Antiques and The Arts Weekly 8-09-24

COLLI DOS COPE

A De La Torre Brothers Retro-Perspective

Q&A: Robin Starr

Opfer Offers The Eclectic Collector At The Forge, Led By Firearms

Americana Extravaganza Brings

$1.1 Million For New England Auctions

Blazing Guns, Historic Arms Lead Bruneau & Co.’s Militaria Sale

Ohio Material Culture Is Strong At Meander

New England Furniture, Art Glass & Unique Sculpture Is The Trend At Davies

Eye Of The Storm: East Hampton Antiques & Design Show Shines Through Rain

Decorative Arts & Accessories Dazzle At Michaan's

Indoor & Outdoor Furniture, Photography Sweep Away Competition At Public Sale

Schmidt’s Sells Diverse Lineup Of Jewelry, Furniture & Decorative Arts

Butterscotch Bidders Find Fancy In The Fine Arts

Chazen Exhibit Chronicles African American Artistic Experiences In Nordic Countries

NATIVE MARKET

August

FRANK HOWELL (1937 - 1997) Native Portrait oil on canvas, 40 x 30 in.

$8,000 - $12,000

Online Summer Antique Extravaganza Sale

HIGHLIGHTS: Rare 1930s Spartan Radio, Firkin Buckets, 18th C Pewter, Large Selec�on Of Primi�ves, Several Good Pocket Watches, 1856 Lebanon, PA Printed Sale Bill, Rare Scrimshaw Tusk W/ American Eagle & Civil War Soldier, Several Good Mantle Clocks, Collec�on Of Early Adams, Large Selec�on Of Sterling Silver, Tramp Art, Mechanical Banks, Cambridge & Art Glass, Chinese Porcelain, Good Pair Of Early Theorems, Large Selec�on Of Ephemera, Lester Breininger Pottery Collec�on, Large Selec�on Of Cowden Wilcox Stoneware, Primi�ve Bird Box, Several Good Shaker Boxes, Early Paint Decorated Folk Art Fish Decoys, Single Owner Belleek Collec�on, Selec�on Of Early Porcelain Anri Figurines, Two Aaron Zook 3-D Diorama’s, Good Selec�on Of Reproduc�on Metal Work From Hamburg, PA, Rare

19th C Leather Fire Helmet Lebanon, PA Perseverance, S�ck Spa�er, So� Paste, Flow Blue, Several Good Pieces Of Roseville, Several Good Primi�ve Dough Boxes (One W/ Early Red Surface), 19th C Walnut Document Box, Duck Decoys, 19th C Blue Wash Tub W/ Original Surface. Large Selec�on Of Good Artwork To Include: Lithographs, Pain�ngs, Dioramas, 1830s Folk Art Woman Portrait W/ Birds Eye Maple Frame, Candle Molds, 19th C Hog Scraper Candles�cks, Early Folk Art Whirligig. Furniture To Include: 19th C Tea Table W/ Birdcage, Several Very Good Decorated Blanket Chests, 19th C Pine Tilt Top Bench Table, Rare Dough Box Table In Old Apple Green Paint, Several Very Good PA Dutch Cupboards, Large Copper Ke�le, 19th C Colebrook Furnace Ten Plate Stove, 19th C Tall Case Clock,

Excellent Set Of 1920s Carved Furniture, Very Good Pennsylvania Workbench, Paint Decorated Se�ee, S�ckley, Baker, 19th C Carved Side Table, Good Selec�on Of Victorian Furniture, Several Very Good Pennsylvania One Drawer Stands, Several PA Corner Cupboards, Paint Decorated Chairs, Pine Feed Bin, Several Pieces Of Haradon, Jelly Cupboard, High Top Primi�ve Desk, Several Good Empire Chest Of Drawers, Victorian Hall Tree, Smoke Decorated Box & MUCH MORE!!!!

18% BUYER’S PREMIUM! SPECIALTY SALE PICKUP BY APPT ONLY: Tues & Wed from 9-5pm (Closed 12-1pm Daily) FULL CATALOG/ BID: www.kleinfelters.hibid.com

Over 40 of the nation's top Americana and folk artists, exhibiting handcrafted period works of art and museum reproductions. Learn more at traditionalartisanshow.com

Admission $10 Save $2 with this ad, Limit 2

NEW LOCATION 2024

Perkiomen Valley Middle School East Collegeville, Pennsylvania

Saturday, August 17, 10–5 Sunday, August 18, 11–3

Proceeds from the show will bene t Historic Trappe. Admission includes entrance to Historic Trappe's three museums, located just a mile from the show.

28 Art & Antiques Dealers

Thursday, August 15 through Saturday, August 17

Honorary Chair David Netto, designer and author

Corporate Sponsor Doyle Auctioneers & Appraisers

Media Sponsor New England Home

Preview Cocktail Party Thursday 5 to 8 pm

Bar Harbor Catering and Pugnuts Ice Cream Shop

The Maine House II book signing with authors Basha Burwell and Kathleen Hackett

Art & Antiques Show: 28 Booths

Friday 10 am to 6 pm, and Saturday 10 am to 5 pm

Talk & Book Signing Friday 11:30 am

David Netto, designer and author, and Nathalie Farman-Farma, designer

Book signings of David Netto and Decors Barbares: The Enchanting Interiors of Nathalie Farman-Farma

Talk & Book Signing Saturday 2:00 pm

Jane Goodrich, author, and R. Tripp Evans, author and professor

Book signings of The House at Lobster Cove and The Importance of Being

Furnished: Four Bachelors at Home

Tickets for all events may be purchased at the door, or in advance at georgestevensacademy.org/DAAS

General Admission Ticket $15 good for both show days

Preview Party Ticket $125 includes entry to both show days and talks

Two Talks/Book Signings Ticket $35 includes entry to both show days and talks Seats limited!

Daily Cafe Service Breakfast and Lunch items available for purchase

Location 23 Union Street, Blue Hill, Maine (parking on High Street)

www.downeastshow.com and georgestevensacademy.org/DAAS

Mills & Zoldak

Marta Urban

Kathie Ratcliffe

Justin Kauffman

Amy Staton

Selinda Kennedy

AAW

Robin Starr

Robin Starr has recently been appointed to the position of general manager of Bonhams Skinner after more than 35 years with the company. Previously, Starr was a vice president and the director of American and European works of art, one of the company’s most important departments.

Congratulations on the new role! What are you most looking forward to in the position?

I’m excited to expand the scope of my work to include the diverse range of collecting categories from the industry-leading Americana department to wine and spirits. Through our local relationships and depth of expertise, Bonhams Skinner has established itself as a leader in these markets and now as an integral part of the Bonhams Network — we are bringing New England to a global audience. I am also interested in making certain that the clients who have been with Skinner for decades know that as part of the Bonhams Network, we are the same Skinner that they know and love, only better.

How do you see your experience and expertise contributing to the growth of Bonhams Skinner?

After 37 years, I have a deep understanding of the organization and its staff. The people at Bonhams Skinner are what make it successful, and I’ve known many of them for years if not decades. I’ll be able to take what I’ve learned from growing our American and European paintings and prints team to the larger organization as we continue serving the broader collecting community throughout New England and beyond.

Bonhams Skinner has brought new and expanded collecting categories to the Bonhams Network. We have a distinct role to play as we continue to work and grow in cooperation with our colleagues in the larger Bonhams family.

What kinds of challenges do you foresee encountering as the general manager?

It will be an exciting challenge to shift my focus to the larger organization and continue Bonhams Skinner’s proactive strategy to meet the needs of the ever-changing auction landscape. We are doing this by investing in our digital presence, shifting to structures that are more aligned with changing

buyer behaviors and our commitment to the core market and further integrating ourselves into the Bonhams Network.

Since you joined the company in 1987 you’ve had a more hands-on role with artwork. How will that day-to-day experience with art differ now?

Luckily, I get to be around incredible works of art every day and I will play an active role in helping every department bring in important consignments and collections. I will, of course, miss the day-today of researching and cataloguing works of art. Working with the art and objects is why most of us get into this business, and I find cataloging relaxing and almost meditative. No doubt I will still sneak down to the fine art bins from time to time with my tape measure and my UV light.

Will you still be playing the role of auctioneer despite the new title?

Absolutely! I will continue to auctioneer for our live auctions at Skinner as well as help expand our roster of auctioneers. I also look forward to continuing to conduct numerous consignment days, lectures and benefit auctions throughout the year for local organizations such as the Worcester Art Museum, the Boston Youth Symphony Orchestra

and Compassionate Care ALS. And I will continue as an appraiser on the PBS television series The Antiques Roadshow.

Do you have any plans to strengthen the connection between Bonhams Skinner and local art communities?

I have always made an effort to integrate myself into New England’s thriving arts and culture community and that will never change. This is equally true for Bonhams Skinner as a whole — New England is integral to our identity — and I think there is a lot of opportunity to continue to engage with the community that has embraced us for more than 60 years.

Reflecting on your previous roles, what are some of the most notable or memorable pieces that you have worked with?

I have had the pleasure of bringing to auction a diverse range of works in the more than three decades I have worked with the company. This includes Agnes Martin’s diminutive “Blue Flower,” which sold for $1.5 million in May 2015, and “Abraham Lincoln: The Man” by Augustus Saint-Gaudens, which sold for $1.15 million in January 2022. The “Lincoln” is now a part of the collection at the Colby College Museum of Art.

We have also set numerous records in that time: Fitz Henry Lane’s atmospheric marine painting “Manchester Harbor” sold for $5.5 million, the highest price for a work of art at a New England auction, a Nineteenth Century Japanned high chest achieved $1.9 million, the record for a piece of American furniture sold at auction in New England, and “Portrait of Abigail Rose, North Brandford, Connecticut, 1786, at the Age of Fourteen” was sold for $1.27 million, a new world record for a Folk Art portrait. Not to mention the Imperial Qianlong period monumental fençai flower and landscape vase that sold for $24,720,000; a record for any Chinese work of art sold in the Western world.

—Carly

Timpson

“Manchester Harbor” by Fitz Henry Lane (American, 1804-1865). Image courtesy Bonhams Skinner.

www.AntiquesandTheArts.com

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EFFECTIVE March 1, 2023 Volume LVI — Number 32

University Archives’ Online-Only Auction Set For August 7

Items Signed By Albert Einstein, Davy Crockett & Lee Harvey Oswald Will Headline 572-Lot Sale

WILTON, CONN. — A letter handwritten in German and signed by Albert Einstein from 1937, a two-page letter written and signed by Davy Crockett in 1834 while he was a US Congressman from Tennessee and a two-page letter written and signed by Lee Harvey Oswald to his brother from 1961 are just a few of the expected top performers in University Archives’ online-only rare autographs, manuscripts, books and Americana auction planned for Wednesday, August 7.

The auction will start promptly at 10 am Eastern time. All 572 lots in the catalog are up for viewing and bidding now — on the new and improved University Archives website — www. UniversityArchives.com — as well as Invaluable.com, Auctionzip.com and LiveAuctioneers.com. Phone and absentee bids will also be taken. Items signed by many of history’s brightest luminaries will come up for bid.

“The August 7 auction is bursting with exceptional items from every imaginable collecting category, from US presidential, science and Americana, to world leaders, literature and sports,” said John Reznikoff, president and owner of University Archives. “As in our June sale, our August sale will feature a grouping of unique historical pieces deaccessioned from the prestigious Forbes Collection, as well as a significant number of lots relating to Ronald Reagan.”

The Reagan items include signed and annotated speech drafts, correspondence and photos. Americana collectors will delight in the array of Nineteenth and Twentieth Century political ephemera.

The one-page autograph letter in German signed by Albert Einstein, dated October 9, 1937, and addressed to fellow physicist Cornelius Lanczos features about 100 words in Einstein’s hand as well as around six mathematical formulae. The letter investigating general relativity through tensor calculus has an estimate of $35/50,000.

The two-page autograph letter signed by Davy Crockett, dated April 9, 1834, is addressed to a Maine publisher. In the letter,

This two-page autograph letter signed by Davy Crockett, then a US Congressman from Tennessee, dated April 9, 1834, criticizing President Andrew Jackson’s executive overreach: “his will is to be the law of the land” ($18/24,000).

Crockett is critical of President Andrew Jackson’s executive overreach, writing, “… Jackson shall wield both sword and purse. His will is to be the law of the land” ($18/24,000).

The two-page autograph letter, signed by Lee Harvey Oswald, is dated November 30, 1961. Less than two years before the Kennedy assassination, the letter was drafted while Oswald was self-exiled in the Soviet Union.

In a moment of homesickness, Lee asks his older brother Robert to send him an American football and play diagrams so that his Russian friends can learn “a little bit of American sport” ($8/9,000).

A lengthy 19-page speech draft prepared by President Ronald Reagan comprises four pages of holograph notes and 15 pages of heavily corrected and annotated typed notes, circa July 3, 1981.

In the draft, Reagan discusses the historical origins of the formation of the Grand Old Party in the 1850s, referencing Abraham Lincoln twice and slavery twice ($7/9,000).

A Schutz-Pass was issued by

A one-page autograph letter in German signed by Albert Einstein, dated October 9, 1937, relating to his theory of relativity, with about 100 words in Einstein’s hand, and six formulae including two instances of his second most famous equation, “Rik=0” ($35/50,000).

A lengthy, 19-page speech draft prepared by President Ronald Reagan, circa July 3, 1981, in which he discusses the origins of the formation of the GOP in the 1850s mentioning Lincoln and slavery ($7/9,000).

World War II-dated and related to fundraising efforts. Ruth participated in various baseball charity events during the war. The 4th Marine Division mobilized in 1943 and fought in the Pacific Theatre ($5/6,000).

the “Swedish Schindler”, Royal Swedish Legation Raoul Wallenberg, who saved thousands of Hungarian Jews from Nazi concentration and death camps during World War II. The 1944 document extended honorary Swedish citizenship protections to an unmarried Hungarian Jewish girl ($7/8,000).

An album of postal covers and photographs signed by all 12 Enola Gay crew members, 12 of 13 Bockscar and numerous Manhattan Project administrators and scientists, was assembled on the 50th anniversary of the deployment of the atomic bomb ($5/7,000).

A rare albumen photograph of President James A. Garfield delivering his inaugural address at the US Capitol on March 4, 1881, is signed and inscribed by him on the original photo mat just one week after the event. Autographed items during Garfield’s presidency are extremely coveted because he was assassinated a mere six months into his brief term of office ($5/6,000).

A photograph of Babe Ruth with a US Marines one-star general is signed and dedicated by the slugger to the 4th Marine Regiment. The photo is probably

•ANY

A printed military Special Order from New Orleans dated July 21, 1865, is signed by Major General George Armstrong

Custer (as “GA Custer / Maj Genl”) ($3/4,000).

The catalog for the sale on the University Archives website: https://www.universityarchives. com/auction-catalog/RareAutographs,-Manuscripts,Books-&-Americana_ ZC3S226UO8/ For information, 203-454-0111, or www.universityarchives.com.

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Decorative Arts & Accessories Dazzle At Michaan's

ALAMEDA, CALIF. — In total, 635 lots crossed the block in Michaan’s Auctions’ July Gallery Auction on July 19. Standout collecting categories included furniture and decorative arts, fine art, jewelry and accessories. At the sale’s close, 75 percent of the lots successfully traded hands and the auction realized a total of $452,050. Ashton Lyle, business development associate, told Antiques and The Arts Weekly, “I can confirm that the July Gallery Auction from Michaan’s Auctions included international bidders from Europe and Asia, as well as bidders from across the US, including the East Coast. Most of our bidders are private collectors and dealers and bid with us via online platforms, but we had several high-profile buyers who chose to bid in-person and over the phone.”

Standing out against the other lots was a white 2017 Cadillac

XT5, which drove across the block as the highest-earning lot. In good condition with a beige leather interior, a panorama moon roof and fewer than 9,000 miles on the odometer, the SUV was bid to $22,140. An Afra & Tobia Scarpa for Cassina lounge set comprising a chair and settee, topped the charts in the furniture department and was the second-highest earning lot of the sale. With reddish-brown tufted leather and chrome finish supports, both pieces had Cassina and Atelier labels affixed to the underside. Despite expected signs of wear and a small tear to the chair, the living room set brought $9,840.

Jill Fenichell, appraiser of furniture & decorations at Michaan’s Auctions shared, “The Scarpa furniture suite came from a wonderful Noe Valley, Calif., adjacent home, owned for decades by a couple who sadly have now

This reddish-brown tufted leather settee and lounge chair by Afra & Tobia Scarpa for Cassina had exposed supports with a chrome finish; the set was bid to $9,840 ($4/6,000).

passed on. They had great lives and were adventurous, curious and successful (or at least the husband was) in advertising. These are just two items from this wonderful home. In a funny way, advertising and psychology folks look at ethnographic and art and design material as reflexes of each other — searching for deep meanings, and sometimes delighting in the humor or workmanship of individual items. The Scarpa pieces look like they are laughing, the way Chairy on Pee Wee Herman’s was full of life and humor.”

A white marble bust of Louis XIV blew past its $1,200 high estimate to finish at $9,225. The bust, which showed Louis XIV looking slightly upward to the left and draped in regal robes, was raised on a square pedestal for a total height of 40 inches. Despite surface wear and some hairline cracks and chips, fierce competition broke out for the French king.

A pair of bronze figural candelabras, after the French Rococo sculptor Clodion, went to an online bidder for $7,380. The ebonized bronze figures, one male and one female, were depicted standing and holding gilt bronze horns with grapevine and foliate form arms emanating from the opening. Each was fit to hold eight candles and the figures stood atop green marble bases with gilt bronze mounted details accenting the rim and base. The date and signature, “1775 Clodi-

Auction Action In Alameda, Calif.

This Louis XVI-style Brèche d’Alep marble top commode with extensive marquetry and gilt bronze mounts, after Jean-Henri Riesener (French, 1734-1806), 39 inches high by 85 inches wide by 32¾ inches deep, went out at $5,535 ($7/12,000).

A pair of bronze figural candelabra after Clodion (Claude Michel, French, 1738-1814), about 48 inches tall and 21 inches wide each, were sold for $7,380 (12/18,000).

on,” was etched into the bronze by the figures’ feet.

With extensive marquetry throughout its body, a Louis XVI style commode, after Jean-Henri Riesener, found a new home for $5,535. Surrounded by ornate gilt bronze framing with cherubs and vines, inlaid depictions of festive offerings — including a basket of fruit and some vases — were illustrated at the center, spanning the height of the structure’s two drawers. The sides and the two cabinet doors bore geometric and floral pattern marquetry with additional bronze mounts, and the commode featured a shaped Brèche d'Alep marble top with only minor surface wear.

“The bust, the Clodion and the commode lived together for at least 30 if not 40 years in the home of a private collector in San Francisco. He is now having to down-size due to some physical issues and was loathe to part with these juicy French things. Apparently, the dead market isn’t so dead after all. I have found really fine quality items that retain some of the lustre and size of Sixteenth–Nineteenth Century things, do really well,” added Fenichell.

Luxury accessories were led by a two-tone Rolex GMT-Master watch. The black and gold-faced watch with luminous indicators was on a yellow-gold and stainless-steel Jubilee link bracelet that measured 7 inches in length. It was bid to $7,380 — just past its high estimate. Also finding favor in that category was a diamond tennis bracelet. With 41 old European-cut diamonds, which weighed a total of 8.15 carats, the

Review by Carly Timpson, Assistant Editor Photos Courtesy Michaan’s Auctions

bracelet was set in platinum and measured 7½ inches long. It more than doubled its high estimate, ultimately finishing at $5,842. Elise Coronado, GIA Graduate Gemologist, director of jewelry and timepieces remarked, “The Rolex GMT and diamond tennis bracelet came to us through our twice-monthly free appraisal events, each from a different client. The tennis bracelet will be traveling to a buyer on the East Coast and the Rolex GMT is staying with a local buyer.”

Combining art and literature, a signed portfolio of Salvador Dalí illustrations for Lewis Carrol’s Alice's Adventures in Wonderland included 12 original woodcuts and etchings. Published in 1969, the Mandure paper sheets had some toning and wear but were housed in a quarter morocco over beige cloth clamshell binding with bone and morocco clasps. Dalí’s signature was done in pencil on the title sheet and the edition, number 676 of 2,500, was stamped on the last page. The collector’s set broke into its estimate range and finished at $5,843, within estimate.

In the Asian art department, two lots stood out in particular. The top lot in the category — at $4,613 — was a Tibetan thangka, or painted tapestry, of Ushnishavijaya with White Tara and other figures. Both Ushnishavijaya and White Tara are peaceful female deities in the Buddhist religion. Ushnishavijaya, depicted at the center of the tapestry, is painted with three deities seated beneath her with several other figures in the clouds above her haloed head. Likely from the Eighteenth Century, the illustration was painted with distemper on cloth then mounted on navy blue satin affixed with a horizontal rod for hanging.

Asian art was led by this hand painted Tibetan thangka featuring Ushnishavijaya with White Tara and other figures, distemper on cloth mounted on blue satin, possibly Eighteenth Century, 56½ by 37 inches; it was bid to $4,613 ($2/3,000).

This Chinese ruyi head form pillow, stoneware with purple splashed pale blue glaze (Jun ware), had a poem inscribed on its unglazed 12-inch-wide base. It sold to a phone bidder for $3,998 ($600/800).

Exceeding its $800-$1,200 estimates to achieve $9,225 was this white marble bust of Louis XIV; it measured 40 inches high by 29 inches wide by 12 inches thick.

An unexpected result in the Asian art category was that of a Chinese Jun ware pillow. The pale blue and purple glazed stoneware pillow was in the shape of the traditional ruyi head, and it had pierced gourdform carvings on the top sides. Etched into the unglazed base of the pillow was a poem in traditional Chinese writing, likely a draw for interested bidders. Soaring past its $800 high estimate, the speckled pillow was bid to $3,998.

And for the numismatics, several sets of uncirculated 1915 Austrian 1 Ducat coins were offered. With 20 coins in each set, the highest earning lot made $5,228 and another four sets each brought $4,920 ($4/5,000). Prices quoted include the buyer’s premium as reported by the auction house. Next on the docket for Michaan’s is the August Annex Auction, August 12-14. For information, www. michaans.com or 510-740-0220.

Forty-one old European cut diamonds, weighing a total of 8.15 carats, set in platinum made up this 7½-inch-long tennis bracelet; it brought $5,843 ($1,5/2,500).

Schmitt Horan & Co.

To Conduct August Sale, Closing August 10

CANDIA, N.H. — Schmitt Horan & Co., will conduct an eclectic online sale with live close, which will include small antiques, German bisque and Lenci dolls, Schoenhut toys, early radio receivers, canes, a large library with emphasis on volumes related to Abraham Lincoln and other American political figures, artists’ lithograph exhibition posters, advertising and stereo gear, wristwatches, pocket watches and clocks. Online bidding will be available through the Schmitt Horan online platform, and also on Bidsquare, Live Auctioneers and Invaluable. The complete sale catalog will be posted online on August 1, closing on August 10. Printed catalogs are not available for this auction.

The doll collection includes many German bisque examples, including characters and a Gibson Girl by makers such as Heubach, Joseph Eisenmann & Co., Franz Schmidt & Co., C.M. Bergmann, Simon & Halbig, Armand Marseille, J.D. Kestner and others. A number of Lenci and Lenci-type dolls will be offered, including a Rudolph Valentino, a 25½-inch Woman Walking her Dog, a 17-inch series 300 Schoolboy, a 22-inch series 109 model 54, a 15-inch Alpine Mountaineer, a 15-inch Napoleon and others. A selection of marottes will be offered, as well as a “Le Potache” whistling automaton by Jean Marie Phalibos. A set of four Kiss dolls in their original boxes will be sold.

A large library consisting of Nineteenth and Twentieth Century books focused on American presidents, Republican party history and the Civil War will be sold. Subjects include biographies of Lincoln, Cleveland, McKinley, Harding, Wilson, Garfield, Washington, Grant, Jefferson, Adams and others. Volumes dedicated to the letters and speeches of Lincoln will also be offered, as will histories of the Civil War. Many of these books were written shortly after the war and the Lincoln assassination and offer early perspective on these events.

A number of framed artworks will be sold, to include an Eighteenth Century etching by Giovanni Battista Piranesi from his “Views of Rome” series, Durer’s “Erasmus of Rotterdam,” Rembrandt’s “Return of the Prodigal Son” and “Faust” and work by Charles Bragg, M. Jacques and others. A good collection of artists’ lithograph exhibition and other posters are also included in the sale, many printed by Mourlot, Paris, with some work executed by Henri Deschamps and Marcel Salinas.

Included are promotions for shows by Pablo Picasso, including “Exhibition of Ceramics II,” 1958, “Portraits Imaginaires,” 1969, Alex Maguy Galerie, 1962, and others. Also by Picasso is a large poster for the 1960 East-West arms control summit in Paris, scuttled following the downing of an American U2 spy plane over Soviet territory.

Also featured are signed posters by David Hockney for a mid-1970s show at the Galerie Claude Bernard, and a late 1970s Hockney Artcurial poster. Other artists represented are Marc Chagall, Georges Braque, Roy Lichtenstein, Jean Pougny and others. Also of interest is a four-section, 5-by6-foot stained glass panel designed by architectural artist Brian Clarke for use in the King Khalid airport mosque in Riyadh, Saudi Arabia.

A group of small antiques will be sold, including: a selection of American lacy pressed glass tableware; early American flint glass tableware; a M. Lebanon Shaker rocking chair; brass and marble etageres; Nineteenth Century whale oil, fluid and kerosene lamps and fairy lamps. Framed artworks will include an Eighteenth Century etching by Giovanni Battista Piranesi from his “Views of

Rome” series, work by Charles Bragg, M. Jacques, and others.

A large collection of canes will be featured, as will a large Schoenhut Humpty Dumpty Circus and many Schoenhut circus figures and props. Advertising items will include a large Mobil Pegasus curb sign and a collection of neon clocks pro-

moting various products. A collection of early Twentieth Century radio receivers by Atwater Kent, RCA, Murdock, Westinghouse, Freed Eisemann, DeForest and others will also be sold.

A few choice pieces of vintage stereo equipment from McIntosh Laboratories and a Bang & Olufsen Beogram 4004 turntable will also be offered.

A large number of pocket and wristwatches, many in gold, will also cross the block. Highlights include: a minute repeating wristwatch by C.H. Meylan for Theodore B. Starr, New York; an unusual Patek Philippe pocket watch with black enamel dial for D. Valentine, Syracuse; a five-minute repeating tonneau-shaped wristwatch by Jules Jurgensen; a quarter repeating pocket chronograph by A. Lugrin; Swiss pocket watches with erotic automata and enamel scenes; two large Vacheron & Constantin Chronometre Royal pocket watches; Vacheron & Constan-

tin men’s and women’s wristwatches and pocket watches by Cartier and Tiffany & Co. For information, 603-432-2237, or www.schmitt-horan.com.

A er 101 years on Lexington Avenue, The Old Print Shop has moved to a new location.

Rare timepieces by Longines, Tiffany & Co., and Boucheron. Highlights from the Lenci doll collection.

receiver.

Cheekwood Spotlights Permanent Collection In New Exhibitions

NASHVILLE, TENN. — Paintings, sculpture, prints, and decorative arts from the permanent collection at Cheekwood Estate & Gardens take center stage throughout the second-floor galleries in the Historic Cheekwood Mansion & Museum.

Each gallery highlights a different subcategory of the collection including American painting, Twentieth Century sculpture by William Edmondson and Worcester porcelain.

With the recontextualization of the collection, Cheekwood takes the opportunity to display works that have been in storage for a prolonged period.

“We are excited to share more fine art and decorative arts from our permanent collection with visitors and our community,” says Sarah Sperling, Cheekwood vice president of Museum Affairs. “It is the first time since our major exhibition of William Edmondson in 2021 that we have the opportunity to display a large quantity of his work at one time. The sculptures are treasures and we are proud to display them along with many other exceptional works from our permanent collection.”

In the American Portraiture gallery, visitors can view paintings ranging from the 1790s to 1930s, from 3-inchtall portrait miniatures to a large family portrait. Other galleries feature American landscape painting, American Impressionism, and paintings by notable Tennessee artists such as George Inness, Childe Hassam and Gilbert Gaul.

In addition, the Worcester porcelain gallery features fine examples of English porcelain from the Ewers-Tyne collection. The history of Worcester comes to life as the objects in the room illustrate a variety of patterns and styles for

INDIANAPOLIS, IND. — A new exhibition opening at the Eiteljorg Museum brings together breathtaking paintings, watercolors and drawings by a major Nineteenth Century artist of the American West, Alfred Jacob Miller, who was eyewitness to a historic gathering in the Rocky Mountains in 1837.

