performing furniture was this Arts and Crafts period armoire. It surpassed its estimated $150/250, finishing at $2,750. The
stained glass doors over two drawers.
inches. The artist’s actual name was Georges Joseph van Sluijters, and he was a French painter, theatrical designer and industrial art designer employing symbolism and the Art Nouveau style. The son of a wealthy Dutch architect and Belgian mother, De Feure was influenced by poster artist Jules Chéret and this poster from the Folies-Bergere exemplifies that influence. It was the last poster by De Feure, although he would keep working as an artist for nearly four
Mike
decades more. Celebrating the Folies-Bergère dancer Jane Derval, it epitomizes the French café society in 1904 with Asian stylistic flourishes and Art Nouveau flower and bird patterns.
Select furniture performed well. An Arts and Crafts period armoire was estimated $150/250 but did much better, finishing at $2,750. The piece featured stained glass doors over two drawers. It stood 85½ inches tall.
A Nineteenth Century English tall case clock beat its $200/300 estimate to chime at $2,500. It featured brass works engraved “John Sutton London.” Standing 79 inches high, it had provenance to the Salisbury, Conn., estate of actor Edward Herrmann.
Fine art was led by an equine painting by Sawrey Gilpin (1733-1807), which brought $2,160 against the $800-$1,200 estimate. In this 7½-by-11½inch oil on panel, a group of horses enjoy freedom in the field. The work bore a Maas Gallery label verso as well as one of Arthur Ackermann & Son. Gilpin was an English artist specializing in paintings of horses and dogs. He was made a Royal Academician in 1797.
Fetching $2,375 was an
18-inch-high bronze bust of Lucius Annaeus Seneca (circa 4 BCE-65 BCE), beating a $700 high estimate. Best known for his Stoic philosophy in ancient Rome, Seneca was also a statesman, dramatist and at times a satirist.
Sterling silver lots are always sought-after in estate sales. In this sale, a Gorham sterling Buttercup pattern silver flatware boxed set for 12 took $2,880. The set boasted a second-place finish and provenance to the Herrmann estate.
Co-owner Seth Fallon said the sale grossed $205,000 with a 98 percent sell-through rate and sales to four different countries. Folk art and general antiques fans will not want to miss Copake’s next sale on August 24 when material from retired dealer Ed Holden’s collection will come up for auction. Prices given include the buyer’s premium as stated by the auction house. For further information, 518-641-1935 or www.copakeauction.com.
Georges De Feure’s lively poster image of Jane Dervale in the Folies-Bergère realized $1,440. Printed by Art Etable Paris 1904, the poster measured 59 by 43½ inches.
This 18-inch-high bronze bust of Stoic philosopher Lucius Annaeus Seneca surpassed a $700 high estimate to reach a final bid of $2,375.
This Nineteenth Century English tall case clock hit $2,500 against a $200/300 estimate. From the actor Edward Herrmann’s estate in Salisbury, Conn., it featured brass works engraved “John Sutton London” and stood 79 inches high.
piece featured
This Gorham sterling Buttercup pattern silver flatware boxed set for 12 scored $2,880.
Copake co-owner
Fallon holds an after Eugène Samuel Grasset poster advertising Georges Richard Cycles & Automobiles, featuring a beautiful Art Nouveau maiden holding a giant four-leaf clover. It sold for $1,920.
Review by W.A. Demers, Senior Editor Photos Courtesy Copake Auction
MONMOUTH JUNCTION,
N.J. — Bodnar’s Auction’s next online auction event is on July 31, showcasing a collection of Bronze and Silver Age comics from a single, dedicated owner. This unique assortment holds a special place in the heart of any comic enthusiast, as each piece was personally acquired by the collector from newsstands on a weekly basis.
The highlight of this collection are the near complete runs of Amazing Spider-Man, Iron Man, The Incredible Hulk, Avengers, Silver Surfer and more iconic titles featuring key issues that have captivated fans for generations. Among the coveted items to be offered are
The Incredible Hulk #181, a milestone issue that marks the first full appearance of Wolverine, a fan-favorite character in the Marvel Universe ($5/10,000); Amazing SpiderMan #50, also known as “Spider-Man No More,” this iconic issue delves into Peter Parker’s internal struggles as he contemplates giving up his superhero alter ego ($50-$100); Amazing Spider-Man #119, a pivotal issue where Spider-Man faces off against the Hulk in an epic battle that will leave read-
‘A
Bodnar's Auction To Feature
Rare Bronze And Silver Age Comics
ers on the edge of their seats ($50-$100); the Amazing Spider-Man #129, Marvel Comics first appearance of Frank Castle - The Punisher ($1/2,000); Fantastic Four #48 an issue introducing the Silver Surfer, a powerful cosmic entity with ties to the iconic villain, Galactus ($1,5/3,000); and Silver Surfer #1, a groundbreaking series debut that explores the cosmic adventures of the Silver Surfer, heralding a new era in Marvel
comics ($500-$1,000).
This online auction promises an opportunity for collectors and fans alike, with all lots starting at an accessible $10 and no reserves. Most of the comics were read once or twice and then just tucked away for years, keeping them in very good condition.
Pre-bidding is now open at www.bodnarsauction.com. The July 31 auction will be broadcast live on Bodnar’s website
Pittsburgh Anthology’ Goes Up At The Carnegie Museum Of Art
PITTSBURGH, PENN. – In Carnegie Museum of Art’s Scaife Gallery 17, an ongoing exhibition, “A Pittsburgh Anthology,” celebrates stories of creative life in Pittsburgh as prompted by Carnegie Museum of Art’s collection across time and media. Since its inception in 1895, the museum has collected works made in, about and for Pittsburgh. Each object in this exhibition sheds light on the many ways that artists, whether local or passing through, engage with the people, landscape and built environment of the city. While some objects reveal the creative impulse to map or document Pittsburgh, others speak to its unique cultural character.
With this project, Carnegie
Museum of Art presents a dedicated gallery to exploring these stories, relayed by a multitude of voices from inside and outside the museum. Each story unfolds on printed cards displayed near the artworks, which are free for the taking. For those wishing to create their own anthology, customizable binders are available for purchase in the museum store.
“A Pittsburgh Anthology” is organized by Eric Crosby, Henry J. Heinz II director, Carnegie Museum of Art and vice president, Carnegie Museum of Pittsburgh; Rachel Delphia, The Alan G. and Jane A. Lehman curator of decorative arts and design; and Hannah Turpin, curatorial assistant, contemporary art and photography, Carne-
with Joe Bodnar calling the bids and a special guest Mike Zapcic from the Secret Stash/ Comic Book Men on AMC describing each issue as it is sold. This promises to be an entertaining event.
For further information, 866349-7378.
gie Museum of Art.
The Carnegie Museum of Art is at 4400 Forbes Avenue. For information, 412-6223131 or www.carnegieart.com.
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Johanna K. W. Hailman, “Jones and Laughlin Mill, Pittsburgh,” circa 1925-1930, Carnegie Museum of Art, Bequest of Johanna K. W. Hailman
Alexis Fournier Exhibition In East Aurora
By Bruce A. Austin; All illustrAted works By Alexis JeAn Fournier (1865-1948)
EAST AURORA, N.Y. — Called the “Roycroft Court Painter” for the murals he was commissioned to paint at the Roycroft Inn in East Aurora, Alexis Jean Fournier’s (1865-1948) professional artistic career spanned half a century, across multiple locations and his art was exhibited around the world.
Opening August 3 and continuing through September 7, a portion of Fournier’s work returns home with an exhibition and sale of two dozen Fournier paintings at Meibohm Fine Arts, a five-minute walk from the inn.
Though emphasizing Fournier’s Arts and Crafts Movement work, paintings from all periods and most locations (Minneapolis, East Aurora, France) of his oeuvre are represented. The gallery’s presentation is arranged chronologically, overlapping geographically Fournier’s travels for study, inspiration and execution in a soft, tonalist style influenced by the French Barbizon school.
Roycroft: The Artists’ Colony in East Aurora Roycroft was the largest and most commercially successful of the four turn-of-the-century New York State Arts
and Crafts colonies. It was initiated in 1895 as a printing and publishing enterprise by Elbert Hubbard. Previously, Hubbard revolutionized marketing and merchandising by introducing product premiums and direct-to-consumer sales at the nearby Buffalo-based Larkin Soap Company. By 1900, Hubbard’s ambitions grew grander. He envisioned what became a 14-building complex, complete with its own powerhouse to heat the campus’ facilities, a dormitory for Roycroft’s single women workers, a copper shop and a three-story furniture manufacturing factory. A year later, enormous consumer demand for, especially, one Roycroft publication, A Message to Garcia, enabled construction of a new, larger print shop, located across the street. And work began to transform the original printing facility into an inn for visitors.
A magnetic personality, Hubbard attracted skilled craftsmen and talented amateurs as product producers and printers, nationally significant thinkers, essayists and speakers (today we’d call them “thought leaders”) as authors, and thousands upon thousands of mail-order customers for his enterprise’s stream of products. Among those drawn to sleepy little East Aurora — one writer of the period characterized it as having but two “principal Industries”: the “incinerated” Village Cider Factory and Roycroft — were painters, designers and graphic artists: Samuel Warner, William Denslow, Carl Ahrens, Eleanor Douglas, Dard Hunter, Raymond Nott, Sandor Landeau, Richard Kruger and Jules Gaspard among them. Fournier likewise felt the magnet’s pull.
Alexis Fournier
Originally a sign painter from St Paul, Fournier was one of the first pupils at the Minneapolis Academy of Fine Art, studying under Boston artist Douglas Volk. After four trips to France, Fournier had become a talented landscape painter, his art recognized in publications including The New York Times.
A 1904 Buffalo Courier article recounts Fournier’s significant achievements: studying in Paris and exhibiting at the Paris Salon, membership in the American Art Association and the Society of Western Artists, exhibitions at the Carnegie Art Gallery (Pittsburgh) and the Pennsylvania Academy (Philadelphia). The paper called his landscapes
“refreshing” and a “veritable poem.” Later, the Los Angeles Times praised his work for its “beauty and quiet harmony of tones.”
Thirty-year-old Fournier met Hubbard in 1896 at the latter’s lecture stop in Minneapolis. A year later, at the Chicago Art Institute’s exhibition of Fournier’s work, which received favorable notice in the Chicago Tribune, Hubbard purchased two paintings.
Fournier exhibited at Buffalo’s Pan American Exposition (1901) along with fellow Academie Julian painter Sandor Landeau. Twelve months later, Hubbard issued Fournier an invitation to become artist-in-residence at Roycroft. In one of the earliest (1980) books about Roycroft, Charles Hamilton explained Fournier was “lured there by Hubbard through correspondence.”
Evidently, more than written rhetoric was required to seal the deal and motivate Fournier’s move to East Aurora. Sweetening the offer, Hubbard gave Fournier property backing up to what would later become the Roycroft furniture shop.
Arriving in East Aurora June 1, 1903, by the end of the summer Fournier joined the colony. Roycroft carpenters converted an old barn into a residence. Fournier called it his “bungle-house,” explaining the cobbled together structure “didn’t deserve to be called a bungalow.” Too, the carpenters remodeled a former chicken coop and blacksmith shop, creating Fournier’s studio.
Unlike all the other painters who populated Roycroft’s campus, Fournier remained there through the end of Roycroft’s life and his own.
Muralist and Landscape Painter
The Roycroft Inn opened in 1903. Ultra-modern, it used electric lights, Frank Stanton, a 1907 writer reported to his Friendship [N.Y.] Weekly Register readers. The inn is outfitted completely in Roycroft furniture and accessories, “except the grand piano,” Stanton wrote, and all the food is from the Roycroft farm.
Fournier’s first assignment was to create murals on interior inn walls. It put to work his earlier experience as a stage scenery and panorama painter.
Originally composed of 20 paintings on canvas, of which 16 are extant today, the murals depict important world cities and sites, seasons of the year, and times of the day. Laurene Buckley, in her essay “Industry with Art,” indicates the murals took a year for Fournier to complete. Stanton’s unillustrated Register article briefly mentions Fournier’s “frieze” depicting a Venetian scene. But a shorter, earlier article in the Minnesota Polis Journal is accompanied by three photographs showing the inn’s great hall, dining room and reception room — and the murals — “decorations,” the article calls them.
I visited the inn in the 1980s. Then closed and vacant of human occupants, the inn shirked its most recent “biker bar” reputation and had been left to the elements; its Oriental carpets discarded due to a leaky roof. My guide that day carefully pulled back deteriorating, semi-soggy sheetrock, to show me some of the murals.
Though sheetrock “improvements” to the inn’s interior inadvertently had shielded the murals from customary barroom activities, it was not a perfect prophylactic. In 1992, the murals underwent seven months of restoration by Buffalo State College conservators.
The inn earned National Historic Landmark status in 1986, beginning a nine-year, $8 million restoration process, supported by the Margaret L. Wendt Foundation, and reopening in 1995.
A lengthy 1905 story in the Minneapolis Journal reported “landscape work is still [Fournier’s] favorite” even though “at present he is much interested in mural paintings.” Fournier, the article stated, intends “to form a painter’s colony at East Aurora and found the Roycroft school of landscape painters, which in time might become as famous as the Barbizon school.”
The Meibohm Exhibition
Assembled by a single collector, some of the Fournier paintings were purchased at auction, others from private collectors and dealers; all have been off the market for a decade or more. Some are in their original frames, and most are oils except for one pastel: an East Aurora subject, “Cazenovia Creek,” 1906.
Accompanying Fournier’s works are examples by other Roycroft-affiliated artists, including Eleanor Douglas, Richard Kruger and a landscape by Sandor Landeau. Meibohm Fine Arts is at 478 Main Street. Gallery hours are Tuesdays through Fridays, 9:30 am to 4 pm and Saturdays, 9:30 am to 2 pm. For additional information, 716652-0940, www.meibohmfinearts.com or info@meibohmfinearts.com.
[Editor’s note: Bruce Austin writes about regional history and most recently is author of A Symbiotic Partnership: Marrying Commerce to Education at Gustav Stickley’s 1903 Arts & Crafts Exhibitions (RIT Press, 2022) and Tourists and Trade: Roadside Craftsmen and the Highway Transforming Craft (SUNY Press, 2023).]
“Spring’s Awakening,” n.d., oil on canvas, 24 by 20 inches.
“The Glory of Autumn,” n.d., oil on canvas, 20 by 24 inches.
“Indian Summer Morning Near Minnehaha Creek,” 1897, oil on canvas, 16 by 24 inches.
Untitled (Goose Girl, Normandy), 1895, oil on canvas, 24¼ by 17½ inches.
Untitled (Valley View), 1911, oil on canvas-lined board, 18 by 24 inches.
Disability Pride Exhibition At The Baum School Of Art
ALLENTOWN, PENN. —
The Baum School of Art is hosting a Disability Pride exhibition in partnership with Disability Pride Pennsylvania and Lehigh Valley Arts & Cultural Alliance. This exhibition, which runs to August 8, show-
cases artworks from more than 30 local and regional artists with disabilities. The opening reception of the Disability Pride Exhibition, is Third Thursday, July 18, from 6 to 8 pm. This event is free and open to the public. Light
refreshments will be served.
The Disability Pride Exhibition will be on display during the Disability Pride Lehigh Valley Arts Festival. This festival is a celebration of the disability community showcasing art, live music, special guests, resource tables, food trucks and games for all ages. The Disability Pride Lehigh Valley Arts Festival will be conducted in the Allentown
Arts Park located at 24-32 North 5th Street on July 20 from 11 am to 3 pm. All are welcome at this free-admission event. The Baum School of Art’s galleries will be open during the event. Elise Schaffer will be hosting an audio tour of the exhibition on July 20 at noon in the school’s galleries.
For information, 610-433-0032 or www.baum.school.org.
The Blanton Museum Of Art Presents ‘The Sugar Shack’
AUSTIN, TEXAS — Visitors to the Blanton can view “The Sugar Shack,” Ernie Barnes’ famous masterpiece featuring dancing figures in a crowded Black music hall in segregated midcentury North Carolina, through November 10.
“The Sugar Shack” became a Black cultural icon after the first version was featured on the cover of the 1976 Marvin Gaye album, I Want You. That same year, Barnes created this
second version, which garnered wider fame when it was added to the end credits of the groundbreaking sitcom Good Times and later became a popular printed reproduction. The painting is on loan to the Blanton from Houston collectors Lara and Bill Perkins, who acquired it at a record-smashing auction last year. It was previously on view 2022-23 at the Museum of Fine Arts, Houston. Former professional football
player Ernie Barnes was known for his dynamic, energetic paintings filled with elongated, muscular figures. “The Sugar Shack” was based on the artist’s childhood memory of sneaking into a local Black club in segregated North Carolina to experience what he called the “sins of dance.” Strong diagonals in the floorboards, staircase and cone of light reinforce the sense of
motion produced by the figures’ swaying bodies and expressive gestures. The dancers’ closed eyes — a common feature of Barnes’s paintings — reflect his conviction that “we are blind to one another’s humanity.”
The Blanton Museum of Art is at 200 East Martin Luther King Jr Boulevard. For information, www.blantonmuseum.org or 512-471-5482.
Notable Prices Recently Achieved At Various Auction Houses
Across The Block
Minton Frog Trinket Box Hops To Lead At Eldred’s EAST DENNIS, MASS. — A Minton majolica pottery trinket box, naturalistically rendered with a rockery base and a lid in the form of a frog on a lily pad, was one of two lots that sold for $7,040, the highest price in Eldred’s Summer Living sale on July 11. Marked “Minton” and with an impressed “Y” and “1862,” the 6-inch-long box was reportedly referenced in Helen Cunningham’s Majolica Figures (Schiffer, 1997) and had been estimated for $250/350. It came from a southeastern Massachusetts seller and sold to a Florida collector, bidding online. For information, 508-385-3116 or www.eldreds.com.
California Impressionist Painting Blooms To Top For The Popular Pioneer RUTLAND TOWN, VA. — On July 2, The Popular Pioneer conducted its Wonderful June 2024 Summer Auction, which offered just over 200 lots hailing from a high-end generational Vermont estate. Leading the sale was an original oil on canvas by California Impressionist John Marshall Gamble (1863-1957), titled “Bush Lupine & Poppies.” The 18-by-12-inch painting had the title written verso and was signed in the lower right corner. It had been in the same family collection for more than 60 years. The painting will be staying in Vermont with its new owner, who secured the work for $8,300. For information, 802-353-8825 or www.thepopularpioneer.com.
Thomas Hirchak Bidders Race For 1950s Triumph Convertible STOWE, VT. — In a more than 450-lot auction conducted by Thomas Hirchak Company on July 11, a 1956 Triumph TR3 drove to the top position. The dark green convertible, which had well-documented restoration and repairs, was in running condition but would need some work. That didn’t stop bidders from pushing it to $16,225, ultimately being claimed by a local Vermont buyer. For information, www.thcauction.com or 802-888-4662.
All prices include buyer’s premium.
Alphonse Mucha’s Cycles Perfecta Flies To $50,000 In Rare Posters Auction NEW YORK CITY — The 93rd Rare Posters Auction from Poster Auctions International (PAI) on July 11 featured rare and iconic images from a century of poster design. The 410 lots in the collection included Art Nouveau, Art Deco, Modern and contemporary lithographs as well as decorative panels, maquettes and original works. As always, there was a selection of works from Art Nouveau master Alphonse Mucha (Czech, 1860-1939). His 1902 Cycles Perfecta poster zipped to $50,000. PAI’s president Jack Rennert wrote, “It is clear that Mucha understood well the principles of selling not the object itself, but the feeling that is associated with it. Here, he is barely showing a piece of the bicycle... but as to the pleasure of riding, this sylph has it all over any dreary mechanical details. Airily she caresses the machine, her windblown hair embodying motion and a restless spirit, a vision of idle loveliness and a perfect Mucha maiden....” For information, www.rennertsgallery.com or 212-787-4000.
Browning Shotgun Fires Up Brunk Bidders ASHEVILLE, N.C. — A Browning Belgian doublebarreled shotgun, made for Abercrombie & Fitch that came to auction from a private Kentucky collection, was the top seller in Brunk Auctions’ Great Outdoors sale on July 10. The 20- and 12-gauge gun, which had an engraved trigger, inlay with birds and dogs and came with a fitted leather case, had been auctioned by Brunk previously, on February 17-18, 2007, when it sold for $14,000. Offered with an estimate of $6/12,000, it realized $13,530 and sold to a private collector bidding online. It was the top lot in a 167-lot sale. For information, www. brunkauctions.com or 828-254-6846.
Barber Dime Set Cashes In Top Prize For Legare
PELHAM, NH. — On July 11, Legare Auctions conducted its Coin Auction, offering 246 lots of various numismatics from a large collection. Leading the sale was a book of Barber, Liberty Head or Morgan dimes. Barber dimes, named after Charles E. Barber, the chief engraver at the US Mint from 1879-1917, included a design of Lady Liberty facing right, with her hair in a cap and wearing a laurel wreath. This 71-coin set included dimes from 1892 through 1916 and cashed in for $4,025. For information, 603-595-9625 or www.legare-auctions.com.
Rare Griswold Loaf Pan Rises At Bodnar’s NEW BRUNSWICK, N.J. — Bodnar’s Auction Service conducted a 364-lot auction of several estate collections on July 10. With a large selection of cast iron cookware from the Griswold Manufacturing Company out of Erie, Penn., on offer, a loaf pan with cover (numbered “877” and “859,” respectively) achieved the highest price of the day. The set was estimated at a range of just $100/200 but its rarity pushed it to $3,600. For information, www. bodnarsauction.com or 732-210-6388.
Sterling Silver Flatware Takes Crown At Thomas Cornell Auction BELLPORT, N.Y. — In the July 13 estate auction at Thomas Cornell Galleries, a Towle sterling silver flatware set in the Rambling Rose pattern crossed the block for $2,875 ($1,5/2,000). Comprising 93 pieces, the set weighed 91.23 ounces of sterling silver and was housed in a wooden storage chest. According to the auction house, the set will be staying local, as the purchaser recently bought a house in town and is furnishing it almost primarily with items bought from Thomas Cornell. For information, www.thoscornellauctions.com or 631-289-950.
Rookie A Slam Dunk For Heritage DALLAS — A 1986 Fleer Michael Jordan No. 57 PSA Gem Mint 10 sold for $198,000 to lead Heritage’s July 12-13 Summer Sports Card Catalog Auction. According to the auction catalog, this highly sought-after card from the Fleer set is considered his official rookie card and has been a cornerstone of basketball card collecting since its release. It is only appropriate that the perfect tribute to the remarkable career of the player many consider the greatest in the history of the game carries the lofty Gem Mint 10 grade. For information, www.ha.com or 877-437-4824.
Mint Condition Michael Jordan
Items From Historic Estates
To Be Sold By George Cole Auctions
RED HOOK, N.Y. — On Saturday, July 27, George Cole Auctions will offer the partial contents from several estates; the Historic Astor’s Court/Casino in Rhinebeck, the Top of the Hill Manse in Clinton Corners and, from a house originally decorated by Tiffany, located in Plan Dome, Great Neck, N.Y. The auctioneer removed a magnificent lamp from this estate, it is a bronze and slag glass, bell-shaped chandelier with metal fringe. This lamp was removed and is offered to the
public for the first time, along with an early Venetian lantern, on base inscribed 1755.
The estate is also offering a variety of early chairs, including a 1680 William and Mary Beachwood barrister back chair from Elmstead Hall, Kent, England. A fancy early pilgrim chair, a ladderback billiard room chair, a large partners’ desk, a Queen Ann wing chair, various Jacobean chairs and a heavily carved set of 12 oak Jacobean-style chairs. There is also Louis XV furniture and chairs, an Austrian cupboard with double eagle inlay and an early Jacobean two-door court cupboard and a set 12 Jacobeanstyle oak dining room chairs.
round out the sale. There is also glassware, including Baccarat Harcourt pattern, two sterling flatware services and period accessories.
Many estate rugs, a collection of midcentury furniture, including a Jen Risom desk, various smalls, artwork and books
George Cole Auctions is at 7578 North Broadway. For information, 845-758-9114 or www.georgecoleauctions.com.
Asheville Museum Explores Southern Appalachian Landscapes
ASHEVILLE, N.C. — In the early 1900s, travel by train and automobile became more accessible in the United States, leading to an increase in tourism and a revitalized interest in landscape painting. The relative ease of transportation, as well as the creation of National Parks, allowed people to experience the breathtaking landscapes of the United States in new ways. Artists traveled along popular routes, recording the terrain they encountered.
On view at the Asheville Art Museum through October 21, “Honoring Nature: Early Southern Appalachian Landscape Painting” explores the sublime natural landscapes of the Smoky Mountains of Western North Carolina and Tennessee. While there were several regional schools of painting around this time, this group is largely from the Mid-
west and many of the artists trained at the Art Institute of Chicago or in New York City. Through their travels, they captured waterfalls, sunsets, thunderstorms, autumn foliage, lush green summers and snow-covered mountains — elements that were novel for viewers from cities and rural areas. Though some of these paintings include people, they are usually used for scale and painted with little to no detail, highlighting the magnificence of nature.
The artists on view in this exhibition worked between the 1920s and 1940s, a period in which the international aesthetic shifted toward abstraction, and Abstract Expressionism became the dominant movement in the United States. Rejecting this nonrepresentational approach, these artists instead looked for the sublime
in nature. Like their predecessors in the Hudson River School (1825-1870), they were inspired by Romanticism, a Nineteenth Century European movement that is known for stormy, melancholic scenes featuring architectural ruins. American landscape painting instead highlighted the majesty of untouched nature, positioning the beauty of the United States’ terrain on par with European cathedrals and castles. It is no coincidence that this revitalization of landscape painting occurred after Theodore Roosevelt’s presidency (1901-1909). With the creation of the National Park Service in 1916, people began to pay increased attention to the country’s natural resources and see them as an asset for tourism and a right of future generations.
“Honoring Nature: Early Southern Appalachian Land-
scape Painting” is curated by Andrew Glasgow. It would not have been possible without the research of Barry Huffman and Steve Cotham, and generous loans from Barry and Allen Huffman.
The Asheville Art Museum is at 2 South Pack Square. For information, 828-253-3227 or www.ashevilleart.org.
Everything But The House To Offer Paul Revere Pottery
CINCINNATI, OHIO —
Everything But The House (EBTH) will offer an extensive collection of Paul Revere Pottery from the Saturday Evening Girls Club from July 26 to August 4, The collection has been the life-long passion of Barbara Maysles Kramer and her husband Bernard Kramer. Their interest in this unique pottery began with initial pieces bequeathed by Barbara’s mother, Ethel Epstein Maysles, a long-standing member of the Saturday Evening Girls Club and one of the original Paul Revere potters.
The Saturday Evening Girls Club (1899-1969) was created by Boston philanthropist Helen Storrow with the mission to provide intellectual and “proper” social stimula-
tion for the young immigrant women in the North End, historically a rough section of Boston that was rife with illicit or unsavory temptations such as saloons and dance halls for the young ladies. The women’s club originated in a charity community building run by librarian Edith Guerrier and her partner, artist Edith Brown. The weekly meetings were conducted on Saturday evening with lectures on music, literature, art and economics. The club soon expanded to include organized parties, plays, folk-dancing recitals and concerts. Storrow’s dedication to the girls also led to building a summer camp in West Gloucester in 1906, which introduced the young ladies to nature and a rural style of living, a far cry from their life experiences in the North End.
In 1908, Guerrier and Brown, with financial help from Storrow, started a small pottery in the cellar of their home to provide the girls with a viable trade and therefore a livable wage. Soon after, it was moved to the Library Club House at 18 Hull Street and named Paul Revere Pottery due to the nearby Old
North Church landmark where friends of Paul Revere had hung the lanterns surreptitiously announcing the arrival of the British. Edith Brown assumed the position as director of the Paul Revere Pottery and drew on her experience as a children’s book illustrator to produce the stylized Arts and Crafts Movement designs. Using the “cuerda seca” technique, each pattern was traced in wax which created the bold black outlines when fired. The pottery flourished providing the women with a job offering decent working conditions and benefits.
The artists worked an eighthour day (rather than 12) with daily hot lunches and a yearly paid vacation. Each artist had flowers at her station as inspiration and they were allowed to sign their own work. Pottery was often marked with “S.E.G.” and the date in a black signature
while some pieces contained paper labels. After 1923, markings included a “Paul Revere Pottery” circular stamp, and the artist’s initials. The pottery operated for several decades garnering both national and international recognition; it closed its doors in 1942.
EBTH will offer this diverse collection with direct provenance to an early S.E.G. member. Paul Revere Pottery can be found in several museums to include the Metropolitan Museum of Art, New York City, the Wadsworth Atheneum Museum of Art, Hartford, Conn., and the Cooper Hewitt, Smithsonian Design Museum, New York City. The family of Ethel Epstein Maysles has also generously contributed PRP pottery from their collection to the Museum of Fine Arts, Boston and the University of Massachusetts Amherst. For information, 888-862-8750 or www.ebth.com.
Southold, N.Y., Fair Takes Place July 27 & 28
SOUTHOLD, N.Y. — Southold Historical Museum is once again partnering with the Old Town Arts and Crafts Guild to present the Annual Antique,
Fine Art and Crafts Fair on July 27 and 28 from 9 am-5 pm each day. The fair will have vendors selling fine art, antiques, pottery, photography, handmade
crafts and vintage treasures. The event is a fundraiser to support these two local nonprofits. This has been a beloved summer favorite since 2016. The historic grounds coupled with the wide variety of vendors create a superb event. Live music makes it even more fun. Museum executive director Deanna Witte-Walker stated, “This is something we look forward to each summer. Visitors, volunteers and vendors come together for an extra special weekend. With our Maple Lane Complex of historic buildings as the backdrop, it is a very special event, unlike any other.” The admission of $5 for adults benefits Southold Historical Museum and entitles entrants to a chance to win art.
For information 631-734-6382, 631-765-5500, www.oldtownartsguild.org or www.southoldhistorical.org.
Molly Luce, Harvest, oil on canvas, 30 x 40 inches, signed lower right
Saturday Evening Girls
Paul Revere Pottery Iris tumbler, 1914
Pair of Saturday Evening Girls Pottery Swan bookends, 1922
Paul Revere Pottery earthenware plate, 1936
ALABAMA
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In Manchester 2024
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Antiques In Manchester Special Show Section
FIREHOUSE ANTIQUES, Galena, Md. — Three Musketeers.
The Collector’s Fair
August 7th-8th
10 am - 6 pm both days
Sullivan Arena, on the beautiful campus of St. Anselm College, Manchester, New Hampshire
PETER EATON ANTIQUES, Wiscasset, Maine — A child’s bowback Windsor highchair with well-shaped seat, delicate proportions and in a crusty old blackpainted surface. One side stretcher and the medial stretcher are old replacements, with an obvious old brass patch to the bow. This chair was in the collection of Paul Madden, a legendary Cape Cod antiques dealer. To me, its form and surface more than make up for its “flaws!” Maple, ash and pine, probably southern Massachusetts origin, circa 1800. Size: 34 inches high, 21½inch seat height.
www.disaiamanagement.com
LEATHERWOOD ANTIQUES, Sandwich, Mass. — Colorful Parcheesi gameboard circa 1900 with reference to location in Wallingford, Conn., on the board. Size: 18-3/8 inches long by 18-5/8 inches wide by ¼-inch diameter. For more photos, visit www.leatherwoodantiques. com under: Toys, Games & Boards.
Gunkholding Old New England Harbors In Search Of Great Finds
Hilary & Paulette Nolan Early American Antiques Since 1971
Eighteenth Century Cupboard, Step-Back, Open-Top, Original Surface History Likely Mohawk Valley, New York, Circa 1760
SAMUEL HERRUP ANTIQUES, Sheffield, Mass. — Redware charger, Norwalk Pottery of Absalom Day, circa 1820-30, 12-inch diameter.
Antiques In Manchester Special Show Section
The Collector’s Fair August 7-8—
Greetings,
Welcome To Antiques In Manchester
I just returned from Italy, where the age of buildings and artifacts is measured, not in years or even centuries, but more often in millennia! This striking fact had me wondering just what it is that we find so captivating about old things. It’s tempting to say it’s their history, but I suspect it is more. A record plays because vibrations of sound are etched into the vinyl. Tapes have sound and image coded on to magnetic tape. CD’s record using binary code. Each of these methods requires a specialized machine to unlock the sounds and images. It all seems pretty magical!
“Psychometry” is a term coined by Joseph R. Buchanan in 1842 (from the Greek words “psyche,” meaning “soul” and “metron,” meaning “measure”). It is the ability to divine information concerning an object or its owner through contact or proximity to that object.
The passage of history, and life itself, are in the objects that have been present through time. As humans, we are the specialized mechanism that, sometimes, if we are lucky, can unlock those stories. These vibrations are not just a New Age concept, they have a scientific basis as well. In his book The Holographic Universe, Michael Talbot says that psychometric abilities “suggest that the past is not lost, but still exists in some form accessible to human perception.” All actions, Talbot says, “instead of fading into
oblivion, [remain] recorded in the cosmic hologram and can always be accessed once again. (“What You Need To Know About Psychometry - LiveAbout”)
Is this what gives a particular object an undeniable draw for us? I find that I am often pulled in by something I was not looking for at all. It is a magnetism that is almost beyond reason! I also find that if I buy that object and take it home with me, it continues to make me happier and happier. When I look around my home at the things that I have acquired, not out of need, but attraction, it is very clear to me that something about these items captured me. I don’t really have the ability to explain why, so perhaps my psychometric abilities are unrefined, but I do know when I feel something commanding my attention!
When we are in the presence of experience that has gone before us, it can be useful to sit, quietly, for a moment and see what we feel. We have all had that experience of “I don’t know why I like it — I just do.” Maybe there is a subconscious message you are picking up from that object. Perhaps there is something in your heart that pulls you to it — listen to that — you will never be sorry.
Years ago at the Hartford Show, as we were getting ready for the opening, I suddenly became aware of a piece of furniture in Dan and Karen Olson’s booth. I was not looking for a cupboard, did not need it, and we
didn’t even actually have a place to use it. But I kept returning to it, as if pulled by some magical force. I couldn’t stop thinking about it. I went back and bought it; I simply had to make it part of my life. I have never regretted it for one moment — and I look at it every day. The bottom part became our place to keep all of the games that
we enjoyed as a family, and the top, which has glass doors, is the repository for lots of wonderful little things that seemed to catch me in the very same way! It has now been imprinted with some of the joy and also, perhaps some of the sadness of our family, and it makes me so happy that my daughter is just in love with it, as I am.
