The Fashions, Films & Fame Of Hollywood Costume Designer
OKLAHOMA CITY MUSEUM OF ART
Q&A: Brock Jobe & Margaret Pritchard
Apothecary Items & Advertisements Cure Auction Itch At McMurray
Knollwood Antiques: A New ‘Best-Of’ The Berkshires
Benefit Shop Rolls Out Red Carpet For Folk Art, Jewelry & More
Americana Thrives In D.L. Straight’s Summer Auction
CCADA Opens Antiques Show In New Sandwich Location
Fine Art & Fabulous Jewelry Lead At Merrill’s
Copley Tops $1.95 Million In A Strong Market For Decoys & Sporting Art
New York Botanical Garden— Alice In Wonderland-Inspired ‘Curious Nature’
Exceptional Moser Art Glass In Soulis Sale Of ‘Mile High Collection’
August 4th, 2024 - 1PM Eastern
The Louis and Barbara Pritchett Collection
Featuring the lifetime collection of the ex- Vice President of Procter and Gamble Lou Pritchett. Asian Antiques, Fine Art, Oriental Rugs, Pre-Columbian Objects, Antiquities and more.
August 18th, 2024 - 2PM Eastern
Premier Fine Art & Antique Auction
Featuring over 300 lots of fine art, antiques, jewelry, prints and multiples, sculptures and more From private collections nationwide.
Joan Miro (1893-1983) Pencil Signed HC Lithograph. Image size: 20 x 29 inches.
Rene Magritte (1898 - 1967) “Salon de mai” Lithograph. Hand signed, numbered 62/107 and dated in lower margin. Image size: 18.5 x 15.5 inches.
Robert Motherwell (1915-1991) “Black for Mozart” Large Collage/Lithograph. Pencil signed and numbered 21/40 in lower margin. Image size: 59.5 x 37.75 inches.
American flag- One of the last American flags lowered in Manila the day prior to the Japanese entry into the city on January 2, 1942.
Michael Harrell (Florida, B. 1964) Large painting of an oyster boat near Hilton Head Island. Oil/Canvas. Sight size: 30 x 40 inches.
Original Addison Mizner “Frog and Dolphin” Fountain. Height: 87 inches.
Rare and Important 17th Century Gilt/Carved Wooden Thai Buddha. Height: 30 inches.
Early Antique Chinese Bronze Flattened Wine Vessel & Cover, Bianhu. Height: 13 inches.
Collection of Early Chinese Neolithic Pottery
Nicola Simbari (1927 - 2012) “Clown Horse” Monumental 72 x 84 inch oil on canvas painting.
Jacek Yerka (Polish, B. 1952) “Metropolis II” Surrealist acrylic on canvas painting. Acquired directly from the artist. Sight size: 31.75 x 35 inches.
Outstanding Annual Auction | Talbot Homestead • Turner, Maine
Tuesday, August 20, 2024 at 10am
Preview by appointment in the week prior to sale, open to the public on Monday, August 19th from 8am to 5pm and morning of sale 7:30 am to 9:45 am. Sale will be held at the Talbot Farm, Poplar Hill, Turner, Maine.
Three 19th Century Penobscot Indian Canoe Paddles
Waterbury Mahogany Hall Clock #58
William Jennings Holy Bible 9 Volume Handwritten Manuscript
Kramer Bros. Heavy Grape & Vine Cast Iron Furniture Important 1820 Governor William King Signed Letter (One of
signatures)
Winifred Wallingford Hooked Rug of Currier & Ives Scene
Karl Hagedorn “Sentinel” Oil on Canvas, 25” x 17”
Folk Art Scaled Down Birdhouse Train Set, Approx. 25’ long
Pittsburg Reverse Painted Lamp with Chipped Ice Shade
Early Work Table with Removable Pinned Top
Fancy Victorian, Heavily Carved Oak Buffet Cabinet with Stained Glass Center Door
One of Many Oriental Rugs
Lewis King, Philadelphia, Mahogany Corner Cabinet
Brock Jobe and Margaret Pritchard
After the Decorative Arts Trust announced a new Publishing Grant program, Antiques and The Arts Weekly chatted with Brock Jobe, president of the Trust’s Board of Governors and professor emeritus of American Decorative Arts at Winterthur, and Margaret Pritchard, vice president of the Board of Governors, chair of the Publishing Advisory Committee and retired deputy chief curator at Colonial Williamsburg, about this initiative.
The Decorative Arts Trust (the Trust) established a new publishing grant program in December 2023 to “invigorate scholarship and broaden appreciation of material culture.” Is this a response to decreased interest or appreciation in material culture scholarship?
MP: I don’t think that there is decreased interest in decorative arts or material culture at all, but it’s become harder for scholars and institutions to secure funding for publications. This was evidenced by the high number of grant applications seeking publication funding that the Trust received over the past several years through the other grant programs we offer. Over the past decade, we have seen fewer and fewer exhibition and collection catalogs in our field.
BJ: Colleagues from many disciplines continue to study and write about the field, but opportunities to publish their findings have shrunk. The Trust believes in the importance of scholarship and seeks to do all it can to stimulate research and provide outlets for future publications, both online and in print.
Can you pinpoint the main reasons why the field of material culture scholarship has evolved or changed?
BJ: Storytelling is at the heart of material culture scholarship: which stories we tell, what points we emphasize and what approaches we choose to take vary over time. In the decorative arts world of the 1950s, 60s, and 70s, much attention focused on the individuals who made what were often considered the “best” objects of a given era. In the field of American furniture, regional studies predominated, and many of these focused on products made between 1640 and 1840.
MP: Yes, the years following World War II witnessed the emergence of the “professional” museum employee. Scholars of this generation began a deeper study of individual objects, attempting to use construction and stylistic details in order to determine their origins. The primary focus was on aesthetics, and that was represented in the publications that came out during that time.
BJ: Over the past 40 years, the range of topics has expanded enormously. Studies of Nineteenth, Twentieth and Twenty-First Century objects have dramatically increased. Utilitarian objects have attracted broad interest, as have their cultural or ecological impact.
MP: I agree. By the mid-1970s, a more historically based approach to the decorative arts emerged, looking beyond the physical attributes of structures and objects and exploring who used them and how they
functioned within the household. Nuances of regional styles and construction techniques resulted in a much more complete picture of past cultural idiosyncrasies, and publications increasingly focused on what these objects revealed about the people that used them.
BJ: And new questions continue to arise, which spawn research deserving to be published. It is an exciting time for the field and the Trust. The opportunity to bring fresh and engaging interpretations before the public is one that the organization enthusiastically endorses, but we also intend to support more “traditional” scholarship focused on the design and craftsmanship of decorative arts across time and place.
What kinds of publishing grants will be given?
MP: The Trust will allocate funding to two separate grant lines within the publishing program. Publishing Grants for Dissertations and First-Time Authors focus specifically on book-length academic publications based on completed dissertations or by first-time authors publishing a scholarly work that increases the awareness and appreciation of important areas of material culture research. We also offer Publishing Grants for Collections, Exhibitions and Conferences to support books and catalogs related to these areas.
What are some of the criteria the Trust looks for among grant submissions?
MP: The Trust aims to help colleagues publish books that advance the study of American decorative arts and material culture, focusing on objects made or used in an American context. In addition to three-dimensional objects, we are also seeking proposals that focus on decorative painting, prints, maps and wallpaper as well as the interiors for which objects were designed or in which they were placed. With interest in printed books as well as digital publications, the program will respond to the needs of the field with an expectation that some portion of the content of in-print books will have a level of digital accessibility.
Will there be an advisory committee to select grant recipients?
MP: The Trust established an advisory committee to oversee the review of applications. The group includes members of the Board of Governors as well as ex-officio members, including museum professionals and academics with broad experience in publishing.
You’ve recently announced the Trust’s inaugural recipients. Can you tell us why and how these projects made the cut?
MP: The four recipients represent exciting projects that offer new object research across a variety of cultures, time periods, geographies and materials. The decisions were difficult, but committee members selected publishing projects from The Hispanic Society Museum and Library; the Huntington Library, Art Museum, and Botanical Gardens; and the Philadelphia Museum of Art for the Collections, Exhibitions, and Conferences category. Dr Joseph H. Larnerd from Drexel University was chosen for the First-Time Author Grant. Their diverse topics and plans for associated digital outreach and programming are sure to attract and inspire a broad audience.
What is the deadline for the next round of grant proposal submissions?
MP: The deadline for the next round is March 31, 2025. We encourage all readers to share this deadline with emerging and established art historians and curatorial colleagues. Independent scholars are welcome to apply and need not be affiliated with a museum or like organization. Submission details can be found at www. decorativeartstrust.org/publishing.
—Madelia Hickman Ring
The Decorative Arts Trust previously awarded a Failey Grant to Preservation Long Island for Elias Pelletreau: Long Island Silversmith and Entrepreneur, 1726-1810.
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EFFECTIVE March 1, 2023 Volume LVI — Number 31
Rafael Osona Announces Two-Day Auction, Aug
NANTUCKET, MASS. — Rafael Osona’s annual August sale is acclaimed for exceptionally curated offerings. This year’s anticipated two-day auction promises outstanding finds. The catalog(s) can be previewed online or by visiting Osona’s Nantucket Preview Gallery, July 30 to August 2.
The two August sales showcase lots across key multiple categories. On Saturday, August 3, 9:30 am, fine art features an expansive selection that includes significant Nantucket-related works, led by Anne Ramsdell Congdon’s 1933 painting “View of Monomoy Beyond the Creeks,” Robert Stark Jr’s “Nantucket Rainbow Fleet” and Emily Hoffmeier’s 1936 “Fishing Boats at Nantucket Harbor.”
Osona presents select artworks by Twentieth Century American artists, including S. (Samuel) Bruce Brown’s “Nantucket Bay.” Among a “vibrant Black arts scene [in Washington, DC] for almost 50 years, Brown was a central member of DC’s “Little Paris Group.” (Alma Thomas papers, Smithsonian). The implied messages among four pencil-signed lithographs by Regionalist Thomas Hart Benton pull no punches. Donald Jurney enlivens two traditionally romanticized Bordeaux landscapes via his modern eye. There’s work by Jacob Collins, a leading figure in the contemporary revival of
classical painting by Lowell Herrero, whose painterly career produced a straightforward mix of larger-than-life naivety using a pointillist technique, while Adrian Gottlieb’s classically rendered portrait evokes a more transcendent reality.
Of the Nineteenth Century and further afield, Jan van der Waarden’s “Still Life with Flowers” casts the Dutch tradition in floral symbolism among his Netherlands petals. More than a half-century later — and this artist having been one among the nucleus of Matisse’ and Derian’s French Fauve group — Charles Camoin’s “Still Life with Fruit” quite simply demands attention.
Various examples of Nantucket interest are apparent in Nineteenth and Twentieth Century paintings by Ralph (attrib.) and Martha Cahoon, George Gardner Fish, William Ferdinand Macy, Lincoln Ceely, Frank Swift Chase, Richard Hayley Lever, scarce watercolors by Doris and Richard Beer, significant works by Andrew Shunney, Roy Bailey, Robert Bushong, Ruth Haviland Sutton and John Lochtefeld.
Saturday’s auction presents highly regarded island collectibles, including a scarce set of four Benjamin Bunker (17701815) coin silver spoons; and Nantucket baskets — for
Storm King Art Center Presents “Arlene Shechet: Girl Group”
MOUNTAINVILLE, N.Y. — Storm King Art Center is presenting “Arlene Shechet: Girl Group,” which pairs outdoor sculpture and her iconic indoor ceramics. On view to November 10, the exhibition debuts six new large-scale commissions — spanning heights of 10 to 20 feet and lengths of up to 30 feet — along with complementary indoor works in wood, steel and ceramic. “Girl Group” asserts a feminine sensibility across Storm King’s hills, fields and galleries. This series of sculptures adapts the monumental vocabulary of Storm King to Shechet’s unique
voice. Recognized as a leading sculptor who has radicalized ceramics, Shechet now takes on industrial materials and inaugurates a new phase of her work. She brings an array of vibrant colors — pinks, oranges, yellows, greens, blues and purples — to Storm King’s terrain for the first time. The works in “Girl Group” incorporate nature as material by harnessing it as negative space and reflected image. Storm King Art Center is a 500-acre outdoor museum at 1 Museum Road. For information, 845-534-3115 or www.stormking.org.
which interest is worldwide.
Having traded in more Nantucket baskets than anyone, anywhere, Rafael Osona was founding president of the Nantucket Lightship Basket Museum, its collection now permanently housed within the Nantucket Whaling Museum collections. Among 25 antique and Twentieth Century Nantucket basket lots, a rare form Mitchy Ray rectangular basket with swing handle stands out. Four friendship baskets by José Reyes lead similar works by Stephen Gibbs and Susan Chase Ottison. From Bill and Judy Sayle, there’s a 1997 oval nest of five.
A pair of 1830s John and William Cary Regency terrestrial and celestial globes are among the top offerings during Saturday’s sale. Each globe bears hand-colored engravings on a plaster sphere, capped with a brass hour circle and mounted on a brass meridian.
American furniture enthusiasts will find a selection of period pieces, including a Pennsylvania Chippendale tall chest, circa 1790. From the Continent is a signed Jean Avisse giltwood console table, Italian pietra dura and a George IV center table with a with 108 varieties of soughtafter marbles and hardstones for the top. There’s a set of 10 English Hepplewhite dining chairs and vintage, antique
and semi-antique estate carpets among 21 lots.
Saturday’s auction presents an array of jewelry and timepieces. Two men’s wristwatches include a Rolex Oyster Perpetual for Tiffany & Company and a 1962 Enicar Sherpa Graph Swiss Chronograph. There are Seaman Schepps’ signature cufflinks, and for the ladies there’s value in South Sea and Tahitian pearls. American bullion gold coins minted in 1894, 1907 and 1912 are being offered in three lots.
Previews open Tuesday, July 30, through Friday August 2, 10 am to 5 pm.
Online auctions are live beginning promptly at 9:30 am EST. For additional information, www.rafaelosonaauction.com or 508-228-3942.
3-4
Antonio Jacobsen, “Portrait of the Ship Sam L. Storer.”
White baroque South Sea pearl necklace.
American Chippendale walnut tall chest, circa 1790.
Guyette & Deeter, Inc.
Decoy and Sporting Art Auction
July 26 & 27, 2024 | Easton, Maryland
The Country School
Featuring Session II of The Alan and Elaine Haid Collection
Also featuring decoys from the collections of Gene and Linda Kangas, James and Lyda Madden, and David Fannon.
Featuring an outstanding selection of carvings by A. Elmer Crowell
Top to Bottom
• Dust jacket style black bellied plover
($100,000 - 150,000)
• Golden plover ($20,000 - 30,000)
• Feeding yellowlegs ($80,000 - 120,000)
• Black bellied plover ($10,000 - 15,000)
• Decorative lesser yellowlegs ($8,000 - 12,000)
• Early goldeneye ($30,000 - 50,000)
• Widgeon hen ($15,000 - 25,000)
• Feeding black duck ($100,000 - 150,000)
• Greenwing teal
($125,000 - 175,000)
Turned head mallard hen by Robert Elliston
$60,000 - 90,000
Working swan by Charles Birch
$120,000 - 180,000
Classic canvasback by Lee Dudley
$50,000 - 80,000
Rigmate pair of red-breasted mergansers by George Boyd
$70,000 - 100,000
Swimming brant by Nathan Cobb, Jr.
$60,000 - 90,000
Sleeping black duck by Charles E. “Shang” Wheeler
$50,000 - 80,000
Red-breasted merganser by Harry V. Shourds
$40,000 - 60,000
Eider by Eben Weed Eaton
$30,000 - 50,000
Merganser by Captain Edwin Bachman
$100,000 - 150,000
Standing pintail “ice duck” by Charles Schoenheider, Sr.
$80,000 - 120,000
by
$12,000 - 18,000
Rare 19th century, cross-legged cigar store tobacconist trade figure princess by the shop of Samuel Robb. $30,000 - 50,000
The only known ‘Page’ cigar store tobacconist trade figure in zinc by William DeMuth. $30,000 - 50,000
$30,000 - 50,000
Carved wooden and gilded eagle, possibly 1st quarter 19th century.
$8,000 - 12,000
$40,000 - 60,000
Pinch breast pintail
the Ward Brothers
Heron decoy by Gus Wilson
48” long pike trade sign by Oscar Peterson
Apothecary Items & Advertisements Cure Auction Itch At McMurray
Auction Action In Kirkwood, N.Y.
KIRKWOOD, N.Y. — On June 29, McMurray Antiques & Auctions conducted Auction #82, which offered an assortment of patent medicines, pills, tins, apothecary/drugstore and adver-
tising items. “I was very pleased with the final outcome as most lots sold at above estimated prices,” said Terry McMurray, the owner of McMurray Antiques & Auctions, when Antiques and
An “unusual” example of an advertisement for Coles Peruvian Bark and Wild Cherry Bitters, this also received the highest bid of the sale, going to a new home for $1,904. Terry McMurray explained that it was the first reverse on glass example of these advertisements he’s seen. It measured 13 by 7 inches framed ($500/700).
One of two lots to earn $1,120, this Humphrey’s Veterinary Remedies wooden stable case was a complete set which included medicinal bottles — some filled — with embossed horse head lids; five different Humphrey’s booklets, guides and veterinary manuals and an “unusual” advertising postcard. “It was nice to find this complete,” said McMurray ($200/400).
Part of a set of advertisement cards sold by Dr Jayne was this example, with an illustration of George Washington, which promoted the doctor’s remedies for asthma, bronchitis, consumption and other lung and throat complaints. It was professionally framed and matted in a wood frame, measuring 13 by 15 inches. It crossed the block for $1,120 ($500/700).
The Arts Weekly caught up with him after the sale. “Bidding on the labeled patent medicines and advertising is very competitive right now along with the veterinary items. This sale also featured the first offering from a 50-plus-year private collection that is fresh to the market. This always generates interest when it happens.”
There were more than 125 active bidders involved in the sale, with only two lots receiving no bids. McMurray added, “Bids were taken over the phone and by email and were primarily from collectors here in the Unit-
Taking the title of highest price of the sale was a copper Merck inverted display jar, which still contained its original copper contents. Listed as “probably the rarest of these inverted Merck jars known” in the auction catalog, it had a complete label and measured 4¾ inches tall. It landed on the shelf of a new owner for $1,904, a little over three times its high estimate ($400/600).
Review by
Kiersten Busch, Assistant Editor
Photos Courtesy McMurray Antiques & Auctions
Containing 45 labeled and numbered corked bottles of varying glass types (2¼ to 2-7/8 inches tall) was this Dr Willmar Schwabe homeopathic kit, housed in a hinged wooden box (12 by 8 by 5 inches). The set also came with its original paper index, listing contents and drug names in German, dated 1867-1881. More than doubling its high estimate, this kit went for $896 ($200/400).
ed States and Canada, with one item going to the Smithsonian in Washington, DC.”
Two “rare” and “unusual” lots led the auction, earning the same price of $1,904. 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 dys-
This advertisement for H.H. Warner & Co’s different Log Cabin remedies, only the third example that McMurray was aware of in existence, was housed in a frame measuring 13 by 20 inches. The poster sold for $1,232, just over estimate ($800-$1,200).
This 8½-inch clear glass jar for chloroform, in very good condition, had the labels “Mist. Chlorof.- / Cannab. Indic. Co.” and “W.T. Co.” on it. McMurray explained that these bottles are “always popular with collectors.” Despite a few areas of slight separation, bidders pushed this example to $952 ($300/500).
pepsia. 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.
A 9¼-inch-tall bottle of Dr Townsend’s sarsaparilla from Albany, N.Y., was the second highest selling lot of the sale. It was wrapped in a 90 percent complete label which showed an image of the Dr Townsend factory with only light staining and paper losses. According to McMurray, these types of bottles are “scarce to find labeled.” Even though the medium green bottle had straw lines and a few interior bubbles, bidders still pushed this “hard to find” bottle to $1,288, almost doubling its high estimate.
A paper sign from H.H. Warner & Co’s Physicians advertised they were “Seeking and Investigating The Old Log Cabin Remedies of 100 Years Ago.” The remedies were listed at the bottom of the advertisement, and included things like “Log Cabin Sarsaparilla,” “Log Cabin Scalpine For The Hair” and “Log Cabin Liver Pills.” Listed as being in overall good condition, the 13-by-20-inch paper centered an image of four friends sitting at a table in a log cabin, with stoneware scattered around the surrounding floor and shelves. Cataloged as “rare,” it went to a new home for $1,232, just over estimate.
Prices quoted include the buyer’s premium as reported by the auction house. For information, 607-775-5972 or www.mcmurrayauctions.com.
This 9¼-inch-tall sarsaparilla bottle from Dr Townsend’s in Albany, N.Y., had “good color” and a 90 percent complete label; a rarity. Despite straw lines in the glass and some interior bubbling, bidders remained interested, pushing the bottle to $1,288 against a $600/800 estimate.
Auction—
Captain America Comics #1
Could Pack Mighty Punch At Hake’s Sale
Star Wars 1978 bell hanger advertising store display sign featuring Kenner’s first 20 Star Wars action figures, AFAgraded 95 Mint, with none graded higher according to current AFA Population Report ($20/35,000).
YORK, PENN. — Original comic book cover art by iconic creators, Star Wars rarities to delight even the most advanced collectors and a prized Golden Age comic, Captain America Comics #1 form a powerful leaderboard for Hake’s Premier Auction taking place online, July 30 and 31. The 2,120-lot selection, fully vetted by the Pennsylvania company’s team of specialists, spans many dozens of pop-culture categories that have proven to be fan favorites over Hake’s 57 years in the collectibles business.
The star of the two-day event is expected to be a CGC 5.5 Fineissue of Captain America Comics #1 ($200/350,000). Published in March 1941, the rare book contains the origin and first appearance of Captain America, Bucky Barnes, and their nemesis the Red Skull. Its action-packed World War II-themed cover shows the Captain punching Hitler. Wondering how many comic book all-stars can be showcased in one issue? This one goes for the max, with stories by Joe Simon and Jack Kirby, plus Kirby cover art and interior art by Simon, Kirby, and Al Liederman. “This is not only a key Golden Age comic book with added historical significance, it’s also a key issue when compared to the entire realm of comic books,” said Alex Winter, president of Hake’s Auctions. “It’s an absolute must-have for any serious comic collection and would qualify as the centerpiece.”
One of the fastest-rising categories in the collectibles world is original comic book art, especially cover art. Hake’s will answer the demand with an array of choices, led by everyone’s favorite, SpiderMan. The nimble Spidey was introduced to the world in Amazing Fantasy #15, with Jack Kirby’s immortal artwork on the cover. Hake’s comic art specialists have a hunch collectors will jump at the chance to acquire Alex Ross’s original cover art for Hero
Illustrated #6, published December 1993, which reinterprets Kirby’s Spider-Man cover in gouache, with a warm color palette that lends a more grounded, realistic feel to the crime-fighting superhero’s entrance. Measuring 15 by 20 inches on art paper, this unqualified masterpiece was previously in the Gary and Dawn Guzzo collection.
Another entry is Sam Kieth’s original pen-and-ink art for the cover of Marvel Comics Presents Ghost Rider #99, published in March 1992. The scene depicts Ghost Rider (Danny Ketch) surrounded by D’Sprytes, the toothy, goblin-like minions of the Fear Lord D’Spayre. Sized 11-1/8 by 17-1/8 inches, this artwork will make its auction debut with a $20/35,000 estimate.
Also poised for success is Walt Simonson’s original pen-and-ink art for the cover of Shadow Cabinet #0, published by DC Comics as part of its Milestone Comics imprint in January 1994. This issue marks the first appearance of the Shadow Cabinet, with the cover showing members Hardware, Xombi, Iron Butterfly, Icon and Rocket; Static, and Blitzen. Alex Winter observed: “Walt Simonson original art rarely comes to the market, let alone a cover of this magnitude.” Signed by Simonson and dated 7-15-93 at its lower left, the 14-by-16¾inch artwork is expected to sell in the $10/20,000 range. Even veteran Star Wars collectors have become accustomed to seeing pieces in Hake’s sales that are completely new to them. In the July 30-31 offering, there are three candidates likely to elicit the comment, “I’ve never seen that before.” First, there’s a French Meccano Star Wars (1978) Luke Skywalker 3¾-inch action figure on a square 20 back blister card. It is AFA-graded 80 Y-NM, and according to the current AFA Population Report, it is the sole and highest-graded example of
this rare figure ($20/35,000).
