Antiques and The Arts Weekly 8-23-2024

August 23, 2024

by The Bee Publishing Company, Newtown, Connecticut

American Folk Art Museum

Q&A: Stuart & Mimi Rose

Playing With Design Gameboards, Art & Culture

20th Anniversary Auction Nets $1.35 Million— Around The Country With Crocker Farm

‘The Best Of The Best’ At RSL Auction Company

Golden Age Comics, Fashion Barbies Bring Collectors To Bodnar’s Sale

American Art & Artifacts Raise The Banner At Stair

The Newport Show Draws Crowds For Elegance & Exquisite Taste

Key Pieces In Diverse Collecting Realms

Stoke Solid Prices At Hake's

Shave & A Haircut: $470,000+

Freeman’s | Hindman Gives Carpenter

Barbershop Collection A Close Shave

Osona’s Two-Day Sale

Going Cuckoo For Clocks At Antique American Clocks

Memorial Art Gallery—

Eclectic Americana & Maritime Art Top

The American Arts & Crafts Movement

Selected Exhibitors featuring 18th & 19th

American,

Primitive and

Furniture and

Fine Early China and Glassware • 18th & 19th C Silver Chinese Export Porcelain • Oriental Rugs • Fine Antique Jewelry Antique Toys • Pewter • Early Kitchen & Fireplace Accessories • Historic American Militaria American & English Samplers • Navajo Rugs, Pueblo Pottery, Baskets and Native American Artifacts

A Bird in Hand Florham Park, NJ

Michael Gunselman Centreville, DE

H. & L. Antiques Princeton, NJ

Jane Langol Medina, OH

Antiques From Home Bathesda, MD

Steven & Sally Still Manheim, PA

Hilary & Paulette Nolan Falmouth, MA

Jon Mehl York, PA

Marc Calciano Clifton Heights, PA

Christopher & Bernadette Evans Waynesboro, VA

Jewett-Berdan Antiques Newcastle, ME

Saratoga Fine Art

Saratoga Springs, NY

Barometer Fair

Sarasota, FL

Lisa S. McAllister Clear Spring, MD

Marc Witus Gladstone, NJ

Ziebarth’s Antiques Verona, WI

Daniel and Karen Olson Newburgh, NY

Thomas Restoration Laurel, MD

Greg K. Kramer & Co. Robesonia, PA

Larry Thompson Atlanta, GA

Joseph J. Lodge Lederach, PA

James Island Antiques Charleston, SC

James L. Price Carlisle, PA

Joan Staufer Catskill, NY

Frylings Antiques Green Lane, PA

Willow Springs Antiques Rexford, NY

The Norwoods’ Spirit of America Timonium, MD

Hanes & Ruskin Niantic, CT

Richard M. Worth Centreville, DE

Stephen • Douglas Antiques Rockingham, VT

Steve Sherhag Canfield, OH

Art & Antique Gallery Holden, MA

Fleshman’s Antiques New Market, MD

Robert Conrad Yeagertown, PA

Heller-Washam Antiques Portland, ME

Beaver Creek Antiques & Arms Dillsburg, PA

Marvin Wies Baltimore, MD

Soheil Oriental Rugs Roslyn, NY

The Hanebergs Antiques East Lyme, CT

Dennis & Valerie Bakoledis Rhinebeck, NY

Wm. R. and Teresa F. Kurau Lampeter, PA

Newsom & Berdan Antiques Thomasville, PA

Steve Smooth Antiques & Navajo Textiles Lancaster, PA

Sandy Jacobs - Scott Bassoff Swampscott, MA

Joan Bowman Antiques Milford, DE

Nancy and Gene Pratt Victor, NY

Toby Chittum Antiques Petersburg, VA

Charlie Horse Antiques Petersburg, VA

John Kolar Antiques Hershey, PA

Blandon Cherry Antiques & Art Paris, KY

James Grievo Stockton, NJ

Firehouse Antiques Galena, MD

B. Hannah Daniel Athens, AL

Frank Gaglio Rhinebeck, NY

Stuart & Mimi Rose

Weather forecasters across the United States are warning of an exceptionally warm summer on the East Coast. Did we say hot? I know where I like to hang out when outdoor temps in August get sticky: a cool, air-conditioned library. Well, bookworms, and especially lovers of Shakespeare, are in luck as the Folger Shakespeare Library has recently reopened on Capitol Hill in Washington, DC, after a multi-year renovation project. The Stuart & Mimi Rose Rare Book and Manuscript Exhibition Hall is now showing works from the couple's rare book collection. We reached out to the Roses to learn about some of the things families can do at the library this summer.

Stuart, you’ve been described as one of the most prolific rare book collectors today. What are a few of the highlights that library visitors can see in the “Imprints in Time” exhibit?