“Alfred Jacob Miller: Revisiting the Rendezvous in Scotland and Today” will continue at the Eiteljorg through January 5. Before traveling to Indianapolis, the exhibition previously was on view at the Buffalo Bill Center of the West in Cody, Wyo., which jointly organized the project with the Eiteljorg Museum.

Western art enthusiasts will experience 50 of Miller’s works that once graced the walls of Murthly Castle, the Scotland home of Miller’s patron, William Drummond Stewart (17951871). This traveling exhibition is the first time in more than a century that so many of Miller’s works — which were sold off after Stewart’s death — have

Marisol Escobar (French/Venezuelan,1930 – 2016), “Women’s Equality,” 1975, lithograph on paper. Gift of The Lorillard Company. 1976.4.31.

or

the factory’s rich history.

Upon entry into the galleries, guests will encounter limestone sculptures of animals and human figures created by Nashville native William Edmondson. Edmondson was a notable sculptor active in Nashville during the 1930s and ‘40s and today is considered one of the most important self-taught American artists of the Twentieth Century. His keen attention to detail mixed with whimsical qualities bring each of the limestone pieces to life. Cheekwood is proud to have the largest collection of Edmondson’s work among public insti-

tutions in the US with the majority of his sculptures in the permanent collection now on display.

The exhibition, “Wonder Women: Women Printmakers of the 1970s” features prints created in the 1970s by women who advocated for themselves and their work in a male-dominated field. Having entered the workforce on the heels of second-wave feminism, these women were uniquely situated to fight for equality and visibility in their field. The exhibition features 19 works on paper drawn from Cheekwood’s permanent collection, including a print

Alfred Jacob Miller (American, 1810–1874), “Our Camp,” circa 1846–60, oil on canvas, 26-3/8 by 36 inches. Buffalo Bill Center of the West, Cody, Wyoming. Gift of The Coe Foundation. 11.70.

been reunited to appear in the same location.

“The Eiteljorg Museum of American Indians and Western Art is honored to present ‘Revisiting the Rendezvous’ and to collaborate with our colleagues

in Cody, Wyo., on this project. If you love history and beautiful, natural landscapes you will be dazzled by Alfred Jacob Miller’s paintings, and the complex and intriguing story of the artist and his patron,” Eiteljorg president and CEO Kathryn Haigh said.

Miller (1810-1874) was the only European-American artist to witness the Rocky Mountain Rendezvous of 1837, during which Native peoples such as the Shoshone and other cultures gathered together with European American fur traders along the Green River in, what was then, Wyoming Territory. Not only were trade goods such as firearms, metal implements and animal pelts exchanged

titled “Women’s Equality” by Marisol Escobar and the 10-piece “Chinatown Suite” series created by Chryssa Vardea. Other featured artists include Helen Frankenthaler, Louise Nevelson, Alima Rita, Liliane Lijn and Linda Plotkin.

Selections from Cheekwood’s permanent collection and “Wonder Women: Women Printmakers of the 1970s” can be viewed in the Historic Mansion & Museum until November 4. Cheekwood Estate & Gardens is at 1200 Forrest Park Drive. For information, www.cheekwood.org or 615-356-8000.

during these annual encampments, the peoples from various cultures and languages formed an intermingled community, lasting days or weeks. Part camping expedition, part trading post, part reunion and celebration with hunting, gambling, friendship and camaraderie, the Rocky Mountain Rendezvous is remembered as an important cultural event in Wyoming’s history.

Miller’s sketches created during the Rendezvous were the basis for his later paintings.

Miller made only one expedition to the West, though he later spent a few years painting in Scotland, where his works were displayed at Murthly Castle.

The exhibition also reveals new insights about Miller and his relationship to Stewart, a wealthy Scottish baron (and military veteran of Britain’s 1815 victory over Napoleon at Waterloo). An adventurer and art collector, Stewart traveled to North America and recruited Miller to accompany him on the expedition over rivers and across the Plains to the 1837 Rendezvous and commissioned the young artist to create many paintings of it.

“Miller’s paintings, especially of Native peoples, were not documentary, and reflect a mix of fact and fiction, as well as his patron’s directives. Miller and Stewart harbored biases and misconceptions of their times, and the exhibition provides necessary context for today’s visitors who might find some of the painting subjects troubling” Eiteljorg curator of Western art,

history and culture Johanna M. Blume said.

“Yet Miller’s dramatic lifelike scenes of camp life, horses, and people of multiple cultures forming a community together — set against impressive mountain landscapes and sunsets — rank him as a significant Western artist of the early Nineteenth Century. This exhibition will provide today’s museum-goers an unforgettable look into a corner of the North American West nearly two centuries ago,” Blume added.

Bringing together Miller’s Stewart-commissioned artworks from several institutions, “Revisiting the Rendezvous also includes cultural objects from the fur trade. To help visitors visualize Miller’s work, the exhibition features two lifesized theatrical vignettes. One scene is a recreation of Miller’s tent during the 1837 Rendezvous. The other depicts a room of Stewart’s hunting lodge at Murthly Castle.

For 35 years, the Eiteljorg Museum of American Indians and Western Art has been an integral part of the cultural fabric of Indianapolis and scenic White River State Park. The Eiteljorg Museum explores the intersection of the arts, histories and cultures of the past and present by sharing the diverse stories of the American West and the Indigenous Peoples of North America.

Eiteljorg Museum of American Indians and Western Art is at 500 West Washington Street. For information, 317-636-9378 or www.eiteljorg.org.

Childe Frederick Hassam (American, 1859-1935), “Outskirts of East Gloucester,” 1918, oil on panel. Museum purchase through funds provided by the EBS Foundation. 2001.6.

Lockwood-Mathews Mansion Museum

To Launch 2024 Flea Market At Mathews Park

NORWALK, CONN. — On Sunday, September 15, 10 am to 4 pm, the Lockwood-Mathews Mansion Museum will conduct its 17th annual “Old-fashioned Flea Market” in Mathews Park.

Flea Market enthusiasts will find the park brimming with vendors selling a treasure-trove of unique items, including antiques, repurposed furniture, upcycled collectibles, jewelry, crafts, household items, clothing, toys, specialty farm-to-table foods and more. Tasty treats and refreshments will be available at several food trucks. This event will be free to the general public.

The Old-fashioned Flea Market will be chaired by Steve Balser, an antiques dealer who has been a successful flea market vendor for the past 24 years. The mansion’s volunteers will manage a White Elephant Table, selling items generously donated by supporters as well as an Outdoor Gift Shop Corner featuring museum-centric accessories and an eclectic mix of gift items, including logo embroidered totes, vintage and designer jewelry, elegant scarves and books relat-

Four Monumental Landscapes By Alex Katz On

View In MoMA’s Marrion Atrium

NEW YORK CITY — The Museum of Modern Art (MoMA) announces “Alex Katz: Seasons,” a selection of works from the artist’s new series of landscape paintings, on view in the Donald and Catherine Marron Family Atrium through September 8, 2024. The presentation will feature four monumental paintings — one for each season, ranging in size from 10 to 20 feet long — that belong to an extensive series of new works created in Katz’s New York studio between 2022 and 2024 that capture landscapes in New York and in Lincolnville, Maine, where Katz spends his summers.

“Alex Katz: Seasons” is organized by Ann Temkin, The Marie-Josée and Henry Kravis chief curator of painting and sculpture, with Elizabeth Wickham, curatorial assistant, department of painting and sculpture and Lydia Mullin, manager, collection galleries, department of curatorial affairs.

“Some of our projects at

MoMA take nearly a decade to prepare, while others are virtually spur of the moment, as part of our mission to be a platform for brand-new work,” said Temkin. “These new paintings by Alex Katz, part of a set of more than 100 compositions with trees made over the past two years, show an artist at the top of his game, doing what he’s been doing for decades and somehow still making it entirely new and surprising.”

“Alex Katz: Seasons” will mark the museum debut of Katz’s latest series of landscapes. To create these works, Katz often begins with photographs, shot on his iPhone, and smaller painted sketches, which he subsequently transforms into large-scale compositions. Katz paints quickly, frequently completing an entire painting within a single morning. Katz removes the traditional indication of a horizon — a decision that, when paired with the large-scale of the paintings, envelopes the view-

ing to history and preservation. All proceeds will benefit the museum’s educational and cultural programs. The museum has donated several booths to area nonprofits who will share their message and mission with the attendees.

Admission is free. Vendor spaces are 10 by 16 feet and cost $75 per space. Food vendor booths are $150. The deadline is August 30.

Vendors wishing to reserve a space or purchase an ad in the program booklet distributed to all visitors can call Charles Hill,

er in an environment with no clear beginning or end.

Katz said of the series, “The sensation of color is what I wanted. The sensation of seeing.”

The Museum of Modern Art is at 11 West 53 Street. For information, www.moma.org or 212-708-9400.

“Spring” by Alex Katz, 2023, oil on linen, 120 by 252 inches. ©Alex Katz / Artists Rights Society (ARS), NY. Courtesy of the artist and Gladstone Gallery. Photography by David Regen.

Chazen Exhibit Chronicles

African American Artistic Experiences In Nordic Countries

“Sunflowers” by Walter Williams, n.d., mixed-media.

Loan courtesy of The Johnson Collection.

MADISON, WIS. — Love, adventure, educational opportunities, career advancement, sexual exploration and escaping racism are among the myriad of reasons African American artists traveled to Nordic countries during the first half of the Twen tieth Century. While some visited to learn and perform, others relocated in search of a vastly different life.

“Nordic Utopia? African Americans in the Twentieth Century,” on view at the Chazen Museum of Art at the University of Wisconsin-Madison from August 10 to November 11, explores this often-overlooked time. Organized by the National Nordic Museum in Seattle, the exhibition is the first comprehensive panNordic show to illuminate the artists’ motivations and experiences abroad.

“Nordic Utopia?” assembles drawings, paintings, photographs, textiles, film, music and dance to explore the ways in which travel impacted some African Americans’ visual and performance art. New scholarship chronicles the experiences of singers Josephine Baker and Anne Wiggins Brown; jazz tenor saxophonist Dexter Gordon; dancer and choreographer Doug Crutchfield; painters Herb Gentry, William Henry Johnson and Walter H. Williams; multimedia artist and designer Howard Smith and others. The objects on view offer insight into their lives, the social climates in which they worked and the reasons they relocated.

“Some artists left the United States on an intentional quest for refuge from racial prejudice and other social constraints. Others found creative freedom in Nordic countries that catapulted their artistic practice,” said exhibition co-curator Ethelene Whitmire, PhD, a professor in the University of Wisconsin-Madison’s Department of African American Studies.

Leslie Anne Anderson, chief curator of the National Nordic Museum, adds, “The stories of African American creatives, journalists and scholars are told through iconic and rarely seen examples of their work held in public and private collections. These objects are brought into a transmedial dialogue with each other that conveys lively cultural exchange.”

The exhibition draws from several private and public collections across the United States and Nordic countries, including the National Gallery of Art and Smithsonian American Art Museum in Washington, DC; the David C. Driskell Center at the University of Maryland, College Park; Moderna Museet in Stockholm and the National Gallery of Denmark in Copenhagen.

The Chazen Museum of Art is at 750 University Avenue. For information, 608-263-2246 or www.chazen.wisc.edu.

“Mask” by Herbert Gentry, 1959, oil on linen. Photo courtesy of the estate of the artist and Ryan Lee Gallery, New York City.

“Danish Seaman” by William H. Johnson, circa 1935-38, oil on burlap. Photo courtesy of the Smithsonian American Art Museum, Washington, DC.

“Portrait of Roy De Coverley” by Kirsten Kjær, 1933, oil on canvas. Courtesy of Kirsten Kjærs Museum, Frøstrup, Denmark. Photo: Ole Akhoej.

“Cymbals” by Sam Middleton, 1962, mixedmedia and collage on paper. Photo courtesy of Spanierman Modern, New York City.

Untitled by Howard Smith, 1971, watercolor on handmade paper. Photo courtesy of the estate of the artist.

“Kung av klubbar” by Clifford Jackson, n.d., oil on panel. Photo: Jim Bennett/Photo Bakery for the National Nordic Museum.

“Yes/No” by Ronald Burns, circa 1980, oil on canvas, private collection. Photo: Christoffer Regild.

August 12 Unreserved Sale Planned By Hudson Valley Auctioneers

BEACON, N.Y. — Hudson Valley Auctioneers will present an unreserved antiques and estate auction with absentee, phone and online bidding through Liveauctioneers.com on Monday, August 12, at 5 pm Eastern time. The sale includes select items from estates in Rhinebeck, Peekskill, Brooklyn, HoHo-Kus and other locales.

The sale begins with a vintage toy and collectible lot from a New Jersey estate, including three gas-powered copters, a Marklin steam toy, early tin carousel, large set Trix trains, tin cars and 1970s/80s TVinspired items. The estate also yielded some jewelry, sterling flatware and hollowware and some midcentury furnishings

and artwork.

The Peekskill estate offered porcelain portrait plates, a Bradley and Hubbard table lamp, two early sleds, two large Nineteenth Century painted tole tea canisters by Empire Hardware Co., and some early textiles and books.

Furniture selections from early to recent include: several period Continental and English case pieces; Stickley Audi oak stands; vintage Chinese cabinets purchased in the 1970s along with a set of four massive rosewood chairs; a vintage Stickley-style round table; pine cupboards; a double architect’s desk and six early Michael Thonet ebonized chairs.

Artworks are offered through-

out the sale with traditional, Modern and abstract artworks, prints and other media. Artistworks include Outsider Rex Dimond, oil of forest with deer by Anton Henke, early portraits, William Stanley folk art drawings, a C.L. Lewin portrait, two early paint decorated ladies fans, a James Montgomery Flagg ink and watercolor illustration, Man Ray signed litho, Dali 1/75 litho and several others.

The Millbrook estate had several gilt frames and mirrors, several bronzes, a Buff and Buff transit, a few Continental antique furniture pieces, an early Slazengers, London tennis racket press and a Northwest Coast collection from the 1960s. Other items of interest in the

Lush And Lyrical, “Summer Salon” Offers Work From

More Than 100 Silvermine Guild Artists

NEW CANAAN, CONN. — Silvermine Arts Center devotes its Galleries to Guild members' work every summer. The annual “Summer Salon” gives the community a chance to view the artists’ newest works and experience a range of new directions in contemporary art. “Summer Salon” runs through August 22. For the seasoned or new collector, “Summer Salon” features a wide range of price points and styles — from contemporary to traditional, with art for every budget and aesthetic preference. Among the works featured in the exhibition are Miggs Burroughs’ dynamic, text-based “signscape,” Pam Ackley’s layered and atmospheric still life and Renée Hughes’ “Undercurrent” with its vivid colors and skilled composition. A painterly sensibility with patterned and graphic elements emerges in Karen Vogel’s paintings, Greg Welz’s newest “paper cuts” and Sharon Cavagnolo’s composition in gouache, ink and graphite. “Summer Salon” provides a glimpse of Silvermine artists experimenting and exploring the possibilities of their art. Leslie Giuliani incorporates the sculptural element of a handmade gold frame as part of

her composition. Carla Goldberg fabricates a large-scale wall installation from cut and carved Covid shields. James Buxton’s found objects morph into metaphorical sculptures that soar in the gallery space.

Formed in 1922 when sculptor Solon Borglum organized a critique group, the Silvermine Guild has a selective peer-jurying process. Many of its artists have work in permanent collections of some of the world’s most prestigious museums as well as prominent private and corporate collections. Guild membership has grown to more than 300 artist members internationally, and has included such renowned artists as Abe Ajay, James Daugherty, Carlus Dyer, James Flora, James Grashow, Robert Kaupe-

500-lot sale include two iron rooster windmill weights, an early copper horse weathervane, an Eighteenth Century brass engraved German or Spanish jewel casket, a pair of Victorian bronze lion head gate posts, two carved wood carousel horses, a large Hummel collection sold as a lot, Hessel Studio copper vases, a Naim Supernait 1 Integrated hi-fi amp and other pieces and a vintage large cold painted brass Nepalese princess on a lotus throne. Of note is a rare #63 of 250, 1932 commemorative goblets for President Theodore Roosevelt engraved by the firm of Arthur S. Vernay, N.Y.

In-house previews are Sunday, August 11, from 1 to 5 pm and Monday from 2 to 4:30 pm, or by appointment beginning July 29.

Hudson Valley Auctioneers is located at 432 Main Street. For information, 845-480-2381, 914489-2399 or www.hudsonvalleyauctioneers.com

lis, Ruben Nakian, Alice Neel, Gabor Peterdi, Jens Risom, John Vassos and Faith Ringgold.

The Silvermine Arts Center is at 1037 Silvermine Road. For information, 203-966-9700 or www.silvermineart.org.

“Bazooka” by Peggy Dembicer, bead embroidery.

Notable Prices Recently Achieved At Various Auction Houses

Across The Block

Retro 18K Gold Retro Bracelet Goes Wide At Kodner Galleries

DANIA BEACH, FLA. — Kodner Galleries’ Estate Jewelry, Art & Huge Collection sale got underway on July 24 with 315 lots of jewelry, choice timepieces and fine art. A retro 18K yellow gold wide link bracelet received keen attention and sold for $6,930. Deemed in very good vintage condition, the bracelet was signed (hallmarked), measured 7¼ inches long and had a weight of approximately 86 grams. For information, www.kodner.com or 954-925-2550.

Antique Persian Rug Reigns At Winter Associates PLAINVILLE, CONN. — On July 22, Winter Associates conducted a 349-lot auction of artwork, jewelry, antique furniture, rugs, Americana and more. An antique Persian Serapi or Gorevan carpet, measuring 19 feet by 13½ feet, was bid beyond its $7,500 high estimate to finish at $11,400 and claim the top spot of the sale. Woven with wool on cotton, the predominantly red rug featured a large navy blue floral medallion at the center and had other scrolling vine and floral details woven throughout in light blue, cream, green, pink and orange. For information, www.auctionsappraisers.com or 860-793-0288.

Chewing Gum Card Pops Estimate, Brings $42,000 After Weston’s Bidding War COVENTRY, CONN. — An 1888 National Chewing Gum three-player baseball card brought $48,300 at Weston’s Auction Gallery on July 23. Likely a promotional card for that year and with no known examples, it was an exciting find for auction manager Ron Schulter, who also found Gold Coin baseball cards in a late Nineteenth Century scrapbook album from upper New York State. Seven phone bidders — from Texas to Vermont — were eager to compete and the lot’s $5/9,000 estimate was immediately shattered by a $10,000 opening bid from Texas. In-room bidding provided additional competition and the card finally sold for $42,000 to a collector from Fairfield, Conn. For additional information, 860-742-0003 or www.westonsantiques.com.

All prices include buyer’s premium.

Winter Landscape Heats Up At Clars

OAKLAND, CALIF. — A high point in Clars Auctions’ July 19 Jewelry, Furniture, Art & Asian 738lot auction was a winter landscape by John Folinsbee (American, 1892-1972) that came from the estate of University of California, Berkeley, architecture professor Raymond Lifchez. Measuring 19 by 23 inches, the circa 1910-15 oil on canvas attracted several bidders online and on the phone. In the end, an online bidder prevailed against competitors to win it for $28,950, well ahead of its $4/6,000 estimate. For information, www.clars.com or 510-428-0100.

Fairman River Painting Sails To Top At

DuMouchelles

DETROIT, MICH. — Leading DuMouchelles’ Premier Selections auction, conducted on July 19, was “View of the Upper Hudson River at Storm King,” an oil on canvas by James Fairman (American, 1826-1904). The 1885 painting, signed and dated lower right, depicted a rowboat on the shore in the foreground with towns and fishing vessels on the opposite shore. In the upper right, over the river valley, there were storm clouds rolling in. The painting was housed in a period giltwood and gesso frame, measuring 40 by 81 inches. With provenance to a prominent Grosse Point Park, Mich., American art collection, the painting sailed to a New England-based internet bidder for $25,800. For information, 313-963-6255 or www.dumoart.com.

Heritage Flies Star Wars Y-Wing Model To $1.55 Million

DALLAS — The Y-wing that took on the Death Star in 1977’s Star Wars took off again Friday, July 26, at Heritage Auctions, selling for $1.55 million to lead Heritage’s $5.9 million Hollywood / Entertainment Signature Auction. Modelmaker Colin Cantwell’s so-called “TIE Killer,” given its moniker because of the TIE fighter painted on its nose, was one of only two hero models made for George Lucas’ space opera. It’s most famous for leading the first trench run on the Death Star before Darth Vader destroyed it. The 27½-inch model is now the third-most valuable Star Wars screen-used prop sold at auction. For information, 214-528-3500 or www.ha.com.

Bierstadt Seascape Makes Splash In Eldred’s Summer Sale

EAST DENNIS, MASS — Eldred’s Summer Sale spanned three days, July 24-26, and gave bidders more than 850 lots of fine and decorative art to compete for. Earning $100,800 and the highest price of the three-day event was “Sailors on the Wave,” an oil on canvas composition by Albert Bierstadt (German American, 1830-1902) that had been restored by New York City restorer, Simon Parkes. Now mounted on board and in a 14½-by-15½-inch frame, the composition found a new home with a New England collector bidding by phone. For information, www.eldreds.com or 508-385-3116.

Abstract Composition Claims Top Spot At South Bay

EAST MORICHES, N.Y. — An abstract oil crayon and oil on collage on paper by Mary Abbott (American, 1921-2019) was the leading lot in South Bay Auctions’ July 24 sale. Among 206 lots of fine art, collectibles, firearms, furniture, folk art and Americana, the untitled work surpassed its estimates to achieve $7,920 ($2/3,000). Done circa 1950s and purchased directly from the artist by the consignor, the 18-by-24-inch work was signed in pencil and was unframed. For information, 631-878-2909 or www.southbayauctions.com.

MG Convertible Kit Car Drives High For Amelia Jeffers

COLUMBUS, OHIO — While it was not the highest price of Amelia Jeffers’ July 26-27 Summer Fabulous Finds auction, the $7,500 realized for a 1952 MG convertible kit car with camel leather interior, 1970 Volkswagen engine and non-working speedometer was a strong result. Speaking after the sale, Jeffers noted the car was purchased by a celebrity on the West Coast. “We have cultivated quite an audience of buyers on both coasts and I think that speaks to the affordability of shipping into and out of the Midwest.” For information, 740-362-4771 or www.ameliajeffers.com.

Richard Meyhew Painting To Highlight Kensington Sale

CLINTONDALE, N.Y. — Richard Meyhew is the last living member of Spiral, the New York based African-American painter’s collective of the 1960s that included co-founder Romare Bearden. At the age of 99 years, Meyhew said what he inherited from his Indigenous forebears is not craft but inventive consciousness. The painting “Path” reflects his early vision of an American landscape.

Kensington Estate Auction’s August 5 online sale will include photography, Nineteenth-Twenty-First Century art (paintings and illustrations), art glass, bronze and stone sculptures, antiquarian books, wood carvings, Native American ethnography, antiquities, trains, coins, stamps, urban graffiti tagged art, jewelry, rugs and more.

Alexander Calder’s: Our Unfinished Revolution with the full text is a rare find. The art category also includes Beverly Pepper’s soft-ground untitled etching, serigraphs by Jon Carsman on hand-made wove paper, a work by Alain Kleinmann, oil painting by Alfred Montague, still life painting by Simka Simkhovitch, a collection of paintings by Alexander Gore, oil painting by the Dominican artist Juan Plutarcho Andujar, watercolor by the Taos artist Elizabeth Maria Becker, a rare collection of paintings by Misha Reznikoff, architectural mural studies and paintings of Robert Van Vorst Sewell, including “Charlatans” and “Jook Savages Medicine Show,” and a 1967 concert poster, to name just a few.

Unique images and photographers are represented in the photography and paper section. Hollywood stars are well represented through inscribed photos, a collection of Associated Press photographs of American presidents and world leaders, Tobias Everke photographs and published books by Douglas Menuez and from his Light Years Project enlarged silver gelatin prints of Gerald Forster. Original international lithographic posters from the 1950s were designed by Jacques Riches, Rob Gessner, Celestino Piatti, Picasso’s Museu Picasso exhibition poster, Robert Rauschenberg and others round out this category.

The ethnography, folk art and Native American category is represented by an antique Native American stamped potato basket, Flora Rodriguez Casa Grande polychrome vessel, Southwestern Native American wool blanket, Katchina carvings, Roy Henry Vickers “Black Fish,” carving from the Shona carver Richard Mteki, and Middle Eastern Bedouin women’s face veil.

Southeast Asia is on display with the antique Burmese lacquered temple carving, wooden marionette theater string puppet, antique Rajasthani painted wooden shutters and a handcarved and painted wood sculpture of the Hindu demon King Ravana. Symbols of good and evil, life and death are metaphors in the double-faced carved Janus helmet headdress mask. Collectors of jewelry and silver will be interested in a pair of Turkmen carnelian cuff bracelets, silver prayer amulet container, Middle Eastern handmade sterling silver filagree bracelet and filigree pendant with smokey topaz, jade and diamond pendants, sterling silver cuff bracelet set with gems, Zuni turquoise and coral cuff bracelet, Taxco Mexico sterling silver bracelet with onyx and an antique hunter-case pocket watch. Silver collectibles include sterling silver cigarette cases, snuff boxes and match safes and sterling silver Royal Danish, Wallace and Mexican Plateria and sterling silver frames.

The array of objets d’art include an Art Deco vase with sterling silver floral overlay on black amethyst, Victorian-era Wavecrest hand-painted hinged dresser boxes, items reflecting the history and prestige of Napoleon, antique Emeralite banker’s desk lamp with original green glass shade, Art Deco Three Graces smoker’s stand by von Frankenberg for Frankart, signed Daum Nancy art glass vase and 1920s Art Nouveau Czech Bohemian vase by Kralik Glassworks. Bronze items include antique miniature bronze statues, French Art Nouveau figural bronze trays and a vintage reticulated pierced bas-

‘Meg Webster: Nearest Ocean Water’ At The Ogunquit Museum Of American Art

OGUNQUIT, MAINE — “Nearest Ocean Water” activates the dynamic habitats encompassing the grounds, which include wetlands and intertidal zones. Meg Webster (b 1944) has long been guided by an environmentalist impulse to celebrate and preserve the natural world, often working raw, formless matter into minimally constructed, pure geometric forms such as cone, mound and

prism. “Nearest Ocean Water” now sits at a new outdoor location within this singular site on three acres overlooking the Atlantic Coast. Holding more than 300 gallons of water from Narrow Cove, this work is on view through the close of season on November 17. The Ogunquit Museum of American Art is at 543 Shore Road. For information, www.ogunquitmuseum.org or 207-646-4909.

ket adorned with dancing women and butterflies.

Clients often look to Kensington Estate Auctions for modern and graffiti art. Consider works by LA II, the artist who historically collaborated with Keith Haring, the art of John Urbain, the magical art creating popular illustrations by the Chinese artist Tang Maohong and a surreal collection of drawings by Linda Gardner connected to poetic texts. Setting the table in this category is the midcentury Italian iron side table by Claudio Rayes.

Objets d’vertu are vast and unique. Stamp and coin collectors will be interested in collections of American coins, United Nations silver metallic First Day cover sets, real photocards and American stamped envelopes (1890-1960s). Toy collectors of any age should review the collec-

tion of postwar Lionel, Marx, American Model and Mars train cars. Antique American advertising stoneware crocks, vintage wild boar cigar frosted blue glass humidor, American folk art handmade felt grand piano by B. Peck, roaring to the finish is the American primitive hand-carved folk art lion and so many others will

round out this online auction. This includes going back to the past, available will be collections of Greco-Roman and Holy Land antiquities.

Kensington Estate Auctions is at 989 Plattekill Ardonia Road. For additional information, 917331-0807 or www.kensingtonestateauctions.com.

BI-WEEKLY SUNDAYS 8:30 am to Noon August 25, Sept. 8 and 22

$5 - 8:30am to 9:30am

Richard Mayhew, “Path.”

Alexander Calder LA II, “Grafitti Tagged Sculpture.”

THOMASTON, MAINE —

Continuing its tradition of organizing a late summer auction that is jam-packed with art and decorative rarities, Thomaston Place Auction Gal-

Marketplace

Grand Summer Sale August 23-25 At Thomaston Place Auction Galleries

“Mujer” (Woman), a 1945 painting by Amelia Pelaez (1896-1968).

leries will present “2024 Summer Grandeur” on August 23, 24 and 25.

Owner and auctioneer Kaja Veilleux noted: “The amazing inventory for this year’s big summer sale includes a balance of antique, vintage and modern pieces. In addition to the extraordinary selection of art, there’s great collections of Moxie memorabilia, Brother Thomas pottery, midcentury furniture and musical instruments.”