It is almost August, and time for Antiques Week in New Hampshire. That time of year that brings so many of us together for a short time. We come to connect with friends — collectors and dealers. Perhaps it is the communal energy that draws us together. It is so much more than a commercial event. We come just to look at amazing objects, and to learn and, of course, to discover that certain something that will bring us joy. We come to share our thoughts and understanding and knowledge. It is an entire, immersive experience that we love to repeat year after year.
This year, try to sense some of the energy that has gone into all of the amazing things you will see. Maybe, just maybe, something will capture your heart so that you can add your history and your energy to what is already there!
I am looking forward to welcoming you to Antiques in Manchester and, hopefully to seeing what you have found for yourself! It is always a great pleasure for me!
See you soon, Karen DiSaia
Antiques In Manchester Special Show Section
Peter H. Eaton american furniture
a classic william and mary high chest in red pine and maple with double arch-molded case, shaped skirt, trumpet-turned legs and intact feet. Now in a crusty old finish, showing evidence of having once been painted white (!), it retains period brasses in the original holes, has compact proportions—36", 40", 68" ht.— and has only minor old repair to edges of stretchers and some missing edge banding. A great ‘country’ look for a formal piece. Just repurchased from the collectors to whom I had sold it in the 1990s. Eastern MA origin, c.1720-30.
www.petereaton.com po box 407 wiscasset, me 04578 (978) 987-9419 • peter@petereaton.com
please follow us on instagram @ petereatonantiques
BRIAN CULLITY ANTIQUES, Sagamore, Mass. — Ivory scrimshaw snake pie crimper. FIREHOUSE ANTIQUES, Galena, Md. — Naughty Nelly.
BRIAN CULLITY ANTIQUES, Sagamore, Mass. — An oil on board, “Three Irish Setters” by Dutch painter Albertus Verhoesen, 1879.
ANTIQUE ASSOCIATES OF WEST TOWNSEND, West Townsend, Mass. — A New Hampshire grain-painted server chest.
Antiques In Manchester Special Show Section
ROBERTO FREITAS AMERICAN ARTS & DECORATIVE ARTS, Stonington, Conn. — A portrait of Mary Margaret Livingston of Kingston, N.Y., Hudson Valley School, circa 1750, oil on canvas, 29 inches high by 24 inches wide.
LEATHERWOOD ANTIQUES, Sandwich, Mass. — An oval textile (felt) shadow box/ diorama with pineapple, leaves and perched butterfly, all in a woven basket and nestled within an oval gilded frame. English, circa 1820. Size: 5¼ inches high by 12½ wide by 4½ inches deep. For more photos, visit www.leatherwoodantiques. com under: Textiles & Samplers
ANTIQUE ASSOCIATES OF WEST TOWNSEND, West Townsend, Mass. — A settee, tablet back, Windsor bench.
www.disaiamanagement.com
J&R FERRIS ANTIQUES, Booneville, N.Y. — “Tide’s Out,” by Wilfred Ramsey, acrylic on board, 15½ by 19 inches.
Antiques In Manchester Special Show Section
PETER EATON ANTIQUES, Wiscasset, Maine — An unusual Windsor writing armchair in a small size and with a great painted surface. The crest is painted with flowers and leaves, the rest of the chair in simulated tiger maple. Much wear and use, no repair. Probably New England, circa 1820-30, pine, ash and birch. Size: 35 inches high; 17½-inch seat height; 36 inches maximum width.
PETER EATON ANTIQUES, Wiscasset, Maine — A one-drawer blanket chest with deeply sheath-molded front and sides, with “M” cutout feet. Retains an original red paint, probably with a thin overcoat of clear stain at some point. A great early look. There is a repair to the lower right edge of the drawer, the lid cleats were restored, and the knobs are replacements. None of these repairs are recent. Size: 48 inches long, 31 inches high, probably eastern Connecticut, circa 1725-35.
August 7th-8th
FIREHOUSE ANTIQUES, Galena, Md. — Midnight Howlin’ at the Moon.
SAMUEL HERRUP ANTIQUES, Sheffield, Mass. — Rare redware barrel or keg, probably New York, circa 1840, 13½ inches high.
BRIAN CULLITY ANTIQUES, Sagamore, Mass. — A US model 1842 percussion pistol by Henry Ashton.
MARY ROSS ANTIQUES, Great Neck, N.Y. — A pair of Danish Just Pewter candelabras, circa 1920. The composition doll in Halloween costume is circa 1940 and measures 25 inches.
Carleton Wiggins (1848 - 1932)
“Cattle at Hillside” Norfolk, Connecticut. Oil on canvas. Signed lower left, signed and titled verso. 25” x 30”; 29”x 34, framed
Antiques In Manchester Special Show Section
SAMUEL HERRUP ANTIQUES, Sheffield, Mass. — Large lead-glazed earthenware (creamware) charger, circa 1760, 14-inch diameter.
The Collector’s Fair August 7th-8th
10 am - 6 pm both days
Sullivan Arena, on the beautiful campus of St. Anselm College, Manchester, New Hampshire
ROBERTO FREITAS AMERICAN ARTS & DECORATIVE ARTS, Stonington, Conn. — A Federal grain-painted pine two-drawer blanket chest, height 37 inches by width 40 inches by depth 17¾ inches, New England, circa 1820.
MARY ROSS ANTIQUES, Great Neck, N.Y. — A continental genre painting circa 17801800, measuring 25½ by 20 inches. Originally part of a wall or larger piece of furniture.
ROBERTO FREITAS AMERICAN ARTS & DECORATIVE ARTS, Stonington, Conn. — A three-seat Windsor settee, having yellow ground with floral paint-decorated motif, and a “fancy” double-cross slat back and caned seat. Height is 32½ inches (back); 17½ inches (seat); and 73 inches wide by 20½ inches deep, New York, circa 1810-15.
The info is, 1839
Anne Simpson age 13, 26x26 “King Solomon’s Temple
Black Hawk weathervane 26L 18H
19thc footed burl bowl 141/2 dia.
HILARY & PAULETTE NOLAN, Falmouth, Mass. — Late Nineteenth Century 18K golden retriever dog pin.
Antiques In Manchester Special Show Section
LEATHERWOOD ANTIQUES, Sandwich, Mass. — An oval textile (felt) shadow box/diorama with pineapple, leaves and perched butterfly, all in a woven basket and nestled within an oval gilded frame. English, circa 1820. Size: 5¼ inches high by 12½ wide by 4½ inches deep. For more photos, visit www.leatherwoodantiques. com under: Textiles & Samplers
& VALERIE BAKOLEDIS, Rhinebeck, N.Y. — A circa 1830 child portrait.
The Collector’s Fair August 7th-8th 10 am - 6 pm both days
PETER EATON ANTIQUES, Wiscasset, Maine — A fine canted-back William and Mary banister back armchair with arched and molded crest, reversed banisters, scrolled arms, turned underarm supports, vase turned legs and turned front and side stretchers. Maple and ash in old, but not original, black paint. South-central Connecticut origin, circa 174060. Size: 48 inches high, 17-inch seat height. A nearly identical side chair is shown as plate #219 in Connecticut Furniture 17th and 18th Centuries by John Kirk.
Sullivan Arena, on the beautiful campus of St. Anselm College, Manchester, New Hampshire
DENNIS
J&R FERRIS ANTIQUES, Booneville, N.Y. — “Grand Manan I,” by John Loy, 2000, oil on canvas, 16 by 24 inches.
DENNIS & VALERIE BAKOLEDIS, Rhinebeck, N.Y. — Circa 1830 splayed Windsor shelf.
Antiques In Manchester Special Show Section
SCOTT FERRIS / J&R FERRIS ANTIQUES
Spanish Colonial Chest. 17th-18th century
Finely tooled leather on all sides. Intricate iron work throughout. 37" x 19" x 19 ½"
Scott Ferris / J & R Ferris Antiques rkentiana@yahoo.com / 315 542-1643 https://jandrferrisantiques.com
SAMUEL HERRUP ANTIQUES, Sheffield, Mass. — Mid-Nineteenth Century redware candlemold, signed “A. Wilcox” for Alvin Wilcox, West Bloomfield, N.Y.
ANTIQUE ASSOCIATES OF WEST TOWNSEND, West Townsend, Mass. — A painting on panel of George Washington, post-restoration.
MARY ROSS ANTIQUES, Great Neck, N.Y. — A fragment of a toile bed hanging, circa 1800.
J&R FERRIS ANTIQUES, Booneville, N.Y. — “Oarsman,” by Rockwell Kent, 1931, wood engraving, 5-3/8 by 7 inches.
DENNIS & VALERIE BAKOLEDIS, Rhinebeck, N.Y. — Nineteenth Century paint-decorated box in blue paint.
Over 1,500 Lots Sold In Lelands’ 2024 Summer Classic Auction
Auction Action In New York City
It was a home run for this rare photo of Babe Ruth from his 1915 rookie season with the Boston Red Sox, which received a Type 1 authentic rating by PSA. Taken by Boston-based photographer G.T. Murphy, the 8½-by-6½-inch photo had provenance to the family of Ruth’s teammate Dick Hoblitzell. It scored $99,822.
This 1974 game-worn Buffalo Braves jersey worn by Ernie DiGregorio during his rookie season was graded A8 by MEARS and fetched $91,504.
NEW YORK CITY — A Lebron James 2003-04 Exquisite Collection Basketball Rookie Patch Autograph Parallel “#8/23” sold for $351,029, a 2003 Topps Chrome LeBron James Black Refractor netted $126,725 and a Babe Ruth 1915 Red Sox rookie PSA Type I original team photo fetched $99,822 in Lelands’ 2024 Summer Classic Auction, which was conducted on June 29.
The 2003 Topps Chrome Black Reflector “#111” LeBron James Rookie sold was graded PSA GEM MINT 10. The card was number 326 out of 500.
BATH ANTIQUE SALE
July 28 • 9am-3pm
6 Old Brunswick Rd, Bath, ME
Admission $5 • Under 25 Free gurleyantiqueshows.com (207) 396- 4255
Fine Art Restoration
By Troy Amuso, Master Conservator
Specializing in oil painting restoration and conservation for over 35 years. All styles and value levels.
The rare Type 1 Babe Ruth photo from his 1915 rookie season with the Red Sox was one of the earliest known images of Ruth as a member of the Boston-based team. The photo was taken prior to the start of the regular season at the Red Sox’s 1915 spring training facility in Arkansas.
Among other auction highlights were a circa 1974 Ernie DiGregorio Buffalo Braves rookie era game-worn jersey ($91,504), a Billy Martin 1956 All-Star game-used bat ($53,500), a 1952 Topps Baseball “#311” Mickey Mantle GD
Shooting nothing but net for $126,725 was this 2003 Topps Chrome LeBron James Black Refractor, which is numbered “326/500.” It received a Professional Sports Authenticator (PSA) score of GEM MINT 10, which only four percent of these cards have been awarded.
($51,598) and an Ernie Davis circa 196061 Syracuse Orangemen game-worn jersey ($34,122).
The auction also featured a 1934 Tour of Japan album with team signature sheet and original photos ($32,497), a Nolan Ryan 1986 Astros game-worn jersey ($25,834), a Danny Gare 1974-75 Sabres rookie game-worn jersey ($17,854) and Tonya Harding’s infamous skating costume worn the day after the Nancy Kerrigan attack ($17,485).
Additional auction highlights included a 1988 Darryl Strawberry NLCS Games
3, 4, 5 photo-matched Mets game-worn jersey ($16,194), Anthony Edwards 2020-21 rookie Timberwolves gameworn photo-matched sneakers ($14,022), a Joseph Paul DiMaggio full names single-signed baseball ($11,816), Mickey Mantle’s 1960s Texas driver’s license ($9,766) and a 1991 Grateful Dead signed baseball from a San Francisco Giants employee ($9,101).
Prices quoted include the buyer’s premium as reported by the auction house. For additional information, 732-2908000 or www.lelands.com.
The New Britain Museum Of American Art Presents ‘Handled With Care’
NEW BRITAIN, CONN. — The New Britain Museum of American Art presents “Handled With Care: Shaker Master Crafts and the Art of Barbara Prey,” on view through October 6. Curated by M. Stephen Miller, this exhibition is a collaboration between Hancock Shaker Village and the New Britain Museum of American Art.
This year, we celebrate the 250th anniversary of The United Society of Believers, more commonly called Shakers, in America. This exhibition continues the series of “Masterworks of Shaker Design” by recognizing a special dimension of the Shakers’
work: their finely crafted, and now beautifully preserved, small crafts. Once despised and persecuted for their beliefs of Communal ownership of all goods and property, Confession of sins in private and Celibacy — the “three C’s” — most people now adore so much about the Shakers. This love certainly extends to their long handcraft tradition. We also celebrate the achievements of the world-renowned contemporary artist, Barbara Ernst Prey. Prey accepted a commission from Hancock Shaker Village in Pittsfield, Mass., in 2018-2019, to execute a series of large-scale paintings in watercolor and dry brush of any subject that engaged her attention and admiration. Her subject turned out to be both as simple and as complex as the interplay of natural light and Hancock’s built environment. The results were 10 astonishing works, six of which she generously lent to this exhibition. The title of her series is “Borrowed Light.” This references both the presence of natural light within Hancock Shaker Village and, by extension, the Godly illumination with which Shaker life has been
imbued for all of those 250 years. From the start, the Shakers brethren and sisters made most of what was required to live independently: tools, baskets, tubs and pails, sewing boxes and others for storage, cleaning and measuring devices and a wide variety of goods — both grown and fabricated — for sale to the outside world. This exhibition features nearly 100 varieties of
these works, all of which have two attributes in common: all have handles and all have survived in a fine state of preservation. All of the objects on view here were made more than 100 years ago and some twice that long. The New Britain Museum of American Art is at 56 Lexington Street. For information, www. nbmaa.org or 860-229-0257.
“Red Cloak Blue Bucket” by Barbara Ernst Prey, 2019, watercolor and drybrush on paper, 28 by 40 inches.
Goosefare’s Wells Show Is Becoming One Of Maine’s Best
WELLS, MAINE — Moments after the Wells Antiques Show opened on June 30, John DeSimone, Goosefare Antiques & Promotions, said of the line awaiting admission, “I think that was the longest line I’ve ever seen here.” This show, deservedly so, is rapidly gaining the reputation of being one of the region’s best. It is now in its 23rd year, having begun in 2000, but skipping a year during the pandemic. The setting, on the grounds of the Wells National Estuarine Research Reserve, couldn’t be any better. Although weather forecasts were poor a few days before the show opened, it was bright and sunny. When the day arrived, a total of 75 dealers participated, and while there has been some turnover, the first-time exhibitors we spoke with were fine
additions to the roster. Along with country Americana and folk art, there were early ceramics in several booths, redware and stoneware was abundant, as were Eighteenth and Nineteenth Century painted and formal furniture, early textiles,
lighting devices and paintings.
Three large tents housed multiple dealers while some set up their own tents; a large, vintage barn with a milking parlor also housed dealers. A portion of the grounds are not used because it is the season for some of the
birds nesting in the area.
One of the most unusual items at the show was a huge Nineteenth Century weathered copper cauldron. It was well over 4 feet tall and — having a 2-inchthick bottom — was very heavy. It was in the booth of Jason
Smith, North Berwick, Maine, who was exhibiting at this show for the first time. Though he did not know what it had originally been used for, he priced it $2,450 and sold it. He also had a very large embossed steel or tin barrel, which also had a weathered surface.
Some of the dealers with early furniture included Hilary Nolan, Falmouth, Mass. He was particularly proud of a circa 1800 eight-drawer tall chest. He said it was probably from New Hampshire, “I’ve never had an eight-drawer tall chest. There are plenty with six drawers and some with seven but not eight.” The chest was constructed of maple, with old, replaced hardware and was just 35 inches wide. He also had a small three-drawer Eighteenth Century Dutch chest that he tagged $950; it sold shortly after the show opened.
Don Heller and Kim Washam, Portland, Maine, had several pieces of early American furniture in their booth. One was a
John DeSimone said that this line of folks awaiting the show opening was the longest that they ever had. Attendance was strong throughout the day. Photo courtesy Goosefare Promotions.
Sandy Jacobs, Scott Bassoff - Sandy Jacobs Antiques, Swampscott, Mass., specializes in memorial jewelry as well as jewelry from the Georgian period through the mid-Twentieth Century. In this photo, she’s getting the display ready for the show opening.
Steve Corrigan and Doug Jackman, Stephen-Douglas Antiques, Rockingham, Vt., had a large booth in the barn. Among other things, they had a selection of silhouettes priced between $95 and $150.
Although Malcolm Magruder is a wellknown dealer from Millwood, Va., who exhibits at several shows, he was exhibiting at the Wells show for the first time. His booths always have a selection of Delft, mocha and other early ceramics. This pair of fire-buckets were tagged $5,500.
Hilary Nolan, Falmouth, Mass., said that he had not seen a tall chest with eight drawers before. He believed it to be the work of a New Hampshire cabinetmaker, circa 1800.
Paul and Karen Wendhiser, Ellington, Conn., brought some midcentury glassware for the next generation of collectors. Most were priced under $100.
The top of this table was inlaid with a checkerboard, birds, flowers and other motifs. Ian McKelvey, South Windham, Conn., had it priced $1,100.
Greg Hamilton, Stone Block Antiques, Vergennes, Vt., had this pair of reverse painted portraits of George and Martha Washington; he was asking $550 for the pair.
Onsite Review & Photos by Rick Russack, Contributing Editor
Portland’s Maine Central Railroad and B&M Railroad station was demolished in 1961 to make way for a shopping center. Bob Mortimer, Falmouth, Maine, was asking $1,950 for this painting of the station.
and
reverse serpentine-front slantlid desk, which they said had been made in Massachusetts around 1780. It had a shellcarved interior, period brasses and was priced $3,600. They were asking $3,250 for a Queen Anne tiger maple tea table, probably made in New Haven, Conn., circa 1780. It had a rectangular top, cabriole legs and pad feet. They also had a circa 1720 William and Mary gateleg table for which they were asking $3,900. A Connecticut five-drawer tall chest, circa late Eighteenth Century, was marked at $1,650. Martin Ferrick, Lincolnville, Maine, offered at $1,595 a four-drawer New Hampshire Hepplewhite chest, circa 1820.
Few dealers take the time, or are willing to devote the space, to set up a large four-post bed, but one who did was Interiors with Provenance from Granite Point, Maine. The example they had was a large bird’s-eye maple Nineteenth Century bed with boldly turned posts, tagged $1,200. The side rails had been extended a few inches to accommodate a full-size mattress.
Al Benting, Jarvis and Benting, Barrington, N.H., had a large, elaborately carved and gilded circa 1800 French wall clock/barometer. It was not
Derik Polito, Kensington, Conn., had a selection of country furniture and priced the very large, very blue churn at $890.
marked with the maker’s name. From Wiscasset, Maine, Peter Eaton had a late Eighteenth Century ash stool, with original black paint and a rush seat that was probably original. He said, “it’s only the second one I’ve had in 50 years” and he priced it at $850. He also offered a Connecticut splat-back side chair, with an original black surface for which he was asking $650. Oliver Garland, Falmouth, Mass., had a small Eighteenth Century tiger maple oval top tavern table marked $1,750.
Dennis Raleigh and Phyliss Sommer, Pumpkin Patch Antiques, Searsport, Maine, had a booth in the barn with folk art and furniture. They did well, and after the show said, “We had an excellent Wells Show ringing up 12 sales, six of which were paintings. We also sold a nice candlestand in black paint plus several very good smalls. The attendance was incredible. The Wells Show is coming into its own on several counts.”
Paintings were available throughout the show, ranging from historical scenes to just plain fun ones. Bob Mortimer, Falmouth, Maine, had a large painting on panel picturing a large urban stone railroad sta-
Lisa Tichy, Wiscasset, Maine, said this green petti-
well-carved
according
and
was
tion similar to those built in the late Nineteenth Century. It depicted the Maine Central and Boston and Maine station in Portland, Maine, which was built in 1888 and was in service until late 1960; in 1961 it was demolished and replaced by a shopping center. Mortimer priced the painting $1,950.
Bruce Emonds, The Village Braider, Plymouth, Mass., had two of the fun kind of paintings. One was an English mid-Twentieth Century painting of a well-dressed bulldog wearing a red slumber cap. It was titled “Sleepy Head,” had a humorous verse and sold shortly after the show opened. Emonds also had one depicting several pigs and piglets, signed “Huber,” which was priced at $750.
Chris Stanley, Bremen, Maine, had a circa 1870 painting showing Bangor, Maine, for which he was asking $355. He also offered an unusual book that appealed to nautical enthusiasts from yesteryear and today: a 1956 copy of the Ashley Book Of Knots, by Clifford Ashley. Spanning more than 600 pages, it pictured around 3,900 knots with additional illustrations of how to tie them. Its subtitle read, “Every Practical Knot--What It Looks Like, Who Uses It, Where It
Bob Foley, Gray, Maine, had this large midcentury studio pottery vase. It had a partially discernible mark on the base that read, “Old Corner, ….aterboro” and a date of 1979. The price was $285. It was probably the Old Corner Pottery, Waterboro, Maine; the tripod tilttop table was tagged $250.
and
Jim and Kathy Twining offered a large selection of decoys. They were asking $285 for a red-breasted merganser hen made by David Rhodes
$225 for a goldeneye drake Harry Shourds made. Raven’s Way Antiques, North Kingstown, R.I.
Tom Jewett and Butch Berdan were asking $2,250 for this decorated birch bark canoe that measured about 4 feet long. It was made in Quebec and was signed by the maker. New Castle, Maine.
The
wooden eagle
Spanish,
to Oliver Garland, Falmouth, Mass.,
dates to the Eighteenth Century, or earlier; it was perched on a small Eighteenth Century tiger maple tavern table. Garland was asking $1,800 and $1,750, respectively.
Bruce Emonds, The Village Braider, Plymouth, Mass., had several paintings. He was asking $750 for this one showing several pigs in a barn.
coat dated to about 1890. She was asking $1,450.
Don Heller
Kim Washam, Portland, Maine, offered several pieces of American furniture in their booth. They believed this reverse serpentine-front slant-lid desk was probably made in Massachusetts, around 1780. It was priced $3,600.
Comes From, and How to Tie It;” $95 was the asking price. Folk art included a large iron rooster trade sign in Al Benting’s booth priced at $450. Emily Lampert, Wenham Cross Antiques, Salisbury, Mass., had a carved mermaid, about 4 feet tall, for which she was asking $395.
In addition to silhouettes, Jewett-Berdan Antiques, New Castle, Maine, had a large decorated birch bark canoe. Priced $2,250, it was signed by Francois Newashish, part of the Newashish family who were members of the Atikamekw community in Manawan, Quebec. They also had a detailed cast iron weeping willow iron cemetery gate that was priced $750.
There were several weathervanes to be had. Dennis Raleigh and Phyliss Sommer, Pumpkin Patch Antiques, Searsport, Maine, included a Hackney horse example that measured more than 30 inches long with exactly the type of surface collectors are looking for. Ron Bassin, Bird in Hand Antiques, Florham Park, N.J., had a 33-inch full-bodied rooster on an iron tipped arrow direction-
al. They were asking $3,200. Brian Cullity, Sagamore, Mass., had a selection of Westerwald jugs and several pieces of redware. Malcolm Magruder, Millwood, Va., had several pieces of old English and Dutch Delft with prices ranging from $750 to $1,500. Mocha ware was in several booths, as was stoneware. Glassware spanning more than two centuries was also available. John Hunt Marshall, Westhampton, Mass., had Eighteenth Century Dutch black glass hand-blown bottles priced between $575 and $650. At the other end of the date spectrum, Paul and Karen Wendhiser, Ellington, Conn., had a large selection of mid-Twentieth Century glass, most of which was priced less than $100.
Jane and David Thompson, South Dennis, Mass., brought a selection of books, historical photographs and more. One interesting item was the Barritt-Serviss “Star and Planet Finder,” a paperboard “Guide to The Heavens Without A Telescope,” published in 1906. Following detailed instructions, it did exactly what it claimed to. Their example was in fine con-
dition and was priced $295. After the show the Thompsons sent us an email: “We wanted to tell you the very nice thing that happened after you photographed the antique star finder in our booth at Wells. A young father came along and said he wanted to buy it. Then he told us that his son is completely into astronomy and he was buying it to hang in his son's bedroom. We asked how old his son is, and he said ‘eight.’ He wanted to have all the information that went with it, too. When we saw the father again, he was carrying a Victorian doll’s dresser. He said that he didn't want his 4-year-old daughter to feel left out, so he bought that for her room. Nice! Thought you’d like to know. We really enjoyed the customers who came to the show.”
At the snack bar, we overheard a comment from a customer who appeared to be in his 60s. “I don’t know much about this stuff, but I don’t buy anything new; I love the old stuff.” It’s this attitude that is great for the antiques business.
A few days after the show, John DeSimone said, “I think this show was the best one
If anyone needed a footstool, or more than one,
Jane
we’ve ever had here. The crowd just kept coming in and the gate was the highest we’ve had. I know there was one customer, a retail buyer, who came in about 11 am and stayed until about 2:30. He was from western Massachusetts and just kept buying good stuff. I know that a $3,000 item sold and I’ve had emails from some of the exhibitors telling me how well they did.”
The next show managed by Goosefare Antiques & Promotions will be the 56th New London (N.H.) Historical Society Antiques Show & Sale on July 27, followed on August 10 by a new show: Antiques on the Mashpee Commons, on Cape Cod.
For additional information, www.goosefareantiques.com or 800-641-6908.
and that it sold.
Drew Epstein, Swampscott, Mass., bought this red sheet metal Wolverine car from Greg Hamilton. “Mystery Car” was painted on its side.
“I’ve no idea what it was used for,” Jason Smith answered honestly when asked what this very large, very heavy copper cauldron was used for. We do know that it was marked $2,450
North Berwick, Maine.
Al and
Benting, Benting and Jarvis, Barrington, N.H., were the dealers to see. Most were alike and each were the same price: $45.
Peter Eaton, Wiscasset, Maine, said this late Eighteenth Century ash stool was only the second of its type that he had seen in more than 50 years of dealing in early furniture. The price was $850.
Dennis Raleigh and Phyliss Sommer included this Hackney horse weathervane in their offerings. It was 31 inches long and 25 inches high. Probably made by Cushing and White in Waltham, Mass., circa 1885, it was priced $7,850. Pumpkin Patch Antiques, Searsport, Maine.
Joyce Bassin and her husband, Ron, Bird in Hand Antiques, Florham Park, N.J., are specialists in Grenfell weavings, decoys and folk art. Joyce also likes Raggedy Ann dolls and priced these two at $175 for both.
Priced at $295, the 1906 Barritt-Serviss “Star and Planet Finder” was in the booth of Jane and David Thompson, South Dennis, Mass. It sold early in the show.
Goosefare’s Wells Show
Philip & Kelvin Laverne Furniture Dominates
Ahlers & Ogletree Sale
Auction Action In Atlanta, Ga.
ATLANTA, GA. — A rare circa 1976 Philip & Kelvin LaVerne bronze and pewter chinoiserie “Chan Li” cabinet sold for $81,250 and an oil on canvas equestrian painting by James McLaughlin Way finished at $15,730 at Ahlers & Ogletree’s Modern and contemporary art and design auction conducted on June 26.
The auction, online and in Ahlers & Ogletree’s Atlanta gallery, contained 337 lots of Modernism and Outsider art, including original paintings, furniture and decorative arts. By the time it was all over, the sale had grossed a total of $547,903.
Highlights included a large collection of works by Philip & Kelvin Laverne, a pottery jug by Pablo Picasso, a color lithograph by Salvador Dali, original artworks by Steve Penley and Todd Murphy, a Hollywood Regency dining table, a pair of chairs by George Nakashima, tapestries by Jon Eric Riis, a “Paradise Persian” by glass artist Dale Chihuly, and a “Trellis” sofa by John Saladino.
The Philip LaVerne (American, 1907-1987) and Kelvin LaVerne (American, b 1937) bronze and pewter chinoiserie “Chan Li” cabinet from around 1976, boasted figural decoration and four doors, rising on meandering legs. The piece — depicted in Philip & Kelvin LaVerne: Sculpture III, a copy
Pablo Picasso for Madoura “Hibou” (or owl) faience pitcher from 1954 (A.R. 253), 9¾ inches tall and decorated in medium blue on a white ground, marked and inscribed “Edition Picasso,” realized $7,865.
of which accompanied the lot, along with a 1976 bill of sale — sailed past the $50,000 high estimate.
The oil on canvas painting by James McLaughlin Way (19682014), titled “Black Horse #2,” was signed upper left and showed the artist’s stamp to verso. The equestrian work was impressive at 60¼ by 72¼ inches, overall, in the frame. It easily bested its $4/6,000 estimate. About 50 people attended the auction in person at the gallery; 91 phone bidders and 32 absentee bidders also submitted bids.
In addition to the auction’s top lot, there were other pieces
Rare Philip and Kelvin LaVerne bronze and pewter chinoiserie “Chan Li” cabinet from around 1976, boasting figural decoration was the top lot at $81,250.
Set of three figural bronze and pewter plaques by Philip and Kelvin LaVerne, circa 1976, titled “Girls in Ecstasy” (sic), Realizations and “Women in Dispare”
by Philip and Kelvin LaVerne that made the list of top achievers. They included a set of three figural bronze and pewter plaques, circa 1976, titled “Girls in Ecstasy” (sic), “Realizations and Women in Dispare” (sic). These were signed in mold, with three having Philip LaVerne Collection labels and with Tennessee Fine Arts Center labels, $8,470; a bronze and pewter chinoiserie “Spring Festival” low console table from the second half of the Twentieth Century, 56 inches wide, having figural decoration and rising on square legs, signed in
mold and retaining a Philip LaVerne Galleries Ltd. label to the underside, $13,310; and a bronze and pewter chinoiserie “Chan Boucher” cocktail table, circa 1965, having a shaped top, figural decoration and rising on French ribbon legs, signed in mold to the top and retaining a Philip Laverne Galleries, Ltd. label to the underside, $10,890 against a high estimate of $6,000.
Prices given include the buyer’s premium as stated by the auction house. For information, www.aandoauctions.com or 404869-2478.
‘Theaster Gates: Wonder Working Power’ At VMFA
RICHMOND, VA. — The Virginia Museum of Fine Arts presents “Theaster Gates: Wonder Working Power,” a site-specific installation by the Chicago-based multidisciplinary artist and professor, on view in the Lewis Focus Gallery through January 1. Visitors will behold Theaster Gates’s passion for — and mastery of — the medium of clay. For Gates, the medium speaks not only to the ancient, elemental traditions of so many cultures but also to the
precarious fragility of our contemporary selves. Using land development, sculpture, performance and spatial theory to provoke dialogue and revitalize spaces of urban decay, Gates activates an astonishing array of materials to, in his words, “redeem spaces that have been left behind.”
With its opening timed to coincide with the National Council on Education for the Ceramic Arts’s conference in Richmond (March 20-23), the exhibition extends Gates’ themes on spirituality and how objects are imbued with divine power by the maker. A conceptual portrait, “Wonder Working Power” draws upon Gates’ upbringing as well as his embrace of the genre of ceramics and the use of clay as a transformative material that embodies myriad elements. Multiple works are arranged on and around a steel plinth. Their presence exudes power as they occupy the spaces upon and around the altar-like structure. Gates invites view-
ers to come forward to experience the power of his handiwork and embrace the traditions of the divine.
Curated by Valerie Cassel Oliver, the Sydney and Frances Lewis Family curator of modern and contemporary art, “Wonder Working Power” is a
focused look at an artist who uses the potter’s wheel to drive crucial conversations and effect cultural change. The Virginia Museum of Fine Arts is at 200 North Arthur Ashe Boulevard. For information, www.vmfa.museum or 804340-1400.
(sic), signed in mold, brought $8,470.
Oil on canvas painting by James McLaughlin Way titled “Black Horse #2,” signed upper left, 60¼ by 72¼ inches overall sold for $15,730.
Auction Action In New York City & New Braunfels, Texas
Lark Mason Associates Jump-Starts Summer With Diverse Trio Of Auctions
NEW YORK CITY & NEW BRAUNFELS, TEXAS — “The June group of three successful Lark Mason Associates sales on the iGavel Auctions website included two single-owner sales and a general sale with a wide range of categories, including silver, books, Native American jewelry, decorative arts and handbags. Bidding was strong as most of the lots had multiple bids and bidders, and the bidders came from a wide variety of locations, including across the states, Europe and Asia. The sales showed that even as we head into the warmer months, people are still actively engaging in online sales.” Lark Mason gave Antiques and The Arts Weekly this enthusiastic feedback following the sale of nearly 450 lots over three sales.
These volumes of Jane Austen’s Northanger Abbey and Persuasion found greatest favor with an international buyer, earning $7,813 despite some minor condition issues ($4/6,000).
Leading the Exquisite Boxes, Furniture and Works of Art sale was this pair of Chinese porcelain rectangular shallow stands, Twentieth Century, that an American buyer won for $5,375 ($1,2/1,800).
by the
and
The Consummate New Yorker: Books and Other Collections from Robert Gottlieb, Publisher and Editor was the title of the 123-lot sale that closed on June 26. For those who don’t know, Gottlieb was head of Alfred A. Knopf, the editor in chief of Simon and
Schuster, and the editor of The New Yorker . Some of the authors he worked with included Toni Morrison, John Le Carré, Bruno Bettelheim, Katharine Graham, Doris Lessing, Bill Clinton, Nora Ephron, Bill Gates, Joseph Heller and Robert Caro.
A two-volume lot of Jane Austen’s last and posthumously published works — Northanger Abbey and Persuasion — set a high bar for the day with a $7,813 result. Published in London in 1818 by John Murray, both tomes had contemporary black leather and marbled boards, gilt titles, speckled edges and each were inscribed in pencil “M.C. Guice” on the front. An international buyer had the highest bid.
Robert Caro’s first edition of A Path to Power (Knopf, 1982)
Despite some minor condition issues, this 16¼-inch-tall Chinese export porcelain figure of a dog had been off the auction market for 35 years and found a new home with an American buyer for $3,907 ($500-$1,000).
This first edition copy of Stephen Sondheim’s Look, I Made a Hat (New York, 2011) was inscribed on the title page, “To Bob - / From Steve / (Sondheim, That is)” and achieved $2,501 from an American buyer ($50/80).
that was inscribed “For Bob – I remember. Bob” followed with a $5,500 result, exponentially multiplying its $50/100 estimate.