Among my personal favorites in the exhibition are: Copernicus: This was one of the first books I ever bought.

The Journey to the Center of the Earth and Valley of Fear manuscripts: These are virtually complete manuscripts in the authors' own hands, showing corrections throughout.

The Lord of the Rings proof: This proof contains many corrections in Tolkien's hand and was possibly his final version before publication.

The Great Gatsby and The Catcher in the Rye presentation copies: These were two of my favorite books growing up, and both have important inscriptions in the authors' hands.

You are considered a private collector with a public vision. Why is that?

It’s because I believe that great books in private and public collections should be displayed for the enjoyment of all.

The Folger, with its forwardthinking approach, has opened its beautiful new galleries, showcasing both their own books and some of mine. This public-private partnership can serve as a model for rare book libraries worldwide.

Experiencing great books in their original condition, exactly as the author intended, is a special privilege. It offers inspiration for various endeavors and underscores the value of literary heritage. I believe that rare book libraries and collectors have an obligation to share their collections. Hoarding such treasures is selfish and detracts from the greater good that these books can provide.

What

rarely-seen items from the Folger collection are on

exhibit?

The highlight from the Folger collection are 82 copies of Shakespeare’s First Folio from 1623. Each is a copy of the same book, but each copy is different, and visitors can now see the entire collection of them displayed together. Also on view throughout the summer is The Canterbury Tales printed in English for the first time in 1477 by William Caxton, the Dowland lute book of early music from Shakespeare’s time and a Latin grammar book owned by Henry VIII with his writing inside; visitors can see where he wrote, “This book is mine, Prince Henry.”

Why is Shakespeare’s First Folio so foundational to the Folger collection?

The First Folio was considered the ultimate source for Shakespeare’s plays during Henry and Emily Folger’s lifetime in the late Nineteenth and early Twentieth Century. They felt so strongly about this that they acquired as many copies as they could, knowing that the traces of the printers and traces of former owners would reveal new knowledge about Shakespeare and how his words have been transmit-

ted to us. They were right — these copies have been studied extensively since the Folger Shakespeare Library opened, and now anyone who visits can see all of them.

The renovated building reopened on June 21. What did the project add?

The renovation of the Folger added a new public pavilion with two large exhibition halls underneath and adjacent to the 1932 building. This has allowed us to welcome visitors into comfortable and accessible surroundings and show them the greatest material that our collection holds. This is new space for programming, for events and for continually changing exhibitions, which will dramatically increase the number and variety of collection items we are able to share with public audiences.

Can you describe the Reading Room and what it has to offer?

The Reading Room is an active workspace for scholars and researchers. Every day, people from around the world are hard at work, consulting rare books and manuscripts from the collection and writing articles, books, presentations, scripts and creating artwork. Anyone can register to be a researcher, and we welcome all those with an interest in accessing the collection.

Shakespeare’s original manuscript copies of the plays have been gone for centuries, so the early printed editions, including the First Folio, are the closest thing we have to the plays as he wrote them. Photo courtesy the Folger Shakespeare Library.

Folger programs have returned to their home at the Elizabethan Theatre. What performances can be seen this summer?

The Folger Theatre is on a summer hiatus, but casting and production plans are underway for the first production of our fall season, Romeo & Juliet, which will play from October 1 to November 10.

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Single-Owner Collections Star In Winter Associates Auction

of more than 25 fore-edge books, signed, limited edition, from

PLAINVILLE, CONN. — In an August 26 auction at Winter Associates starting at 5:30 pm, antiques, fine art and more from estates and households throughout Connecticut include a wide variety of single-owner collections of Georg Jensen and Tiffany silver, fore-edge and other important books, more than 1,000 lead soldiers, more than 100 antique and vintage toys, along with SeventeenthTwentieth Century paintings, prints, furniture, sculpture, ceramics and glass, stamps, coins, rugs, etc.

Unusual and rare Georg Jensen patterns in sterling silver from the John Desmond estate in western Connecticut, most notably are presented in a three-piece serving set of Mathilda pair of Snail serving spoons and no. 177 sauceboat along with others in Cactus, Acorn and Blossom. Georg Jensen (Danish, 1866-1935), known for high-quality and innovative Minimalist designs (trained as a both goldsmith and sculptor) was inspired by the natural beauty of lakes and forests of north Copenhagen. Tiffany & Co. sterling tazzas, vermeil flower models as well as a Lebolt

handmade f latware service of a 16-piece place setting for 12 will cross the block.

The Desmond estate is also the source of many fore-edge books, a little-known artistic form of painting on the gilded edges of a book, which is done by slightly fanning the pages and clamping them. The artist slowly applies light layers of watercolor to prevent bleeding to the inner pages, and a gilded finish applied afterward hides the image unless the pages are properly fanned. In rare cases, the artist creates paintings in both directions, called a double fore-edge painting. From the John Desmond estate comes more than 25 of these intriguing creations, many in elaborately tooled leather bindings.