For the legion of fans who want anything-and-everything Boba Fett, Hake’s suggests a 1978 Star Wars bell hanger advertising store display sign, illustrated with Kenner’s first 20 Star Wars action figures. AFA-graded 95 Mint, with none graded higher according to the current AFA Population Report, this advertisement touts a mail-in “Special Limited Offer” promising a free Boba Fett action figure with the purchase of any four Star Wars action figures. The bell hanger comes with its original cardboard carton ink-stamped to indicate it was destined for a Kroger store in Cincinnati, Ohio ($20/35,000).
A most unusual hybrid sample and card combines a figure of Princess Leia Organa (Boussh Disguise) and a 1982 Star Wars: The Empire Strikes Back Boba Fett 48 Back-A card. This particular mash-up was created to give a general idea of how the Leia figure
Sam Kieth original pen-and-ink art for cover of Marvel Comics Presents Ghost Rider #99, published March 1992 ($20/35,000).
would look on a blister card before an actual Princess Leia Organa card was available. Made in Taiwan and presented in an archival case, it is the only known example of this unique sample variation. It has been AFA-graded 75 EX+/NM and comes with a CIB LOA. Previously in the Wayne Gillespie collection, it is now offered with an auction estimate of $20/35,000. Hake’s July 30-31, 2024 online auction is now open for bidding. For information, 866-404-9800, 717-434-1600 or www.hakes.com.
Alice In Wonderland-Inspired ‘Curious Nature’
NEW YORK CITY — The New York Botanical Garden (NYBG) presents an all-new, enchanting exhibition, “Wonderland: Curious Nature,” evoking the spirit of exploration and the uncanny, unbelievable and unfamiliar nature of Alice’s Adventures in Wonderland. Running through October 27, visitors of all ages can step into a one-of-a-kind botanical experience that grows curiouser and curiouser as they embark upon an immersive, Garden-wide journey through settings, sights and scents inspired by the classic tale and its sequel, Through the Looking-Glass, and What Alice Found There. A magnificent flower show, contemporary art installations, engaging daytime programming, fantastical tea parties and exciting night experiences await the curious and
adventuresome at heart. Organized by curator and scholar Jennifer R. Gross, in collaboration with NYBG, the exhibition showcases the work of contemporary artists in diverse media, including FoldHaus Art Collective, Carsten Höller, Patrick Jacobs, Andre Kong Studio, Abelardo Morell, Yoko Ono, Beverly Semmes, Alyson Shotz, Agus Putu Suyadnya and Paula Wilson. Tickets for “Wonderland: Curious Nature” can be found at NYBG’s website. Through three seasons, “Wonderland: Curious Nature” at NYBG transcends the confines of traditional exhibitions, seamlessly blending breathtaking floral displays with contemporary art, all set against the backdrop of NYBG’s 250acre landscape, landmark buildings and lush natural beauty. The Peggy Rockefeller Rose Garden is one of many horticultural highlights, bursting into peak flower in June, with thousands of roses looking their best through September, as if cued by a conductor or commanded by a queen.
Nearly 160 years after its first publication, Alice’s Adventures in Wonderland and its heroic protagonist remain touchstones for imagination and wonder across generations and around the world. The beloved tale serves as an inspiration for NYBG’s exhibition, combining horticulture, contemporary art and archival objects to evoke the events and settings brought to life in the Alice stories, while also examining the scientific, botanical and cultural context that produced them.
The New York Botanical Garden is at 2900 Southern Boulevard, Bronx. For information, 718-817-8700 or www.nybg.org.
A 12-foot-tall White Rabbit at the Leon Levy Visitor Center, Mosaïcultures Internationales de Montréal, steel frame, geraniums, sedum; Photo by Marlon Co., courtesy of NYBG.
“Giant Triple Mushroom” by Carsten Höller (b Belgium, 1961), 2014, mixed media; Photo by Marlon Co., courtesy of NYBG.
“A World Made of Time” by Alyson Shotz (b United States, 1964), stainless steel, 9 feet 6 inches by 14 feet; Courtesy of the artists and Derek Eller Gallery; Photo by Marlon Co., courtesy of NYBG.
“Shrumen Lumen,” 2016, FoldHaus Art Collective, corrugated plastic, aluminum and steel, variable sizes; Photo by Marlon Co., courtesy of NYBG.
Tea Party Parties in the Hudson Garden Grill; Photo courtesy of Constellation Culinary Group.
Topiary garden on the Enid A. Haupt Conservatory Lawn; Photo by Marlon Co., courtesy of NYBG.
“Find Your Way” by Agus Putu (b Indonesia, 1985), 2024, acrylic and spray paint on canvas, 59 by 51 inches; Photo by Marlon Co., courtesy of NYBG.
A flower show of curious plants, including colorful, whimsical mushrooms; Photo by Marlon Co., courtesy of NYBG.
John Singer Sargent Work Among New Acquisitions At The Raclin Murphy Museum Of Art
SOUTH BEND, IND. — The Raclin Murphy Museum of Art at the University of Notre Dame recently added more than 20 acquisitions to its ever-growing, nationally distinguished collection. The new additions, ranging from early Twentieth Century painting and contemporary photography to works by mid-career African and African American artists, enhance the Museum’s holdings of more than 30,000 works that reflect global histories through an array of mediums and styles.
“These recent acquisitions build on the core strengths of the Raclin Murphy Museum of Art,” said Joseph Antenucci Becherer, director and curator of sculpture. “The permanent collection is global, historic and increasingly contemporary, and these acquisitions secure our status as one of the largest and most significant collections of any academic museum in the country.”
Among the new acquisitions is John Singer Sargent’s portrait of “George Frederick McCorquodale” (1902). The important painting shown in three-quarter length adds to the strength of the Museum’s collection of Nineteenth Century paintings and was praised for its “accuracy and masterful execution” in a 1903 issue of The Saturday Review Commissioned by the sitter’s daughter for her 21st birthday, the work depicts George Frederick McCorquodale, the director of a printing company in Scotland.
After spending most of its life in private collections, remaining in the McCorquodale family until 2016, the painting is now on public display next to Sargent’s much earlier sketch for “Portrait of a Lady (Madame Errazuriz)” (circa 1883). Pairing the two works from the Raclin Murphy collection offers Museum visitors examples of Sargent’s early and late work and a comparison between a preparatory sketch and a finished painting. The new acquisition also provides a potent counterpoint to the academic practice exemplified by such artists as Jean-Léon Gérôme and Léon Bonnat, currently on view at the Raclin Murphy Museum of Art.
“Sargent is renowned for his high-society portraits that are drawn with color, or more accurately with tone, rather than with line,” explained Cheryl Snay, curator of European and American art before 1900. “Sargent’s teacher, French artist Carolus-Duran, encouraged his students to
“George Frederick McCorquodale” by John Singer Sargent (1856–1925), 1902, oil on canvas, 58¼ by 38 inches. Gift of Joe Szymanski in honor of his life-long friend, Andy Musser, 2023.020.
disregard the rigorous practice of studies and sketches in preparation for a composition. Instead, he invited them to paint alla prima — directly onto the canvas without the benefit of underdrawings or studies. Sargent became a master of this technique, which imbued his sitters with verve and personality.”
A recent gift of Andreas Gursky’s “Tour de France I” (2007) complements the strength of French art in the Museum’s holdings. The large print is the first Gursky work added to the Museum’s esteemed photography collection and is typical of his style with a printing process that meticulously maintains or enhances all the minute details and colors. The German photographer captured the image from a high vantage point, and the result is a detailed and multifaceted landscape that illustrates the complexity and interconnectedness often missed in the day-to-day perspective.
Ewa Juszkiewicz’s “Untitled (By Michelangelo Merisi da Caravaggio)” (2015), a gift from the Lance Kulick Collection, holds global importance. Juszkiewicz, a renowned Polish painter, plays traditional notions of figuration against passage of Abstract Expressionist-styled brush work. Her painting references a work lost in World War II that was essential to the Italian Sixteenth Century painter Caravaggio. Juszkiewicz has received widespread critical acclaim for her paintings that challenge monuments of art history, juxtapose historical and contemporary painting techniques,
attempt to upend traditional notions of beauty and often disrupt the “male gaze.”
Additionally, the Kulick Collection of contemporary figurative paintings donated 19 works primarily by mid-career African and African American artists. Kulick has committed to broadening Museum collections to support and exhibit under-represented artists.
The gift includes works by several artists, including: Juwon Aderemi, a Nigerian born artist who focuses on figures that reflect and comment on Yoruba culture and look at African traditions of representation within a global heritage of portraiture; Tiffany Alfonseca, a mixed media artist of Dominican heritage who celebrates Black and Afro-Latinx diasporic culture and frequently employs pattern, color and texture in her vibrant painted narratives; Debra Cartwright, an Annapolis, Maryland native who works primarily as a painter and explores the relationship between the Black female body and medical science; Auudi Dorsey, an artist based in New Orleans who focuses on Black figures and narra-
tives from the American South, honoring those who try to raise families and lead a good life, often in the context of difficult circumstances; Conrad Egyir, an Accra, Ghana native based in the United States who draws inspiration from the rich forms of storytelling and visual vibrancy of life and culture in West Africa; YoYo Lander, an artist who weaves together a combination of references in paintings that isolate a figure against a plain background and often uses layers of stained and cut watercolor to develop form; Lauren Pearce, a Cleveland native who has developed a provocative style frequently based on focused and cropped portraits and a vibrant palette to produce
works that range from easelscale to monumental murals and can convey a surrealist edge; and Barry Yusufu, a Nasaraw State, Nigeria native based in Abuja who is largely self-taught and focuses on familiar individuals with works that suggest the impact of religious icons on his repertoire.
“The extraordinary generosity of Lance Kulick greatly enhances the Museum’s commitment to understanding and appreciating the dynamic dimensions of the global world,” Becherer said.
The Raclin Murphy Museum of Art, at St André Way, is free and open to the public TuesdaySunday. For hours and information, www.raclinmurphymuseum.nd.edu or 574-631–5466.
FINE VIOLINS WANTED
Older violins pre WWII
American, English, French, German, Italian ALSO: Violas, Cellos, Basses, Bows
— One Item or Entire Collection — WILLIAM D. VOIERS, Dealer & Appraiser P O Box 466, S. Egremont, MA 01258 413-528-3321
★ Why Wait For Auction? I Will Pay You Now! ★
Consignments Wanted
Notable Prices Recently Achieved At Various Auction Houses
Across The Block
‘Abby Smith And Her Cows’ Highlights
The Connecticut Book Auction SOUTH GLASTONBURY, CONN. — The July 12 Connecticut River Book Auction excited considerable interest with an excellent crowd attending and with more than 100 absentee bids on the 206 available lots. The highlight of the evening was the sale of Julia Smith’s Abby Smith and Her Cows. This first edition in paper wrappers was from the Hebron estate of Dr Charles Douglas, whose wife was a suffragette and likely knew Smith. It sold for $776. For information, www.ctriverbookauction or 860-908-8067.
Chinese Silk Robe Wraps Up Michaan’s July Annex Auction ALAMEDA, CALIF. — In an Annex Auction conducted by Michaan’s July 15-17, a large Chinese silk embroidered robe stunned estimates to be the highest-achieving lot of the sale. Estimated at just $200/400, the yellow robe sold to a long-time local Michaan’s buyer for $4,920. Ashton Lyle, business development associate, said, “This highly detailed garment was embroidered throughout the entire piece and included scenes depicting dragons in the clouds. It was finished with a deep blue trim and finely patterned hem.” For more information, www. michaans.com or 510-740-0220.
Coral Figure Heads Carmel Estate Auction SOUTH SAN FRANCISCO, CALIF. — Turner Auctions + Appraisals conducted a 305-lot auction of art and antiques from a Carmel, Calif., estate on July 13. One of the top sellers was a carved coral figure of a beauty wearing a sun hat and holding a basket of flowers, on a base carved in the form of rocks and plants. Standing 11¼ inches tall and described as being in overall good condition with tiny flaws, the figure overtook its $700/900 estimate and sold to a private collector from the East coast for $9,288. For information, 415-964-5250 or www.turnerauctionsonline.com.
18K Gold Bracelet Sparkles Brightly At Top For Hayloft
Grateful Dead Poster Rises For Heritage DALLAS — An FD-26 Grateful Dead 1966 “Skeleton & Roses” first-printing Avalon concert poster graded 9.8 for condition sold for $106,250 to lead Heritage’s Music Memorabilia & Concert Posters Signature Auction July 19-20. From the Ben Bierman Carmel Street Collection, this poster was printed to advertise two nights of concerts: Friday and Saturday, September 16 and 17, 1966, at the Avalon Ballroom in San Francisco. Second printings and reproductions of FD-26 abound, but this is the only printing of this poster done in the summer of 1966. The poster marked the very first appearance of the skeleton and roses iconography in Grateful Dead lore, a legendary motif which still shines brightly 58 years later. For information, www.ha.com or 214-528-3500.
Parker Bros. Side-By-Side Shotgun Blasts Strong At Devin Moisan Auction EPPING, N.H. — A Parker Bros. VH Grade .410 side-by-side shotgun, circa 1930, grabbed attention at Devin Moisan’s July 14 auction, selling for $15,625. VH grade with 26-inch Vulcan steel barrels, the shotgun’s rib was stamped “Parker Bros. Makers Meriden, CT. U.S.A. Vulcan Steel.” Its checkered walnut stock was inlaid with a German silver vacant shield and it retained the original molded Parker’s dog head buttplate. Parker only produced 469 VH grade shotguns in .410 gauge. For information, 603-953-0022 or www.moisanauctions.com.
Monterey Coast Painting Delights
Mid-Hudson Galleries Bidders
NEW WINDSOR, N.Y. — An oil on canvas board painting of the Monterey (Calif.) coast by Arthur Frank Mathews (American, 1860-1945) was the top seller at Mid-Hudson Auction Galleries’ July 20 auction. Measuring 19½ by 25½ inches framed, the signed painting was described as being possibly a study or copy for a larger work and sold to a Carmel art gallery for $6,710, significantly beating its $1/1,500 estimate. For information, 914-882-7356 or www.midhudsongalleries.com.
NEW YORK CITY — Hayloft Auctions conducted its Monthly Fine and Decorative Art Auction on July 15, which offered furniture, decorative art, paintings, prints, silver, glass, photographs and more. Leading the sale was a two-tone 18K gold bracelet, noted as being in good condition, according to the auction catalog. The bracelet weighed approximately 74.3 pennyweights and measured 6¾ inches in length. It sold for $5,938, just exceeding its high estimate. For information, 929-3033266 or www.hayloftauctions.com.
‘Moonlight, Venice’ By Charles Warren Eaton Lights Up Nadeau’s Auction WINDSOR, CONN. — At Nadeau’s Auction Gallery’s July 20 auction, an oil on board by Charles Warren Eaton (American, 1857-1937), titled “Moonlight, Venice” realized $5,760. Signed lower left Charles Eaton, the 10-by-8-inch painting had Salmagundi Club exhibition history and provenance to Kennedy Galleries, New York City. For information, www.nadeausauction.com or 860-246-2444.
SJ Auctioneers Serves Up 207-Piece Georg Jenson Flatware Service BROOKLYN, N.Y. – A 207-piece Georg Jensen sterling silver Bernadotte flatware service set for eight plus 16 serving utensils set the table at SJ Auctioneers’ auction on July 21. Selling for $12,800, the lot included a three-tier chest and a soft storage box. The Bernadotte pattern was designed by Sigvard Bernadotte in 1939. For information, 646-450-7553 or www.sjauctioneers.com.
Louisville Sculptor Gets Survey Exhibition At The Speed Art Museum
LOUISVILLE, KY. — This summer, the Speed Art Museum presents “Louisville’s Black Avant-Garde: William M. Duffy,” the second installment of an exhibition series exploring the pioneering artists behind the Louisville Art Workshop, a radical artistic collective founded in the 1960s focused on furthering the careers of and building community among Black artists of Louisville, at a time when Black artists were routinely excluded from museums and galleries. Featuring work spanning over four decades, “Louisville’s Black Avant-Garde: William M. Duffy” highlights not only the sculpture for which Duffy is particularly known, but the full breadth of his wide-ranging practice including drawings, paintings, and digital art. The exhibition will be on view through September 29.
The exhibition examines Duffy’s contributions as both an artistic and community leader who has provided a creative focus for young artists, inspiring generations of local artists to develop their talents and pursue their passions. In his work, Duffy draws inspiration from family relationships and everyday moments of beauty, as well as from found materials from the built and natural environments of his immediate surroundings. In addition to fine art, the retrospective will also
include commercial works commissioned by local community groups and works that Duffy made over the course of his long career as an educator in the Jefferson County Public Schools — including some created in collaboration with his students.
“William M. Duffy is not only a remarkable artist, but has inspired and mentored countless Louisville artists in addition to being an influential arts educator for thousands of children. Our exhibition will showcase not only works from his long and prolific career, but also works created alongside his own students from his years as an edu-
cator in Jefferson County’s public schools,” said Speed Art Museum director Raphaela Platow. “As a leader of a vital artistic movement whose influence is still felt today, this retrospective of his work exemplifies how art has been and continues to be used as a tool to build connections in our community.”
The Louisville Art Workshop (LAW) was founded in the 1960s by a group of like-minded artists as a way to support one another, advance their careers and foster the creative process and development of new work through a variety of educational workshops, artistic critiques and
group showcases. Through a community-focused mindset, the group flourished with a progressive atmosphere that challenged the artistic and cultural norms of the time, and was notably one of the few integrated artistic groups of the period. The late Dr Robert L. Douglas was a founding member, alongside Fred and Anna Bond, who converted a West End Louisville storefront to create both a home for their family and an exhibition space for participating artists. Other prominent artists, such as G.C.
Coxe, Ed Hamilton and Kenneth Victor Young also helped to establish the workshop and publicly debut its January 1967 exhibition, “Designs in Space.”
This show and subsequent exhibitions inspired many other local artists to join and form workshops of their own, advancing subjects, including sculpture, photography, poetry, creative writing, music and theater.
The Speed Art Museum is at 2035 South Third Street. For information, 502-634-2700 or www.speedmuseum.org.
William Duffy in the studio, circa 1982, gelatin silver print. Geoff Carr Photograph Collection 023PC16.13. Courtesy of the Philson Historical Society. Photography by Geoff Carr.
“Upward Glance” by William M. Duffy, circa 1988, basalt, courtesy of William and Sherrolyn Duffy.
Nye & Co.’s Auction Has Fine Art From Traditional To Contemporary
BLOOMFIELD, N.J. — Nye & Company Auctioneers’ two-day Chic and Antique auction slated for Wednesday and Thursday, July 31 and August 1, starting at 10 am Eastern time both days, is so big it’s being sold over two months. The online-only auction will feature around 825 lots in a wide variety of fine and decorative arts from the Seventeenth Century all the way up
to the modern day.
The sale is packed with collections and estates, primarily from the tri-state area. One of the top highlights is a pair of Keith Haring subway drawings, titled “Dogs Eating Man.” The diptych drawings from circa 1980-84 are illustrated in the 1984 edition of Art in Transit, Keith Haring’s tome of subway drawings, with photographs by Tseng Kwong Chi. Estimated at $80/120,000, these works of pop/ street art are a rare survival of Haring’s subway drawings.
Continuing with the theme of contemporary and modern art, Nye & Company will sell property from the estate of Theodore (Ted) A. Bonin, who, along with Carolyn Alexander, formed the Alexander and Bonin Gallery in New York City. The firm was known for working with rigorous, genre-defying artists, many now deceased and underappreciated while still alive.
In an interview with ART-
Gilding 17th-19th Century Paintings & Prints Over 40 Years Experience Member American Institute for Conservation Macomber Art Restoration Services 252-229-5270 macartrestore@gmail.com
news, Elisabeth Sussman, curator of Whitney Museum’s Thek retrospective, said, “Bonin was exceptional as a scholarly and exacting advocate for every artist that he, as a dealer, represented, including among others, Paul Thek and Sylvia Mangold. He will be missed.”
Highlights from the collection include an acrylic on cast plaster bust titled, “Michael” by John Ahearn ($3/5,000); an untitled work on wax paper by Palestinian artist Mona Hatoum ($800-$1,200); a contemporary piece by Roman Ondak titled, “Pocket Money of My Son” ($3/5,000); and works by Javier Pinon, Marco Neti, Rita McBride and Stefan Kurten.
For those who prefer more traditional art, there is a singleowner selection of folk art coming from a New England collection. The sinuous lines and simplistic nature of some of the pieces actually bridge the gap into Modernism.
Highlights include a life-size articulated wood figure illustrated in American Vernacular, New Discoveries in folk, selftaught and outsider sculpture by Roger Rico and Frank Maresca ($3/5,000). There is also a whirligig solider once in the collection of Isabel and Harvey Kahn, a dynamic piece of moving sculpture estimated at $1,5/2,500 and a group of Nine-
teenth Century painted game boards and portrait miniatures.
Traditional furniture will feature a group of property from a private collection that features a rare Gothic lancet arched back side chair attributed to the Philadelphia cabinet maker Crawford Riddell ($2/4,000).
From the same collector is a rare labeled butler’s desk from another Philadelphia cabinet maker, Charles White, and a sideboard with a stenciled label by (Michel) M. Bouvier, as illustrated in Philadelphia Empire Furniture by Allison, Johnathan A., Christopher, Peter and John W. Boor.
The auction also includes a wide range of traditional fine art. There is work by one of the Philadelphia Ten artists, Nancy Maybin Ferguson, of a New England street scene, possibly Provincetown, from a private Park Avenue collection ($3/5,000). There are two works attributed Jean BaptisteCamille Corot (both $20/40,000).
One is a forest scene and the other depicts a view near Rotterdam. Both are masterfully painted and emblematic of his work.
The sale also includes an abstract fruit still life by Michael Goldberg that should sell in the range of $8/12,000.
Another terrific painting is by Wilfred Gabriel DeGlehn titled,
“The English Hospital at Arc en Barrios” ($6/9,000).
Finally, the sale features a selection of luxury brand objects that are perfect for those looking to make strong fashion and accessories statements. Hermes is prominently featured with a choice of either a 25cm or 30cm leather Birkin bag. If you prefer the Kelly model, there is a Pochette Clemence leather clutch. Rolex is also another standout brand included in the auction. There is an 18K gold Presidential Oyster Perpetual watch ($10/15,000), but if you prefer something sportier, included is an Explorer II polar watch, which is a model that can often be seen on the wrist of Prince Harry.
Real-time Internet bidding and absentee bidding will be provided by LiveAuctioneers. com, Invaluable.com, Bidsquare. com, BidSpirit.com and the Nye & Company website: www.nyeandcompany.com. Telephone bidding will also be available on a limited basis. People can bid in absentia and online.
An online preview is currently being conducted through August 1 at the abovenamed sites.
Nye & Company will conduct a public exhibition, July 22-26 from 10 am to 4 pm each day and then again from July 29-30 from 10 am to 4 pm (all times are Eastern).
New Orleans Printmaker Celebrated At NOMA
NEW ORLEANS, LA. — One of the most globally renowned artists in the history of New Orleans, John T. Scott (American, 1940-2007) worked in a variety of media, including the monumental prints that make up the artist’s series “Blues Poem for the Urban Landscape.” The installation of 10 woodcut prints in New Orleans Museum of Art’s Great Hall includes that entire series, in which Scott uses the landscape form to visualize the history and visual cacophony of New Orleans. While the series title suggests that these could be visions of any unnamed city, Scott’s imagery locates them very specifically in New Orleans, where he graduated from, practiced and taught at
Xavier University of Louisiana. To represent the visual cacophony of the city, Scott packs each print from edge-toedge with churches, corner stores, street signs, power lines, plants and car parts wedged around elements of New Orleans’s distinctive architecture — each a reference in itself to the generations of African American artisans that built the city. Without a distinct horizon line, the tightly organized compositions are as immersive as they can be disorienting.
To make each print Scott carved into the surface of large sheets of plywood with a power saw and routing tools, creating lines and forms that are impressionistic but also
visually imposing. The composite nature of these prints exemplifies Scott’s jazzinspired explorations of what he called “spherical thinking,” or a non-linear way of simultaneously looking at the past, present and future.
In two dimensions, Scott used the landscape to visualize the history of New Orleans, the vibrant city he saw before him and provide some signposts to guide us towards the future.
“John Scott: Blues Poem for the Urban Landscape” will be on view at the New Orleans Museum of Art through January 26.
The New Orleans Museum of Art is at One Collins C. Diboll Circle. For information, 504658-4100 or www.noma.org.
Chalk on paper by Keith Haring (American, 1958-1990) titled, “Dogs Eating Man.”
Oil on canvas painting by Jean Baptiste-Camille Corot (French, 1796-1875) titled, “Environ de Rotterdam.”
Painted wooden and tin solider whirligig, American, Nineteenth or Twentieth Century.