The Awakening by Kate Chopin (Chicago and New York, 1899), also a first edition, was in its original pale green cloth boards with green and red and gilt top edge. Bidders were willing to overlook some inscriptions in pen and pencil, water-stained pages and the lack of a dust jacket and it rose to $3,500 from an estimate of $800-$1,200.
A 255-lot sale titled Exquisite Boxes, Furniture and Works of Art closed on June 27. The best in sale price of $5,375 was dished out by a pair of Twentieth Century Chinese porcelain rectangular shallow stands that had floral enamel decoration on the exterior. A
Robert Caro and Robert Gottlieb were longtime friends and collaborators on a documentary about Caro. This first edition copy of Caro’s The Path to Power had a presentation inscription from the author and achieved $5,500, from an American buyer ($50/100).
“Meet
Farmhouse”
“Death in a Rocky Clearing,” both by George Morland, oil on canvas, measured 13¾ by 17¾ inches and sold to a buyer in the United States for $2,500 ($4/6,000).
A buyer in the United States paid $2,084 for this sterling silver serving tray, made in 1947 in Sheffield, England, by Harrison Brothers & Howson, Sheffield ($700-$1,000).
Review by
Madelia Hickman Ring, Editor
Photos Courtesy Lark Mason Associates
At 41 inches long and featuring 15 oval or squared turquoise and sterling silver conchos, this Native American belt by Kenny Bracken more than doubled its low estimate to sell for $1,759 to a US buyer ($800-$1,200).
An American buyer paid $3,500 for this 1899 first edition of Kate Chopin’s The Awakening ($800-$1,200).
Nineteenth Century Chinese export porcelain figure of a dog that had provenance to a Sotheby’s New York auction in October 1989 nearly quadrupled its high estimate when it fetched $3,908 from an American buyer.
English and Continental works in the sale also brought comparatively high prices. Realizing $2,500 was a pair of Eighteenth Century oil on can-
Cloisonne details on the handles and feet were among the attractive and compelling features of this Meiji period Japanese enameled silver Koro with cover. An American buyer won it for $4,000, the highest price in the 62-lot single-owner sale that ended on July 2 ($300/500).
vas hunt scenes by George Morland (British, 1763-1804) that had also seen prior auction action when the pair was sold in a sporting art sale at Christie’s New York in 2000.
And, closing on July 2, was Jewelry, Silver and Works of Art from a Prominent Collector, a 62-lot sale. Contemporary Native American jewelry and accessories saw strong competition, but it was a Meiji
This 16-inch-long necklace, made with 14K gold, turquoise and claws on silver chains, will decorate the neck of its new US owner, who paid $3,189 for it ($700-$1,000).
period Japanese enameled silver Koro or censor and cover that measured just 6¼ inches tall and burned its $300/500 estimate to sell for $4,000, to an American buyer.
A 14K gold, turquoise and claw Native American necklace, marked “DJ” and possibly made by Don Johnson, clawed out a second-place finish in the sale with a result of $3,189, from a US buyer. In the same
LACMA And CAAM Present ‘Simone Leigh’
LOS ANGELES — The Los Angeles County Museum of Art (LACMA) and the California African American Museum (CAAM) present “Simone Leigh,” the first comprehensive survey of this celebrated artist’s richly layered practice and her most expansive exhibition on the West Coast to date. Presented across both institutions, the exhibition explores dozens of key works from throughout Leigh’s career, including pieces from the artist’s landmark 2022 Venice Biennale project. Marking the final stop in Simone Leigh’s national tour, this joint presentation offers visitors the chance to experience a range of works not shown at previous venues, including the artist’s lesser-known chandelier works and a new sculpture titled “Untitled (after June Jordan)” (2024).
Over the past two decades, Leigh has situated questions of Black femme, or female identified, subjectivity at the center of contemporary art discourse. Her sculpture, video, installation and social practice explore ideas of race, beauty and community in visual and material culture. Informed by a rigorous attention to a swath of historical periods, geographies and artistic traditions of Africa and the African diaspora, Leigh often combines the female body with domestic vessels or architectural elements to point to unacknowledged acts of labor and care, particularly among and for Black women. While Leigh — one of the most respected artists of her gener-
ation — has exhibited in prominent museums throughout the United States, this survey invites audiences to experience the breadth of her work for the first time in Los Angeles.
“We are thrilled to bring this historic exhibition to Los Angeles in collaboration with our colleagues at CAAM,” says Michael Govan, LACMA chief executive officer and Wallis Annenberg director. “Simone Leigh is such an important voice in contemporary art, and our collaboration with CAAM is a powerful way to bring her first major exhibition on the West Coast to the widest audience possible.”
Cameron Shaw, CAAM executive director, says, “In addition to broadening the audience engagement for this significant exhibition, the collaboration between LACMA and CAAM offers a rich opportunity to consider Leigh’s work within our distinct institutional contexts and histories, underscoring the dynamic and nuanced layers in the artist’s practice around how perspectives on Black femme identities are shaped and by whom.”
Divided across two venues, the exhibition presents the range of Leigh’s intersectional practice. CAAM’s chapter emphasizes Leigh’s innovative cinematic collaborations while LACMA spotlights large-scale sculptural works. Both venues present pieces featured in the 2022 Venice Biennale.
The Los Angeles County Museum of Art is at 5905 Wilshire Boulevard. For infor-
mation, www.lacma.org or 323857-6000. The California African American Museum is at 600 State Drive, Exposition Park. For information, 213-7447432 or www.caamuseum.org.
Smoking its $700-$1,000 estimate was this Irish sterling silver teapot and warming stand, which sold to an international buyer for $1,875. It was made in Dublin in 1910 by Charles Lambe.
category, a Native American sterling silver and turquoise concho belt made by Kenny Bracken clinched a fourthplace finish and a new home with an American buyer for $1,759.
An international bidder prevailed over competitors to acquire for $1,875 an Irish
sterling silver teapot and warming stand, made in 1910 by Charles Lambe of Dublin. Prices quoted include the buyer’s premium as reported by the auction house. Dates of future auctions have not yet been announced. For information, www.larkmasonassociates.com or 212-289-5524.
‘The Land Carries Our Ancestors: Contemporary Art By Native Americans’ Seeks
To Open Eyes With New Narratives
NEW BRITAIN MUSEUM OF AMERICAN ART
By AndreA VAlluzzo
NEW
BRITAIN, CONN. —
Diversity is one of the most overused buzzwords in the last few years, but in the case of a groundbreaking and large-scale art exhibition, the word is apropos. Traveling from the National Gallery of Art, where it was on view last fall until January 2024,
“The Land Carries Our Ancestors: Contemporary Art By Native Americans” has made its way to the New Britain Museum of American Art (NBMAA), its only other venue, where it will be on view through September 15.
The exhibition is diverse across the board with more than 50 Native artists hailing from
many tribal nations. The artists are as diverse as their subject matter, style and techniques. While works on paper dominate, there are also photographs, mixed media works, sculpture, video, fiber art, glass and ceramics on view. The installation is interactive and there are QR codes visitors can access to hear artists speaking about their own artworks, sharing additional insights.
The breadth of work on display in this exhibition has seldome been seen in one place together, let along been given their proper dues.
Native American and Indigenous art was once overlooked and treated as a footnote to American art history, which has largely been categorized by Western audiences using a Eurocentric framework. Historically, few museums have given exhibitions to Indigenous art except perhaps in the case of being a tangential one-off. At the National Gallery of Art, where this exhibition began, “Land Carries Our Ancestors” was the first showing of
Indigenous art in three decades and the first to include contemporary works by living Native artists in seven decades.
It’s also a first for New Britain.
Over time, Native American art has become integral in the canon of American art, thanks largely to efforts by artists such as Jaune Quick-to-See Smith. The artist, who hails from the Confederated Salish and Kootenai Nation, served as the guest curator for this exhibition. In sharp contrast to many exhibitions that have presented Native American art solely through historic artifacts and artworks, Smith deliberately included contemporary works by living artists.
“Because the old myth that we are vanishing or are no longer here or that we are extinct has been so prevalent, I wanted to show as many living artists as the museum would allow,” Smith told Antiques and The Arts Weekly. “It also shows how gifted these artists are yet many people have never heard of them. So my mission was two-fold.”
“This is a wonderful introduc-
tion to many established and upand-coming artists that are active in the art world. It opened the door for us to really start engaging more deeply in Native American art — both from the past and contemporary — and bringing our museum into a new era,” said Stephanie Mayer Heydt, director of Collections and Exhibitions at the NBMAA. “It’s a really important project and it’s the kind of show that we should be doing.”
A prolific artist who has curated many shows and elevated fellow Indigenous artists, Smith has assembled a multi-generational sampling of artists whose approaches to art-making are highly individual yet share common beliefs in caring for the land and holding it in esteem.
In Smith’s eyes, the artworks in the exhibition are not just beautiful objects to be viewed in a museum, they have a deeper meaning. “While they might not fit into the mainstream of EuroAmerican perceptions of landscape, they do represent our enduring connection to land,”
“Sentinels (Large Yellow)” by G. Peter Jemison, 2006, acrylic, oil and collage on canvas 36 by 40 inches. National Gallery of Art, Washington, DC. Gift of funds from Sharon Percy Rockefeller and Senator John Davison Rockefeller IV.
“Edward Curtis, Paparazzi: Chicken Hawks” by Jim Denomie, 2008, oil on canvas, 35 by 40 inches overall. Loan from the Eiteljorg Museum of American Indians and Western Art, Indianapolis, Ind.
“Indian Canyon” by Cara Romero, 2019, archival pigment print, 15 by 48 inches overall. Courtesy of the artist.
“Fog Bank” by Emmi Whitehorse, 2020, mixed media on paper on canvas, 51 by 78 inches overall. National Gallery of Art, Washington, DC, William A. Clark Fund.
she wrote in an essay appearing in the exhibition catalog. “We know that no matter where we go, the dust of the land carries our ancestors.”
Expounding on this point in her interview, Smith said, “They are beautiful objects period, but their beauty is layered in meaning and each has at least one story, if not more than one, that could have accompanied them. We didn’t have extra space in the catalog to do more writing nor more space on the labels in the exhibition.”
“The stories are deep and filled with cultural material and go way back in time. As Native artists, we can ascertain some of this when we see each other’s work but often the artist will tell us even more personal stories about the making of the work. But to answer your question about what a viewer might take away, of course, one thing I would hope is that they realize we are not vanishing and secondly, that Native artists make interesting and incredibly beautiful art.”
With so many Indigenous artists and works of art to choose from, Smith had her work cut out for her in curating the exhibition. “One criteria was to show the different media the artists work in. A show of mainstream artists would not have beadwork or quillwork but to see beadwork on a grand pair of Italian Casadei boots, well, that makes a statement about the sophistication of Native artists. That was the sort of stunning surprise I was searching for when doing the research for the exhibition,”
Smith explained.
Due to the fragile nature of some of the art, especially works on paper, only two institutions were chosen to host the show even though several expressed interest. The NBMAA had already begun working with Smith back in 2019 to acquire some of her works, so when the opportunity presented itself to mount this show, the museum jumped at the chance.
“She is an incredibly important
artist who was bringing some new narratives into focus that aren’t necessarily featured in our gallery: narratives about American history that focus on the Indigenous experience and that is something we felt was important to address at the NBMAA,” said Lisa Hayes Williams, the museum’s curator and head of exhibitions. “I think as an American art museum, often our narratives have historically focused on traditionally Western ideas around landscape, especially those introduced by the Hudson River School artists of the Nineteenth Century, who depicted the American landscape as a beautiful Eden.”
“In our museum, these are stories that have not necessarily been told, so it’s really wonderful to be able to now weave those stories against the backdrop of works that are here and the narratives that are sort of preexisting in the artwork we have displayed throughout our museum,” she added.
“Atom Heart Mother (Earth)” by Chris Pappan, 2016, mixed media on ledger paper, 24 by 19 inches framed. Courtesy of Travois.
“Modern Day Indian” by Star WallowingBull, 2004, lithograph crayon and colored pencil on paper, 34¼ by 41½ inches framed. Collection Nerman Museum of Contemporary Art, Johnson County Community College, Overland Park, Kansas.
“Native American Art” by Gerald Clarke Jr, 2019, charred watercolor paper, 39¾ by 29-15/16 inches framed. Courtesy of the artist.
“No Place Like Hózhó” by Demian DinéYazhi ́, 2017, six-color lithograph, 46 by 37 inches framed. Crow’s Shadow Institute of the Arts.
“Bang bang” by Natalie Ball, 2019, elk hide, rabbit fur, oil stick, acrylic, charcoal, cotton and pine, 84 by 124 inches overall. Courtesy of the Rubell Museum.
“Orchestrating a Blooming Desert” by Steven Yazzie, 2003, oil on canvas, 50-1/16 by 62 inches framed. Collection of Christy Vezolles.
‘The Land Carries Our Ancestors: Contemporary
Art By Native Americans’ Seeks To Open Eyes With New Narratives
NEW BRITAIN MUSEUM OF AMERICAN ART
“Raven Steals the Sun” by Preston Singletary, 2017, blown and sand-carved glass 20¼ by 9 by 7 inches overall. Collection of Jerry Cowdrey.
A throughline at the heart of the exhibition explores how Indigenous people differ in their view of the land from those who came from Europe and elsewhere to settle and colonize the United States. Indigenous people typically see themselves as stewards of the land instead of adopting notions of manifest destiny and “owning” the land. In the 1800s, settlers, aided by the government, moved West and took land from the Indigenous people who had lived on it for generations. Legislation like the Indian Removal Act of 1830 and the Dawes Act of 1887 are two of the most well-known examples. Instead of being organized chronologically, the exhibition is
“Parrots Prayer Song” by Linda Lomahaftewa, 1989, color offset lithograph on wove paper, 30 by 22 inches. National Gallery of Art, Washington, DC. Gift of Funds from the Roy Lichtenstein Foundation.
broken into three parts. The first, “Threads of Blue,” looks at how artists use blue in their artworks in relation to the landscape: the sky and waterways (lakes, rivers and oceans) in particular, as well as to demonstrate the interconnectedness of everything – from the land to its people. Works in this section range from Emmi Whitehorse’s mixed media on paper, “Fog Bank,” to Marie Watt’s “Antipodes,” using vintage Italian beads against felt to create a two-part work, spelling out “Skywalker” on top and “Skyscraper” on the bottom section. Illustrated on the cover of the hardcover exhibition catalog, Whitehorse’s painting, created with her own hands as well as brushes, is best described as “ethereal.” While not showing a landscape in the strictest sense of the word, it evinces her connection to place and is in keeping with her goals of showing natural harmony in the land, a philosophy well rooted in her Diné/ Navajo heritage.
The second section of the exhibition, “Checkerboard,” deals with the aftermath of how Native lands have been taken and corrupted. It’s a direct reference to the Dawes Act, which broke up ancestral lands, giving non-Native people much of the land. “It’s a very particular and unique way of approaching the installation,” Williams said, explaining that works on paper are hung corner to corner in two rows, resembling an actual checkerboard.
Among the works in “Checkerboard,” many of which address the hardships suffered by Indigenous people, is a lithograph
“Tonantzin” by Rose B. Simpson, 2021, ceramic and steel, leather and brass, 47 by 18 by 13½ inches (excluding pedestal). Tia Collection, Santa Fe, N.M.
crayon and colored pencil on paper by Star WallowingBull, an Ojibwe/Arapaho artist, which explores the dichotomy of nature and manmade machines in “Modern Day Indian.” In this precisely delineated geometric work, the artist was inspired by the pollution of his ancestral lands and the government’s policies of discarding nuclear waste onto Indigenous lands. In the exhibition catalog, WallowingBull calls these areas “radioactive reservations.”
In the “Always and Forever” section, the exhibition ends more hopefully. “It speaks to the resilience of Indigenous people and their effort to keep traditions alive and vibrant by addressing them in art…not forgetting the hardships that have been endured but to continue advocating and speaking for their Indigenous rights and protecting the land,” Williams said. “It’s a really optimistic note to end on. You have these really beautiful, hopeful paintings and I think this idea of healing comes through in a lot of the works.”
Demian DinéYazhi’s six-color lithograph, “No Place Like Hózhó,” 2017, subverts the classic line of the movie The Wizard of Oz while showing a traditional Diné house tumbling through the air repeatedly. In this subtle artwork, the artist explores the ideas behind Hózhó’ — an important word in the Diné language. “‘No Place Like Hózhó’ refers to the spiritually and philosophically important Diné concept of goodness and balance,” she added.
“The lithograph contemplates contemporary issues of detachment and longing that many Indigenous people confront while living under the betrayal of the settler-colonizer nation-state. It is also a hopeful and regenerative reminder of the power of Indigenous resilience and the importance of our ancestral lands.”
One artwork in this section is so powerful that it’s in the exhibition twice. Sort of. Steven Yazzie’s “Orchestrating a Blooming Desert,” a 2003 oil on canvas, is the final artwork in the exhibition, but a vinyl mural version of it is also the first artwork visitors see when entering. A figure, wearing modern but nondescript clothing, stands with his back to the viewer, holding a conductor’s baton in his right hand, as if conducting nature. In front of him is a colorful scene with lush grasses and flowers in full bloom that evince concepts of connections to the land and growth. “You have the sense of the environment and those living environments being in harmony and a sense of healing and abundance that I think was just a wonderful note to end on in the installation,” Williams said.
The New Britain Museum of American Art is at 56 Lexington Street. For information, 860-2290527 or www.nbmaa.org.
“Auto-Immune Response No. 2,” by Will Wilson, 2004, archival pigment print (digital carbon) on archival paper, sheet 22 by 30 inches. Courtesy of the artist.
“Ute’s Homelands” by Kay WalkingStick, 2022, oil on panel in two parts, 30 by 60 inches. Courtesy the artist and Hales London and New York City.
Welcome To The 67th Annual New Hampshire Antiques Show
As a first year president of the New Hampshire Antiques Dealers Association (NHADA), I cannot say that I am approaching this role without some trepidation. First, it is always difficult to succeed a popular leader who aptly steered this organization over many years. Our group owes Tommy Thompson a debt of gratitude for keeping NHADA a vital and professional trade organization which continues to attract what we believe are the greatest members of the antiques trade, as well as promoting the most highly anticipated show in New England, if not the country. As has been the case for the past 67 years, the Dealers Show includes those who represent many categories in the field of antiques. We strive to invite exhibitors who are both regular participants in many shows throughout the year, as well as those who limit themselves to only a few. In fact, we have some who only exhibit at this show. This cross-section of dealers, to-
gether with the show committee’s encouragement that participants bring items from their own collections, keep the event fresh and exciting.
For those who are concerned about the trade and the new price structures which we are encountering, I believe these actually represent great opportunities. Once again, it is enjoyable for buyers to be able to assemble a collection of quality antiques in an affordable way. This is, after all, how many of the great, pioneer collectors were able to do it back in the 1940s and beyond. Good dealers know how to adapt to these changes, and I am confident that this year’s show will, once again, demonstrate the strength of our organization and the overall antiques business.
For 2024, we are welcoming new dealers to the show: J&G Antiques (Amityville, N.Y.), Alan Katz Americana (Madison, Conn.), Randi Ona Antiques (Wayne, N.J.), Spencer Marks, Ltd. (Southampton, Mass.) and Ziebarth’s
Antiques (Mount Horeb, Wis.).
In addition, we are also pleased to welcome back Newsom & Berdan (Thomasville, Penn.). They represent a diverse group of top-ranked dealers who hail from different parts of the country. They are great additions to an already stellar group.
I would be remiss not to mention that many other NHADA members have open shops in New Hampshire, and they are all looking forward to welcoming you and your business. Please take the opportunity to visit the organization’s website to find their locations and hours of operation. Remember, to paraphrase Hyman Roth in The Godfather Part II, “this kind of government (New Hampshire, not Cuba) knows how to help business, to encourage it” and it remains, as always, free from sales tax!
Sincerely.
Richard Thorner, President New Hampshire Antiques Dealers Association
Christopher & Bernadette Evans Antiques, Waynesboro, VA
Brian J. Ferguson, Swansea, MA
Robert T. Foley Antiques, Gray, ME
Tucker Frey Antiques, Woodbury, CT
Oliver Garland, Falmouth, MA
Pat & Rich Garthoeffner, Lititz, PA .....................................................NH-50
Gemini Antiques, Ltd., Whitehouse Station, NJ
Scott Bassoff and Sandy Jacobs, Swampscott, MA
Bob Jessen & Jim Hohnwald, Fitzwilliam, NH
Jewett-Berdan Antiques, Newcastle, ME
Allan Katz Americana, Madison, CT
Kelly Kinzle, New Oxford, PA................................................................NH-7
William & Teresa Kurau, Lampeter, PA
Nathan Liverant and Son, LLC, Colchester, CT .................................NH-54
Thomas R. Longacre Antiques, Marlborough, NH
John Hunt Marshall, Westhampton, MA
Ian McKelvey Antiques, So Windham, CT
Judith & James Milne/At Home Antiques, Kingston, NY
Newsom & Berdan Antiques, Thomasville, PA ...................................NH-57
Jeff & Holly Noordsy Art and Antiques, Cornwall, VT
Old as Adam, Providence, RI NH-40
Olde Hope Antiques, Inc., New York, NY ............................................NH-36
Randi Ona Antiques, Wayne, NJ
Hercules Pappachristos, Derry, NH NH-21
Period To Mod/Brennan & Mouilleseaux Antiques & Design, Briarcliff Manor, NY
Pewter & Wood Antiques, Enfield, NH
Sharon Platt American Antiques, New Castle, NH
Nancy & Gene Pratt, Victor, NY
Thomas M. Rawson Antiques, Cedar Rapids, IA
Resser-Thorner Americana, Manchester, NH
Jeffrey Roelof, Kalamazoo, MI ............................................................NH-44
Peter Sawyer Antiques, Exeter, NH
David A. Schorsch - Eileen M. Smiles American Antiques, Woodbury, CT ....................................................................................NH-32
Spencer Marks, Ltd., Southampton, MA NH-59
Jef & Terri Steingrebe, New London, NH NH-16
Stephen Douglas at Walpole, Walpole, NH
Steven F. Still Antiques, Manheim, PA NH-8
Paul D. Sullivan Antiques, Manchester, NH
David Thompson Antiques & Art, So. Dennis, MA
Jeffrey Tillou Antiques, Litchfield, CT
Village Braider, Inc., Plymouth, MA
Michael Whittemore Antiques & Folk Art, Punta Gorda, FL
Withington & Co., Cape Neddick, ME
Douglas Wyant Antiques, LLC, Cassopolis, MI
Ziebarth’s Gallery, Mount Horeb, WI
PETER SAWYER ANTIQUES
Shelf Clock, circa 1815
David Wood, Newburyport, Massachusetts
Significant
finial: 37 ½”
Literature: Palmer, Brooks. A Treasury of American Clocks. New York City: Macmillan 1973. Page 32
PERIOD TO MOD/BRENNAN & MOUILLESEAUX ANTIQUES & DESIGN, Briarcliff Manor, N.Y. — Period Windsor. Oilcloth upholstery. Cool Nineteenth Century paint. “Historic Surface,” whatever that means.
JEWETT-BERDAN ANTIQUES, New Castle, Maine — Paint-decorated box in original paint, circa 1850.
DAVID THOMPSON ANTIQUES & ART, South Dennis, Mass. — Delightful “GOOD BOY” miniature wood pail or bucket in brilliant, original paint: bright yellow with red stars, crossed American flags and two horses. Original metal bands in blue paint. Superb, remarkable condition. Height: 3½ inches or 5¾ inches with handle extended.
DOUGLAS WYANT ANTIQUES, Cassopolis, Mich. — Burl ladle, measuring 6½ inches by 11 inches length.
J&G ANTIQUES, Amityville, N.Y. — Large gilt zinc and wrought iron apothecary trade sign that hung outside the pharmacy.
Bearded Mythical Agricultural Figure
Rare Cast Iron Architectural Element By an Unknown New England Foundry Circa 1875 - 22” Tall x 14” Wide
Peoples Line Omnibus Tin Toy Made by the Althof-Bergmann Company New York - Circa 1875 - 21 1/2” Long
“ e Seasons of the Year” Spring-Summer-Fall-Winter Austrian Glazed Ceramic Figures Circa Late 1930’s - Tallest is 19 1/4”
JEF & TERRI STEINGREBE, New London, N.H. — A herd of painted cast iron garden rabbits.
VILLAGE BRAIDER, Plymouth, Mass. — Grade A Raw Milk, doublesided painted wood sign, 48 by 8 inches.
WILLIAM
KELLY KINZLE ANTIQUES, New Oxford, Penn. — Rare working model of the Red Jacket squirrel tail hand-drawn fire pumper from the late Nineteenth Century, Massachusetts.
KELLY KINZLE
Miniature Wall Clock with an Églomisé Panel
Signed on the Dial, “David Brown/Providence”
This miniature wall clock stands at just 20 ½” tall and is housed in an elaborate case with its original eglomise panel. It is illustrated as “best” in Fine Points of Furniture by Albert Sack, who noted that it is “a unique clock of great rarity and desirability.” The painted glass panel depicts Justice holding a shield with the coat of arms of the United States. The works are by the noted Providence, Rhode Island inventor and clockmaker, David Brown (17811868). Housed in a mahogany case, circa 1820.
Illustrated: Magazine Antiques, August 1938, p. 97
Exhibited: New York, Metropolitan Museum of Art, American Art from American Collections, March 6 - April 1963, p. 48, no. 90, illustrated
JEFFREY TILLOU ANTIQUES, Litchfield, Conn. — Rare standing horse weathervane with cast zinc front, full-body molded copper, cast iron directional, attributed to J. Howard and Co., Bridgewater, Mass., circa 1868. Structurally in excellent condition, all original with traces of original sizing and gilt, honest and appealing historic surface. It measures 24¾ inches high by 31½ inches wide.
STEPHEN / DOUGLAS AT WALPOLOE, Walpole, N.H. / Rockingham, Vt. — Selection of American woodenware from our collection featuring many early Nineteenth Century eating plates.
Oil on canvas of a country lakeside by Samuel W. Griggs dated 1866. The painting is most likely a lakeside located in New Hampshire and is in excellent original condition.
Overall Dimensions: 24 3/4” by 32 1/2”
JEWETT-BERDAN ANTIQUES, New Castle, Maine — Home Baked Beans sign on tin.
JEFF AND HOLLY NOORDSY, Cornwall, Vt. — Diminutive New England or New York state dome top box with an exuberant paint decoration, circa 1830.
DOUGLAS WYANT ANTIQUES, Cassopolis, Mich. — Good girl yellow and green pail.
American Antiques Sharon Platt
Booth
Early 19th C. New England Pine Make-Do Bed Post Doll Provenance: The Late Robert Thayer Collection
Rare Classic 18th C. Man’s Linen Ruffled Shirt
Fine Gold Posy Ring with Engraved Sentiment ~ “I Licke my Coyse” ~ I Like my Choice ~ English C. 1700
double-sided painted wood sign, 36 by 24 inches. KELLY KINZLE ANTIQUES, New Oxford, Penn. — An English table orrery from the late Eighteenth Century with a hand-operated gear mechanism on a base with cabriole legs.
BITTNER ANTIQUES, Shelburne, Vt. — John Haley Bellamy carved eagle, measuring approximately 25 inches wide.
VILLAGE
(reverse),
JEFFREY TILLOU ANTIQUES, Litchfield, Conn. —
Late Federal painted checkerboard top candlestand, maple and pine, paint decorated, New England or New York state, circa 1820-30. Overall, in excellent condition, some wear and loss to painted surface. It has a swivel game piece drawer attached to the underside, above a turned shaft supported by carved cabrioleshaped legs. The top has penwork inscriptions around the outer edges of the gameboard. It measures 27½ inches high, 20¼ inches wide, 20½ inches deep. Provenance: The Collection of Dr Donald F. Moylan.
The 67th Annual New Hampshire Antiques Show August 8 – 10, 2024
THURSDAY & FRIDAY: 10AM – 7PM
SATURDAY: 10AM – 4PM
PETER SAWYER ANTIQUES, Exeter, N.H. — Nineteenth Century miniature paintdecorated chest with paper label of Isaac Barnard, Andover, Vt.
JEWETT-BERDAN ANTIQUES, New Castle, Maine — Early schoolgirl watercolor on paper of young lady and her woolly sheep.
STEPHEN / DOUGLAS AT WALPOLOE, Walpole, N.H. / Rockingham, Vt. — English slipware decorated loaf dish, late Eighteenth Century.
Arts & Artifacts of Early New England
A selection of 18thc glasswares, c 1740 to 1790, including a rare enameled white glass decanter (probably Bristol) decorated in black, with ruins, and an American flag!
Rare early lighting to include: rare pr of tall (19 in!) hogscraper candlesticks- signed “Bill”… colonial period- wedding band hogscraper candlesticks with octagonal and round bases- ca 1740-70… rare early tabletop wooden screw post double candle light; etc
Fine relic- English mortuary sword c1650, dug in a cellar hole many decades ago, in West Newbury, Mass!
Part of a selection of colonial period ceramicsincluding early Delftware, a small Bellarmine jug (6 1/2 inches!) and an English enameled salt glaze cream jug. dates range from 1670 to 1765…
Many early domestic items, including: Early painted woodenware, early New England redware, colonial New England pipe tongs, small 1740 comb decorated mirror, and an American pewter reflector sconce.
PETER SAWYER ANTIQUES, Exeter, N.H. — An amazing little dwarf tall case clock by Joshua Wilder, Hingham, Mass., circa 1815.
JEF & TERRI STEINGREBE, New London, N.H. — Collection of Taghkanic baskets.
JUDITH & JAMES MILNE ANTIQUES, Kingston, N.Y. — Unusual, possibly unique North Wind weathervane, 56 inches long by 25 inches high.
The Ba le of Lexington and Concord
Colored collotypes, hand-stenciled color, Hammer and Anvil rag paper, published by Goodspeed’s Book Shop (Boston), 1960, 15.25” x 19.75” (sight) and limited to 225 sets printed by the Meriden Gravure Company. They are housed in frames supplied by Goodspeed’s and labelled by the Book Shop on the verso (one having a later framing date than the other three). The frames are in very good condi�on with minor flaws.
Colonial revival prin�ng has always been an interest to us, and Goodspeed’s began venturing into producing restrikes of important 18th century prints as far back as 1903, when it employed Sidney Lawton Smith to re-make the Lexington and Concord Dooli�le engraving plates (and printed in a now-rare edi�on of 75). We are offering later reproduc�ons which Goodspeed’s copied from the original Dooli�le engravings owned by the Connec�cut Historical Society.
It is virtually impossible to ever own a complete, 1775 set, and if we did, we would be re�ring from the Americana business! Even in 1923, the originals were considered “so rare as to torment the dreams of collectors.” Harold Murdock, The Nineteenth of April, 1775.
The Ba�le of Lexington
A View of the Town of Concord
The Engagement at the North Bridge in Concord
A View of the South Part of Lexington
August 8 – 10, 2024
THURSDAY & FRIDAY: 10AM – 7PM
SATURDAY: 10AM – 4PM
RESSER-THORNER AMERICANA, Manchester, N.H. — Nineteenth Century boxed compass by John Trundy (1800-1873) and Thomas Salter Bowles (1785-1853) of Portsmouth, N.H., 5½-inch diameter, 3 inches high, fine condition. Both known makers signed the paper directional, which seems a bit unusual. Perhaps Trundy purchased said directional and then completed the compass, adding his signature to its middle.
VILLAGE BRAIDER, Plymouth, Mass. — Early Twentieth Century Eat Pure Honey sign, doublesided painted wood, 35 by 10 inches.
DeWOLFE AND WOOD, Alfred, Maine — Shaker sewing items
Paul Sullivan ANTIQUES
J&G ANTIQUES, Amityville, N.Y. — From the collection of Dr James McCleery, this Mason Challenge Grade brant, circa 1910, along with this flat-bottom “Blair”-type wigeon by A.B. Vance, branded with W.P. Patton.
STEVEN STILL ANTIQUES, Manheim, Penn. — Exceptional paint-decorated plank button settee, circa 1840. This settee, from the Mid-Atlantic states, is in excellent original condition.
KELLY KINZLE ANTIQUES, New Oxford, Penn. — Great mahogany model of a speedboat from the 1950s, 54 inches long.
DeWOLFE AND WOOD, Alfred, Maine — Shaker ephemera
Large carved wooden maiden, probably a ship figure head. American, 2nd half of the 19th century - 40” high
Dutch delftware barber bowl with unusual utensil decoration, 18th century - 9” diameter
Dutch delftware Queen Mary lobed charger, ca. 1690. - 13.5” diameter
Dutch delftware King William lobed charger, ca. 1690. - 13.5” diameter
JEWETT-BERDAN ANTIQUES, New Castle, Maine
A wooden wall pocket in the original polychrome paint with applied bird, circa 1880.
PETER SAWYER ANTIQUES, Exeter, N.H. — Old Man of the Mountain by George McConnell.
DeWOLFE AND WOOD, Alfred, Maine — Shaker bottles
PRATT’S ANTIQUES, Victor, N.Y. — Nineteenth Century sailor carved dog whistle.
Benjamin Champney (American, 1817-1907) Grapes at Dusk, North Conway, N. H.
Ian McKelvey Antiques
SCOTT BASSOFF / SANDY JACOBS, Swampscott, Mass. — Finely carved wooden plaque with trees, baskets, horses and snake. The carving measures 36½ by 19 inches.
JUDITH & JAMES MILNE ANTIQUES, Kingston, N.Y. — A carved and painted paddlewheeler, The Mississippi, 10 inches high by 16 inches long.
VILLAGE BRAIDER, Plymouth, Mass. — Heated Cabin sign, doublesided painted wood, 28 by 9 inches.
PETER SAWYER ANTIQUES, Exeter, N.H. — Haying in the Conway Valley with Mount Washington in the background by Benjamin Champney.
New Hampshire Antiques Show
JEFFREY TILLOU ANTIQUES, Litchfield, Conn. —
Carved cigarette and tobacco holder, cherry and birch, highlighted with paint, American, early Twentieth Century, great condition, retaining a wonderful natural patina. In the form of a Native American kneeling while holding a box, it was most likely used for storing cigarettes. It measures 9¼ inches high by 12¾ inches wide.
August 8 – 10, 2024
THURSDAY & FRIDAY: 10AM – 7PM
SATURDAY: 10AM – 4PM
STEPHEN / DOUGLAS AT WALPOLOE, Walpole, N.H. / Rockingham, Vt. — Mammoth Staffordshire pitcher, possibly a store display, with well-done early tin make-do handle.