Walter Lamb patio furniture designed for Brown Jordan in the mid-Twentieth Century should be of interest to all lovers of contemporary design. Boasting bold lines in a solid bronze tube construction and woven with nylon cording, the overall effect is one of graceful lines and comfort. Piecers include two “S” chaise lounges a flat bench, three Sleigh chairs and three armchairs. In addition are a

One of a pair of Walter Lamb for Brown

for pair)

patrons. He briefly worked for the court of Charles II in his Dutch exile, before settling in the Hague where he became very successful portraying distinguished personalities. The portrait crossing the block depicts a young woman in elaborate robes and lace, with her hair pushed back to reveal a wide forehead preferred at the time. The style of portrait was widely sought-after by important patrons all throughout Europe.

small number of Midcentury Modern tables and chairs, as well as Georgian tables.

For those appreciating Continental flavor is a Seventeenth Century Dutch portrait, possibly by Jan de Baen (1633-1702) “Portrait of a Lady in a Parc.” Jan de Baen was one of the most popular Dutch portrait painters in the years 1665-1700, bringing to his work an elegance very much appreciated by his

‘Boundless: Stories Of Asian Art’ At Seattle Asian Art Museum

SEATTLE, WASH. — Asia can be defined in many ways, geographically, culturally and historically. As the world’s largest and most populated continent, Asia is not uniform or fixed: its

“Dragon Tamer Luohan,” circa Fourteenth Century, Chinese, wood with polychrome decorations, 41 by 30 by 22 inches, Eugene Fuller Memorial Collection, 36.13.

boundaries shift, its people and cultures are diverse, and its histories are complex. After a transformative renovation, the Seattle Asian Art Museum— one of only a few Asian art museums in the United States—reopened this past spring with a presentation that embraces this complexity. You will not find galleries labeled by geography. Instead, works from different cultures and from ancient to contemporary times come together to tell stories about Asia in a nonlinear narrative.

The galleries are organized around 12 themes central to Asia’s arts and societies such as worship and celebration, visual arts and literature and clothing and identity. The south galleries feature art inspired by spiritual life, and the north galleries show art inspired by material life. Some objects relate to both the spiritual and material realms and are a testament to art’s layered meanings. Each artwork tells its own story of when, where, how and why it was made. But when

seemingly disparate artworks are displayed together, meaningful connections and questions emerge. Explore the collection and discover ideas across time and across Asia.

The Seattle Asian Art Museum is at 1400 E Prospect Street. For information, 206-654-3100 or www.seattleartmuseum.org.

Other items from this wideranging auction include a Connecticut estate’s vintage collection of toy cars, windups and trains, including sought-after makers Arcade, Marx, Lionel, Lehmanns, etc.

The Arcade Manufacturing Company of Freeport, Ill., was founded in 1885, specializing in cast iron goods; today it is regarded as one of the finest manufacturers of cast iron toy vehicles prior to World War II.

Many car companies such as Ford and Chevrolet appreciated the craftsmanship and utilized products from Arcade for promotional purposes.

Offerings in the upcoming sale include many in desirable condition. Good examples would be detailed recreations of various types of Model T and Model A dating in production from the 1920s and 1930s and a late production Arcade Ice Truck from the 1940s with its accessories intact and vibrant paint. This sale will be live at Winter Associates, 21 Cooke Street. An auction catalog is available online at www.auctionsappraisers.com as of Friday, August 16. Previews are Friday, August 23, from noon to 4 pm; Sunday, August 25, from 2 to 4 pm; and on Monday, August 26 from noon to 5 pm. Previewers are welcome at other times by appointment.

For additional information, 860-793-0288.

Jordan pair “S” chaise lounges ($5/10,000

Attributed to Jan de Baen (Dutch, 1633-1702), “Portrait of a Lady in a Parc,” oil on canvas, 16 by 12½ inches ($3/5,000).

One

Desmond estate ($600/800).

Going Cuckoo For Clocks At Antique American Clocks

Auction Action In Lexington, Ky.

LEXINGTON, KY. — On July 31, Antique American Clocks conducted its July 2024 auction, offering a vast assortment of movement, shelf, porcelain, chime and weight and spring-driven clocks, as well as regulators, figurals, shelf calendars and novelties, among other items. The sale was an online-only, sealed bid auction, which totaled $118,000 with a sell-

through rate of 78 percent.

The total number of bidders amassed 136, with 91 of them taking home an item at the end of the sale.