Cape Cod Antique Dealers Association’s Premier Antiques Show Is August 3
ORLEANS, MASS. — The Cape Cod Antique Dealers Association’s (CCADA) August premier antiques show is a tradition on the Cape, and is live once again this year, CCADA will conduct what will be the 54th Annual Summer Antique Show outdoors on Saturday, August 3, 9 am to 3 pm, on the front lawn of Nauset Middle School, which is conveniently located on Route 28 in the heart of Orleans.
As always, furniture will be shown, like these pieces from William Nickerson Antiques.
Dealers from across the Cape and throughout New England will present a wide array of Eighteenth, Nineteenth and early Twentieth Century antiques. Both long-time collectors and new buyers will find American country furniture; garden antiques; tools; pottery; glassware; paintings; jewelry; books; cooking items; baskets: decorative items; and more.
Denver Art Museum
‘The
There is ample free parking in the school lots. Admission to the show is just $8, or $7 with a show card or ad; children under 18 and students with IDs will be admitted free. Proceeds from the show, as with all CCADA shows, will benefit the association’s Cultural Enrichment Fund. Through this program, CCADA helps to increase knowledge and awareness of antiques and, through antiques, to enrich and preserve history. For more information, www.ccada.com or 508-255-8720.
Presents
Life And Art Of Tokio Ueyama’
DENVER, COLO. — The Denver Art Museum (DAM) presents “The Life and Art of Tokio Ueyama,” on view through June 1, 2025, in the Western American Art Gallery on level seven of the museum’s Martin Building. Tokio Ueyama is included in general admission, which is free for everyone 18 and under as well as for museum members.
Born in Japan, Ueyama moved to the United States in 1908, aged 18, and made a home here until his death in 1954. This exhibition tells the story of Ueyama’s life, including his early days as an art student in San Francisco, Southern California and Philadelphia, his travels abroad in Europe and Mexico, his role as artist and community member in Little Tokyo, Los Angeles, and his unconstitutional incarceration during World War II at the Granada Relocation Center, now the Amache National Historic Site, in southeast Colorado.
Following the bombing of Pearl Harbor in 1941, Tokio and his wife Suye were among more than 120,000 Japanese Americans forcibly relocated by federal order away from the West Coast and into American concentration camps. More than 10,000 people were unconstitutionally incarcerated at Amache in the following years, making it the third largest “city” in Colorado at the time. There, Ueyama taught adult art classes to 150 students.
Amacheans strove to create a sense of normalcy through work, community activities and diverse artforms even while battered by extreme temperatures and wind, surrounded by barbed wire fences and shadowed by eight armed guard towers. After their return to Los Angeles in 1945, the Ueyamas founded the store Bunkado, which continues to thrive in the heart of Little Tokyo.
“This exhibition tells a story of a time in Colorado’s history, of a place where Americans experienced dislocation and loss, and, more importantly, displayed unimaginable resilience, tenacity and creativity in the face of prejudice,” says Christoph Heinrich, Frederick and Jan Mayer director of the DAM. “Stories like that of Tokio Ueyama remind us that there remain many facets of the American West yet to be understood and acknowledged,
including the integral role of diverse peoples of Asian descent.”
The Denver Art Museum is at 100 West 14th Avenue Parkway. For further information, 720-865-5000 or www.denverartmuseum.org.
Read Us Every Week
An antique splint gathering basket will be offered by Nauset Antiques.
Vintage Lady Linens will be showing its extensive collection of vintage and antique linens and other interesting items.
Americana Thrives In D.L. Straight’s Summer Auction
STURBRIDGE, MASS. —
More than 670 lots of Americana, folk art and other estate items crossed the block in D.L. Straight Auctioneers’ July 13 auction. Major collecting categories included Pilgrim furnishings, oil and watercolor paintings, Native American artifacts, Queen Anne and Chippendale furniture, decoys, trade signs and early cookware. With a 98 percent sell-through rate, owner David Straight boasted, “The sale was successful, and everyone is very pleased.” He
Auction Action In Sturbridge, Mass.
added, “I was really surprised with the turnout. We are always a bit nervous in the summertime with people traveling and all that, but I think this was our best turnout as far as the number of registered bidders.” There were 4,863 registered bidders in total across three online platforms, absentee and phone bids. Straight also shared that the buyers in this auction were primarily from the United States, though the international market was represented by some from Istanbul,
Ukraine, Canada and China.
Surpassing its $4,000 high estimate to finish as the highestpriced lot of the day was a large Native American feast bowl. Selling to a New Hampshire collector for $4,608, the Eighteenth Century bowl was made of carved maple and had an early dry mustard finish over its original Spanish brown paint. Showcasing craftsmanship of the maker, pronounced tool markings were noticeable throughout the bowl, which was cataloged as “huge” — 30½ inches in diameter and a foot deep. To Straight, the success of this bowl was “the biggest surprise.” However, it was the largest he had ever handled or seen, and he said “It had a lot going for it — it was really heavy, had evidence of hand carving both inside and out and it was really attractive color with the old paint.”
Artworks were not as prominent in this sale, especially among the highest-priced lots. However, a Nineteenth Century watercolor of a girl and her doll done by Sarah Ray Bryant impressed bidders and was chased past its estimate to $2,560. According to the auction
catalog, “Bryant was the daughter of Nelson Ray, a slave born in Louisiana.” The notes go on to report that Ray was freed when his enslaver died in 1846, but his wife and their children were not as lucky at that time. Eventually, the others gained their freedom and moved to California with Nelson. Though this painting was unsigned, Sarah had the artistic gift and often painted portraits of her family, such as this one, which descended in the family’s collection.
An unattributed fabric portrait of a southern woman with a young Black servant and two dogs “came from a Connecticut estate and was quite nice,” according to Straight. “The frame had seen better days but the fabric portrait was very nice and very detailed with little beads and sewing on it.” The fabric illustration was beaded with small shells and housed in its original oval gilt frame. Straight noted some wear and loss to the frame’s gilding, but it was generally in fine condition and sold to a Pennsylvania buyer for $1,088. Cataloged as “very rare,” the work was possibly from Charleston, S.C., and
made in the first quarter of the Nineteenth Century.
Likely made in Connecticut circa 1700-20, a painted ballfooted chest crossed the block for $2,560. With its original brasses, the reddish-brown chest featured two pull-out drawers beneath a lift-top compartment with a faux drawer front. Consigned by one New Hampshire collector, it will be returning to New Hampshire with another collector.
Another piece of Connecticutmade furniture was a cherry highboy from Wethersfield. On cabriole legs, the highboy featured two drawers over four single drawers over a bottom row of three. The center bottom drawer was fan-carved and beneath it was a scrolled apron. Made circa 1750-60, the piece was finished with its original surface and brasses.
Other successful chests included a mahogany Chippendale highboy with a full bonnet and two distinct fan-carved drawers. Made in Boston, Mass., this piece had some restoration, and its brasses were replaced but it still earned $1,152. Making the same price
Achieving
This Nineteenth Century fabric portrait of a woman, servant and dog, possibly from Charleston, S.C., circa 1800-20s, printed cloth in original frame, 16 by 12 inches, sold for $1,088 ($400/800).
Sarah Ray Bryant’s (1854-1888) watercolor of a Black girl and doll, 6½ by 4½ inches, surpassed its estimates to achieve $2,560 ($1/2,000).
This tortoiseshell tea caddy, 7½ inches long by 4½ inches wide by 5 inches high, went out at $1,280 ($1/2,000).
This circa 1700-20s painted ball-footed chest, probably from Connecticut, 38½ inches wide by 17 inches deep by 46 inches high, sold to a New Hampshire collector for $2,560 ($1/3,000).
This sailor’s valentine in a traditional octagonal double box frame, 12 by 12 inches, went out at $2,048 ($1/3,000).
In a 16-by-19-inch Nineteenth Century shadow box frame, this sailor’s shell valentine brought $1,152 ($800-$1,200).
This Chippendale bonnet-top highboy in mahogany, Boston, 39 inches wide by 21 inches deep by 76 inches high, was claimed for $1,152 ($1/2,000).
was an Eighteenth Century Queen Anne highboy. Made with maple, the circa 1800-40 Massachusetts chest also had old restoration and some replaced brasses but the top and bottom were original.
Other Massachusetts offerings included a late Seventeenth Century to Eighteenth Century Pilgrim candlestand. The rare two-socket adjustable height stand was built on an American maple cross base. Featuring its dry original surface, the catalog described the piece as being in “excellent condition” and Straight said it was leaving a Georgia collection to join a local one for $1,792. Straight commented that there were a lot of chairs offered in this sale, but the most noteworthy was a heart and crown crested banister back armchair. He said, “It was very nice. It came from a New England home and was in really nice condition with good, honest wear but it was not overworn. It was not repaired and it was just a really nice looking chair.” It was made in Connecticut circa 1750 and sold to its new owner for $1,536 — more than three times its $400 high estimate. While furniture was dominant, another category that saw great success was tea caddies. Of these offerings, Straight said, “The quality was very good. We have been successful with them in the past so now we get a lot of them coming in.” In this sale, the top-earning tea caddy went for $1,280. It was a two-compartment tortoiseshell box that measured 7½ inches long by 4½ inches wide by 5 inches high. A Nineteenth Century wooden inlaid tea caddy featuring floral and shell designs and a rope-pattern border was the second highest in the category. This one was slightly bigger, with two compartments and a central sugar bowl, and was bid to $1,088. Another tortoiseshell tea caddy, roughly the same size as the first one but with a domed lid, found a buyer within its estimate range of $800-$1,600. This Nineteenth Century caddy brought $1,024. With similar consignment motivation, the auction offered several sailor’s shell valentines. Donna Fee’s article in Nantucket Online, “The Lure of the Sea: The Story of the Sailor’s Valen-
This maple Queen Anne highboy, Massachusetts, circa 1800-40, 68 inches high by 35 inches wide, passed estimates to achieve $1,152 ($400/800).
This early primitive country red step cupboard, 77 inches high by 46 inches wide, made $1,408 ($1/2,000).
tine” notes, “Popular around 1830 until about 1900, these shell mosaics surely enticed many waiting women to welcome home their sailors newly returned from the sea... These valentines from the sea were mosaics of intricate symmetrical designs encased in wood and were usually inscribed with sentimental messages such as ‘For My Pet,’ ‘Ever Thine,’ ‘Think of Me,’ ‘Home Sweet Home’ and ‘Forget Me Not.’” At $2,048, the highest-priced sailor’s valentine was of the traditional form — housed in a jointed octagonal double-box frame. The left side had a pink-colored flower design at the center and, around that, with small dark shells against a background of small white shells, it had text that read “Thinking Of You.” Other flower-shaped designs were incorporated into the overall mosaic. The right side was characterized by a central heart and floral accents inside a clear eight-point star.
Another valentine — rectangular and in a shadow box frame — brought $1,152. The central heart design of this one was similar to that of the octagonal valentine, though its primary borders were in the shape of a rectangle with inverse corners. Outside each of the cor-
A Massachusetts buyer won this late Seventeenth Century to Eighteenth Century Pilgrim double socket adjustable candle stand, maple, 36 by 9 inches, for $1,792 ($2/4,000).
ners was a white flower design. Referring to an early polychrome carved circus wagon tailgate, Straight told us, “It was one of my favorite things in the auction. It had polychrome paint — very vibrant and all original. It is going to California.” The central carved image is of a golden lion standing on its rear legs holding a sword in one front paw and a bundle of arrows in the other. The lion is depicted within a pierced green and yellow foliate quatrefoil design. Other carved details include flowers, birds and a crown above the lion emblem. The California buyer claimed the tailgate for $1,152, almost doubling its high estimate. Straight remarked on the notable result of a widebrimmed men’s beaver hat that “was designed to turn into a tricorn hat for formal functions. From the Eighteenth Century, it was in fabulous condition and was a surprising result. It is now going to Wisconsin.” It crossed the block for $1,024. Prices given include the buyer’s premium as reported by the auction house. For information, www.dlstraightauctioneers.com or 508-769-5404.
Cataloged as “profusely inlaid,” this Nineteenth Century wooden tea caddy measured 10 inches long by 5 inches wide by 5 inches high and was bid well beyond its $300/600 estimate to achieve $1,088.
With fasteners to be cocked into a tricorn hat, this 14-inchwide men’s beaver farmers hat, Eighteenth Century, tipped off at $1,024 ($500-$1,000).
This cherry wood highboy, Wethersfield, Conn., circa 1750-60, 36 inches wide by 16½ inches deep by 67 inches high, made $2,176 ($2/4,000).
Nearly doubling its estimate was this polychrome circus wagon tailgate with intricate hand-carved details, 43 inches wide by 22 inches high. It was bid to $1,152 ($300/600).
This circa 1750 heart and crown crested banister back armchair from Connecticut was bid well-past its high estimate to finish at $1,536 ($200/400).
Exceptional Moser Art Glass In Soulis Sale Of ‘Mile High Collection’
Auction Action In Lone Jack, Mo
A dozen elegant gilded and enameled Moser wine goblets, each cranberry glass goblet lavishly decorated in Persianate enamels and rich gilding at the rim, sold for $2,880.
Comprising 125 pieces, this Moser Splendid crystal service made $4,320. The pattern debuted in 1911 and became one of the most popular state service patterns in the Moser collection.
This Moser deep ruby box with gilt and unusual enamel decoration with gold, platinum and polychrome enamels went out at $3,120.
Naturalism reigns in Moser art glass. This amberina glass jug with thick, lava-like applications around the rim was a canvas for fanciful flying insects painted in raised enamels, a mythical dragon-like beast and a handle formed as an encircling lizard. It rose from a $2/3,000 estimate to finish at $6,150 and was the top lot in the 193-lot sale.
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 Mile High Collection,” dubbed for its quality as well as locale, offered 193 lots.
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 $6,150.
Its body was 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 and at the center was 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 and accented by red and gold enamels teeming with tiny white enamel beads.
An impressive 125-piece Moser Splendid crystal service
This large blue Moser art glass urn from the Nineteenth Century with enameled lizards realized $3,120. Lavishly decorated in exotic foliage, drama was added by two large, applied glass lizards.
made $4,320. First produced in 1911, the Splendid pattern became one of the most popular state service patterns in the Moser collection. Kings of Spain and Norway commissioned state services, as did presidents and maharajas, as well as Queen Elizabeth II of England. Each piece was mouth-blown and decorated with hand-cut diamond crosshatch cuttings below the etched rim burnished in 24K gold. This particular set was largely marked with the Moser Czechoslovakia-era oval acid mark, and/or original paper labels. The oval bowl and one carafe were signed “Moser Karlsbad” on the polished pontil. Fetching the same price was a
This rare Moser art glass cup decorated with threedimensional insects on its trunk-like body employed a crackle glass technique to render a bark-like texture to the cup’s body. Finished with a rustic applied handle, the cup measured 4¼ by 4 inches and earned $4,320.
single rare Moser art glass cup with three-dimensional insects seemingly acrawl on its trunklike body. It employed a crackle glass technique that was employed to render a rustic, bark-like texture to the cup’s body. The artist went further, and with enamel, created fully dimensional insects in colorful detail along with thick aquamarine applications of detailed leaves, and totally gilded upward lava flows. Finished with a rustic applied handle, the cup measured 4¼ by 4 inches. Lighting examples were led by a rare Moser Karlsbader Secession fluid lamp, which sold for $3,600. An internal decoration of red and purple flower heads on green tendrils were blown into the lamp’s bell-shape shade, font and stem. These were surrounded by intaglio engraved insects and a swallow in flight. Outside, the surface over each internal flower head was embellished with engraved blossom details. The surface was further embellished with flowing green enamels in high relief.
The lamp’s working innards
Leading lighting examples was this rare Moser Karlsbader Secession fluid lamp, which sold for $3,600 and featured an internal decoration of red and purple flower heads on green tendrils, surrounded by intaglio engraved insects and a swallow in flight. The lamp’s original unpolished brass fittings and burner bore the maker’s mark of R. Ditmar Wein for the Austrian maker Robert Ditmar.
were mounted with the original unpolished brass fittings and a burner that bore the maker’s mark of R. Ditmar Wein for the Austrian maker Robert Ditmar, a well-regarded manufacturer of high-end oil lamps and metal wares beginning in 1841.
Leading the many larger vessels in the sale was a large blue Moser art glass urn with enameled lizards, which made $3,120. The late Nineteenth Century urn was blown in an attractive shade of blue crystal and embellished with a thick, lava-like application of amber glass at the rim. A waisted neck led to the bulbous lower portion, which was lavishly decorated in exotic foliage.
This large baluster-form Nineteenth Century art glass vase showed Islamicinfluence in the decoration on its exterior and left the gallery at $2,400.
Adding drama to the piece, however, were two large, applied glass lizards. The enameling used to depict individual scales in three colors, divided by gold outlines, created an effect reminiscent of Chinese champlevé metalwork, according to catalog notes. The urn measured 10 by 7½ inches. Other notable lots in the sale included a Moser deep ruby box with gilt and enamel decoration, the deep ruby glass decorated in an unusual manner with gold, platinum and polychrome enamels, which also took $3,120; 12 gilded and enameled Moser wine goblets, each cranberry glass goblet lavishly decorated in Persianate enamels and rich gilding at the rim, selling for $2,880; and a large baluster-form Nineteenth Century art glass vase blown and internally decorated in numerous pulled colors, shades and types of glass, and enameled in Islamic-influenced decoration on the exterior. It drew a $2,400 bid. Prices given include the buyer’s premium as stated by the auction house. For information, 816-697-3830 or www.soulisauctions.com.
Clark Art Institute Opens First Exhibition Ever Presented On The Work Of Guillaume Lethière
WILLIAMSTOWN, MASS. —
The Clark Art Institute presents the first monographic exhibition of Caribbean-born artist Guillaume Lethière. Organized in partnership with the Musée du Louvre, the exhibition celebrates Lethière’s extraordinary career and sheds new light on the presence and reception of Caribbean artists in France during his lifetime.
“Guillaume Lethière” is on view at the Clark through October 14. The exhibition then travels to Paris where it will be presented at the Musée du Louvre, November 13-February 17.
Born in the French colony of Guadeloupe, Guillaume Lethière (1760-1832) was a key figure in French painting during the late Eighteenth and early Nineteenth Centuries.
The son of a white plantation owner and an enslaved woman of mixed race, Lethière moved to France with his father at age 14. He trained as an artist and successfully navigated the tumult of the French Revolution and its aftermath to
achieve the highest levels of recognition in his time. A favorite artist of Napoleon’s brother, Lucien Bonaparte, Lethière served as director of the Académie de France in Rome, as a member of the Institut de France and as a professor at the École des Beaux-Arts. A well-respected teacher, he operated a robust studio that rivaled those of his most successful contemporaries.
“Bringing this exhibition together has been a remarkable experience for our curatorial team,” said Olivier Meslay, Hardymon director of the Clark. “The research, the discoveries and the detective work involved in bringing together such a large exhibition have been a wonderful adventure for all of us. We hope that this exhibition will inspire a new appreciation of Lethière’s work and a deeper exploration of a fascinating period in time.”
Esther Bell, the Clark’s deputy director and Robert and Martha Berman Lipp chief curator, led the Clark’s curato-
rial effort with Meslay. Developed over the course of five years, the exhibition features some 100 works of art, including paintings, drawings and sculpture.
“Guillaume Lethière’s journey from his childhood in Guadeloupe to the pinnacle of artistic success in France is an incredible story,” Bell said. “Lethière was one of the most respected painters of his time, yet his influence and achievements are not well known today. His considerable body of work deserves to be studied and celebrated. We are truly excited to bring his art to light.”
This exhibition marks a rewarding collaboration between the Clark and the Louvre. Marie-Pierre Salé, chief curator in the Louvre’s Department of Drawings will lead the Louvre’s presentation of “Guillaume Lethière,” opening in Paris on November 13. The Louvre and the Clark are the only venues for the exhibition.
“We are deeply indebted to the Louvre and its wonderful cura-
Photographs From The 1970s Through The Present Day Tell A Story Through The Lenses Of Border Residents And Latinx, Chicano/a & Mexican Photographers
CLEVELAND, OHIO — Featuring more than four dozen photographs, “Picturing the Border” aims to spark vital conversations of what constitutes citizenship, as well as complex negotiations of personal identity as it relates to the border. Through these images the exhibition shows that Latinx, Chicano/a and Mexican photographers have significantly rethought what defines citizenship, nationality, family, migration and the border beyond traditional frameworks for decades.
In the Mark Schwartz and Bettina Katz Photography Gallery at the Cleveland Museum of Art, this free exhibition will be on view through January 5. From intimate domestic portraits, narratives of migration and political demonstrations to images of border crossings and clashes between migrants and the US Border Patrol, this one-of-a-kind exhibition presents photographs taken by both border residents and outsiders, many of whom are Latinx, Chicano/a and Mexican, and tells the story of the US-Mexico borderlands from the 1970s to the present.
“Borders have long been spaces of contention,” said Nadiah Rivera Fellah, curator of contemporary art. “The mainstream media in the United States tends to present nationalistic narratives about imminent threats at the border. This reductive and divisive narrative does not often portray the identities, languages, cultures and social ties among communities. The photographs featured in this exhibition tell a different story that can serve as a counternarrative and timely new perspective on life in this region.”
The earliest images in “Picturing the Border” form an origin story for the topicality of the US-
Mexico border at present and demonstrate that the issues of the border have been a critical point of inquiry for artists since the 1970s. In addition, they showcase artists who were ahead of their time in presenting ideas about spaces and exclusion as they relate to issues of the borderlands and Latinx identities in the United States.
Accompanying the exhibition is a beautifully illustrated 134page exhibition catalogue by Nadiah Rivera Fellah, curator of contemporary art, with contributions from Natalie ScentersZapico.
The US-Mexico border has undergone dramatic changes over the past six decades, becoming increasingly industrialized, urbanized and militarized, especially in the aftermath of 9/11 and the War on Terror. Mainstream and conservative news coverage has often reinforced or exacerbated such developments, characterizing the border as out of control and describing migrants in derogatory terms, in the process fueling xenophobic sentiment.
A foil to this reductive and dehumanizing narrative, this presentation of Latinx photography offers more nuanced portrayals of life in the borderlands. Ranging from the 1970s to the 2020s, images by Louis Carlos Bernal, Graciela Iturbide and Laura Aguilar, as well as emerging artists such as Ada Trillo, Guadalupe Rosales and Miguel Fernández de Castro display alternative photographic vocabularies regarding place, identity and race. With subject matter spanning from intimate domestic portraits and youth counterculture to border crossings and clashes involving the US Border Patrol, this richly illustrated vol-
“Death of Virginia” by Guillaume Lethière, circa 1823-28, oil on canvas. Musée des Beaux-Arts,Lille, France, P 447. Photo: RMN-Grand Palais / Art Resource, NY.
torial team for their participation in this project,” said Meslay. The Clark Art Institute is at
225 South Street. For information, visit www.clarkart.edu or 413-458-2303.
WARREN COUNTY ANTIQUES SHOW
August 24 & 25, 2024 10am – 4pm both days
ume also features scholarly essays and new work by fronteriza poet Natalie Scenters-Zapico, providing new insights on this fraught and misunderstood region.
The Cleveland Museum of Art is at 11150 East Boulevard. For information, www.clevelandart. org or 216-421-7350.
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Warren County Fairgrounds • Route 519, Harmony Township, NJ 908-343-5873 www.warrencountyantiqueshow.com
The dealers on hand for the ribbon cutting were, from left, Jeffrey Cobb, Ann Cobb, Chris Cobb, Mary Cormier, Edwin Guatinuala, Michael Kreiger, Robin Miller, Richard A. LaVigné, Peter Murphy, Stephen Concannon, Robin Stephens, Irina MacPhee, David Anthony, James Coviello, Sherri Buxton, John MacPhee, Anika Weatherley, David Buxton, Robin Greeson, Pasha Pchelnikov and Zach Strouse.
Knollwood Antiques: A New ‘Best-Of’ The Berkshires
LEE, MASS. — People looking for history and culture can find many places to visit in The Berkshires, the globally popular region in Western Massachusetts: Tanglewood Music Center (Lenox, Mass.), The Norman Rockwell Museum, Clark Art Institute and MASS MoCA (Stockbridge, Williamstown and North Adams, Mass., respectively), Hancock Shaker Village (Pittsfield, Mass.,) and Historic Deerfield (Deerfield, Mass.). Now, there is another must-see venue to round out a weekend (or longer!) getaway of
“I’ve been selling antiques in the Berkshires for 45 years and the response from people I saw coming in over the course of the weekend was something I haven’t seen in a long time. I don’t think there’s a more beautiful store in Berkshire County; I feel it will become a destination for antiques!” David Buxton
outdoor pursuits and dining: Knollwood Antiques in Lee. The brainchild of co-owner Richard LaVigné, Knollwood is a 5,000-square-foot gallery at the southern end of the town’s historic
district that was built in 1935. In its nearly 90-year history, the building has housed a grocery store and two consecutive hardware stores before LaVigné and husband, Stephen Concannon — Knollwood’s other co-owner — rented it from Paul Aronofsky. Housing 30 dealers whose areas of expertise span a broad range of antiques, fine and decorative arts and things geared towards interior design, Knollwood Antiques hosted an open house on July 4, with local officials on hand for a ribbon cutting and refreshments while singer and antiques dealer Sherri Buxton provided some musical atmosphere.