JEFF AND HOLLY NOORDSY, Cornwall, Vt. — Graceful Western New York State redware jar with a pinkish glaze, circa 1840.
SIDE P0RTRAIT attr. to JUSTUS DA LEE, c.1840 in original, extraordinary paint-decorated wood frame mimicking tortoise-shell. Pencil and watercolor on paper with gum-arabic highlights to the dress. It has the characteristic black spandrels with faint bleed of blue into the light ground as seen in Justus Da Lee’s work. (See “Side Portrait Painters: Differentiating the Da Lee Family Artists,” Brownstein and Shushan, The Magazine Antiques, July/August 2011) Born in 1793 in New York, Da Lee in later years moved West, appearing in the 1860 Census in Aurora, Illinois, where he is listed as “blind.” He relocated to Eden, Fond du Lac, Wisconsin to live with his daughter, where he died in 1878. It is significant that this work was found in Wisconsin, and merits speculation that it might have been of sentimental importance to the Da Lee family. It was recently obtained from a private, old Wisconsin collection. Overall measurements, including frame: 8 1/8” x 7 5/8”. Original cover glass and wood backboard.
DAVID THOMPSON ANTIQUES & ART
David Thompson Jane Turano-Thompson 802-238-6987 South Dennis MA dtjt@sover.net
JEWETT-BERDAN ANTIQUES, New Castle, Maine — Early hooked rug of two black horses.
BOB JESSEN & JIM HOHNWALD, Fitzwilliam, N.H. — Set of six ladder back chairs and table.
BAKER & CO. ANTIQUES, Lake George, N.Y. — Smoke paint-decorated apple box with a large collection of stone vegetables.
A boldly figured tiger maple stand in original finish, New Hampshire, circa 1800.
OLIVER GARLAND, Falmouth, Mass. — Large late Seventeenth Century Dutch Wanli-style Delft charger.
PETER SAWYER ANTIQUES, Exeter, N.H. —
DeWOLFE AND WOOD, Alfred, Maine — Many Baedeker’s.
JEWETT-BERDAN ANTIQUES, New Castle, Maine — We will have a selection of Nineteenth Century dolls.
JEFF AND HOLLY NOORDSY, Cornwall, Vt. — Providence (R.I.) Marine Society certification dated 1820.
IAN McKELVEY ANTIQUES, South Windham, Conn. — Oversized general store display, Nineteenth Century, tinsmith-made chamber stick.
PERIOD TO MOD/BRENNAN & MOUILLESEAUX ANTIQUES & DESIGN, Briarcliff Manor, N.Y. — If it’s as-is ya want, it’s as-is we got.
NATHAN LIVERANT AND SON, Colchester, Conn. — Figured maple country Sheraton drop leaf table, New England, 1820-45.
New Hampshire Antiques Show
RESSER-THORNER AMERICANA, Manchester, N.H. — A Ballooning Disaster, a Nineteenth Century snuffbox portraying a balloon engulfed in smoke, 3-inch diameter, some craquelure, decorated surround and edges.
PERIOD TO MOD/BRENNAN & MOUILLESEAUX ANTIQUES & DESIGN, Briarcliff Manor, N.Y. — Catwoman returns!
JEWETT-BERDAN ANTIQUES, New Castle, Maine — Pair of carved wooden and paint angels.
SCOTT BASSOFF / SANDY JACOBS, Swampscott, Mass. — Shaker box in wonderful red paint, measuring 8-7/8 by 6 by 3¼ inches.
DOUGLAS WYANT ANTIQUES, Cassopolis, Mich. — Four-color painted basket.
DOUGLAS WYANT ANTIQUES, Cassopolis, Mich. — American eagle plaque, 19½ inches wide by 13½ inches high.
Hessian Soldier Whirligig American Unidentifi ed maker Probably Pennsylvania Circa 1820
Carved and polychrome painted white pine with metallic foil applique.
Height of fi gure: 20" Ex. Don Walters
PEWTER & WOOD ANTIQUES, Enfield, N.H. — A dog pull-toy, jointed, bold yellow and red paint, 15 inches long by 7 inches high.
VILLAGE BRAIDER, Plymouth, Mass. — Ice Cream sign, painted wood, 35 by 20½ inches.
SPENCER MARKS, LTD., Southampton, Mass. — This unusual sterling dish was made by Whiting Mfg. Co. from New York City in the 1870s and is in the form of an outspread bird wing along with an applied, figural bird.
BITTNER ANTIQUES, Shelburne, Vt. — “Chatham/Columbia” painted road sign, circa 1875, which was located in the area known today as Florham Park; the New Jersey town of Columbia existed until 1879. The sign measures approximately 38 inches wide.
ANTIQUES, Victor, N.Y. — Nineteenth Century brightly painted chalkware deer.
JEFF AND HOLLY NOORDSY, Cornwall, Vt. — A Fulton, N.Y., 5-gallon stoneware water cooler with double love birds and a merchant stamp, circa 1855.
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/ DOUGLAS AT WALPOLOE, Walpole, N.H. / Rockingham, Vt. — New England paint-decorated dome lid trunk, circa 1825.
JEWETT-BERDAN ANTIQUES, New Castle, Maine
Details of a Civil War-era cast iron plaque of a shield and eagle in old red paint.
PRATT’S
STEPHEN
New Hampshire Antiques Show
DAVID THOMPSON ANTIQUES & ART, South Dennis, Mass. — Pair of early shoe buckles originally owned by Anthony Low (1724-1802) of Warwick, R.I., with family history. Possibly worn on his wedding day in 1766. English-made, worked and stamped silver over brass with wrought iron tongues. Excellent condition. They are 3-1/8 inches long. Recently purchased privately from Low family descendants. Genealogy provided to purchaser.
IAN McKELVEY ANTIQUES, South Windham, Conn. — Large early to mid-Nineteenth Century — rather fantastic!
The 67th Annual New Hampshire Antiques Show August 8 – 10, 2024
RESSER-THORNER AMERICANA, Manchester, N.H. — A check issued and signed by Orville Wright, 1936, in fine condition.
JEWETT-BERDAN ANTIQUES, New Castle, Maine — Sheet iron witch and moon weathervane, circa 1930s.
Luigi Lucioni, Shelburne House, 1937. Oil on canvas, 20 x32 inches.
J&G ANTIQUES, Amityville, N.Y. — Very fine and rare Federal inlaid candlestand, attributed to John Dunlap II (17841869) Antrim, N.H., circa 1810. Provenance: The Eddy Nicholson sale, January 27, 1995.
ZIEBARTH’S ANTIQUES, Mount Horeb, Wis. — Illinois illustrative painting by WPA artist, George Melville Smith, circa 1946.
THOMAS M. RAWSON ANTIQUES, Cedar Rapids, Iowa — Folk art carving of dummy with original paint and clothing.
JUDITH & JAMES MILNE ANTIQUES, Kingston, N.Y. — New York City winter scene circa 1860. Has a great provenance.
VILLAGE BRAIDER, Plymouth, Mass. — Early Twentieth Century Garden Seeds sign, double-sided painted wood, 46 by 12 inches.
WILLIAM K. & TERESA F. KURAU, Lampeter, Penn. — Historical Staffordshire General Lafayette Right Facing variant plate with blue edge. Only example we know of in private hands with this variant. We had offered a platter too some years ago but that was the only one too. We just recently noticed that the Winterthur Museum has some examples. We will have a large selection of General Lafayette items at the show. Just in time for his 200th year anniversary visit back to the United States.
JUDITH & JAMES MILNE ANTIQUES, Kingston, N.Y. — Unusual cast metal sculpture of an elk, circa 1900, 41 inches high by 31 inches wide by 9 inches deep.
August 8 – 10, 2024 nhada.org
JEWETT-BERDAN ANTIQUES, New Castle, Maine — Basket with great form and original green paint, late Nineteenth Century.
Carved and painted wood weathervane or sign fragment of a hunting dog, late 19th c. Great weathered paint, doubled sided, 36" x 19" x 3"
J&G ANTIQUES, Amityville, N.Y. — Queen Anne tea table with rectangular dish top, on cabriole legs with pad feet. This was found in an attic of a Connecticut home.
JEFF AND HOLLY NOORDSY, Cornwall, Vt. — Perfectly proportioned looped creamer, blown at a southern New Jersey glass house, circa 1840. Ex David Good and Barry D. Hogan.
CHRISTOPHER & BERNADETTE EVANS ANTIQUES, Waynesboro, Va. — Early Twentieth Century American geometric hooked rug with crossing compass points. Professionally mounted for hanging. It measures 30 by 36 inches.
PETER SAWYER ANTIQUES, Exeter, N.H. — Assorted vintage watches and jewelry.
BOB JESSEN & JIM HOHNWALD, Fitzwilliam, N.H. — Shoe foot hutch table in old red paint.
New Hampshire Antiques Show
& CO. ANTIQUES, Lake George, N.Y. — We will be bringing a select large assortment of smalls.
SPENCER MARKS, LTD., Southampton, Mass. — This rare coffee service was presented to Edward Follensbee Noyes and Margaret Proctor upon their wedding day on February 15, 1863. Edward Noyes (October 3, 1832-September 4, 1890) grew up in New Hampshire and after graduating from Dartmouth College at the age of 23, he went to Cincinnati, Ohio, to attend law school. He served in the Union Army and helped form the 39th Ohio Infantry (Ohio Volunteer Infantry).
JEF & TERRI STEINGREBE, New London, N.H. — Large wooden ship weathervane.
BAKER
OLDE HOPE ANTIQUES, INC., New York City — Clipper ship with banners, flag and shield watercolor with gold foil paper sails, mica flakes and cut paper and foil on a blue paper ground, American, circa 1860, 29¾ by 39½ inches.
IAN McKELVEY ANTIQUES, South Windham, Conn. — Oversized general store pencil display, circa 1930s.
CHRISTOPHER & BERNADETTE EVANS ANTIQUES, Waynesboro, Va. — Early Twentieth Century patriotic cribbage board in old red, white and blue paint, 21 inches long.
ZIEBARTH’S ANTIQUES, Mount Horeb, Wis. — Hepplewhite inlaid dresser box, New York, circa 1790.
PERIOD TO MOD/BRENNAN & MOUILLESEAUX ANTIQUES & DESIGN, Briarcliff Manor, N.Y. — Nineteenth Century wrought and sheet iron door handle. “O Vanity! What have ye done!”
VILLAGE BRAIDER, Plymouth, Mass. — Late Nineteenth Century still life on panel, 27 by 20 inches.
August 8 – 10 nhada.org
SPENCER MARKS, LTD., Southampton, Mass. — This lovely Aesthetic Movement, sterling dish was made circa 1875 in Concord, N.H., by the William B. Durgin Company and retailed in Cincinnati, Ohio.
RESSER-THORNER AMERICANA, Manchester, N.H. — “Life in London,” a Nineteenth Century snuffbox with the unusual portrayal of a mixed-race couple dancing in a pub, 3½-inch diameter, fine condition.
RANDI ONA ANTIQUES, Wayne, N.J. — She has ruffled ears! And an applied nose. And yarn sewn “blonde” hair. She’s wonderful.
ZIEBARTH’S ANTIQUES, Mount Horeb, Wis. — Nineteenth Century Ohio Mill scene, oil on canvas painting.
KELLY KINZLE ANTIQUES, New Oxford, Penn. — Walnut huntboard with Gothic arched-paneled doors from Southside Virginia, circa 1800.
JEF & TERRI STEINGREBE, New London, N.H. — Two signed A.E. Crowell miniature decorative decoys in original surface.
THOMAS R. LONGACRE ANTIQUES FOLKART
Exceptional early sheet iron horse weathervane professionally mounted on a painted iron base representing a pasture. It measures 28 inches in length and 19 inches high. Likely early to mid-19th century. Maker unknown.
RESSER-THORNER AMERICANA, Manchester, N.H. — “Liberty and Union” sampler dated 1861 by Lucy P. Mellus of Massachusetts, 12 by 7½ inches (unframed). Research indicates that Lucy may have been from Braintree or Abington.
The 67th Annual New Hampshire Antiques Show August 8 – 10, 2024
JEFFREY TILLOU ANTIQUES, Litchfield, Conn. — “Tree Of Love,” American School, unsigned, circa 1835, watercolor, gouache and ink on paper, 16½ by 15½ inches (with frame). Overall, in fine condition, uniform toning and oxidation, small repaired tear to lower right edge. The paperboard backing retains several labels, including The American Folk Art Gallery, New York City, dated June 8, 1971, and the Amon Carter Museum, Fort Worth, Texas. The American Folk Art Gallery label suggests that the work is from the Collection of Mrs Charles Sheeler, likely the second wife of the American Modernist painter Charles Sheeler (1883-1965).
PEWTER & WOOD ANTIQUES, Enfield, N.H. — A horse and foal weathervane, iron and sheet metal, blue wooden base, 31 inches high by 27 inches long.
&
COTTAGE & CAMP, Millerton, N.Y. — Small sheet iron goat weathervane in great surface.
JEWETT-BERDAN ANTIQUES, New Castle, Maine — Carved wooden weathervane mold.
STEPHEN / DOUGLAS AT WALPOLE, Walpole, N.H. / Rockingham, Vt. — Tiny American Eighteenth Century “butterfly” table with rich old patina — a little gem.
August 8 – 10, 2024 nhada.org
DAVID THOMPSON ANTIQUES & ART, South Dennis, Mass. — Beautiful, hand-tinted, daguerreotype, circa 1850, of a dog by itself, resting on an ornate carpet in photographer’s studio. It is ninth-plate size, in fine case with red velvet pad retaining its original seals. Excellent condition. Dimensions overall, including case: 2-7/8 by 2-3/8 inches.
J&G ANTIQUES, Amityville, N.Y. — Oil on canvas marine painting, “Running from the storm,” unsigned and in a beautiful gold gilded original frame.
HOLLIS BRODRICK, Portsmouth, N.H. — A wonderful rare 1760s Massachusetts woodcut print: “A Sachem of the Abenakee Nation, rescuing an English Officer from the Indians.”
Collection of Three Paint Decorated Treenware Covered Jars. Fine original condition. ca1860. Largest 3 3/4” h.
RESSER-THORNER AMERICANA, Manchester, N.H. — Nineteenth Century pen wipe in the form of George Washington made from cloth, velvet, lace, brass, hair and parchment, 13 by 9 inches, in overall fine condition with some flaws to the parchment face and possibly hand. A similar example adorns the cover of Antiques MAGAZINE in February 1926, wherein the editors seem to suggest a Pennsylvania origin of the early 1800s. Others actually state that these were epaulets used by pallbearers at Washington’s funeral. We, like Mount Vernon (which has an example in its collection), believe these to be pen wipes dating to the second half of the Nineteenth Century.
JEWETT-BERDAN ANTIQUES, New Castle, Maine — We will have a case of Nineteenth and early Twentieth Century holiday.
C 1900 Corbett vs Mitchell 32” H x 27” W (framed) PA Architectural Barn Ornament with hearts & stars. C 1880 86” diameter
DeWOLFE AND WOOD, Alfred, Maine — Fine bindings
PETER SAWYER ANTIQUES, Exeter, N.H. — Mount Lafayette and Eagle Cliff from the shore of Echo Lake by Edward Hill.
THOMAS M. RAWSON ANTIQUES, Cedar Rapids, Iowa — Circa 1820 redware jar with beautiful glaze, from Bristol County, Massachusetts.
NATHAN LIVERANT AND SON, Colchester, Conn. — Assembled pair of Queen Anne cherry side chairs with period flame stitch upholstery, Norwich, Conn., 1750-75.
WILLIAM K. & TERESA F. KURAU, Lampeter, Penn. — Historical polychrome transfer pitcher with a view of the Landing of Lafayette At Castle Gardens, made by Jersey City Pottery Company, New Jersey, circa 1840s. These pitchers are extremely rare and hardly ever come on the market. A true piece of New York City history.
BAKER & CO. ANTIQUES, Lake George, N.Y. — A rare Lizzie Lapp, Lancaster County Pennsylvaniamade Amish cloth doll.
PEWTER & WOOD ANTIQUES, Enfield, N.H. — A Canada goose standing on iron legs, initials “W.R.M.” on bottom, probably owner, 28 inches high by 9 inches wide by 32 inches long.
Pair of Fire buckets Rufus Greene Amory 1760-1833 (stamped Fenno) Rufus Amory, a Boston Lawyer Harvard College Class of 1778
Hooked Rug, Mom & Baby Horse Eating Apples, 32” x 26”, Unmounted, c1940, Mint Condition
Stone Book, White Marble Stone Book, Mahogany Inlay, 5” x 3.5”, Excellent Condition
Folk Art White House Painting, Maine, c1900, Oil on Artist Board, 22” x 17”, Excluding Frame
Watercolor on Paper, Tippy Tail Tuxedo “Moses” with his rat Frame: 5.5” x 8”, Original Untouched Condition
ROBERT T. FOLEY ANTIQUES, Gray, Maine — MidNineteenth Century Taylor Block sign.
OLIVER GARLAND, Falmouth, Mass. — Collection of treen: burl dog snuff box, burl spice container, rare, pressed horn pipe needle, pressed horn lion snuff box, Eighteenth to early Nineteenth Century.
BAKER & CO. ANTIQUES, Lake George, N.Y. — An early blue-painted sign with cloth toy dogs.
GARTHOEFFNER GALLERY ANTIQUES, Lititz, Penn. — An oil on canvas by Sterling Strauser, 1889, 20 by 24 inches.
RANDI ONA ANTIQUES, Wayne, N.J. — A very miniature six-board box with very tiny rosehead nails in fabulous green paint.
STEPHEN / DOUGLAS AT WALPOLOE, Walpole, N.H. / Rockingham, Vt. — Large watercolor reward of merit with cat. “To Martha A. Hoover for learning her ABC” is inscribed on bottom. Size: 15 by 12¾ inches.
OLDE HOPE ANTIQUES, INC., New York City — A hanging wall box, carved pine with original painted finish, probably lower Canada, Eighteenth Century, 18½ inches high, 15½ inches wide, 10½ inches deep. It is inscribed within the heart, “1768 Meary Hana Farhingrin.”
KELLY KINZLE ANTIQUES, New Oxford, Penn. — Rare set of six ladderback chairs, circa 1740, from the Delaware Valley.
IAN McKELVEY ANTIQUES, South Windham, Conn. — Nineteenth Century tiger maple Federal, one over three, child-sized chest.
NATHAN LIVERANT AND SON, Colchester, Conn. — Rare signed miniature portrait of a gentleman by Isaac Sheffield (1807-1845) of New London, Conn., 1825-45.
ROBERT BURGER, Mount Vernon, Ohio — Elmer Crowell carved plaque.
BASSOFF / SANDY JACOBS, Swampscott, Mass. — Unusual cherry wall cupboard with broken arch pediment and bowfront drawer, which measures 28 inches tall by 11½ inches deep and 13 inches wide.
ZIEBARTH’S ANTIQUES, Mount Horeb, Wis. — Large American sterling silver ewer, Tiffany & Co., circa 1900-10.
New Hampshire Antiques Show
GARTHOEFFNER GALLERY
ANTIQUES, Lititz, Penn. — Early painted face cloth doll in original condition, 18 inches tall, circa 1870.
MARCHING BAND CYMBAL PLAYER WHIRLIGIG
American, in the manner of or possibly attributed to Rocco Pavese (Italian/American 1852-1950). Western Michigan, late 19th c./early 20th c. Carved and painted wood.
Over-all in great condition, retaining original paint, minor losses and wear consistent with age and exposure missing paddles.
Provenance: Private collector, Western Michigan, From the Collection of Donald Moylan, Hindman Auctions, Cincinnati, Ohio 33 ½”h (on base)
ROBERT BURGER, Mount Vernon, Ohio — A 28-inch plaque for Red Mans Lodge
DoubleTree by Hilton Manchester, NH • 603.625.1000 nhada.org
BITTNER ANTIQUES, Shelburne, Vt. — Pembroke mahogany table from Newport, R.I., made by Robert Lawton Jr (1772-1853) and dated 1794. It is documented in Yale University’s Rhode Island Furniture Archive.
J&G ANTIQUES, Amityville, N.Y. — Double-sided carved trade sign “Quick Service Gentleman’s Hair Dresser.” This sign was outside of a barber shop.
RESSER-THORNER AMERICANA, Manchester, N.H. — “The Goddess of Liberty,” pen, ink and watercolor, in period frame, 10 by 8 inches (frame included), with a notation on the verso, “Album of Lucy Bush, Ridgebury, Conn. 1829.”
The 67th Annual New Hampshire Antiques Show August 8 – 10, 2024
AND WOOD, Alfred, Maine — Collection of Nineteenth Century Valentines
New Hampshire Antiques Show
PRATT’S ANTIQUES, Victor, N.Y. — Early Nineteenth Century chalkware plaque of a bird of paradise.
OLDE HOPE ANTIQUES, INC., New York City — Miniature chair, carved wood with original yellow paint and floral stencil on crest and seat edge, mid-Nineteenth Century, Pennsylvania.
BITTNER ANTIQUES, Shelburne, Vt. — Edward R. Murrow’s personal 14K Bulova chronograph wristwatch with a 14K bracelet, documented with provenance from the Murrow family.
BOB JESSEN & JIM HOHNWALD, Fitzwilliam, N.H. — Child’s size cupboard in paint decoration.
DeWOLFE
DAVID THOMPSON ANTIQUES & ART, South Dennis, Mass. — Bisque head doll, completely dressed by the Shakers, circa 1890, including “Dorothy” cloak in soft gray/beige wool with hood and capelet, matching dress with “Bertha” pointed front and back and trimmed in lace, poplar bonnet under cape hood, three layers of undergarments and black stockings. Very good condition with normal wear. She is 14 inches high. Recently discovered in Massachusetts estate.
THOMAS M. RAWSON ANTIQUES, Cedar Rapids, Iowa — Northwest Coast house totem. Beautiful carving and original painted surface.
RANDI ONA ANTIQUES, Wayne, N.J. — An anniversary tin basket; large, luscious strawberries in excellent color and condition.
CHRISTOPHER & BERNADETTE EVANS ANTIQUES, Waynesboro, Va. — Nineteenth Century American miniature redware jar with manganese and cream slip decoration, 2¼ inches tall.
SPENCER MARKS, LTD., Southampton, Mass. — This stunning, Art Nouveau sterling silver inkwell was made in 1900 by Gorham from Providence, R.I.
New Hampshire Antiques Show
ZIEBARTH’S ANTIQUES, Mount Horeb, Wis. — Rare and important incised presentation pitcher attributed to Richard Remmey, circa 1870.
August 8 – 10, 2024
THURSDAY & FRIDAY: 10AM – 7PM
SATURDAY: 10AM – 4PM
JEWETT-BERDAN ANTIQUES, New Castle, Maine — One of a set of three early silhouettes.
WILLIAM K. & TERESA F. KURAU, Lampeter, Penn. — Staffordshire Canary children’s mug with rust red transfer of an eagle and Washington in a cartouche. Children’s mugs like these are very sought-after by political collectors and historical china collectors. These sometimes show up in a white pearlware but never really in canary. We will have a large selection of Washington-related items at the show.
ROBERT T. FOLEY ANTIQUES, Gray, Maine — “Rattler,” elaborately decorated salesman’s sample sled board, 9 by 18 inches, attributed to Paris Mfg.
J&G ANTIQUES, Amityville, N.Y. — Seymour three-drawer sewing stand, circa 1810-20. A cookie-corner stand with book matched crotch mahogany drawer fronts, original brasses, bottom drawer with fabric bag, on well-carved reeded legs, terminating in original brass casters.
OLDE HOPE ANTIQUES, INC., New York City — Peacock, carved and painted pine with wire crest on a square base, 6½ inches high, maker unknown, probably Pennsylvania, circa 1900.
as
13.5” in diameter.”
Delft portrait charger depicting William and Mary, King and Queen of Great Britain and the Netherlands, c. 1690, dressed
Frank Zappa and Janis Joplin. Blue on white, in good condition,
ROBERT BURGER, Mount Vernon, Ohio — Richard le Barre Goodwin, “The Bosa Chica Gun Club,” 33 by 47 inches.
CHRISTOPHER & BERNADETTE EVANS ANTIQUES, Waynesboro, Va. — Pair of large molded redware spaniels strongly attributed to John Bell, Waynesboro, Penn., circa 1870. One unglazed, the other in a Rockingham lead glaze. Both surviving in excellent condition. They are 9¼ inches tall.
STEVEN STILL ANTIQUES, Manheim, Penn. — Paint-decorated hanging set of drawers attributed to John Allen, Meigs County Ohio, circa 1890.
CHRISTOPHER & BERNADETTE EVANS ANTIQUES, Waynesboro, Va. — Mid-Nineteenth Century folk art portrait of a gentleman with side burns, full cheeks and a pompadour. American, water color and pencil on paper, 6-inch diameter framed.
John Hunt Marshall ANTIQUES
KELLY KINZLE ANTIQUES, New Oxford, Penn. — Vibrant paint-decorated corner cupboard in the Mennonite tradition from Schuylkill County, circa 1840.
KELLY KINZLE ANTIQUES, New Oxford, Penn. — Portrait of President John Adams attributed to Edward Savage, circa 1800.
HOLLIS BRODRICK, Portsmouth, N.H. — An excellent Eighteenth Century New England toaster.
Gameboard: Colorful 19th century Gameboard Found in Pennsylvania. 20” x 19 1/2” Redware Jug: Early New Hampshire
Redware Jug. 7 1/2” tall.
ROBERT T. FOLEY ANTIQUES, Gray, Maine — Oakfield Clock Exchange sign with 22-inch diameter iron clock face.
RANDI ONA ANTIQUES, Wayne, N.J. — A very good Puffy Sleeve/Ezra Wood profile of a woman. In the original pressed brass frame.
ROBERT BURGER, Mount Vernon, Ohio — Hoppinger, Philadelphia
JEFF AND HOLLY NOORDSY, Cornwall, Vt. — Nineteenth Century Pennsylvania chalkware rabbit.
STEVEN STILL ANTIQUES, Manheim, Penn. — Pennsylvania hanging salt box, from the first half of the Nineteenth Century, with an early blue green painted surface.
HOLLIS BRODRICK, Portsmouth, N.H. — A rare 1734 mezzotint of “Jonathan Belcher, Governor of Massachusetts Bay and New Hampshire.”
DeWOLFE AND WOOD, Alfred, Maine — Shaker boxes August 8 – 10, 2024
and
Legendary Spawning Trout- Oscar Peterson (1887-1951) as pictured p. 76 “Michigans Master Carver” by Ronald Fritz 20”x36”
Trout on Barn Door- Richard Le Barre Goodwin (ex. Fannon Collection) 32x42”
Bert Savage, Crumpton Collection)
Gordon
English Setter- 1883. Heinrich Speirling. Exhibited 1884 Cinncinatti Industrial Exposition “41x52” Frank Stick- (ex. David Stick Collection) 35”x45”
JEFF AND HOLLY NOORDSY, Cornwall, Vt. — Nineteenth Century paint-decorated Masonic gameboard found in Maine.
THOMAS M. RAWSON ANTIQUES, Cedar Rapids, Iowa — Pair of carved and painted lumberjacks were part of a whirligig.
BOB JESSEN & JIM HOHNWALD, Fitzwilliam, N.H. — Early painted armchair, painted red candlestand with carved feet and a large punched tin hanging lantern with five candle sockets.
ZIEBARTH’S ANTIQUES, Mount Horeb, Wis. — Northwest Coast model totem, circa 1890.
STEVEN STILL ANTIQUES, Manheim, Penn. — Copper eagle parade torch from Abraham Lincoln’s 1860 or 1864 presidential campaign.
STEPHEN / DOUGLAS AT WALPOLOE, Walpole, N.H. / Rockingham, Vt. — Mid-Nineteenth Century checkerboard with finely executed and detailed design, American.
SCOTT BASSOFF / SANDY JACOBS, Swampscott, Mass. — A pair of 18K yellow gold hedgehog earrings.
2024 NHADA EXHIBITOR LIST
Melissa Alden, Portsmouth, NH
Baker & Co. Antiques, Delmar, NY
Bittner Antiques, Shelburne, VT
Pam & Martha Boynton, Townsend, MA
Hollis Brodrick, Portsmouth, NH
20
60
Booth 53
Booth 61
Booth 33
Robert Burger Antiques, Mount Vernon, OH Booth 49
Cottage & Camp, Millerton, NY
DeWolfe and Wood, Alfred, ME
Early American Antiques, Canfield, OH
Matt Ehresman, Wadsworth, OH
J & G Enoksen, Amityville, NY
Booth 5
Booth 23
Booth 52
Booth 40
Booth 54
Christopher & Bernadette Evans Antiques, Waynesboro, VA Booth 31
Brian J. Ferguson, Swansea, MA
Robert T. Foley Antiques, Gray, ME
Tucker Frey Antiques, Woodbury, CT
Oliver Garland, Falmouth, MA
Pat & Rich Garthoeffner, Lititz, PA
Gemini Antiques, Ltd., Whitehouse Station, NJ
Scott Bassoff and Sandy Jacobs, Swampscott, MA
Bob Jessen & Jim Hohnwald, Fitzwilliam, NH
Jewett-Berdan Antiques, Newcastle, ME
Allan Katz Americana, Madison, CT
Kelly Kinzle, New Oxford, PA
Booth 58
Booth 57
Booth 44
Booth 17
Booth 18
Booth 50
Booth 56
Booth 27
Booth 47
Booth 65
Booth 34
William & Teresa Kurau, Lampeter, PA Booth 35
Nathan Liverant and Son, LLC, Colchester, CT Booth 9
Thomas R. Longacre Antiques, Marlborough, NH Booth 3
John Hunt Marshall, Westhampton, MA Booth 38
Ian McKelvey Antiques, So Windham, CT Booth 59
Judith & James Milne/At Home Antiques, Kingston, NY Booth 14
Newsom & Berdan Antiques, Thomasville, PA Booth 11
Jeff & Holly Noordsy Art and Antiques, Cornwall, VT
Old as Adam, Providence, RI
Olde Hope Antiques, Inc., New York, NY
Randi Ona Antiques, Wayne, NJ
Hercules Pappachristos, Derry, NH
Period To Mod/Brennan & Mouilleseaux Antiques & Design, Briarcliff Manor, NY
Pewter & Wood Antiques, Enfield, NH
Sharon Platt American Antiques, New Castle, NH
Nancy & Gene Pratt, Victor, NY
Thomas M. Rawson Antiques, Cedar Rapids, IA
Booth 32
Booth 10
Booth 28
Booth 45
Booth 46
Booth 63
Booth 7
Booth 36
Booth 21
Booth 30
Resser-Thorner Americana, Manchester, NH Booth 8
Jeffrey Roelof, Kalamazoo, MI Booth 6
Peter Sawyer Antiques, Exeter, NH Booth 15
David A. Schorsch - Eileen M. Smiles American Antiques, Woodbury, CT Booth 55
Spencer Marks, Ltd., Southampton, MA Booth 62
Jef & Terri Steingrebe, New London, NH Booth 43
Stephen Douglas at Walpole, Walpole, NH Booth 39
Steven F. Still Antiques, Manheim, PA Booth 22
Paul D. Sullivan Antiques, Manchester, NH Booth 24
David Thompson Antiques & Art, So. Dennis, MA Booth 12
Jeffrey Tillou Antiques, Litchfield, CT Booth 51
Jonathan Trace, Portsmouth, NH Booth 48
Village Braider, Inc., Plymouth, MA Booth 4
Michael Whittemore Antiques & Folk Art, Punta Gorda, FL Booth 37
Withington & Co., Cape Neddick, ME Booth 42
Douglas Wyant Antiques, LLC, Cassopolis, MI Booth 2
Ziebarth’s Gallery, Mount Horeb, WI Booth 26
Blackwell July 27 Auction Has Two Artworks By Jean-Michel Basquiat
CLEARWATER, FLA. — On July 27, Florida’s Blackwell Auctions will present two signed, fresh-to-the-market paintings by Jean-Michel Basquiat (American, 1960-1988) as highlights of the firm’s estates auction. Neither of the Basquiat artworks has been seen publicly since their display at a 2002 contemporary art exhibition conducted at the Santa Monica, Calif., gallery and private consultancy firm Ikon. At that event, the Basquiats appeared alongside paintings by Keith Haring, Andy Warhol, Damien Hirst, Ed Ruscha, Roy Lichtenstein and several other contemporary artists of great distinction.
The larger of the two Basquiat artworks to be auctioned is titled “Chop Suey.” Created in 1983, the vibrant marine-blue, black, yellow and white painting on illustration board measures 9¾ by 12 inches (sight). “Chop Suey” incorporates two familiar symbols that recur in Basquiat’s work: the tuxedo-clad penguin with a top hat and the figure with an upraised arm and vertical body riddled with arrows. It has been suggested that Basquiat may have expanded the concept of this work into his mural-sized “The dingoes that park their brains with their gum,” as the two bear some thematic similarities. The painting is boldly artist-signed on verso. It will open for bidding at $50,000.
The second Basquiat is untitled (Fig One), a 1982 oilstick on paper that measures 9-1/8 by 11 inches (sight). In addition to the depictions of two narrow apartment buildings and a morose dog figure, Basquiat included his most iconic symbol, the threepointed crown. It is positioned
Jean-Michel Basquiat (American, 1960-1988), “Chop Suey,” painting on illustration board. Artist-signed on verso. Size 9¾ by 12 inches in an 18-3/8-by-20¼-inch frame. Framed for gallery exhibition by Castelli Custom Picture Framing of Culver City, California. Provenance: Exhibited at Santa Monica, Calif., gallery Ikon in 2002. Opening bid: $50,000 West Hartford Marketplace
atop one of the buildings, as though the artist wanted to add a regal touch to an otherwise pedestrian-looking urban edifice. The front of the artwork is signed with Basquiat’s full name. Opening bid: $35,000.
Both Basquiat works were professionally framed in 2002 by Castelli Custom Picture Framing of Culver City, Calif., to achieve a size that would be most suitable for exhibition. “Chop Suey” has a framed size of 18-3/8 by 20¼ inches, while untitled (Fig One) measures 20½ by 22 inches. To this day, Castelli continues to provide its bespoke framing services to noted artists, top-tier galleries and several major auction houses.
New Lyman Allyn Exhibition Spotlights Recent Paintings
By Marvin Espy
NEW LONDON, CONN. —
The Lyman Allyn presents a special exhibition of recent work by New London, Conn., artist Marvin Espy. Reflecting on the senseless killing of George Floyd and the universality of human experience, Marvin Espy presents new and recent paintings in “Up from the Asphalt.”