The fine art category will be led by a group of Modernist works, including “Mujer” (Woman), a 1945 painting by Amelia Pelaez (1896-1968); a

monumental acrylic on canvas painting titled “Serenidad, Arriba” by Venezuelan artist Mercedes Pardo (1922-2005); Andy Warhol’s (1928-1987) “Mammy,” a signed and numbered limited edition artist proof screenprint; and an untitled abstract watercolor painting by Charmion Von Wiegand (1896-1983).

The sale will also present an oil on board painting depicting a winter brook by Edward Willis Redfield (1869-1965); “Winter,” an 1886 painting depicting horses in a snowy valley by Scott Leighton (1849-1898); a watercolor work depicting a derelict schooner in Camden, Maine, painted by Jamie Wyeth (b 1946) when he was 12 years old; “A Portrait of Three Dogs,” painted in 1876 by British artist John Sargeant Noble (1848-1896); and a circa 1870 graphite drawing by Winslow Homer (1836-1910) titled “Boy with Cap.” Additionally, there will be works by Albert Pinkham Ryder (1847-1917), Andrea Solario (1465-1522), James Fitzgerald (1899-1971), George Inness (1825-1894), John Singleton Copley (17381815) and many others.

Maine artwork will also be featured, with works by Don Stone (1929-2015), Lynne Drexler (1928-1999), Imero Gobbato (1923-2010), Jay Hall Connaway (1893-1970), Bernard Langlais (1921-1977), William Thon (1906-2000), Emily Muir (1904-2000), Charles Greenough “Chippy” Chase (1908-1998), Frederic Kellogg (Contemporary) and others.

One of the largest private collections of Moxie advertising and memorabilia will be offered, led by an embossed tin Moxie Hall of Fame sign with copy “Eclipses Everything, Drink Moxie, Distinctly Different,” and a rare circa 1933 tin sign depicting the trademark Moxie horse-mobile passing a billboard.

At this auction the balance of

the ceramics collection (31 lots) created by Brother Thomas Bezanson (1929-2007) and lovingly cared for by the monastic community at Weston Priory (Weston, Vt) will be sold. Featured among these pieces will be a 1970s bulbous flat rim vase with copper red glaze, a globular vase with copper blue over celadon glaze and a circa 1965-70 ovoid vase with cylindrical neck in honan tenmoku glaze. There will also be an extensive offering of art glass, including pieces by Tiffany Studios, Daum Nancy, De Vez, Galle and Thomas Webb.

Items of historic interest will include a circa 1862 gangway board from the USS Hartford , the steam/sail flagship of Admiral David Glasgow Farragut throughout the Civil War; an 1864 appointment signed by President Abraham Lincoln naming J.H. Goodenow of Maine as US Consul General to Constantinople; and a Fourteenth Century Mid-Gothic period liturgical carved ivory panel.

The auction will present a large selection of modern design furniture, such as a Brutalist design mixed metal console table by Paul Evans Jr; a “Power Play” chair and ottoman by Frank Gehry for Knoll; two Herman Miller leather upholstered Eames chairs with ottomans; a midcentury teak flip-top bar by Torbjorn Afdal for Mellamstrands Mobelfabrik, Norway; and a 1960s-era Danish modern teak credenza by Peter Hvidt and Orla MolgaardNielsen.

Among the group of custom furniture is an Italian chinoiserie painted two-part secretary desk; a set of six custom Queen Anne-style mahogany dining chairs by Karges Furniture Co. (Evansville, Ind.); an Eldred Wheeler tiger maple highboy; and a Chesterfield sofa upholstered in maroon leather.

Featured antique furniture lots include a Nineteenth Century French Neoclassical bronze and malachite gueridon table; an American Queen Anne period cherry highboy; an Eighteenth Century red stained maple and pine splay leg tavern table; a European late medieval oak double-sided floor lectern; and a Hepplewhite period inlaid mahogany huntboard-form butler’s desk. Noteworthy pieces in the jewelry category include a loose 2.92-carat round brilliant cut diamond; a ladies Art Decostyle 14K white gold, aquamarine and diamond ring; and an 18K yellow gold choker necklace set with five brilliant cut diamonds by Shreve Crump & Low.

The auction will begin at 11 am ET each day. The gallery will be open for previews on Saturday, August 10, and August 17 (noon to 4 pm); and on Monday through Friday, August 12-16, and Monday through Thursday, August 19-22 (9 am to 4 pm). Previewing will also be available on auction days, Friday, Saturday and Sunday, August 23, 24 and 25 from 9 to 11 am.

Thomaston Place Auction Galleries is 51 Atlantic Hwy (US Route 1). For more information, www.thomastonauction.com.

BOSTON — The Museum of Fine Arts, Boston (MFA), presents “Ancestors and Place: Indigenous North American Prints,” on view through October 14. The words ancestors and place have many connotations, but for Indigenous peoples, they are tied to all things. Place extends beyond a single location to encompass land, water and sky. Ancestors are those not only human, but nonhuman too, that are living elements of a place. The Museum of Fine Arts, Boston is at 465 Huntington Avenue. For more information, www.mfa. org or 617-267-9300

Moxie tin Hall of Fame sign, 1933.

Lynne Drexler’s (1928-1999) colored pencil work titled “Rooster.”

Berkshire Botanical Garden

To Exhibit ‘The Lost Bird Project’

STOCKBRIDGE, MASS. —

Berkshire Botanical Garden’s 2024 Art/Garden series continues in August in homage to North American birds that have been driven to extinction.

Todd McGrain’s “The Lost Bird Project” includes largescale outdoor sculptures that are now onsite throughout the garden and an indoor gallery show that opens Saturday, August 10, which features smaller-scale versions of the same sculptures, supplemented with original drawings and other related artwork.

The public is invited to the opening reception on Saturday, August 10, from 5 to 7 pm.

The North American birds immortalized include the Passenger Pigeon, the Carolina Parakeet, the Labrador Duck, the Great Auk and the Heath Hen.

Both the indoor and outdoor

exhibitions run through October 6.

“These bronze sculptures are subtle, beautiful and hopeful reminders,” said McGrain, of Portland, Ore. “The human scale of each outdoor sculpture elicits a physical sympathy. The smooth surface, like a stone polished from touch, conjures the effect of memory and time. I model these gestural forms to contain a taut equilibrium, a balanced pressure from outside and from inside — like a breath held in. As a group, they are melancholy yet affirming. They compel us to recognize the finality of our loss, they ask us not to forget them, and they remind us of our duty to prevent further extinction.”

Celebrating its 90th year, the 24-acre Berkshire Botanical Garden is located at 5 West Stockbridge Road. Its mission is to “provide information, education and inspi-

ration concerning the science, art and joy of gardening and its role in preserving the environment.” The garden is open

National Portrait Gallery Announces ‘This Morning, This Evening, So Soon: James Baldwin And The Voices Of Queer Resistance’

WASHINGTON, DC — The Smithsonian’s National Portrait Gallery has announced “This Morning, This Evening, So Soon: James Baldwin and the Voices of Queer Resistance,” celebrating the 100th anniversary of the writer, essayist, playwright and activist. Through portraiture and biography, the one-room exhibition will explore Baldwin’s legacy alongside his contemporaries in art, music, film, literature and activism. The exhibition is curated by the National Portrait Gallery’s Director of Curatorial Affairs, Rhea L. Combs, in consultation with Hilton Als, Pulitzer Prize-winning author and New Yorker staff writer. It will be on view through April 20.

“On the centennial of Baldwin’s birth, it is important to look at this prolific thinker and writer, not only for his visionary insights but his influence that still resonates,” Combs said. “Baldwin was bolstered by a community of like-minded creatives, including Lorraine Hansberry, Nina Simone and Bayard Rustin, and his influence remains steadfast in the next generation of activists and artists. This exhibition seeks to highlight Baldwin’s significance through a collective portrait that not only offers a portrait of him, but also honors those who helped him become the man known for holding a mirror up to America and her promise.”

Born in Harlem, New York, Baldwin (1924-1987) considered himself “a witness” and used his writings and his work to talk about America and its history. Attempting to ensure the United States “kept the faith,” Baldwin was often recognized for speaking out against injustice when other like-minded artists, collaborators and organizers were overshadowed. Baldwin’s formative years — growing up poor in New York City, serving in the ministry during his teen years, his personal essays and novels

and working closely with civil rights activists of his time — greatly influenced who the artist would become and how he carefully negotiated what were considered acceptable ideas of race, gender and sexuality.

“This Morning, This Evening, So Soon: James Baldwin and the Voices of Queer Resistance,” presents portraits in a range of media and ephemera to reveal how Baldwin’s sexuality and faith, artistic curiosities and notions of masculinity — coupled with his involvement in the Civil Rights Movement — helped to shape this formidable figure. Images feature Baldwin alongside other gay civil rights activists who affected his life, notably Rustin — the political activist and principal organizer of the March on Washington for Jobs and Freedom — and writer and play-

wright Hansberry. Portraits of fellow creatives in Baldwin’s circle will also be on view, including Beauford Delaney, Essex Hemphill, filmmaker Marlon Riggs and singer Simone. The exhibition will feature works by artists Lyle Ashton Harris, Richard Avedon, Beauford Delaney and Bernard Gotfryd, along with contemporary art by Glenn Ligon, Donald Moffett, Sedat Pakay, Faith Ringgold, Lorna Simpson and Jack Whitten.

“This Morning, This Evening, So Soon: James Baldwin and the Voices of Queer Resistance” is the first exhibition presented by the Portrait Gallery dedicated to Baldwin and inspired by the 2019 exhibition “God Made My Face: A Collective Portrait of James Baldwin,” curated by Als. The richly illustrated companion publication, published by the

National Portrait Gallery and DelMonico Books • D.A.P., will feature select writings by Baldwin on themes of gender politics and religion.

“This Morning, This Evening, So Soon: James Baldwin and the Voices of Queer Resistance” is presented with the support of the Ford Foundation and Tommie L. Pegues and Donald A. Capoccia. Additional support has been provided by the Portrait of a Nation Gala.

The National Portrait Gallery is at 8th and G Streets Northwest. For more information, www.npg.si.edu.

every day, 9 am to 5 pm.

For more information, 413298-3926 or www.berkshirebotanical.org.

Read Us Every Week

Todd McGrain’s “Passenger Pigeon” is among the large bronze statues now on display.

Todd McGrain’s “Slender-billed Curlew” (ink and pencil on board) is among the featured artworks.

“Untitled (Photographs of James Baldwin in and around Istanbul, Turkey)” by Sedat Pakay (1945-2016), digital slide projection of photographs from circa 1968. Courtesy of the Estate of Sedat Pakay. Selection by Hilton Als.

Butterscotch Bidders Find Fancy In The Fine Arts

BEDFORD, N.Y. — Butterscotch Auction conducted its Summer Estates auction on July 21, presenting 587 lots sourced from local estates and collections.

Fine and decorative arts led the sale, but silver, books, Asian art, jewelry and rugs were also wellrepresented in the offerings. Olivia Tornick, marketing manager and office administrator, shared, “We are very happy with the results — the sale did well. We had a complete mix of domestic and overseas bidders, and most items were sold online but we did have some in-person buyers. Some items sold to dealers and galleries, but a lot sold to private collectors.” Additionally, Tornick mentioned, “A lot of female artists were represented among the top lots in this sale.

Recently, there has been a trend toward — or an interest in — works by women.” Another notable pattern included regionally significant works returning to their places of origin.

The top lot in the sale, “Seated Female Figure” by South Korean artist Kim Heung Sou, exemplified the latter. Exceeding its $25,000 high estimate, the oil painting was purchased by a buyer located in South Korea for $30,480. Sometimes called “Picasso of Korea,” Heung Sou is known for his works featuring a blend of abstract and figural qualities, predominantly characterized by bold shades of red done with palate knife impasto.

“Seated Female Figure” is no exception — the woman’s beige dress stands out against the

bright red and dark blue background, though the artist’s textured layering shows blue, teal and orange details, almost resembling scratches, throughout the work. Housed in a wooden frame, the work was signed “Kim Sou” to the lower right. Finishing right behind Heung Sou’s painting was “Torre E Spirale, Studio I” by Arnaldo Pomodoro, which made $29,280. Made in 1985, the golden bronze spiral sculpture was 17 inches tall and covered in raised hash mark or triangular details. Pomodoro created a similar spiral sculpture, titled “Novecento,” for a fountain in Rome in 2002. Signed at the base and numbered three of a limited series of nine, the piece had previously descended through a Harrison, N.Y., family.

Auction Action In Bedford, N.Y.

Earning $4,148 was this 20-volume set of The Complete Writings of Walt Whitman (20 vols), New York & London: G. P. Putnam’s

According to Tornick, Butterscotch had previously offered a pyramid-form sculpture by Pomodoro and the company attributed the success of that work to be the driving factor in this one’s consignment with them.

The leading work by a woman was “Portrait of a Woman” by Marie Laurencin (French, 1883–1956). The watercolor on paper portrait was signed to the lower right and was housed in a carved gilt frame. Though the frame was cracked at the bottom, bidders took the painting into its estimate range to finish at $11,430. The sitter, with light brown hair and dark eyes, wore a blue head covering with ribbons draping down over her shoulder. Around her neck was an elegant string of pearls.

Lila Cabot Perry’s “The Golfer” exceeded its estimates to hit $9,150. Tornick shared, “The artist was an American woman who was mentored by Claude Monet, and you can really see his influence in this piece.” The impressionist painting shows a golfer, in a dark blue kimono-style outfit, shielding her eyes from the sun and observing the course in front of her. Signed to the lower right, the oil on canvas work was housed in its original frame and descended through a prominent White Plains, N.Y., family before being sold at Sotheby’s New York in 2012.

Other noteworthy paintings included Israeli artist Moshé Elazar Castel’s 1962 “Message Archaic,” a composition featuring a pinkish-red slab with Hebrew text against a black background. According to his artist biography published by The Castel Museum (Jerusalem), “In the 1950s and 60s, Castel developed a revolutionary style of abstract painting that incorporated Jewish symbols and biblical texts and began working with basalt as a creative material. His works from this period […] represent the deep connection he had with the land and Jewish heritage.” This symbolic work topped off at $7,620.

“Poppy Field” by Benjamin Chambers Brown, an oil on canvas landscape showing a field of orange California poppies with trees and mountains in the background, was bid to $5,750 — more than twice its high estimate. The work descended through a Greenwich, Conn.,

An assorted collection of mostly Georgian and Victorian silver caddy spoons, 57 pieces in total,

The sale’s highest-earning lot, at $30,480, was “Seated Female Figure” by Heung Sou Kim (South Korean, 1919-2014), oil on canvas, 40 by 32½ inches framed ($15/25,000).

This Pennsylvania Dutch step-back cupboard in pine, Eighteenth Century, 83½ by 62 inches, sold to a local collector for $4,500 ($700/900).

Earning $5,750 was “Poppy Field” by Benjamin Chambers Brown (American, 1865-1942), oil on canvas on board, signed and inscribed “Benjamin C Brown / California,” 14 by 18 inches framed ($1,5/2,500).

“Villagescape with Figures” by Jean Hugo (French, 1894-1984), mixed media, 5 by 3¼ inches, soared past estimates to achieve $4,000 ($700/900).

Sons, Knickerbocker Press, 1902 ($1/2,000).

exceeded modest estimates to finish at $6,350 ($600/800).

The interior border of this late Nineteenth Century Serapi rug was woven with text in Farsi. Measuring 12 feet 6 inches by 9 feet 4 inches, it was bid to $5,000 ($4/6,000).

Review by Carly Timpson, Assistant Editor Photos Courtesy Butterscotch Auction

“Portrait of a Woman” by Marie Laurencin (French, 1883–1956), watercolor on paper, 19 by 17 inches framed, brought $11,430 ($10/15,000).

This pair of Chinese blue and white porcelain temple jars, 40 inches tall by 8 inches wide, were bid to $9,375 ($1/2,000).

estate and was housed in a gilded wooden frame. Douglas Hofmann’s “The Ballerina” was accompanied by a copy of Douglas Hofmann: Light & Grace (Washington Green Fine Art Publishing, 2000) and went out at $5,080. The oil on panel painting featured a focal ballerina in a beaded black tutu with several other dancers visible in the background, including some reflected in a mirror along the back wall of the studio. In an ornate carved frame, the work came from the collection of a prominent New York doctor who purchased it directly from the artist.

A mixed-media painting that surprised Butterscotch was “Villagescape with Figures” by Jean Hugo. Estimated at just $700/900, the small scene was taken all the way to $4,000. Tornick said the work had a lot of interest ahead of the auction and that it was ultimately sold to a French buyer, taking it back to its place of origin.

Another “huge standout,” according to Tornick, was a pair of Chinese blue and white porcelain temple jars. The jars, with matching decoration, were painted with repeating images of traditionally dressed men, standing against a blossoming tree and bird background, holding large vases with tree and bird illustrations. Despite a high estimate of $2,000, the 40-inch-tall jars were hotly contested and finished at $9,375. Before reaching the auction block at Butterscotch, the jars descended through a noted local Bedford estate.

This early Twentieth Century Heriz carpet, 14 feet 5 inches by 10 feet 5 inches, went out at $5,588 ($2/4,000).

“The Golfer” by Lila Cabot Perry (American, 1848-1933), oil on canvas, 37¾ by 31 inches, hit an ace at $9,150 ($7/9,000).

“Ballerina” by Douglas Hofmann (Maryland, b 1945), oil on panel, 30 by 17½ inches in an ornate carved frame, made $5,080 ($6/8,000).

A notable result was that of a laboriously hand-colored etching of John Francis Renault’s “The British surrendering their Arms to Gen. Washington after their defeat in York Town in Virginia October 1781.” Bearing a high estimate of just $500, the work was bid all the way to $5,842. When asked what prompted such intense competition and interest, Tornick stated, “To the far left of the etching was a regally dressed Black man. This is highly unusual to see in scenes from the time. Other figures pictured include George Washington and his offi-

This Federal inlaid mahogany square pianoforte, William & Adam Bent, Boston, circa 1800-1807, sold with an Eighteenth Century music book for $4,148 ($4/6,000).

cers, all of whom have been identified by the Library of Congress.” While the high price the work achieved was something of a surprise, she noted that “It got a lot of interest ahead of time. It was very well colored, and you could tell that a lot of time and effort went into the work.”

The selection of silver in the sale was led by an assorted collection of primarily Georgian and Victorian spoons. Many of the collection were caddy spoons for measuring tea, though there were some others as well. The vast collection included many decorative forms such as leaves, shells, fruit, hands, flowers and fish. The collection, which realized $6,350, descended through a Greenwich, Conn., estate and totaled 20 troy ounces in weight.

This hand-colored etching of “The British surrendering their Arms to Gen. Washington after their defeat in York Town in Virginia October 1781,” drawn by John Francis Renault, engraved by Tanner, Vallance, Kearny & Co., and Wm. Allen, 33¼ by 42 inches framed, was bid to $5,842 ($300/500).

Arnaldo Pomodoro’s (Italian, b 1926) 1985 sculpture, “Torre E Spirale, Studio I” made $29,280. The golden bronze work was signed and numbered “3/9” on the base and measured 17 inches tall and was 5½ inches in diameter at its widest point ($25/35,000).

As for furniture, a Pennsylvania Dutch cupboard claimed that category’s top prize. From the Eighteenth Century, the step-back cupboard was made of pine and had a yellow painted interior. Tornick shared that the piece came from an old local estate and sold to a local Westchester, N.Y., collector.

Several Persian rugs crossed the block at above- or withinestimate prices. The highest of these was an early Twentieth Century Heriz carpet, which made $5,588 against its estimated $2/4,000. With a predominantly red background, the rug, which descended through an Old Greenwich, Conn., family, was woven with medallions and flourishes in a “pleasing pastel palette,” noted the auction catalog. At $5,000 was a smaller late Nineteenth Century Serapi rug. This one descended through a Greenwich, Conn., estate and was in very good, unrestored condition barring its replaced selvedge. The deep red rug was accented by blue details and it had an interesting thin, creamcolored border with Farsi writing

scrolled throughout. Another Serapi rug from the late Nineteenth Century, of classic design with an indigo medallion on a madder red ground with various blue and cream details, brought $4,318. This one came from a historic Stonington, Conn., home and was the smallest of these.

Achieving $4,148 was “A significant piece, made by the first piano makers in Boston right around the time of our country’s origin,” according to Tornick. The circa 1800s William & Adam Bent pianoforte had inlaid details and an oval nameboard that read, “W & A Bent / Musical – Instrument – Maker’s / No 26 Orange Street / Boston.” The nameboard was surrounded by painted floral scrolls, possibly done by John Ritto Penniman (1782-1841). Made with mahogany and holly wood, the Federal square pianoforte had a five-octave range and was sold with an Eighteenth Century volume of music.

Prices quoted include the buyer’s premium as reported by the auction house. For information, www.butterscotchauction.com or 914-764-4609.

Auction Action in Ypsilanti, Mich.

Schmidt’s Sells Diverse Lineup Of Jewelry, Furniture & Decorative Arts

YPSILANTI, MICH. — An American fire screen scorched its estimate at Schmidt’s Antiques on July 20, blazing past its expected $800-$1,200 and selling online to a collector in Buffalo, N.Y., for $13,750. The late Eighteenth Century fire screen, likely of New York origin, featured mahogany construction, a floral needlepoint panel and carved flame finial. The screen’s height was adjustable and it had a tripod base with cabriole legs. It stood 53½ inches high overall.

The auction offered a diverse

selection of jewelry, furniture and decorative arts. It had fine art, including paintings by Chuang Che, Miguel Florido and Raphael Coronel; decorative art; Eighteenth and Nineteenth Century furniture; Midcentury Modern items and more from estates and private collectors in Michigan and Ohio. The sale totaled more than $180,000 with a 95 percent sell-through rate.

More than 1,500 bidders registered for this sale, representing the United States, Canada, Mexico, Poland, Italy,

A perennial favorite at auctions, this Louis Vuitton steamer trunk achieved its high estimate, reaching $4,375 online, going to a collector in Milan, Italy. Dated to circa 1930, it had wooden construction with the desirable original stenciled “LV” monogram patterned canvas exterior and the original stamped brass hardware.

Among jewelry highlights, this

earned

a

and scrolled

Australia, United Arab Emirates, Germany, Switzerland, Argentina, Guam, China, Slovakia, Hong Kong and India. Bidders’ love for the venerable Louis Vuitton steamer trunk never abates. The example in this sale reached its high estimate, going out the gallery door at $4,375 to an online collector in Milan, Italy. The trunk, dated to circa 1930, had wooden construction, the desired and original stenciled “LV” monogram patterned canvas exterior and the original stamped brass hardware. Its quilted interior had “Louis Vuitton” and “Marshall Fields & Co.” labels. Monogrammed “F.L.C. Chicago” on its sides and lacking the interior tray,

the trunk showed the usual wear and minor damage. It measured 31½ by 19½ by 13½ inches overall.

The jewelry category held two items of note among the sale’s top eight. The first was a Chinese 22K gold bracelet that finished below estimate at $5,313; it sold to a collector in Richmond Hill, Ga., who was bidding on the internet.

The bracelet had a chunky, triple linked design with scrolled floral decoration and a spherical drop charm with serpent-form clasp. Impressed with Chinese hallmarks, it tested 22K gold and weighed 60.6 grams total. The second piece was a 14K gold charm bracelet; it settled online at

This late Eighteenth Century fire screen, probably of New York origin, blazed to the top of the auction, ignoring its $800-$1,200 presale estimate to sell for $13,750 to a collector in Buffalo, N.Y. Standing 53½ inches high overall, it featured mahogany construction with a floral needlepoint panel and carved flame finial. The height of the screen was adjustable and it stood on a tripod base with cabriole legs.

$4,063, close to its low estimate, going to a dealer in Huntington Beach, Calif. The vintage bracelet had 10 14K charms, including a bust of Nefertiti, William Gladstone, Saint Christopher, St Paul’s Cathedral, a cornicello, gavel, jeweled ewer, Mayan warrior, stein and an oil rig, and one 18K charm of a donkey. It weighed 90.8 grams total. Furniture was modern or folky. A seven-piece Danish Moller dining set by Niels Moller for J.L. Mollers sold for $3,500 to a collector in Ann Arbor, Mich. With rosewood construction, the set featured six dining chairs and an oval extension dining table. The chairs bore the original “J. L.

bidders was this

Review by

W.A. Demers, Senior Editor

Photos Courtesy Schmidt’s Antiques

Charming

14K gold charm bracelet; it was snatched up online by a dealer from Huntington Beach, Calif., for $4,063, close to its low estimate. The vintage bracelet had ten 14K gold charms and a total weight of 90.8 grams.

A curly maple slant top desk from the Eighteenth Century changed hands at $3,125 and was won by an in-house bidder. The New England Chippendale period slant top desk had pine secondary wood and a folddown writing surface that opened to reveal a fitted interior with valanced letter compartments around two center drawers. Its base section had four long, dovetailed drawers and it sat on tall bracket feet.

A Tiffany .800 silver kettle and stand attained $3,250, won by a collector in Philadelphia.

A seven-piece Danish Moller dining set, by Niels Moller for J.L. Mollers, sold for $3,500 to a collector in Ann Arbor, Mich. The set featured six rosewood dining chairs and an oval extension dining table.

Chinese 22K gold bracelet

$5,313. With

chunky, triple linked design

floral decoration, it was impressed with Chinese hallmarks and weighed 60.6 grams total.

Moller Model” and Danish Control foil labels on their undersides, while the table was unmarked. The table measured 78 inches long, fully extended, and the chairs were each 30½ inches high.

Exuding folksiness was a desk from the Eighteenth Century that went out at $3,125 to an in-house bidder.

The New England Chippendale period slant top desk had curly maple construction with pine as its secondary wood.

More decorative arts included: a Tiffany silver kettle and stand, going to a collector in Philadelphia, that attained $3,250 and a pair of George III knife boxes that rose to $3,125, also selling to an online collector in Philadelphia. The mid-

Fetching $3,125, these Eighteenth Century British knife boxes were made of pear wood, had satinwood and ebony stringing and a silvered escutcheon with an engraved shield bearing an Agnus Dei emblem.

Nineteenth Century Tiffany, Young & Ellis .800 silver kettle on stand was made by John. C. Moore & Son, 18541869. Among the desirable elements of the kettle were repousse and engraved floral decoration, a hinged cover with a swan finial and a warming stand with scrolled legs and shell-form feet. The vessel was monogrammed “E.R.B” on the front for Eliza Ripley Buckingham, the wife of William A. Buckingham — former mayor and governor of Connecticut. Impressed “Tiffany & Co. / M Late M / Tiffa-

ny, Young & Ellis” and “550 Broadway” on its underside, the set weighed 53.98 troy ounces total, and included with the lot were a late Nineteenth Century book of Buckingham’s life and handwritten letters regarding his death.

The knife boxes were Eighteenth Century British and made of pear wood. The molded cases had satinwood and ebony stringing, each featuring a sloped, hinged lid with inlaid shell design above a banded front. A silvered escutcheon had an engraved shield bearing an Agnus Dei emblem.

Prices given include the buyer’s premium as stated by the auction house. The firm’s next auction is August 17. It is an online-only auction of the contents of a Victorian Mansion in Coldwater, Mich.; the catalog is already accessible on www.LiveAuctioneers.com. For additional information, www.schmidtsantiques.com or 734-434-2660.

National Museum Of Asian Art Presents ‘Shifting Boundaries:

WASHINGTON, DC — The Smithsonian’s National Museum of Asian Art announces “Shifting Boundaries: Perspectives on American Landscapes,” an exhibition featuring works by American painters such as William Metcalf, Dwight Tryon, Winslow Homer and Abbott Thayer who created profoundly beautiful views of the New England landscapes where they lived and worked. “Shifting Boundaries” looks at these works from a variety of viewpoints to explore what these paintings can tell the viewer about changes to the region. The landscapes become invitations to explore a century of human impact on land and water, the erasure of Indigenous histories and the environmental changes that are altering the New England today. “Shifting Boundaries” is on view through July 26, 2026.

The exhibition pilots a new mode of collaborative curatorial practice. The museum partnered with a group of experts in the field of environment and landscape to develop the themes for the exhibition, select works of art and write object labels. Lauren Brandes (Smithsonian Gardens), Dennis Chestnut (Ward 7 Resilience Hub Community Coalition), Jerome Foster II (Waic Up), Elizabeth James-Perry

Perspectives On American Landscapes’

(Aquinnah Wampanoag artist and marine scientist), Lorette Picciano (Rural Coalition), Stephanie Toothman (National Park Service) and Melinda Whicher (Smithsonian Gardens) worked with the National Museum of Asian Art’s Lunder curator of American Art Diana Greenwold, curatorial assistant Mary Mulcahy and interpretation specialists Liz Gardner and Amy Freesun.

The group’s perspectives, drawn from their individual areas of professional expertise and their own personal experiences, allow people to see new details in these works of art and to document profound shifts in attitudes and practices about the environment over the past century.