“We signed the lease in March, dismantled walls, took down old canvas shrouds, put in a window display and poured a new floor. The town of Lee has been wonderful to work with, helping throughout the entire process of
what was more or less a gut-renovation and we’re still working to get better accessibility,” said LaVigné. “We have vendors that don’t ordinarily come to Western Massachusetts — including ones from Maine and Maryland — and it’s been terrific to include them.
We hired Erik Long to handle all of our e-commerce, including Instagram; we went from 0 to 170 followers in two days.”
“We allow vendors to express themselves and their brand,” he continued. “We expect to offer a broad range of antiques and estate goods. Our vendors include four interior designers and one who specializes in upholstery.
Sean Scherer, author of Kabinett & Kammer: Creating Authentic Interiors (Vendome, 2020) is scheduled to move in soon, as is Marion Harris. In September, Elizabeth Winslow will sell things from her first shipment
from the United Kingdom.”
The weekend was so busy with sales that LaVigné and his staff were busy rearranging the gallery with more inventory, but he took a break to speak with Antiques and The Arts Weekly to convey his thoughts on the success of the opening weekend.
“It has been a sensation and one person commented that we’re bringing back the ‘Antiques Trail’ of the Berkshires. We had more than 400 people come through in the first five days, many of whom had never seen this in another shop or collective. We’ve received many very nice calls and bouquets of flowers. It’s hard to keep up with what happened; sales have been beyond our expectations and the vendors are very, very happy!”
“I’m grateful for so many people who helped make this possible: Clark’s Nursery in Lee for their invaluable assistance in plant and tree selection and Walpole Woodworkers for the stylish yet rugged planter boxes along the Main Street façade of the galleries. Bruce Emond of Village Braider, and Tom Seaver and family of Seaver and McLellan for the timely and much needed delivery of goods I purchased from them at the Rhinebeck Show in May. And Francis Nestor of Cottage + Camp, whose kind patience and collaboration has resulted in my new found internet capabilities!”
“On Saturday, we had a New Jersey-based couple — a professor and his wife — who came in and explained that they’d recently purchased a home in the area and understood that we offered a certain white-glove level of service. They spent the better part of the day here, left only to go rent a U-Haul truck, and came back and loaded it themselves!”
LaVigné, a self-described “visual architect,” has one of the booths right inside the front door of the gallery. A large Nineteenth Century mirror with
Knollwood Antiques is at 57 Park Street, facing the historic district in Lee, Mass.
carved floral
Berkshire Hollow, Lee, Mass.
David Buxton enjoyed some of the refreshments available during the open house. Sherri James Antiques, Lee, Mass.
Peter Murphy, P.D. Murphy Antiques, Bath, Maine.
Owen & Leslie Shugard, Union, Maine.
Onsite Review & Photos by Madelia Hickman Ring, Editor
tribute decoration anchored a pair of Spanish hand-carved limestone architectural fragments on specimen marble plinths. A pair of brass Aesthetic Movement side chairs sported red “sold” tags and flanked a carved blanket chest. A George II style sofa in another part of the gallery was also marked “sold.”
Designer James Coviello, based in both Brooklyn and Hudson, N.Y., is also right near the gallery’s entrance, next to LaVigné. In addition to his own line of glasses, candles and soaps, Coviello had an extensive assortment of brass candlesticks in a variety of sizes and forms, painted and country furniture, mirrors, a long hooked rug runner, lighting, ceramics and framed art.
Across the aisle from Coviello, Jeff, Ann and Chris Cobb are Captain’s Quarters from Amherst, Mass. The back wall of the booth was hung with landscapes and nautical paintings that framed a view of Rockport Harbor, a frequent theme of Anthony Thieme (American, 1888-1954). It hung over a Nineteenth Century twopart campaign chest, a large early Twentieth Century double sailor’s valentine and a pair of Sandwich glass oil lamps.
“We’re thrilled with the transformation of the space and with Richard and what’s he’s doing. We’ve very happy with everything so far!” Jeffrey Cobb reported “very good sales, to a combination of dealers and retail customers” that included a “fantastic” admiral’s uniform from a Chatham, Mass., estate that came with a hat, epaulettes and belt, two Chinese export bowls, an étagère and a folding dining table
Paintings, jewelry and natural history are the interests of David Anthony and Robin Stephens, who are based in Richmond, Mass.; their booth is next to Coviello’s and opposite the Cobb’s. A case along their north wall housed jewelry, small paintings and objects while small furnishings populated their booth. Eye-catching standout pieces included an oil on canvas painting of a priest in a mountain landscape with a tripod camera, accompanied by a dog and an assistant, that was signed “Able” lower right; the giltwood frame had a plaque that was
inscribed “N. Able / 79 / A Negative of Nature”; a table in the center of the booth was topped by a Twentieth Century shell and silver epergne by Maitland Smith.
Peter Murphy’s large booth dominated the northern end of the gallery and had one picture window that overlooks Lee’s historic district. A pair of white-upholstered lolling chairs that were sold looked great on either side of an inlaid settee framed by still life paintings and landscapes.
Robin Miller has a particular fondness for specimen marble, which were incorporated into several pieces in her booth. An expert in European decorative arts, she trained at Christie’s in London and worked at Sotheby’s in New York before she started her own
firm. She stocked her booth with a broad variety, including an Italian pietra dura sample panel that dated to the Nineteenth Century, an Empire style mahogany table with an inset fossilized marble top, a Nineteenth Century Italian Neoclassical bronze bowl, an Eighteenth Century Louis XVI brass mounted kingwood bonheur du jour and an Arts and Crafts mahogany metamorphic library chair made in England in the late Nineteenth Century.
Cottage + Camp had an Australian aboriginal bark painting by Bolini Wanambi titled “Gundimolk” that measured 45 by 24¼ inches, in addition to a whirligig of a man with a top hat, a buttocks basket and a selection of small Staffordshire figures. Proprietors
Pieces presented by
were dotted throughout the gallery. A large provincial slant-lid desk with divided interior, situated below a silver gilt circular mirror, looked wonderful in a window gallery.
From left, town officials Bob Jones (Select Board Member) and R. Christopher Brittain (Town Administrator) look on while Knollwood Antiques co-owners Richard A. LaVigné and Stephen Concannon cut the ribbon, officially opening the gallery.
From left, Zach Strouse and Pasha Pchelnikov are Berkshire Hollow.
Errol Farr, co-owner of Old Kinderhook Auction Gallery, stocked a booth with ready-to-buy furniture, fine art and decorative smalls. Valatie, N.Y.
Knollwood Antiques
Joy Ruskin Hanes and Frank Newman, Hanes & Ruskin, Niantic, Conn.
John Krynick and Francis Nestor made good use of a narrow space to show off a selection of rugs. Cottage & Camp, Millerton, N.Y.
From left, Jeffrey M. Cobb, Ann E. Cobb and Chris Cobb. An unusual small green landscape by Emil Gruppe, on the left side of the campaign chest, received interest during the opening weekend. Captain’s Quarters, Amherst, Mass.
William Union, far right, with a prospective buyer. Art & Antique Gallery, Holden, Mass.
Irina MacPhee got her start in the business at an early age and brought her granddaughter, Anika Weatherley, who lives in San Diego, Calif., to the open house. Pastiche of Cape Cod, Deep River, Conn., and Dennis, Mass.
Knollwood Antiques
Quarters specializes in nautical art and antiques but had “Sugarhouse, Conway, Mass.,” by Massachusetts artist William Lester Stevens’ (1888-1969) for buyers looking for variety. It looked beautiful above a dropleaf table that found a buyer over the weekend and a Chinese export bowl with an eagle and pair of lamps. Amherst, Mass.
John Krynick and Francis Nestor had three spaces along the west side of the gallery and had a good variety of pieces that spanned a broad date range.
Joy Ruskin Hanes, with Frank Newman, had good Americana, including silhouettes, stands, ceramics, a Nantucket lightship basket and fine art. Particularly impressive was a still life with fruit in a footed bowl after Severin Roesen. New acquisitions included two small tables — one with a circular top and stretcher vase, the other an oval example with splayed legs.
“I think Richard LaVigné is amazing and he’s really created a beautiful space out of what had been a dingy hardware store. He
Seen here with Art & Antique Gallery is an oil on canvas river scene by William Ongley (American, 1836-1890) above a portrait of a nude woman in a chair by George Luks (American, 1866-1933). Holden, Mass.
sold a really nice theorem I had to a couple from New Jersey who came in on Saturday, and I’m getting a really great response to photos I posted on Facebook. I’m very happy so far,” Hanes confided to us.
Next to Hanes were William Union and Mary Cormier of Art & Antique Gallery. Their gallery is based in Holden, Mass., and they regularly participate in shows covered by this publication, including Brimfield Antiques Flea Markets and the York Antiques Shows. Landscapes and portraits were in plentiful supply at the open house and included works by Winfield Scott Clime (American, 18811958), two small landscapes by Francis Dixon (American, 1879-
1967) and an unattributed Nineteenth Century painting of a dog watching over a sleeping child. Still life pictures by Franklin Ross “Bud” Drake (American, 19292001) and Johan Georg Eyers (1832-1881) were also on hand as well as a striking painting of three girls in a field by Leopold Franz Kowalski (Russian/French, 18561931).
Irina MacPhee was delighted that her granddaughter — Anika Weatherley — was spending the summer visiting from San Diego, Calif. When we asked Weatherley what her favorite pieces were, she pointed out some bright yellow ginger jars because she liked their color. She also liked a lamp that had a base fashioned from a horse pull-toy.
Based in Deep River, Conn., and with an office in Dennis, MacPhee owns Pastiche of Cape Cod and appreciated the collegial nature of the new cooperative saying, “We want to support each other and we’re not in competition with each other.”
“I think it went really well,” she told us when we spoke with her afterwards. “I sold a bunch of things: a sofa, some chinoiserie, some lighting, some accessories. I’m going to be bringing in some French wheat sconces and Murano glass to help restock the booth.”
Errol Farr, a co-owner of Old Kinderhook Auction Company in Valatie, N.Y., acquires things in his travels and had a booth at the gallery under the name Old Kinderhook but stocked it with things different from those that are consigned for auctions He confirmed selling a pair of LaBarge mirrors, an Egyptian revival marble top chest and “lots of great small things.”
A few months ago, LaVigné was approached by Zach Strouse and Pasha Pchelnikov, two young men in their twenties who have recently established themselves as Berkshire Hollow. Their booth presentation at Knollwood Antiques was their first-ever antiques booth and we were impressed at its polished appearance.
Pchelnikov talked to us after
Knollwood Antiques, Lee, Mass.
Captain’s
Knollwood Antiques has two picture windows that overlook the end of Lee’s historic district and are filled with elegant offerings from a variety of dealers.
A pair of brass side chairs – shown here flanking a paneled and brass bound blanket box – were marked “sold” at the Open House. Knollwood Antiques.
James Coviello, right, speaking with visiting dealer Dana Jennings Rohn.
Sherri Buxton, accompanied by keyboard and bass players, provided some sweet tunes during the open house.
the busy weekend and explained their story. He became enchanted with antiques at a very young age when his brothers would take him with them when they went to estate sales and metal detecting. He started making his own crafts when he was in his teens and he would attend craft shows with his mother. A full-time plumber in the Lee area whose own taste he described as “maximalist,” Pchelnikov has had the opportunity to see what local residents collect and how they furnish their homes. He met Strouse, a teacher at Lee Elementary School, a few years ago and they started to spend off-time going to auctions and estate sales, buying whatever appealed to them. When he learned the space at 57 Park Street was going to be an antiques collective, he introduced himself to LaVigné and asked if he could have a small space there.
LaVigné went to his house, saw his collection and immediately agreed to include them.
“At the moment, I’m going with a sort of ‘Hollywood Regency’ look. I want people to feel comfortable in their homes and I like to show them that they can mix and match things.”
Pchelnikov confirmed that all of their sales were to new clients and included picture frames, candlesticks and pottery.
From Union, Maine, Leslee and Owen Shugard occupied the corner of the gallery next to Berkshire Hollow, which they housed with a broad selection of furniture, decorative arts and paintings. A handsome pair of Chippendale triple-back settees were in prominent display as was an Orientalist painting of a classically draped figure fishing. Framed artwork included architectural drawings, landscape engravings and a copy of Edward Savage’s “The Washington Family.”
When she’s not crooning, Sherri James Buxton is a voice teacher at the Berkshire Music School. She is also Sherri James Antiques with her husband David, and they specialize in country, primitives, folk art and collectibles. Their booth had a great selection of painted furniture, including a red-painted blanket chest and a blue-painted cupboard that provided a great
place to display mocha ware, baskets, a brass iron and brass mortar and pestle
“I’m over the moon! I’ve been selling antiques in the Berkshires for 45 years, and the response from people I saw coming in over the course of the weekend was something I haven’t seen in a long time. I don’t think there’s a more beautiful store in Berkshire County; I feel it will become a destination for antiques!” enthused David Buxton. He reported doing very well with smalls and sold a table and an Adirondack sign with a moose, all to new clients.
Judith Lesser is Antiques from Home, from Bethesda, Md. She was visiting the Berkshires for the first time and the night before the open house had attended Tanglewood where she saw James Taylor perform. For her newest venture, she brought Quimper and Longwy ceramics and a large Quimper equestrian group.
Lesser was back in Bethesda when she reported back. “I’m optimistic about success at Knollwood Antiques but, as of now, have not heard of any sales of my goods.
Before lockdown, I participated in the Sheffield Antiques show — that’s my only track record in the region and it was good. I’ve known Richard for several years from the antiques show circuit and always have been impressed by his showmanship and business acumen. So, I thought the grand opening on July 4 was a great idea and the gallery was buzzing when I arrived.” She noted her space would soon have a few more vintage French items that she pur-
chased as she drove home.
One entire corner of the gallery is devoted to glass cases with all manner of smalls being sold by a variety of dealers, including Asian porcelains, pressed and pattern glass in a variety of colors, antiquarian book sets and, somewhat surprisingly, a selection of natural history specimen that included skulls and framed insects.
Knollwood Antiques is at 57 Park Street. For information, 413394-4357 or follow them on Instagram, @knollwoodantiques.
An Aboriginal painting paired well with a child’s chair, carved ram and painted blanket chest. Cottage & Camp, Millerton, N.Y.
On the far right, Stephen Colcannon and David Buxton are enjoying a few moments before the ribbon cutting in the James Coviello’s booth.
Old Kinderhook Auction Gallery, Valatie, N.Y.
Joy Ruskin Hanes recently acquired this circular tavern table and an oval table partially visible in the right-handside of this photo. Hanes & Ruskin, Niantic, Conn.
Judith Lesser stocks good Continental ceramics. Antiques from Home, Bethesda, Md.
Robin Miller Antiques, Spencertown, N.Y.
Snacks to fuel those attending the open house.
From left, Robin Stephens and David Anthony, Richmond, Mass., flanked by a pair of impressive torchiere lamps with plant-like tops.
INTERNATIONAL
These Picassos Prompted A Gender War At An Australian Gallery. Now The Curator Says She Painted Them
By Charlotte Graham-mClay
WELLINGTON, NEW ZEALAND (AP) — They were billed as artworks by Pablo Picasso, paintings so valuable that an Australian art museum’s decision to display them in an exhibition restricted to women visitors provoked a gender discrimination lawsuit. The paintings again prompted international headlines when the gallery rehung them in a women’s restroom to sidestep a legal ruling that said men could not be barred from viewing them.
But the artworks at the center of the uproar were not really by Picasso or the other famed artists billed as their creators, it emerged this week when the curator of the women-only exhibition admitted she had painted them herself.
Kirsha Kaechele wrote on the blog of Tasmania’s Museum of Old and New Art (MONA) on Wednesday, July 10, that she was revealing herself as the works’ creator after receiving questions from a reporter and the Picasso Administration in France about their authenticity.
But they had been displayed for more than three years before their provenance was questioned, she said, even though she had accidentally hung one of the fake paintings upside down.
“I imagined that a Picasso scholar, or maybe just a Picasso fan, or maybe just someone who googles things, would visit the Ladies Lounge and see that the painting was upside down and expose me on social media,” Kaechele wrote. But no one did.
The saga began when Kaechele created a women-only area at MONA in 2020 for visitors to “revel in the pure company of women” and as a statement on their exclusion from male-dominated spaces throughout history.
The so-called Ladies Lounge offered high tea, massages and champagne served by male butlers, and was open to anyone who identified as a woman. Outlandish and absurd title cards were displayed alongside the fake paintings, antiquities and jewelry that was “quite obviously new and in some cases plastic,” she added.
The lounge had to display “the most important artworks in the world,” Kaechele wrote this week, in order for men “to feel as excluded as possible.”
It worked. MONA — famous in Australia for its strange and subversive exhibitions and events — was ordered by the Tasmanian Civil and Administrative Tribunal in March to stop refusing men entry to the Ladies Lounge after a complaint from a male gallery patron who was upset at being barred from the space during a 2023 visit.
“The participation by visitors in the process of being
Museum
Of
The
Home
In this undated photo provided by the Museum of Old and New Art (MONA), a painting is displayed in the women’s bathroom at the museum in Hobart, Australia. Kirsha Kaechele, an Australian art museum curator, has divulged on July 9, 2024, that she was the creator of three paintings that she presented as works by Pablo Picasso and which prompted a gender discrimination case in Tasmania when she only permitted women gallery patrons to view them. (Eden Meure/MONA via AP).
permitted or refused entry is part of the artwork itself,” tribunal deputy president Richard Grueber wrote in his decision, which found the exhibition was discriminatory.
Unveils
Grueber ruled that the man had suffered a disadvantage, in part because the artworks in the Ladies Lounge were so valuable. Kaechele had described them to the hearing as “a carefully curated selection of paintings by the world’s leading artists, including two paintings that spectacularly demonstrate Picasso’s genius.”
The tribunal ordered MONA to cease refusing men entry. In his ruling, Grueber also lambasted a group of women who had attended in support of Kaechele wearing matching business attire and had silently crossed and uncrossed their legs in unison throughout the hearing. One woman “was pointedly reading feminist texts,” he wrote, and the group left the tribunal “in a slow march led by Ms Kaechele to the sounds of a Robert Palmer song.”
Their conduct was “inappropriate, discourteous and disrespectful, and at worst contumelious and contemptuous,” Grueber added.
Rather than admit men to the exhibit, Kaechele — who is married to the gallery’s owner, David Walsh — installed a working toilet in the space, turning it into a women’s restroom in order to exploit a legal loophole to allow the refusal of men to continue.
International news outlets covered the development in May, apparently without questioning that a gallery would hang Picasso paintings in a public restroom. However, the Guardian reported Wednesday that it had asked Kaechele about the authenticity of the work, prompting her confession.
A spokesperson for MONA told The Associated Press that the gallery would not supply more detail about the letter Kaechele said she had received from the Picasso Administration. When the AP asked MONA to confirm that the statements in Kaechele’s blog post, titled “Art is Not Truth: Pablo Picasso,” were accurate, the spokesperson, Sara Gates-Matthews, said the post was “truthfully Kirsha’s admission.”
The Picasso Administration, which manages the late Spanish artist’s estate, did not immediately respond to a request for comment.
“I’m flattered that people believed my great-grandmother summered with Picasso at her Swiss chateau where he and my grandmother were lovers when she threw a plate at him for indiscretions (of a kind) that bounced off his head and resulted in the crack you see inching through the gold ceramic plate in the Ladies Lounge,” Kaechele wrote this week, referring to the title card on one painting.
“The real plate would have killed him — it was made of solid gold. Well, it would have dented his forehead because the real plate is actually a coin.”
Revamped Gallery Exploring Migration, Belonging And Home Life From 1878 To 2049
LONDON — Museum of the Home announced the opening of its new “Rooms Through Time: 1878-2049,” the culmination of a six-year-long journey of research and community co-curation. The newly refurbished gallery will be home to seven new and permanent period rooms. For the first time the museum will welcome visitors to get handson in the rooms for an interactive journey into the lives and stories of people who have enriched the fabric of London over the past two centuries.
As part of Museum of the Home’s commitment to
revealing and rethinking how we live in order to live better together, the gallery will introduce a more diverse array of narratives to the museum’s renowned “Rooms Through Time.” Each room has been co-curated, using personal stories to speak to universal themes including migration, homemaking, belonging and more. These narratives are deeply intertwined with the complex histories of migration and identity that have shaped London for generations, and which resonate on a national and global scale.
Visitors will have the opportunity to step inside the spaces — from bedrooms and bathrooms to kitchens and gardens — and immerse themselves in
each. From the aroma of lokshen soup wafting from the stove in 1913, singing karaoke in 2024, or changing the music on a record player and curling up on the sofa in 1978, guests will be transported through time, encountering objects and fragments of the stories that constitute our shared history. The rooms include a Townhouse in 1878, a Tenement Flat in 1913, a Room Upstairs in 1956, a Terraced House in 1978, a High Rise Flat in 2005, a Terraced House in 2024 and a Converted Flat in 2049: The Innovo Room of the Future.
The Museum of the Home is at 136 Kingsland Road. For information, www.museumofthehome.org.uk.
Compiled By Antiques and The Arts Weekly
Madelia Hickman Ring & Carly Timpson
Photography By Joel Meyerowitz At Museo Picasso Málaga
MÁLAGA, SPAIN — A major exhibition of early work by renowned photographer Joel Meyerowitz (b 1938, New York) is on view at the Museo Picasso Málaga through December 15. The exhibition brings together for the first time more than 200 photographs taken by Meyerowitz during his formative European road trip from 196667, many of which have not been seen before.
In 1966, at the age of 28 and shortly after leaving his advertising job in New York to pursue photography, Meyerowitz embarked on a year-long road trip around Europe. He drove 20,000 miles through 10 countries and took 25,000 photographs. During this period, Meyerowitz settled in Málaga for six months, where he was befriended by the Escalona family, one of the great flamenco families in the city. While in Málaga, Meyerowitz took 8,500 photographs and captured
hours of high-quality sound recordings of live flamenco.
This unique experience, which resulted in an extraordinary photographic record of Spain, was hugely influential for Meyerowitz and had a long-lasting impact on his signature style of photography. Meyerowitz is now recognized as one of the leading photographers of his generation who redefined how reality, particularly in color, can be captured and communicated with a camera. After returning to New York, Meyerowitz had his first-ever solo exhibition at Museum of Modern Art (MoMA) in 1968, featuring 40 photographs taken from the window of his moving car while in Europe.
Featuring vintage and largeformat prints in color and black and white, the exhibition will present an in-depth account of Meyerowitz’s travels through England, Wales, Ireland, Scotland, France, Spain, Germany,
Small Fire In Towering Spire
Of Medieval Cathedral In French City Of Rouen Is Under Control
PARIS (AP) — A small fire broke out Thursday, July 11, in the spire of the medieval cathedral in Rouen, a major landmark in northern France that was under renovation, but authorities said it was quickly brought under control.
Witnesses told French television they saw smoke emanating from the spire just after midday, and recalled a devastating fire in 2019 at Notre Dame Cathedral in Paris that toppled its spire and collapsed its roof.
Rouen’s Twelfth Century cathedral, which is considered a Gothic masterpiece, is widely beloved, not least because of a series of paintings by impressionist Claude Monet capturing its asymmetrical western facade. It is also the tallest church in France, and among the tallest cathedrals in the world. It is renowned for its three towers, each constructed in a different style.
Mayor Nicolas Mayer-Rossignol first posted on the social media platform X around midday that “the beginning of a fire” was underway “on the spire of Rouen cathedral.”
Less than 90 minutes later, Stephane Gouezec, of the Seine-Maritime firefighters, said the source of the blaze had been located — some 120 meters (some 400 feet) high — and the fire contained. Crews were working to ensure there were no remaining “hot spots,” he added.
But he told reporters the risk of the flames spreading was low because the fire was in an area where there was mostly metal.
Gouezec said construction workers were the first to notice the fire and alerted authorities.
The cathedral was evacuated and a security perimeter put in place, according to regional officials. Archbishop Dominique Lebrun told French media that the structure was expected to reopen Friday, July 12.
Witnesses in Rouen were jittery since the memory of Paris’ Notre Dame blaze is still etched in the national consciousness. It caught fire five years ago, also while under renovation, and is scheduled to reopen in December after an unprecedented reconstruction effort. The cause of that fire was deemed an accident.
Turkey, Greece and Italy, centering on the significance of his extended stay in Málaga.