After the auction, Antiques and The Arts Weekly caught up with Todd Porter, owner of Antique American Clocks, who reported, “These results are typical for this semiannual auction; unsold clocks sell for the reserve price after

“Bidding was strong for this clock,” said Todd Porter of this Lucius B. Bradley pillar and scroll clock, made in Watertown, Conn., which bore a brass eightday movement and stood 33 inches tall. The name on its dial was that of J.W. Cortelyou, a prominent retailer from Morristown, N.J. It chimed at $4,872 for a Midwestern buyer ($2,5/4,000).

Noted by Todd

as “the

the auction closes and offers below the reserve price are also considered. With postauction sales, typically 90 to 95 percent of the clocks find new homes.”

Leading the sale was a Curtis & Clark miniature eightday brass clock, made in 1824. Marked “29” in pencil on the seat-board and the top of its case, this clock is one of 31 known examples of the

The top selling lot of the sale was this Curtis & Clark shelf clock with an eight-day movement. According to Todd Porter, “only 31 of these clocks are known to still exist from an initial production of an estimated 100 in 1824.” A bidder in Canada won the clock for $16,240 ($7,5/$15,000).

This Bradley & Hubbard parade clock did “quite well,” according to Todd Porter. The circa 1885 clock stood 13 inches tall and was pierced and adorned with colored glass inserts. It shone at $1,120, just above its $600$1,000 estimate.

first brass, spring-driven, mass-produced shelf clocks models made in the United States. Signed “Curtis & Clark, Plymouth, Conn.,” the mahogany veneered clock had carved columns and a brass inlay in its cornice; it is also one of three known clocks that do not have a second hand, according to the auction catalog. Its rarity on all fronts encouraged bidders to push it to $16,240, clearing its $7,5/15,000 estimate and finding it a new home with a Canadian buyer.

The second-highest price of the sale went to a circa 1829 Joseph Ives Brooklyn model shelf clock. Porter shared, “Ives was a key player in American clock manufacturing in the early 1800s, and this is a highly desirable clock.” This 28¼-inch-tall example had a “wagon spring”-powered brass move-

ment and mahogany veneer. It was a later model of the initial multi-leaf spring-powered shelf clocks that Ives developed in New York in 1825 and 1830. The clock ticked to $5,657, heading to a buyer in Washington state.

“Further evidence of an international audience was shown by a rare clock that sold to a bidder in England,” said Porter, who was referring to a double-wind, 30-hour steeple clock, manufactured circa 1850 by Silas B. Terry, which went out for $3,920. According to the auction catalog, the clock wound in only one direction, but wound both the time and strike chains. Its 20-inch case was veneered with flame mahogany and it sported four cone finials and two original glasses.

This Silas B. Terry doublewind, 30-hour steeple clock ticked to $3,920, landing comfortably within its $500$5,000 estimate.

This large Black Forest twoweight cuckoo, manufactured circa 1880, sang for $1,434 ($600-$1,000).

A large Back Forest twoweight cuckoo, manufactured circa 1880, earned $1,434. The 30½-inch-tall case was carved into a forest scene; two large pheasants perched in front of two pines near the top of the clock, and leaves and mushrooms decorated the bottom, mimicking the forest floor. In the auction catalog, Porter added, “I have never seen mushrooms on a clock before!”

Antique American Clocks’ next sale will take place in January 2025. Prices quoted include the buyer’s premium as reported by the auction house. For additional information, 859-3129012 or www.antiqueamericanclocks.com.

“A large number of Black Forest clocks were offered in the auction, with the top

seller being a Monk’s Bell Ringer,” reported Todd Porter of this example, which earned $1,680. Manufactured circa 1880, the clock had a 36-inch oak or walnut case and intricately carved bone hands ($1,5/3,000).

Porter

surprise clock of the auction,” this circa 1910 French art nouveau brass and porcelain clock with a pendule de Paris eight-day time-only movement chimed in at $298, high above its $50-$150 estimate.

This 28¼-inch-tall Brooklyn shelf clock by Joseph Ives, circa 1829, with a “wagon spring”-powered brass movement, found a new home with a Washington state buyer for $5,657 ($4,5/5,500).

Review by Kiersten Busch, Assistant Editor

Photos Courtesy Antique American Clocks

Woody’s Antiques Auction

Slated For August 24, Online And Live

DOUGLASS, KAN. — An original 12-light Tiffany Studios Lily table lamp, late Nineteenth or early Twentieth Century French cameo art glass vases, signed Gallé and Daum, and a French cameo art glass boudoir lamp, signed Daum Nancy, are just a few of the items bidders will compete for in an antiques auction planned by Woody Auction on Saturday, August 24, starting at 9:30 am Central time. An online-only auction featuring similar items will be conducted on August 23, starting at 8 pm Central.

The August 24 auction will be conducted online via LiveAuctioneers, as well as live in the auction house’s gallery. In total, 368 lots will cross the auction block, all with no reserves. There is also no buyer’s premium for those in attendance (when paying with cash or check), and no sales tax will be collected from bidders present at the auction (or residing in Kansas).