Using Maslow’s hierarchy of needs as a framework for processing the painful last minutes of George Floyd’s life on May 25, 2020, Espy’s paintings and words offer us a pathway to unite in mourning, stand in resolve, and share in our hopes. “Up from the Asphalt” is on view through October 20.
Maslow’s hierarchy of needs suggests that human motivation follows a pyramid structure, starting with basic survival needs such as food, shelter and safety, and building to a sense of belonging, esteem and, ultimately, selfactualization. In his last breaths, George Floyd pleaded for the most essential
needs of Maslow’s hierarchy. This exhibition explores what is core to all people, everywhere.
A New London, Conn., resident since early 2021, Marvin Espy has a studio and art gallery at 308 State Street, and teaches art at the Hygienic Gallery, New London. Originally from Cincinnati, Ohio, Espy studied fine art under Frank Shands at Princeton High School and artist Henry Koerner (Austrian, active in America, 1915-1991) at the Art Institute of Pittsburgh. Based in Charlotte, N.C., before moving to Connecticut, Espy has exhibited widely, and his work has been featured in numerous publications, including Connecticut’s INK Magazine . As Espy’s work continues to evolve, he invites viewers on a profound journey where we share in grief, so that we might share in celebration.
The Lyman Allyn Art Museum is at 625 Williams Street. For information, 860-4432545 or www.lymanallyn.org.
Edwin Bailey of Blackwell Auctions remarked, “It’s a tremendous honor for us to offer these two artworks by Jean-Michel Basquiat, especially given the unimpeachable provenance of their having been exhibited at Ikon.” After the Ikon exhibition concluded, both of the Basquiats joined a private art collection in Miami, where they have remained for more than two decades.
The auction’s extensive selection of other fine art pieces includes original works by Leroy Neiman, Michael Cartellone, Charles Hinman, Alan Davie, Louis Leopold Boilly, Richard Schmid, Peter Max and others. Additionally, there are signed
Jean-Michel Basquiat (American, 1960-1988), untitled (Fig. One), oilstick on paper. Artist-signed on front. Size: 9-1/8 by 11 inches in a 20½-by-22-inch frame. Provenance: Framed for gallery exhibition by Castelli Custom Picture Framing of Culver City, Calif. Provenance: Exhibited at Santa Monica, California gallery Ikon in 2002. Opening bid: $35,000
lithographs by Picasso and Erte. In-person inspection of the Basquiat paintings is by appointment only. A public preview of all auction items, including the Basquiats, will be conducted at Blackwell’s gallery on July 26 from 10 am to 4 pm Eastern Time, as well as on the morning of the July 27 sale from 10 am until the auction starts at noon. Blackwell Auctions is at 5251 110th Avenue North, Suite 118. For information, 727-546-0200 or www.blackwellauctions.com.
Thurs & Fri: 10am To 6pm Saturday: 9am To 6pm Sunday: 10am To 4pm Fresh & New! Multi-Vendor, Indoor Space Antiques, Books, Collectibles, Vintage & More! 25 Talcott Rd., West Hartford, CT VENDORS: 860-214-9568
www.antiques-brimfield.com nemotelbrimfield@gmail.com Les, Josh & Adam Skowyra www.facebook.com/nemotelbrimfield
Transitions
ABrauer Museum Closes Amid Controversial Plans To Deaccession O’Keeffe Painting
rt historian Joan Kee has been announced as the next director of New York University’s Institute of Fine Arts (IFA). She will step into her new role on August 19. Currently a professor of the history of art at the University of MichiganAnn Arbor, Kee is an expert in modern and contemporary art of Asia and the United States. She holds a law degree from Harvard and a PhD from the IFA. Kee specializes in art and the law, comparative diaspora studies and art and digital communications. Kee joined the faculty of the University of Michigan-Ann Arbor as an assistant professor in the history of art; she was appointed full professor there in 2019.
Paul Smith’s Foundation named Martha Mosse the inaugural director. Mosse was appointed to take the helm on programming, strategy, fundraising and events to deliver on its global mission and ensure the long-term success of the foundation. Working closely with founder and designer Sir Paul Smith and the trustees, Mosse’s role harnesses the spirit and values of Sir Paul’s career by cultivating programs that bring about opportunities for early career creative people, by supporting with business development skills and offering valuable advice to help build long term sustained careers.
TVALPARAISO, IND. — Indiana’s Valparaiso University has closed its Brauer Museum of Art and dismissed its director, Jonathan Canning, amid a controversy over plans to sell key works of art from its collection.
The moves were announced recently by Valparaiso University as part of an “administrative restructuring” meant to address the school’s declining enrollment and growing operations deficit, which is currently $9 million.
The university drew criticism last year after announcing it would sell three of the museum’s most valuable paintings worth more than $20 million in order to fund renovations of freshman dormitories.
One of the works the university wants to sell, Georgia O’Keeffe’s painting “Rust Red Hills” (1930), was the second work the Brauer ever acquired. The university said it was worth about $15 million, making it the most valuable of the three pieces. Frederic Edwin Church’s “Mountain Landscape” was valued at $2 million and Childe Hassam’s “Silver Vale and the Golden Gate” was valued at $3.5 million.
established the acquisition fund used to buy the works by Hassam and O’Keeffe in the 1960s.
Valparaiso University wrote in a court petition that the three artworks have become too valuable for it to keep safe, citing climate protests that involved the Mona Lisa earlier this year. The university estimated that security upgrades would cost between $50,000 to $100,000 and said that the professional guards, not students, would add $150,000 to the art museum’s annual staffing expenses. The university also argued that storage fees for the paintings were wasteful due to the school’s current financial status.
Brauer’s permanent collection, according to Art Daily, which first reported the news. In addition to the closure of the Brauer Museum, Valparaiso University is also considering the closure of up to 30 academic programs, including German, theology, philosophy and music performance.
he Santa Barbara Museum of Art (SBMA) announced that James Glisson, PhD has been named chief curator and will continue in his role as curator of contemporary art. Glisson had been curator of contemporary art since his hire in February 2020. The chief curator role directly oversees the curators, is responsible for shaping the exhibition and acquisition program and leads the registration staff, who care for the museum’s nearly 26,000 artworks that span thousands of years. Prior to SBMA, Glisson worked at the Huntington Library, Art Museum and Botanical Gardens in San Marino, where he served as the interim Virginia Steele Scott chief curator of American art, while continuing in his role as Bradford and Christine Mishler associate curator of American Art.
The Baltimore Museum of Art announced that it has appointed new senior leadership: Angela Wheeler began in the new chief of external affairs position on July 1, and Elisabeth Callihan will start as the new chief education officer on September 9. As members of the se-
nior leadership team, Wheeler and Callihan will be integral to shaping the BMA’s initiatives, engagement with its community and broader future direction in alignment with the vision of Asma Naeem, the museum’s Dorothy Wagner Wallis director. In her new role, Wheeler will develop and oversee the direction and strategy of the advancement and marketing and communications teams. Callihan will shape the vision for the BMA’s public engagement, interpretation, public programs and learning community teams.
News of the proposed sale prompted condemnation from the American Alliance of Museums and the Association of Art Museum Directors A suit was filed against Valparaiso University to delay the sale, with former museum director Richard Brauer and former VU law professor Philipp Brockington arguing that the plan violated the terms of the original gift agreement between the academic institution and Percy H. Sloan. Sloan donated the Church artwork and
The museum’s closure was a surprise to the local community after the opening of “America the Beautiful,” a summer exhibition of Impressionist paintings from the
Richard Brauer, the founding director of the museum, hit back at the institution’s stated justification for deaccessioning key artworks from its collection. In a letter, Brauer told Artnet News that the institution’s claim that he inappropriately influenced the acquisition committee to purchase a Georgia O’Keeffe and a Childe Hassam painting, despite the works not fitting the original intention of their financial donor, effectively “defames me.”
Stolen 37 Years Ago, Theodore Roosevelt's Watch Finally Returns Home
By Christopher Maag
NEW YORK CITY — Theodore Roosevelt’s favorite
pocket watch, which he carried around the world and wore in the White House, was returned on June 27 to the president’s former home on Long Island decades after it was stolen from a mansion in Buffalo, N.Y.
The watch itself is “fairly pedestrian,” with an “inexpensive coin silver case,” the FBI said in a news release. But its historical value is significant. The watch accompanied Roosevelt in 1898 as he led the 1st United States Volunteer Cavalry, nicknamed the Rough Riders, at San Juan Hill and other battles in Cuba during the Spanish-American War, the military campaign that made him famous, according to the National Park Service, which owns the timepiece. It traveled with him down the Amazon River, across Africa and during his administrations as New York’s governor and the nation’s 26th president.
It was a present from Roosevelt’s sister, Corinne Roosevelt Robinson, and he cherished it.
“You could not have given me a more useful present than the watch; it was exactly what I wished,” he wrote in a letter to her.
When Roosevelt died in 1919, the watch became the property of Sagamore Hill National Historic Site, his home on Long Island for the last 34 years of his life. The site, which is part of the park service, lent the item in 1971 to the Wilcox Mansion in Buffalo, where Roosevelt was sworn in as president in 1901.
In Buffalo, the watch was displayed in an unlocked glass case. It was stolen in July 1987, according to a 123-word story about the crime published in The Buffalo News
Investigations by local police and the FBI stalled. Thirty-six years later, the watch reappeared at an auction house in Clearwater, Fla. Edwin Bailey, the owner of Blackwell Auctions, who had received the watch in 2023, briefly listed it for sale. In an interview with The Buffalo News last year, Bailey declined to say who had given him the watch. He could not be reached for comment.
The watch itself is “fairly pedestrian,” with an “inexpensive coin silver case,” the FBI said in a news release. Photo: Jason Wickersty, National Park Service.
In 1987, police detectives estimated the value of the watch at “less than $1,000.” By the time it popped up in Florida, it was worth up to $500,000, Bailey told The Buffalo News.
Bailey decided against selling the watch. Instead, he contacted the Sagamore Hill National Historic Site and the mansion in Buffalo, now the Theodore Roosevelt Inaugural National Historic Site. Leaders at both sites confirmed the watch’s authenticity, the FBI said. That may have been a fairly simple matter, as the watch case is inscribed “Theodore Roosevelt, From D.R. AND C.R.R.,” the initials of Roosevelt’s sister Corinne and her husband, Douglas Robinson.
The watch was recovered by the National Park Service. It was returned to the Sagamore Hill site during a repatriation ceremony. It will go back on public display at the Old Orchard Museum at Sagamore Hill, which is part of the historic site.
This article originally appeared in The New York Times.
Courtesy Brauer Museum Of Art
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Profusely Decorated Moser Jug Tops
Single-Owner Collection At Soulis Auction
LONE JACK, MO. — A fantastic Moser jug with a Kakaimon dragon and lizard wended its way to become the pinnacle lot of Soulis Auction’s July 13 sale of a private 40-year collection from Denver, Colo., one of the largest and most significant collections of Ludwig Moser art glass ever offered at auction.
The exceptionally elaborate amberina glass jug with thick, lava-like applications around the rim and exhibiting fine bright gilding on its body, which served as a canvas for fanciful flying insects painted in raised enamels, rose from a $2/3,000 estimate to finish at $6,000, including buyer’s premium.
Its body profusely decorated in an all-over enamel relief pattern of winged insects and Moser’s stylized Japanese Kakaimon rose blossom motif among swirling leafy stems, the jug centered a mythical dragon-like beast in colorful enamels. The most striking feature of the 9¾-by-8-inch jug, however, was its hefty handle formed as an encircling lizard embellished with rich gilding, accented by red and gold enamels teeming with tiny white enamel beads.
“The Mile High Collection” dubbed for its quality as well as locale, offered 193 lots of which additional notable highlights will be featured in a follow-on review.
Heritage Posts Its Most Successful Midyear Figures In
DALLAS — Heritage Auctions reported more than $924.9 million in total sales through the first half of 2024, the highest midyear total in Heritage’s 48-year history. Only 48 months ago, that would have been a record sales total for an entire year.
Heritage is now on pace for its fourth record-setting year in a row, following 2023’s $1.76 billion year.
That surge in sales has been led by several categories that have seen significant year-overyear growth while setting major auction records, led by Comics and Comic Art, Popular Culture and Hollywood/Entertainment, Sports and US Currency and World Coins.
Heritage also continues its national and global expansion,
Company History
with its affiliate Heritage Auctions–Europe Cooperatief recording $9.7 million in sales through the end of June after realizing $14 million for all of 2023.
Heritage’s worldwide growth culminated this spring with its expansion into Tokyo. In October, Tokyo will be the first stop on a four-city world tour featuring the ruby slippers from The Wizard of Oz, which Heritage will offer on December 7.
Heritage continues to add new offices worldwide, new categories, new records, new technological innovations and new clients, among them first-timers for whom popular culture serves as their introduction to the auction world.
For information, www.ha.com.
26,July-4,Aug ebth.com
Everything But The House 61 27, July blackwellauctions.com Blackwell Auctions.........64 27, July downeastauctions.com DownEast Auctions 62 27, July georgecoleauctions.com
Blackwell Auctions
Jean-Michel Basquiat Artworks 33
Bodnar’s Auction Rare Bronze And Silver Age Comics 7
Everything But The House Paul Revere Pottery 12
George Cole Auctions Diversified Estate Sale 11
La Belle Epoque Auction House Array Of Modern Art Sculptures 51
Every Tues Coventry, CT Weston’s 62 Every Thurs goldengavel.com Golden Gavel 62
Thru 31, July..antiqueamericanclocks.com Antique American Clocks 7C
20, July meanderauctions.com Meander Auctions 64
21, July butterscotchauction.com
Butterscotch Auction 2
21, July Schoharie, NY Michael’s Auction 5C
30, July sworder.co.uk Sworders Fine Art 5C
22, July auctionsappraisers.com Winter Associates 64
23, July auctionninja.com SJD Auctions 64
24, July...litchfieldcountyauctions.com Litchfield County Auctions 2 24-26, July............eldreds.com Eldred’s 8C
26, July douglasauctioneers.com Douglas Auctioneers 58
26, July Jewett City, CT Leone’s Auction 2
George Cole Auctions 57 27, July georgecoleauctions.com George Cole Auctions 62 27, July rolandauctions.com Roland Auctions 2 27, July rolandauctions.com Roland Auctions 11 27, July rolandauctions.com Roland Auctions 60 28, July clarkeny.com Clarke Auction 4C 28, July fontainesheritage.com Fontaine’s Heritage 63 28, July tremontauctions.com Tremont Auctions 7C 28, July tremontauctions.com Tremont Auctions 62 28, July worldauctiongallery.com World Auction Gallery 6C 30 July coylesauction.com Coyle’s Auction 59 31, July bodnarsauction.com Bodnar’s Auction 64 31, July wsmithauctions.com William Smith..............56 31,July-1,Aug...nyeandcompany.com Nye & Company 60 1, Aug freemansauction.com Freeman’s Hindman 3C 3, Aug rslauction.com RSL Auction 54-55 3-4, Aug rafaelosonaauctions.com Rafael Osona 2C 9, Aug Jewett City, CT Leone’s Auction 2 21, Aug freemansauction.com Freeman’s Hindman 3C 22, Aug freemansauction.com Freeman’s Hindman 3C 23-24, Aug... litchfieldcountyauctions.com..Litchfield County Auctions 2 8, Sept tremontauctions.com Tremont Auctions 62 25, Sept...litchfieldcountyauctions.com Litchfield County Auctions 2 13, Nov...litchfieldcountyauctions.com Litchfield County Auctions 2
Annual New Hampshire Antiques Show 3 Annual Southold, N.Y., Antique, Fine Art And Crafts Fair 12
27, July New London, NH 11
27-28, July............Middletown, RI 29
28, July Bath, ME 22
28, July Milford, NH 3
4, Aug Milford, NH 3 5, Aug Deerfield, NH 4-5 5, Aug Deerfield, NH 4 6, Aug Concord, NH 27
7-8, Aug Manchester, NH 13-21
8-10, Aug Manchester, NH 1S-60S 8-10, Aug Manchester, NH 11 8-11, Aug Atlanta, GA 9 25, Aug Milford, NH 3 31, Aug-1, Sept.....Stormville, NY 2 3, Sept Brimfield, MA 2 4-8, Sept Brimfield, MA 33 12-13, Oct Stormville, NY 2 2, Nov Stormville, NY 2 30, Nov-1, Dec......Columbus, OH 9 Weekly Events Thurs-Sun West Hartford, CT 33 Sun........................Jewett City, CT 2 Sun ......................New Milford, CT 2
OSSIPEE, N.H. — In proposed sentencing paperwork filed on July 1, antiques dealer and candidate for county commissioner Catherine Dragonfly, 66, of Wolfeboro, N.H., agreed to plead guilty to a theft charge and to be given a one-year jail sentence to be deferred for one year.
The venue was Carroll County Superior Court, where Dragonfly pleaded guilty to committing misdemeanor theft in 2020 against an aunt, now 96 years old. Dragonfly has one year to demonstrate good behavior or the sentence will be imposed. In addition, she was ordered to pay $1,270 in restitution.
Judge Mark Attorri on July 2 ratified the proposed sentence, and prosecutor Assistant County Attorney Nicholas Downing said the plea deal meets “the goals of punishment, rehabilitation and deterrence,” according to a report in The Conway Daily Sun
The theft occurred on April 28, 2020, in Wolfeboro. According to the criminal complaint, “Catherine Dragonfly (Sykes) knowingly exercised authorized control over money belonging to Suzanne
N.H. Antiques Dealer Pleads Guilty To Theft
Murphy by withdrawing money from Murphy’s bank account with the purpose to permanently deprive Murphy thereof.”
This criminal complaint for theft is an amended version of an indictment filed in February for Class A felony theft. The indictment was charged as Class A felony with the possible sentence of up to 15 years in prison.
The indictment had alleged that Dragonfly stole nearly $3,800 from Murphy, but it turns out, as Downing told Attorri, that the felony indictment overestimated the amount of money Dragonfly stole. The theft charge was amended from a felony to a misdemeanor.
Meanwhile, Dragonfly, who was running for the District 3 County Commissioner seat as a Democrat, said on July 2 that she is dropping out of the race for a twoyear seat to focus on her retirement and travel. The district represents Brookfield, Eaton, Effingham, Freedom, Wakefield and Wolfeboro. Running for the seat are Republicans Amanda Bevard (R-Wolfeboro), a former county commissioner, Harold
Three Restoration Projects Supported By Friends Of Florence Reopen To The Public
FLORENCE, ITALY — Three major projects restored thanks to support from Friends of Florence Foundation are now on public view: Donatello’s monumental bronze sculpture “Judith and Holofernes” (1457-1464) in the Palazzo Vecchio; the sublime series of frescoes and ornamentation featured in the Brancacci Chapel in the Church of Santa Maria del Carmine; and the intricately decorated Oratory of St Sebastian in the Church of the Santissima Annunziata.
The three projects yielded numerous insights into and discoveries about the works themselves, the techniques of the artists who created them, previous interventions and the histories of the sites. Importantly, each restoration was conducted using state-of-the-art processes under the meticulous supervision of Florence’s famed conservators.
Commissioned by Piero de’ Medici, the sculptural group “Judith and Holofernes” once occupied the place where Michelangelo’s “David” later stood. It was intended to convey a story of the triumph of courage over tyranny and a call to defend the Florentine Republic. When the Medici family was exiled in 1495, the work was reinterpreted as a vibrant symbol of civic freedom. The restoration team included Palazzo Vecchio curator Dr Serena Pini, art historian Dr Lia Brunori in her capacity as supervisor and restorer Nicola Salvioli.
The last restoration was conducted in the 1980s, with limited maintenance work occurring in 2004. Using laser technology following an in-depth diagnostic campaign, the current efforts improved legibility while revealing new insights into Donatello’s practice and the way the bronze was assembled. Removing dust, grime and corrosive damage recovered traces of gilded surfaces originally applied by the
Parker (R-Wolfeboro) and independent Dwight Devork of Wolfeboro.
When asked to comment on her case, Dragonfly reportedly emailed the following statement to The Sun: “My aunt and I were closer than my mother and I. She lived near us and interacted with my sons in a grandmother role for more than 30 years. A small family matter that came before the court this morning gave me a choice of making restitution to my aunt for $1,200 pleading to a misdemeanor or going through the jury process and risking becoming a felon and being sent to jail for three years. What would you choose? After nine years, this has come to a close. Please carefully consider my position. I did the best I could.”
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artist. Applying gold leaf was common in Florentine sculpture of the period and a recurrent feature of Donatello’s work.
Following a thorough diagnostic investigation begun in 2020, the cycle of wall paintings by Masolino, Masaccio and Filippino Lippi have been restored in the Brancacci Chapel. Supported by the Jay Pritzker Foundation and by Friends of Florence, the project involved numerous Florence and Italian entities. Vital new information arose during scientific investigations and the restoration process of the Fifteenth Century frescoes. Findings will be presented at a conference to be conducted in spring 2025 and shared with the conservation community.
Founded on a site established in 1082, and later reconfigured as a chapel by Antonio Pucci in 1460, the Oratory of St Sebastian has been completely restored thanks to donations from Idanna and Giannozzo Pucci and their many friends around the world through Friends of Florence. The project ensures that the site can continue to be of service to residents and visitors, officiated by the fathers of the Servite Order.
The restoration addressed impacts of the devastating floods in 1966 when the Arno breached its banks and was directed by Studio Bracciali and performed under the supervision of the Soprintendenza ABAP di Firenze. Daniela Dini oversaw the stonework, frescoes and dome while Stefano and Marco Scarpelli were responsible for the paintings and the copy of Piero del Pollaiolo’s “Martyrdom of St Sebastian,” restoring the chapel’s art historical unity. The original painting was sold to the National Gallery in London in 1854 by Robert Pucci. For information. www.friendsofflorence.org.
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EXHIBITIONS
Richard Manney, 88, Ad Exec, Collector & Philanthropist
Submitted by the family
ALISO VIEJO, CALIF. — A pioneering advertising executive and chief executive officer, as well as a collector, philanthropist, adventurer and community anchor, Richard Manney passed away in Aliso Viejo on July 2 at the age of 88 after a long illness. Born in New York City in 1936, he was raised in the Bronx, educated at the La Guardia High School of Performing Arts and Taft High School and City College of New York (now CUNY).
Trained as an actor but always a salesman, and with an absent father and an ill mother, Richard supported his family from age 12, delivering newspapers and selling the Encyclopedia Britannica door to door. As a child, he was a passionate reader, moviegoer and collector of science fiction and fantasy books and magazines.
As a teen, the New York Public Library system did not carry science fiction until Richard politely harassed the librarians every week as he exchanged one pile of books for the next. One day, a librarian slid a copy of a Robert Heinlein juvenile paperback across the desk, saying, “Richard, this is for you. The New York Public Library will carry them from now on.” From that point, he read every piece of science fiction and fantasy available, because he was poor and they were free.
In 1963, he married clothing designer Gloria Peltz. They met on a blind date at the Metropolitan Museum of Art, an institu-
tion which would figure in their lives in an unexpectedly large fashion. In 1964, his only child, Patricia, was born.
Richard’s entrepreneurial vision impacted new industries.
In 1958, at the age of 22, Richard created his first company in the new business of television product promotion, connecting manufacturers with game shows. At the 1964 N.Y. World’s Fair, he helped launch a booth with world’s first version of “Yelp.” Called Directomat, Inc., a mainframe computer that would choose the perfect restaurant, hotel or attraction after you pressed criteria buttons. Directomat was the first computer search engine for food and entertainment options for the World’s Fair attendees and he sold advertising on the response cards.
In 1966, he created The Media-
tors, Inc., the first standalone media buying service in advertising. He innovated barter ad sales, international countertrade and other product-toadvertising sales innovations allowing companies that were product rich, but cash poor to advertise for the first time. At various times, and because of the large quantity of product exchanged for advertising, he was briefly the largest US distributor of California wine, carbonated beverages and seller of computers into China, learning each new industry as he sold their products. Gloria was often the behind-the-scenes mastermind for some of his greatest sales and innovations. Clients included Eastman Kodak, Sony, Timex, DHL and Apple.
Meanwhile, after being taught to drive by New York City cabbies, he served as a medic and ambulance driver in the Air National Guard. He kept those devil-may-care driving skills the rest of his life, terrifying anyone in his car. His daughter’s friends dubbed him “the master of time and space” and “molecule man” for his ability to maneuver a huge Cadillac or Lincoln into the smallest holes in traffic without any warning. He also maintained his medic skills, known in his family as Dr Manney while applying his first aid knowledge. There was no accident that couldn’t be cured with either an application of antibiotic ointment aka ‘magic salve,’ a pack of ice, elevation/compression or a chiropractic adjustment.
Native American Feast Bowl Claims Top Spot For D.L. Straight
STURBRIDGE, MASS. — In an auction of Americana, Folk Art and Estate Items conducted by D.L. Straight on July 13, a large Native American feast bowl surpassed its $4,000 high estimate to achieve $4,608 with buyer’s premium — the sale’s highest price. The Eighteenth Century bowl, which measured 30½ inches wide and 12 inches deep, was made of carved maple and had a dry early mustard finish over original Spanish brown paint. With pronounced tool markings throughout, the bowl was in excellent condition and sold to a collector in New Hampshire. Further coverage of this auction will be in an upcoming issue.
Peabody Essex Museum Presents ‘Draw Me Ishmael: The Book Arts Of Moby Dick’
SALEM, MASS. — The Peabody Essex Museum presents “Draw Me Ishmael: The Book Arts of Moby Dick” on view through January 4, 2025. Herman Melville’s Moby Dick is the most persistently pictured of all American novels. The novel and its timeless themes continue to inspire artists, designers and creatives of all types. Its first sentence: “Call me Ishmael” is one of the most iconic and bestknown opening lines in all of literature.
“Draw Me Ishmael: The Book Arts of Moby Dick” is the first exhibition focused on the book arts of the hundreds of editions published since 1851: the illustrations, binding designs, typography and even the physical structures. Drawn almost entirely from the Phillips Library collection, this intimate gallery space explores decades of creative approaches to interpreting the novel visually in book form. It will shed some light on Melville’s original
After moving with his family to Irvington-on-Hudson, N.Y., in 1969, he participated in community life through philanthropy and advice with the restoration of the Town Hall Library and served with the Irvington Historical Society.
Along with Gloria, they created definitive collections of art, antiques and books, working with curators to advance knowledge in any area they collected by helping write seminal texts and assemble museum shows on the subjects of American portrait miniatures, the furniture of John Henry Belter and American Federal furniture. Their most famous collections are housed at museums around the United States, including the Metropolitan Museum of Art, Winterthur Museum and the Art Institute of Chicago. All that started with taking their dinners on trays as they climbed under furniture with a flashlight to study Nineteenth Century wood joinery.
Richard’s honors and memberships included: Benefactor in Perpetuity and William Cullen Bryant Fellow at the Metropolitan Museum of Art; Member of the Archives of American Art at the Smithsonian Institution; Board of Trustees of the Winterthur Museum, where their collection of Belter furniture — the largest in the world — resides; Board of Trustees of Olana, home of painter Frederick Church; Member of the Explorer’s Club, Grolier Club and Metropolitan Club; Knight of Malta;
Boys’ Towns of Italy (aka A Chance in Life) Man of the Year Award.
Richard was a well-known rare book collector. The Sotheby’s sale of The Library of Richard Manney in 1991 was considered one of the most important rare book sales of the Twentieth Century. The collection of first editions, presentation copies and manuscripts was deeply personal, including his beloved science fiction and fantasy, works that changed the world from Shakespeare to Newton to Hitler, and manuscripts by his favorite writers, like Dickens and O’Casey. His collection of original screenplays and movie memorabilia, often signed and owned by the moviemakers themselves, was considered one of the best of its kind.
He leaves behind his wife of 61 years, Gloria, his daughter and son-in-law, Patricia (PJ) Manney and Eric Gruendemann, and his grandchildren, Nate Gruendemann and his wife Allie Schlosser, and Hannah Gruendemann. Richard also leaves behind his nephew, Steven Manney, and niece Rachel Szycher and her family.
The family will conduct a private ceremony. In lieu of flowers, consider a gift to the Alzheimer’s Association, A Chance in Life (previously Boys’ and Girls’ Town of Italy), or your local museum or live theater institution. A Zoom meeting, “Remembrances of Richard,” will take place on Saturday, July 27, at noon PT/3 pm ET.
An Elmer Crowell Carving Of A Wood Duck Leads At Copley
inspiration and include a contemporary update through recent artists’ books, graphic novels, a translation into emoji and pop-up books. Think untraditionally and independently about Moby Dick, appreciate the variety of approaches to visualizing the novel and explore copies of more than 50 books on display.
The Peabody Essex Museum is at East India Square, 161 Essex Street. For information, 978-745-9500 or www.pem.org.
HINGHAM, MASS. — The Copley Fine Arts sale on July 11 and 12 included a wide selection of decoys, decorative carvings and sporting art, much of it fresh to the market. There were about 50 works by Elmer Crowell (1862-1952).
One of these, earning $210,000 with buyer’s premium, was the highest priced item in the sale. It was a circa 1912 decorative carving of a colorful wood duck drake from the collection of Evelyn Thayer Chace. Another Crowell example from the
same collection, a decorative carving of a golden plover, achieved the sale’s second highest price, $90,000 with buyer’s premium. The wide selection of sporting art was topped by a painting of three giraffes in an African landscape. By Bob Kuhn (1920-2007), it earned $49,200 with buyer’s premium. There were two other works by the same artist, along with dozens of other paintings, etchings and bronzes of hunting dogs and wildlife. A full report will follow.
Copper Display Jar & Unusual Apothecary Sign
Top
McMurray
KIRKWOOD, N.Y. — Two “rare” and “unusual” lots led McMurray Antiques & Auctions’ June 29 sale, Auction
#82, which offered an assortment of patent medicines, pills, tins, apothecary/drugstore and advertising items. First was a copper Merck inverted display jar which still contained its original copper contents. The 4¾-inch-tall jar had a complete label and was previously sold by the firm approximately 10 years ago. Tied for best-selling lot was a reverse on glass advertising Coles Peruvian Bark and Wild Cherry Bitters, which were used as a nerve and blood tonic to cure debility and dyspepsia. It came in an original Eastlake wooden frame, measuring 13 by 7 inches, and had its original wood backing. It was the first of its kind seen by the auction house, as usually these advertisements came in blue porcelain. Both lots crossed the block for $1,904, far exceeding their estimates. More highlights from this sale will be featured in a forthcoming issue.
Gordon Parks’s Portraits Of African American Life Explored At
National Gallery Of Art
WASHINGTON, D.C. — Celebrated for his humanistic and insightful depictions of American life and experience, Gordon Parks (1912-2006) is one of the most distinguished photographers of the Twentieth Century. In photo-essays published in Life, Ebony, Vogue and Glamour magazines, his portraits of everyday people and wellknown individuals address the central issues of his time: race, poverty, civil rights and African American and American culture after World War II. “Gordon Parks: Camera Portraits from the Corcoran Collection” presents approximately 25 photographs he took from 1941 into the 1970s. They are primarily drawn from the National Gallery’s Corcoran Collection and are presented in collaboration with the Gordon Parks Foundation. The exhibition is on view through January 12, in the West Building of the National Gallery of Art.
“‘Gordon Parks: Camera Portraits’ demonstrates how much of the power of Parks’ art resides in his ability to create compelling and revealing portraits,” says Sarah Greenough, senior curator and head of the department of photographs at the National Gallery of Art. “Whether he was photographing Ella Watson, a chairwoman who toiled in a government
Mrs Minerva Hayes Stands Atop Benefit Shop Foundation Sale
MOUNT KISCO, N.Y. — The top lot of the day at the Benefit Shop Foundation’s July 10 Red Carpet auction was one of a pair of folk art portraits by American Nineteenth Century artist Joel Parks. “Minerva,” 1838, was bid to $3,548, including buyer’s premium. Minerva Hayes was 49 years old when this oil portrait was painted. It was marked by artist Joel Parks on the backside, “J. Parks Portrait and Miniature Painter.” The work depicts Mrs Hayes seated in black with a lace collar and bonnet with high detailing to lace; she wears a lavish brooch and gold ring on her hand and holds a red book, possibly a Bible in the other hand. In a gold leafed wooden frame, the portrait measured approximately 37 by 31 inches. Parks’ Isaac Hayes portrait was in the sale, too, but he went out for a lesser amount. Part of the firm’s series of Red Carpet sales, this event featured property of local estates, including jewelry, luxury fashion, antiques and decorative arts. Isaac Hayes and more highlights will be discussed in an upcoming issue.
office building, or the most celebrated people of the time, such as Duke Ellington, his portraits succinctly describe both the character of the person he depicted and the ways in which they elucidate larger social and cultural issues.”
“The Corcoran Collection of Gordon Parks’ work held a special significance for him during his lifetime,” says Peter W. Kunhardt Jr, executive director, the Gordon Parks Foundation. “We are excited that these works can be highlighted alongside more recent acquisitions, showing the breadth and reach of Parks’ work with his subjects.”
The National Gallery of Art, West Building is at 6th and Constitution Avenue Northwest. For information, 202-7374215 or www.nga.gov.
WASHINGTON DC — Two centuries apart, American artists John Singleton Copley and Kerry James Marshall pushed the boundaries of history painting. Works by these two artists are on view in the National Gallery of Art’s new exhibit, “Conversations: Kerry James Marshall and John Singleton Copley,” in the West Building through January 31, 2025. The National Gallery’s West Building is at 6th Street and Constitution Ave Northwest. For more information, www.nga. gov or 202-737-4215.
Crite Painting Achieves Six Figure Total To Lead Merrill’s
WILLISTON, VT. — Leading Merrill’s Auctioneers & Appraisers’ July 12 Twentieth Century Modern Design & Fine Art auction was an oil on board by Allan Rohan Crite (American, 1910-2007) titled “Late Afternoon.” The painting, measuring 27 by 24 inches framed, soared past its estimate of $25/45,000 to land at $100,800. According to the auction catalog, this painting was “a variant of a nearly identical painting in the collection of the Boston Athenaeum in Roxbury, Mass.” This example contained the inscription “PWA 1934 Rice School” verso and was signed lower right and dated 1934. This sale and more of its highlights will be featured in a later issue.