Tracing Meyerowitz’s artistic evolution during his time in Europe, the exhibition features portraits of local people, unique moments captured in everyday street scenes, urban and natural landscapes, and photographs taken from inside his moving car. The exhibition will also include the whole set of original prints from Meyerowitz’s first solo exhibition at MoMA in 1968.
Miguel López-Remiro, curator of this exhibition and artistic director of Museo Picasso Málaga, said, “Joel Meyerowitz, the guest artist in our program at the Museo Picasso Málaga, introduces his European work into the central space occupied at the museum by Picasso, with the hope of generating physical, aesthetic and emotional connections with his work. In 1966-67 Meyerowitz lived in
this city where Picasso was born. The work he presents here establishes a dialogue with Málaga as the city that unites the two artists. His goal is to create a new narrative concerning the identity of an
artist through the structure of his work as a whole, and in relation to his roots.”
Museo Picasso Málaga is at Palacio de Buenavista, Calle San Agustín, 8. For information, www. museopicassomalaga.org/en.
Guggenheim Bilbao Hosts Yoshitomo Nara’s First Major European Solo Exhibition
BILBAO, SPAIN — The Guggenheim Museum Bilbao presents “Yoshitomo Nara,” an exhibition sponsored by the BBVA Foundation, Strategic Trustee of the Guggenheim Museum Bilbao from 1997. This retrospective exhibition reveals and explores the intriguing world of Yoshitomo Nara. It takes us on a journey through his evolving creativity from the origins of his ideas. Organized by theme, rather than chronologically or according to technique and materials, the exhibition offers an insight into Nara’s conceptual and formal processes. The broad selection of paintings, drawings, sculptures and installations made over the course of the last four decades — 1984 to 2024 — reflects his empathetic response to the people and places he has encountered over the years.
This is the first solo major exhibition of Nara’s work to be held in Spain and in a prominent European museum. The presentation was uniquely devised for the gallery space at Guggenheim Museum Bilbao. The exhibition will tour to Baden-Baden and London, where the display will be reconfigured in relation to each venue.
Yoshitomo Nara (b 1959, Hirosaki, Aomori Prefecture, Japan) is one of the most celebrated artists of his generation. His impressive images of children with large heads and big eyes — at times menacing, challenging and defiant, but also melancholic and uncertain — are widely rec-
ognized. Nara’s characters, his figures and animals, are a reflection of himself. They are a visual representation and a means of expression for his innermost thoughts and emotions. Childhood memories, his life experiences, his knowledge of music, art and society, in Japan and abroad, are the sources of his creativity. Nara has a profound interest in humanity and his work examines and incorporates ideas surrounding concepts of home, community, nature and their interconnectedness.
This survey exhibition is arranged thematically, according to Nara’s specifications. The motifs which recur in his work — including the red-roofed house, the sprouts, the puddle, the box, the blue
boat and the forest — reveal the continuity of thought he has maintained throughout his career, and they serve to highlight his stylistic development. Nara views himself as a painter, first and foremost, but he explores each theme within a range of other materials and formats — drawing, sculpture and installation.
Nara’s childhood memories — marked by a feeling of isolation — his travels abroad, time in Germany and his knowledge of art history, are key to an understanding of his work. It is also deeply rooted in the music he listened to as a child: folk songs by American singer-songwriters like Bob Dylan, with their dissenting, antiwar message during the Vietnam war and support for the civil rights
movement; the introspective, melancholic sounds of the blues; and grassroots folk music coming out of England and Ireland. With no understanding of the foreign-language lyrics, Nara absorbed the sounds on a sensory level Combined with what he intuited from the album cover images, he understood the music on his terms and invested it with personal emotion. This was long before the era of punk or new wave, from which Nara would later draw inspiration. Through music, Nara connected with a respect for humanity, community and a sense of freedom. This exhibition spans the 40 years since Nara’s second trip to Europe in 1983 to the present day. It shows how Nara’s departure from Hirosaki and his time away from Japan were pivotal and necessary for him, providing him with the tools to rethink his role as an artist and reevaluate his relationship with communities in Japan, his interactions with the people and with nature: “I finally felt like I now possessed the things I had been missing, like anything else I might need was right at hand, and I was capable of living in a provincial area. But I think this is something I had to leave my hometown for a while in order to understand.”
“Yoshitomo Nara” is on view through November 3. The Guggenheim Museum Bilbao is at Avenida
doibarra, 2. For information, www.guggenheim-bilbao. eus/en.
The Long Island Museum Presents ‘Through Our Eyes’
STONY BROOK, N.Y. — The Long Island Museum (LIM) will serve as a showcase for the 10th annual “Through Our Eyes” exhibition. This year the gallery will feature work by care partners and participants in the Alzheimer’s Disease Resource Center (ADRC) Art Expressions Program in East Islip as well as collaborative programming with ADRC at the Long Island Museum. The art on view highlights the joy that the arts can bring into the lives of those that are navigating the challenges of living with a dementia diagnosis.
In its 10th year, the “Through Our Eyes” annual exhibition is included within the museum’s “In the Moment” programming, an umbrella of arts engagement opportunities for those in the memory care community. Each year when the museum’s education staff begins the collaboration with
a new partner organization and individuals within that community, the exhibition
ing with memory loss, alongside the work of their care partners. In some cases these care partners are family members, and in others, they are dedicated professionals serving the individuals and their families.
The LIM and the ADRC are focused on supporting the needs of individuals experiencing memory loss alongside those of their care partners; viewing these care dyads and triads as units comprising individuals, each with their own potential to be nurtured, supported and inspired by the arts and be embraced by our community.
aging in place at home with the support of their loved ones. These relationships are at the heart of the LIM’s mission to serve the people of Long Island.”
Photographic portraits and artist statements are paired with the artworks to provide a richer context and a deeper connection with these sets of artists. The LIM invites visitors to take a moment to reflect on these stories and view the world through these artists’ eyes.
takes on its own unique shape. This year the gallery features work created by 15 people liv-
“This year’s exhibition process was especially joyful for those of us at the museum,” said Kristin Cuomo, senior educator at the Long Island Museum. “Partnering with ADRC has allowed us to build relationships with individuals
“Through Our Eyes” will be on display in the Cowles Gallery until September 1 and is underwritten by a generous anonymous grant. For more information about the exhibition and the LIM’s “In the Moment Program.”
Long Island Museum is at 1200 Route 25A. For more information, longislandmuseum.org.
RISD Museum Receives Significant Gift Of Art Works & Textiles From Artist & Collector Jolie Stahl
PROVIDENCE, R.I. — The RISD Museum receives a significant gift of 52 works of painting, sculpture, textiles, clothing, prints, drawings and photographs from artist and collector Jolie Stahl. The gift expands the museum’s collections considerably and introduces works by John Ahearn, Rosemarie Beck, Edward Biberman, Lois Dodd, Mike Kelley, Matthíasdóttir, Ann Messner and Bob Thompson. Additional works by Nan Goldin, Philip Guston and Kiki Smith strengthen the RISD Museum’s holdings of
those artists already in the collection. Included are Ms Stahl’s own paintings, mosaics, textiles and photographs, including her prints from Black Pilgrimage to Islam (Oxford, 2002) published in collaboration with her husband, anthropologist Robert Dannin.
“The works donated by Jolie will make an immediate impact on numerous areas of the collection, adding strength to the representation of Twentieth Century modern and contemporary artists in particular,” stated Dominic
Molon, interim chief curator and the Richard Brown Baker Curator of Contemporary Art.
“Perhaps the most exciting and definitive aspect of this gift is how it reflects the close relationships that Jolie and her family have maintained with artists and designers throughout their lives — a legacy that has a particular poignance and relevance given the museum’s connection to the school of art and design.”
Museum director Tsugumi Maki added, “We are deeply grateful to Jolie and her family for their extraordinary gift.
THE GALLERY Special Section
Suzanne and her husband Paul work on an art project for the collaborative exhibition “Through Our Eyes,” now on view at the Long Island Museum. FREE PUBLICITY FOR ADVERTISERS AND SELECT NON-PROFITS
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Their generous donation is an impactful addition to the collection, highlighting the museum’s commitment to showcasing art and design history, the artist’s journey and the creative process.”
The wide range of textile and clothing designs donated to the costumes and textiles department speaks to Stahl’s unique perspective as an artist — particularly in terms of an appreciation for the complex interactions of color and pattern: highlights include bespoke garments featuring her own screen-printed patterns developed from early American gravestone rubbings, as well as an exciting group of African wax print textiles that significantly fleshes out the museum’s representation of such textiles produced in Africa for the African and African-American markets.
Stahl’s gifts on paper likewise reflect her vision as an artist, collector and friend. In
addition to significant examples of works on paper by Amadeo Modigliani, Marcel Vertès and Carl van Vechten, Stahl has given the museum vintage prints of Robert Capa’s most famous photograph, “The Falling Soldier,” and Nan Goldin’s “Me on top of my lover” from “The Ballad of Sexual Dependency.” Additionally, her gift reflects her personal relationships with other artists, such as the artist’s multiple “Notepad with Uterus” she produced with Kiki Smith.
An illustrated catalog featuring texts by Maki; Molon; Kate Irvin, curator of costume and textiles; Conor Moynihan, associate curator of prints, drawings and photographs; and Maureen O’Brien, curator of painting and sculpture, will be produced to celebrate the gift.
The RISD Museum is at 20 North Main Street. For information, www.risdmuseum.org or 401-454-6500.
“Apollo and Daphne” by Bob Thompson (American, 19371966), circa 1964, oil on paper mounted on board, 10-5/8 by 10¾ inches, gift of Jolie Stahl, 2024.19.51.
CCADA Opens Antiques Show In New Sandwich Location
SANDWICH, MASS. — The Cape Cod Antique Dealers Association (CCADA) opened its 3rd Annual Summer Sandwich Antiques Show at the ClarkHaddan American Legion Post 188 on July 11. This new location is only a few minutes away from the show’s former location at The Sagamore Inn. The reason for this change? Simple economy: this location was far less expensive to rent, leaving more of the proceeds from the show’s admissions for the CCADA’s Cultural Enrichment Fund. This provides support to nonprofit organizations for special projects which help advance, preserve and promote a better understanding of Cape Cod’s history and heritage.
“People seem to think that we’re divvying up the proceeds between the dealers, which isn’t the case at all,” says Patricia Anderson of Cummaquid Antiques, Cummaquid, Mass.
“Even if [a customer] doesn’t find anything, the education they get from what’s here is worth the price of admission.” At $8 per ticket, and $7 if an ad is presented, it’s not at all breaking the bank. Young collectors are particularly welcome, so much so that students with valid identification and guests under age 18 are admitted free of charge.
Each of the show’s 16 dealers certainly presented a comprehensive display of antiques with price ranges to suit each buyer’s budget. Most gathered under the Post’s outdoor dining area, with a few dealers dodging showers outside. The past two years have hosted blazing sunlight and heat, and despite the humidity dealers welcomed the lower temperature in exchange for an overcast sky. Dealers reported an average “okay” for sales, still an accomplishment when many die-hard buyers and
sellers were sweating it out in the July Brimfield markets. Smalls are the common fare for most dealers at the CCADA show, but some brought larger furnishing pieces. Whaling Days Antiques, New Bedford, Mass., prominently featured an early Nineteenth Century pine blanket box with original dark teal paint. It showed dovetail construction with sturdy hinges but was a little lopsided due to absent molding. Owner Alan Herman was asking less than $500, more than a reasonable price for a repair project.
Jeffrey Young of Vintage & Young, Catumet, Mass., had just the thing, or at least the sign for it. Leaning against one of his outdoor tables was a “Jobbing Carpenter” trade sign with a pleasing amount of age on it. The sign probably dated from the early Twentieth Century. Also from this era was a wool Protexacar fender cover chain
For the third Summer Sandwich Antiques Show, most of the CCADA dealers were housed inside the American Legion Post’s outside pavilion.
This unusual oil lamp’s base was black amethyst glass, found in the home of a downsizing East Granby, Conn., collector. McGrory Antiques, East Falmouth, Mass.
Table for six! This set of flatware had red Bakelite handles, adding color to any collector’s table. Cat’s Meow Antiques, Mashpee, Mass.
Early Twentieth Century trade sign with just the right amount of age. Vintage and Young, Catumet, Mass.
Two boxes from Ten Mile Antiques, Attleboro, Mass.; a Battersea enamel box (top), and an early hand-painted Limoges box (bottom).
This dresser and commode from William Nickerson Antiques, Brewster, Mass., were priced to sell; the temperamental weather on the day of the show is noticeable between the photos.
Lobsters in all forms are plentiful at the CCADA show; this vintage folk art example was painted in the style of Peter Hunt (1896-1967), and offered by Carl Goveia of Nauset Antiques, Eastham, Mass.
With a tarp ready for the day’s intermittent showers, David Lamson, Hyannis, Mass., brought functional glassware and delicate smalls for his outdoor setup.
Review & Photos by
Z.G. Burnett, Contributing Editor
shadow boxes.
Gary Jennings, Rehoboth, Mass., a 20-year subscriber to Antiques and The Arts Weekly, prefers to have variety in his booth. “If you specialize, you’re always waiting for one person,” he said.
CCADA Antiques Show
stitch embroidered for the Biever Motor Car Company of New Haven, Conn. This midcentury car dealership now exists only in a few court cases and dealer listings for Chrysler and Studebaker cars, making this cover possibly unique. It had a chain stitched number “10” on verso and matching embroidery around the edges and was in excellent condition.
Other textile arts were more local. Cummaquid Antiques offered a vintage, wool hooked rug designed by Claire Murray that showed the Dexter Grist Mill and Lower Shawmee Pond of Sandwich, Mass. The mill is still functional, but now operates as a museum and is one of the most photographed sites in
the area. Murray maintains a shop in West Barnstable, Mass., and has retired this design. According to Anderson, “The town of Sandwich has more swans in its lakes and ponds than any other town on Cape Cod.”
In a nearby booth, Vintage Lady Linens, Milford, Conn., tidily overflowing wares were arranged with care by owner Nancy Mayer. Far superior in quality to what’s available at department stores now, dealers like Mayer specialize in linens, many having sat in drawers for decades without use. The majority of Mayer’s stock at the show was nautically themed, including a set of cocktail napkins designed by Anthony Frederick
“Tony” Sarg (1880-1942). Born in Guatemala, Sarg was a prolific illustrator whose early work appeared in The Saturday Evening Post before he became a window display designer for Macy’s Department Store in Manhattan. Sarg also designed a range of homeware, maps and fine art, and he opened up his own Nantucket shop in 1921, where he remained until his death. Mayer sold one of the napkins to a collector who intended to frame it and reported a very successful show.
Charlene and Edward Dixon, Eastham, Mass., did not have one of Sarg’s Nantucket maps in their booth, instead there was a map of Boston produced by the Tudor Press of Boston, Mass. According to Charlene, the Boston map is far more scarce than the Cape Cod map, which can be spotted frequently in the region’s antiques shops. The lithographic map was printed in 1930 and the Tudor Press was in operation between 1910 and 1967, before the company moved to Lawrence, Mass., and was renamed Graphic Litho. It is still in operation today, but no longer distributes this map. The right booth to visit for all things cartographic was, unsurprisingly, Maps of Antiquity of Chatham, Mass. Represented by Danielle R. Jeanloz and Perri Sanborn who brought barely a fraction of their stock, Maps of Antiquity has a brickand-mortar gallery as well as over 18,000 maps available online. They have also been selling with the CCADA for 18 years. From hand-colored Seventeenth Century etchings to picture postcards featuring every town in Cape Cod, Maps of Antiquity catered to every level of collector. Even though the weather was gloomy, it did not dampen the spirits of Dianne Freed, whose business New England Seasons is based in Rehoboth, Mass. Freed’s booth brings the outdoors in, if the outdoors is a charming garden à la Tasha Tudor, where she stocks first edition books alongside antique ceramics, textiles and home furnishings. There was also a collection of stuffed mohair animals, some of which were Steiff that had lost their identifying buttons, but most, if not all, were made in Germany. “I go for the cuteness factor,” Freed said, smiling. “Anything with a bit of whimsy.”
Marie’s Memories, Eastham, Mass., supplied more artisanal pottery, in addition to a large inventory of costume and fine jewelry. One of the largest planters was a circa 1910 jardiniere from the Roseville Pottery Company. Known for its floral patterns, this planter showed the Donatello pattern of cherubs playing in a garden, bordered by fluted molding. Roseville was one of three major art potteries in Ohio during the Nineteenth and Twentieth Centuries, including Rookwood Pottery and Weller Pottery. The company produced annual patterns and operated from 1890 to 1953, when it was bought by the Mosaic Tile Company.
An optimistic sentiment was brought by David Thompson Antiques & Art, South Dennis, Mass., on a ship’s
name plate
Lydia Gadman and Donald Lutz, Chimney Corner Antiques, Amesbury, Mass., erected their own mobile gallery of assemblages, combining framed prints with artifacts and specimens in
This distinguished silverplate wine bottle case would have made an excellent gift for a wine-loving father or groom.
Linda Brown, Cargill Antiques, White River Junction, Vt.
Designer hooked rug by Claire Murray, circa 1990, showing the local grist mill and pond in a retired design. Patricia Anderson, Cummaquid Antiques, Cummaquid, Mass.
A dovetailed, early Nineteenth Century pine blanket box from Whaling Days Antiques, New Bedford, Mass., with gorgeous original paint; the basket on top was filled with antique grapeshot.
The world could use a little more Fair Play, as carved on this late Nineteenth or early Twentieth Century name plate from David Thompson Antiques & Art, South Dennis, Mass.
Most of these antique stuffed animals were made in Germany, and all were available for adoption by New England Seasons, Rehoboth, Mass.
that read Fair Play. Thompson found the plate on the side of a barn in nearby West Dennis, Mass. The barn and the plate belonged to a family with a long fishing history in the area. It already sported a “sold” sticker by the show’s opening. “We need more of that,” Thompson commented, in reference to the ship’s name.
On a smaller scale, Patricia Ferrara’s Ten Mile Antiques of Attleboro, Mass., had a booth full of tabletop cases. These were stocked with fine jewelry and diminutive antiques, each more detailed than the last. Two snuff boxes stood out: a Battersea enamel box and a handpainted Limoges figural oyster box. Probably from the late Eighteenth to early Nineteenth Century, the Battersea box showed a spaniel sitting atop a pink tuffet, its pose reminiscent of a Staffordshire dog. The Limoges box showed unusual coloring for a Limoges box of this type. Still being produced today, often with three dimensional pearls inside, this was an earlier example of the motif. Every dealer brought goods that were functional and decorative, and most could be put to use the same day of purchase. Linda Brown of Cargill Antiques, White River Junction, Vt., had a striking wine bottle case that would have been welcome if full on that steamy afternoon. With a gleaming silverplate surface, the case was cleverly designed in the form of a man’s suit, complete with a pocket watch, pocket square and bowtie. Made to keep the wine inside cool, the case had a convenient handle for pouring. It was unmarked, but most likely dated from 1930 to 1960.
For everyday use, Paula Deane of Cat’s Meow Antiques, Mashpee, Mass., displayed a set of cutlery in floral transferware creamers. These were not just any old forks and knives; they had red Bakelite handles and were from Deane’s own collection. “I have another set with yellow handles at home,” she shared. This example had settings for six, which is more than enough for a brunch or luncheon. Deane was accompanied by Bonnie Botelho, who recently opened Sandy Neck Seaside
Merchants in West Barnstable., Mass. A division of Yankee Estate Sales, a portion of this business’ profits supports autism research.
William Nickerson, Brewster, Mass., was one of the few dealers who brought furniture, and was the lightest on his feet when it came to covering his wares during showers. Two eye-catching pieces were from the Nineteenth Century, not matching but of similar origin. Back when factory-made furniture used to be sturdy and reliable, this dresser and commode would have been ordered from a catalog and either hand decorated at
the factory or at their new home. The dresser showed faux grain throughout, and the burl veneer on its drawers was accentuated by black border strokes with ivy leaf decorations. The commode showed similar creativity, its brushstroke accents bordered with gold brushstrokes. Nickerson mentioned that he was cleaning out his own collection; his prices were more than fair, and the condition of his furniture was excellent.
The CCADA’s 54th Annual Summer Antiques Show in Orleans, Mass., will be on August 3. For information, www.ccada. com or 774-722-2108.
Friends catch up in the booth of Charlene and Edward Dixon, Eastham, Mass.
Danielle Jeanloz of Maps of Antiquity, Chatham, Mass., sits beside hundreds of souvenir postcards representing every town on Cape Cod; in the background is a handful of their massive stock.
A collection of American-made art pottery from Marie’s Memories, Eastham, Mass.
This Donatello pattern jardiniere was produced by the Roseville Pottery Company circa 1910, brought by Marie Forjan of Marie’s Memories, Eastham, Mass.
A fender cover from defunct car dealership Biever Motor Car Company, New Haven, Conn., brought by Vintage & Young, Catumet, Mass.
These cocktail napkins from Vintage Lady Linens, Milton, Conn., were designed by Tony Sarg, who also created the first mechanically animated window display for Macy’s Department store, as well as the first balloons for its Thanksgiving Day Parade.
Made in Boston, Mass., this scarce lithographic map of the state capital was printed by the Tudor Press in 1930. Charlene and Edward Dixon, Eastham, Mass.
A customer surveys the jewelry from Keepers of the Past Antiques, East Falmouth, Mass.
Fine Art & Fabulous Jewelry Lead At Merrill’s
Rounding out the top three lots was this Blue Nile solitaire diamond engagement ring and matching wedding band, which yielded $5,670. The engagement ring, with one large pear cut and 43 round cut diamonds, weighed 1.8 carats, while the accompanying four loop wedding band was set with 48 brilliant cut diamonds, which weighed 0.25 carats ($8/$12,000).
This 18K yellow gold ring with an emerald cut green tourmaline and four marquise cut diamonds crafted and signed by Raymond Yard went for $5,040, just above its high estimate ($3/5,000).
“Vermont Solstice” by Sabra Field (Vermont, b 1935), Iris print on paper with screen printed elements, 16 by 40 inches framed, signed, identified and editioned lower margin “40/300” exchanged hands for $3,465, comfortably within estimate ($2/4,000).
“White Out” by Sabra Field (Vermont, b 1935), woodblock print on paper, 20 by 32 inches framed, signed, editioned and identified lower margin “26/300” crossed the block for $4,410. It was the highest-selling of Field’s works that were offered ($2/4,000).
WILLISTON, VT. — On July 12, Merrill’s Auctioneers & Appraisers conducted its Twentieth Century Modern Design & Fine Art auction. Featured in the sale were more than 500 lots of designer furniture, fine art, musical instruments and vintage designer clothing and accessories, among other objects, from several estates in the area. “The sale did well overall, we were very satisfied,” shared Linus Leavens, associate gallery manager for Merrill’s. “Because we have our auctions on two different online platforms, we’re able to get a mix of dealers, retailers, collectors — everybody — as buyers. We are live in the building as well, so we had live buyers, absentee bidders and phone bidders.”
Leading the sale 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 $94,400. 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 also dated “1934.” “Phone bidders were especially important for the Crite,” explained Leavens, who revealed there were at least six competing for the painting.
Fine art did very well throughout the sale, with around half of the 10 top-selling lots belonging to the category. The second-highest price of the day was claimed by “Crossroads Route 5” by Vermont artist Francis Colburn. This circa 1930s oil on canvas, signed lower right, was previously displayed in the Smith College Museum of Art and was in original untouched condition. It went out for $7,080, surpassing its high estimate of $5,000.
Vermont visual artist Sabra Field was wellrepresented in the auction. Her highest-selling pieces were “White Out,” a woodblock print on paper which sold for $4,410, and “Vermont Solstice,” an Iris print on paper with screen printed elements that attracted $3,465. “The Sabra Fields were from several different consigners who know that the prices for her work have gone up,” said Leavens. “They know that we are selling the most for the most money and trust us to sell them.”
Designer jewelry was also a hot commodity. The third-highest price of the sale, $5,670, belonged to a 1.8-carat Blue Nile solitaire diamond engagement ring with its accompa-
The highest-price of the sale went to “Late Afternoon” by Allan Rohan Crite (American, 1910-2007), 1934, oil on board, 27 by 24 inches framed, signed lower right. The painting flew past its $25/45,000 estimate to achieve $94,400.
nying band, which weighed approximately 0.25 carats. The fine platinum ring was set with one large pear cut brilliant diamond and 43 pave set round cut diamonds, which earned a VVS 1 rating. Its matching interwoven four loop wedding band was set with 48 brilliant cut diamonds; both rings were a size seven. The set came in its original box, with GIA certification and papers.