The original bronze Lily Pad 12-light lamp, marked Tiffany Studios (#382), is the auction’s expected top-lot ($15/20,000).

Jason Woody called it, “the finest original 12-light Lily Tiffany lamp we’ve ever sold.” All 12 gold favrile shades are marked “LCT,” and the 20-inch-tall lamp also boasts a fantastic patina and original switch hardware.

A French cameo Winter Season art glass vase, signed Daum

This French cameo Winter Season art glass vase, signed Daum Nancy, is exceptional in size at 21 inches tall ($8/12,000).

Nancy, is exceptional in size at 21 inches tall ($8/12,000). A signed Gallé French cameo art glass Souffle vase, in the rare mold brown plum design, has frosted white and yellow ground with purple cameo cutback overlay ($8/12,000).

A French cameo art glass boudoir lamp, 19¼ inches tall, has a winter season cameo cut and enamel scene ($7/10,000). Also from Daum Nancy is a rare and

An original bronze Lily Pad 12-light lamp, marked Tiffany Studios, all 12 gold favrile shades marked “LCT,” 20 inches tall ($15/20,000).

A signed Gallé French cameo art glass Souffle vase in the rare mold brown plum design, having frosted white and yellow ground with purple cameo cutback overlay ($8/12,000).

Features Furniture, Art Glass And More, 368 Lots

complete, signed French cameo art glass Four Seasons salt cellar set with original 6-inchsquare French jeweler’s box, labeled “Mon Guerre” ($5/7,500).

The furniture category will be led by a set of four parlor side chairs attributed to J.H. Horner. Made from carved mahogany with full-body winged cherubs with scroll, a shell and crest design and claw feet, their total weight is 110 pounds ($2/4,000). Additionally listed is a double comb Regina music box — playing 20½-inch discs (with 14

included), 14 by 30 inches and set on a 32½-inch-tall oak cabinet — estimated at $4/6,000. Two very different lots have identical estimates of $5/8,000. The first is a circa 1890 Austrian silver and enamel carved horn, 13 by 7½ inches, with hand-painted cherubs and various mythological depictions; the classical scene includes Neptune holding a horn above his head and a figural finial of Saint George slaying a dragon. The second is a rare plated amberina pitcher by New England

Glass, sitting at 7 inches tall. Rounding out this short list of expected top lots is a scarce, signed Tiffany Studios Zodiac single-light turtle back lamp (#541), 14½ inches tall, electrified, with green panels and blue iridescence ($5/7,500); and a set of four plated amberina tumblers by New England Glass; each tumbler stands at 3¾ inches tall and is estimated, $3/6,000. Woody Auction is located at 130 Third Street. For further information, 316-747-2694 or www.woodyauction.com.

Be at the gates by 8:45am on Wednesday, September 4th where:

Shoppers rush in as the gates open to the Heart-O-The Mart. - USA Today

Heart-O-The Mart gets high marks for the quality of the merchandise there. - Antiques and The Arts Weekly

Connoisseurs of the previously-owned share their hunting grounds in Paris, Berlin and Brimfield, MA. Insider's Tip: The best shows include... Heart-O-The-Mart. - Wall Street Journal

NEW BRUNSWICK, N.J. — Bodnar’s July 31 sale pleased comic collectors, while its August 1 auction targeted Barbie doll fashionistas. At the Important Estate Comic Book Collection sale, The Incredible Hulk #181, in “very fine condition” and considered to be “The Grail” for collectors, containing the first full appearance of Wolverine — and with the Shanna the She-Devil value stamp intact — sold for $8,100.

The following day at the Fashion Through the Eyes of Barbie! 1950s to Present Day auction, a

Golden Age Comics, Fashion Barbies Bring Collectors To Bodnar’s Sale

virtual Barbie runway was topped by a Silkstone Dahlia Barbie doll from a single-owner collection of a consignor who enjoyed and displayed many of her dolls.

Complete in its box, the doll included a Barbie Collector Platinum label and sold for $1,320.

“The July 31 sale was the better of both days,” said owner Joe Bodnar. “There were more than 3,000 registered bidders with 550 participating across three platforms, Bodnar’s Auction, LiveAuctioneers and Invaluable.”

It was a white glove sale with all 263 lots finding buyers and it

On August 1, the auction action was given over to fashion Barbie dolls. A Silkstone Dahlia Barbie doll, complete in a box from a single-owner collection of a consignor who enjoyed and displayed many of her Barbies, found a new home for $1,320.

totaled $62,680.

The comic book auction attracted more than 100,000 page views over two weeks, according to Bodnar, with more than 1,000 live viewers on sale day. Bodnar's auction platform took in close to 60 percent of the action. Bodnar said, “We did a live broadcast online and had Mike Zapcic, our expert, who talked about all of the comics as we sold them.” Zapcic runs Kevin Smith’s comic book store, the Secret Stash, in Red Bank, N.J.