These paintings largely depict the New England environment as timeless and static. “Shifting Boundaries” reveals, however, that the views these artists created of pasturelands in Massachusetts and of seascapes in Maine were transforming even as these artists recorded them. This reshaping has only accelerated in the century since Metcalf, Tryon, Homer and Thayer depicted them.

“As the National Museum of Asian Art enters our next 100 years, we are reflecting on our past and shaping our

future with an emphasis on collaboration,” said Chase F. Robinson, the museum’s director. “We are sharing different perspectives in our galleries, experimenting with new approaches, examining object histories and proactively engaging with communities both locally and

abroad. ‘Shifting Boundaries’ exemplifies all of this, showcasing what it means to be a museum in the Twenty-First Century.”

The National Museum of Asian Art is at 1050 Independence Avenue Southwest. For information, 202-633-1000 or www.asia.si.edu.

“Blossom Time” (detail) by Willard Metcalf (1858-1925), United States, 1910, oil on canvas. National Museum of Asian Art, Smithsonian Institution, Freer Gallery of Art Collection, Gift of Charles Lang Freer, F1915.27a-b.

Eye Of The Storm: The East Hampton Antiques & Design Show Shines Through Rain

EAST HAMPTON, N.Y. —

From July 12 through 14, the beautiful and historic property at Mulford Farm, part of the East Hampton Historical Society (EHHS), nestled in the heart of East Hampton Village, was home to The East Hampton Antiques & Design Show — what is known as “the premier show of its kind on the East End.”

Celebrating its 18th year, the show began with a preview cocktail party on Friday, July 12, which hosted more than 400 guests, including honorary chairmen and famed design duo, Tony Ingrao and Randy Kemper, as well as board president of the EHHS, Debbie Druker and other trustees. Celebrities in attendance included Canadian actress, Kim Cattrall, American heir-

ess and businesswoman, Aerin Lauder and interior designer and author, Charlotte Moss, among other prominent figures in the industry.

Beginning at 10 am on Saturday, July 13, the Antiques & Design Show kicked off with cars lining up and down James Lane, all trying to secure a good parking spot near the entrance. Buyers braved the dreary on-and-off rain that lasted the majority of the first day, covering themselves and their newly acquired goods with umbrellas, rain jackets, tarps and plastic. Despite the weather, Lynn Stefanelli, press contact for the EHHS, told Antiques and The Arts Weekly , “The East Hampton Antiques & Design show was a huge success! Despite the rainy weather on Saturday, Jennifer

Lopez enjoyed the show!”

Even the 45 dealers, set up in four different locations across the property, had to adjust for the rain, tucking outdoor furniture displays into the corners of their booth spaces or covering pieces with tarps to prevent damage. Despite this, they were ready for the crowds and, by Saturday’s opening, many had already secured sales from the previous night or from eager early morning customers.

“We’re hot,” was one of the first things Philip Norkeliunas, Gracious Tables, New York City, said when asked how he was doing less than an hour into the first show day. The humidity from the inconsistent rain had dealers and buyers alike wishing they had a fan like Norkeliunas’, which

Lynn Stefanelli (left), press contact for the EHHS, and interior designer Charlotte Moss (right) posed for a picture at the Preview Cocktail Party, hosted at Mulford Farm on July 12, the evening before the show. Photo credit: Rossa Cole.

Design duo Randy Kemper (left back) and Tony Ingrao (right back) were the honorary chairmen of the preview cocktail party. Photo credit: Rossa Cole.

Gems Place, Warren, N.J., offered a wide array of fine art and sculptures. “Wedding Nite New York” by Charles Fazzino (middle, on ground) had been drawing buyers into their booth with its bright colors and exciting atmosphere. “I wish I brought more,” said owner Joseph Madden of Fazzino’s paintings.

A George III sterling silver kettle from 1791 offered by Gracious Tables, New York City.

Wells and Company, Hudson, N.Y.

An early “master brooch” designed by Georg Jenson, whose flatware, jewelry and silverware were offered by William Drucker, Drucker Antiques Inc., Mount Kisco, N.Y., who has been doing this show “for a long time.”

Despite the humid and rainy weather at the beginning of the show, potential buyers were still browsing in full force.

Review & Photos by Kiersten Busch, Assistant Editor

he said, “has been wonderful.” What was also wonderful was customers’ interest in his vintage silver and jewelry. “I was really excited to launch jewelry this year,” he added, noting that it had a lot of steady interest with show attendees. His vintage silver — serving platters, kettles, candelabras, small serving plates, etc. — had sold well the previous night. Norkeliunas was particularly proud to offer a 1761 George III silver kettle by London manufacturers Whipham & Wright, which he professed was “one of the most important pieces of English chinoiserie.” He also displayed a white gold ring with a large carved aquamarine stone, inlaid with white sapphires, which he called a “showstopper.”

Ronald Wells, Wells and Company, Hudson, N.Y., was already having a busy day an hour into the show. As we approached his booth, he was immersed in his eighth sale of the morning. “It’s always busy!” he exclaimed happily. Wells, who also has a showroom in Great Barrington, Mass., has been attending the Antiques & Design Show for 18 years. He offered an assortment of Midcentury Modern furniture, mirrors and fine art, including two identical metal snake sculptures which already had red “sold” tags attached. “My picks are individual, yet they could be together,” Wells explained when asked about the aesthetic of his booth. “Just like how you style jewelry!”

This was Cynthia Murphy’s first show ever. Through her business, Cynthia Murphy Designs, based in New York City, she “collects antique textiles and designs special pillows and mounting pieces with her collection.” Murphy enjoys adding new and interesting elements to old textiles; “I’m into recycling,” she admitted. Notable at her booth was a wall-mounted display piece cut from French Art Deco fabric. The fabric previously belonged to a piece of furniture designed by Paul Follot. Additionally, Murphy offered a set of three throw pillows made from Japanese Meiji period silk and a wall-mounted piece repurposed from a Yoruba tribe ceremonial costume, among other items. “I like to tell the stories of these textiles,” she shared.

Back for their second show was the eclectic Newlyn Lowly, Great Barrington, Mass., owned by Ryan Wagner and his partner, Kassie Keith. It was Keith’s first time at Mulford Farm and she said, “It’s been really good so far. It feels great that we’re establishing connections with people who understand our aesthetic.”

What exactly is their aesthetic? “A little creepy and eclectic, a bit unusual and out there,” said Keith. The business’ aesthetic was perfectly encapsulated by their “mascot” on display: a Nineteenth Century bronze bust of a woman with a three-eyed mask covering the top half of her face. Keith and Wagner offered an array of eclectic indoor furniture, knick-knacks, sculptures and

“People really came in to shop and have a nice time,” said Kitty Clay of Kitty Clay, LLC, South Hampton, N.Y. Potential buyers were very interested in her majolica and framed butterfly artwork, but she also offered outdoor dining furniture, glassware drinking sets, mirrors, plush indoor chairs and shell-decorated items, among other curiosities.

Mark Shilen travels to India to acquire the Dhurrie rugs he was selling at his booth. He said that he prefers faded and worn rugs, like the blue and white offering hanging on the far left, which is over 100 years old. “They get better as they get older,” he admitted. Mark Shilen Antique Indian Dhurrie Rugs, New York City and East Hampton, N.Y.

are

Fenestella, New York City, was offering a wide selection of midcentury modern furniture and lighting for their first time at the Antiques & Design Show, which had been a “breath

of fresh air” for owner Nick Longhi. “People

here to buy. It’s been great.”

What was once part of a piece of furniture by French Art Deco designer Paul Follot is now a hangable piece of wall art, courtesy of Cynthia Murphy Designs, New York City.

John Carroll, Pimlico Road Antiques, Barnesville, Ga., offered ceramics alongside continental and English furniture. He reported great sales from the Friday night preview and was already doing well Saturday morning, packing up ceramics to ship to buyers.

The “mascot” of Newlyn Lowly, Great Barrington, Mass., who overlooked their eclectic booth.

Ann Parke Collection, Darien, Conn.

These large green olives on a cocktail skewer acted as a delicious beacon for buyers, leading them straight to the booth of Antiques & Modern Design, based in West Palm Beach, Fla.

Jacqueline Graber, Trove, Wurtsboro, N.Y., said that she “strives for a very eclectic look” for what she offers potential new buyers. We think she achieved this.

There were many red “sold” tags on items of various shapes and sizes at the booth of Niki Smith, including one she was going to prepare for a tiled yellow fruit table (lower front). “I’m going to sell out!” she excitedly told us. Also peering at passersby was a large realist painting by a British artist, which had been attracting interest to her booth all morning.

This Star Kazakh rug was graded a type one of four, meaning it was in excellent condition, according to Ali Khaledi, First Rugs Inc., New York City, Boston and Acton, Mass. His son accompanied him as a dealer, making him the youngest at the show at only 12 years old.

“I buy what I like, so I like it all,” said Bruce Emond, Village Braider, Plymouth, Mass., when asked about his favorite piece in the

were doing especially well — many with “sold”

but

Ricardo Bernabe and Ronald Greenwald, Greenwald Antiques, Woodmere Village, Ohio, offered a range of designer bags in various sizes, including Hermès Birkin, Gucci, Louis Vuitton and Chanel.

Offering a mix of fine and modern art, indoor and outdoor Midcentury Modern furniture, designer handbags and jewelry was Robert Massello Furniture, Miami, Fla.

booth. His garden sculptures and plant potters

stickers already attached —

he also offered tribal masks and modern art for those with less of a green thumb.

Conversations soaked in nostalgia kept popping up at the booth of the locally based Polaris Gallery run by Vincenzia Harty. We guess that their vast array of vintage posters, ranging from children’s book series’ like Eloise to a travel poster for San Sebastian, Spain (far left), had a little something to do with it.

Many buyers found shelter from the on-and-off torrential rain in this small barn on the Mulford Farm property — an advantage for Andrew Spindler and William Drucker, whose respective booths were stationed here.

mixed media artwork. With an expertly arranged mix of garden ornaments, fine art, furniture and ceramics, the booth of Sheryl Dunleavy, Ann Parke Collection, Darien, Conn., looked like a set piece for a movie. The most impressive thing on display, however, was an early 1900s English crewelwork four-panel room divider designed by Kathleen Harris, an authority on early Twentieth Century English embroidery design. The wool on linen panels incorporated “a variety of stitches and floral patterns,” said Dunleavy, who excitedly showed off the impressive details of the large work.

The small barn in the middle of the field offered a safe haven from the rain, which was coming down heavily a few hours into the show. It also housed the booths of Andrew Spindler and William Drucker. Spindler, whose business is Andrew Spindler Antiques & Design, based in Essex, Mass., was busy making sales all morning. He has spent 26 years attending shows in the Hamptons and said of the community of collectors and designers in the region, “It’s a great group of people, lots of wonderful connections. Everyone had such a great sense of style and taste.” A Nineteenth Century gilt iron day bed and a Seventeenth Century Franco-Flemish stone top table were two of Spindler’s biggest draws, the epitome of his eclectic style. The table had been sold just a few hours before.

Drucker, on the other hand, representing Drucker Antiques Inc., Mount Kisco, N.Y., was selling an assortment of Georg Jensen jewelry and silver — serving pieces, flatware sets and other accessories for the table. “I specialize in American Arts & Crafts and jewelry; a lot of different colors,” Drucker explained. He was particularly excited to show off a Georg Jenson “master brooch” with multiple orange-hued stones and, also attributed to Jenson, an Art Deco sterling silver coffee set in pristine condition from 1925.

It was very easy to spot the booth of Joseph Collins, Antiques & Modern Design, West Palm Beach, Fla., even from the other side of the showgrounds. Why? The giant sculpture of a stack of three olives on a cocktail spear attracting buyers to his booth like a beacon, of course. “It’s going good,” Collins said when asked around midday about how he was fairing so far. “The olives are attracting people, as well as Omar’s artwork.” Collins was referring to the abstract paintings of Peruvian-Palestinian artist Omar Ananias, adorning the back wall of the booth. According to Ananias’ business card, “his artwork has drawn inspiration from various sources including: the natural world, his personal encounters with marginalized communities and the indigenous knowledge of the rainforest.”

The East Hampton Historical Society’s Mulford Farm Museum is at 10 James Lane. For information, www.easthampton.org or 631-324-6869.

works of

Steven Mohr is interested in “unusual stuff,” which can be seen here in this arrangement of lighting fixtures, fine art, furniture, various smalls and a vintage Louis Vuitton suitcase. More & More Antiques, New York City.

“We’ve sold to a lot of regulars and some A-list designers,” said David Bell of Bell & Preston, Washington, DC. He and his partner, Tom Preston, have been in the business 14 years and were confident that their mix of furniture, pottery, artwork and sculptural objects — ranging from the Eighteenth Century to modern day — would continue to attract more buyers. “What we offer is hot, strong and fabulous,” he joked.

Known for his “garden stuff,” Bob Withington, Withington & Company, Cape Neddick, Mass., reported that he had been selling well throughout the day despite the rain. “The bad weather is good for the show,” he explained, “it keeps people off of the beach!”

Potential buyers browse a rack of clothing from the booth of Susan Simon, New York City, who offers a wide array of textiles. “I have a great audience,” Simon expresses of her customers. “They know what they’re looking at and buying. They’re also amongst the best in the business. It’s a pleasure to work with them.”

Catching the eye of every passerby in the booth of Stephanie Schofield, High Point, N.C., was a portrait of William Crawford, the son of actress Faye Emerson, by Cuban postwar and contemporary painter, John Ulbricht (center). “It’s been going well,” she said of the show so far, “everyone is out shopping and buying.” Schofield also offered an array of Midcentury Modern furniture, lighting fixtures and small sculptures.

Andrew Spindler (middle), Andrew Spindler Antiques & Design, Essex, Mass., talking to potential buyers about an item in his booth.

The

Peruvian-Palestinian artist Omar Ananias at the booth of Joseph Collins, Antiques & Modern Design, West Palm Beach, Fla.

In the booth next to Greenwald Antiques was Woodcliff on the Hudson, New York City. Manned by Gregory Frank, the booth was adorned with copious amounts of bold, sterling silver jewelry from manufacturers like Tiffany & Co. and Cartier. “There was a big rush yesterday,” reported Frank, “there is still a steady crowd of people today.”

Auction Action in Hudson, N.Y.

Indoor & Outdoor Furniture, Photography Sweep Away Competition At Public Sale

HUDSON, N.Y. — On July 20, Public Sale Auction House conducted Divers, an auction offering various riparian and marine-associated treasures alongside other collectibles, furniture and memorabilia.

The sale totaled $124,746, with a sell-through rate of just under 94 percent. “We thought it went well, especially for our Summer Discovery Sale!” said Anthony Massimi, office manager at Public Sale.

Two of the top three lots of the sale left the firm with the

This set of six Midcentury Modern elm dining chairs were in “fair” condition. Each chair had molded seats, geometric backs and square cut-out handles. They rested on splayed tapered legs, with a seat height of approximately 17½ inches. Despite heavy scratching and wear to their frames, the set surpassed its high estimate and went to a local buyer for $960 ($300/600).

This slatted bottom, weathered teak finished outdoor storage chest manufactured by Frontgate measured 24½ inches high, 66 inches wide and 30 inches deep. Despite weathering from outdoor use, the condition was marked as “good,” and it was bid to $2,000 ($250/500).

This Stissing Design farm table measured 30 inches high, 9 feet 6½ inches wide and 33½ inches deep and had an industrial iron base with a zinc top. It was marked with a small plaque labeled “Tim Jones/Stissing Design/Pine Plains, N.Y.” to commemorate the designer, Jones, who is a wellknown artist and designer from New York. The table sat pretty for $1,750 ($2/3,000).

same winning price. The first of these two notable items was a wooden farmhouse cabinet and pantry cupboard. The 7-foot-tall piece contained four pull drawers with knobbed fronts, located below the cabinet, which opened into 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, as it found a new home with a buyer in Jackson, Wyo.

Review by Kiersten Busch, Assistant Editor Photos Courtesy Public Sale Auction House

The second lot finishing at $2,125 was a life-sized white marble sculpture of the Greek god of the sea, Poseidon,

One of two lots leading the sale was this two piece wooden farmhouse cabinet and pantry cupboard in good condition. It had four pull drawers along with front cabinet doors that shielded a small cubby space. The cabinet swung closed at $2,125 ($700-$1,400).

Standing at 18½ inches high, this industrial postmodern stainless steel bench table in the Parsons style made $960, more than doubling its high estimate. The versatile piece could be used as a long seating bench or a low console side table, according to the auction catalog. Its rectangular minimalist metal frame and wide legs were in good condition, and it went home with a local online buyer ($200/400).

standing at 6½ feet. The auction catalog described it as “highly detailed” and in good condition, with only some wear and staining from being outdoors. It swam to its new home in Greenwich, Conn.

Rounding out the top three lots was a cast iron Medici urn planter on a pedestal, which earned $2,040. The 4½ foot planter had a minimalist plinth base, elongated body and egg and dart rim. The lion’s head handles added to

statue of Poseidon, the

Earning $938, this adjustable industrial drafting table made of wood and iron would be “great for an architect or artist’s work studio,” according to the auction catalog. It had an angled surface that could be raised, with working adjustment knobs, and it sat on sawhorse-style legs. The table measured 43½ inches high and sold to a Charlton, Mass., buyer ($200/400).

This

Greek god of the sea, sailed to $2,125. The life-sized sculpture was carved in white marble and measured 6½ feet tall ($2/4,000).

Headed off to Stuyvesant, N.Y., for $2,040 was this twopiece set containing a cast iron Medici urn planter with a neoclassical frieze and its accompanying minimalist plinth base, which bloomed to more than three times its high estimate of $300/600.

its neoclassical flare, as did the figural frieze in relief, which depicted scenes of various men and women. The planter was in good condition, although there was heavy rusting due to previous outdoor use, and it contained a drainage hole on its bottom.

Furniture — whether indoor or outdoor — was a hot ticket item at the sale, with six of the top 10 lots falling in the general category. A large weathered teak pool storage chest made for an outdoor deck and manufactured by Frontgate (West Chester, Ohio) sold for $2,000 to a buyer in Spanish Fort, Ala., for more than three times its high estimate of $500. The chest had a slatted bottom to promote better air circulation and a “large capacity for storing outdoor accessories” in its 66-inch-wide and 30-inchdeep interior, according to the auction catalog.

A Stissing Design farm table made by New Yorkbased artist and designer Tim Jones was a custom design, fitted with a zinc top and an

This midcentury modern desk with a chrome and leather top was most likely designed by Leon Rosen for his highend furniture company, The Pace Collection (1960-2001). The table had three pull drawers on one edge and two pullout surfaces on the opposite side of its metal frame, which encased the brown leather upholstered tabletop surface. With only a few minor scuffs, the table crossed the block for $938, going to a High Point, N.C., buyer ($400/800).

Over 295 antique tintype photographs from the Victorian period were captured for $1,000. The photos — averaging 3¾ by 2¼ inches, with some larger and some smaller — depict men, women and children getting their studio portraits taken. Their condition was marked “as-is” in the auction catalog ($300/600).

industrial iron base. Its antique cast iron legs were marked “E.A. Adams Machine Co., Providence, R.I.” The table also contained a small plaque, marked “Tim Jones/ Stissing Design/Pine Plains, N.Y.,” identifying the maker, and was bid to $1,750, with an online bidder from Chatham, N.Y., eventually scoring the piece.

Also from the outdoor furniture category were a pair of black cast iron gothic garden benches, measuring approximately 16¼ inches at seat height. The pair had horseshoe-style designs on their backs, cabriole legs and floral motifs surrounding the seat and arms. Minor paint loss and oxidation did not stop bidders from pushing the pair to $1,500, just past their $1,000 low estimate. According to Massimi, they were purchased by the same buyer who won the teak Frontgate storage chest.

Two lots of assorted photographs were bid into the top 10 best-selling of the sale. A set of 23 photographs of the

Apollo space missions, NASA rocket ships, astronauts and the moon went for over 13 times their high estimate, heading to a buyer in Paris, France, for $1,375. The photographs of the various Apollo missions were color printed and contained identifying stamps and information on the landing and the crews. “This lot was a surprise,” said Massimi. “We were glad to see it get the attention that it did!”

A lot of more than 295 antique, black and white Victorian tintype photographs included various studio portraits of men, women and children. Some of the photos were in mat frames, but others were loose. The group sold for $1,000 to a buyer in Mercersburg, Penn., surpassing its estimate of $300/600.

Public Sale’s next auction, offering various antiques, will take place on September 28. Prices quoted include the buyer’s premium as reported by the auction house. For information, 518-966-7253 or www.publicsale.com.

For $1,500, this pair of cast iron outdoor garden benches in the gothic style put a spell on bidders, with their horseshoe style back designs and winding floral motifs near the seat and arms. Both benches were in good condition ($1/2,000).

This lot of 23 photographs contained shots of the Apollo space missions, NASA rocket ships, various astronauts and the moon. All were 8 by 10 inches, and sold to a Parisian buyer for $1,375, despite a $50-$100 estimate.

INTERNATIONAL

Städel Museum Exhibition Focuses On Modern Women Artists

FRANKFURT, GERMANY — Modernism is unimaginable without the contribution of women artists. Not only well known women painters and sculptors such as Louise Breslau, Ottilie W. Roederstein and Marg Moll, but also many others successfully established themselves in the art world during the period around 1900 — Erna Auerbach, Eugenie Bandell, Mathilde Battenberg, Marie Bertuch, Ida Gerhardi, Dora Hitz, Annie Stebler-Hopf, Elizabeth Nourse and Louise Schmidt, to name just a few. In Paris and Frankfurt alike, they built international networks and supported one another. As influential teachers and art agents, some of them also shaped the history of the Städel Museum and Städelschule. It is time to dedicate a major exhibition to these women for the first time ever, and to discover them anew. Until October 27, the Städel Museum presents some 80 paintings and sculptures by 26 women artists in “Städel / Women.” Among them are significant artworks from US and European museums and numerous works from private collections, which are exhibited for the first time. Previously unpublished archival materials accompany the works. Photographs and letters tell of international studio collectives, the strategic importance of professional artist associations and successes, but also of continual efforts to gain recognition.

The exhibition features women artists who, with great independence and professionalism, asserted themselves in an art world dominated by male “artist geniuses.” From the perspective of their networks, a complex picture of women artists’ training and working circumstances in the modernist era emerges — from the struggles of the pioneers in 1880s Paris to the first female sculptors at the Städelschule (Städel art school) around 1900, to the self-determined young generation of women artists in the New Frankfurt of the 1920s and 30s. Widely different stylistically, the works testify to the diversity of women’s artistic approaches, while also mirroring the radical social and aesthetic upheavals of the time. In their art the women painters and sculptors undertook critical investigations of their own existence as artists in a male-dominated environment. They self-confidently presented themselves in the circles of their female friends and companions and called traditional gender roles into question. By depicting the nude body, they also claimed their right to a motif complex previously

“A Portrait of Friends” by Louise Catherine Breslau (1856-1927), oil on canvas, MAH Museé d’art et d’histoire, Ville de Genève, acquired 1883 with funds provided by the Foundation Diday ©Museé d’art et d’histoire, Ville de Genève. Flora Bevilacqua photo.

reserved for men. In the process, they not only availed themselves of painting and drawing but also increasingly entered the territory of sculpture, which, on account of its technical and material requirements and the physical strain it involved, was considered the “most masculine” artistic medium.

Städel Museum director Philipp Demandt commented on the exhibition, “Käthe Kollwitz, Lotte Laserstein, Ottilie Roederstein: In recent years the Städel Museum has devoted major exhibitions to successful women artists. This summer we are presenting the ‘Städel / Women’ to our public — 26 modern women painters and sculptors in a single show. As the result of an extensive research project on the history of our institution and its collection, the Städel Museum has succeeded in reconstructing remarkable women artists’ biographies and locating lost works. We are thus closing gaps in the research while in turn opening doors for further study. This exhibition will fundamentally change our understanding of the situation of women artists around the turn of the last century and their influence on the development of modern art. I am deeply indebted to our lenders and sponsors, who once again have shown how essential their dedication is to the core aspects of our museum work.”

Speaking on the exhibition, Sylvia von Metzler, chair of the board of directors of the Städelscher Museums,

said, “This year the Städelscher Museums-Verein is celebrating its 125th anniversary. Today we are a network of more than 10,000 friends who support the Städel Museum in its multifarious undertakings both financially and non-materially. Our association’s Damengesellschaft — women’s society — has provided substantial aid to the current research and exhibition. This circle of patrons primarily champions themes concerning women in art in the past and present. We accompanied the project’s development from its inception. It is important to give the broad public access to the contributions of women artists to modernism.”

“The exhibition sheds light on the multifaceted nature of women’s art production around 1900 from the perspective of female artists of Frankfurt and their close connections to Paris. The study of women’s self-determination in the struggle against gender-specific discrimination in training and professional practice encourages us to reexamine the established art-historical canon and, owing to its relevance to society, is of particular concern to the Ernst von Siemens Art Foundation,” emphasized Dr Martin Hoernes, the secretary general of the Ernst von Siemens Kunststiftung.

In the late Nineteenth Century, private and professional networks were highly significant for women painters and sculptors. By collaborating with and supporting one another, female artists were able to overcome the disadvantages presented them by the societal system of the time. Until 1919, for instance, women were excluded from Germany’s state art academies, while also facing limitations on their individual freedom as well as prejudices to the effect that members of their sex lacked professionalism and creativity.

Focusing on three generations of women artists, the exhibition retraces the stylistic and aesthetic changes that came about in their art as well as the developments taking place in their training and working conditions between 1880 and the 1930s. While it is organized chronologically, the exhibition’s presentation also addresses issues of vital importance to female painters and sculptors in their day. Paris remained a major focal point throughout the period in question, thanks to the wide variety of training opportunities it offered as well as its prominence as an art capital.

The Städel Museum is at Schaumainkai 63. For information, www.staedelmuseum.de/en.

Lenbachhaus Restitutes A Painting Formerly From The Jacques Goudstikker Collection

MUNICH, GERMANY —

Together with Lenbachhaus, the Munich Department of Arts and Culture is restituting a painting by the artist Hans Schöpfer the Elder from the museum’s collection, returning it to Marei von Saher, the sole heir to the Dutch art dealer Jacques Goudstikker (1897–1940). Proactive research by Lenbachhaus found the work to have been confiscated in 1940 in an act of National Socialist (Nazi) persecution. The Bavarian capital city of Munich has a clear stance in this regard: The injustices perpetrated by the National Socialist regime must not be allowed to occur again. Accordingly, public offices expressly work to restitute cultural assets to their former owners or to the owners’ legal heirs. The restitution of this painting is based on the Washington Principles of 1998 regarding works of art confiscated under National Socialism. The decision by the Munich City Council ’s Committee on Culture to restitute the work was made on March 7, 2024.

The painting is an early-Modern period portrait of the Freising Hofmeister (Court Master) Achaz

Busch from the year 1532, painted by Hans Schöpfer the Elder (circa 1505–66). Records clearly show that the piece belonged to the “Münchner herzogliche Kunstkammer” (Ducal Munich Art Chambers) in the Sixteenth Century. In the early 1920s, it was sold by a Berlin art dealer to the Amsterdam-based Jewish art dealer Jacques Goudstikker, one of the most important figures in the Dutch art market before the Second World War. Following the attack of the German Wehrmacht and the capitulation of the Netherlands on May 15, 1940, Goudstikker decided to move himself, his wife and their one-year-old son to safety. They left on one of the last possible transports from Amsterdam to England. Jacques Goudstikker suffered a fatal accident aboard the ship when he one night fell through an open hatch on the ship’s deck. He carried with him his “Black Notebook,” a small black leather-bound book with a typed register: Goudstikker had inventoried the artworks in his personal collection and his art dealership shortly before fleeing. After 1945, the list, documenting 1200 objects, served as

the most important source proving Goudstikker’s ownership. Against the will of his widow, Désirée Goudstikker, his art gallery in Amsterdam was taken over by German field marshall Hermann Göring and the banker and speculator, Alois Miedl. In the course of “Aryanization,” the works of art were stolen and resold through a number of chan-

nels. The “Mansportret” by Hans Schöpfer, listed in the “Black Notebook” under number 1228, was sold by Alois Miedl to the art dealer, Wilhelm Henrich who delivered the painting to the Heinrich Hahn auction house in Frankfurt am Main in March 1941. There, a Frankfurt art historian purchased the painting on behalf of Konrad Schießl, director of the Städtische Museen München (Munich City Museums). In the same month, the painting was added to the inventory of the Städtische Galerie im Lenbachhaus collection.