The fourth-highest selling lot in the sale was another ring, this from Raymond Yard, set with a 7.5-carat green tourmaline and four marquise cut diamonds, weighing approximately 0.06 carats each. The size seven ring band was 18K yellow gold, was signed “Yard” and contained its unique serial number. The ring was married to its new home for $5,040, just over estimate.
Prices quoted include the buyer’s premium as reported by the auction house. For information, 802-878-2625 or www.merrillsauction.com.
and came with its original box and papers
“Crossroads Route 5” by Francis Colburn (Vermont, 19091984), circa 1930s, oil on canvas, 24 by 28 inches framed, signed lower right, was the second-highest selling lot of the day at $7,080 ($3/5,000).
“From Dark Frigate” by Aiden Lassell Ripley (American, 1896-1969), 1922, oil on canvas, 25 by 18 inches framed, signed lower left was an illustration from The Dark Frigate by Charles Hawes. Bidders were not deterred by surface soiling and some minor impacts and pushed the painting to $4,725 ($2/4,000).
Earning $4,382 was this 6.79-carat diamond and 14K white gold necklace from Blue Nile. The 18-inch-long necklace was set with 171 prong set brilliant cut diamonds
($4/8,000).
Benin Bronzes From US Museum Restituted To Benin’s Oba
BENIN CITY, NIGERIA —
The University of Iowa Stanley Museum of Art has become the first United States institution to return looted bronzes to the Royal Court of Benin.
During a ceremony at the Benin Palace on July 15, representatives from the Iowa museum handed the artifacts over to the Oba of Benin, Ewuare II. The returned objects, commonly referred to as Benin Bronzes, were a brass plaque and a wooden sculpture of a hen.
The Stanley Museum said the brass plaque shows a high-ranking officer from the Benin Court with a ceremonial sword, while the wood and iron hen sculpture was likely created as an “altarpiece devoted to maternal ancestors.”
Following a violent attack in 1897, British colonial soldiers stole and dispersed 3,000
objects from the Royal Palace of Benin. Since then, these Benin Bronzes — Sixteenth to Eighteenth Century metal plaques and sculptures — have been held in museums and private collections across Europe and the United States and have been the subject of many restitution discussions.
Oba Ewuare II is a descendant of the kingdom’s ruler at the time when it was ransacked, so representatives of the museum doubled down on their decision to return the objects to the Oba rather than the government.
“The violence and loss associated with these objects can never be forgotten,” the Stanley Museum’s curator of African art, Cory Gundlach said.
Gundlach said the museum was “committed to acknowledging this tragic chapter in history and using it as a catalyst for positive change.”
Lauren Lessing, the director of the Stanley Museum of Art, commented on the future of these objects saying, “It is not my job to tell people what to do with their own possessions. The two works of art restituted were stolen from the Oba of Benin in 1897 and they belong to him.
“The best way for museums to ensure that the public can see these works in the future is to approach the Oba, as they would any other potential lender, and ask. The Oba has said that he intends to lend these important works to museums around the world and I have no reason to doubt him. Ultimately, however, he has the right to say yes to loan requests and he also has the right to say no.”
The Stanley Museum said its handover marked the first time a North American museum had directly given such
artifacts back “to the rightful owner.” To this day, the British Museum has refused to return its expansive collection of Benin Bronzes.
First Exhibition Of Ellsworth Kelly’s Complete ‘Spectrum Colors’ Series At Art Institute of Chicago
CHICAGO — The Art Institute of Chicago presents “Ellsworth Kelly: Spectrum Colors Arranged by Chance” on view through September 9. This focused exhibition of 10 works is the first time that the complete series, created between 1951 and 1953, will be on view, allowing visitors to experience the power of these works together.
Using chance operations and a modular grid, Kelly produced the first eight large-scale collages in October and November of 1951. The works were constructed with papier gommette, sticky colored paper used by French schoolchildren, cut into squares. The manufactured palette of the papier gommette allowed for a type of “readymade” color, which Kelly arranged not according to traditional compositional sensibilities, but rather by chance, assigning a number to each color and placing it in a grid formation. Kelly later returned
to the series in 1953, creating a ninth collage and a painting, expanding the scale and the format of the collages in oil on wood.
In addition to demonstrating Kelly’s experiments with chance and early noncompositional strategies, the series also shows Kelly’s unexpected uses of color. Many aspects of this series would become foundational to his practice in the decades that followed. By focusing on the importance of a single series to Kelly’s practice, this exhibition illuminates a pivotal chapter in the career of one of the Twentieth Century’s defining artists.
Caitlin Haskell, Gary C. and Frances Comer, curator of Modern and contemporary art, commented: “With the “Spectrum Colors” series, Kelly developed a system for generating a profusion of aesthetic surprises, breaking free of visual habit and relinquishing his own subjective role in determining
work’s appearance… The color juxtapositions that give these collages their charge upended expectations about art making in their own time, and they remain a source of extraordinary visual stimulation.”
“This jewel box show allows us to highlight this pivotal series in Kelly’s vibrantly successful career as an artist,” said Giampaolo Bianconi, associate curator of Modern and contemporary art. “Exhibited within the Art Institute’s collection galleries, this exhibition likewise places the artist’s practice
in context. The exhibition directly abuts rooms displaying many of Kelly’s international contemporaries and descendants.”
“Ellsworth Kelly: Spectrum Colors Arranged by Chance” is curated by Caitlin Haskell, Gary C., Frances Comer, curator, Modern and contemporary art, and Giampaolo Bianconi, associate curator, Modern and contemporary art.
The Art Institute of Chicago is at 111 South Michigan Avenue. For information, www.artic.edu or 312-443-3600.
Court officials carrying the Benin Bronzes during the restitution ceremony. Photo: Omoregie Osakpolor. Courtesy Stanley Museum of Art.
The Fashions, Films & Fame Of Hollywood Costume Designer
By Laura Layfer
OKLAHOMA CITY, OKLA. — Edith
Head’s signature dark round glasses, short straight-cut bangs and tailored two-piece style suits, worn in an array of black, beige, white or gray, was the distinctive look that defined her own strong professional character. Her blue-tinted frames purportedly offered the proper shade to see her costume creations as they would appear on screen during the era of black and white films. Her personal choice of simple attire aided in distinguishing her role from that of the actors she dressed at both Paramount Pictures and Universal Studios. Now on view at the Oklahoma City Museum of Art (OKCMOA) and presented by the Ann Lacy Foundation, “Edith Head: Hollywood’s Costume Designer” features 70 costumes along with sketches, two screening sections and a few Oscar statues. After the Academy of Motion Pictures established the “Best Costume Design” category, Head was nominated 35 times and won eight times, a record for a woman in any category that stands to this day.
Preparation for the exhibition began three years ago, the idea of then OKCMOA curator Catherine Shotick, who
was most recently named director of the Westerly Museum of American Impressionism and who had an interest that stemmed from fond childhood memories of watching old movies with her mother. Building on the OKCMOA’s long-standing focus on the art of film (the institution regularly hosts cinematic presentations and currently offers weekly movies in the museum’s Noble Theater with credits to Head), she and curatorial assistant Kristen Pignuolo worked closely to organize this exhibition. The bulk of the selections on loan came from two
main sources: Paramount Pictures Archive led by Randall Thropp, and The Collection of Motion Picture Costume Design, run by costume historian and archivist Larry McQueen.
“Working with costumes was different from my past experience with other garments,” notes Pignuolo. “They can be incredibly elaborate on the exterior, couture-like in appearance, but the interior was often unfinished because they were really only meant to hold up for a few scenes and so were a lot less durable.” As she also points out, so many of these ensembles from the earlier part of the Twentieth Century were made when nobody was thinking about keepsakes and preservation for future display or archival purposes.
What happened behind-the-scenes (and “seams”) proved equally important to Head’s mastery of her skill in designing what the camera would see. Her own early life may have offered some element of preparing to play a part. She was born Edith Claire Posener in 1897, in Nevada, to two Jewish parents who soon separated. When her mother remarried, Head was presented as the daughter of her stepfather, and raised Catholic. The family moved to California where Head earned a Bachelor of Arts from the Uni-
versity of California, Berkeley, and a Master of Arts in Romance Languages from Stanford University. She became a Spanish and French teacher, and when the school needed an art instructor, she pursued what had only previously been a side passion and put herself forward as qualified for the post. Evening classes in drawing subsidized her lack of formal training and introduced her to first husband, Charles Head. Soon after, a classified ad for a sketch artist captured Head’s interest and she was hired by Paramount Pictures in 1923. She would later share that she had used sketches belonging to her classmates to land the job. By 1938, Head had become the first woman to be named chief costume designer at a major production company and it was clear that she was an original in her craft. A decade later, in 1949, she received an Oscar, awarded for the burgundy silk velvet and taffeta two-piece tiered gown designed for Olivia de Havilland to wear as Catherine Sloper in The Heiress, for which de
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costume, alongside the Oscar Head won for it, are on view to open the exhibition; it is one of three included in the galleries.
Costume worn by Olivia de Havilland as Catherine Sloper in the Paramount Pictures production of The Heiress, 1949. Designed by Edith Head. Collection of Motion Picture Costume Design: Larry McQueen.
Installation photo of the blue suit designed by Edith Head for Kim Novak in Vertigo. OKCMOA photo.
Costume worn by Nina Foch as Bithiah in the Paramount Pictures production of The Ten Commandments, 1956. Designed by Edith Head. Collection of Motion Picture Costume Design: Larry McQueen.
Costume worn by Grace Kelly as Lisa Fremont in the Paramount Pictures production of Rear Window, 1954. Designed by Edith Head. Collection of Motion Picture Costume Design: Larry McQueen.
Costume worn by Betty Hutton as Pearl White in the Paramount Pictures production of The Perils of Pauline, 1947. Designed by Edith Head. Collection of Motion Picture Costume Design: Larry McQueen.
Edith Head. Alamy stock photo
“Apart from her ability to design for the script and the character, she had a skill in helping actors and actresses mold into their personas,” notes Pignuolo. Head’s approach was a blend of studious and sensitive, a manner perhaps taken from her time as an educator working with students. Throughout the entire third floor of the exhibition, a roster of Hollywood’s Golden Age bold-faced names are represented by way of their costumes and leading roles. Formal wear such as the black evening gown that belonged to Barbara Stanwyck in The Lady Eve (1941) is accompanied by a still image of the actress in an iconic scene. She apparently said that she never felt more beautiful than when dressed by Head for that character. Similarly, Veronica Lake, often referred to as a bombshell of the 1940s, was quite small in stature, standing at just under 5 feet. Her sultry wavy hair might have weighed her down without Head’s knowledge of how to play with patterns and shapes to elongate a feminine figure. For example, a white suit worn by Lake in Duffy’s Tavern (1945) is adorned on the jacket with a vertical embroidery intended to raise the audiences’ eyes up from the accentuated cinched peplum waist (Head apparently said that Lake had the tiniest waist in Hollywood) and solid straight skirt that had a dual purpose as it also hid extra high heels. Prior to each film, there were sketches made in order to achieve the proper silhouette and its approval for a costume; many of those on view include fabric swatches of the materials incorporated.
The vignettes in the galleries explore Head’s progression alongside that of the booming film industry. In the 1950s, it became less about what she could conceal and more about how to reveal. The movement towards musicals, comedies, action and of color in film required a change to bold hues stitched with elements of sequins and beads of greater sheen for more texture to appear with movement. Sophistication, no matter the decade, was a mainstay for Head. The elegant ensembles worn by Audrey Hepburn in Sabrina and Funny Face partnered Head with Hubert de Givenchy. When Head won an Oscar for her work in Sabrina, neither she nor the Academy acknowledged the French fashion designer. It was an omission that was rectified with the production of Funny Face. Director Alfred Hitchcock found kinship, and acquiesced, in Head’s need for control. The duo worked on several pictures including Rear Window with Grace Kelly; her silk and organza dress is shown, as is the navy piece worn by Kim Novak in the famous Golden Gate Bridge
OKLAHOMA CITY MUSEUM OF ART
water scene in Vertigo. Another part of the exhibition offers a beach-like decor to complement wardrobes along that theme, including those Head designed for Elvis Presley films. In 1934, the Hays Code was enforced and brought to studio practices new regulations during this time of censoring content and costuming. Following it in the exhibition is a more somber section that explores the impact of World War II,
Costume worn by Audrey Hepburn as Jo Stockton in the Paramount Pictures production of Funny Face, 1957. Designed by Edith Head and Hubert de Givenchy. Collection of Motion Picture Costume Design: Larry McQueen.
where fabric rationing restrained the use of material as well as the overall mood in nearly every film genre. One variation is demonstrated with a lady’s suit finished in a simple black single layer is contrasted with a similar yet post-WWII example, done in a double-lined stitching with velvet accents at the cuffs and collar. In the 60s, rising television programs and a growing international film culture brought competition and, as a result, a
return to excess in myriad ways. This is displayed in many of the elaborate silhouettes and sheer scale of Head’s creative output for epic films, namely those produced and directed by Cecil B. DeMille, such as The Ten Commandments and Samson and Delilah. “I think one of the aspects that surprised me most was just the tremendous volume required of Head and that she and her staff were frequently designing for thousands of extras,” says Pignuolo.
It was at the invitation of Hitchcock that Head eventually left Paramount Pictures after 43 years, joining Universal Pictures in 1967, where she worked for the duration of her career. Of her vocation, Head had been quoted: “Then a designer was as important as a star… their magic was part of selling a picture.” Head was good at marketing herself. She wrote for magazines and newspapers, appeared on television as a recurring guest on Art Linkletter’s show House Party, formed a licensing agreement with Vogue Patterns, and even published two books: The Dress Doctor and How To Dress for Success. One unusual piece in the exhibition is a bright yellow and red evening set from her personal collection. It is a small peek at how different her private side at home was from the woman known for an attire of subdued classics at work. In 1940, after divorcing Charles Head, she married Wiard Ihnen, an art director she had met at Paramount. The union that Head maintained with Hollywood, however, was her most public and prolific. She was known to refer to her eight Oscars as “my children.”
Head would have fit right in with today’s world of celebrity stylists and social media. She designed a wedding dress for actress Natalie Wood when she became a bride, and Bette Davis apparently signed on to All About Eve with the firm understanding that Head would be her chosen costume designer. Her association and friendships with Hollywood glitterati was sustained in her ability to stay current, never swayed by trends, and above all else her incredible loyalty to stories and subjects. That is perhaps the appreciation visitors will take away most in learning about Head’s fame. As actress and comedian Lucille Ball was said to have remarked, “Edith doesn’t tell.” Rather, one might think, she designed to show the best of who she and others wanted to be, and even if it was only fantasy, it was her reality.
“Edith Head: Hollywood’s Costume Designer” will be on view at the OKCMOA, its sole venue, through September 29.
The Oklahoma City Museum of Art is at 415 Couch Drive. For information, www. okcmoa.com or 405-236-3100.
Installation view of the section of the exhibition dedicated to 1940s designs influenced by WWII rationing and the Hays Code. OKCMOA photo.
Costume design sketch of Kim Novak as Madeleine Elster in the film Vertigo
Costume design sketch of Audrey Hepburn as Holly Golightly in the film, Breakfast at Tiffany’s
Costume design sketch of Audrey Hepburn as Sabrina Fairchild in the film Sabrina
Edith Head, Alamy stock photo.
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. Minerva Hayes was age 49 when this oil portrait was painted. It was marked by artist Joel Parks on the backside, “J. Parks Portrait and Miniature painter. 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.” Framed in a gold leaf wooden frame, the portrait measured approximately 37 by 31 inches.
Auction Action in Mount Kisco, N.Y.
Benefit Shop Rolls Out Red Carpet For Folk Art, Jewelry & More
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. With no reserves, it had a sell-through rate of around 98 percent, according to the firm’s owner Pam Stone. As for Minerva Hayes’ husband, Isaac, his portrait by Parks brought $3,225. It was marked on the backside, “Isaac Hayes, age 61, 1838.” Parks further described the likeness on the backside with “J. Parks Portrait and Miniature painter. Depicts Mr Hayes seated with a tall collar, with envelope in hand, which identifies him by name and date on
envelope, and place, Unadilla, N.Y., with a pair of glasses in his other hand.” Both portraits had been in the possession of a Greenwich, Conn., family for 200 years. Luckily, they were not split up, going to the same bidder.
Folk art was further on display with a life-size 1861 Jago Black boxing folk art sign from a Bedford, N.Y., estate
that also took $3,225. Standing 5½ feet tall and 16 inches wide, the hand-painted wooden panel of Jago Black modeled as a boxer poised to fight had a painted inscription along its right edge: “Jago Black 1861.” Black is shown with yellow trousers, green socks and black shoes. “We were very pleased. He [the boxer] was a very striking piece,” said Stone.
Folky in nature, if not in fact, was a hand-painted antique White Hart Ales & Spirits wooden sign that settled up its tab at $645 against an $100/200 estimate. An image of a white buck and handpainted floral motifs its the bottom embellished the 46-by39-inch sign, with the deer measuring 27 by 29 inches.
Fine art — classical, pop and contemporary — was also notable in the sale. An Andy
Warhol (1928-1987) lithograph of a close up of a cow’s head in orange against a purple background was bid to $903. The piece was marked on the margins, “Andy Warhol, Whitney Museum, May 1-June 13, 1971.” Another margin inscription read “Copyright Factory Lithograph, 1971.” With no frame, the litho measured approximately 41 by 30 inches.
Fetching $839 was Giovanni Battista Salvi’s (Italian, 16091685) “Madonna,” an oil on copper, depicting the Virgin Mary in a pensive pose, draped in blue and looking down with hooded eyes. It was housed in a wooden gold leaf frame with carved foliate motifs on the outer edges, measuring approximately 19 by 17 inches.
A painting, signed on the lower right corner, by Paul Grimm (South African, 18921974) depicted a vast landscape with a body of water and trees with blue mountains in the distance. In a gold leaf wooden frame, approximately 37 by 45 inches, it went out at $774.
Notable sculptures included a white bronze fine art sculpture by Ernest Trova (American, 1927-2009), a contemporary abstract artist. The limited-edition sculpture, capturing a $968 price, incorporated “The Falling Man figural” — Trova’s trademark image. The falling man measured 3 inches tall, standing armless with a bulging belly on the base of the sculpture. It was signed on the underside, numbered 73 of 99 and dated “1987.”
An Art Nouveau bronze of “Galatea,” the Greek sea nymph, was draped in seaweed and lured bidders to $839. Unsigned but after Eduardo Rossi (Italian, 1867-1926), the 29-inch sculpture had holes on
A signed 14K yellow gold sapphire ring changed hands for $769.
An Andy Warhol lithograph of a cow’s head in orange against a purple background was bid to $903.
Abstract sculptor Ernest Trova’s trademark image of “The Falling Man” appeared in this white bronze fine art sculpture, a limited-edition piece that sold for $968.
Paul Grimm’s depiction of a landscape with a body of water and trees, with blue mountains in the distance was housed in a gold leaf wooden frame and commanded $774.
Giovanni Battista Salvi’s “Madonna,” an oil on copper depicting the Virgin Mary in a pensive pose, fetched $839.
One of a pair of folk art portraits by American Nineteenth Century artist Joel Parks. “Minerva,” 1838, was bid to $3,548, topping the sale. Her husband Isaac Hayes, also the subject of a portrait by Parks, brought $3,225. Both portraits were in the owner’s family for 200 years.
Review by W.A. Demers, Senior Editor
Photos Courtesy The Benefit Shop Foundation
A life-size Jago Black boxing folk art sign from 1861 elicited $3,225. It was 5½ feet tall and 16 inches wide, with a hand-painted wooden panel of Black modeled as a boxer poised to fight.
its base — evidence that it was once secured to a fountain or other structure.
In the jewelry category, a vintage 14K gold and diamond heart necklace sold for $968, while a signed 14K yellow gold sapphire ring took $769.
Furniture enthusiasts chased a vintage Stickley wooden china cabinet to $1,677. The piece was light brown and featured four windowed doors and four columns of glass shelves within each area. It measured approximately 83 inches tall by 75 inches long by 20 inches deep. An antique wooden Chippendale chest with a leather-lined pull-out shelf settled at $645. The dark Chinese Chippendale-style chest had eight drawers, each with gilt metal handles, keyholes and hand dovetailing. Most of the keyholes had gilt metal escutcheons. With a footed base, the chest measured approximately 70 inches tall by 32 inches wide by 20 inches deep.
Decorative arts were led by a heavy Moser crystal bowl earning $903, and a set of 14 antique Mintons porcelain dishes made in England for Tatman Chicago, which left the gallery at $645.
A set of 14 antique Mintons porcelain dishes made in England for Tatman Chicago served up a $645 final price.
A vintage 14K gold and diamond heart necklace sold for $968.
The signed Moser thickwalled and heavy faceted crystal centerpiece bowl was embossed with a 24K gold band. Made of hand-cut crystal, the bowl measured 10½ inches wide by 5½ inches tall. The dishes, each 10 inches in diameter, were adorned with raised embossed gilt on their edges with scroll patterns on the outer edges and hand-applied gold accents against a cream-
An antique wood Chippendale chest with a leather-lined pull-out shelf settled at $645.
This 18K gold baroque pearl and diamond ring brought $1,677.
An Art
Decorative
This hand-painted antique White Hart Ales & Spirits wooden sign earned $645 against a $100/200 estimate. It portrayed a white stag and had hand-painted floral motifs that embellished the 46-by-39-inch sign.
toned porcelain. They were in “good condition,” noted the catalog, “practically never used.”
“For us, it’s always what sells
best, and this auction was right on track,” Stone concluded. Prices given include the buyer’s premium as stated by the
auction house. The next Red Carpet Auction is set for August 14. For information, 914-8640707 or www.thebenefitshop.org.
A vintage Stickley wooden china cabinet, light brown and featuring four windowed doors and four columns of glass shelves within each area, was bid to $1,677.
arts were led by this Moser heavy crystal bowl with a 24K gold border, realizing $903.
Nouveau bronze sculpture after Eduardo Rossi titled “Galatea,” after the Greek sea nymph, was draped in seaweed and lured bidders to $839.
Transitions
TBeijing To Fully Open Ming Tombs To Tourists By The Year 2030
he L.C. Bates Museum, founded in 1889 by progressive children’s activist George Hinckley, has announced the retirement of director Deborah Staber, who served as director since 1992 and kickstarted a collection of natural wonders (fossils, chunks of sulfur, stalactites, preserved mammals, a marlin caught by Ernest Hemingway…) which eventually outgrew its home, and in 1920 was moved to its current home thanks to the funding of Lewis Carlton Bates, who now lends his name to the museum as well. Lyndell Bade, a museum educator who has worked alongside Staber since 2022, stepped into the role of director on July 1. Throughout her tenure, Staber has managed every aspect of the museum’s operation, from administration and publicity to exhibitions and educational programming.
The Institute of Contemporary Art/Boston (ICA) announced the promotions of two curators, Jeffrey De Blois and Tessa Bachi Haas. De Blois, who first joined the ICA in 2015, assumes the position of Mannion family curator, taking on an expanded leadership role in the ICA’s curatorial and exhibition programs. He will also continue to manage the ICA’s publications program. Haas, who joined the curatorial department in 2022 as a fellow, has been promoted to assistant curator at the museum, deepening her involvement in the ICA’s exhibition program and educational initiatives.
FBEIJING, CHINA – The Ming Culture Forum 2024 was recently conducted in the district of Changping in Beijing. With the theme of “The Splendid Age of the Colorful Ming,” it was composed of forums, one international academic seminar, cultural relics exhibitions and cultural activities, with more than 30 of them in total which will be conducted throughout the year.
More than 100 national treasures were unveiled at the opening ceremony.
At the main forum, Chinese and foreign guests talked about the contemporary value of Ming culture.
On the whole, the event has reached a new height in terms of scale, embodies a broader cultural perspective, gathers a wealth of cultural relics of the Ming dynasty and features a series of wonderful activities. It aims to give full play to Changping’s abundant Ming cultural resources, do a good job in the protection and inheritance of the Ming Tombs, a world cultural heritage site and help enhance Beijing’s reputation as a famous historical and cultural city.
The event brought together more than 600 Chinese and foreign experts and scholars to share their wisdom on the Ming culture. In the international dialogue session of the main forum conducted on July 13, Lyu Zhou, professor and doctoral supervisor of Tsinghua University and director of Tsinghua’s National Heritage Center, and Marie-Noël Tournoux (French), project director of the World Heritage Institute of Training and Research for the Asia and Pacific Region under the auspices of UNESCO, exchanged ideas on the theme of “Inheritance and Mutual Learning: The Contemporary Value of Ming Culture,” and shared their
understanding of the Ming culture. The dialogue laid a solid foundation for cooperation between the two sides, promoted two-way friendly exchanges and helped explore a new path for the development of Ming culture.