Heritage Bidders Swing For Honus Wagner In The Summer Sports Card Catalog Auction
DALLAS — A notable highlight from Heritage’s July 12-13 Summer Sports Card Catalog Auction was a Honus Wagner 1911 M110 Sporting Life Cabinets card graded PSA EX 5 — the highest graded example in the world, standing all alone — which realized $105,000 with buyer’s premium. Sporting Life Cabinets from 1911 look like the T3 Turkey Reds, but they’re far more scarce — and far more fragile, which accounts for their sparse population. This card, featuring the player many have called the greatest shortstop in baseball history, carries the highest grade among 17 graded by PSA. For more information, www.ha.com or 877-437-4824.
Case’s Summer Auction Attracts Largest Post-Pandemic Audience
KNOXVILLE, TENN. — “It was a very energetic sale, with more than 6,000 registered bidders from more than 60 countries taking part in person, by phone and online, and a 98 percent sold rate. There was strength across the board. Art, of course, led the categories as it usually does with us, and demand for mid-Twentieth Century Abstract Expressionist art was quite robust. This particular sale featured several such paintings — mostly from European artists — deaccessioned from a Southern institution, and there was strong international demand for those pieces. However, the regional crowd came out in force too. We had our biggest floor crowd since Covid — we even had to set up extra chairs!”
Such was the positive feedback
Auction Action in Knoxville, Tenn.
Sarah Campbell Drury, vice president of fine and decorative arts at Case Auctions, shared with us following the firm’s July 6-7 Summer Fine Art & Antiques auction, which offered nearly 1,100 lots.
Earning $158,600 and the sale’s highest price was a colorful abstract composition by Friedel Dzubas (American, 1915-1994).
“High Pass” had been exhibited at M. Knoedler & Co. in 1977 and was an example of the artist’s experimentations with color field painting and the use of Magna acrylic. Noted to be from the Nashville, Tenn., estate of philanthropist Richard J. Eskind, Drury confirmed the painting sold to a
The Pinckney family owned this group of four blown, cut and engraved 2½-inch-tall glass tumblers, probably made in Ireland circa 1760 and engraved “JM” for Jacob Motte (1700-1770) or his son, Jacob Motte II, both of Charleston, S.C. (1730-1781). The group rose to $10,370 ($700/900).
Alexander Calder, landscape with pyramids and moon, 1953, black ink on a 29¼-by-42¾-inch sheet of Johannot wove paper, signed and dated, is registered in the Calder Foundation’s archives and sold for $61,000 to a private collector ($22/26,000).
phone buyer who beat out competition on the phones and online, as well as an absentee bid.
A new world auction record for Southern impressionist painter Anna Catherine Wiley (Tennessee, 1879-1958) was set at $146,400, for a portrait of a woman in white holding a green parasol. The catalog noted Wiley had been one of the early women students at the University of Tennessee, where she later established formal art instruction, and the Art Students League in New York City. She studied with Frank Dumond, Robert Reid, Jonas Lie and Martha Walter. The portrait had been exhibited at the Knoxville Museum of Art from September 1995 to January 1996. Drury noted four phone bidders competed for it, with one
prevailing.
Two mid-Twentieth Century abstract compositions that were being deaccessioned by a Southern institution earned the third and fourth place finishes. An untitled mixed media collage by Alberto Burri (Italian/French, 1915-1995) made $134,200, well ahead of the $67,100 achieved by “September in Segovia” by Guiseppe Santomaso (Italian, 1907-1990). Both sold to phone bidders and Drury shared that the Santomaso painting is going back to Italy.
Alexander Calder’s (French/ American, 1898-1976) ink painting of a landscape with pyramids and moon from 1953 had hung on several walls previously. Its provenance included Sarah Gaunt, the former assistant to Willem de Kooning, the Sovereign Arts Corporation (N.Y.C.), the Washington, DC, collection of Stuart C. Davidson, George Weisz and Nicholas Guppy, both of London. It rose to $61,000, more than doubling its high estimate.
Clementine Hunter’s “Wash Day,” oil on canvasboard, signed, 27½ by 33½ inches (framed) had the stamp of approval from the recognized expert on Hunter’s works and sold for $8,540, the second highest result on the second day of the auction ($2,8/3,200).
The top lot on the second day of the auction was this boxed set of two Cormac McCarthy signed first editions of The Passenger (2022) and Stella Maris (2022). They were consigned by the original owner and sold for $17,080 ($1,7/1,800).
Regional works were in plentiful supply and found an eager, oftentimes local, audience. A pair of circa 1831 portraits by William Scarborough (Tennessee/South Carolina, 1812-1871) of Rogersville, Tenn., founder Joseph Rogers (1764-1833) and Mary Amis Rogers (1768-1833) had descended in the Rogers and Walker families. Though the portraits were offered separately, they sold to the same private Tennessee collector, underbid by a museum, for $67,100 and $61,000, respectively. Another pair of portraits from the same family were of Dr Hugh Kelso Walker (1802-1866) and Frances Rogers Walker (17951883/85) by Samuel Shaver (Tennessee, 1816-1878). Also sold in consecutive lots, the Walker portraits were both purchased by another Tennessee collector, for $17,080 each.
An out-of-state buyer, bidding online, won for 34,160 an oil on canvas portrait of CSA Colonel Randal William McGavock (18261863) by George Dury (Tennessee, 1817-1894). The catalog note describes McGavock as being “one of the most colorful figures in Nashville history. A descen-
an out-of-state collector for $34,160 ($8/10,000).
or freed person at Overton’s Nashville home, Traveller’s Rest. The 14½-by-12½inch (framed) portrait was purchased for
“High Pass” by Friedel Dzubas, signed, titled and dated 1976, Magna acrylic on canvas, 73 by 73 framed. Selling to a private collector for $158,600, it was the top lot of the sale ($78/82,000).
This oil on canvas portrait of Colonel Randal McGavock by George Dury, 46½ by 41½ inches, framed, was the cover image of Pen and Sword: The Life of Randal McGavock, edited by Herschel Gower and Jack Allen (1959). It sold to
This portrait of a Black man, done in watercolor on card by Maria Howard Weeden (Alabama, 1846-1905) was executed circa 1900. Found in the diary of a descendant of Judge John Overton, it may depict an enslaved
$10,980 by a Tennessee collector ($4,8/5,200).
Review by Madelia Hickman Ring, Editor; Photos Courtesy Case Auctions
“Combustione T 2” by Alberto Burri, 1960, paper, acrylic, fabric and combustion on canvas mixed media abstract collage measured 23-1/8 by 18-5/16 inches (framed) and sold to a phone bidder for $134,200 ($38/42,000).
dant of one of Nashville's prominent founding Scotch Irish families, he attended Harvard Law School and traveled extensively in Europe as a young man.”
According to family history, the portrait had been slashed with a sword by a Union soldier during the latter part of the Civil War. More recently, it was exhibited at the Two Rivers Mansion in Nashville in 1990 and Carnton Plantation in Franklin in 2000.
Five “memory paintings” by modern Kentucky artist Helen LaFrance (1919-2020) were offered, three on the first day and two on the second, some of which had been handled by the Shelton Gallery in Nashville. Bringing the highest price of the group at $18,300 was “Church Picnic,” which came to auction from a private Tennessee collector who had acquired it directly from the artist; it will be staying in-state. Other results were “Baking Pies” ($5,368), an untitled farm scene ($5,612), “Saturday Night Street Scene” ($9,150) and another untitled farm landscape that featured a cabbage patch next to a barnyard ($14,640).
“Wash Day” by Louisiana artist Clementine Hunter (1886/71988) was a highlight on the second day, bringing $8,540, the
David McMechen’s portrait miniature, painted by Charles Willson Peale, measured 1-11/16 by 1-1/8 inches, had descended in the family of the sitter and was purchased by a museum for $9,150 ($8/10,000).
Anna Catherine Wiley’s portrait of a woman with a green parasol sold to a phone bidder for $146,400, a new world auction record for the artist. The oil on canvas composition was dated 1911 and retained its original 40½-by-32¾-inch giltwood frame ($60/70,000).
sale’s second highest price. While the buyer wasn’t disclosed, the catalog noted it came to sale from a private Southern collection and had been authenticated by Thomas Whitehead, a longtime friend of the artist and scholar of her works.
A Knoxville collection consigned three late Eighteenth and early Nineteenth Century portrait miniatures that achieved prices high enough to place them among the sale’s highlights. James Peale Sr’s (Maryland/Pennsylvania, 1749-1831) watercolor portrait of John Johnson Sr (1770-1824) had been in the family of sitter, the attorney general and fourth chancellor of Maryland. It found a new home in an institution, for $9,760. The same museum acquired, for $9,150, an oval example of David McMechan (circa 1754-1810) that had been painted by Charles Willson Peale (Maryland/Pennsylvania, 17411827) and which was documented in Portraits and Miniatures by Charles Willson Peale by Charles Coleman (Philadelphia: American Philosophical Society, 1952).
The third miniature from the collection was of Henrietta Maria Hemsley Earle (1779-1821) by Robert Field that a private collector won for $8,540.
Residing in the family of the sitter and now going to an institution was this watercolor portrait miniature of John Johnson, Sr, by James Peale Sr. Measuring 2-5/8 by 2-1/8 inches and accompanied by an original red tooled leather storage case, it sold for $9,760 ($4/5,000).
William Scarborough’s portraits of Joseph Rogers and Mary Amis Rogers, oil on canvas, circa 1831, were noted in the catalog to be the earliest known paintings by the artist and depicted one of the founding families of Rogersville, Tenn. Presented in consecutive lots at $4/4,400 each, they were purchased by the same private Tennessee collector who prevailed against a museum, winning his portrait for $67,100 and hers for $61,000.
Not all the top prices were for fine art. Topping the furniture category with an $18,300 result was a Hans Wegner Papa Bear chair and ottoman that dated to the 1950s and came from the same estate as the Dzubas abstract.
Glassware topped off at $10,370 for a set of four Eighteenth Century blown, cut and engraved glass tumblers possibly made in Ireland for export and engraved “JM,” either for Jacob Motte or his son, Jacob Motte II of Charleson, S.C.; the set had descended in the historic Pinckney family at South Carolina’s Runnymede Plantation. A seven-piece sterling silver tea service by Gorham from a Knoxville estate topped off the silver category at $9,760, while $5,612 was the highest price for ceramics — a pair of Twentieth Century Chinese famille rose ginger jars from the estate of US Ambassador Ronald Schlicher, Brentwood, Tenn.
Prices quoted include the buyer’s premium as reported by the auction house.
Dates for forthcoming auctions have not yet been announced but Drury noted the house is accepting consignments. For more information, www.caseantiques. com/auctions or 865-558-3033.
Marie Hemsley
Earle’s portrait miniature by Robert Field was published in Harry Piers’ Robert Field: Portrait Painter in Oils, Miniature and WaterColours and Engraver (New York, 1927) and measured 2-7/8 by 2-3/8 inches. A private collector won it for $8,540 ($2,4/2,800).
An Italian phone bidder paid $67,100 for Giuseppe Santomaso’s “September in Segovia,” 1959, oil on canvas, 1959-60, in a 30½-by-41-inch frame ($32/36,000).
The highest selling of five “memory paintings” in the sale by Helen La France was “Church Picnic,” 1998, oil on canvas, 32 by 24 inches (framed). It sold to a Tennessee collector, bidding on the phone, for $18,300 ($3,8/4,200).
An out-of-state collector, bidding on the phone, took Andrew Wyeth’s (American, 1917-2009) letter to $23,180. Andrew and Betsy Wyeth purchased Brinton’s Mill in 1958 and the letter was inscribed to an unidentified addressee ($2,8/3,200).
Henrietta
INTERNATIONAL
Royal Academy Explores Modernism In Ukraine
LONDON — The Royal Academy of Arts has opened “In the Eye of the Storm: Modernism in Ukraine, 19001930s,” the most comprehensive UK exhibition to date about modern art in Ukraine. The exhibition brings together 65 artworks, many of which are on loan from the National Art Museum of Ukraine and the Museum of Theatre, Music and Cinema of Ukraine. On display are works by renowned artists, including Alexander Archipenko, Sonia Delaunay, Alexandra Exter and Kazymyr Malevych, as well as lesser-known artists such as Mykhailo Boichuk, Oleksandr Bohomazov and Vasyl Yermilov, each of whom left an indelible mark on Modernism in Ukraine and the development of the European art scene in the early Twentieth Century.
Geopolitically, Ukraine had for centuries been a borderland, with its territory divided between various empires and its people not perceived as a single nation until the late Nineteenth Century. Yet there were short periods of independence crucial for the formation of a Ukrainian identity. This complex historical background resulted in a vibrant amalgamation of encounters, a fusion of Ukrainian, Polish, Russian and Jewish elements that created a distinctly local cultural profile. The modernist movement in Ukraine unfolded against a complicated sociopolitical backdrop of World War I, collapsing empires, the revolutions of 1917 with the ensuing short-lived independence of the Ukrainian People’s Republic (1917-20), and the eventual establishment of Soviet Ukraine in 1922. Despite such political turmoil, this became a period of bold artistic and literary experimentation, and a true flourishing in Ukrainian art, literature, theatre and cinema.
Highlighting the range of artistic styles and cultural identities that existed in Ukraine in the early Twentieth Century, the exhibition is divided into six thematic sections. The first section showcases the Cubo-Futurist movement, when young artists from Ukraine combined elements of different radical trends that they had
encountered in Western European capitals to create their own visual language. The next section explores the role of theatre design as one of the most vigorous expressions of Modernism in Ukraine, highlighting work by Alexandra Exter, Vadym Meller and Anatol Petrytskyi. The next gallery spotlights the Kultur Lige, which brought together young Jewish artists such as El Lissitzky, Issakhar Ber Ryback and Sarah Shor to foster a synthesis of the Jewish artistic tradition and the European avant-garde. This is followed by sections looking at Early Soviet Ukraine and the artistic hubs of Kharkiv (which became the capital following the establishment of the Ukrainian Socialist Soviet Republic), and Kyiv Art Institute. There is also a section dedicated to the Last Generation, whose artistic activities were cut short in 1932 with the Soviet Union’s abolition of all independent art groups and the imposition of socialist realism as the single official artistic style.
On view through October 13, “In the Eye of the Storm: Modernism in Ukraine, 1900-1930s” shares the story of modernist artists in Ukraine and their attempts to produce a recognizable national style in a bid for Ukrainian statehood and cultural autonomy, spotlighting this essential — though little known in the West — chapter of European Modernism. The Royal Academy of Arts is at Burlington House in Piccadilly. For information, www.royalacademy.org/uk.
Mosaics By An Artist Accused Of Abusing Women Will Stay On The Lourdes Shrine,
By Nicole WiNfield
ROME (AP) — A French bishop has put off any decision on whether to remove mosaics by an ex-Jesuit artist accused of abusing women, saying that they’ll stay for now on the Lourdes shrine but that eventually they should be removed.
The mosaics will no longer be lit up each night during the evening prayer, Lourdes Bishop Jean-Marc Micas said in a statement Tuesday, July 2. But he told the French Catholic daily La Croix that he had decided not to remove them now because he didn’t want to “tear the church apart.”
“My deep, formed, intimate conviction is that they will one day need to be removed: they prevent Lourdes from reaching all the people for whom the sanctuary’s message is intended,” Micas was quoted as saying. “But I have decided not to remove them immediately, given the passions and violence the subject incites.”
The Reverend Marko Rupnik has been accused by more than 20 women of psychological, spiritual and sexual abuses over decades. He hasn’t responded to the allegations and refused to cooperate with an investigation by his former Jesuit order, but his collaborators have denounced what they called a media “lynching.”
The Jesuits expelled him last year after determining the
women’s claims were “very highly credible.” Some women say the abuse occurred during the creation of the artwork itself, rendering the mosaics a triggering and traumatic reminder of what they endured.
The Vatican opened a canonical investigation into Rupnik last October, after an outcry that his victims hadn’t received justice and suspicions that he had been protected by Jesuits up to and including Pope Francis. The pope denied any significant involvement but confirmed Rupnik had been excommuni-
cated for committing one of the Catholic Church’s most serious crimes: using the confessional to absolve a woman with whom he had engaged in sexual activity.
The debate about what to do with his mosaics has simmered for two years, precisely because the works are so widespread: They grace some of the Catholic Church’s most important and visited shrines, basilicas and sanctuaries around the world.
The debate exploded anew last week after the Vatican’s communications chief strongly defended continuing to use
A mosaic by ex-Jesuit artist Marko Rupnik is seen on the main façade of the Church of Our Lady of the Canadian Martyrs, in Rome, Friday, June 28, 2024. Five women urged Catholic bishops around the world to remove their churches Rupnik’s mosaics after they accused him of psychologically, spiritually and sexually abusing them (AP Photo / Andrew Medichini).
For Now
Rupnik artwork on the Vatican News website.
His position prompted the pope’s top anti-abuse adviser, Cardinal Sean O’Malley, to send a letter to all Vatican offices urging them to stop featuring Rupnik’s artwork. O’Malley said continuing to promote it ignores the pain of victims and could imply a defense of the Slovene priest.
Micas acknowledged as much in his statement and interview with La Croix, saying he understood that the mosaics have become a barrier to victims coming to pray at Lourdes because they associate them with abuse.
A study commission he formed last year to offer advice provided diverging recommendations: some said removing the mosaics wouldn’t do anything for victims, and that removing them would succumb to the trend of “cancel culture.”
“On the other side, the point of view was that the church risked prioritizing an object over people once again. Artistic or economic considerations could overshadow the church’s proclaimed care for victims of abuse by clergy,” Micas said.
Given the polarization, he decided to continue studying the issue.
On the day O’Malley sent a letter to the Vatican, five women — who accused Rupnik of abusing them — sent letters to bish-
ops around the world urging them to remove their Rupnik mosaics.
One of them, French Sister Samuelle, told The Associated Press that Rupnik had touched her intimately precisely as they were putting up a mosaic, on a scaffolding.
“Today, how can I be at peace in front of certain mosaics for which I vividly remember certain things?” Sister Samuelle told AP. “In front of that Madonna, or in that church, or that other place I know that Rupnik, as soon as he had finished this piece of mosaic, approached and began to touch my back. How can I look at these mosaics in peace today? How can I see the image of God without remembering the violence of these gestures and the psychological violence and pressure from Rupnik? I can’t.”
On Wednesday, July 3, the five women offered to meet with Micas to work together to find a solution. They welcomed his decision to not illuminate the mosaics at night as a “first step” but said more needed to be done.
“And while it is true that in the evening hours, the mosaics will no longer be illuminated, in the daytime they will still be clearly visible and will continue to fuel the bewilderment of the faithful and the feeling of grief of the victims,” they said in a statement released by their lawyer, Laura Sgro.
National Gallery Completes Restoration Of Rubens’ Judgement Of Paris
LONDON — Following a 14-month restoration carried out in the National Gallery of Art’s conservation department and supported by Bank of America Art Conservation Project, “The Judgement of Paris” (probably 163235) by Peter Paul Rubens (1577-1640) has returned to public display today (June 18).
On May 10, 2024, the National Gallery celebrated its 200th anniversary and began its Bicentenary celebrations, a year-long festival of art and creativity and imagination marking two centuries of bringing people and paintings together. In advance of a comprehensive redisplay of the collection for the first time in 30 years (provisionally titled “The Main Event”), the gallery planned to conserve some of its greatest masterpieces.
Rubens’ “The Judgement of Paris” is one of the bestknown works by Rubens and is of paramount importance both within the artist’s oeuvre and the National Gallery Collection.
Painted in the last decade of Rubens’ life, when he was at the height of his powers, the work shows the moment Paris makes his fateful choice between the goddesses Venus, Minerva and Juno. Rubens painted this subject several times, but this is one of the most important and undisputedly autographed works and is among the artist’s most recognizable and significant paintings.
The conservation of this outstanding work by Rubens highlights the collective expertise and collaborative approach the National Gallery brings to the restoration of its most important works with integrated scientific and art history research.
Scientific analysis of the layers of the painting and today’s imaging techniques — infrared reflectance imaging spectroscopy (RIS) and X-ray fluorescence (XRF) — some highly efficient noninvasive investigative techniques, enabled the conservator (Britta New, conservator), curator (Bart Cornelis, curator of Dutch and Flemish Painting) and the National Gallery scientists to confirm that the painting had been restored several times since the artist’s death in 1640. These restorations included a significant reworking of the composition sometime between 1676 and 1721, probably by a French artist who was employed by the Duc de Richelieu or the Duc d’Orléans. This artist cleverly tempered the erotic and voyeuristic aspects of the scene without concealing the nudity of the three goddesses. The painting arrived in Britain in 1792 and was eventually acquired by the National Gallery in 1844.
The analyses of cross-sections of the painting show which changes or pentimenti were made by Rubens himself and which later additions were made by other artists or conservators as the later modifications were made above a layer of varnish. It is also possible to determine which pigments were used — smalt, a blue that fades over time to grey, is visible in Rubens’ sky. It was discovered that Rubens also used more costly ultramarine, in Venus’ blue cloak.
Rubens also had changes made to the physical structure of his painting as he worked by adding horizontal boards (one at the base and five at the side) to extend
the size of the panel to allow more space around the figures and he modified key aspects of the composition. The legs and feet and robes of the goddesses were altered and the peacock’s neck, now bent down to hiss at the sheepdog, was originally upright. He painted out a putto flying over Venus’ head and turned the face of another putto in the bottom left-hand corner of the picture. The later French painter covered up Rubens’ Cupid (who originally stood beside Venus) and instead transformed this putto into Cupid by adding some wings. Rubens had intended a third putto to pull on Minerva’s shift, but following the French intervention only an ethereal hand remains. The positions of Paris and Mercury were also modified in France: In Rubens’ original postures, Paris’ right leg was raised, his left leg further forward and his hand clasped the golden apple in his lap. He wore a broad hat, and his shirt covered both shoulders. Mercury’s right arm can be seen gesturing towards the goddesses. These fascinating details help understand Rubens’ original intention.
Distribution of the pigment lead white at, and below, the surface.
The conservation treatment involved the removal and replacement of discolored varnish and retouching. The conservators faced difficult choices throughout as they
had to decide if they needed to go back to Rubens’ original composition or keep many of the subsequent changes. It was decided to clean the painting to the same level as a prior treatment of the 1940s. During this, and some of the previous cleanings, the extent of the French reworking had been misjudged and partially removed and then only minimally restored. This approach allowed the conservator, Britta New, to restore the painting more sympathetically, improving the balance and coherence of the painting by retouching with more stable materials.
In consultation with the curator Bart Cornelis, the retouching sought to suppress the very stark transitions between the partially revealed composition of Rubens and the reworked passages which were in places damaged. The position taken was that the painting’s successive reworkings were part of the painting’s history and should be kept and made legible without distracting the viewing experience, while allowing the informed viewer to pick out the aspects of Rubens’ composition that have changed. For example, the contours of Paris’ once lowered right arm are visible today through the folds of his white sleeve, even as he holds out the apple.
Important structural work to stabilize the oak panel was also carried out. Close examination of the auxiliary support of the painting, in combination with our knowledge of the picture’s provenance, deemed the “cradle” likely to have been created by Jean-Louis Hacquin (the “father” of the “adjustable” cradle), who is recorded in 1770 to have worked on another Rubens panel with a similar provenance through the French Royal Family. This historical evidence alongside the relatively good condition of the panel convinced the conservator to adjust the cradle support by replacing the vertical battens with pairs of thinner battens, allowing for a degree of flexibility to avoid future splits, as opposed to completely replacing the entire structure.
Finally, the painting has been fitted with an antique late Seventeenth Century French Louis XIV frame purchased by the National Gallery especially for “The Judgement of Paris.” It was thought that this frame would be a good fit for the painting both because the painting was changed while it was in France and because this frame will harmonize with the mostly French Eighteenth Century-style frames on the majority of the larger Rubens paintings in the collection. The frame was altered and regilded in the Nineteenth Century, it only required minimal adaptation.
To coincide with this new display, the gallery has also published a video showing the behind-the-scenes of the restoration.
Britta New, conservator, said, “Rubens is well known for constantly embellishing and improving his paintings as he worked, but the added dimension of the subsequent reworking of ‘The Judgement of Paris’ made the treatment of the panel a stimulating challenge.”
The National Gallery is at Trafalgar Square. For information, www.nationalgallery.org.uk.
Versailles Hosts Equestrian-Themed Exhibition To Coincide With Olympic Events
VERSAILLES, FRANCE — To coincide with the equestrian events at the Paris 2024 Olympic Games, which will be hosted on the Versailles estate, the Château is holding a major exhibition dedicated to horses and equestrian civilization in Europe – the first exhibition on this theme to be presented on such a scale.
“Horse in Majestry – At the Heart of a Civilization,” on view until November 3, features nearly 300 works on loan from around the world, highlighting the roles and uses of horses in civil and military society, from the Sixteenth to the Twentieth Century, up to the eve of the First World War, which marked the end of horse-drawn civilization and the relegation of horses to the realm of leisure.
This first exhibition dedicated to hors-
es on such a scale is divided into 13 sections on a tour leading visitors through several emblematic areas of the Palace: the Africa Rooms, the King’s State Apartment, the Hall of Mirrors, Madame Maintenon’s Apartment and the Dauphine’s Apartment on the ground floor.
In a gallery of princes’ favorite horses, the exhibition presents Charles XI of Sweden’s collection of horse portraits and more intimate portraits such as those of Queen Victoria’s Arabian horses. But also the beauty and sheer scale of the aristocratic and royal stables built in the Seventeenth and Eighteenth Centuries bear witness to the importance attached to horses in representations of power under the Ancien Régime.
Equestrian festivals played a key role in the life of European courts. The exhibition presents some rare examples of these ephemeral festive arts.
The exhibition also focuses on the relationship between art and science in anatomical studies of horses. The iconic early drawings by Andrea del Verrochio and Leonardo da Vinci are exhibited together here for the first time, in a collaboration between New York’s Metropolitan Museum and the English Royal Collections.
The exhibition is at the Place d’Armes. For information, en.chateauversailles.fr.
HYANNIS, MASS. — The Wallace Nutting Collectors Club Convention will be conducted on Cape Cod, Mass., again this year. Last year’s success, attendance and interest in coming back to Cape Cod again will make for another wonderful convention.
This year’s annual convention is Thursday and Friday September 26-27 at the Emerald Resort in Hyannis, Mass. The Emerald Resort has graciously given us a discounted rate of $133 per night and our room block will be held until August 27. To book a reservation call 508-775-7775 and mention the code “WNCC24” for the discount.
On the evening of September 26, club members will catch up for cocktails followed by our annual club dinner.
From 7:30 to 9:30 on Friday morning, our annual Marketplace (open and free to the public) will be held at the Emerald Resort. Dealers and collectors from around the country will exhibit items for sale, trade or show and tell. The Marketplace will not only include Wallace Nutting photos and furniture but images by other photographers such as Charles Sawyer, Fred Thompson, David Davidson, H. Marshall Gardiner (Nantucket), Higgins, Harris and Bicknell to mention just a few. Three excellent presentations will follow. That evening, club members will meet again for dinner at a local restaurant.
A bonus event, on Saturday
September 28, club members will travel on the high-speed ferry for a day trip to Nantucket. There will be a van tour of the island and lunch. This event is weather permitting.
For information about this convention or to join the Wallace Nutting Collectors Club, www. wallacenutting.org.
The Fan Association of North America MINNEAPOLIS, MINN. — The Fan Association of North America (FANA), composed of hand fan enthusiasts from across the country, recently convened in Los Angeles for its annual meeting. About 100 people gathered to enjoy lectures, fan sales, fan comradery, a flamenco dance performance and visits to three area museums to view various fan collections. FANA co-president Kathryn Hanna stated, “museum-quality fans are rarely exhibited due to their fragile construction, so it was particularly special for FANA members to view fans ‘behind-the-scenes’ at the ASU FIDM Museum, the USC Pacific Asia Museum and the Huntington Library.”
A highlight of the meeting was the ASU FIDM Museum’s temporary exhibit, “Adorned,” created specifically for this national meeting. FANA member Mona Lee Nesseth has generously donated many fans to the ASU FIDM collection. It was a treat for FANA members to see her fans up close, particularly the Phoebe Hearst lace and bejeweled fan, the first fan she
acquired. The collection at the Huntington Library focused on late 1700s and early 1800s fans with printed writing, music scores, games and dance steps. It included gems such as a rare Current Affairs fan with notable events for each month such as “Mr Wilberforces’s motion for abolishing the slave trade lost by 4 votes” (April 2, 1799) or the July 7 entry, “Boneparte & the whole of his Army landed in Egypt” — essentially a recap of the 1799 news on a fan.
Members were also very engaged by lectures presented by four experts. Presenters and their topics included “The Phoebe Hearst Fan Collection” by Victoria Kastner, an author and former Hearst Castle historian; “History of Fan Making, His Fans & His Life Dream Project” by Sylvain Le Guen, master fan maker from France; “Behind the Scenes and Important Fans at Auction” by Georgina LetourmyBordier, fan expert, author and auction specialist; and “Fans in Art” by Maxwell Barr, a historic costume designer.
FANA members bought vintage, antique and new fans at the members’ annual fan sale. New this year were fans for sale by contemporary fan artists such as those by FANA members Linda Estrada and Judith Haron — who designed the souvenir fan for the meeting, and members of the Studio School of the Palos Verdes Art Center under the leadership of Deborah Giese. In addition, FANA raised more than $9,000 for its grant program through its charity fan auction. The funds raised are used for grants such as those recently awarded to the Concord Museum (Massachusetts) for fan storage containers and digitizing their fan collection, and to the Fashion History Museum (Cambridge, Ontario) for the restoration of fans that are currently in the “Only Fans” exhibition (until January 2025). Visit the FANA website for more information about applying for grants.
FANA welcomes new members who may join by visiting the organization’s website, www. fanassociation.org. FANA membership dues have recently been reduced, offering new members a special discount — receive two years of membership for the price of one. In addition to national and regional meetings, member benefits include the FANA Forum newsletter, access to our amazing library of reference materials and regular email updates. Also, check out fan discussions on Facebook at “Hand Fan Collectors.” For further information contact admin@ fanassociation.org or call 952200-9727.
Victorian Society New York
NEW YORK CITY — Victorian women made American Egyptology possible, as the scholar Dr Kathleen Sheppard will explain in an evening lecture on September 18 at The Center at West Park, 165 West 86th Street in New York. Sheppard is celebrating her new book, Women in the Valley of the Kings: The Untold
Story of Women Egyptologists in the Gilded Age (St Martin’s Press). She will discuss how women fanned the flames of Egyptomania in the United States, starting in the late 1880s, fostering the growth of Egyptology collections at institutions, including the New-York Historical Society and the Metropolitan Museum of Art. Sheppard will take attendees on a tour of New York between 1889 and 1916, shedding light on some of the city’s oldest Egyptological sights.
Sheppard, a professor in the history and political science department at Missouri S&T in Rolla, Mo., has dedicated her career to telling the stories of women in Egyptology. She earned her master’s degree in Egyptian Archaeology at University College London in 2002, and her PhD in History of Science from the University of Oklahoma in 2010. Her 2013 book was a scientific biography of the archaeologist and Egyptologist Margaret Alice Murray. Her 2022 book, Tea on the Terrace: Hotels and Egyptologists’ Social Networks, 1885-1925, investigated how Egyptologists traveled and worked their way through Egypt.
Sheppard’s new book on women Egyptologists will be available for signing at the September 18 lecture, from 6:30 to 8 pm. Tickets are $5 for Victorian Society NY (VSNY) members, $10 for nonmembers, through Eventbrite.
The nonprofit VSNY, founded in 1966, advocates for the preservation and study of every aspect of Nineteenth Century and early Twentieth Century culture, including architecture, literature, theater, fine and decorative art, immigration, economics, politics, education, gender roles, reform movements, music, fashion and food.
For additional information, www.vicsocny.org.
Northeast Regional Button Association
MILFORD, MASS. — Celebrating the Northeast Regional Button Association’s (NERBA) 40th anniversary, the 2024 NERBA Button Convention was held in June and featured amazing artwork created by using buttons.
Next year’s show will be May 29-June 1 at the Double Tree by Hilton Boston in Milford, Mass. The convention’s theme will be “Boston Button Party: The Beginning of a Nation.”
To learn about NERBA, www. nerba.org or contact your local state button society.
Women in the Valley of the Kings: The Untold Story of Women Egyptologists in the Gilded Age by Kathleen Sheppard. St Martin’s Press, New York City, July 2024, pp. 320, $30, hardcover.
The Grolier Club
NEW YORK CITY — The Grolier Club, the country’s oldest and largest society for bibliophiles and enthusiasts in the graphic arts, has announced Declan Kiely as its executive director.
“The Grolier Club’s far-reaching exhibitions, publications, programs and world-class library have deeply informed my work as a library professional,” said Kiely. “I look forward to working with the club’s highly talented and committed staff and its remarkable Council to extend public engagement. I am committed to upholding and enhancing the club’s rich heritage as a public educational institution while looking firmly toward future possibilities and the club’s approaching sesquicentennial in 2034.”
More information about Kiely and his role can be found on the organization’s website.
In addition to this announcement, the club has also released its fall 2024 and spring 2025 exhibition schedule. Included are “Abraham Lincoln: His Life in Print” (September 25-December 28), “Imaginary Books: Lost, Unwritten and Fictive Works Found Only in Other Books” (December 5-February 15) and “Wish You Were Here: Guidebooks, Viewbooks, Photobooks, and Maps of New York City, 1807-1940” (March 6-May 10). For additional information and the complete exhibition schedule, www.grolierclub.org or 212838-6690.
EDITED BY CARLY TIMPSON
One of this year’s artful button displays. Courtesy the Northeast Regional Button Association.
“Afternoon In Nantucket” by Wallace Nutting, circa 1915-25, hand-colored photo. Image courtesy Sharon Lacasse.
Souvenir color print FANA fan, signed, Judith Haron, with lots of California, Los Angeles and Pasadena symbolism. Made by Duvelleroy, edition of 150.
Inaugural Summer Arts Festival Puts Ridgefield, Conn., On The Map
RIDGEFIELD, CONN. —
Show promoter Sue Brown Gordon has been trying for some time to get affluent Ridgefield into the orbit of shows that occur regularly in Greenwich, Norwalk and Westport. And why not? Norman Rockwell could have designed this town, a favorite destination for visitors. Founded more than 300 years ago with a population of about 30,000, the town’s historic, yet boutique-filled Main Street, the Aldrich Contemporary Art Museum and Keeler Tavern along with entertainment venues like the Ridgefield Playhouse that draws nationally acclaimed performers, the ACT theater, Prospector Theater and free live outdoor concerts in Ballard Park in the summer under the aegis of CHIRP, Ridgefield is a guaranteed magnet for a highend art festival.