The Amazing Spider-Man #129 from Marvel Comics contained the first appearance of Frank Castle, also known as The Pun-

Review by W.A. Demers, Senior Editor

isher — a former US Marineturned-violent vigilante. Considered a “Super Key” issue, this one appeared to be in very fine condition and it was bid to $4,200.

More of Marvel’s Amazing Spider-Man was offered with The Amazing Spider-Man #3. This issue contained the first appearance of Doctor Octopus—Doc Ock for short—whose main super power is telepathy. In what appeared to be in very good condition, the issue grabbed $2,520.

The first full appearance of Galactus and the second appearance of Silver Surfer were the draws in Marvel’s Fantastic Four #49. In apparent fine condition, the issue was lofted to $1,800.

The Silver Surfer does surface for the first time in Marvel’s Fantastic Four #48, where Galactus also makes a cameo appearance. This example

climbed to $1,680.

A double lot crossed the block with Marvel’s The Incredible Hulk comics, including #180 and #182. These issues held the first and third appearances of Wolverine, respectively, and the comics earned $1,170.

Marvel’s The Silver Surfer #1 relayed the origin of Norman Radd, the astonomer who is transformed into the Silver Surfer. A bidder won this key issue for $900.

“We run two-day auctions every three weeks, from antiques and collectibles to pop-culture toys and comics. The next comic book auction is November 6,” said Bodnar.

Prices given include the buyer’s premium as stated by the auction house. For information, 732-210-6388 or www.bodnarsauction.com.

Auction Action In New Brunswick, N.J.

July 31, The

Marvel Comics’ The Amazing Spider-Man #129 contained the first appearance of Frank Castle, The Punisher, a former US Marine-turned-violent vigilante. The “Super Key” issue appeared to be in VF condition and crossed the block at $4,200.

The Amazing Spider-Man #3 contained the first appearance of Doctor Octopus, aka Doc Ock, the issue grabbed $2,520.

On

Incredible Hulk #181, considered to be “The Grail,” for collectors and containing the first full appearance of Wolverine sold for $8,100.

Marvel’s Fantastic Four #49 featured the first full appearance of Galactus and the second appearance of Silver Surfer, and it made $1,800.

Cresting at $1,680, Marvel’s Fantastic Four #48 saw Silver Surfer surface for the first time, and there was a cameo appearance of Galactus, a cosmic character who needs consume planets to sustain his life.

Two issues — Marvel’s The Incredible Hulk #180 and #182 — carried the first and third appearance of Wolverine. The lot went out at $1,170.

Marvel’s The Silver Surfer #1 presented the origin of Norman Radd, the Surfer’s alter ego, selling for $900.

Photos Courtesy Bodnar’s Auction

Rare Buick Wildcat III Concept Drawing Up For Bid

August 24 At Owls Head Transportation Museum

OWLS HEAD, MAINE — Art, design and automotive legacies are all represented within an original, historically significant, one-of-a-kind artifact of Harley Earl’s General Motors styling department. A full-size airbrush rendering of Buick’s 1955 GM Motorama concept car, Wildcat III, measuring more than 16 feet in length, will be sold at the Owls Head Transportation Museum’s auction on August 24. This artwork represents the brilliance, creativity and style of the Harley Earl-led design team as well as a primary source historical record of the creative design process. Full-size “Package Drawings” of concept cars are virtually nonexistent, most being destroyed by the companies themselves. A true “garage find,” this one-of-a-kind, significant example of automotive heritage has never been offered for public sale before and is being offered for sale with no reserve.

For the past 50 years, this relic has been a prized position of the same family. Most concepts cars and their materials have a short life. It was general practice of manufacturers to dispose of the drawings, renderings and even the cars themselves. The current caretaker explains that his grandfather and father worked for Buick and Delco, respectively, in the early 1960s. Believed to be found during a cleaning out process of unwanted items, this drawing was brought home and hung in the garage of the Flint, Mich., house where it remained in relative obscurity to the automotive world for decades — until now, the time has come to reintroduce this important artifact.

The Wildcat concept series by Buick were important projects for General Motors and Harley Earl in the 1950s. Buick Wildcat III was unveiled for the 1955 GM Motorama that toured the United States to New York, Miami, Los Angeles, San Francisco and Boston. It is believed that this drawing was created in 1954 as part of the design process and used in promotional display. General Motors photographs show this drawing next to clay models of Wildcat III. The General Motors book Styling: The

Look Of Things produced by Motors for the 1955 Motorama, prominently features Buick Wildcat III and this drawing numerous times. Wildcat III, and specifically this drawing, are representative of General Motors best styling and creative efforts of the mid-1950s. It is estimated that more than two million people viewed Wildcat III during these Motorama tours. Currently, representatives of General Motors archives are aware of this artwork and have confirmed its authenticity.