After the Second World War, Désirée Goudstikker filed suit against the Netherlands; the case ended in a settlement. The majority of the works involved, however, remained illegally in the ownership of international institutions and museums. The heirs of the family once again asserted their ownership in the late 1990s. More than 200 works were restituted, following many years of negotiations and a corresponding recommendation by the Dutch Restitutiecommissie (Restitution Committee). Several individual works were also

returned subsequently. The reconstruction and re-establishment of Jacques Goudstikker’s collection and the inventory of his art gallery continued in a number of research projects, the most recent from 2019 to 2022.

Anton Biebl, director of the Munich Department of Arts and Culture, says, “A robust culture of remembrance is based on a connection between the past, the present and the future. Provenance research and restitution of cultural assets help to confront history and return to the public a piece of their own past. It is thus absolutely correct that Bavaria’s capital city Munich has decided to return the painting ‘Achaz Busch’ to the heir of the Goudstikker family.” Marei von Saher replies: “It is encouraging to see that the Lenbachhaus has done the right thing with respect to the victims of the Nazis and the families of the victims. I am very grateful to Lenbachhaus for returning the painting by Schöpfer to the family of Jacques Goudstikker.”

The Lenbachhaus is at Luisenstraße 33. For information, www. lenbachhaus.de.

Compiled By Antiques and The Arts Weekly

Madelia Hickman Ring & Carly Timpson

Portrait of Achaz Busch, by Hans Schöpfer, 1532. Lenbachhaus photo.

Hever Castle Unveils Newly Refurbished Boleyn Apartment

HEVER, EDENBRIDGE, UK

— Hever Castle unveiled the newly refurbished Boleyn Apartment on Wednesday, June 26. They are the only surviving suite of rooms lived in by the Boleyn family and incredibly, they’re largely structurally unaltered.

As well as the chance for visitors to walk in this famous family’s footsteps, they will be able to find out more about the part Hever Castle played in the tempestuous love affair between Anne Boleyn and Henry VIII, which changed the course of English history.

Hever Castle has long been known as “The Childhood Home of Anne Boleyn,” but recent research has revealed she spent much more time at Hever than previously thought and that the double-moated castle played a major part in her romance with Henry VIII.

It was to Hever she retreated when the King’s attentions became too much. There, she finally decided to accept them, and there, she read Henry’s letter effectively promising marriage: “aut illic, aut nullibi:” “either there [marriage] or nowhere.” The team can even make a shrewd guess at the actual room it happened in.

The discoveries started when Dr Simon Thurley, an architectural historian of Tudor and Stuart England, was commissioned to write a scholarly architectural history of Hever Castle. The result has transformed the understanding of the building’s history and use throughout its 600-year existence.

The living space at Hever Castle, paradoxically one of the smallest houses the Boleyns’ owned, has survived essentially intact from when they lived there whereas all their other houses have been altered beyond recognition. At Hever alone visitors can glimpse the reality of their everyday life.

Hever’s location deep in the Kentish countryside, and yet only 20 miles — or one day’s riding — from London, made it an ideal safe place to bring up the children of an ambitious courtier family, or a convenient refuge for Anne from the prying eyes and wagging tongues of her rivals and enemies at Henry VIII’s court.

The rooms of the Boleyn Apartment have been entirely refurnished, redecorated and rehung with textiles to suggest their appearance when Anne Boleyn used them. The display also tells the story of the social climbing of Anne’s ruthlessly ambitious family; her French education in the arts of courtly love; her winning the heart of Henry and the crown of England and her brush with death along the way when she caught the dreaded “sweating sickness” but recovered — also at Hever.

There are no surviving contemporary inventories of Hever Castle, but the curatorial team has made a detailed study of comparable inventories which, together with Holbein’s paintings, provide a scholarly foundation for the refurbishment. There are surprises here, too: the general lack of furniture, especially chairs; that carpets go on tables and not on the

floor; that (thanks to Holbein) the team discovered how curtains were hung and drawn; that tapestry isn’t universal but comes in forms sharply differentiated by cost, appearance and use; that cheap, painted imitations of tapestry and rich cloths like damask were common.

The new visitor experience tells the story of Anne’s journey to become “Queen-in-Waiting.”

The refurbishment — with its use of tapestries, fabrics, rushmatting, friezes and Sixteenth Century furniture — helps visitors feel as though they are walking in the shoes of the woman whose influence would change the course of England’s history, monarchy and religion. Similarly, the rooms become increasingly more opulent as you move through them as Anne’s status increased over time.

The Parlor (previously the Morning Room) sets the scene for the rooms ahead. Then the visitor climbs the spiral staircase to the Nursery (formerly Anne Boleyn’s Bedroom), which shows what life was like for Anne Boleyn and her siblings as children at Hever Castle. Next comes the Great Chamber (formerly the Book of Hours Room), which represents Anne’s return to Hever after her crucial years at the French court. Artifacts such as lutes and other musical instruments, writing materials and books (including religious works) suggest both the multifunctional use of this room and the cultural influences Anne absorbed in France. The ceiling, painted in

deep blue and gold, is striking, and a hand-painted frieze takes inspiration from painted decorations at other Tudor properties.

The Best Bedchamber (formerly the Queens’ Chamber) is dressed with rich figurative tapestries — the most precious form of wall covering. This is the location where Anne probably read most of Henry’s love letters (which survive in the Vatican Library) and wrote her now vanished replies as she sure-footedly negotiated her perilous rise to “Queen-in-Waiting.”

The reinterpretation of these rooms was a major undertaking and has been planned and researched for over a year by the team at Hever Castle, with advice from Dr Starkey.

The project has also seen items from Hever Castle’s per-

manent collection relocated, in particular the Books of Hours (prayer books) signed by Anne Boleyn. These, among the Castle’s greatest treasures, are now displayed in another dedicated room. This enables the visitor to encounter them as Anne would have done, directly and intimately.

Castle historian and assistant curator, Kate McCaffrey said: “We are thrilled to unveil the Boleyn Apartment. We wanted to create a series of rooms that lets the visitor step back in time to the world of Anne Boleyn and her family — Hever’s most famous inhabitants. We’ve had an incredibly rare opportunity to display these rooms as they would have been used and present them sympathetically.”

Hever Castle is at Hever Road. For information, www.hevercastle.co.uk.

Nationalmuseum Exhibition On Norwegian Artist Harriet Backer

STOCKHOLM, SWEDEN — Nationalmuseum is hosting an exhibition on Harriet Backer who was one of Norway’s most influential artists in the late Nineteenth and early Twentieth Centuries. Backer was one of the most prominent colorists in Scandinavia and portrayers of light and atmosphere in interiors. The exhibition is the result of a collaboration between the National Museum in Oslo, Kode in Bergen, Musée d’Orsay in Paris and Nationalmuseum in Stockholm.

Harriet Backer (1845–1932) was a pioneer on many levels, and the exhibition highlights the innovative qualities of her art as well as her central position in the Norwegian art scene at the turn of the Twentieth Century. How did she become such a prominent figure in Norwegian art? Why had a whole generation of young painters, men and women alike, choose to become her pupils and successors?

The 50 years of Harriet Backer’s career saw radical changes in Norwegian society and in women’s rights and career opportunities. She established herself as an artist on a cosmopolitan art scene, spending 15 years abroad. First, she resided in Munich; thereafter in Paris before she returned to her home country as a mature artist.

Backer’s main inspiration in France was Impressionism and the paintings by

Claude Monet. Like Monet, she was an exceptional colorist and a skilled portrayer of light.

Backer was a meticulous observer of the world surrounding her and she sensitively portrayed the many rooms of her time and those who inhabited them. Her sub-

ject matters range from the middle-class home to the everyday life of bourgeois women, from peasants’ interiors and rural life to the church as a space for spiritual experience and rituals, as well as the room of her own as a place for artistic creation, music and creative community.

In the years around 1900, Harriet Backer established herself as an influential figure on the Norwegian art scene. She participated in exhibition juries and acquisitions committees and ran an art school. A whole generation of Norwegian artists were her students and followers. Backer was early on perceived as one of Norway’s leading painters. Unlike many female artists, she has never been devalued in art historiography. In 1925, the last time Backer exhibited in Stockholm, critics unanimously described her as “the greatest Nordic woman painter.”

The exhibition “Harriet Backer” contains some 80 works, including loans from the National Museum in Oslo, Kode in Bergen and other public and private collections. The exhibition was shown at the National Museum in Oslo in autumn 2023, where it attracted more than 100,000 visitors. At Nationalmuseum in Stockholm it is on view through August 18, at Musée d’Orsay in Paris in autumn 2024, and at Kode in Bergen in spring 2025. The curator of the show at Nationalmuseum is Carina Rech.

A catalog containing a series of in-depth articles is available to coincide with the exhibition.

The Nationalmuseum is at Södra Blasieholmshamnen 2. For information, www. nationalmuseum.se.

Photo courtesy Hever Castle.

Installation view of “Harriet Backer.” Anna Danielsson photo for Nationalmuseum.

Auction Action in Timonium, Md.

Opfer Offers The Eclectic Collector At The Forge, Led By Firearms

TIMONIUM, MD. — At Richard Opfer Auctioneering’s July 18 Eclectic Collector at The Forge auction, a Winchester 1894 rifle was the sale’s top lot, taking in $2,640 from a local, private gun enthusiast. The popular lever-action model was considered perfect for hunting in thick brush for deer, bear, wild hogs and other

fast-moving game. A takedown Winchester Center Fire 30-30, this rifle came with a Lyman adjustable sight. It was a total of 44 inches in length with a 22-inch barrel.

Turkeys and waterfowl beware. A W.J. Jeffery 12-gauge double barrel shotgun set its sights on a $500/800 estimate, but did much better, finishing

at $1,800. With a fitted case, the gun’s barrel was 28 inches long. Another 12-gauge double barrel shotgun, a Parker of Vulcan steel also came with a fitted case. Exhibiting normal wear and with a 30-inch-long barrel, it made $960.

A Marlin .44 caliber rifle, Model 1894 with lever action, featured a micro-groove bar-

The highest-priced firearm in the auction was this Winchester 1894 rifle, rising to $2,640. The lever-action model was popular among hunters for its ability to take down deer, bear, wild hogs and other fast-moving game in thick brush. A takedown Winchester Center Fire 30-30, this rifle came with a Lyman adjustable sight.

The highest selling piece of

rel and .44 caliber Remington magazine. Normal wear got the 20-inch-long-barrel firearm to $600.

Numrich Arms, now Numrich Gun Parts Corporation, in Hurley, N.Y., sold the Carbine 30 M1, inland division model fitted with a Tasco scope. Here, it brought $570.

In addition to choice firearms, this sale featured a large selection of Griswold cast iron cookware. It’s a highly coveted product with many collecting clubs around the United States.

As for the company itself, Griswold Manufacturing was an American company that produced cast iron kitchenware in Erie, Penn., from 1865 to 1957. Griswold led the production of cast iron cookware for nearly 100 years, and, even internationally, the brand had the cachet for its high quality. Find a Griswold collector today and they will tell you the vintage pieces are better than modern ones.

Review by W.A. Demers, Senior Editor Photos Courtesy Richard Opfer Auctioneering

The highest-selling piece in this auction was a Griswold No. 14 skillet featuring a No. 14 self-basting skillet cover. Marked “Griswold Erie PA U.S.A.,” the 15¼-inch-diameter skillet, 2½ inches deep, sold for $840. A cast iron Griswold Skillet No. 13 with a 14-inch diameter and 2-inch-depth, brought $780, and a bid of $540 took a group of eight Griswold cast iron skillets and related parts. Christmas came early to the winning bidder of a set of Santa and other puzzle blocks, featuring cardboard with original paper lithograph illustrations over a wooden box. Wear was considered normal on the antique puzzle set measuring 21 by 16 inches. It sold for $2,400.

For political memorabilia collectors, there was a C.D. Kenny pinback button welcoming Theodore Roosevelt. The 1¼-inch diameter pin campaigned to $1,320. Additionally, a C.D. Kenny wall clock with a Gilbert oak regulator and lower glass advertising “Teas, Coffees, Sugars” went out at $1,020. Fetching $900 was a James Holly (1855-1935) high canvasback decoy measuring 16 inches long. Born and raised

Griswold cast iron cookware was a No. 14 skillet featuring a No. 14 self-basting skillet cover. Marked “Griswold Erie PA U.S.A.,” the 15¼-inch-diameter skillet, 2½ inches deep, sold for $840.

A W.J. Jeffery 12-gauge double barrel shotgun surpassed its $500/800 estimate, bagging a final price of finishing at $1,800. It came with a fitted case, and its barrel was 28 inches long.

An oak counter case, tiered, with sliding upper and lower doors and a curved plexiglass front, found a new home at $780.

A treat for political memorabilia collectors, a C.D. Kenny pinback button welcoming Roosevelt, 1¼ inches in diameter, rated VG-EX, brought $1,320.

This shorebird carving by E.J. “Pete” Peterson, 12 inches long, changed hands for $510.

A bid of $540 won a group of eight Griswold cast iron skillets and related parts.

in Havre de Grace, Md., Holly was better known as a builder of a distinct style of boat, designed and primarily built for gunning. His duck decoys are long and slender; he also made redhead, blackhead and mallard decoys.

An oak counter case — tiered, with sliding upper rear doors, lower mirrored sliding doors and a curved plexiglass front — measured 36 inches high by 48 inches long. It left the gallery at $780.

A total of $720 was the price paid for a Jennings Challenger slot machine with a chrome case. The 5-cent machine both

A price of $720 was attained by a Lloyd Cargile folk cane, 38 inches long with skull handle. It was inscribed, “If Fame is to come only after death, I am in no hurry for it.”

lit up and was in working condition.

The same price was attained by a Lloyd Cargile folk cane, which was inscribed with: “If Fame is to come only after death, I am in no hurry for it.”

The 38-inch cane was fitted with a sterling band.

A shorebird carving by E.J. “Pete” Peterson — measuring 12 inches long with carved and painted wood — capped the sale’s top highlights. It garnered $510.

A total of 175 bidders were registered for this timed and internet-only auction, conducted through Opfer’s online bid-

ding platform. Rarely does the firm ha reserves, and in this sale the sell-through rate was 99 percent. The sale con cluded with a total of $47,985.

Prices include the buy er’s premium, as stated by the auction house The next timed, inter net-only auction will be August 22, and there are several more col lectible auctions sched uled for this fall. For additional information, www.opferauction.com or 410-252-5035.

was this

This high

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Opfer Auction

A C.D. Kenny wall clock, with a Gilbert oak regulator and lower glass advertising, realized $1,020.

Maryland carver James Holly was better known as a gunner boat builder but his duck decoys, long and slender, are desirable.

canvasback decoy, measuring 16 inch-

long, earned $900.

In lit-up, working condition, this Jennings Challenger 5-cent slot machine with a chrome case took $720.

A bidder paid $570 for this Numrich Arms carbine 30 M1, inland division model fitted with a Tasco scope.

A cast iron Griswold Skillet No. 13 with a 14-inch diameter, 2 inches deep, sold for $650.

A lever-action model, this Marlin .44 caliber rifle, Model 1894, featured a micro-groove barrel and .44 caliber Remington magazine. It sold for $600.

A C.D. Kenny jack-o-lantern, painted composition with a wire handle and candle interior, garnered $420.

This Parker 12-gauge double barrel shotgun of Vulcan steel came with a fitted case. Exhibiting normal wear and with a 30-inch-long barrel, it made $960.

A surprise

set of puzzle blocks featuring Santa and other litho prints. It was estimated $200/400 but was bid to $2,400.

New England Furniture, Art Glass & Unique Sculpture Is The Trend At Davies

Auction Action In Brookston, Ind.

BROOKSTON, IND. — On July 16, bidders gathered around their computers and phones for Davies Auctions’ Online Only Estate and Americana Auction, which offered 388 lots of early American country furniture and accessories, decorated stoneware, early redware, artwork, lighting, Civil War weapons and accoutrements, primitives and other listings. There were 619 buyers registered to bid through Live Auctioneers.

Antiques and The Arts Weekly caught up with Doug Davies, owner of Davies Auctions, who said of the sale: “It did fine, just like all sales. Some surprises, many items brought what they should, with few disappointments.”

There was only one lot that did not sell, leaving the total sell-through rate just shy of 100 percent.”

The star of the show was an early Nineteenth Century olive green quart flask, which

This large gilded tin spread-wing eagle with a Federal shield had bidders feeling patriotic, raising the late Nineteenth Century piece to $1,495. It measured 26 inches tall, 37 inches wide and 3½ inches deep ($400/600).

Earning $1,380, just over estimate, was this mid-Nineteenth Century diminutive Southern cherry sugar chest with dovetailed drawers. Despite some repairs and replacements, bidders still pushed the chest to $1,380, where it was won by a southern Indiana buyer ($800-$1,200).

Sold together in one lot, these seven pieces of Northwood art glass tableware in the Blue Leaf Umbrella pattern intrigued bidders enough to raise them to more than 12 times their high estimate. The set sold for $1,265 to a Ten-

went out for almost 35 times its estimated $200/400. The glass flask, which 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-inch-tall piece did not contain any chips or cracks but had general wear consistent to its age and usage.

“Of course the olive green eagle flask was a surprise,” said Davies, “it’s evidently quite rare. It came from a longtime collection in Rensselaer, Ind.” The flask achieved a total of $13,800 and is headed to a Vermont buyer.

This folk art alien made from bottle caps was attributed to Clarence (1929-1987) and Grace (1921-1982) Woolsey from Lincoln, Iowa. The sculpture measured 47 inches tall, 29 inches wide and 13½ inches deep and had provenance to Thom Rawson. It sold to a Michigan buyer for $5,463, above estimate and the second-highest price of the day ($2/4,000).

Measuring 82 inches tall, 42½ inches wide and 9¼ inches deep was this Eighteenth Century pine stepback open bookcase, painted red. It rounded out the top three lots of the sale with a $3,738 finish ($1,5/3,000).

by

A folk art bottle cap “alien” sculpture attributed to Clarence and Grace Woolsey, farmhands turned folk artists from Lincoln, Iowa, was the secondhighest selling lot of the sale.

According to the auction catalog, “The Woolsey’s started making bottle cap art in 1961 and worked into the 70s. After their passing, their entire collection was sold at auction for $100 and since then it has been traded all over the country.” The alien sold for $5,463, 54 times the original sale price of the Woolsey’s entire collection. There is a similar example to this alien in the American Folk Art Museum in New York City.

New England furniture from the Eighteenth and Nineteenth Century were a hot commodity, with two pieces bid into the top 10 lots. Rounding out the top three highest prices of the day was an Eighteenth Century pine step-back open bookcase, which went to a local buyer for $3,738. Original to the 82-inch-tall piece were two wrought iron brackets on the back, so that it could be attached to a wall. Categorized as “hard to find” by the auction catalog, the bookshelf had its “old” red paint with wear consistent to its age and use. Additionally, a Nineteenth Century New

Standing at 15 inches tall each, this pair of Sandwich Glass pink and white overlay whale oil peg lamps lit up to achieve $1,150, almost three times their high estimate. The pair still had their original brass burners and were accompanied by a pair of Nineteenth Century English brass beehive candlesticks. They will now illuminate the home of their upstate New York buyer ($200/400).

Earning $13,800, the highest price of the day, was an early Nineteenth Century olive green glass quart flask, which measured 8½ inches tall ($200/400).

England painted pine stepback cupboard sold for $1,093. Also from the Nineteenth Century was a large gilded tin spread-wing eagle with the federal shield. Wear to the original gilding, a few dents and a back piece of tin separating from the front piece did not deter bidders from pushing the 26-inch-tall-by-37inch-wide sculpture to $1,495, more than double its high estimate. It will be perched in the home of its upstate New York buyer.

Davies Auctions’ next sale will take place in the fall, with no specific date assigned yet. It will feature early American country furniture, artwork, primitives, a large collection of porcelain and tin advertisements and a collection of Christmas and Halloween items.

Prices quoted include the buyer’s premium as reported by the auction house. For information, www.daviesauctions.net or 765491-2018.

With old, quite possibly original, red paint still intact, this Early Nineteenth Century New England blind door stepback cupboard earned $1,093 and is headed home with a local buyer($1,2/1,600).

nessee buyer ($50-$100).

Review

Kiersten Busch, Assistant Editor Photos Courtesy Davies Auctions

Bakker Will Conduct Summer Live Online

Fine Arts Sale On August 10

PROVINCETOWN, MASS. — Bakker has again brought together a collection of fine art by artists associated with not just Provincetown, but the Cape and beyond. Each of Bakker's auctions limits its lots to fewer than 180 pieces ensuring a quality sale that includes at least one new favorite piece of art. Bakker never has hidden reserves; if a bidder wins the lot at the starting bid, they can be rest assured they have actually won the lot.

A wide collection of historic artists from the early to midcentury makes Bakker Auction's August 10 sale particularly remarkable. Two pieces by William Zorach, “Southern France,” circa 1911-12 ($15/20,000) and “Provincetown,” 1915 ($7/9,000) are significant highlights of the auction. Zorach, along with his wife Marguerite, exhibited at the first Armory Show in 1913; their work was heavily influenced by both Cubism and Fauvism. Bror J.O. Nordfeldt, along with William Zorach, was one of the original Provincetown Printers. His oil, “Farm,” circa 193334 ($8/12,000) is an example of his later work. A white-line

woodblock print by Henrieda Dean Lang, “Street in St George, Bermuda,” 1935 ($2/4,000) is an example of the traditional Provincetown print. Contemporary examples of white-line prints include “Backyard Morning Glories, #5,” 1997 by Kathyrn Lee Smith ($500/700) along with pieces by three other talented artists.

One of the most well-known and well-respected married couples of the historic Provincetown Art Colony is Lucy, “Ancient Harpooner,” 1935 ($20/25,000) and William L’Engle, “Local Traffic, Cuba,” 1938 ($15/20,000). Both paintings reveal how each took from their partner and assimilated various styles and techniques into their own work. Midcentury artists are well represented with a piece by Sally Avery, “A Lady on the Phone” ($12/16,000). Sally was the wife of and artistic partner with her husband Milton; their “Avery Style,” focusing on family and scenes of the Great Depression, was well known at the time and became an influence on artists such as Mark Rothko. A piece from Robert Motherwell’s “Africa Suite, #7,”

93/150, 1970 ($5/7,000) is sure to gather much attention from collectors searching for his works.

Decorative art pieces include a unique painted chest ($1/1,500) by Provincetown favorite Nancy Whorf, who worked for Hunt in his artisan workshop. Two pieces by folk artist Rosebee include “The Captain’s Sampler,” ($800$1,200) and “A Rising Tide Lifts All Boats” ($800-$1,200), a hand-painted wooden oar. Both are perfect examples of her work based on the stories her grandfather told of a time when things were “straight forward and simple.”

Works by Nicholas Kahn and Richard Selesnick rarely come up at auction. Kahn and Selesnick painted a portrait of Pope John Paul II for the cover of Time magazine’s 1994 Man of the Year edition and became world-class artists. Two unique cloth banners from the year later ($1,2/1,600 each) are sure

to be a focal point in the highest bidders’ collections. Robert Bliss, one of the most highly collected artists in the auction is well represented with four paintings, a focal point being his large piece from 1960, “Toweling Off” ($5/7,000).

Other artists included in the auction are Paul Resika, “Three Figures, Two in Red,” 1986 ($1,5/2,000), and Sal Del Deo’s “Mooring, Provincetown Harbor,” 1976, $1,5/2,000, and “Peaked Hill,” 1982, $2/4,000, both iconic figures in the art colony who continue to work into their 90’s.

Robert Bliss, Robert Cardinal, John Dowd, Mary Giammarino, John Hare, Chet Jones, William H. Lidlefield, Ross Moffed, Ray Nolin and Selina Trieff are just a few other artists sure to bring collectors far and wide together online on August 10.

For additional information, www.bakkerproject.com or 508413-9758.

Newport Preservation Society Celebrates 50th Anniversary Of Landmark Newport Exhibition With Symposium Aug 17

NEWPORT, R.I. — On August 17, 1974, the opening of a groundbreaking exhibition called “Monumenta” showcased 54 outdoor sculptures across the Newport landscape by 40 artists, including Willem de Kooning, Louise Nevelson, Henry Moore, Barnett Newman, Richard Fleischner, David Smith and Christo.

In celebration of this pioneering event, The Preservation Society of Newport County will host a symposium at Rosecliff on Saturday, August 17, the 50th anniversary of the symposium “Sculpture in the Environment” that opened Monumenta in 1974.

“Original Monumenta” organizers Hugh Davies (director emeritus of the Museum of Contemporary Art San Diego) and Nancy Rosen (founder of Nancy Rosen, Incorporated) will be joined by author Jonathan Lippincott and Art&Newport founder Dodie Kazanjian for a panel discussion moderated by Ron Onorato, emeritus professor of Art and Architectural History at the University of Rhode Island. The panelists will delve into the origins of “Monumenta” and how its legacy persists across the globe.

“‘Monumenta’ was a milestone cultural happening for the city of Newport and the

state of Rhode Island that has somehow been largely forgotten,” said Preservation Society CEO Trudy Coxe, noting that 29 of the sculptures were located at The Elms and Chateau-sur-Mer. “With this celebra-

tion in August, we hope to remind some and introduce others to an incredibly influential event that continues to inspire.”

Among the first large-scale outdoor sculpture exhibitions in the world, “Monumenta” engaged locals and visitors alike, challenging viewers to reconsider the experience of private and public spaces temporarily transformed through artistic intervention. The result is a decades-long legacy of shaping how the public interacts with outdoor contemporary art.

Spearheaded by Newport residents William and Gael Crimmins, and further championed by Preservation Society co-founder and President Katherine Warren, “Monumenta” was directed by acclaimed art historian Sam Hunter and a team of his graduate students from Princeton University, including Davies, Rosen and Sally Yard.

“Monumenta’s” legacy and inspiration can be seen today at places like Storm King Art Center in New Windsor, N.Y., deCordova Sculpture Park and Museum in Lincoln, Mass., and Socrates Sculpture Park in Queens, N.Y.

More information to register online, www. newportmansions.org

of all kinds. Will buy for cash or will sell on consignment –no lot too large or too small.

“Windtotem” by David Smith at The Elms. Photo courtesy Preservation Society of Newport County.

Henrietta Dean Lang, “Street in St George, Bermuda,” 1935 ($2/4,000).

William L’Engle, “Local Traffic, Cuba,” 1938 ($15/20,000).

William Zorach, “Provincetown,” 1915 ($7/9,000).

COLLI DOS COPE

A De La Torre Brothers Retro-Perspective

By Karla Klein alBertson CORNING,

N.Y. — Glass is a basic material that we handle in utilitarian form everyday. But, in the hands of artists, this material bursts into colorful, elaborate and humorous forms.

A perfect example is the “Collidoscope” exhibition of around 40 works, spanning almost three decades, by contemporary masters Einar and Jamex de la Torre, currently on view at the Corning Museum of Glass.

The twists and turns of the brothers’ distinctive technique stems from the unusual conditioning factors which shaped their lives. Einer de la Torre was quoted in the Corning’s opening statement: “The complexities of

the immigrant experience and contradicting bicultural identities, as well as our current life and practice on both sides of the border, really propel our narrative and aesthetics.” Among other influences, the pair mentioned religious iconography from many sources, German expressionism and Mexican vernacular arts.

The travelling show is a collaboration between the Smithsonian’s National Museum of the American Latino (Washington, DC) and The Cheech Marin Center for Chicano Art & Culture of the Riverside Art Museum (Riverside, Calif.), where it opened in 2022.

Tami Landis, the Corning’s

Corning Museum Of Glass

curator of Postwar and Contemporary Glass, spoke with Antiques and The Arts Weekly: “This project started about seven years ago with the brothers. Cheech Marin was heavily invested in that moment and a collector of the brothers’ work. He said, ‘if we’re going to be opening this museum, I want the de la Torre brothers to be the first exhibition that we launch.’”

She continued, “Our museum signed up to receive 40 mixedmedia sculptures and we could decide where and how they were displayed with some guidelines from the Smithsonian.” The Corning, however, is the only location where glass makers have the facilities to actually create work on-site. The exhibition opened May 18 and, during the two weeks leading up to that, the brothers were in the Amphitheater hot shop, where visitors and staff observed them making their

works in real time.

The curator explained, “They’re known for the finesse and charisma they bring to the hot shop. They have this beautiful relationship and language — the pieces are heavy, the work is challenging. Their process is additive, meaning the material and the ways and means.”

Walking through the show she said, “‘Feminencia’ is a really dynamic piece; that’s the first display that greets people as they walk into the exhibition. It was made in 2020, and the brothers had come off some extensive European travels at that time. Some of the projects were responding to times and places that influenced them — appropriate themes from different ages and cultures.”

“The brothers like to collide influences and cultures. They don’t just stop with the art. Titles can be a play on words, thus ‘Collidoscope.’ ‘Oxymodern’ came to life around 2000, a nod to ideas about time and calendars. The brothers use the heart a lot in their work. There is dark humor and you always see the play between life and death in their work.”