Gordon sagely partnered with the Ridgefield Arts Council and Ridgefield Guild of Art to produce the inaugural Ridgefield Arts Festival, which ran June 29-30 in leafy Ballard Park. The juried fine arts and fine crafts event featured the works of 65 artists who set up tents and popup canopies to create mini galleries in the park.
As always, weather is a factor in many outdoor shows and there was a vibe of anxiety as exhibitors set up early on June 29, with the threat of rain coming displayed by the leaden grey skies. As it happened, the angst was unnecessary as the park stayed dry all of the first day and mostly into the next.
Visitors coming into the park through the main entrance next to the CVS store were greeted by a colorful banner announcing “Ridgefield Arts Festival.” It was illustrated by a detail from a painting by Newtown, Conn., artist Lois Warner.
Shoppers entered the park at 10 am to stroll and browse the show’s 65 exhibitors. One of them, Kathy Chattoraj from Greenwich, Conn., was ready with her large canvases of beachy expanses or woodland paths through the seasons. “I did pretty well,” Chattoraj said after the show. “I sold six pieces, essentially broke even. With new shows, you have to run them a few times to get people to come. Sunday was a better day, financially.”
She was drawn to creating art as a child growing up in New Hampshire. On her website, she says that “art was not only a device for capturing the immutable beauty of her surroundings, but a window into other worlds and cultures.” Her formal education included a BFA from the Art Institute of Boston and an MA from the Palazzo Spinelli School of Art and Design in Florence, Italy.
A strong compassion for the wild horses and burros of the West has led equine photographer Caroline Christie of Colrain, Mass., to specialize in photographing and developing an advocacy for them. Today’s wild horses, she says, are losing their homes on public lands to livestock, mining and oil refineries, which are considered more lucrative. The animals are
rounded up by helicopters and separated from family members, put in long-term holding pens or placed in auction pens and shipped to slaughterhouses in Canada and Mexico. With her camera, she captures America’s iconic wild horses and burros in the Western public lands where they roam.
Avon, Conn., fiber artist Diana Cesaro has developed a market for unique fashions by reclaiming discarded items like denim clothing, neckties and curtain remnants. She has a knack for sewing, so she combines the salvaged items to create one-of-akind, sustainable fashions like denim jackets with lacy sleeves, skirts of colorful vintage neckties and the like. Her business, Diana by Design, has taken off, especially popular among teens and young adults.
and browse the
65
in
From left, show manager Sue Brown Gordon visits the table set up by Ridgefield Guild of Artists vice president Mary Harold and guild president Mary Pat Devine. The guild is celebrating its 50th anniversary this year.
In the same booth as Tracy Hambley’s assemblages (not shown) were some super-real still life paintings by her husband, James Carter, whose medium is acrylic with airbrush.
Lois Warner says she is self-taught, having taken a handful of online courses. She likes color and floral design and tries to make her works cheerful like this acrylic “Color Wave.”
“Bloom” was the graphic chosen for the inaugural Ridgefield Arts Festival banner, an image by Newtown, Conn., artist Lois Warner.
Review and Photos by W.A. Demers, Senior Editor
Deuza Schwartz, Bedford, N.Y., noticed that celebrity portraits sold the most, but she also paints museum subjects like statues and busts and portraits of “art celebrities” like Degas and others.
Ridgefielder Hailey Williams stands next to a curated sample of her paintings.
Shoppers stroll
show’s
exhibitors
the juried show, set up in tents and popups along the tree-lined paths in Ridgefield’s Ballard Park, which benefits by being close to the town’s main business district.
With more than 40 years in the craft, you would not call David Gordon, Norwalk, Conn., an “emerging” artist. He is show promoter Sue Brown Gordon’s husband and right hand man but also an artist in his own right. Trained both as a painter and a printer, he said he’s sought to combine the influences of each.
Avon, Conn., fiber artist Diana Cesaro discovered that denim clothing items were often being tossed away with tears and worn out areas that did not affect the entire garment. With a knack for sewing and combining salvaged clothing with kicky fabrics — curtain remnants, neckties, lace and more — she began creating one-of-a-kind sustainable fashions. Her Diana by Design business has taken off, especially popular among teens and young adults.
They look like black and white photographs from a distance but these are incredibly detailed drawings in brushed on ink on Bristol board by Riverhead, N.Y., artist Tessa Gibbons.
Fiber artist Shikha Rungta, Edison, N.J., has spent six years learning how to create handmade scarves in various fabrics like silk, cashmere, chiffon and cotton using traditional techniques that are a unique heritage of Rajasthan, India. She’s holding a stamping block carved with designs for the fabrics.
A customer finalizes a purchase from jewelry artist
It’s a family affair for some artists. Tracy Hambley of Southbury, Conn., was not feeling well on Saturday morning so she set up with the intention of heading home and letting husband James Carter helm the booth. Hambley is an assemblages artist using found, vintage and common objects and combining them into a narrative to tell a story. The pieces are housed under glass in deep wood frames. Prominent in her booth was “Peep Show,” made out of old game boards, a camera lens and parts, dolls eyes, a bisque doll leg and other vintage items. Carter used just one wall to display a few of his own works — super-real still life paintings done in acrylic with airbrush. There were not many sculptors represented in this show, but Drew Klotz entertained visitors with his kinetic sculptures, and Joe Sorge of Shelton, Conn., was back with his fanciful pieces that he creates from medium to large pieces of scrap steel, bending them, painting some of them, letting others oxidize with timeworn patina. And Peter Vinci, Jr, was participating in his second show ever as a sculptor. He’s also an antiques dealer of Midcentury Modern, art and lighting through his Steamhorse 7 business, appearing often at Mongers Market in Bridgeport, Conn.
As anyone who has visited any town in the Berkshires can attest, the area is gorgeous in the fall. It’s what made Colleen Kastner, now a Ridgefielder, pull up stakes in Florida and head North with her oils, acrylics and encaustics to capture autumn “leafscapes,” which filled her booth. She’s a South Africanborn mixed media artist, writer and former mental health counselor. Kastner has been painting seriously since Covid and loves to tell stories with her art. Mixed media artist Jodi Oster, Fairlawn, N.J., was carrying on a time-honored tradition with her folk art made mainly from scavenged items. Just as early Americans fashioned characters out of gourds and dolls out of remnants of fabric, Oster finds art in discarded plastic bottles. One example was made into a gay pride character. Other found objects were turned into a grinning devil. She said she loves adding humor to her creations. “I feel art should make you happy,” she writes in her artist’s statement. “If people walk by and chuckle or even smile, then I’ve done my job. Using found objects and every-
Audrey Klotz is married to kinetic sculpture artist Drew Klotz and was set up next to his collection of continually moving pieces. Her art focuses on koi, and her display seemingly came alive with the underwater denizens’ color and movement.
Mixed media artist Jodi Oster, Fairlawn, N.J., was in the catbird seat when it came to folk art, which she says she creates mainly from scavenged items. With a devilish grin she held up one of her pieces.
With oils, acrylic mixed media and encaustic, Colleen Kastner of Ridgefield said she has seriously been painting since Covid and loves to tell stories with her art. Previously living in Florida, she relished moving to Ridgefield because “there’s no fall in Florida.” That led her to paint a whole series devoted to fall foliage landscapes.
“Peep Show” by Southbury, Conn., assemblages artist Tracy Hambley is made out of old game boards, a camera lens and parts, dolls eyes, a bisque doll leg and other vintage items. In the center, there was a lenticular eye that winks at you! It was priced $2,300.
Mikail Zakhalov, Westport, Conn.
day items to create a one-of-akind piece is one of my objectives. I also feel good when I recycle/ upcycle. For example, I use plastic bottles in some of my sculptural pieces. I am helping the environment and I am creating a unique piece at the same time.”
To enter Mariana Russo’s world is to experience a woodland that is slightly dark, otherworldly and full of a dynamic lifeforce. The Harrisburg, Penn., mixed media artist employs collage to give her trees’ leaves dimension. She employs woodburning to render rough and dark. She works primarily with wood, uses old kitchen cabinet doors, old windows and acrylics.
Another fun booth was the
Oak Creations,
celebrity-filled space set up by Deuza Schwartz of Bedford, N.Y.
Well, they weren’t real A-listers but painted portraits. Characters with attitude are her forte but she also paints museum subjects like statues and busts and portraits of “art celebrities” like Degas and others.
Riverhead, N.Y., artist Tessa Gibbons featured a trompe l’oeil series of large panels that looked like photographs from a distance but were in fact large panels about 48-by-30-inches on which she drew with brushed ink on Bristol board incredibly detailed images of woodland scenes. Gibbons grew up in New York’s Hudson Valley, certainly an influence on her work. She says
she is mostly self-taught, but has gone to school for filmmaking (NYU School of Continuing Education) and acting (Atlantic Theater Company Acting School). Painting and drawing, however, are her first love although she believes her theater and film experience informs her visual arts experience.
“It was a great success. We’re very happy with the first year,” said Gordon after the show. “We loved partnering with the guild and we’re really looking forward to next year and making it an annual tradition during the last week in June. That’s what we’ll do for 2025." As far as Gordon is concerned, she has planted the flag.
Equine photographer Caroline Christie, Colrain, Mass., specializes in photographing wild horses and burros of the West and enjoys educating people about how the herds are slowly getting removed, rounded up by helicopter to be replaced with more lucrative cattle. She is a self-taught photographer although she attended school for fine arts.
the World” is a collecting category for photographer Wendy Harris, whether a national park in northern Canada, wildlife on Baffin Island, reindeer in Sweden, Icelandic floes or any number of arresting or historic nooks and crannies in Peru, Portugal, Spain, Australia and others.
Kathy
got an early start capturing the beauty of her surroundings with art that is a window into other worlds and cultures. Now
Participating in his second show ever, Peter Vinci, Jr, stands next to his sculpture “The Embrace.” Pound Ridge, N.Y.
“Around
Charter
Ridgefield, makes original watercolor art designed to be part of one’s everyday life. Framed prints, bookmarks, kitchen towels, coasters and more are the “canvases” for fun, colorful images by Tracey Hoerdemann.
A native New Hampshirite,
Chattoraj
living in Greenwich, Conn., she paints beachy scenes, woodland paths and other inviting environments.
Mariana Russo, Harrisburg, Penn., right, was fielding many questions regarding her mixed media pieces that employ wood burning and collage.
Greenwich, Conn., photographer Zil Zhang, left, assists customers interested in one of his photographs. Self-taught, he says he began selling three years ago. Through his photos he attempts to convey tranquility and a peaceful mind.
Joe Sorge’s sculptures were outstanding — “out standing in a field,” he quipped. The Shelton, Conn., sculptor takes medium to large pieces of scrap steel and bends them into fanciful shapes. He is also fanciful with names for his sculptures, on the spot titling the large one to his right “Eternity.”
VALATIE, N.Y. — Old Kinderhook Auction Company conducted its two-day Bored on the 4th of July auction on July 2 and 3. Day one offered American art, fine frames and myriad ephemera, while day two was a mix of gold, electric lighting, outdoor furniture and outsider art, among other categories. The sale realized $225,462 over the two days, with a 98 percent sell-through rate.
Leading both days was a Ralph Lauren blue velvet sofa sold on day two, which sat pretty for $5,400, just over nine times its high estimate. The sofa was a three-seat piece on casters, accompanied by four pillows and listed as in “overall good condition.” It had a matching loveseat, which sold for $3,120, the fourth highest price on the second day.
Day one’s crowning jewel was an oil on canvas by French painter Gilles Gorriti, titled “St Tropez,” which depicted the harbor at Saint-Tropez, a coastal town on the French
Auction Action In Valatie, N.Y.
Fine Art & Furniture Find Fortune At Old Kinderhook
Topping both days of the sale was this Ralph Lauren blue velvet sofa, which measured 33 inches high, 94 inches wide and 44 inches in length. It found a new home for $5,400 ($300/600).
Riviera. With provenance to Wally Findlay Gallery in New York City, the painting sailed to its new owner for $4,800.
Fine art dominated the first day of the sale, with nine of the
“St Tropez” by Gilles Gorriti (French, 19392019), oil on canvas, 65¼ by 46 inches framed, signed lower right, docked in at $4,800, the highest price of day one ($3/4,000).
10 top-selling lots belonging to the category. A textured and colorful version of Pablo Picasso’s “Les Demoiselles D’Avignon” by Haitian artist Max Pinchinat earned $3,600,
This pair of Nineteenth Century Empire Dore bronze figural lamps were previously wall mounted candelabras but were retrofitted as a pair of lamps. They incorporated finely cast centurion or soldier figures and triple sockets with tole shades. Minor wear to their patina did not deter bidders from raising the 41-inch-tall lamps to $2,160, blowing past their $600/800 estimate.
the second-highest result of the day. The 1954 oil on canvas was signed lower right and measured 41¼ by 48½ inches framed.
“St Tropez” was not the only
This Officer’s Order of St George medal on a ribbon, together with a letter from 1938 giving it to a collection, was awarded to its buyer for $1,680 ($200/300).
work featuring a body of water that attracted bidders. “The Humber River” by George Pearse Ennis, an oil on canvas with provenance to Fletcher Gallery in Woodstock, N.Y., brought in $2,040, just above its low estimate. It depicted a bright coastal scene in the mountains, framed to measure 28 by 32 inches. The painting was also signed lower left and titled verso. “Low Tides, Dutch Coast” by Charles Gruppe, depicting a boat at low tide unloading onto a cart, sold for more than five times its estimate at $2,520.
Although not fine art, a handwritten letter from artist Thomas Cole to Theodore Allen, esquire, the third highest selling lot of day one, was still related to art in some way.
This Nineteenth Century portrait of a young Frederico Gonzaga — the son of Isabella d’Este, the marchioness of Mantua — after Francesco Francia (Italian, Fifteenth Century), oil on board, 26 by 21½ inches, went for $1,560, more than 15 times its high estimate ($50-$100).
Depicting a pond on a cloudy day, “Landscape with Pond” by William de
oil
15 by 21¾
and
This pair of teak benches in the style of Lutyens but made by Restoration Hardware, each measuring 77 inches wide, sat at $2,640, almost seven times their high estimate ($200/400).
Leftwich Dodge (American, 1867-1935), 1919,
on canvas,
inches, signed
dated lower right, was bid to $1,440, despite heavy wear and tear ($50$100).
Review by Kiersten Busch, Assistant Editor Photos Courtesy Old Kinderhook Auction Company
In the correspondence, which was written off at $2,880, Cole invited Allen — who, according to the auction catalog, was “an honorary member of the National Academy of Design and son-in-law of patron of the art Luman Reed” — to Harding’s Gallery to view his “The Voyage of Life” series. It was written on a 9½-by-11½-inch page of the gallery’s catalog and included a stamp from Catskill, N.Y.
Furniture, both indoor and outdoor, was one of the most popular categories on day two, with 264 lots of various shapes and sizes offered to enthusiastic bidders. A pair of teak wood garden benches in the style of Lutyens, tagged “Restoration Hardware” on the back, exceeded their estimate five-
fold and realized $2,640, despite some wear and moss growth. A very similar pair, also in the style of Lutyens, but tagged “Barlow Tyrie Braintree, England,” crossed the block for $1,680.
Sitting at the table for just over their high estimate were a group of five Gustav Stickley armchairs with rush seats. The group, with each individual chair measuring 37¼ inches high, 26¼ inches wide and 21 inches long, was identified by a singular chair with a visible “looping G” mark, dated circa 1904-07. Some wear and losses to finish did not deter bidders from pushing the chairs to $2,400.
More than 25 lots of gold were offered on the second day of the sale, but two in particu-
These five Gustav Stickley armchairs, one with a “looping G” mark on it, sold as a group for $2,400, just over estimate ($1/2,000).
“Strawberry Field Forever” by Mayumi Oda (Japanese, b 1941), woodblock on paper, 28½ by 41¼ framed, titled lower center, signed lower right, numbered “30/50,” came in at $1,560. The artwork depicted a redhaired woman lounging in a strawberry field ($200/400).
With an elaborate pulled decoration of red, yellow and black and some wear, losses and cracking, this antique Shenandoah Valley pottery bowl was estimated at just $50-$100 but sold for $2,040. It measured 4¾ by 12 inches.
lar caught buyers’ eyes. The second-highest price of the day was for an antique 18K gold charm bracelet. The 8-inchlong bracelet’s 31 gold charms included things like a 10K gold Wisconsin State Golf Association (WSGA) medal, a Fenning coin, a 10K gold sorority medal and an 18K gold mounted jade medallion, among many others. It went to its new home for $5,100. A 14K gold Art Deco cigarette case with a geometric pattern and monogrammed cartouche sold for $3,360, comfortably within estimate.
Another interesting lot offered on day two was an antique Russian Officer’s Order of Saint George medal, strung on a ribbon. Accompanying it was a letter, dated 1938, which gave it to a collec-
This 14K gold Art Deco cigarette case was listed in the auction catalog as being in “overall excellent condition.” The 2½-by-3-1/8-inch piece weighed 52.4 pennyweights and crossed the block for $3,360 ($2/3,000).
Sold for $5,100, this antique 18K bracelet with 31 gold charms weighed 72.9 pennyweights and was 8 inches long ($3/4,000).
Signed away for $2,880 was this handwritten letter from artist Thomas Cole (American, 1808-1848) to Theodore Allen, Esquire (American, circa 1800-1850). Cole invited Allen to come view his “The Voyage of Life” series, at Harding’s Gallery at the time ($200/400).
tion, the contents of which described the event that awarded it: “This particular cross was awarded by the emperor’s order of February 13, 1917, for the battle of July 15, 1916, near Lutzk, when the Imperial Guards smashed through the German lines...” The medal was awarded to the highest bidder for $1,680. Prices quoted include the buyer’s premium as reported by the auction house. For more information, www.oldkinderhookauction.com or 518-912-4747.
“Les Demoiselles D’Avignon” by Max Pinchinat (Haitian, 1925-1985), 1954, oil on canvas, 41¼ by
signed upper right was the artist’s interpretation of Picasso’s famous painting of the same name. It was pushed to $3,600 by bidders, the second highest selling lot of the first day ($1/2,000).
“Low Tides, Dutch Coast” by Charles Gruppe (American, 1860-1940), oil on canvas, 25 by 30 inches, signed lower left and titled verso coasted to $2,520, over two times its high estimate ($400/500).
lower left and titled verso flowed to $2,040, just within estimate ($2/4,000).
48½ inches framed,
“The Humber River” by George Pearse Ennis (American, 1884-1936), oil on canvas, 28 by 32 inches framed, signed
Historic Homes & Properties
Historic Huguenot Street’s Newest Publication—
Legacies On The Land: Historic Houses, Hamlets And Landscapes Of Southern Ulster County
NEW PALTZ, N.Y. — Historic Huguenot Street (HHS) has announced the publication of Legacies on the Land: Historic Houses, Hamlets and Landscapes of Southern Ulster County, edited by Vals Osborne, vice chair of the HHS Board.
The book is based upon material from Wallkill Valley Land Trust’s (WVLT) popular “Houses on the Land” annual historic house tours that spanned 10 years and 10 communities. According to Mary Etta Schneider, HHS Board chair, “Upon conclusion of the house tours, Vals approached us with the idea to incorporate the years of research completed for the tours into one unified, reenvisioned book with expanded and updated content, including an insightful introduction to the region’s natural and incredibly rich social history by leading Hudson Valley scholars. Vals’ vision for this important historical record fit nicely with HHS’s vision and educational mission, and we wanted to support this project.”
tural mix and to the visible legacy that has been passed down generationally for 350 years. Researched and written by a cadre of talented volunteers, including historians and noted authors, the book explores the region’s townships and provides indepth essays on more than 150 architectural gems in every style, from early Dutch fieldstone houses to Twenty First Century modernism. Wineries and grassfed meat farms have replaced the original Seventeenth Century subsistence farms, and hamlets have become villages, but this historic land retains its rural character and a diverse beauty that remains a beacon today.
Legacies on the Land is the history of the land, people and architecture of one of the earliest regions to be colonized by Euro-
peans in what is now New York State. The book follows the early settlement of southern Ulster County by the Dutch, Huguenots, Walloons, English, Palatines and enslaved Africans on the homelands of the Munsee Lenape as settlement spread outward from New Paltz to neighboring townships. The Nineteenth Century influx of Germans, Irish, Italians and others added to the rich cul-
The book’s editor, Vals Osborne, was an art historian and gallerist in New York City for more than 10 years, then served as director of education at Young Presidents Organization, an international educational association of company presidents. As founding director of Sotheby’s Institute, she designed numerous programs on the arts and architecture in the United States and Europe, in addition to the accredited annual graduatelevel American Arts Course, still running today. Throughout the ensuing years as a real estate specialist in New York City historic townhouses, she continued to pursue her twin passions for historic preservation and land conservation through active service on the boards of Village Preservation (Greenwich Village), Historic Huguenot Street and Wallkill Valley Land Trust, to which she donated an easement on the extensive farmlands abutting her restored 1831 farmhouse, now on the National Register.
“It gives me great joy and a sense of fulfillment to share with a wider public the fruits of more than a decade of inspiring collaboration by many dedicated volunteers, including regional and architectural historians, special librarians, historical societies and local enthusiasts. We hope readers will enjoy this adventure as much as we have loved creating it.”
Osborne continues, “As stated by architectural historian Neil Larson, ‘There’s nothing new about historic house tours, but the bar has been raised with updated, expanded and authenticated stories about these towns and their distinctive historic architecture for the next generation.’”
Christopher Pryslopski, editor for The Hudson River Valley Review wrote, “With its all-star cast of authors, great diversity of places and many exclusive color images, Legacies on the Land is an essential book for enthusiasts
and scholars of our region’s rich history. The material has been thoroughly revised and expanded upon with a new introduction on the region’s natural and social history, setting the scene for detailed discussions of well over 150 remarkable examples of its buildings, its builders and their legacies.”
A National Historic Landmark District, HHS is a 501(c)(3) nonprofit museum dedicated to preserving a pre-Revolutionary Hudson Valley settlement and engaging diverse audiences in the exploration of America’s multicultural past to understand the historical forces that have shaped America. As an educational institution founded by the town’s French-speaking Protestant descendants and chartered by the University of the State of
New York Department of Education, HHS explores the lives of the early European colonists, honors the region’s Indigenous people and acknowledges the enslaved and disenfranchised peoples who built New Paltz. Today, HHS is recognized as an innovative museum and community gathering place, providing visitors with an inclusive presentation of our shared past. For more information, www.huguenotstreet.org.
[Editor’s note: Officially released on July 5, Legacies on the Land: Historic Houses, Hamlets and Landscapes of Southern Ulster County retails for $35 and is now available for both in-person and online sales in the HHS Museum Shop and through the publisher, Black Dome Press, www.blackdomepress.com.]
Compiled by madelia HiCkman Ring
Freer-Eddy-Wurster House, Kingston, N.Y., circa 1766; Italianate aerie was added in 1877. Jim Berkise photo.
William Edmund Bruyn House, 1926-27, Gardiner, N.Y., Colonial Revival estate. Josè Moreno-Lacalle photo.
Johannes Cornelius Decker House, 1720 and later, Shawangunk, N.Y., early Dutch-style stone farmhouse. Anne Bienstock photo.
Jacob J. Hasbrouck House, circa 1830-50, New Paltz, N.Y., Federal brick farmhouse. Josè Moreno-Lacalle photo.
William Van Benschoten House, circa 1883, Esopus, N.Y., Queen Anne-style house. Lorie Karnath photo.
An Array Of Modern Art Sculptures Are In La Belle Epoque Auction
NEW YORK CITY — On Saturday, July 27, La Belle Epoque Auction House will host its multi-estates summer auction via LaBelleEpoque. com, the La Belle Epoque app, Invaluable and LiveAuctioneers.
Set to begin at 11 am Eastern Time, the sale exhibits an array of Modern art sculptures: a 5-foot-4-inch “Nana” attributed to Niki de Saint Phalle ($1/2,000); a Joseph Meerbott enamel metal work, circa 1994 ($500/800); and a decorative Karel Appel “Circus Wagon” ($1,5/2,000).
A selection of bronze lots include a signed Fernando Botero “Horse” numbered 3/8 ($1/2,000); a “Don Quixote” bronze bust on marble base, signed Gantz ($600/800);and “La Victoire De Samothrace” bronze sculpture signed Arman with foundry marks ($700-$1,000).
La Belle Epoque presents a e collection of contemporary art among more than 400 lots, highlighting an Andy Warhol screenprint titled “Daily News 1967” from a limited edition of only 35 with a starting bid of $4,000. There are works accredited to Pablo Picasso, including lithographs from his “Imaginary Portrait” works and notably a sought-after hand-signed lithograph from a suite created to celebrate the 80th Anniversary of the Eiffel Tower, 1969 ($200/300).
Works from Joan Miro include a ceramic pottery vessel signed Miro, measuring 24 inches in width ($800-$1,200), a Miro exhibition lithograph from Japan, circa 1966, at the Museum of Modern Art in Tokyo and the Mainichi Newspapers Kyoto ($300/600) and a striking lithograph titled “Louisiana,” which is also hand signed and numbered ($600/800). Three works from artist Pure Evil’s “Nightmare” series depicting Basquiat, Andy Warhol and Keith Har-
ing will list for $500/800 per lot. An Alexander Calder lithograph hand signed and numbered is expected to fetch $700-$1,200. Celebrated Italian folk artist Giovanni DeSimone is known for his ceramic expertise, which extends to his painting in an Impressionist oil on canvas ($800-$1,000). A highly recognizable scene of Times Square by hyperrealistic artist Luigi Roccais estimated at $2/4,000.
A notable photography collection includes 15 Tom Baril photographs, all expertly framed depicting various iconic locations in New York, with a standout of the Empire State Building, circa 1999 ($1,5/2,000 each). An historic image captured of Margaret Bourke White atop the Chrysler building taken by her then studio assistant Oscar Graubner will start at $200. It comes alongside an equally iconic Helen Levitt photograph of children dancing in the streets of New York titled “Two Kids Dancing,” circa 1940, starting at $500.
While Modern art is certainly in the spotlight, a collection of more than 70 pieces of
1890s Mount Washington glass wares includes three lots of the rare Mount Washington Victorian Chick shakers ($200/300 per lot), alongside a Mount Washington Victorian glass lamp estimated at $400/600. For Tiffany Studios collectors, the Grapevine articles are sure to entice with three lots, including a group of Grapevine desk articles ($2,5/3,500) and a Grapevine glove box ($2/3,000).
In the antiques field, there is a unique selection of display showcases from an accredited Americana dealer and a late Nineteenth Century Crazy Quilt framed in an acrylic shadow box that will start at $100. An antique Pembroke desk with provenance of receipt, circa 1865 ($400/600), an intricate Japanese basket signed Wada Waichisai ($1/2,000) will cross the block, and for cowboy collectors there is a carte de visite of American Wild West icon James Butler Hickok “Wild Bill,” a sheriff who was killed in the Dead-
Boca Raton Museum Of Art Presents ‘Myths, Secrets, Lies And Truths’
BOCA RATON, FLA. — The Boca Raton Museum of Art presents “Myths, Secrets, Lies, and Truths: Photography from the Doug McCraw Collection,” on view through October 13. The exhibition features the work of five artists: Sheila Pree Bright, Liesa Cole, Karen Graffeo, Spider Martin and Hank Wills Thomas.
The exhibition of 100-plus works from the Doug McCraw Collection is an original presentation by the museum, and was curated by Kathleen Goncharov, the museum’s senior curator.
The works explore themes of survival, exposure, concealment, exploitation, race and cultural-defining design.
They include still photography and installations, capturing moments that transcend boundaries of insight, and reveal how fabricated myths can shape our perceptions and distort our beliefs.
wood area in Dakota. Hickok was shot by Jack McCall while playing poker ($2/3,000). In terms of oil paintings, a notable Nineteenth Century work signed Sargent and titled “The Flight of the Dove” will start at $500, and an Elijah Sylvester Newton Cawthorn work on canvas is estimated to obtain $500-$800.
Among the aforementioned items, one can expect a set of Herend Indian Basket dinnerwares, rare antique books from the estate of celebrated antiquarian book dealer Estelle Chessid, sterling silver articles and midcentury furniture from the likes of Herman Miller, Lane, Jens Risom, Louis Poulson and Les Prismatiques; An array of modern art glass and ceramics from Roseville, Stangl, RumRill, Kosta Boda, Orefors Red Wing and Paul Kedelv for Flygsfors are among many other lots. La Belle Époque’s gallery is at 71 8th Avenue. For information, www.labelleepoque.com or 212362-1770.
Rescue Isle of Wight Stolen 1986 $1,000 reward for leading to return CONTACT Stuart Swan 757 790 2348 email : stuartswan36@gmail.com
Doug McCraw is the co-founder of one of South Florida’s cultural gems: the FATVillage Arts District which is McCraw's project that promotes creativity, artist residences, exhibitions, research and education. McCraw loaned these 100 plus works from his collection to the Boca Raton Museum for this new exhibition.
“‘Myths, Secrets, Lies and Truths’ presents five distinct voices that delve into and illuminate so many aspects of life,” says Irvin Lippman, the executive director of the Boca Raton Museum of Art. “Our thanks to Doug McCraw who has built an extraordinary and stimulating collection that will facilitate insightful conversations.”
The Boca Raton Museum of Art is at 501 Plaza Real. For information, 561-392-2500 or www. bocamuseum.org.
Beautiful Murano glass chandelier, silver chandelier & sconces, many other chandeliers & sconces, great Biedemier marble topped sideboard, inlaid mahogany dining table with 3 leaves and 8 chairs, slant front hutch, leather and nail head chairs, tufted sofa, antique VICTROLA and records, many beautiful mirrors including a trumeau, antique music stand, painted chest, carpets, Great leather modular sofa, large antique pine coffee table, office furniture, several bedroom sets, and lots of iron outdoor furniture, including bar, lanterns, firepit, hammock, bistro table & chairs, heat lamps, urns. Old silver and glass, antique wooden boxes, leather books, clocks, large baseball painting (Jeter???), prints of Central Park, lots of movie posters, other art, lots of vintage costume jewelry, designer clothing and shoes, linens, Ping Pong table, many sets of fireplace equipment.
DIRECTIONS: From North Hutch to Exit 12, right on Mamaroneck Rd., approx. 1 mile to right on Park Rd. NO SIGNS IN SCARSDALE!!!!!
Alexander Calder lithograph
Botero signed bronze Andy Warhol, “Daily News,” 1967
“Shawn Ole T. Evangelista” by Sheila Pree Bright (chromogenic print) 2006.
DANIA BEACH, FLA. — An Eighteenth Century Chinese midnight blue silk embroidered robe revealed its value in Kodner Galleries’ July 1 estate jewelry, silver, art and collections sale, ignoring its $600/800 to sew up a final price of $3,780. Decorated with crane and butterfly medallions and floral patterns with a scrolling sea and rainbow bottom, the robe was 53½
Silk & ‘Ice’ At Kodner Galleries
Auction Action In Dania Beach, Fla.
inches long. Ignored, too, were some condition issues; the shoulder tops and neck were torn and shredded, some buttonholes were gone and the robe’s interior silk was stained.
While the robe’s soaring value was notable, its price was dwarfed by the $16,940 earned by a pair of diamond and 18K gold hoop earrings. With a total weight of approximately 18.25 carats, the in-
and-out hoop earrings featured 734 pave set round brilliant cut diamonds. The diamonds were F-G color, VVSVS clarity.
“Ice” was also ascendant in a diamond and 18K gold bracelet that sold for $11,495. Here there were approximately 9 carats of pave set round brilliant cut diamonds in the 18K white gold bracelet. The diamonds were E-G color, VVS-VS clarity and the bracelet measured 9 inches long.
The first lot across the block was an antique Russian silver samovar. Heating up to a $2,394 finish, the vessel included a burner stand supported on three curved paw feet and its two attached handles had female mask faces. The samovar was stamped “84
silver 875/1000, L.O., 1894 P. Ovchinnikov” on the bottom. Monogrammed on the front, it was 14½ inches high and weighed 70.1 troy ounces.
A fine art highlight was Cundo Bermúdez’s (Cuban, 1914-2008) oil on canvas painting of a “Woman with Yellow Hat.” It brought $3,872. Known for his colorful and playful depictions of everyday life, Bermúdez was both Spanish Modernist and humorist. His influences were Mexican artists like Diego Rivera (1886-1957) and José Clemente Orozco (1883–1949), as well as the previous generation of Cuban artists. This painting was signed lower right, dated 1990, and measured 24 by 20 inches.
A notable timepiece in the
A Waltham 14K gold pocket watch deemed in good antique condition changed hands for $1,134. Its case featured a raised relief shield on the front and a bird and floral design with diamond accent on the reverse.
for his colorful and humorous depictions of everyday life,
sale was a Waltham 14 pocket watch that was bid to $1,134. Deemed in good antique condition, the tri-color gold pocket watch had a manual wind movement. Its case featured a raised relief shield on the front and a bird and floral design with diamond accent on the back. It weighed approximately 54.92 grams. As for fashion accessories, a Chanel classic shoulder bag showed its chic-ness, selling for $847. The quilted camera shoulder handbag was said to be in good used condition and it had a front pouch and sassy tassel.
Prices given include the buyer’s premium as stated by the auction house. For additional information, www.kodner.com or 954-925-2550.
This Eighteenth Century Chinese midnight blue silk embroidered robe surpassed its $600/800 estimate to sew up a final price of $3,780. It was decorated with crane and butterfly medallions, floral patterns with scrolling sea and a rainbow bottom.
The first lot across the block was an antique Russian silver samovar, which brought $2,394. Included was a burner stand supported on three curved paw feet.
Known
Cuban artist Cundo Bermúdez was represented by this oil on canvas painting of a “Woman with Yellow Hat” that snatched $3,872.
A diamond and 18K gold bracelet, 9 inches long, sold for $11,495.
A total of $16,940 was posted by this pair of in-and-out diamond and 18K gold hoop earrings with 734 pave set round brilliant cut diamonds.
This Chanel classic shoulder bag with front pouch and sassy tassel sold for $847.
Review by W.A. Demers, Senior Editor Photos Courtesy Kodner Galleries
CMA Acquires Dutch Ceramic Flower Pyramid & Important Old Master
CLEVELAND, OHIO — The Cleveland Museum of Art (CMA) announces the acquisition of six new pieces, including a Dutch tin-glazed earthenware vase produced by the Greek A Factory; a pen and ink drawing by Maarten van Heemskerck; and drawings by Maarten van Heemskerck, Fernand Léger, Gustave Moreau, Joseph Stella and Sophie Taeuber-Arp.