While somewhat faded on the edges, the brilliant colors of the airbrushed details are as vibrant as ever. Intended to be a “package drawing,” this rendering shows various automotive components of the vehicle in a cutaway form within the outline of the general design. Wildcat III was a long, sleek two-seat convertible with an extremely low-slung appearance, painted a vibrant red with red-leather interior.

Fogg & Dalton Art Restorations recently custom built a mylar wrapped, wood framed cradle with foam board backing to properly mat and protect this artwork and help prepare it for however

brings to life the brilliance of Harley Earl’s General Motors design team and invokes the excitement and emotion felt by visitors at the General Motors Motorama, simply by standing in its presence.

mobile, which made car travel available to middle-class Americans. This car is one of the best examples of a 1911 Ford Model T brass touring car known to exist and comes from the MS Classic Cars Collection.

its next caretaker would choose to display it.

Simply stated, this is one of the most significant artifacts of the Golden Era of automotive concept car design to be found. It

Also on offer will be a 1911 Ford Model T brass touring car featuring a blue exterior color, black interior color, no reserve ($50/75,000). This touring car was the recipient of the prestigious Carl Benz Award for overall restoration, condition and originality at the Geneva d’Elegance in August 2021. The Carl Benz Statue trophy and framed description of the award are included. It is also an AACA Senior National and Senior Grand National First Prize winner. The Ford Model T is an automobile that was produced by the Ford Motor Company from 1908 to 1927. It is generally regarded as the first mass-affordable auto-

The Owls Head Transportation Museum is at 117 Museum Street. For information, 207-5944418 or www.owlshead.org.

A er 101 years on Lexington Avenue, The Old Print Shop has moved to a new location. 49 West 24th Street Second Floor New York, NY 10010

Memorial Art Gallery—

The American Arts & Crafts Movement

ROCHESTER, N.Y. — “‘Faithfully Thought Out’: The Artistic Collaborations of M. Louise Stowell and Harvey Ellis” will be featured in the Memorial Art Gallery's (MAG) Lockhart

Gallery through January 12.

Rochester artists M. Louise Stowell (1861-1930) and Harvey Ellis (1852-1904) were critically acclaimed around 1900, in the era of the American Arts

and Crafts Movement.

The Memorial Art Gallery’s collection of more than 250 works by Stowell and Ellis is inextricably bound with Rochester’s artistic history. Ellis

was one of the founders of the Rochester Art Club in 1877, and he and Stowell together founded the Rochester Arts and Crafts Society, one of the first such organizations in the

country. Inspired by MAG’s cache of paintings and drawings, most acquired in 2016, “Faithfully Thought Out” features the two artists’ processes during the creative years they spent in Rochester, showing works in varying stages of completion and demonstrating their collaboration and influence on each other. Stowell and Ellis often shared characteristic techniques and reference images as friends and colleagues. Visitors are able to see Stowell’s and Ellis’ unique artistic developments through extraordinary drawings and watercolors from MAG’s collection, supplemented by rarely seen materials from the artists’ papers held at the University of Rochester’s department of rare books, special collections and preservation.

Stowell and Ellis were friends and had neighboring studios on the seventh floor of the Powers Building in downtown Rochester, where Ellis and his brother had an architectural firm. Stowell, an instructor at the Mechanics Institute (the forerunner of the Rochester Institute of Technology), had a teacher’s drive to explain her philosophies and techniques to her students as well as through published articles. An article Stowell wrote in 1892 for the Educational Gazette, a periodical for teachers, advised, “Nothing should be careless in ornament or design, but should be faithfully thought out and patiently evolved.” While Ellis’ name is still recognized as an architect and designer, the watercolors, drawings and paintings made in his later years are lesser known, and Stowell has vanished from scholarship.

The Memorial Art Gallery is at 500 University Avenue. For information, 585-276-8900 or www.mag.rochester.edu.

“Burning Bush” by Harvey Ellis (1852-1904), 1896, watercolor on paper, 16¼ by 20¼ inches with mount. Gift of Erickson Perkins. 1914.44.

“The Hour Glass” by Harvey Ellis (1852-1904), 1898; watercolor, ink, charcoal and gouache on laid paper, 17-5/16 by 25 inches with mount. Virginia Jeffrey Smith Fund, in honor of Grant Holcomb and Marie Via. 2016.27.

“The Garden of the Hesperides” by M. Louise Stowell (Hornell, N.Y., 1861-1930, Rochester, N.Y.), 1900, watercolor, pastel, charcoal and ink on laid paper, 17-3/16 by 11-9/16 inches. Virginia Jeffrey Smith Fund, in honor of Grant Holcomb and Marie Via. 2016.122.