During the main forum, at the “Magnificent Ming Dynasty Treasures” exhibition dedicated to the cultural relics of Ming Dynasty, more than 100 pieces of national treasures were on display, including Emperor Wanli’s golden mesh crown, the empress’ phoenix coronet, authentic calligraphy works by Dong Qichang, a gold box from the Royal Archives Center and a copy of the Jiajing era’s Yongle Encyclopedia. All of them are national treasures rarely seen by the general public
The main forum also released a number of major plans, including the comprehensive opening plan of the Ming Tombs, the call for designs of the culture-museum-tourism complex featuring the Ming culture and the study tour routes at the Ming Tombs Scenic Area, with the aim to promote tourism development through cultural research and
development.
It is learned that the Ming Tombs Scenic Area will gradually open more tombs to the visitors, and all of them by 2030. This will be done in three phases from 2024 to 2030. The first phase is from 2024 to 2025, to open Siling (Tomb of Emperor Sizong) and Yongling (Emperor Shizong); the second phase, from 2026 to 2028, to open Maoling (Emperor Xianzong), Tailing (Emperor Xiaozong), Deling (Emperor Xizong) and the ruins of the New Imperial Residence; the third phase is from 2029 to 2030, to open Xianling (Emperor Renzong), Yuling (Emperor Yinzong) and Qingling (Emperor Guangzong). After all the tombs are open to tourists, physical cultural relics will be displayed as they are with signs and explanations, including not only ancient buildings, tombs, and the Sacred Way, but also cultural heritage elements such as the former architectural sites and the Sacred Way, to comprehensively represent the whole construction process of the Ming Tombs and their architectural characteristics and construction skills.
reeman’s | Hindman announced that Roger Ward has joined the merged firm as head of department, design, expanding the team of experts in the Chicago office. Ward will lead the development of Freeman’s | Hindman’s design department nationally across 18 locations. Ward will work closely with managing director, furniture and decorative arts Ben Fisher and the national team to build the firm’s modern design and art + design auctions. Ward brings more than 20 years of deep and wide-ranging design experience to this role. Before joining Freeman’s | Hindman, he worked in the design department of a prominent New York-based auction house focused on Twentieth Century furniture and design.
Professional engineer and retired US Army
Col. Thomas Austin recently began his appointment as architect of the Capitol (AOC), taking over from interim AOC Chere Rexroat, who took power in February 2023 after the 12th AOC, amid controversy over his personal use of a taxpayerfunded vehicle and questions about his adherence to agency policies. Austin is now responsible for preserving and maintaining 18.4 million square feet of buildings and 570 acres of campus grounds throughout Washington, DC.
The Hispanic Society Museum & Library Announces Goya Research Center
NEW YORK CITY – The Hispanic Society Museum & Library (HSM&L) – the first and primary US institution dedicated to the preservation, study, understanding, exhibition and enjoyment of art and cultures of Portuguese- and Spanish-speaking countries and communities announced the debut of the Goya Research Center Project, focused on preserving, promoting and fostering research into the work of iconic Spanish artist Francisco José de Goya y Lucientes (1746-1828). Seed funding has been completed for the Research Center, which will be physically located alongside the Library’s Reading Room within the museum. The initiative is spearheaded by Guillaume Kientz, director and chief executive officer and Goya expert with the assistance of Patrick Lenaghan, head curator of prints and photographs.
The HSM&L Goya Research Center will be the first of its kind in the United States and builds on successful initiatives in Spain and France, notably at the Museo del Prado in Madrid, the Fundación Goya en Aragón in Zaragoza and the Musée du Louvre / C2RMF in Paris. Kientz brings a wealth of experience, having spent nine years as curator of Spanish, Portuguese and Latin American art at the Musée du Louvre in Paris. His activities in France,
including the International Goya Study Days in 2012 and an international symposium in 2013, have contributed significantly to the study and promotion of Goya's work.
The main objectives of the HSM&L’s Goya Research center include leading in-depth research on
art history, provenance and technical analysis, with a first-phase focus on NY-based collections; increasing appreciation for Goya's works in the United States through programs and exhibitions; producing physical and online publications to share findings and insights; and encouraging further scholarly research on the artist through a fellowship program and an annual symposium.
The Goya Research Center will also play a pivotal role in creating a digital repository of Goya pieces held by the HSM&L, as well as, incrementally, by other partner museums in New York and beyond, through a virtual museum. The HSM&L boasts an extensive collection of paintings (4), drawings (13) and prints (approximately 800) by Goya, and several works by the artist’s entourage and followers, making it a resource of reference in the field of Goya studies. By establishing the Goya Research Center and fostering collaborations with other institutions, the HSM&L aims to inspire a new generation of Goya scholars in the United States and encourage further Goya initiatives as his bicentennial approaches (1828-2028).
The Hispanic Society Museum & Library is at 3741 Broadway. For information, 212-926-2234 or www. hispanicsociety.org.
Allegorical portrait of Goya by Eugenio Lucas Velazquez, the recent purchase by the Hispanic Society Museum & Library in New York
The empress’ phoenix coronet featuring the design of six dragons and three phoenixes unearthed from Dingling (Tomb of Emperor Wanli)
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Farmhouse Cabinet Stands Tall At Public Sale
HUDSON, N.Y. — Leading Public Sale Auction House’s July 20 auction, Divers, was a wooden farmhouse cabinet or pantry cupboard. The 7-foottall piece contained four pull drawers with knobbed fronts and what the auction catalog described as, “a mint pistachio green-painted cubby space with cut hole for use with modern electronics.” There were also remnants of the original floral wallpaper on the backside of the cabinet. Its doors swung shut at $2,125, with premium. It was one of three lots that achieved the same hammer price. This sale will be covered more extensively in an upcoming issue.
Ohio Portraits Head Up Meander’s Summer Auction
WHIPPLE, OHIO — Mean-
der Auctions’ 291-lot Summer Antiques and Art auction on July 20 featured items from the collections of Ellen and Bert Denker, Dr Judith Kemp, Dr James and Mrs Emily Kemp and items sold to benefit a Midwestern institution and a Midwestern county museum. Beating its estimate of $800-$1,200 to earn $8,850 from a trade buyer, bidding on the phone, was a pair of pencil and chalk portraits by Francis Sallas (Ohio, active circa 1830). Cataloged as “by tradition, the couple has been identified as Samuel and Margaret Smith,” the 9-by-7-inch renderings were signed and
dated 1830 and had been published in the August 2007 issue of The Magazine
. More highlights from this auction will be featured in an upcoming issue.
30, July nadeausauction.com Nadeau’s Auction..........48 31, July bruneauandco.com Bruneau & Co. 6C 1, Aug bodnarsauction.com Bodnar’s Auction 6C 2, Aug nhauctionsandappraisers.com New Hampshire Auctions 5C 2, Aug wiederseim.com Wiederseim Auction 7C 3, Aug josephkabe.com Joseph Kabe 46 3, Aug scottsdaleartauction.com Scottsdale Art Auction 46 4, Aug helmuthstone.com Helmuth Stone Gallery 2C 5, Aug kensingtonestateauctions.com
Auction 6C 5, Aug northfieldauctions.com
Auctions 47 7, Aug kodner.com Kodner
9, Aug Jewett City, CT
Aug bakkerproject.com
Aug nathanre.com
Every Thurs goldengavel.com
Golden Gavel 5C
Every Tues Coventry, CT Weston’s 6C
26, July Jewett City, CT Leone’s Auction 2
26-27, July....guyetteanddeeter.com
27, July rolandauctions.com
27, July rolandauctions.com
27, July rolandauctions.com
28, July tremontauctions.com
28, July tremontauctions.com
Guyette & Deeter 4-5
Roland Auctions 2
Roland Auctions 3
Roland Auctions 48
Tremont Auctions 48
Tremont Auctions 7C
29, July Willimantic, CT E.S. Eldridge 48
28, July Milford, NH 3
3, Aug Orleans, MA 11
4, Aug Milford, NH 3
Aug auctionninja.com SJD Auctions 5C 15-17, Aug
24, Aug thoscornellauctions.com Thos Cornell Galleries 2 8, Sept tremontauctions.com Tremont Auctions 48 25, Sept litchfieldcountyauctions.com Litchfield County Auctions 2 13, Nov litchfieldcountyauctions.com Litchfield County Auctions 2 17, Nov butterscotchauction.com Butterscotch Auction 2
8-11, Aug Atlanta, GA 9 24-25, Aug Harmony Township, NJ 17
25, Aug Milford, NH 3
31, Aug-1, Sept.......Stormville, NY 2 3, Sept Brimfield, MA 2 12-13, Oct Stormville, NY 2 2, Nov Stormville, NY 2 30, Nov-1, Dec........Columbus, OH 9 1, Jan Glastonbury, CT 13
Weekly Events
Thurs-Sun West Hartford, CT....................7 Sun..........................Jewett City, CT 2
Sun ........................New Milford, CT 2 1st Sun/Month Alameda, CA 17
ANTIQUES
Sharps Model 1874 Rifle Blazes To Lead Bruneau & Co Militaria Sale
CRANSTON, R.I. — A historic Sharps Model 1874 rifle hit a bull’s-eye price of $7,963, including buyer's premium and more than four times over high estimate, in Bruneau & Company’s summer historic arms and militaria auction on July 17. The .44 caliber rifle featured a walnut stock with three mother of pearl inlays on the right side of the butt and a walnut hand guard with a pewter nose cap. The 30-inch-
long barrel was marked "Sharps Rifle Manufg. Co. Hartford, Conn" in one line, and the breech was marked "Calibre .44." The auction consisted of antique arms and swords, sporting arms and a large selection of World War I and World War II navy and marine corps uniforms, equipment and ephemera. More highlights from this onlineonly sale will be discussed in a follow-on review.
Yellow Cupboard Shakes Things Up In New England Auctions’ Summer Americana Sale
BRANFORD, CONN. — Nearly 500 lots crossed the block in New England Auctions’ July 18 Summer Americana Extravaganza. Prominent collecting categories included decorative arts, textiles, Native American artifacts, artwork and more than 100 New England Shaker items. Described as “a perfect example” of Shaker craftsmanship and appropriately being bid beyond its $150,000 high estimate to achieve $262,500 with buyer’s premium — the sale’s highest price — was an early-tomid-Nineteenth Century cupboard over drawers in original yellow chrome paint. Likely from the Mount Lebanon Shaker community, this seven-drawer chest was 84 inches tall and was purchased by the consignor from Mary Page in 1981. A more in-depth review of the sale will be in a forthcoming issue.
Cassina Couches
Top Michaan’s July Gallery Auction
ALAMEDA, CALIF. — Competing against more than 630 other lots of furniture, decorative arts, fine art and jewelry, a living room seating set crossed the block as the highest-earning lot in Michaan’s July 19 Gallery Auction. Comprising a settee and lounge chair by Afra & Tobia Scarpa for Cassina, the set, both with reddish brown tufted leather and chrome finish supports, had Cassina and Atelier labels affixed to the underside. The leather had some scratches and expected signs of wear, and the seat of the lounge chair had a tear that
measured less than 2 inches in length. Still, the set earned $9,840, including buyer’s premium ($4/6,000). Further review of the sale will be in an upcoming issue.
(Lee, Mass.) Knollwood Antiques: A New ‘Best-Of’ The Berkshires
(Sturbridge, Mass.) Americana Thrives In D.L. Straight’s Summer Auction
(Lone Jack, Mo.)
(Williston, Vt.)
(Mount Kisco, N.Y.)
(Bedford Hills, N.Y.)
Bidders Long For Long Gun At Opfer Auction
TIMONIUM, MD. — This week’s auction highlights are rich in firearms. At Opfer’s July 18 Eclectic Collector at the Forge auction, a Winchester 1894 rifle was the sale’s top lot, taking in $2,640, including buyer’s premium. The popular lever-action model was considered perfect for hunting in thick brush for deer, bear, wild hogs and other fast-moving game. A take down WCF 30-30, this rifle
came with a Lyman adjustable sight. It was a total of 44 inches in length with a 22-inch barrel.
Chinese Étagère Cabinet Carves Win For Burchard
Watch for additional highlights from this sale in an upcoming issue.
Eighteenth Century American Fire Screen Scorches Estimate At Schmidt's Antiques
YPSILANTI, MICH. — It may seem counterintuitive following a sizzling couple of weeks of hotterthan-midsummer weather to bid an American Chippendale fire screen to the top of an auction. Clearly, someone was thinking ahead at Schmidt's Antiques’ July 20 sale when the aforementioned fire screen blazed past its $800-$1,200 estimate to sell for $13,750, including buyer's premium. The late Eighteenth Century fire screen, probably of New York origin, featured mahogany construction with a floral needlepoint panel and carved flame finial. The screen had adjustable height and was on a tripod base with cabriole legs. It stood 53½ inches high overall. The auction offered a diverse selection of jewelry, furniture and decorative arts. More highlights to come in a follow-on review.
Nineteenth Century Quart Flask Contains Winning Price For Davies
BROOKSTON, IND. — The star of the show at Davies Auctions’ July 16 Online Only Estate and Americana sale was an Early Nineteenth Century olive green quart flask, which went out for almost 35 times its estimated $200/400. The flask sported ribbed shoulders had an eagle and stars on one side and a cluster of grapes on the opposing side, with a rough pontil on its base. The 8½-inchtall piece did not contain any chips or cracks but had general wear consistent with its age and usage. It achieved a total of $13,800 with premium and is headed to its new home in Vermont. More highlights from this sale will be featured in an upcoming issue.
Butterscotch Bidders Take Arnaldo Pomodoro Sculpture To The Top
BEDFORD HILLS, N.Y. —
ST PETERSBURG, FLA. — On July 21, Burchard Galleries conducted its Estate Antiques, Fine Art and Jewelry Auction, which offered items from The Mennello Foundation, which, according to the catalog, is “representing a lifelong personal collection of museum quality treasure from Marilyn and Michael Mennello, founders of The Mennello Museum of American Art in Orlando, Fla.” Leading the sale was a Chinese carved, ebonized étagère display cabinet with an inset marble writing surface. Below its “ornately pierced” figural crest, the cabinet had six open shelves framed in a berry motif trim, which surrounded a central beveled glass door. It also housed two dovetail drawers, as well as two cabinet drawers in its lower half. It measured approximately 7 feet and 9½ inches tall. Bidders were not deterred by a crack in its marble, raising the cabinet to $10,455, with premium. More top selling lots from this sale will be highlighted in an upcoming issue.
Osher American Art Promised Gift
Previewed In San Francisco
SAN FRANCISCO — The Nineteenth and Twentieth Centuries were an exceptionally dynamic time in American culture.
Anchored by impressionist and realist artworks, the exhibition at the de Young Museum, “American Beauty: The Osher Collection of American Art,” spans the years 1848 to 1960 and presents a variety of artistic responses to this complex period. This promised gift from Bernard and Barbro Osher enhances the museum’s American art collection with several significant
“firsts”: the first large-scale oil painting by Winslow Homer (“The Angler,” circa 1874), the first genre picture by William Merritt Chase (“Spanish Bric-à-Brac Shop,” 1883), the first major George Bellows landscape (“In Virginia,” 1908), the first Georgia O’Keeffe images of the Southwest (“Front of Ranchos Church,” 1930 and “The Patio,” 1940), as well as 13 artists entering our collection for the first time.
The historic sweep of these paintings, drawings, and sculptures is reflected by several recurring themes,
including the adventurous spirit of artists abroad, enduring allure of Impressionism, intimacy and immediacy of portraiture, and beauty of America’s landscapes and seascapes. Together, the works expand and enrich the story of American art in our galleries.
“American Beauty: The Osher Collection of American Art” will be on view at the de Young Museum until October 20.
The de Young Museum is at 50 Hagiwara Tea Garden Drive. For information, 415750-3600 or www.famsf.org.
The 587-lot Summer Estates sale conducted by Butterscotch Auction on July 21 came to a point with the inestimate high finish of Arnaldo Pomodoro’s (Italian, b 1926) 1985 sculpture, “Torre E Spirale, Studio I.” The surface of this spiralized golden bronze tower, which measured 17 inches high, was covered in raised details and came to a smooth finish at the tip. Signed at the base and numbered three of a limited series of nine, the piece descended through a Harrison, N.Y., family and was sold for $29,280 with buyer’s premium ($25/35,000). More details about the auction will run in a future issue.
Exhibition At PAFA Explores Philadelphia And The Appalachian Environment
PHILADELPHIA — With paintings, drawings, prints and sculpture from the Pennsylvania Academy of the Fine Arts’ (PAFA) permanent collection, an exhibition running to November 3 traces Philadelphia’s relationship to Appalachian extraction of natural resources from a historical to contemporary perspective. On view in the Walter & Leonore Annenberg Gallery, Samuel M.V. Hamilton Building, the exhibition is curated by Ali Printz, PAFA Terra Foundation curatorial fellow.
The Appalachian region is vast, encompassing 13 states, with nearly 70 percent of the state of Pennsylvania representing the Appalachian territory. Motivated by both a lack
of representation of Appalachian art in museum collections and recent trends in ecocritical scholarship, “Layers of Liberty: Philadelphia and the Appalachian Environment” examines themes that relate directly to Philadelphia and rural Appalachian Pennsylvania, referencing the ecology of early America, the establishment of networks of transportation like the railroad and the commodification of natural resources, and the pastoral relationship to the environment that inspired Philadelphia (and PAFA) artists.
The Pennsylvania Academy of the Fine Arts is at 118-128 North Broad Street. For information, www.pafa.org or 215972-7600.
Historic Homes & Properties
Compiled by madelia HiCkman Ring
Morris County Reviews 21 Historic Sites For Preservation Funding
pHotos CouRtesy moRRis County
HistoRiC pReseRvation tRust
MORRIS COUNTY, N.J. — The Morris County Board of County Commissioners was asked to approve $3.6 million in grants from the county’s Preservation Trust Fund to help restore, preserve and further protect 21 historic sites in 16 towns across Morris County.
More than half the funding recommended by the Morris County Historic Preservation Trust Fund Review Board, about 77 percent, is directed toward construction grants for 12 of the projects. Roughly 23 percent is recommended for nonconstruction activity at nine other historic sites. Those grants would support design and specification work for future construction on four sites, preservation planning for two sites, a historic landscape plan for one site, assist with the acquisition of one site and fund the research and development necessary to submit another site for nomination to the National Register of Historic Places.
“Taxpayers have supported our historic preservation program for more than 20 years. While the funding preserves our county’s unique heritage by restoring and protecting the fabric of our history, it also supports economic development, tourism and educational opportunities that enhance the overall quality of life of our communities,” said commissioner deputy director Stephen Shaw, liaison to the Historic Preservation Trust Fund Review Board.
“As Morris County prepares to host the 250th Anniversary of our nation’s independence in 2026, many of the 123 funded historic sites will be on display for visitors to appreciate,” he added.
Jefferson Township has been recommended to receive a grant for the first time for the Chamberlain House. Built in the 1870s in the Second Empire architectural style, the building was used as a library from the 1960s until 1982, when the township acquired it. It currently operates as a museum and headquarters for the Jefferson Historical Society. A $16,160 grant has been recommended to support completing a Preservation Plan.
To date, the Morris County Board of County Commissioners has awarded 533 grants of nearly $49 million to assist in preserving, protecting and restoring 123 historical properties since 2003, when grants were first issued for protecting historic sites through Morris County’s Preservation Trust Fund. The sites are in 34 towns.
“For the application review process, the county historic preservation consultant reviewed 22 applications for conformance to the Secretary of Interior Standards for Treatment of Historic Properties. The [Historic Preservation] board members conducted site visits after final presentations by the applicants, and the review
Museum of Early Trades & Crafts, Madison Borough.
board deliberated on funding recommendations,” said Larry Fast, chair of the Review Board. “Nineteen of the 21 projects received full-funding this year.”
Among the projects recommended for approval by the Commissioners include:
Ford-Faesch House (Rockaway Township)
The Eighteenth Century Georgian-style Ford-Faesch House was leased by Faesch, a Swiss ironmaster who produced munitions critical to Washington’s Revolutionary War effort. The $400,000 grant will provide partial interior restoration and roof replacement, including fireplace surrounds, wood flooring, restoration of the main staircase and new asphalt shingle roofs at the main and east wings.
Martin Berry House (Pequannock Township)
The circa 1720 Dutch Colonial house includes a gambrel roof, shallow fireplaces, interior chimneys, thick stone walls and massive roof framing. It was documented through the Historic American Buildings Survey (HABS) in 1939 and listed on the National and New Jersey Registers in 1973. The $31,922 grant will provide for the completion of a Historic Landscape Report.
Ayres Farm Garage (Denville Township)
The circa 1920 Ayers Farm Garage is located on the circa 1803 Ayres-Knuth Farm Complex, which is listed on the National Register and represents one of the most complete examples of a Nineteenth Century Morris County agricultural complex. The $254,800 grant will provide for building rehabilitation, including repair of exterior siding, new asphalt shingle roof
Ford-Faesch House, Rockaway
and concrete slab and ramp.
Cook House (East Hanover Township)
The Ellis Cook House was built in 1751-1752 as a halfway house for travelers on their journeys between rural farming areas and Newark. The house retains its original architectural plans and other historic features. The $334,500 grant will assist with
Phase II — Exterior Restoration including foundation framing and masonry repair, structural stabilization, siding and trim repairs and window restoration.
Museum of Early Trades & Crafts (Madison Boro)
The 1900 Richardsonian Romanesque building, originally constructed as the Madison
Public Library, is individually listed on the New Jersey Register and contributes to a historic district on the National Register. A $15,280 grant will provide for restoration of the original Seth Thomas clock, including restoration of the clock face and hands and mechanical repairs to the existing clock driveshafts.
Pompton Plains Railroad Station (Pequannock Township)
The 1872 stick-style railroad station was originally used as the Montclair-Greenwood Lake Railroad Station and is one of the few remaining of this era. The building is used as the Township Museum and was listed on the National and New Jersey Registers in 2008. The $345,723 grant will assist with exterior building rehabilitation including roof, wood siding and repair of wood platform decking.
The 1911 log house was built by Gustav Stickley, a leader in the American Arts and Crafts Movement. It is a National Historic Landmark. The $26,772 grant will provide for interior restoration of the upstairs hall in the log house, including restoration of the historic wall and ceiling finishes which include burlap, canvas and paperboard, and new light fixtures and electrical wall outlets. For a full list of projects, visit www.morriscountynj.gov.
1804 Waterfront Stone House
Saugerties - WATERFRONT Historic 1804 John Snyder home. Stunning Plattekill Creek frontage, unbelievable grounds with mature plantings. The home has amazing period details - huge hearth fireplace, wideboard floors, gracious center hall entryway and hand hewn beams galore. Detached 2 story Water Hall - seasonal home with 4bedrooms, living room, dining area, baths and full kitchen - perfect for guest house/artist retreat/yoga studio. This is an incomparable property! Minutes from Woodstock/Saugerties/Kingston and ski slopes, 2 hours GWB. Glorious! 4 + lush waterfront acres. Offered at $809,000 Greene County Realty | Thomas Fedorson | 518-965-3974
Greenwich Historical Society To Host Ceremony To Commemorate The 200th Anniversary Of Lafayette’s ‘Victory Lap’
GREENWICH, CONN. — To honor the enormous contributions of the Marquis de Lafayette in the American Revolutionary War, Greenwich Historical Society, in collaboration with the Alliance Française, The Horseneck Chapter of the Daughters of the American Revolution (DAR) and support from the Town of Greenwich and several local restaurants, will host a celebratory event on the anniversary of Lafayette’s visit to Greenwich in 1824.
Part of a Farewell Tour of America that Lafayette conducted in 24 states, the visit was on the invitation of President James Monroe to honor Lafayette’s heroism and success as a military leader in the revolution and to see the country he helped create as it was preparing for its 50th anniversary. His swing through Greenwich was
the first stop in his Connecticut “victory lap.”
The event, which is free and open to the public, takes place at Greenwich Historical Society, August 19 from 10 am to noon, and will feature a Marquis de Lafayette re-enactor and keynote remarks by Chuck Schwam, executive director of the American Friends of Lafayette and descendant Virginie de Lafayette.
Visitors will have the opportunity to enjoy a special informational exhibit, view relevant collections and documents in the Library & Archives, enjoy French pastries and music, watch a film and have photos taken with the Marquis de Lafayette.
“We are proud to be in partnership with the Greenwich Historical Society and the Alliance Française of Greenwich as we celebrate this 200th anniversary of Marquis de Lafayette's visit to Greenwich in 1824,” said Horseneck DAR Chapter member Wynn McDaniel. “I believe it is important to
CCS
Michael Halbert, a Marquis de Lafayette re-enactor. Photo provided courtesy of Greenwich Historical Society.
never forget those that fought for our independence so many years ago and an important aspect of our success in the war was our special relationship with France. The Battle of York-
town in 1781 was a turning point in our Revolutionary War, and General Lafayette was a key figure in that battle. In 1824, the Marquis de Lafayette was the only living general from the Revolutionary War and was greeted by thousands in his journey across the US. This celebration in Greenwich represents a wonderful opportunity for our town to recognize this amazing patriot.”