This show is on display in the contemporary art and design wing, which is not the museum’s usual rotating exhibition space, so Landis feels this puts this work in direct conversation with other glass works produced over the last 20 or 30 years. “The brothers are exceptional at bringing layers of meaning to sculpture, let alone glass. Often people associate glass to a simple vessel or sculpture, but the singular technique of the brothers of fusing multiple layers to cre-

ate something that has essentially a never-ending breadth of stories.

“The brothers want people to approach their work from any angle of life and to bring their own lived experience to the work. They want people to take them as they are. It’s a joy to have works that speak so directly to the human experience. And that’s not surprising because when we spoke to them, they were so smart and clever and hilarious, and they were inspiring teachers in the hot shop as well.”

Viewing the de la Torre creations in person or through photographs is a complex experience — not a 30-second “I get it!” flash. So, fortunately, the exhibition is accompanied by a vividly illustrated catalogue with a 3-dimensional cover available from the museum bookshop and online. As a publication, the volume — in its own way — is as unique a creation as the glassworks themselves. Perusing it before or after a visit is almost a must. For those not lucky enough to be in the hot shop as they worked, there is a chapter written by the brothers titled, “Manifestus,” in which they share some of the motivations behind their process. In the section on “Identity,” they return to cultural influences. “We have always taken advantage of our migratory experience and our current multinational identity to nurture and outside read on culture, at our convenience, of course.” Although there are certainly themes that reflect Mexican culture and archaeology, influences from European art and Eastern religion pop up as well.

“¡2020!” by Einar and Jamex de la Torre, 2020, mixed-media, blown-glass sculpture with resin casting, 33 by 22 by 14 inches. Photo courtesy of Koplin Del Rio Gallery.

“Chacamotas” by Einar and Jamex de la Torre, 2020, blownglass, mixed-media sculpture, 27½ by 14½ inches. Photo courtesy of Einar and Jamex de la Torre and Koplin Del Rio Gallery.

“Frijolera Clásica” by Einar and Jamex de la Torre, 2010, blown-glass, mixed-media sculpture, 31 by 18 by 18 inches. Photo courtesy Crocker Art Museum, gift of Patricia Grant.

“En Cada Arbol una Cruz” by Einar and Jamex de la Torre, 2000, blown-glass, mixedmedia sculpture, 28 by 21 inches. Photo courtesy of Einar and Jamex de la Torre and Koplin Del Rio Gallery.

“Pork Belly Futures” by Einar and Jamex de la Torre, 2016, blown-glass, mixed-media sculpture, 13½ by 19½ inches.

Photo courtesy of Einar and Jamex de la Torre and Koplin Del Rio Gallery.

“Feminencia” by Einar and Jamex de la Torre, 2020 (Side A), archival lenticular print with resin castings and waterjet-cut aluminum frame, 89 by 65 by 4 inches. Photo courtesy of Koplin Del Rio Gallery.

Another section deals with both why and how they do it. They write about “Crafty_Art,”

“We have always been rooted in craft process; our making is an integral part of elaborating ideas. Yet, we have always felt that if art is the intent, one needs to have a dialogue with anti-craft as well. We like to say if you work in the love and service of a material, you are a craftsman; an artist is less sentimental, the material must work for art’s pursuits…. The truth is we do not hide our love for such an exquisite material, taking great joy in manipulating hot glass.”

Landis spoke of the work as “additive.” There is the overall effect of a distance view, but looking up close, visitors will see tiny leaves, flowers, human faces — colorful ornament filling every centimeter. And that is the de la Torre brothers having fun working the glass.

In addition to input from the artists, the catalogue presents several essays from art historians and cultural experts that shed further light on the fusion between art and craft. Keeping in mind that some of the exhibits are not “pretty” in the usual fine art sense, Monserrat Sanchez Soter titled her chapter, “Transcultural, contemporary and ugly,” where she writes that the brothers have “…the freedom of practicing in a medium that presents specific challenges and scale limitations, from its beginning as pulverized materials, the necessary speed for its correct execution, and its process of assemblage, sculpture, and blowing….

“Through a broad repertoire of techniques, they manage to push these limits further with installations and public art commissions. Using glass as a talisman, which allows them to explore the international art scene and offer workshops in universities and specialized glass centers around the world, they have moved within the exclusive guild that is dedicated to this medium and, by exploring all its artistic potential, they have received important accolades that coincide

“Bolivar’s Burden” by Einar and Jamex de la Torre, 2001, blown-glass, mixed-media art with carved stone, 48 by 48 inches. Photo courtesy of Einar and Jamex de la Torre and Koplin Del Rio Gallery.

A wide view of the “Systems and Cycles” grouping. From left to right: “Melancoholia (Melancholy),” “Examen del Conejo (Rabbit Test),” “El Monstrua Tuerto (One-Eyed Monster),” “Especies invasivas (Invasive Species),” “El sueño de Trotsky (Trotsky’s Dream),” “Baja Kali, Ya Sabritas (You Know Already)” and “Transdiferenciación 2 (Transdifferentiation 2).” Photo courtesy the Corning Museum of Glass.

with the acceptance of craftwork into museum spaces, with the validation of glass’ inherent merit, and of its expanded scope within contemporary art.”

The actual exhibition display is divided into four thematic sections, all of which feature a play on words like the show’s title. For example, “Hybrid Dislocations” includes some works referencing the Southern border, such as the 2014 “Garden of Earthly Delights.”

Another theme is called “Histerical Vignettes,” and it contains an exhibit which will satisfy viewer looking for a simple blown vase, although “Frijolera Clásica” (2010) also has a double meaning. The ancient reference is evoked by the colors — black, orange, and white — of classical Greek vases. Indeed, there is a maiden inside, similar to marble examples found on the Acropolis, as well as acanthus leaves and ancient coins. But the shape also reflects traditional Mexican clay bean pots. And yes — two human hearts appear as “handles” to bring it up to the

“Oxymodern (Aztec Calendar)” by Einar and Jamex de la Torre, 2002, blown-glass, mixed-media wall installation, 120 by 120 by 12 inches. Photo courtesy of the Cheech Marin Collection and Riverside Art Museum.

“Quemando las Naves” by Einar and Jamex de la Torre, 2015, archival lenticular print with resin castings on aluminum, 48 by 72 inches. Photo courtesy of Einar and Jamex de la Torre and Koplin Del Rio Gallery.

impressive height of 31 inches.

In the final analysis, the relationship of a viewer to the works of Einar and Jamex de la Torre is extremely personal — a surge of memory, a response to color, confusion, pleasure — being fused to the spot in analysis. No art historical commentary or even explanations by the artists supersede these responses. And that’s why “Collidoscope” is such an appropriate title for its sensory impact.

The exhibition will continue to travel after closing at the Corning on January 5. The West Coast will be able to view the glass again when it is on display at the Crocker Art Museum (Sacramento, Calif.), February 9 through May 4. The show then moves back to the East Coast for a run at The Mint Museum (Charlotte, N.C.), June 7 through September 21.

The Corning Museum of Art is at 1 Museum Way. For information, www.cmog.org or, to learn more about the artists and their other works, www.delatorrebrothers.art.

“La Reconquista” by Einar and Jamex de la Torre, 2009, archival lenticular print in LED lightbox, 50 by 114 inches. Photo courtesy of Einar and Jamex de la Torre and Koplin Del Rio Gallery.

“Sloth” by Einar and Jamex de la Torre, 2017, archival lenticular print in LED lightbox, 60 by 48 inches. Photo courtesy of Einar and Jamex de la Torre and Koplin Del Rio Gallery.

Auction Action in Whipple, Ohio

Ohio Material Culture Is Strong At Meander

WHIPPLE, OHIO — With just six auctions under their belt since moving to Whipple, and in only their second ever live sale, Meander Auctions’ co-owners Andrew Richmond and Holly Davis continue to show impressive growth for a fledgling auction house.

“It was a great sale. This is only our second in-person sale, and we still had a modest crowd, but they were enthusiastic in their bidding and buying. With the buyer’s premium, we

exceeded the high estimate for the sale. We’ve been in the business for 21 years but what Holly keeps telling me — when we started and bought the building — we started with that and our reputation and now we’re selling stuff around the country and around the world…and couldn’t be happier.”

Richmond was referring to the July 20 Summer Antiques and Art auction Meander conducted, a 291-lot affair that was more than 92 percent sold

The first lot of the day was this pair of profile portraits of Margaret and Samuel Smith, Warren or Hamilton County, executed in 1830 in pencil and chalk, 9 by 7 inches, had publication history and realized the sale’s highest price of $8,850, selling to a trade buyer on the phone ($800/1,200).

“A number of folks were looking for things to take to New Hampshire (Antiques Week); that was one of them,” Andrew Richmond noted, referencing this late Nineteenth Century American carved eagle that came to auction from a Midwest institution and found a new home with a private collector at $5,535, prevailing against trade bidders ($400/800).

This poster was one of a few variations published and had some condition issues, which were excused by bidders because of its rarity. After heated competition, a New England collector, bidding online, pushed it to $5,310 ($1/2,000).

by lot and featured objects from the collections of Ellen and Bert Denker of Delaware and North Carolina, Dr Judith Kemp and the late Dr James and Mrs Emily Kemp, and two Midwestern institutions.

Richmond and Davis have an interest in locally made objects and there were several lots with connections to Ohio that were among the highest priced items of the day. This included a pair of pencil and chalk portraits of a man and woman — Samuel and Margaret Smith — painted in 1830 by Francis Sallas (Ohio, active circa 1830).

Inclusion in Peter Kern and Leslie Warwick’s article, “Four Ohio Nineteenth-Century Folk Artists,” which was published in the August 2007 issue of The Magazine ANTIQUES, undoubtedly helped bidders overlook the fact that genealogical research had, as the

catalog pointed out, “identified multiple Samuel and Margaret Smiths of the right age and in the right place.” Bidders took the portraits to $8,850, won by a trade buyer bidding on the phone. Not only was it the first lot of the sale but it was the highest price realized.

The genealogical research skills of Richmond and Davis were equally tested by a portrait of General Edward White Tupper (1771-1824) copied by Jeremiah Paul (1771-1820) after one by Gilbert Stuart, that descended in a Marietta, Ohio, family. Archival sleuthing identified the sitter to be the son of General Benjamin Tupper, one of the founders of the Ohio Company of Associates and unearthed a portrait of another family member that had been painted by Stuart that is now in the Diplomatic Reception Rooms at the US

After extensive genealogical research, Andrew Richmond and Holly Davis determined this to be an oil on canvas portrait of General Edward White Tupper by Jeremiah Paul, circa 1800. Measuring 28 by 23 inches framed, it had Ohio history and connections and will be staying local, purchased by a collector for $1,467 ($1/2,000).

This late Nineteenth or early Twentieth Century steel and brass French cuirassier’s helmet measured 13 inches in height and came from a Midwest institution. Bidders fought hard for the plumed helmet, but a phone bidder prevailed at $6,490 ($200/400).

State Department in Washington, DC. The painting sold to a local collector for $1,467.

Another locally-made item was a Logan pottery bulldog, made in Hocking County, Ohio, in the first half of the Twentieth Century. It came from the Kemp estate and found a new home with a local collector who paid $308 for it.

Approximately 40 percent of the sale came from one of two Midwestern institutions; several sold for high prices. A Napoleonic style cuirassier’s helmet that had been given to General Jacob Smith, who commanded the Jackson Barracks in New Orleans around 1885, was being deaccessioned by a museum that did not specialize in either French material or military artifacts. A phone bidder won it for $6,490, more than 16 times its high estimate.

This 8½-inch-tall Nineteenth Century English mocha or dipped ware pitcher from an Ohio collection topped off at $2,460, from an online bidder ($150/300).

This graphite and crayon portrait of Blackfoot Chief Nana-Caw-Yeu-Sue-Che was one of three Native American portraits in the sale painted in 1920 by Wilfred Langdon Kihn. A Canadian collector on the phone won all three, paying $1,534 for this example ($1/2,000).

Review by Madelia Hickman Ring, Editor Photos Courtesy Meander Auctions

Multiple colors of glaze were among the desirable features of this 9-inch-tall Logan Pottery bulldog, made in Hocking County, Ohio, in the early Twentieth Century. An Ohio collector gave it a good home for $308 ($100/200).

The same institution deaccessioned a carved folk art eagle that Richmond described as “just awesome in person.” Measuring 32 inches in width, the late Nineteenth Century carved walnut and poplar spread-winged eagle attracted broad interest and flew to $5,535 from a buyer on the phone.

A rare Civil War military poster, aimed to recruit Black troups, was another deaccessioned lot. Published by P.S.

This Nineteenth Century carved and jointed doll or artist’s model deaccessioned from a museum had a few condition issues, but bidders liked it enough to take it to $3,567, to an online buyer ($400/800).

Duval in Philadelphia in 1863 or 1864 for the Supervisory Committee for Recruiting Colored Regiments, the lithograph

An online bidder paid $4,920 for this 6-inchtall bronze by Vassili Yacovlevitch Grachev (Russian, 1831-1905) that came to auction from the Kemp estate ($150/300).

sold to a New England collector for $5,310. Rounding out deaccessioned highlights was a 38-inch-tall carved pine and

A highlight from the collection of Bert and Ellen Denker was this crumpled vase by George Ohn (Mississippi, 1857-1918), which featured a later glaze. An online buyer acquired it for $1,169 ($200/400).

The Atkins Clock Company of Bristol, Conn., made this Parlor No 1 model in the 1850s. Featuring a rosewood case with eglomise upper tablet, mirrored lower tablet and wagon spring movement, it brought $1,440 from a buyer bidding on HiBid ($200/400).

jointed doll or artist’s model selling for $3,567.

The auction offered a “nice selection” of mocha ware, all from one Ohio collection that was being sold by the collector’s daughter. Leading the group at $2,460 was a Nineteenth Century English example with earthworm, cat’s eye and stylized foliate decoration.

An interesting group of three graphite and crayon portraits of prominent Blackfeet members, made by Wilfred Langdon Kihn (Connecticut, 1898-1957) in 1920 that had all been in

one Ohio collection were offered separately but sold to the same Canadian collector who was bidding on the phone. Chief Nina-Caw-Yeu-Sue-Che’s portrait brought $1,534, that of Shes-Ches-No-Pa made $767 while the last one offered — a rendering of Notacna-Ohnamuco-O-Nista-Puka — closed at $1,467.

Meander Auctions’ next sale is scheduled for September 28 and will feature part of the textile collection of Virginia Gunn. For information, 740-760-0012 or www.meanderauctions.com.

Shelburne Museum Presents Contemporary British Transferware

SHELBURNE, VT. — Shelburne Museum presents the work of renowned British artist Paul Scott in the exhibition, “Confected, Borrowed & Blue: Transferware by Paul Scott,” which includes provocative reinterpretations of Nineteenth Century transferware from Shelburne Museum’s permanent collection along with a work commissioned for the exhibition.

“Exhibiting contemporary work that is inspired or influenced by the collections is a longstanding tradition at Shelburne,” said Kory Rogers, Francie and John Downing senior curator of American Art. “Paul Scott’s wry way of using transferware, a major part of Shelburne’s decorative arts collection, as a medium for social commentary often delivered with a sense of humor, is ingenious, and picks up on a thread seen throughout Shelburne’s collections.”

Scott transforms his medium, commercially produced English and American ceramic plates, with his signature subversive imagery and insightful and, often ironic, commentary on both historic and contemporary issues. His work references traditional porcelain designs developed by late Eighteenth Century English artisans, such as the Willow pattern or Spode’s Blue Italian. These early ornamentations include appropriated motifs copied from hand-painted blue and white wares imported from China, which were mass-produced using printed underglaze transfers applied on

porcelain and pearlware blanks. Scott carries this tradition forward, borrowing from traditional patterns and narrative scenery typical of transferware from the period, juxtaposing them with contemporary-themed patterns drawing on controversial topics including environmental degradation, immigration and the legacies of slavery.

In “Confected, Borrowed & Blue: Transferware by Paul Scott,” plates, platters and jugs created by Scott — including a special commission exploring the role of the sugar industry in the museum’s founding — are

Paul Scott, “Sampler Jug No. 10, Shelburne & Sugar,” from “Cumbrian Blue(s), New American Scenery” series, 2024, transfer print collage on pearlware with platinum lustre, 15 by 14 by 11 3/4 inches. Collection of Shelburne Museum, museum purchase, commissioned from the artist with a gift of Alice Cooney Frelinghuysen.

displayed alongside historical ceramics, sparking dialogue between past and present.

In late fall of 2023, when Scott visited Shelburne Museum, he was captivated by the museum and the breadth of its collections ranging from European Impressionist paintings collected by founder Electra Havemeyer Webb’s parents, to American folk art including weathervanes, quilts, decoys and transferware.

“The transferwares and mammoth jugs really captured my imagination,” Scott said. “My large commissioned pearlware jug directly references the extraordinary collection and its origins. The artwork not only celebrates Electra Havemeyer’s vision in creating a much-loved institution with rich, diverse and extensive collections, but it also acknowledges the source of the wealth that enabled the museum’s establishment and acquisitions. Patterns on the lower part of the jug form directly acknowledge the foundational importance of the sugar trade to the Havemeyer family’s wealth and Electra’s inheritance.”

Scott’s works have been exhibited and acquired by numerous art and teaching museums throughout the United States including Albany Institute of History & Art, Brooklyn Museum, Carnegie Art Museum, Crocker Art Museum, Everson Museum, Hood Museum at Dartmouth College, Los Angeles County Art Museum, Mount Holyoke College Art Museum, Museum of Fine Arts Boston, Newark Museum of Art, Phila-

delphia Art Museum, Peabody Essex Museum, Renwick Gallery of the Smithsonian American Art Museum, Yale University Art Gallery and The William Benton Museum of Art at the University of Connecticut.

In the United Kingdom, he is widely known and regularly featured in exhibitions at museums throughout the country and represented in public collections including the Victoria and Albert Museum in London, the National Museum of Wales. He has also completed public sculp-

ture and murals featuring transfer printed tile in Hanoi, Vietnam, and Guldagergård public sculpture park in Denmark as well as numerous public places in the North of England.

“Confected, Borrowed & Blue: Transferware by Paul Scott” is on view at Shelburne Museum, Shelburne, Vermont, through October 20.

The Shelburne Museum is at 6000 Shelburne Road. For information, www.shelburnemuseum.org or 802-985-3346.

Fri & Sat August 9 & 10 10 - 4

Many bronzes, oil paintings, prints, 2 ft pair of ceramic camels, large pair of ceramic lions, 6 panel screen, large salt glaze ceramics, clocks, carpets, old books, Judaica, boxes of china and glass., large coca cola collection. Rare l9th century Mermaid chair, Satinwood inlaid bedroom set, roll top desk, glass top coffee table, sofa, chairs, armoires. 58 Impala convertible, and 64 Corvette coup all original parts, tractor

DIRECTIONS: North on 287 over Tappan Zee Bridge to Exit 12, towards N on route 303, right on Storms Rd, slight right on Christian Herald Rd, left on Old Stone Rd.

Transitions

The Smithsonian’s National Museum of Asian Art has named Sunwoo Hwang its inaugural Korea Foundation curator of Korean art and culture. Following an international search, Hwang was selected for this role in April. The endowed position is made possible by a matching gift from the Korea Foundation to deepen and make accessible people’s understanding of Korean art and culture; the museum will match the amount to establish a fund for the curatorship. This gift from the Korea Foundation builds upon its long history of support for the museum. As the museum begins its second century, Hwang will provide the sustained leadership necessary to grow its Korean program and collection and serve as a national and international leader in the study and presentation of Korean art and culture.

SUC San Diego’s Stuart Collection Announces Inaugural Emerging Artists Program

SAN DIEGO, CALIF. —

outhold Historical Museum’s board of trustees announced the pending departure of its executive director Deanna Witte-Walker in September. Witte-Walker started at the Southold Historical Society, now Southold Historical Museum, 13 years ago when longtime office administrator Susi Young retired. For several years, she worked under the leadership of Geoffrey Fleming and then under Karen Lund. When WitteWalker made the leap to executive director formally in October 2018, she had a vast knowledge of the museum’s workings. However, there was still much to learn, so she decided to pursue a master of arts in museum studies from CUNY School of Professional Studies (May 2023).

TSpecialist Laetitia Guillotin has joined the Artnet Auctions prints and multiples department. Based in London, she is considered “perfectly poised to grow the department’s profile and outreach in Europe.”

One of the current projects Guillotin has contributed to is “Premier Prints: Private Sales,” live through August 8.

he Museum of Fine Arts, Boston (MFA), announced two new curatorial appointments in the department of contemporary art: Carmen Hermo (left)as the Lorraine and Alan Bressler curator of contemporary art and Claire Howard as the Hansjörg Wyss curator of Modern art. Under the direction of Ian Alteveer, Beal Family chair, they will work within

a growing department focused on the art of the Twentieth Century to today, presented in a global context. Both Hermo and Howard will begin their new positions in September. Hermo is currently the associate curator for the Brooklyn Museum’s Center for Feminist Art, Contemporary Art Committee and Council for Feminist Art patron groups. Previously, Hermo was assistant curator for collections at the Guggenheim Museum. Howard is currently associate curator, collections and exhibitions, at the University of Texas at Austin’s Blanton Museum of Art.

The Stuart Collection, the collection of 22 site-specific, permanent installations on the campus of the University of California San Diego, announces the formation of its Emerging Artists Program designed to bring more contemporary and diverse voices to the collection. The Stuart Collection has selected artist collective RojoNegro, comprising Noé Martínez and María Sosa; sculptor Max Hooper Schneider; and poet, artist and chef Precious Okoyomon to create new, site-specific works that will join the established collection, crafted by some of the most recognized global artists of the Twentieth and TwentyFirst Centuries, like John Baldessari, Mark Bradford, Robert Irwin, Jenny Holzer, Niki de Saint Phalle, Do Ho Suh and more. This program fosters experimental practices, supports the exploration of ideas that engage with the complexities of public spaces and the communities within them and brings unique voices to the collection. The artists’ works, their first permanent public art installations, will become a lasting part of the Stuart Collection and will be experienced by the tens of thousands of students, university staff and visitors who use the campus daily.

“The Stuart Collection is an important catalyst of UC San Diego’s transformation into a destination public university,” said UC San Diego Chancellor Pradeep K. Khosla. “Since 1981, we have invited brilliant minds to infuse art throughout the campus, creating a culturally engaging environment for all people to learn and explore. The Emerging Artists Program will build

upon our commitment to foster belonging, connection and community among our scholars and visitors from around the world and further our reputation as a renowned destination for arts and culture.”

The work of collective RojoNegro, Noé Martínez and María Sosa, focuses on the lived experience of Indigenous communities and artistic interpretations of communal histories, of which shared experiences of resistance and the celebration of their heritage are crucial elements. The Stuart Collection, located about 30 miles from the Mexican border, welcomes an inclusive international student body and hosts visitors from around the world, making it the perfect home for a work by the duo. RojoNegro researches the nonWestern cosmogonic knowledge stored in the original ancestral techniques as well as the body that becomes the living repository of them, incorporating this knowledge into contemporary artistic practices.

Precious Okoyomon and Max Hooper Schneider

were chosen for their experimental techniques, displaying a specific fascination with the natural world. Hooper Schneider’s work is informed by traditional research and the materials endemic to a venue or site, with his formal landscape architecture training often influencing his sculptural practice. The artist’s work decentralizes humans and instead shifts the viewer’s focus to the natural phenomena contributing to each piece. His project will engage with elements of marine science research conducted at UC San Diego’s Scripps Institution of Oceanography. Okoyomon, who currently represents Nigeria in the 2024 Venice Biennale, stages sculptural topographies composed of living, growing, decaying and dying materials. Through installation, Okoyomon articulates the inseparability of the natural world from the historical force of colonization and enslavement.

Designed to expand the collection of 22 permanent, site-specific works on campus, the Emerging Artists Program features artists

who will contribute to the Stuart Collection’s discourse on contemporary art by engaging with a wide range of ideas, histories, ecologies, identities and materialities. The artists’ works embrace many of the themes that UC San Diego holds dear, including innovation, experimentation and collaboration while addressing issues significant to the Southern California region. By integrating up-and-coming artists, the Stuart Collection showcases a broad range of cultural, social and artistic experiences. RojoNegro’s work will mark the first Stuart Collection commission by Latinx artists to join the collection, and Okoyomon’s work will be the second by a Black artist and the first whose work addresses histories of colonization and enslavement. Hooper Schneider’s is the first by an artist whose interdisciplinary focus speaks to UC San Diego’s history. Installation of the works by RojoNegro, Max Hooper Schneider and Precious Okoyomon is anticipated between spring 2025 and fall 2026.

Brera Modern Art Museum To Open In Milan This Fall After 52 Years Of Delays

MILAN (AP) — The Brera Modern will be inaugurated in the fall 52 years and 39 Italian governments after it was first envisioned, officials announced.

The new museum just a few doors from Milan’s Brera Painting Gallery will house more than 100 contemporary art works that belong to Brera’s collection that have mostly been relegated to storage. The project has been plagued by numerous delays, most recently the discovery of asbestos and problems with the conditioning system.

The new museum is set to officially open on December 7, when the eyes of the European cultural elite are already on Milan for the

annual gala premiere of La Scala’s opera season.

The honor falls to the new Brera director, Angelo Crespi, who took over in Febru-

ary as part of moves by the far-right-led government to put Italians at the head of key cultural institutions. His predecessor, British

Canadian historian James Bradburne who had pushed to finish the Modern, had completed two four-year terms and was ineligible to continue.

The Brera, established in 1809, contains masterpieces by Canova, Caravaggio, Raphael and Hayez. The new museum in the nearby Palazzo Citterio has already drawn 30,000 visitors over three weeks for a temporary exhibition. Concerts are planned in the outdoor garden this summer.

The Brera, with the addition of the Modern, is expected to reach 500,000 visitors this year, up from 466,709 last year and in continual increase from pre-pandemic highs of around 410,000.

From left: RojoNegro, courtesy of Museum of Art of Zapopan, produced by Lazarillo; Max-Hooper-Schneider, photo by Stefanie Keenan/Getty Images for the Museum of Contemporary Art; Precious Okoyomon, courtesy of the Museum of West African Art (MOWAA)

Milan’s Brera Painting Gallery director Angelo Crespi, who took over in February, speaks during a press conference to announce the opening of the Brera Modern.

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MESDA Acquires Charleston Free Badge

WINSTON-SALEM, N.C. — MESDA’s recently acquired diestamped copper badge is small enough to fit in the palm of the hand. Yet as a rare surviving Charleston “free” badge, it carries significant historical weight. While Charleston’s “slave hire badges” are well known, for a brief period between 1783 and 1789, free Blacks were also required to register with the city and visibly wear identifying badges on their clothing. Hundreds of hire badges survive — MESDA’s collection includes two — but only 11 free badges are known. The newly acquired example is remarkably legible, both in design and the signs of use it retains. In addition to the

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die-stamped design of Phrygian or liberty cap with the text “Free” and “City Of Charleston,” the badge is engraved with the identifier “No. X.”

Who was the individual who wore the No. X badge? Records of the Charleston free badge system have not been discovered and likely do not survive. But as MESDA curator Lea C. Lane observes, “What does survive is the craftsmanship of the many people of African descent who were required to register and visibly prove their status as a free people. For example, the work of individuals like the cabinetmaker John Gough, who produced furniture in Charleston during the period of the free badge sys-

tem, endures as a testament to the skills of these craftsmen and women. The MESDA Craftsman Database includes 252 free Black craftspeople in Charleston, and the Black Craftspeople Digital Archive (BCDA) has identified even more. We are honored to be the steward of this badge, and the human experiences it represents.”

BCDA co-founder and Old Salem Museums and Gardens board member Dr Torren Gatson advised the museum on the acquisition. According to Gatson, “The free badge encompasses the time frame when Charleston begins enacting oppressive laws to restrict the movement of African Americans. Some argue that

these laws are one of the first vignettes of surveillance on Black bodies in the United States. MESDA’s acquisition of this free badge offers tremendous opportunities to highlight more complex inclusive stories of the low country south.” Scholar and numismatist John Kraljevich is currently working with Colonial Williamsburg’s senior curator of Mechanical Arts, Metals and Numismatics, Erik Goldstein, on an extensive study of the Charleston free badges. Kraljevich, who advised on the acquisition, notes that “There are so few surviving objects that were individually owned by African Americans in the Eighteenth Century, so any

bit of material culture is cherished.”

The badge will soon be shared with visitors to MESDA’s Carolyn & Mike McNamara Masterworks Gallery alongside other objects that are entwined in the story of enslavement, freedom and craftsmanship in Charleston. For more information, www. mesda.org.