“Flower Pyramid” represents a beautiful hexagonal type of pyramid and is marked by Adrianus Kocx, the owner of the Greek A Factory. It was likely produced for the English market — a desirable product for English aristocrats supporting the Dutch Stadtholder, later William III of England, and his wife Mary.
“Flower Pyramid” was acquired at TEFAF Maastricht from Aronson Delftware Anti-
quairs, Amsterdam.
“Jonah Cast Out of the Whale onto the Shore of Nineveh” by Maarten van Heemskerck is the preparatory design for one of a four-part print series on the biblical book of Jonah, all of which were engraved by Philips Galle with text added by Hadrianus Junius. The three other drawings for the series are in museum collections in Boston and in the United Kingdom in Oxford and Cambridge. The first drawing by van Heemskerck to enter the CMA’s collection, its provenance includes the Seventeenth Century architectural painter Pieter Saenredam and, most recently, the Einar Perman collection, Stockholm.
“The Good Samaritan” by Gustave Moreau presents a scene from a parable that Moreau returned to repeatedly through-
& Modern Drawings
out the 1860s and 70s. The story focuses on the importance of mercy and humanity — values that Moreau highlights by showing the Samaritan giving up his own horse to lead the wounded traveler in the story’s most poignant moment.
“The Good Samaritan” is the CMA’s first work by this important Symbolist artist.
Created in the period after the end of World War I — which was to become her best known and most representative — “Free Horizontal-Vertical Rhythms” belongs to a series in which Sophie Taeuber-Arp aimed to capture such dynamic elements in a fundamentally two-dimensional medium.
Fernand Léger is known for creating his own distinctive brand of Cubism, advancing the pioneering style developed by
Smithsonian’s National Museum
Pablo Picasso and Georges Braque early in the Twentieth Century.
By 1920, Léger had developed Purism, the style for which he is best known today. He focused on depicting recognizable imagery with pure and precise lines, using an objectivity that has been seen as responding to the chaos of war. “Still Life with Bottle” dates from the height of this period of experimentation and is representative of Léger’s Purist style.
Joseph Stella’s “Man Reading a Newspaper” demonstrates the influence of European abstraction on New York artists during the early decades of the Twentieth Century.
The Cleveland Museum of Art is at 11150 East Boulevard. For information, 216-421-7350 or www.clevelandart.org.
Of The American Indian Presents ‘Unbound: Narrative Art Of The Plains’
WASHINGTON DC — The National Museum of the American Indian presents “Unbound: Narrative Art of the Plains,” which celebrates the full expression of narrative art among Native nations of the Great Plains. The exhibition juxtaposes historical hides, muslins and ledger books with more than 50 contemporary works commissioned by the museum. Illustrating everything from war deeds and ceremonial events to family life, Native identity and pop culture, the artworks are as diverse as the individuals who created them. “Unbound” is on view through January 20.
Early narrative warrior-artists recorded their battle exploits on buffalo-hide shirts and robes. During the Nineteenth Century, as trade broadened, they painted more elaborate scenes on large canvas tipi liners and used muslin cloth as well as hides for winter counts, some documenting more than 100 years of history. When led-
ger books became available, artists filled their pages with narrative drawings. Native artists began reviving “ledger art” in the 1970s, creating a vibrant form that takes on contemporary topics, uses a variety of media, and is widely collected.
Curated by Emil Her Many Horses (Oglala Lakota), “Unbound” features historical works from the museum’s collections by 14 artists — nine of them known by name — including Bear’s Heart (Southern Cheyenne), Zotom (Kiowa), Siyosapa/Black Chicken (Yanktonai Nakota), Cantéwani’ca/No Heart (Yanktonai Nakota), Spotted Tail (Apsáalooke [Crow]), Tatank’-ehan’ni/ Old Buffalo (Lakota), Rain In The Face (Hunkpapa Lakota) and Cehu’pa/Jaw (Hunkpapa Lakota).
The National Museum of the American Indian is at 4th Street and Independence Avenue. For information, 202-6331000 or www.americanindian. si.edu.
“Red Bear’s Winter Count” by Martin E. Red Bear (Oglala/ Sicangu Lakota, b 1947), 2004, canvas, acrylic paint, approximately 3 feet 10 inches by 3 feet 9-7/10 inches (26/8020).
Westmoreland Museum Of American Art Presents
‘The
Great Search: Art In A Time Of Change, 1928-1945’
GREENSBURG, PENN. — The Westmoreland Museum of American Art presents “The Great Search: Art in a Time of Change, 1928-1945,” which surveys the period from the beginning of the Great Depression to the end of World War II to demonstrate how pluralism was a hallmark of the modern American art world. This exhibition features works by Andrew Wyeth, Arthur Dove, Milton Avery and others. It is on view through December 8.
“The Great Search’s” title references “American Art Today,” the World’s Fair exhibition held in New York City in 1939. Organizer Holger Cahill, then national director of the Federal Art Project, spoke in his address of the modern artist’s “search that takes many paths” — a yearning desire to seek out new and enduring forms that would aid democracy.
“Flower Pyramid” by Adrianus Kocx (Dutch, active 1686-1701), circa 1690, De Grieksche A (The Greek A) Factory (Dutch, active 16581811). Netherlands, Delft, tin-glazed earthenware, painted in blue, 37-3/8 inches high. Severance and Greta Millikin, Purchase Fund, 2024.27.a-.g.
One of The Westmoreland’s bestknown and loved paintings, Ernest Fiene’s “Night Shift, Aliquippa” (1936), was included in this pivotal presentation. Drawn primarily from The Westmoreland’s collection, amplified by key loans from public and private collections, the exhibition provides fresh insight into the individuals, experiences and both new and traditional aesthetics that define American modern art.
This is one in a series of American art exhibitions created through a multi-year, multi-institutional partnership formed by the Philadelphia Museum of Art as part of the Art Bridges Cohort Program.
The Westmoreland Museum of American Art is at 22 North Main Street. For information, www.thewestmoreland.org or 724-837-1500.
“Night Shift – Aliquippa (Entrance to the J&L Works)” by Ernest Fiene, 1936, oil on canvas, 36 by 48 inches. Museum Purchase with additional funds from the William W. Jamison II Art Acquisition Fund, Scott and Pam Kroh, Funds in Memory of David A. Ludwig.
THE COLLECTION OF THE LATE LISA WHITTINGTON
Featuring Fine Country Antiques and Folk Art – Exhibited in the Historic French House William Smith Auctions, Plainfield NH
Wednesday, July 31st at 10:00 am
Preview: July 28th, 29th and 30th from 12-4, and 8:30 am morning of the sale
We are honored to present the life-long curated collection of the late Lisa Whittington. There are very few people who instinctively possess that elusive taste for selecting the best of kind. She did, and understood the value of beautiful things. As a dealer, she helped countless people gather collections, placing every object, providing every detail. She had a devoted following of alert collectors who spotted her genius and entrusted her with guiding them in their search. She knew paint surfaces like the back of her hand. The years she and Dick spent in the English countr yside enriched her talents, adding the folk art of Great Britain to her areas of expertise. Lisa just kept growing in her knowledge and awareness until she possessed a vast understanding of the heart of antiques collecting. And…she always shared, guided by that generous spirit of hers.
This live auction features over 400 lots of wonderful country furniture and colorful accessories.
Another 300 lots from Lisa’s collection will be up for bidding in our timed auction, running for 10 days in conjunction with this live event. Both sales will be available to preview simultaneously, from July 28th thru 30th. Please plan to attend the live auction on July 31st.
Painted Beehive Bowls
18th C. Shoe Foot Hutch Table
19th C. Painted Sideboard
Joel Palmer Blanket Box
Rowan Co. Blanket Chest
19th C. Mirrored Candle Sconces
Collection of Frank Finney Carvings
18th C. Painted Armchair
18th C. Painted Pipe Box
1830 Ralph Curtis Portraits
19th C. American Case Clock Pilgrim Period Blanket Chest
18th C. Double Wall Box 18th C. Painted Pipe Box
Collection of Samplers Including this Virginia Example
19th C. Painted Cupboard
C. Queen Anne Painted Mirrors
GEORGE COLE AUCTIONS
Is Proud To Present: CONTENTS FROM THE ASTOR COURTS CASINO (Rhinebeck, NY), TOP OF THE MOUNT MANSE (Clinton Corners, NY), Plus Several Other Hudson Valley Estates… Along With Select Others! SAT, JULY 27th • Starts 4pm
You'll Get An Edge On The Competition When You Sign Up For Our Early Bird Email Notices. Our Early Birds Already Rcvd This Info In An Email. So They're Already Doing Their Research & Working Their Client List... You Should Be Too!!!
Online Bidding Will Be: From Our Website, Bidsquare, LiveAuctioneers | Direct Bidding With Us: Absentee, Phone Bid (Absentee & Phone Bids Must Be Set >1 Hour Prior To Session Start Time)
FURN: C1680 Wm & Mary Beechwood Armchair From Elmstead Hall, Kent/England, 3 Period Jacobean Chairs, Jacobean Stool, 17thc / 18thc Austrian Armoire 6’1”H x 50”W x 28”D, 17thc / 18thc Inlaid & Carved 2-Door Armoire 6’5”H x 55.5”W x 28”D, 18thc Fr Walnut 3-Drawer Chest 34.5”H x 52”W x 22.5”D, 18thc Fr Walnut 2-Drawer Over 2-Door Buffett 35”H x 51”W x 23.5”D, 18thc Fr Oak Hanging Cupboard 20.75”H x 19.75”W x 9.5”D, 18th/19thc Italian Rococo Painted & Parcel Gilt Boiserie Panel 8’3”H x 7’9”W, 18thc Turned & Carved Wood Torchiere -Elec 55.5”H, 18thc Fr Vanity, 18th/19thc, Inlaid Slant Front Desk, Pr Louis XVI Beechwood Chairs, QA Cherry 4-Drawer Chest, QA Wing Chair, QA Mahog Drop Leaf Table, Pr Louis XVI Uphols Side Chairs Stamped S. Brizard, Venetian Metal Lantern On A Stone & Wrought Base Dated 1755, 19TH CENTURY: Set 12 Heavily Carved Oak Dining Chairs, Walnut Ped Base 5’ Diam Table w/3 Leaves, English Mahog 3-Door Armoire, Carved Oak 1-Drawer Hall Stand, Empire Mahog Sideboard w/Provenance, Replica Brewster Chair, Pr Vict Renaissance Revival Chairs, English Leather Top Partner’s Desk, Louis XVI Style Brass Mounted Mahog Game Table, Empire 4-Drawer Chest, Prim 1-Door Corner Cabinet, Sheraton Fall Front Desk, Louis XVI Style Marble Top Inlaid Tulipwood 3-Drawer Commode, Cherry 4-Drawer Chest, Pine 4-Door 2-Drawer Step Back Cupboard Sheraton Drop Leaf Table w/6 Plank Seat Chairs, Pr Louis XVI Style Armchairs Chinese Black Lacquer MOP Inlay Table, Etc… 20TH CENTURY: Pr Regency Style Black Lacquer Faux Bamboo 2-Door Cabinets 33.5”H x 54.5”W x 12.5”D, Brunswick Arts & Crafts Style Oak Billiards Table 32”H x 9’8.5” L x 56.5”D, Pr
English Adams Style Ptd 3-Drawer Demilune Chests, Pr Chinese Faux Bamboo Brass Base Lacquer Top End Stands, Green Leather Chesterfield Sofa, Craftmaster Sofa, 3 Chinese Lacquer Stands w/Cloisonne Tops, Mahog Silver Chest, Mahog Tilt Top Tea Tables, Baroque Style Carved Walnut Lectern, QA Style
Leopold Stickley Cherry Sideboard, Maple Chests, Bookcases, English Pine 2-Door Cabinet, 5’ Diam Pine Table, Etc… MID
CENTURY: Jens Risom Design Teak Desk, Mario Bellini / Cassina
SMALLS: Exceptional American Neo-Renaissance Bronze & Slag Glass Chandelier Attrib To Edward F Caldwell Co 36”H x 28” Diam w/21” Chain, 92pc National Sterling “Intermezzo” Flatware Set, 76pc Gorham “English Garden” Sterling Flatware Set, .830 Silver Fish Spoon & Fork, 59pc Baccarat Harcourt Pattern, Stemware, Baccarat Pitcher, 4 Claret, 5 Tumblers & 7 6.5” Diam Plates, 127pc Blue Danube Dinner Service, 55pc Mintons “Audley” Dinner Service, Set 4 Vintage Lustre Art Elec Shades, Bronze 7 Crystal 8-Arm Chandelier 28”H x 20” Diam, Brass & Crystal 6-Arm Chandelier 29”H x 24” Diam, Pr 18thc Giltwood Candelabra Elec, Pr Ideal Brenner Oil Lanterns, Pr 19thc Gilt Bronze Dresser Mirrors, Bradley & Hubbard Cast Iron Mirrored Candle Sconce, Loetz Glass Bowl On Metal Stand 5.5”H x 8.5” Diam, Austrian Acid Etched 16.5” Vase w/Metal Mounts, Lalique Set 3 Toilet Water Bottles, Brilliant Cut Glass Dish 14” Diam, 4 Chinese Carved Quartz / Rock / Crystal & Hardstone Carvings, Thai Bronze Buddha Head, 3 Japanese Bronze Vases, 3 19thc Painted & Parcel Gilt Wood Wall Brackets 14”H x 19”W x 10”D, Ship Model 30”H x 42”L, Etc… BOOKS: 1889 Famous Etchers w/20 Original Etchings #56/280 By Estes & Lauriat, Le Mobilier Royd Francais By Emile Molinier 1902, 6 Vols La Collection Spitzer 1891, Etc… TRAINS: Marklin, Rivarossi, Fleischmann, Lionel Etc, Lg Coll Classical Records, Stereo Equipment, Deardorff Eastman Kodak View Series 3881 Studio Camra, Pr 19thc Figural Andirons 17.5”, Pr Wrought Andirons 31”W, w/Wrought Bar 44”L, 19thc Pr Wrought Andirons 25.5”, 7’ Paper Mache Giraffe, Etc…
ARTWORK: O/C Monks Sgnd A. Hubenborg, Pastel Floral Still Life Sgnd M. Pizzuti, O/C Spanish Conquistador, Venetian Mirror 73.5”H x 40.5”W, O/B Still Life w/Onions Sgnd Brock, Framed Tibetan Thangka 25” x 19”, O/B Sgnd L. Biro, Japanese 5-Panel Ptg Of A Horse, 18thC Engr, W/C Boys Blowing Bubbles
PREVIEWS: FRI. 7/26, NOON-6PM SAT 7/27, 1PM-4PM and Preview In-Person Other Days By Advance Appt Preview Online 24/7 PICKUP: SUN 7/28, 10AM-NOON MON 7/(29-30-31), 10AM-4PM After That M-F, 1-3PM
Sgnd F.D. Michie 1877, O/C Landscape Sgnd Jos Kuyler, 2 O/C 19thC Portraits Of Women, Litho Ballerinas Pencil Sgnd Isaac Soyer, 2 Framed Yves Saint Laurent Love Posters 1984 & 89, 2 Lithos Sgnd Victor Brauner, Etc… VEHICLES/MACHINERY: John Deere 445 Tractor, Craftsman Professional 33” Snow Blower, Dewalt 4000 PSI Pressure Washer, Coleman Pop-Up Camper w/Extras, Stihl Chain Saw, 2 Craftsman Leaf Blowers, Etc…
RUGS: Kerman 8’ x 16’4”, Deco Chinese 8’9” x 11’6”, Karastan Kurdish 10’ x 14’, Kilim 5’8” x 16’, Deco Chinese 6’ x 8’9”, Sarouk 6’2” x 9’2”. Mid-Century 7’5” x 11’. Many Other SemiAntique Runners & Scatters, Etc… PARTIAL LISTING! MANY OTHER ITEMS THAT AREN’T LISTED HERE – FULL CATALOG WITH PICS IS POSTED ONLINE WAITING FOR YOU RIGHT NOW!!! For More Info Visit Us At: www.georgecoleauctions.com or call (845) 758-9114.
DIRECTIONS: Just N. Of The CVS On Rt 9 In Red Hook, NY 12571. (~¼ Mile N. Of Intersection W/Rt 199) AUCTIONEERS & APPRAISERS: George W. Cole & Robin B. Mizerak, & Elmer LeSuer.
TERMS: Cash or known check… Bidding Directly With Us - 20% buyer’s premium, For Live Online Bidding: Our Website 23%, Bidsquare.com 24%, Live Auctioneers 27% Buyer’s Premium. In order to start auction on time, cut-off time for absentee & phone bid placement is 1 hour prior to announced auction start time.
Lot 91: Leather Bound Book Famous Etchers w/20 Orig Etchings 1889 56/280
Sampling Silver –
Lot 133: Ster 92Pc National Intermezzo, Lot 138: Ster 76Pc Gorham English Gadroon, Lot 134: Coin Fish Spoon & Fork
Lot 127 + 127A/B/C: 76 Pcs Baccarat Harcourt Stemware
Lot 231: Jens Risom Walnut Desk & Lot 232: Mario Bellini For Cassina CAB Chair
Lot 148: C1680 William & Mary Beechwood Armchair from Elmstead Hall, Kent England
Lot 156: Set 12 19thC Carved Oak Dining Chairs
Lot 152: American Neo-Renaissance Gilt Bronze & Slag Glass Chandelier Attrib To E.F. Caldwell NY
ANTIQUE AUCTION
FRIDAY, JULY 26 AT 6 P.M.
Fine Art: Paintings: Dang Lebadang, Giuseppe Mazzolini, Leopold Galli, Jan Wolski, Michael Louis Jacques, Michael MacTavish, Virginia Keep Clark, Elice Davis Pieropan, John Conover Claghorn, Helen G. Taber, William Hancock, Nancy Hancock Shallers, Eleanor Church, George Hand Wright, Hubert Ray Wilbur, Richard Stevens, Roland Rivest, Ann Peterson, Georges Lambert, Kagyah, Dybdal, Alexander Joseph Finberg, Lemond, Marie Dorothy Dolph other signed and unsigned paintings, Prints: Barry Moser, Benton Spruance, Philip Von Schantz, William Gropper, Dang Lebadang, Andre Renoux, Luis Quintanilla, Inuit artists Ben Houstie and Richard Shortly, Stevan Dohanos, Honore Daumier, Aiden Lassell Ripley, Japanese woodblock, Maria Payer, Frank Coughlin, William Patterson, Currier and Ives, Tod Lindenmuth, Leonard H. Mersky, Dorothy Flanagan, Felicia Pacanowski, and more.
Furniture: Early: figured mahogany Sheraton sideboard, 2-part Sheraton dining table, 4-drawer cherry Sheraton chest, 2 door cupboard, William & Mary Chest on
frame (restored), bannister back chair and other chairs and rockers, various stands, heavily carved Asian bed, 6 panel coromandel screen, Victorian: set of 8 dining chairs, marble top stand, Danish & Modern: wire rocker and armchair by Maurizio Tempestini (Salterinini’s Radar Collection), Herman Miller Eames chair and ottoman, teak Danish furniture by Hundevad including 4 cabinet/bookcases, other teak including: flat top desk, entertainment cabinet, fall front desk, bookcases sideboard, chairs, and more.
Baseball: Signed 1932 New York Yankee baseball including Babe Ruth and Lou Gehrig, another signed baseball including Mickey Mantle, Ted Williams and Ernie Banks, Bill Lee, other signed baseballs, bats, balls, signed photos including Stan Musial and Ted Williams, Bill Lee, Virgil Trucks watercolor with signature, collection of Tampa Bay Rays memorabilia, 1961 Topps baseball stamp album, and more.
Folk Art: Sampler 1842 (Wilhelmine Jacobson), 1809?, sampler (Nancy Emery), and more.
41 pcs. Towle Rambler Rose, 45 pcs. Oneida Heirloom Damask Rose, 37 pcs Towle French Provincial, and more. Glass and China: a collection of historic and other Staffordshire, a collection of 50+ match holder/strikers, Copper lustre, 55 pcs Staffordshire “California”, 50 children’s mugs, Josh Simpson paperweight, examples of hand painted Nippon, Cloisonne, Rockingham, Satsuma, Imari, Flow Blue, Leedsware, soft paste, studio pottery including Helen Taber, Sandwich glass, Lladro, Waterford, pattern glass, 80 pcs. Barberry pattern glass, 5 face jars by Bob McDaniels, and more.
Accessories: 19th c. mahogany Chickering piano, 2 studio pottery Martz table lamps, mirrors, scrimshaw carving set by Howard Weyahok, butter churn, pair tin lanterns, bronze bookends, four 3-light candle wall sconces, baskets, cast iron garden urns, oriental rugs, a collection of early Christmas ornaments, clocks, 10 ladies Geiger coats and fur coats, quilts, and more.
PREVIEW: THURSDAY 8am-4pm & FRIDAY 8am-6pm
TWO SESSION SUMMER ESTATES AUCTION
Tuesday, July 30
VFW Hall, 123 Holliston St., Medway, MA
Session 1 – 2:30 PM Rugs and Curiosities
Session 2 – 5:00 PM Estates Auction
PREVIEWS: Open! Mon. July 29th: 9:00 AM – 6:00 PM Tues., July 30th: 9:00 AM to ½ hr. before sales
We are pleased to offer a Fine Two Session Antique Estates Auction featuring a fine eclectic and quality selection of Antique American, English and French style furniture, fine porcelain and pottery, silver, art, fine jewelry, and much more from fine Beacon Hill apartment, 2 Brookline homes, Fox Hill in Westwood, Chatham, and stately Rugland home and others with selected additions for a fine Session 2 sale. Session 1 will include collection of interesting curiosities and oriental rugs. Items from local estates arrive after deadline. Many diversified and fresh to the market offerings. Phone and absentee bids always accepted and welcome.
Reasonable 15% Buyer’s Premium. No Reserves, No online bidding. Seat Reservations are Recommended. Call or text 774-571-8263 or coylesauction@verizon.net
Visit www.coylesauction.com and link to Auction Zip for photos and descriptions.
SESSION 1 AT 2:30 PM RUGS AND CURIOSITIES: 12+
Oriental rugs, 2 lg lots of leaded soldiers, unusual gazebo with lead figures, soldiers and band, Vintage TOYS including Schwinn Chopper Sting Ray, Buddy L Baggage truck and 1920s Dump truck, Keystone vehicles including Ride on train, steam shovel, Packard fire pumper, belt truck loader etc. also Jacrim sail boat, Corgi Mosquito plane, and more. Lot of reproduction mechanical banks from Savings Bank, antique bisque head dolls part of private collection including Heubach Koppelsdorf, Hertel & Schwab, Simon Halbig, K*R, etc., collection of Vintage never worn high lace & high button shoes from attic of 19th C PA building, interesting group lots, artwork etc.
SESSION 2 AT 5:00 PM -- FURNITURE: Good antique small size carved Pennsylvania mahogany low boy with carved legs and nice scalloped apron, great pair of 18thC inlaid Continental card tables with playing card inlay, fine group of fine antique English furniture from Beacon hill apartment to include great 18th C architect table with adjustable gallery top, fine George III antique 18thC writing table with triple pedestal base, fine mahogany campaign dining table with reeded legs and brass handles, 4 draw antique English chest 18thC octagon shaped inlaid wine cellarette, unusual English 1 draw stand, Chinese Marble top side table, Antique 18th C London tall clock signed Stephen Winrowe, 18th C English small size kneehole desk w/ brass handles, fine antique Federal mahog mirror w/fancy gold gilt floral decoration, carved Louis XVI style armchairs, antique inlaid mahogany secretary desk (attr to Joseph Short Newburyport, MA), set of 6 fine Baker shield back chairs, antique English 2 part secretary, lg Pennsylvania antique walnut tavern table w/stretcher base, 2 antique card tables with Marlboro straight legs, Wm. Tilman 2 part inlaid dining table w/ leaf, 5 draw country tall
chest, antique QA mahog side chair, red 6 board blanket chest, 18th C mahog games table w/b&cl feet, lg Burlwood English server, fine custom 20th C inlaid tambor desk made for the Chafee RI family, fine heavy lg leather ottoman by Powell & Bonnet with chrome, unusual oak and bamboo bookshelf, nice pr decorative signed Henredon “Acquisitions” bowfront servers, mah HL Holland design server, 2 part inlaid dining table (William Tilman) w/leaf, nice quality leather “Knoll” style desk chair, 2 section leaded barrister bookcase, demilune English table, In the style of Weiner Werkstadde deco wardrobe “Judendstil”, Beidermeier style deco burled wardrobe, pr antique baroque open armchairs, mah Pr. signed Council Craftsman Pembroke tables, Renaissance style fruitwood “monks” table, and more. ITEMS OF SPECIAL INTEREST: Unusual art deco Rattan “Paul Frankl” designed 5 pc garden set (sofa, 2 arm chairs, table and floor lamp), fine signed D.R. Dymes bold tiger maple Queen Anne dining tale with 2 leaves, nice signed D.R. Dymes tiger maple sideboard, pr 27” cast iron urns with ram’s heads, and more. ACCESSORIES: 15” Charder LeVerre Francais “Digitalis” vase, Japanese metal shield c 1800, Chelsea Asian desk clock, 18thC Terracotta duck in form of tea pot, Louis Vuitton suitcase, Pair of Asian porcelain vases with roosters, Delft apothecary jar (conv to lamp), pr 21” Chinese cloisonne vases, tall oxblood lamp with shade, Herend porcelain, Asian enameled bowl, Signed Vaughn decorative Asian floor lamp, Ochre & brown glazed planter Chia Tao Kuang period, Manuscript album paintings on skeletonized Bo Tree leaves in wooden covers, Decorative faux book/decanter set, Treasure Island banjo clock, brass lamps with tole shades, LeVerre nice decorative lamps, antique floral pattern table lamp, oriental lacquered lunch pail, Bronze vase with monkey, Asian porcelain, Rosenthal portrait, Catalan redware bowls Trouvailles, lg lot majolica, Limoges punch
bowl, 12 Bohemian dinner plates, Delft Chargers, heavily carved figural plaque, figural monkey lots, London brass balance scale, barometers, and more. SILVER: Jenkins and Jenkins sterling repousse coffee set (14” H), several great lots of sterling silver, Sterling flatware sets incl Tiffany sterling flatware “Windham” setting for 12+, Towle sterling set for 12, Tiffany sterling bowl, Tiffany & Co. sterling pitcher & leaf dish, round handle footed sterling art deco tray, 6 sterling Tiffany & Co fruit knives and ladle, Georg Jensen sterling fruit knives in fitted box,25+ lots of sterling, Reed and Crane sterling flatware set, and more. JEWELRY: Fine jewelry. ARTWORK: J.E. Enneking o/b birch trees and cabin 8x10, lg painting and fabric by Ali “Practice Mats”, Ali Circus prints, framed unusual artwork Stormy sky over the Cultivated Sector by “Marquard”, early 19thC Chinese Reverse painting, Martha Cahoon w/c “A Fall Fall”, Landscape painting Koepell (Clouds Breaking) 14x15, “Clouds” oil painting signed Marcia Phillips (10x13), “Breakfast” oil on canvas (Russian), framed w/c Titled: Snow Flurries by Murray Wentworth, Istanbul w/c harbor, collection of several nice antique drawings, small watercolors, and etchings, signed and unsigned landscape
TERMS: M. Coyle Auction Lic 2369, Cash/check/MC&Visa 508733-6868, No Food will be offered 15% Buyer’s Premium – ABSENTEE AND PHONE BIDS WELCOME, just call 774571-8263 to arrange. No Online Bidding.
DIRECTIONS: Sale held at the VFW Post 1526, 123 Holliston St., Medway, MA off Route 109Email: coylesauction@verizon.net www.coylesauction.com
Tiffany & Co. Sterling silver including Wyndam pl set for 12
Manuscript album paintings on skeletonized Bo Tree leaves in wooden covers. J.Elliot Enneking oil on board 8x10
“Practice Mats” painting and fabric by Ali 18thC inlaid octagonal wine cellarette Pair 27” cast iron urns with ram’s heads
Custom 20thC inlaid tambour made for the RI Chafee family
Pennsylvania antique walnut tavern table with stretcher base
Pair of antique Baroque open armchairs
Ochre & brown glazed planter Chia Tao Kuang period
Diminutive antique carved Pennsylvania lowboy with
D.R. Dimes tiger maple dining table with 2 leaves
antique wall mirror with gilt oral decoration
Art Deco Rattan garden set “Paul Frankl” designed
Antique tall clock 18thC London Stephen Winrowe
Leather ottoman “Powell and Bonnet”
18thC Terracotta duck in form of tea pot
vase with monkey
Lalique French Glass Bacchantes Vase
Satsuma Porcelain Teapot
Modern Patinated Bronze Sculpture on Stand
Sculpture of Foo Dog-Foo Lion on Stand
419: Bimbo Box Monkey Band Jukebox
416: Red Bronze Motor Relief Sculpture
Musicians - Painting
Sculpture
Abstract ShieldStyle Steel Sculpture
Saturday Evening Girls Pottery
Explore a treasured assembly of Paul Revere Pottery from the Saturday Evening Girls Club, a rich tapestry of Boston's historic arts scene, live on EBTH.com from July 26th to August 4th. This exclusive collection of 125 lots, born from the passion of Barbara Maysles Kramer and her family, features pottery meticulously crafted by immigrant women artists of early 20c. Boston. Scan the QR code or visit EBTH.com to shop a piece of American history.
LIVE AUCTION: Monday, July 22nd at 5:30PM
Previews: Friday, 7/19, 12-4 pm; Sunday, 7/21, 2-4 pm; Monday, 7/22, 12-5pm or by appointment.
Paintings; Prints; Jewelry; Silver; Furniture 18th- 20th C. including Eldred Wheeler, Mastercraft & Antique; Asian; Oriental Rugs; Sculpture; Ceramics & Glass; Americana; Clocks; Vintage Textiles, etc.
View catalog online as of July 12th at www.AuctionsAppraisers.com Also online at Invaluable.com & LiveAuctioneers.com TERMS: 28% Buyer’s Premium for MasterCard, Visa, or Discover. OR 25% Buyer’s Premium for Cash or Approved Checks. Live, absentee and phone bids accepted at 25% Buyer’s Premium!
14K Amethyst
Emile Gruppe, oil, 24” h.
Luigi Renault, oil, 22” h.
Washington “Dumb” stove, 47” h
Friedrich Heyn, c. 1900, 43” h.
“1718” Leach jugE. Wheeler, 1 of 7
Brundage label, 7”h.
Li Shuji, oil, 25” h.
G. Jensen stlg “Splash”, etc.
Simbari, 1 of 2 oils
Guy de Montlaur, oil, 14” h.
I” stlg, 74 pcs
Linda N. Stocks, “Boo”, oil, 16” h., 1 of 3
Antique Goravan, 19’ x 13’
World Auction Gallery
SUNDAY, JULY 28, 2024 AT 10:00 AM EST
We have approximately 500 lots of art and antiques including a Very Large Collection of Signed Paintings by Noted Artists, Indian Paintings, Antique Large Posters, Bronzes, and Large Lots of Pop Art; Silver Items Including Judaica, Russian, American, Chinese, Middle Eastern, and European. Private Collection of Antique Chinese and Japanese Items; A Private Collection of Vintage Lalique Art Glass Items, Very Good Quality Bohemian Overlaid Cut Glass Chandeliers, Antique Porcelain Items Including Sevres, Royal Vienna, etc. and Large Collection of Native American Pottery. We Also have a Very Large Private Collection of Lionel Trains and a Large Collection of High End Dolls.
Preview Days are 3 Days Before the Auction. No Viewing on the Day of the Auction.
There are 5 ways to bid: Our website WORLDAUCTIONGALLERY.COM, LIVEAUCTIONEERS, INVALUABLE, TELEPHONE AND ABSENTEE.
Rare & Important Japanese Meiji Period Sensor
Robert Atkinson Fox, American (1860-1935) Painting
William A. Slaughter, American (1923-2003) Painting
Rare and Authentic Chimpanzee Skull Dated 1930
Eugene Perry, Liberian/ American (born 1986) 2 Monumental one of a Kind Sculptures
Large Collection of Vintage Lalique Items
Eero Saarinen “Womb” Chair & Foot Stool
Antique Signed Chinese Large Bronze Covered Sensor
Gustave Weigand, American (1886-1973) Painting
Tom Lovell, American (1909-1997) Painting
4 Dolls “Romanov Sisters” by Linda Murray
Caspar Netscher, Dutch (1639-1684) Painting
Signed Chinese Carved Spinach Jade 3D Table Screen
Otto Nebel, German (1892-1973) Painting
Mary Nicholena MacCord, American (1864-1955) Painting
Louis Remy Mignot, American (1831-1870) Painting “Ecuador”
Muller Fres Luneville Art Deco Glass Chandelier, One of Many
Vintage Louis Vuitton Monogram Hard Suitcase
Friedel Dzubas, German (1915-1994) Colored Pulp on Paper
Salvador Dali, Spanish (1904-1989) Judaica Bronze Sculptures, “The Menorah” & “The Wailing Wall”
Somers Large Stained Glass Chandelier, Dated 1979
Designer Fashion & Couture
Sunday, July 28th at 10 am
Previews: Wednesday 24th - Saturday 27th 10am-3pm & Sunday 28th 8-10am or in advance by appointment.
Tremont Auctions is pleased to present a single owner collection of fine couture, jewelry and accessories including handbags, shoes, clothing and scarves from labels including:
Chanel, Louis Vuitton, Versace, Rene Caovilla, Gucci, Jimmy Choo, Prada, Givency, Manolo Blahnik, Christian Louboutin, Bottega Veneta, Valentino Garvani, Ferragamo, Bulgari, Tod’s, Dolce & Gabbana, Yves St Laurent, Max Mara, Tahari, Ralph Lauren, Ungaro, etc. Most items are unworn with many original boxes, labels and price tags.
Catalog online. Bid at our website, in person at the gallery, or at liveauctioneers nvaluable i
www.tremontauctions.com
615 Boston Post Road, Sudbury, MA 01776
Tel. 617 795 1678 info@tremontauctions.com
Massachusetts Auctioneers License #648
Fine Jewelry Gurhan Suite Roberto Coin
A selection of fine footwear Chanel, Louis Vuitton and Rene Caovilla
Various Chanel handbags
Louis Vuitton bags and handbags
Loro Piana Ostrich
Bottega Veneta Barry Kieselstein-Cord
Live auction with in-person, online, phone and absentee bidding available, each session starting at 9:30am Preview July 23 from 10am to 5pm and by appointment I 1483 Route 6A, East Dennis, Mass.