“The Marquis de Lafayette, in serving the cause of America, reaffirmed his devotion to the principles of liberté, egalité, fraternité... paving the way for the Alliance Française, founded in 1883 as an apparatus of modern cultural diplomacy,” said Renée Amory Ketcham, president of the Alliance Française of Greenwich.
“It is a great privilege to host this ceremony in collaboration with our town partners in honor of Lafayette’s ‘victory tour’ through Greenwich,” said Historical Society executive director and chief executive officer Debra Mecky. “While his contri-
butions to the war effort were exemplary and well-known, his support of human rights and social justice causes that spanned antislavery and Native American and women’s rights were impressive, and important to acknowledge on this special anniversary.”
There will be several events leading up to the celebration, including a commemorative display at Town Hall, created with the help of local scouts and students, with an opening ceremony on June 4 that will remain on view through August; an announcement at the July 4th town ceremony; Bastille Day on July 14; a hand-off event at the New York/Greenwich border in Port Chester, N.Y., on August 18 at 7 pm, a French flag-raising ceremony at Town Hall and Proclamation by First Selectman Fred Camillo on August 19 at 9:30 am.
The Greenwich Historical Society is at 47 Strickland Road. For information and to register, www.greenwichhistory.org.
Bard Revisits Evolution Of Carrie Mae Weems’ Socially Engaged Practice Across Four Decades
Thomas Barrows P.O. Box 141 Portland, Conn. Tel 860-342-2540
ANNANDALE-ON-HUDSON, N.Y. — The Center for Curatorial Studies at Bard College’s (CCS Bard) Hessel Museum of Art presents “Remember to Dream,” which revisits the range and breadth of Carrie Mae Weems’ prolific career through seldom displayed and lesser-known works that demonstrate the evolution of her pioneering, politically engaged practice. Moving beyond iconic projects, “Remember to Dream” seeks to rebalance understanding of Weems’ artistic development over the past 30 years while locating her work in the context of her own lived experiences and commitment to activism. Ranging from large-scale installations to serial bodies of photography, the works in the exhibition provide a throughline from the Civil Rights Movement to Black Lives Matter, tracing significant moments of racial reckoning through Weems’ own lens. “Carrie Mae Weems: Remember to Dream” is on view through December 1.
“Throughout her career, Carrie Mae Weems has created work that serves as both a witness to and a catalyst for change,” says Tom Eccles, executive director of CCS Bard.
“CCS Bard has long provided a platform for artists whose practice brings defining issues of our time into greater focus. It is in this tradition that we present ‘Remember to Dream,’ which showcases the powerful, emotional resonance of Carrie’s artmaking across photography, film and installation from the late 1970s through today.”
Throughout the exhibition, Weems’ practice and personal history, which intersects with the political history of the United States, sheds light on what Black American poet and scholar Amiri Baraka has called “the
AM
changing same,” referencing the continuity of racism and sexism — the ways in which certain patterns of violence and oppression are perpetuated from one generation to the next, even as the specific conditions of everyday life continue to change.
The exhibition is sequenced over nine rooms, each representing a body or bodies of work. Beginning with “Painting the Town” (2021), Weems addresses the protests that erupted in May 2020 in more than 2,000 cities and towns across the United States in response to the murder of George Floyd by Minneapolis Police. In Weems’ hometown of Portland, Ore., the protests continued through September 2020, escalating to points of violent confrontation between police, protestors and counterprotestors. Weems returned to Portland to photograph many of the businesses that boarded their storefront windows to protect against potential looting and vandalism. In an adja-
cent room, Weems displays an array of intimate portraits titled “Family Pictures and Stories” (1978-1984), an earlier series from Portland of black and white photographs recording the joys and agonies of family life.
“Remember to Dream” contextualizes the present within a centuries-long struggle. An especially poignant and compelling representation of the brutal legacy of racism is Leave, Leave Now! (2022), a recent video installation resembling an old theater in which the artist and her sister tell the story of their grandfather Frank, a sharecropper who was a member of the Southern Tenant Farmers’ Union and worked on land in Arkansas. After being beaten and left for dead in Earle, Ark., in 1936, Frank escapes north to Chicago on foot out of the Jim Crow South, losing his land and for a time, his family. In the video, Weems powerfully calls for reparations for all he and his family lost over generations.
The exhibition continues with “Blues and Pinks” (1992-93), in which Weems draws upon images from the “Children’s Crusade” that began on May 2, 1963, when more than 1,000 children left school in Birmingham, Ala., to march downtown and speak to the mayor about segregation in their city. The children were stopped by police and hundreds were arrested. They reconvened the next day to march again, and the head of police directed law enforcement to use force on the children. Weems appropriates the photography of white Southern journalist Charles Moore, tinting the images with blue and pink tones, and juxtaposing scenes that resurrect the terror of the day. In a further work titled “Land of Broken Dreams: A Case Study” (2021), Weems recalls the Black Panthers as a force for self-defense.
“Remember to Dream” continues an ongoing dialogue between Weems and CCS Bard executive director Tom Eccles, following their collaboration on “The Shape of Things” at the Park Avenue Armory in New York City (2021) and “Luma Arles” in Arles, France (2023), with support from CCS Bard alumnus, Marina Caron (Class of 2023).
CCS Bard is at 33 Garden Road. For information, 845-7587598 or www.ccs.bard.edu.
DENVER — On view through October 24, Denver Art Museum (DAM) presents “Fazal Sheikh: Thirst | Exposure | In Place,” an exhibition created from three projects photographer Fazal Sheikh made on the Colorado Plateau from 2017 to early 2023. DAM is at 100 West 14th Avenue Parkway. For information, 720-865-5000 or www.denverartmuseum.org.
“Family Pictures and Stories: Welcome Home,” 1978-84
Copley Tops $1.95 Million In A Strong Market For Decoys & Sporting Art
Auction Action In Hingham, Mass.
HINGHAM, MASS. — Collections assembled by the first and second generations of decoy collectors are coming to market and the strong prices seen across the board augur well for the collecting community. These older collections are being absorbed by new collectors who have plenty to choose from, both in terms of carvers and price points. Much current research about formerly unknown makers, rarity and the lore of the field, has been published, giving new and veteran collectors a wealth of information. The catalogs prepared by the auction companies also provide a wealth of information. Just as you don’t have to pay $400,000 for a Ferrari if you want a car, you don’t have to spend six figures if you want quality examples of carvings by the masters of the field.
The 450 lots in Copley Fine Art Auctions’ July 11-12 Sporting Sale provided the latest demonstration of the strength
of the market for quality carvings and sporting art. There were working decoys, miniatures, decorative carvings and a wide selection of sporting art, including bronzes. One decoy brought six figures, and more than 40 items earned five-figure prices. In total, the sale realized $1,951,775.
Of the 10 highest-priced lots in the sale, six were created by Cape Cod’s Elmer Crowell (1862-1952). Bringing $210,000, the sale’s highest price, was Crowell’s circa 1912 decorative carving of a wood duck drake. It was one of almost 50 works by Crowell in the sale, including one of his very few paintings. The wood duck is one of the most colorful ducks and, according to the catalog, only two other carvings of this species by Crowell are known to exist, both in major private collections. This one remained in the family collection of the original owner until 1995. Crowell often used
A patented Wales & Snow flapping-wing plover, made in Boston circa 1868, was probably the most unusual decoy in the sale and perhaps among the most unusual ever made. The wooden body had a complicated mechanism that allowed the hunter to flap the wings, thus making it appear more lifelike to passing flocks. It sold for $19,200.
trained live birds as decoys, so he had access to a live wood duck to get the details of the feathering and coloring just right, and he took the time needed to capture those details in his finished carving. The use of live ducks and geese as decoys was put on moratorium by the Migratory Bird Treaty Act of 1918 and was eventually declared illegal in later legislation.
Earning $90,000, the secondhighest price of the sale, was a circa 1912 life-sized decorative carving of a golden-plover. As with the wood duck, the painting of the finished carving was extremely well-detailed, including the very tiny feathering around the bird’s eyes. The carving of the body was also detailed; the bill showed incised mandible separation and nostril carving, and the wing tips were lifted above the tail and showed the separation between the primary feathers. The bird came from a collection descend-
Crowell’s golden-plover. It earned the sale’s second-highest price, $90,000.
ed in the family of Evelyn Thayer Chace, one of the first women known to collect decoys. Chace was an ornithologist, a member of one of Boston’s elite families and assembled a comprehensive collection of mounted specimens. She built the Thayer Museum to display her collection. Several of the carvings in this sale were once hers. The auction catalog included an extensive biography of both Chace’s and Crowell’s contributions and backgrounds. The Chace collection also included miniature carvings by Crowell,
offering today’s collectors an inexpensive way to own carvings by the master. A miniature greater yellowlegs, just 4½ inches long, realized $3,300; other Crowell miniatures sold for less than $1,000.
Another of the top 10 highestpriced items in the sale was a scarce Crowell item: an oil painting, “Cape Cod Summer Shorebirds,” showing a marshy shoreline with several birds. It also had previously been in the Chace collection. An old label on the back indicated that it had been painted in 1949 and
Earning the highest price of the sale, $210,000, was a circa 1912 decorative carving of a wood duck drake by Elmer Crowell. Before the practice was outlawed, Crowell kept live ducks to use as decoys, and one of those was a wood duck. Having a live example allowed him to study the details of feathers and coloration. Only two other comparable examples of his wood ducks are known.
The second-highest price of the sale, $90,000, was achieved by Elmer Crowell’s golden plover, which came from the Chace collection. Made circa 1912, the bird is shown in transitional plumage with a variety of coloration.
Review & Onsite Photos by Rick Russack, Contributing Editor
Photos Courtesy Copley
A circa 1915 Canada goose decoy by Thomas Chambers brought $37,200. It was from the collection of George Secor and was being sold to benefit Delta Waterfowl.
Steve O’Brien, Copley’s owner, is shown discussing the details of
Wood pigeons were considered pests by English farmers and could be hunted yearround. A group of pigeon decoys by English makers were offered in this sale. Made by Trulock & Harris, London, England, circa 1885, this white wood pigeon decoy with raised wings sold for $2,875.
This portrait of an English setter by Luke Frazier was painted earlier this year. It brought $9,225.
Mark McNair is one of today’s master carvers. This wood duck drake, which he made earlier this year, sold for $20,400.
Copley Fine Art Auctions
The identity of the maker of this mallard decoy is not known, though it was believed to have originated along the Gulf Coast circa 1920, and has become known as the “Norman Minnow Chaser Mallard.” It was made of hollowed out cypress and sold for $19,200.
“White Flag,” an etching by Carl Rungius (1869-1959), sold for $7,800.
Although it was not one of the more expensive decoys in the sale, this circa 1930 blue heron decoy, at 45 inches tall, stood out. It was cataloged as having come from Harve de Grace, Md. Herons were not hunted for the table, but their feathers were valuable to the millinery trade. It sold for $1,599.
The sporting art offerings included several bronzes of dogs and other animals. A limited-edition bronze, 23/50, by Jon Ruehle (1949-2020) of a Labrador retriever, signed and dated 1999, earned $1,000.
identified some of the birds as an Eskimo curlew, two Hudsonian curlews, Wilson's terns and a preening herring gull along with others. It realized $26,400.
As for carvings, it wasn’t only those by Crowell that bidders were seeking. A Canada goose decoy, 22 inches long, by Canadian carver Thomas Chambers (1860-1948) sold for $37,200. This decoy was in original paint, showing just light gunning wear. The catalog attributed the condition to the fact that these geese were relatively uncommon in the region and stated that fewer than a dozen geese in original paint by this carver are known today. A rigmate pair of long-body canvasback ducks by Chambers
earned $21,600. A mallard decoy, known in the collecting community as the “Norman Minnow Chaser Mallard” brought $19,200. The maker of this figure is not known but its vernacular name is due to the fact that the decoy is used as the logo for long-time decoy collector Hank Norman. It is believed that the decoy originated in the Gulf Coast region. There were several Ontario decoys in the sale from the collection of George Secor. All were being sold to benefit Delta Waterfowl, a North Dakotabased organization dedicated to waterfowl conservation, on whose board Secor was a member for 10 years. The previously mentioned Thomas Chambers decoys were part of this group
“Giraffes,” a painting by Bob Kuhn, earned the highest price of the wide selection of sporting art — $49,200.
plumage.
which also included carvings by John Wells, George Warin, Ken Anger, Samuel Hutchings and others. A circa 1919 crosshatched pair of goldeneyes by Hutchings (1894-1995) earned $5,938, and a circa 1930 Canada goose by Anger (1904-1983) earned $7,800. In all, more than 30 decoys were sold for the organization’s benefit. Decorative contemporary carvings included several by Mark McNair (b 1950). According to Kory Rogers, curator of the Bennington Museum (Bennington, Vt.), which holds one of the largest public collections of decoys, McNair is the only living carver whose work is in their collection. An exceptional standing wood duck drake, made this year, earned $20,400 while a large circa 1998 calling crow sold for $7,800.
A blue-winged teal, in a stretching pose by Gilbert Maggioni (1921-2011) sold for $8,400, and a wood duck by the same carver earned $3,900. Wood pigeons, considered pests and often hunted in England, are not common decoy subjects — at least not in the United States. However, a small collection was included in this sale. Most were considered to be factory-made but little else was known about them. A raised-wing white wood pigeon made by Trulock and Harris, circa 1885, in London, earned $2,875. Another made by Robert Lange in Yorkshire about
Leah Tharpe is Copley’s fine art specialist. At her right shoulder is Elmer Crowell’s oil painting showing a variety of shorebirds in transitional
A stretching blue-winged teal mounted on a driftwood base sold for $8,400. It was made by Gilbert Maggioni, Beaufort, S.C., in 1969.
This Model 1 Large Salmon left-handed fly reel was made and signed by Stan Bogdan, Nashua, N.H. It sold for $5,535.
1890, earned $492. In all, there were seven lots of pigeons featured in this auction.
Perhaps the most unusual decoy in the sale, an example of Yankee ingenuity, was a patented Wales & Snow flappingwing plover, made in Boston, circa 1868. The wooden body had a complex mechanism that was described in the patent by Wales: “I claim a decoy having wings hinged thereto, arranged to be operated by manipulation by the sportsman…” The catalog had nine illustrations of this oddity, including a drawing from the patent application. It also stated that this is the only intact example known. The unusual flapping-wind plover sold for $19,200.
The strong selection of sporting art included a painting that earned the sale’s third-highest price, while several others brought five-figure prices. Bob Kuhn (1920-2007) was an illustrator whose works appeared in numerous magazines and museums, including the National Museum of Wildlife Art, Jackson, Wyo. His acrylic on Masonite painting of three giraffes reaching to graze on tree branches earned $49,200.
Another of Kuhn’s works, “Bounding Buck and Does,” depicted two leaping white-tail deer and earned $17,220. “Canvasbacks On The Nanticoke River” by George Brown, (19181958) realized $39,600. Done in 1950, it depicted several birds in flight over a marsh. Because Brown died young, his paintings are few and hard to come by. The sale included a specialized collection of more than 40 works by Aiden Lassell Ripley (1896-1969), built by Alex Chester. Ripley was one of the foremost wildlife painters of his day, and Chester’s collection included watercolors, oils, charcoals, etchings and ink drawings. “Woodcock at Water's Edge,” a watercolor signed and dated “1942” brought $16,800, and another watercolor, “Three Partridges in a Pitch Pine,” earned $21,600. The partridge painting was a gift from the
artist, and on its reverse, it was inscribed, “3 Partridges in a Pitch Pine / A Lassell Ripley / (Done for William M Austin & wife Dot on their 25th Anniversary).” Most of Ripley’s etchings sold in the $1,000 range. There were also about 20 etchings by Frank W. Benson (1862-1951).
While Benson’s subject matter was similar to Ripley’s, most of his etchings sold for less than $1,000. However, one, which had been the design for the 1935-36 Federal Duck Stamp, sold for $2,750.
After the sale, owner Steve O’Brien commented, “It went well, and we’re continuing to see numerous new collectors
“Canvasbacks on the Nanticoke River” by George
realized $39,600. Browne died in a shooting accident at the age of 40, so there are not many of his paintings.
coming into the market. The birds from the major collections were strong. The Chace collection, which we had estimated at $303,000, brought $313,000. We had estimated the Secor collection would bring $220,000 and it finished at $210,000. The Crowell wood duck, which sold for $210,000, was also encouraging. We had sold that bird in 2011 for $115,000. All in all, it was a strong sale. We’ll be doing an online-only sale in October and our next cataloged sale will be in February of next year.” All prices include the buyer’s premium as reported by the auction house. For information, 617536-0030 or www.copleyart.com.
Colin McNair, decoy specialist, comes from a family of carvers. He and his brother learned from their father, Mark. Colin is holding the wood duck carved by his father which was included in this sale.
Arthur Fitzwilliam Tait was one of this country’s earliest sporting artists. His “An Anxious Moment,” a trout fishing scene, earned $42,000.
Browne
This 28-inch-tall bronze “Wild Turkey Pair” was made by Walter Matia in 1995. Number 10 of an edition of 12, it reached $18,000.
“Reloading” by Edmund Henry Osthaus, a watercolor signed and dated 1889, earned $21,600.
This blue-winged teal was made by James T. Holley, Havre de Grace, Md., circa 1880. It came to light just a few years ago and brought $28,800.
One of the few known oil paintings by Elmer Crowell, “Cape Cod Summer Shorebirds,” sold for $26,400. This one was done about 1949, just a few years before his death.
There were more than 40 etchings and paintings by Aiden Lassell Ripley. Most were from the collection of Alex Chester who had determined to acquire as many of Ripley’s works as he could. This watercolor, “Woodcock at Sunset,” was signed and dated “1940.” It earned $20,400.
Calendar of Antiques Shows and Flea Markets
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Throughout the year, as your event dates become firm; L et us help promote your Live & Virtual Shows & Flea Markets.
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Joseph Kabe Auctions
To be held at 182 Route 80
Partial Listing: Period Furniture, country Furniture and smalls, early clothing, Inlaid Bow front dresser, Inlaid linenpress, Banjo clock, cupboards, drop leaf Tables, Card tables, Chippendale chairs, Windsor, Grain pained full size bed, Roll top desk, Victorian wall clock, French gold gilt cornice, Stands, nautical table, tilt top stand, Quilts, coverlet dated 1851, Oriental rugs, painting by John Folinsbee, J.J. Redmond, Early portrait, Vintage Diorama sailing ship, Gorham Fairfax flatware set place setting for 12 total pcs 75, plus more sterling, Indian baskets, Crocks, early doors and windows, Iron, plus lots of box lots See you at the Auction!!
Early English Bess Scuttle Early Linenpress inlaid
John Folinsbee Portrait of young girl
Gorham Flatware Set 75 Pieces
Period Banjo Clock
1851 Multi Color Jacquard
Early inlaid Bow Front Chest
French Gold Gilt Cornice
Early Card Table
MONDAY, AUG. 5 at 6pm www.northfieldauctions.com or auctionzip.com, #8349 EVERYONE WELCOME!
We are pleased to be handling the sale of this property and its sister property also located in Manchester (the property on Prospect St is pending! this one will be listed as soon as things get sorted) as well as all of the personal property which in and of itself is truly extraordinary…
Highlights include: 6-classic automobiles including 1928 Buick Standard; 2002 Mercedes Benz S420; 2002 Jeep Wrangler with 10,000 miles - like new with original window sticker; 3 Cherokee Sport 4-door-square body jeeps, all rust free and automatic 4x4’s; 2 John Deere tractors; , John Deere Zero Turn riding mower; 5’ brush hog and other J D implements; Jewelry including Rolex and other watches; Remmington and Ruger rifles; WWII uniforms and accessories; early Colt 45 pistol; 100+ pairs of women’s designer shoes - new in boxes by Louboutin; Jimmy Choo; Charles Jordan, Bally; Betsy Johnson and every other great shoe designer you can think of; vintage women’s clothing; Chloe and other vintage handbags; MCM furniture including 4 Barcelona chairs; Oval Saarinen dining table; wire bucket chairs and bar stools; antique furniture; toys-old and new in boxes; Barbie; American Girl; etc; dolls; early Lionel trains; 1950’s Fire Chief gas pump; 1950’s food service “automat”; authentic red iron English phone booth w/ all glass inserts; old telephones; table top Swiss music box; original Victrola; 16” Tiffany sterling silver vase; Cartier gilded dinner service; Baccarat glassware; Hawaii silver certificate currency; shelving; storage cabinets; new English saddle, Western saddle; carousel horse; bee keeping equipment including hives and honey processing ss tanks; Congreve Rolling Ball and other clocks; 5’ steam ship model; antique maritime navigational items incl. tall brass steering controls; brass signal lights; diving helmet; etc.; large glass antique French 8-arm crystal chandelier; many MCM paintings/ prints; an abundance of outdoor furniture from Vermont Creations; NYC architectural cast iron street lamps and ironwork; large amount of new hardware, hinges etc. old tools, great antique workbench with wooden vise and 2-modern wooden work benches; birdhouses; carousel horse; etc, etc…
This is really an amazing and varied collection of personal property that represents a lifetime of heavy acquisition. There is so much more in this auction than can be reasonably listed. This will be a real live absolute auction under the tents plus a bit of walking around to the nearby outbuildings as well. Should be a great one, don’t miss it! Live Auction, no internet bidding, Everything sells to the highest bidders! Tents, seats and refreshments provided, If you only get to one auction this summer, this is the one not to miss! Hopefully, we’ll see you there.
Address listed on our website 24
Jewelry Gove Family Archives
Outdoor Daguerreotype Mid-Century Gustav Stickley
Gene Vass
hours before the auction
1 of 4 Jeeps: Three Cherokee Sports & One 2002 Wrangler with 10,000 miles Antique English Phone Booth with All Glass Panels
Old Metal Toys and New Toys in Boxes plus Lionel Trains Colt 45 Pistol WWII Era
Brass Maritime Transmitter and Signaling Equipment
Mid Century Modern Prints and Paintings
100+ Pairs of Designer Women’s Shoes in Various Sizes
Tiffany Sterling Silver Vase, 16”h
Rolex Datejust with Oyster Bracelet and Gold Fluted Bezel
Remmington Model 70. 30-06
Old Victrola
Congreve Ball Bearing Clock
5’ Long Model Boat
Mid 1970’s John Deere Tractor 4 Baracelona Chairs
Lots of Modern Furniture
Ornate Antique French Chandelier 1928 Buick Standard
John Deere Zero Turn Lawn Mower John Deere Diesel Tractor with 376 Hours
Featuring 175+ lots, Highlighted by: The complete collection of the first 190 issues of HALI magazine, 12 Volume Set of the Arabian Knights, A History of Oriental Carpets Before 1800, 40 Wizard of Oz Books by Frank L. Baum, Michele Oka Doner’s What is White, Roderick Whitfield’s The Art of Central Asia; The Stein Collection in the British Museum, Andre Michaux’s Historie des Arbres Foresteries de Septentrionale Vol III, Franklin Libraries The 100 Greatest Books Ever Written, George Catlin’s The North American Indians, The Original Watercolor Paintings Vols I and II by James Audubon, 20 lots of folios, etc.
SJD Auctions 35 Mechanic St, Amenia, NY 12501 845-489-7408 www.auctionninja.com/sjd-auctions Auctions Held Every Other Tuesday Next Auction: August 13th
— Over 1000 lots each week —
Please visit goldengavel.com to view photos or visit auctionzip.com and search our Auctionzip Auctioneer ID#: 2791
Email with questions: goldengavelllc@gmail.com
Always accepting quality consignments for our auctions. Call to discuss. We offer a full auction service and will sell anything of value for you.
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
License #648
Friday, AUGUST 2, 2024 • 9:00am
Summer Fun Sale!
LIVE at our Gallery and online with LIVEAUCTIONEERS and INVALUABLE Preview: Friday, August 1, 10am–5pm (or by appt) 1041 W. Bridge St., Ste# 20, Phoenixville, PA 19460
Selling two collections without reserves. Lots of jewelry including rings, pocket and wrist watches, Victorian furniture, lighting to include a large 18k gold over bronze chandelier signed, bronzes including a large satyr and woman by Leblan, art glass and chinaware, artwork, apothecary scales, miniature portraits, brassware including desk sets, inkwells, candlesticks, boxes, andirons etc., sterling silver and much more.
Large Italian gilt bronzeLoetz
Madame Pompadour
French bronze of Arrotino Francois Victor Bazin radiator car mascot
Victorian brass chandelier
Large Italian alabaster
Massachusetts Auctioneers
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