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Cottone 48 20-21, Sept cottoneauctions.com

Cottone 49 20-21, Sept cottoneauctions.com Cottone 51 25, Sept... litchfieldcountyauctions.com Litchfield County Auctions 2 27, Oct tremontauctions.com Tremont Auctions 50 8-9, Nov santafeauction.com Santa Fe Art Auction 2C 13, Nov...litchfieldcountyauctions.com Litchfield County Auctions 2 17, Nov butterscotchauction.com Butterscotch Auction 2

17-18, Aug Collegeville, PA 4C 25, Aug Milford, NH 11 31, Aug-1, Sept Stormville, NY 2 3, Sept Brimfield, MA 2 4-8, Sept Brimfield, MA 9 5-7, Sept Brimfield,MA 23 8, Sept Milford, NH 11 22, Sept Milford, NH 11

12-13, Oct Stormville, NY 2 2, Nov Stormville, NY 2 30, Nov-1, Dec Columbus, OH 5

Rago Wright Acquires Poster Auctions International

LAMBERTSVILLE, N.J. —

Rago Wright on July 25 announced its acquisition of Poster Auctions International (PAI), marking the fifth standalone auction house and further cementing Rago Wright as the leading network of independent auction houses. Rago Wright said the acquisition will enhance the overall offerings that Rago Wright offers to consignors and buyers throughout the global art community. Jack Rennert, founder and president of Poster Auctions International, will join Rago Wright as a partner in the vintage poster auction business, ensuring smooth continuity of senior management and deep focus on consignor and customer relationships.

Over the past several years, Rago Wright has demonstrated significant growth through strategic acquisitions and expansion into new markets. In 2019, the two firms of Rago and Wright merged, followed by the addition of LA Modern Auctions (LAMA) in 2021 and Toomey & Co., in 2022, creating a powerhouse in the auction world industry, with offerings ranging from early

Twentieth Century fine art and decorative arts to Modern design, postwar and contemporary art and beyond.

With the acquisition of PAI, Rago Wright said it solidifies its status as a leader in the auction of fine and rare vintage posters, further diversifying its portfolio, which already runs the entire spectrum of Twentieth Century art and design. Together, the merged organization will be composed of more than 100 experts, including market specialists, researchers, designers and handlers, overseeing more than $100 million in annual sales of contemporary art and design. “For more than two decades, the Rago Wright network of auction houses has helped define the market for contemporary art and design.”

said Richard Wright, chief executive officer of Rago Wright. “We admire how Jack Rennert and PAI defined the fine and rare vintage poster category. We’re proud to build on Jack’s legacy and serve the thousands of PAI consignors and buyers.”

For information, email press@ wright20.com or 312-235-4181.

Fall Antiques At Rhinebeck Canceled

RHINEBECK, N.Y. — Barn Star Productions and Frank Gaglio regretfully announce the cancellation of the fall Antiques at Rhinebeck scheduled for Columbus Day Weekend, October 12 -13, at the Dutchess County Fairgrounds. Commented show manager Frank Gaglio, “The Fall Rhinebeck is a sister event to the spring show, which occurs on Memorial Day Weekend, and each show has its own flavor depending on the season, which draws attendees from as far as Canada and California.

"Due to a date conflict, the fall show has been canceled, and we look forward to bringing you a bigger and better spring show, May 24-25, 2025.”

For additional information, www.barnstar.com or 914474-8552.

Met Attendance Rebounds, Museum Welcomes 5.5 Million-Plus Visitors

NEW YORK CITY — The Metropolitan Museum of Art has announced today that it welcomed more than 5.5 million visitors to its two locations — The Met Fifth Avenue and The Met Cloisters — in the fiscal year that ended on June 30, 2024 (FY24). As the museum’s attendance continues to rebound following the pandemic, the number of domestic outof-state visitors reached prepandemic levels this year and the number of local New York City visitors exceeded pre-pandemic figures, a 102 percent recovery compared to 2019. BIPOC visitors accounted for a record-high 56 percent of the Met’s attendees from the United States, a figure bolstered by a diverse and robust suite of programs and exhibitions, including “The Harlem Renaissance” and “Transatlantic Modernism,” which has welcomed more than 437,000 visitors, and the annual Lunar New Year Festival, held this year on February 3, which drew 26,700 visitors.

In the past fiscal year, audiences were presented with several ways to deepen their engagement with the museum, including a wider range of offerings prior to entering the galleries. In September 2023, the museum opened its popular 81st Street Studio, an active art and discovery play space for children and their caregivers, which attracted more than 170,000 visitors since its inception. Contemporary sculptures in the niches of the museum’s facade, “The Facade Commission: Nairy Baghramian, Scratching the Back” intrigued both passersby on Fifth Avenue and visitors entering through the main steps, who, once inside, were greeted by yet another compelling and intriguing display, “The Great Hall Commission: Jacolby Satterwhite, A Metta Prayer,” which transformed the historic space with a sitespecific multimedia installation.

For additional information, www.metmuseum.org.

(East Hampton, N.Y.) Eye Of The Storm: The East Hampton Antiques & Design Show Shines

(Alameda, Calif.) Decorative Arts & Accessories Dazzle At Michaan’s

(Bedford, N.Y.) Butterscotch Bidders Find Fancy In The Arts

(Ypsilanti, Mich.) Schmidt’s

(Hudson, N.Y.) Indoor &

(Timonium, Md.) Opfer Offers

(Brookston, Ind.)

(Whipple, Ohio)

(Easton, Md.)

(Morristown,

(Sparks,

Lithograph After Chagall Shines At Top For Burchard

ST PETERSBURG, FLA. — On July 21, Burchard Galleries conducted its Estate Antiques, Fine Art and Jewelry Auction, which offered 517 lots, including a partial listing of the lifelong collection of Charles and Sylvie Lightfoot. The Lightfoots are hoteliers who have lived in over 20 different countries in their lifetimes. Leading the sale was “Soliel Couchant,” a lithograph after Marc Chagall (American/French, 1887-1985). The lithograph, an interpretive work based on one of Chagall’s paintings, was done by his trusted friend, Charles Sorlier. According to the auction catalog, “These so-called afterworks are currently some of the most valuable and sought after works of Chagall's entire artistic oeuvre.” The lithograph was signed lower right and numbered “87/150” lower left. It crossed the block for $7,073, within estimate. More top selling lots from this sale will be highlighted in an upcoming issue.

Rare Space Age Bike Rockets To $15,300 In Carrell’s Auction

INDEPENDENCE, MO. —

Since there were only 522 ever produced in 1960, it was a cinch that one of Benjamin George Bowden’s (1906-1998) Spacelander bicycles, especially the rare and desirable charcoal black model, would rocket to the top of Carrell Auction’s July 28 online auction on HiBid, selling for $18,360, including buyer’s premium. The Bowden Spacelander was designed in 1949 in only five colors, charcoal black being the most rare. Bowden, a British industrial designer, was primarily known for his work on automobiles and bicycles. Unfortunately at the time, a space-age bicycle turned out to be commercially unsuccessful when in production. Now it’s a collector's item, the winning

collector a private gentleman from Kansas City, who came in to personally view the bicycle, according to Josh Carrell. More on Bowdon’s unusual bicycle

and other highlights in Carrell’s online auction of the single-owner Gary Long antique and vintage bicycle and motorbikes collection to come.

Trio of Louis Vuitton Bags Cruise To Top For Tremont

SUDBURY, MASS. — On July 28, Tremont Auctions conducted its Designer Fashion & Couture auction, offering 225 lots from a single-owner collection of fine couture, jewelry and accessories, including handbags, shoes, clothing and scarves. Most of the lots were unworn and many included their original boxes. Leading the sale was a set of three Louis Vuitton cruiser bags in the signature monogram pattern. The bags, in sizes 50, 55 and 60,

were able to fit inside one another, and came with their original locks and keys. The largest of the trio, measuring 19 inches wide and 14 inches high, came with a dust bag, as did the smallest. All three were in never-used condition. Despite some staining on the leather trim of the largest bag, bidders still pushed the trio to $6,985, surpassing the lot’s high estimate. Additional highlights from this sale will be featured in an upcoming issue.

Rare Crowell Black Duck Earns $258,000 At

Guyette & Deeter

EASTON, MD. — Guyette & Deeter’s July 26-27 auction saw six decoys earning more than $100,000 each and the sale was led at $258,000 by an early, rare, feeding black duck by Cape Cod carver Elmer Crowell. Carved with a slightly turned and downward looking head, it is thought to be the only one made in this position. It was from the collection of Alan and Elaine Haid and had been published in a monograph on the maker. A

green wing teal drake, by the same carver and from the same collection, brought $168,000. A carved storage box by contemporary folk artist Frank Finney set a new world record price for the carver when it earned $66,000. The sale included weathervanes, decorative carvings, fish carvings by Oscar Peterson, Mason Factory decoys, shore birds, sporting art and more. Prices quoted include the buyer’s premium; a full report will follow.

Remmey Ship Inscribed Presentation Pitcher

Tops Off Crocker Farm’s Summer Auction

SPARKS, MD. — The first lot of Crocker Farm’s Stoneware & Red ware Auction that closed July 26-27 was a stoneware presentation pitch er with incised “John Bradleys Growler” and masted ship decora tion that had been attributed to the Richard C. Remmey Pottery in Philadelphia, circa 1875. The first stoneware piece by the Remmey potters known to Crocker Farm to have ship decoration, it had been estimated at $30/50,000 but sold for $45,000, including buyer’s pre mium; it was the highest price of the day. Other works by the Rem mey potters saw strong results in the 578-lot sale, which was 100 per cent sold. A future issue will feature a more extensive review of this sale.

Adamson Bronze Sculpture

MORRISTOWN, N.J. — On July 24, The Magnusson Group conducted its Fine Art To Favrile Summer Auction, which offered 200 lots of fresh-to-market items from three prominent New Jersey estates, including the Rulle estate, the estate of Frederick Kraissl and a private New Jersey collector. Leading the sale was a large bronze sculpture by Amandus Heinrich Adamson (Estonia, 1855-1929), titled “Walfbanger.” Weighing approximately 35 pounds, the statue, depicting a bearded man with a harpoon, was signed and dated “1898” on the top of its base. It speared down a $31,563 finish, landing at almost 16 times its high estimate of $2,000. More highlights from this sale will be featured in an upcoming issue.

Warhol News Print Pops To Top For La Belle Epoque

NEW YORK CITY —

Nearly 440 lots of fine art, decorative art, memorabilia, furniture, lighting and antique books were on offer in La Belle Epoque’s Multi-Estates Summer 2024 Auction on July 27. Besting its $12,000 high estimate and becoming the top lot of the sale at $14,080 with buyer's premium was Andy Warhol’s (American, 1928-1987) screenprint of “ Daily News 1967.” This example is just one of a small edition of 35 that were printed by the Warhol Factory. Measuring 50 by 30 inches, the neoncolored print featured the partially obscured November 13, 1967, headline: “LBJ To Kremlin, Y’All Come.” A more comprehensive review of the sale will be in a forthcoming issue.

New Exhibition Opens At Saint-Gaudens

National Historical Park

CORNISH, N.H. — The Saint-Gaudens Memorial presents the work of Christina Pitsch in the exhibition “the ways we remember: monument, memento, souvenir” in the Picture Gallery at Saint-Gaudens National Historical Park from August 17 through October 31.

A reception will take place on Saturday, August 17 from 4 to 6 pm, with a talk by the artist at 4:30 pm. A Manchester, New Hampshirebased sculptor and installation artist, Pitsch questions ideas of beauty and idealization, and assumed hierarchies of class, taste and value. Pitsch’s exhibition interprets and juxtaposes objects in contemporary life that seemingly hold no importance other than their function. Cinder blocks crafted of porcelain, cardboard leafed in gold and an installation of “made in occupied Japan” figurines, collected and arranged by the artist, present the viewer with what Pitsch calls “a love song between the everyday objects we all see but don’t notice, and the decorative objects of the past that are revered.” The exhibition, presented at the site dedicated to presenting, preserving and interpreting the art and collections of Augustus Saint-Gaudens and his family, is rich with juxtapositions and dichotomies that are at the core of Pitsch’s work. Inez McDermott, trustee and chair of the Saint-Gaudens Memorial’s exhibition committee states, “We welcome the opportunity to examine the questions the artist raises as to how and why we, as a culture, value particular objects and materials more than others.”

Christina Pitsch has exhibited in the greater Boston area including shows at the Boston Sculptor’s Gallery, Kingston Gallery and the New Art Center. She has had numerous residencies, including multiple stints as an artist-in-residence at the European Ceramic Work Center in the Netherlands and has received grants from the NH State Council on the Arts and the Berkshire Taconic Community Foundation Artist’s Resource Trust. Pitsch’s work is part of the Delta airlines collection and is on view at the Seattle/Tacoma airport. The Saint-Gaudens Memorial is at 139 Saint-Gaudens Road. For information, 603-675-2175 or www.saint-gaudens.org.

‘Nuestra

Señora del Rosario’ Ascends In Santa Fe Art Auction’s New Mexico Sale

SANTA FE, N.M. — On day two of Santa Fe Art Auction’s New Mexico sale, Alcario Otero’s (b 1951) carved wood figure of “Nuestra Señora del Rosario,” 1999, sold for $7,380. The figure with gesso, pigments and a silver crown by Juan López is derived from Catholic devotional themes and was inscribed underneath the base: Lady of the / Rosario / Alcario / Otero / "99." Measuring 36¼ by 22½ by 9 inches, the figure, known as a bulto , was from the Paul Rhetts collection, New Mexico, a well-known scholar on Spanish Colonial art. It had a long exhibition history throughout New Mexico and the Southwest in the exhibit “Our Saints Among Us: 400 Years of New Mexican Devotional Art” from 1997-2002, and was featured in the accompanying book (published 1998). Santa Fe Art Auction’s annual sale dedicated to collectors of New Mexico material culture offered 300 lots that span the state’s diversity. Early furniture, paintings, carvings, tinsmithing and artifacts that developed from influences of Spain, Mexico and South America from the Sixteenth Century to today were featured. More highlights follow in a later review.

Goodwin Bear Hunt Painting Captures

Top

Price For Coeur D’Alene

RENO, NEV. — More than 400 lots were offered by Coeur D’Alene Art Auctions’ Best of the West auction on Saturday, July 27. Of these, topping the charts at $786,500 and easily beating its $250/350,000 estimate was “Dangerous Sport,” a striking bear hunt painting by Philip R. Goodwin (1881 – 1935). The 40-by-28-inch oil on canvas composition had been included in Larry Len Peterson’s book, Philip R. Goodwin: America’s Sporting & Wildlife Artist (Coeur d’Alene Art Auction and Settlers West Galleries, 2001) and had provenance to auctions in 2005 and 2017 as well as a private Wyoming collection. A review of this sale, which was more than 90 percent sold and totaled more than $17 million, will be featured in an upcoming issue; prices quoted include the buyer’s premium.

Blanton Museum Presents Exhibition Featuring Contemporary Native Art

AUSTIN, TEXAS — The Blanton Museum of Art at The University of Texas at Austin presents “Native America: In Translation,” a group exhibition that features nine Native American and First Nations artists working in photography and other lens-based media. Curated by Apsáalooke artist Wendy Red Star and organized by Aperture, it assembles more than 60 artworks that offer contemporary perspectives on identity, memory, tradition and the history of photography. “Native America: In Translation” opens August 4 and is on view through January 5, 2025.

“‘Native America: In Translation’ beautifully centers artistic voices and highlights a wide range of Indigenous lens-based art in the Americas,” says Blanton director Simone Wicha. “The artists and artworks Wendy Red Star has selected delve into universal themes like memory and identity with remarkable depth and creativity. The exhibition’s photography and other powerful visuals will no doubt be deeply moving for our visitors and foster insight and understanding of our rich American heritage.”

The exhibition expands and builds upon the Fall 2020 issue of Aperture magazine, which Red Star guest edited. In putting together the exhibition, Red Star says, “I was thinking about young Native artists and what would be inspirational and important for them as a road map. The people included here have all played an important part in forging pathways, in opening up space in the art world for new ways of seeing and thinking.”

After traveling to five US institutions since its tour began in 2022, the Blanton will be the exhibition’s first and only stop in the Southwest.

The Blanton Museum of Art is at 200 East Martin Luther King Boulevard. For information, www.blantonmuseum. org or 512-471-5482.

“Matriarch” by Rebecca Belmore,

from the

2018,

series “nindinawemaganidog (all of my relations),” photograph by Henri Robidea, archival pigment print, 56 by 42 inches. Courtesy of the artist.

“Let me introduce you to my friends” by Christina Pitsch, 2024. Found ceramic; installation dimensions variable.

CRANSTON, R.I. — A historic Sharps Model 1874 rifle hit a bull’s-eye price of $7,963, more than four times its high estimate, in Bruneau & Co.’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.” on 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. This online-only sale had 298 lots,

Blazing Guns, Historic Arms Lead Bruneau & Co. Militaria Sale

The top selling firearm in the sale was a historic Sharps Model 1874 rifle, which zeroed in on $7,963, more than four times over high estimate.

ranging in hammer prices from $50 to $6,500. Only three passed, resulting in a sell-through rate of nearly 99 percent.

Sadly, this was Bruneau & Co.’s last firearms and militaria auction — and the next-to-last sale ever as the firm winds down operations. Contacted after the

This cased over and under 12-gauge shotgun by the Ger-

company in Ulm earned $5,206.

sale, Kevin Bruneau said that with the departure of key executives, including Travis Landry, who is starting a pop collectibles business, and militaria specialist Joel Bohy, who is writing a book, running the company has become untenable. Its last sale is scheduled for July 31, a no-reserves online-only estate arts and collectibles auction.

Another Sharps Model 1874 rifle on offer doubled its high estimate, coming in at $5,400. Circa the late 1870s, the .50 caliber rifle featured a walnut stock and forend. It sported a 28-inch octagonal heavy barrel marked with the model’s nickname, “Old Reliable,” in a banner and “Sharps Rifle Co Bridgeport, Conn.”

A cased over and under shotgun by the German Krieghoff company in Ulm earned $5,206.

It was 12 gauge with a walnut stock and checkered wrist and forend. The receiver was engraved with foliate design and the case had three barrel tube sets.

The Winchester marque was represented by a Model 21 20-gauge shotgun that crossed the block at $4,800. This firearm had a walnut stock with a checkered wrist and forend. Fitted with a Pachmayr recoil pad, the shotgun was marked on the top of the right 30-inch barrel “Model 21-Winchester-20 gauge / Trade Mark.” The left barrel contained patent information.

Also in the Winchester camp was a Model 21 12-gauge shotgun selling for $3,300. Its walnut stock with a checkered wrist and hand guard was fitted with a White Line recoil pad. The barrel length was 26 inches.

A large group of US Navy and Marine Corps awards collectively surpassed a $200/300 expectation to finish at $2,700. The cased group included two Navy Good Conduct medals and one Marine Corps Good Conduct medal, all named, along with a display card with descriptions of most of the medals in the display.

Historic rifles across the block included a US Model 1803 Harper's Ferry flintlock example from circa 1815. With a .54 caliber rifled bore, it did not carry a serial number. A walnut half-stock had a raised cheek piece on the left side of the butt. Brass fittings were marked on the lock “Harpers/Ferry/1815” with an eagle in front of the cock. The breech was marked “US” and “P” with an eagle’s head both in an oval cartouche. The barrel length was 33-1/8 inches and it sold for $3,900.

There was a restocked British 2nd Model “Brown Bess” musket on offer, and it captured $2,400. Made during the last quarter of the Eighteenth Century, the .82 bore weapon had a maple stock, brass fittings and a reconverted lock marked “Tower” on the tail with a crown over “GR” in front of the cock. The firearm with a 41½inch barrel was missing its ramrod.

A British India pattern flintlock musket, circa 1794-1809, surpassed its high estimate to bring $2,160. With a .79 bore and a walnut stock with a store keeper’s stamp on the right side of the butt, it also had a circular cartouche on each side of the butt with “P.L.D.,” “7” and other stamps. Brass fittings included a tail of the lock stamped “Tower,”

This Sharps Model 1874 “Old Reliable” rifle, circa late 1870s, doubled its high estimate and sold for $5,400.

man Krieghoff

Second Lieutenant Theodore Cartwright wore this US Marine Corps tunic in World War I and the accompanying map case belonged to him. The lot bested its low $100/200 estimate to reach $2,700.

This restocked British 2nd Model “Brown Bess” musket was bid to $2,400.

Fetching $2,040 was this 1970s vintage Ithaca/Perazzi 12-gauge over/under shotgun and tube set.

Review by W.A. Demers, Senior Editor Photos Courtesy Bruneau & Company

Notable handguns included this engraved Colt Bisley revolver, which took $2,700. Circa 1904, the .32 WCF caliber gun had white plastic grips, a commercially engraved frame, barrel and cylinder with foliate designs and a reblued finish.

This Winchester Model 21 20-gauge shotgun crossed the block at $4,800. It had a walnut stock with a checkered wrist and forend, fitted with a Pachmayr recoil pad.

with a crown over “GR” in front of the cock and a government ownership crown over a broad arrow stamp.

Going back even further in time was a Dutch flintlock musket with 42-1/8-inch barrel, circa 1755, bringing $3,300, twice its high estimate. It had a .79 bore, walnut stock, brass fittings, an unmarked original French replacement lock with a refaced hammer and a large brass front sight.

Italian gunsmiths joined in with a Perazzi MX8 Special over/ under shotgun also going out at $3,300. It was a 12 gauge featuring a walnut stock with a checkered wrist and hand guard and a vinyl cheek pad attached to the butt with Velcro. Marked on the left side of the barrel was “Perazzi SPA – Made in Brescia –Italy...” with a case marked “Ithaca” inside the lid.

A 1970s vintage Ithaca/Perazzi 12-gauge over/under shotgun and tube set came to the podium and was bid to $2,040. Coming to handguns, an engraved Colt Bisley revolver took $2,700. Circa 1904, the .32 WCF caliber gun had white plastic grips, a commercially engraved frame, barrel and cylinder with foliate designs and a reblued finish. It was marked on the left side of the frame with patent dates, marked on the left side of the barrel “(Bisley Model) 32 WCF” and marked on the top of the barrel “Colt's Pt. F.A. Mfg. Co. Hartford CT. U.S.A.”

A Griffin & Howe Mauser sporting rifle, circa the 1920s30s, also found favor at $2,700 also. It was .30-06 caliber and had a walnut stock with a raised cheek piece on the left side of the butt, checkered wrist and forend, with a horn nose cap. There was a silver escutcheon under the butt, and the rifle was marked

This US Model 1803 Harper’s Ferry flintlock example from circa 1815 and with a .54 caliber rifled bore, featured a walnut half-stock with a raised cheek piece on the left side of the butt. It sold for $3,900.

A British India pattern flintlock musket, circa 1794-1809, surpassed its high estimate to bring $2,160.

A Griffin & Howe Mauser sporting rifle, circa 1920s-30s, garnered $2,700. It was .30-06 caliber and had a walnut stock with a raised cheek piece on the left side of the butt,

wrist and forend, with a horn nose

One of the earliest firearms in the sale, a Dutch flintlock musket, circa 1755, elicited $3,300, twice its high estimate.

An identified US Marine Corps 2nd Division uniform and helmet was estimated $300/500 but did much better, realizing $2,400. Dating to circa 1918-19, the green Marine Corps tunic was identified to Pvt. David Earl Willard, 75th Company, 6th Regiment.

on the barrel “No 1542 Griffin & Howe Inc. New York.” Fitted with a Redfield scope, its barrel measured 23 inches long. Now we come to the poignant part of the sale — uniforms and personal effects of American soldiers who fought in major wars. These were led by a large group of US Navy and Marine Corps awards that collectively beat their $200/300 estimate to finish at $2,700. The cased group included two Navy Good Conduct medals that were named, one of the Marine Corps Good Conduct medals that was named, along with a display card with descriptions of most of the medals in the display.

A World War I US Marine Corps tunic and map case that belonged to Theodore Cartwright also bested a low $100/200 estimate, reaching $2,700. The forest green twilled wool tunic with brown-painted copper and brass

buttons featured an eagle, globe and anchor insignia on the collar. Cartwright’s Second lieutenant’s bars were on each epaulet, and a map case in the lot was marked “THC.”

In addition, there was an identified US Marine Corps Second Division uniform and helmet. The lot was estimated $300/500 but did much better, realizing $2,400. Dating to circa 1918-19, the green Marine Corps tunic was identified to Private David Earl Willard, 75th Company, Sixth Regiment with two eagle, globe and anchor collar discs, a Second Division patch on the left sleeve, a discharge stripe and a gold overseas stripe. Included were a pair of trousers and a helmet with a painted 2nd Division insignia, liner and chinstrap. Prices given include the buyer’s premium as stated by the auction house. For information, www.bruneauandco.com.

From Italian gunsmiths Perazzi, this MX8 Special over/ under shotgun went out at $3,300. It was a 12 gauge featuring a walnut stock with a checkered wrist and hand guard and a vinyl cheek pad attached to the butt with Velcro.

checkered

cap.

Auction Action In Branford, Conn.

Americana Extravaganza Brings

$1.1 Million For New England Auctions

BRANFORD, CONN. — New England Auctions’ July 18 Summer Americana Extravaganza lured bidders in with 496 lots of decorative arts, textiles, Native American artifacts, artwork and a selection of more than 100 New England Shaker objects. In total, the sale realized $1,121,000 and boasted a 99 percent sell-through rate. Fred Giampietro, owner of New England Auctions remarked, “It was a great sale, we were very pleased. It exceeded our high estimate — a good 20 to 25 percent above our high estimate actually and we try to be accurate with our estimates.” What drove the sale to such great performance? According to Giampietro it can be chalked up to the careful details in cataloging, including “accurate condition and restoration history and exceptional photography. We take a lot of pictures of specific pieces that collectors want to see to make their decisions. One

lot had more than 80 high-resolution, larger than life photos with all the components that some wouldn’t know to look for.”

Encompassing the finest qualities of Shaker goods and Americana, the sale’s pinnacle lot was a Shaker cupboard over seven drawers. Cataloged as “important,” this cupboard in old chrome yellow paint was likely made in the early to mid Nineteenth Century. Giampietro said that it was “found around Mount Lebanon (N.Y.) in 1981. There’s a couple of Shaker villages near there, but we believe Mount Lebanon is the right call.” The consignor had purchased the piece from Mary Page in 1981. It was in “exceptional original condition” and described as “a perfect example” of Shaker craftsmanship. Exceeding its $150,000 high estimate, the cupboard finally settled at $262,500 before heading out to a collector in the Midwest. “I’ve been doing this for 50

years, but I think, for me, this cupboard was one of the top lots I’ve ever handled. The value of Americana in general is driven by surface integrity and condition. It had a beautiful dry old surface, it was clearly the original paint. It had been cared for its whole life: hadn’t been waxed or refinished. It was a time capsule — as if it was put away, cared for and treated as an object of integrity — and collectors will pay for that.”

Leading a selection of smaller Shaker objects was an oval sewing carrier measuring 8¾ inches at its longest point. In similar chrome yellow paint as the cupboard, this Nineteenth Century sewing carrier had a fixed handle. The interior base of the carrier was divided into four compartments that would be closed off by a layer fitted for spool storage. Appropriately, the sewing carrier was filled and sold with assorted supplies including buttons, pin cushions,

thimbles, scissors and various spools of thread. Slightly larger was another Nineteenth Century sewing carrier, this one in red paint. Lined in silk and affixed with ribbons for attaching accessories, the carrier contained spools of thread, pin cushions, buttons and pins. Measuring 15 inches long at its widest point, the oval basket was in excellent original condition. The chrome yellow sewing carrier made $32,500, while the red one brought $30,000.

Three oval Shaker boxes, ranging from 15 inches long to just over 9 inches long, found favor with bidders. The smallest one, measuring 9-3/8 inches at its widest point, brought the highest price — $13,125. With an old label reading “Pumpkin Seed” affixed to its lid, the box was appropriately decorated with original deep pumpkin paint and was in excellent condition. This label, according to Giampietro, was a driving fac-

An important Shaker cupboard made $262,500 to become the sale’s top lot ($100/150,000). In original

tor in the box’s success: “It adds that human touch, the connection that a real person really did use it for that specific purpose, and it really adds to the aesthetic of the object. And then, of course, the pumpkin paint — they really tried to get it as close to what it was being used for!”

Making $10,625 was another box in old pumpkin paint, though this one was brighter in color and measured 10½ inches at its widest. Dated to the mid Nineteenth Century, it had some minor losses and hairline cracks, still it far exceeded its $1,200 high estimate. The third-highest earning Shaker box, a chrome yellow example, was the largest in both width and depth. The auction catalog described this Nineteenth Century box as being “excellent with minor imperfections” and it went out at $9,375.

At the helm of the fine art category was Antonio Jacobsen’s oil portrait of the clipper ship Dreadnought. With the titular ship in the foreground, other tall ships and a steamboat are also seen sailing the dark waters in the background. This portrait is believed to have been completed in 1878 and was guaranteed to be the work of Jacobsen despite a false signature that was removed by a conservator in 2019. With the conservator’s report, the ship sailed to a new owner for $30,000. Another notable painting was an unsigned portrait of James Caleb Jackson (1811–1895), who was an abolitionist, hydropathic practitioner and editor of Utica, New York-based The Liberty Press. In front of a green curtain with a small view of the

yellow paint, the early to mid Nineteenth Century cupboard was probably from Mount Lebanon, N.Y., and measured 84 inches tall by 46-7/8 inches long.

A label for “Pumpkin Seed” was pasted across the lid of this Shaker box with pumpkin paint, 9-3/8 by 7 inches wide and 3½ inches high; it was bid to $13,125 ($1,5/2,500).

James Caleb Jackson (1811-1895) was the editor of The Liberty Press. In this oil on canvas portrait he is depicted holding a copy of his paper dated “1843.” Measuring 39 by 36½ inches in its original frame, the painting was bid well beyond its estimate range to finish at $13,750 ($2,5/5,000).

Antonio Jacobsen’s (Danish/American, 1850–1921) portrait of the clipper ship Dreadnought, 26½ by 40-7/8 inches framed, more than doubled its high estimate and finished at $30,000 ($6/12,000).

Bringing $32,500 was this Nineteenth Century chrome yellow Shaker sewing carrier, which was fitted with spools and other supplies, 7¼ inches high by 8¾ inches long by 6¾ inches wide ($5/8,000).

Review by

Carly Timpson, Assistant Editor Photos Courtesy New England Auctions

riverfront city in the background, Jackson is positioned holding a July 1843 copy of his paper with the masthead including text that read, “Liberty and Slavery are Perfect Antagonism—one or the other must Perish.” Paired with the portrait was a copy of a daguerreotype that shows Jackson in frame with Frederick Douglass, both attending an 1850 Fugitive Slave Law Convention meeting. The lot of abolitionist history, which came from the collection of Richard and Norma Bury (Syracuse, N.Y.), went out at $13,750, well beyond its $5,000 high estimate.

An 1844 yarn-sewn pictorial rug from the Boston estate of folk art dealer Stephen Score, crossed the block at $11,875. Having a yellow border with a vine of red and pink flowers throughout, the rug featured a large central image of a flowering plant flanked by two different trees. Other details included a bird on the left and a pie on the right. In red letters, the rug was initialed “M.H.F.” in a yellow box at the lower left and it was dated “1844” in a blue box to the bottom right. According to Giampietro, “It was a great rug; its condition was exceptional. It’s one of those pieces that I’d say, ‘is worth more than its worth.’ It had great color, intentionality, great composition aligned with American folk

Dated “1844” and initialed “M.H.E.,” this yarn-sewn rug with flowers, trees and other decorative elements brought $11,875 ($2,5/5,000).

art with no Victorian overtones despite the date.”

Native American artifacts were led by an Iroquois False Face mask. The carved wooden mask was colored with dark red and black pigment and had tin eye surrounds. At the top of the mask was a remnant scrap of hide that was once, likely, the mask’s long hair. Britannica reports on the cultural significance of these masks worn by Iroquois False Face Society members, writing, “These professional healers performed violent pantomimes to exorcise the dreaded gahadogoka gogosa (demons who plagued the Iroquois). They wore grimacing, twisted masks, often with long wigs of horsehair. Metallic inserts often were used around the eyes to catch the light of the

campfire and the moon and to prevent surprise attacks from invisible evil forces.” This mask’s dramatically carved cheeks and pursed lips help to categorize it as a “blowing mask” — one that would be worn during rituals where hot ashes were blown on to a patient seeking treatment. Estimated at just $1/2,000, the mask was bid to $8,750. Speaking on the success of this mask, Giampietro said, “It is a separate collecting field but it runs parallel to Americana in terms of what people are looking for and what categorizes a great item. For this mask, the surface was great — dry, original paint, unadulterated. It was clearly used for dances and rituals, not just a decorative piece. It had all the right elements to drive it

This Iroquois Native False Face mask, carved wood with pigment, tin eye surrounds and remnant of patch of hide on scalp, 11½ by 7 inches, blew past its $1/2,000 estimate to finish at $8,750.

to success: there was no repaint or repairs. It looked like it was probably used, collected in the early Twentieth Century, then kept until now.”

This diminutive Nineteenth Century chimney cupboard in cherry red paint, from the Northeastern US circa 183040, 67 inches tall by 22 inches wide by 11½ inches deep, was bid past its estimate range to earn $8,750 ($2/4,000).

“We really try hard to curate our sales so there’s a good flow, a synergy between the lots. I think when you have a piece, like some of those Shaker pieces we had, it sets a high bar as far as the quality and originality. There weren’t holes in this sale in terms of condition and integrity. We hope to have another Shaker sale next year and hope to repeat the success,” remarked Giampietro. Prices quoted include the buyer’s premium as reported by the auction house. New England Auctions’ Summer Discovery Auction will be on August 15. For information, www.newenglandauctions.com or 475-234-5120.

Denver Art Museum Presents Laura Ellen Bacon’s First US Solo Art Installation

DENVER, COLO. — The Denver Art Museum (DAM) announces British artist Laura Ellen Bacon’s inaugural US installation. Bacon is renowned for transforming raw, natural materials by hand into sculptures in both interior and landscape settings. “Rejuvenation,” measuring more than 20 feet in height and made of more than 500 pounds of willow branches, will be on view at the museum through the fall.

As the artist explains, “Rejuvenation” is inspired by the organic growth of the willow plant, whose root system’s ability to store water equates to the inherent power of life and regrowth. The installation climbs along the large, four-story wall in the museum’s Hamil-

ton Building atrium. Its organic shapes embrace, surround and engulf the building’s architectural structures, encouraging visitors to experience their environment in a different way.

“We are delighted to bring Bacon’s unique artistic language to Denver. It sparks a fascinating dialogue with our recently opened exhibition ‘Biophilia: Nature Reimagined,’ which, just like Bacon’s art installations, explores the ways in which nature inspires,” says Christoph Heinrich, Frederick and Jan Mayer Director of the DAM. “The designs and elements of Bacon’s large-scale sculptures reflect humans’ innate bonds with nature, weaving shapes and materials together to evoke the structures

and phenomena found in the natural world.”

The daughter of an architect father and a fruit grower mother, Bacon grew up on a farm in Derbyshire County, U.K., where

the artist still lives and works. Her surroundings and upbringing continue to inform her work through her site-specific creations that explore the relationship between natural and

human-made environments.

The Denver Art Museum is at 100 West 14th Avenue Parkway. For information, 720-8655000 or www.denverartmuseum.org.

THE GALLERY Special Section

A Special Fine Art Centerfold Section of Antiques and The Arts Weekly and www.antiquesandthearts.com, both in full color. Would you like to sell works of art to people who are passionate about art and acquisition? Bring in new clients? Reach out to collectors? These are all good reasons to submit an ad and an article for the Fall issue of The Gallery.

FREE PUBLICITY

FOR ADVERTISERS AND SELECT NON-PROFITS

Deadline For Ad Materials & Publicity: August 29, 2024

For Issue Dated: Oct. 4, 2024 (Paper mailed September 24, 2024)

SEND US YOUR AD: Email Barb Ruscoe at: Barb@thebee.com MAIL ALL NON-ELECTRONIC AD AND ARTICLE MATERIALS TO: Barb Ruscoe/The Gallery Antiques and The Arts Weekly 5 Church Hill Road, Newtown, CT 06470 For More Info: (203) 426-3141

“Rêverie” by Lauren Ellen Bacon, stripped willow, a temporary exhibit for Département de L’Eure en Normandie at Château-Gaillard as part of Journées Européenes du Patrimonie 2023. Photo by Laura Ellen Bacon.

Historic Homes & Properties

The Race Is On To Keep A 150-Year Old Lighthouse From Crumbling Into the Hudson River

HUDSON, N.Y. (AP) — The race is on to keep a 150-year-old lighthouse from crumbling into the Hudson River.

Wooden pilings beneath Hudson-Athens Lighthouse are deteriorating, and the structure, built in the middle of the river when steamboats still plied the water, is beginning to shift. Cracks are apparent on the brick building and its granite foundation.

While there are other endangered lighthouses around the nation, the peril to this one 100 miles (161 kilometers) north of New York City is so dire the National Trust for Historic Preservation placed Hudson-Athens on its 2024 list of the country’s 11 most endangered historic places. Advocates say that if action isn’t taken soon, yet another historic lighthouse could be lost in the coming years.

“All four corners will begin to come down, and then you’ll have a pile of rock in the middle. And ultimately it will topple into the river,” Van Calhoun of the HudsonAthens Lighthouse Preservation Society said during a recent visit.

The society is trying to quickly raise money to place a submerged steel curtain around the lighthouse, an ambitious preservation project that could cost as much as $10 million. Their goal is to save a prominent symbol of the river’s centuries-long history as a busy waterway. While the Hudson River was once home to more than a dozen lighthouses, only seven still stand.

Across the United States, there were around 1,500 lighthouses at the beginning of the Twentieth Century. Only about 800 of them remain, said US Lighthouse Society executive director Jeff Gales. He said many of the structures deteriorated after they were automated, a process that became more common by the 1940s. “Lighthouses were built to have human beings taking care of them,” Gales said. “And when you seal them up and take the human factor out, that’s when they really start falling into disrepair.”

The Hudson-Athens Lighthouse began operating in 1874 offshore from the city of Hudson and was eventu-

ally co-named for the village of Athens on the other side of the river. It was built to help keep boats from running aground on nearby mud flats, which were submerged at high tide.

“There were shipwrecks because they couldn’t see the sandbar. And so that’s why this lighthouse was put in the middle of the river, unlike most that are on the shoreline,” said preservation society president Kristin Gamble.

The lighthouse is still in use, though now with an automated LED beacon. The preservation society owns the building and maintains it as a museum.

The last full-time keeper, Emil Brunner, retired in 1949 when the lighthouse became automated. He lived there with his family for much of his tenure. One of his daughters recalled rowing to school and, in the winter, walking across the ice on a safe path marked by her father’s tobacco juice stains on the frozen surface. Brunner also is portrayed on a 1946 Saturday Evening Post cover painting rowing with a child, Christmas presents and a tree in tow, as his wife and other children await their arrival on the lighthouse landing.

Visitors who are ferried to the lighthouse today can explore the keeper’s quarters, which are modest but feature river views from every window. And they can climb up the tight spiral staircase to the tower to take in a unique panorama view of the river and the Catskill Mountains to the west.

Roof work on the lighthouse is underway this summer, but repairs to the building will ultimately mean little unless workers address damage to some of the 200 wood pilings packed in mud that hold the lighthouse above water. The support structure has weathered 150 years of currents and ice. But large commercial ships of the modern era — with their big propellors — introduce new problems.

“They create a turbulence that’s like being inside a washing machine. And that turbulence actually comes underneath and pulls — churns up — the soil underneath us and sucks it away,” Calhoun said. “In fact,

NHA Begins Major Restoration Project At The Old Mill

NANTUCKET, MASS. — The Nantucket Historical Association (NHA) will conduct a major restoration project at the Old Mill, funded by the Nantucket Community Preservation Committee (CPC), beginning in August. The project will include critical work such as reshingling the entire structure, pest control and repairs, and overall structural repairs and reinforcement. The project will also include visitor experience enhancements with an unintrusive interpretive shed on the property for ADA accessibility enhancements.

“We greatly appreciate the continued support and generosity of the CPC and their recognition of the importance of

this project. This work will address critical repairs to the mill and enhance the visitor experience for years to come at one of the island’s most cherished landmarks,” says Niles Parker, NHA Gosnell executive director. “Although it’s difficult for this work to begin during the summer season, it is vital to conduct aspects of this project during mild weather conditions of the summer and fall to protect the structure while restoration is underway.”

In 2022, the NHA committed $2 million and 24 months to a bout of property rehabilitation that included the replacement of the slate roof at the Whaling Museum’s Candle Factory, extensive masonry restoration

at the Research Library and upgrades to the fire suppression system at the Hadwen House, to name just a few improvements. The NHA is now continuing this push for preservation work, the rehabilitation of the Old Mill, as well as preservation of the north wall of the Candle Factory, planned for this fall, and the installation of new storm windows at Greater Light to come.

To conduct these projects with preservation in mind, the NHA uses extensive records of our historic properties for reference. Each planned project begins in the archives with a detailed look at the building’s construction and maintenance history. The NHA then works with preservation professionals to ensure that any work accomplishes contemporary goals like accessibility, safety and climate preparedness without disturbing the historic fabric of the building.

Built in 1746, the Old Mill is believed to be the oldest operating windmill in the United States. It was designated an American Society of Mechanical Engineers Historic Mechanical Engineering Landmark in 1992.

For more information, www. nha.org.

A ship passes the Hudson Athens Lighthouse, Wednesday, June 12, 2024, in Hudson, N.Y. The 150-year-old lighthouse is in danger of toppling into the water, and advocates for the lighthouse in the middle of Hudson River are urgently trying to save it (AP Photo/Julia Nikhinson).

there are boulders as big as your car that are 100 feet out in that river that used to be right next to us.”

The underwater agitation washes away mud around the pilings, leaving them exposed to water. And that accelerates decay of the wood. Engineers estimate the structure could begin to tilt in three to five years, which Gamble said would be “the beginning of the end.”

The proposed ring of corrugated steel would shield the structure from that turbulence. The 100-foot (31-meter) diameter circle, which would project above the water line, would be filled in and covered by a deck, enlarging the area around the lighthouse.

The preservation group is optimistic about getting federal money to help pay for the project. Both of New York’s US senators, Democrats Chuck Schumer and Kirsten Gillibrand, support the effort, as does local Republican US Representative Marc Molinaro. Though the project is pricey, Gamble said, it would not only save the lighthouse from being lost to time, but it would also protect the Nineteenth Century beacon for generations to come.

“We need, basically, the 100-year fix,” she said.

The

‘Moulin Rouge’ Cabaret In Paris Has Its Windmill Back, Weeks After A Stunning Collapse

Paris’ famed Moulin Rouge cabaret venue got its red windmill back Friday, July 6, during a special ceremony (AP photo / Florent Bajrami).

PARIS (AP) — Paris’ famed Moulin Rouge cabaret got its red windmill back Friday, July 6, during a special ceremony that featured can-can dancing on the plaza outside.

The mill’s huge sails inexplicably collapsed after a show in April at the iconic venue, an emblem of the surrounding Montmartre neighborhood. Part of the cabaret’s illuminated sign also crashed to the ground as a result of what its director called a technical problem. No one was hurt, and the mayor of Paris’ 18th district said the structure was not in danger.

The Moulin Rouge scrambled to repair the damage before July 15, when the Olympic torch relay is expected to draw big crowds as it passes through the area.

The windmill was first illuminated on October 6, 1889, at the opening of the Moulin Rouge.

The cabaret, marking its 135th anniversary this year, is a major tourist attraction and was celebrated in the 2001 Baz Luhrmann film musical starring Nicole Kidman.

Cabaret management says its performers represent 18 nationalities and it receives 600,000 spectators a year.

Compiled by madelia HiCkman Ring

DEADLINE / PUBLICATION SCHEDULE BELOW

JMW Auction To Disperse 300-Plus Lots On August 9

KINGSTON, N.Y. — On Friday, August 9, JMW Auction will have a 300-plus lot auction, including more than 100 pieces of vintage audio and stereo equipment from one estate in the Hudson Valley. It will include names like Heathkit, Sony,

Sansui, Technics, Akai, Teac, Hitachi, Luckman, Mitsubishi and more.

A wide variety of furniture will include cupboards, tables, stands, five dining tables, sets of chairs, recamiers, period chests and more. Also offered

will be decorative accessories, porcelains, lighting, glassware, advertising, photography from the estate of photographer Bolling Powell, bronzes, ephemera and more.

Preview is Thursday, August 8, from

More Than 250 Unique Artifacts And

noon until 7 pm. This is an online-only auction and absentee bids will be accepted. Register at www.liveauctioneers.com for bidding. JMW Auction is at 1094 Morton Boulevard. For information, 845389-1933 or www.jmwauction.com.

Artworks

From Pacific Islander Cultures Are Now On Display In The Yale Peabody Museum’s

Hall Of The Pacific

the Yale

NEW HAVEN, CONN. — The Yale Peabody Museum has opened a completely new gallery to visitors: the Hall of the Pacific. For the first time, the Peabody is exhibiting an extensive collection of artworks, contextual photographs and historical artifacts that celebrates the living cultures of Pacific Islander communities. The 254 objects on display include a carved seagoing canoe prow from Vanuatu, elaborate façade paintings that adorned a ceremonial house in Papua New Guinea, and decorated shields from the Solomon Islands used for defense and in ceremonies.

Other highlights from the Hall of the Pacific include a rare Tago mask from Tami Islands, a pair of rare Eharo masks from Papua New Guinea, a Nineteenth Century warup drum from Saibai Island, an iUla Tavatava, a ridged-head missile club from Fiji, a collection of stylized spirit face masks from Vanuatu and a Māori feather cloak from New Zealand.

The comprehensive new exhibit on the Peabody’s third floor showcases the enormity of the Pacific, the vast distances explored and navigated by Pacific Islanders, and the rich diversity of the region’s cultures. The Hall of the Pacific was made possible through a generous donation by Thomas Jaffe.

“This is something completely new for the Peabody. We’ve never been able to show this collection of objects and works of art from across the Pacific at a scale like this. The Hall of the Pacific helps visitors make a true connection with the living cultures of the region, and

with AAPI communities right here in Connecticut. We are so grateful to Tom Jaffe and our partners in the community who helped bring this new exhibit to life,” said David Skelly, director of the Yale Peabody Museum.

“I’ve been into the worlds of the Pacific since I was a kid, and been collecting objects from there for years,” said Thomas Jaffe. “So, when it came time to share them with the public the Yale Peabody with Dave Skelly leading its massive revamp and expansion was a dream partner come true. My hope is that those who visit this gallery will be turned on to the Pacific’s incredible cultures for generations to come.”

The 3,655-square-foot Hall of the Pacific, the museum’s second largest space behind the Burke Hall of Dinosaurs, showcases dozens of objects that have been out of public view and held in private collections for decades. The Peabody has never had a permanent exhibit of cultural artifacts from the Pacific, so in addition to Jaffe’s collection, many of the museum’s objects are also on display for the first time as well. The Peabody’s new work and classroom spaces will enable faculty, students, and researchers to have greater access to the collection for study.

The expansive hall will also serve as a space for community events and discussions for the wider AAPI community in New Haven and beyond.

The Peabody Museum is at 170 Whitney Avenue. For information, www.peabody.yale.edu or 203-432-8987.

The Whitney Museum Presents ‘Mark Armijo McKnight: Decreation’

NEW YORK CITY — The Whitney Museum of American Art presents “Mark Armijo McKnight: Decreation,” on view through January 5. The exhibition features new and recent black and white photographs by Mark Armijo McKnight (b 1984, Los Angeles; lives in New York City) and focuses on his ongoing body of work, “Decreation.” The concept, originated by the French philosopher, activist and mystic Simone Weil (1909-1943), describes an intentional undoing of the self, a process Armijo McKnight explores in images of bodies and landscapes in intermediate states, such as anonymous nude figures engaged in erotic play amidst harsh environments These photographs convey a sense of both ecstasy and affliction. Working in the high desert of southern California, where he grew up, as well as the badlands of New Mexico, his maternal homeland, Armijo

McKnight builds on a long history of photography in the US West. Its dramatic terrain has frequently been used to

symbolize sublime beauty and an ideal of freedom from society even as its imagery has been exploited for violently

oppressive ends. Armijo McKnight explores these tensions — between liberation and repression, transcendence and despair — by embracing a range of contradictions in both the subjects he depicts and his technical choices. Using a large format film camera, his photographs retain a formal precision associated with Modernism, but trouble it with a queer refusal of photography’s surveying gaze. His images’ rich contrasts are the result of the in-camera and darkroom techniques he uses to obscure certain details and saturate the images with emotion. By drawing on sources ranging from art history to ancient mythology to social philosophy, Armijo McKnight layers his photographs with metaphor.

“‘Decreation’ demonstrates the museum’s ongoing commitment to showcasing and supporting the work of artists early in their career,” says Drew Sawyer, Sondra Gilman

curator of photography at the Whitney Museum. “I am excited to be working with Mark Armijo McKnight as he expands his exploration of metaphysical questions into film and sculpture.”

“I am invested in equivocality, poetics, timelessness, the otherworldly and the archetypal. However, the unprecedented ecological and sociopolitical turmoil of our current moment have deeply impacted my psyche and subsequently my practice,” says Mark Armijo McKnight. “I have a sense of urgency to make and share this work because it is, in its way, both a reflection of and response to the tumultuous world in which we find ourselves… and hopefully also a place in which to find catharsis or take solace.”

The Whitney Museum of American Art is at 99 Gansevoort Street. For information, www.whitney.org or 212570-3600.

A rare Eharo mask from Papua New Guinea. Photo by Johan Vipper, Courtesy of

Peabody Museum.

“Somnia” by Mark Armijo McKnight, 2023, gelatin silver print, 48 by 60 inches. Courtesy the artist. ©Mark Armijo McKnight.

Summer Antique Southwest Mid Century Auction

August 8th 2024 • 5:30pm start 2pm

This is a fantastic auction consisting of several different collections/estates.

There is a monumental life time collection of Southwestern pottery and art work including a 1994 handcrafted Hopi architecture jar signed Al Qoyawayma, a large 1993 handcrafted Navajo horizontally ribbed polychrome jar signed Richard Zane Smith and more. Tons of pieces of art by many listed and well known artists. Some exciting antiques featuring a coffee grinder collection with some rare pieces including an early Swift Mill Lane Brothers, Enterprise and more. Arts and crafts items including an assortment of Aurora Studios lighting, Rookwood, Roycroft, Dirk Van Erp, Edward Curtis photos and more. Mid century modern furniture, a paperweight collection and a 1960 Fender Telecaster guitar. We also have a S. Kirk & Son sterling Repousse 83pc flatware set, along with jewelry including a 1.5ct diamond ring, Hamilton 14k watch and more.

150+ lots online and in-person plus 500+ more lots for in-person Bidding ONLY

August 13th

Great Summer Auction!

SUNDAY, AUGUST 11, 2024 AT 11AM

Initial

porcelains. Many antique Oriental carpets, sterling and coin silver, a great collection of portrait miniatures, fine decorative accessories, and more! Preview Wednesday, August 7 through Saturday, August 10 from 9am-3pm ONLINE AUCTION AND LIVE

Auctions 35 Mechanic St, Amenia, NY 12501 845-489-7408 www.auctionninja.com/sjd-auctions

Venetian A. Sheldon Pennoyer

Folk Art

Lots of Vintage Garden

Folk Art

August Estate Catalogue Auction

Thursday, August 8 at 11 am

Antiques, furniture, paintings and sculpture, silver, decorative arts, rugs, Asian ceramics and works of art, antiquities and ethnographica, and clocks

EXHIBITION: Saturday, August 3: 11 am – 4 pm • Monday, August 5: 10 am – 5 pm Tuesday, August 6: 10 am – 5 pm • Wednesday, August 7: 10 am – 3 pm Absentee, Telephone and Internet Bids Accepted

September Estate Catalogue Auction

5550 Friendship Boulevard, Suite T-60 Chevy Chase, MD 20815 (Entrance on N. Park Avenue) Telephone: 301-634-2330 • Fax: 301-656-7074 www.sloansandkenyon.com Inquiries: info@sloansandkenyon.com Download Sloans & Kenyon’s state-of-the-art mobile catalogue app.

FRENCH FOLK

ROOSTER

CHANTICLEER WEATHERVANE

HENRY R. RITTENBERG (American, 1879 - 1969). Still Life with Summer Fruits, circa 1923

RICHARD GINORI “PERUGIA” PORCELAIN TABLE SERVICE

ARSENE CHABANIAN (Armenian, 1864-1949) Beach Scene with Figures Amid Crashing Waves

CHINESE CARVED WHITE HARDSTONE VASIFORM TABLELAMP

ALEXANDER CALDER (American, 1898-1976). Flight from Tyranny: for Amnesty International, circa 1975

GRAHAM PETTMAN (Canadian, born 1938). Bear Dancer, Hand carved

Lamps; Alfonso Marina Inlaid Tables, Bar Stools; Bombay Dutch Style China Curio; Theodore Alexander Furnishings; Hand Wrought Iron Wishing Well; Carousel Horse Project; Lladro & Swarovski Collections; Moorcroft Pottery; Heisey “Rosealie” and Blue Fostoria “Versailles” Stemware; Unusual Chandeliers; Japanese Porcelains; Many Estate Oriental Rugs including a 10’ x 14’ Sarouk; MID-CENTURY MODERN: Adrian Pearsall Gondola Sofa; Cherner Plycraft Chairs; Milo Baughman Table & Chairs, Curtis Jere Art; Mink: Raccoon, Silver Fox Furs; Gold Coins; JEWELRY: Over 50 Lots in this vast Assortment of Estate Gold Diamond & Gemstone Jewelry to include David Yurman; & more.

100+ paintings, drawings, prints, sculpture, & ESTATE FRESH ARTWORKS in this sale featuring: Kuniyoshi Woodblock Prints; Oscar ADLER; Yolande ARDISONNE; Frank Nelson ASHLEY; John BAUGHMAN; Greg BEHYMER; Claude BILS; Tom BOND; Victor CANELLI; Alexander CHEN; John COPPIN; Joseph Yelverton DAWBARN; Vic DONAHUE; Kerr EBY; Edna ENGELHARDT; ERTE; William EYDEN; Hugo FISHER; Pal FRIED; Georges GERBIER; Theodore GUDIN; Charles HANNAFORD; Miriam HASKELL; Raymond JOHNSON; Yeend KING; Margeurite KIRMSE; Guillaume LAUTERS; Pierre LAVARENNE; Leal MACK; Peter MAX; Jack MILLER; Clark MITCHELL; Virginia MORRIS; Herb OLSEN; Jorgen NASH; John NOBLE; William NELSON; Jerry PODWIL; Alberto PROSDOCIMI; George RANKIN; Leonard REEDY; Arthur SARNOFF; Roberta SCHOFIELD; George SCHWACHA; Paul Henry SIMONS; H.J. SOULEN; Marjorie TIETJENS; George Van HOOK; A.J. WOOLMERS; & more.

Lots are being updated

ONLINE AUCTION

Sunday,

August 4, 2024 • 7pm

Join us for an exciting online auction featuring an impressive collection of ethnographic carved artwork, Middle Eastern artifacts, and a diverse array of historical weaponry.

Highlights include:

• African Carved Artwork • Middle Eastern Objects • Swords and Bayonets

• Rare Powder Guns, including a Model 898 Krag Bolt Action

• Civil War relics such as an M1863 converted to M1868 and an 1884 Trapdoor

• A WWI Japanese Cavalry Sword • Civil War Cavalry Swords and Bayonets

Discover these and many more unique items!

Preview the auction by appointment, call 610-799-0808

SUNDAY…....AUGUST 18, 2024….11:00AM GENERAL ESTATES, ART, ANTIQUES & COLLECTIBLES Previews: Thurs. 8/15, Fri. 8/16 & Sat. 8/17…....12pm-5pm or by Appointment….Sunday August 18th.....9:00am to 11am Start In-House, On-Line, Phone & Absentee Gallery at 19 Jackson St., Middleboro, MA

Fine jewelry, silver, contemporary bronzes, paintings, prints, period furniture, lighting, clocks, vintage toys, pottery, glass, stoneware, American country antiques, Oriental, Navajo & hooked rugs, large African Yoruba ceremonial beaded tunic, automobilia gasoline porcelain & enamel signs, advertising. Included is a large selection of lots from the collection of Brimfield collector & dealer, Ron Rainka of Warren, Massachusetts, rare early Telephones & more.

Johnson

Bracelet

1990 Felix De Weldon (Am. 1907-2003) bronze

Hubley Police

Attrb. Alfred M. Duca (Am. 1920-1997)

1881 $5 Coin Pendant

1977 Herman Miller Eames 1 of 2

Early Pot Belly Candlestick Phone Reticulated Fish

1940/50’s

African Yoruba Ceremonial Beaded Tunic

John Wells Stancliff (Am. 1813-1891)

1st

John Wells Stancliff (Am. 1813-1891)

Lloyd Lillie Jr. 1967 Bronze

Pair CBK Porcelain Jungle Cat Candle Holders 12in

Joni Secada Sgd Puppy Oil Painting On Wood

Antq Brass & Velvet Coin Purse ANSONIA CLOCK CO