“The Odyssey” by Harvey Ellis (1852-1904), 1898, watercolor, charcoal and black ink on laid paper, 18-7/8 by 23-5/8 inches overall. Virginia Jeffrey Smith Fund, in honor of Grant Holcomb and Marie Via. 2016.32.

“The Bridge” by M. Louise Stowell (Hornell, N.Y., 1861-1930, Rochester, N.Y.), 1900, watercolor, charcoal and black ink on laid paper, laid down to board, 15-15/16 by 19-13/16 inches with mount. Virginia Jeffrey Smith Fund, in honor of Grant Holcomb and Marie Via. 2016.97.

“Winter Landscape with Stream” by M. Louise Stowell (Hornell, N.Y., 1861-1930, Rochester, N.Y.), 1900, watercolor and charcoal on laid paper, 12-13/16 by 8-3/8 inches. Virginia Jeffrey Smith Fund, in honor of Grant Holcomb and Marie Via. 2016.126.

“For Service” by M. Louise Stowell (Hornell, N.Y., 1861-1930, Rochester, N.Y.), 1905, watercolor, charcoal and black ink on laid paper, 13-3/8 by 14-7/16 inches. Virginia Jeffrey Smith Fund, in honor of Grant Holcomb and Marie Via. 2016.90.

Bray & Co Auction To Offer Tattoo & Circus History

PORTSMOUTH, N.H. — On August 25, Bray & Co Auctions will sell an array of historic tattoo folk art and related material. This inaugural event features rare original artwork, early sideshow banners, graphic ephemera, vernacular photography, lighted signs and other important material from foundational figures in tattoo, circus, sideshow and magic history.

Among the offerings is a book of hand-painted tattoo designs used by a traveling Japanese artist during the Meiji era. Created for a western audience, it contains 100 pages of popular American, British and Australian motifs of the period, alongside dozens of traditional Japanese images — bearded dragons, grotesque demon heads and sumptuously-robed geishas. The book is signed by early Japanese tattoo artist K. Yamasaki and was consigned by an owner in Yokohama.

Also featured are several important collections descended through the families of pio-

neering tattoo artists. Leading the way is a tattoo time capsule, the shop of Baltimore’s “Tattoo Charlie” Geizer (1905-1980).

Geizer began tattooing with carnivals in Texas around 1918 and opened his landmark shop in Baltimore during World War II. Following his death in 1980, his apprentice packed up the entire contents of the shop and

The Nelson-Atkins Presents ‘Still Performing’

KANSAS CITY, MO. — Starring a motley cast of pastoral peasants, pickpocketing street urchins and classical characters,

“Still Performing: Costume, Gesture and Expression in Nineteenth Century European Photography” showcases the high drama of the medium’s early years. The exhibition is on view at the Nelson-Atkins Museum of Art through January 12.

Visiting the photographer’s studio in the Nineteenth Century was like going behind the scenes of a theatrical production. Props, backdrops, costumes, curtains and controlled lighting converted otherwise ordinary portrait sessions into staged productions where photographers and their subjects created fanciful scenes for the camera. Whether working in their homes or commercial spaces, European photographers often took inspiration from popular entertainments like the theater, opera and tableau vivant. They also drew from biblical, mythological and historical themes found in painting, drawing and sculpture, seeking to legitimize photography by aligning it with the other fine arts. The resulting photographs are an outstanding array of complex and compelling photographic fictions.

The exhibition features 65 photographs by 36 photographers, including 31 photographs that have never been on view at the Nelson-Atkins. Artists include Julia Margaret Cameron, Charles Nègre, Roger Fenton, Lady Clementina Hawarden, Nadar, Hill & Adamson, Oscar Rejlander, André Disdéri, Adrien Tournachon, among many others.

“Still Performing: Costume, Gesture and Expression in Nineteenth Century European Photography” is accompanied by a selection of contemporary photography in gallery L11, featuring works by Wendy Red Star, Gregory Crewdson, Deana Lawson, William Wegman, Sandy Skoglund, Patrick Nagatani and others.

The Nelson-Atkins Museum of Art is at 4525 Oak Street. For information, 816-751-1278 or www.nelson-atkins.org.

GREENWICH, CONN. —

“Andy Warhol: small is beautiful,” on view through October 13 at the Bruce Museum, with nearly 100 paintings and it sheds light on the working process of one of the leading figures of the Pop art movement. The Bruce Museum is at 1 Museum Drive. For information, 203-8690376 or www.brucemuseum.org.

put it into storage, where it has remained until now. It is a breathtaking assemblage of paintings, signs, manuscripts and more from one of America’s most famous tattoo artists. The collection includes handwritten registries containing the names and information of every person legally tattooed in Baltimore from 1953 to 1977.

Equally compelling is the Art Deco workstation made and used by Milwaukee tattoo artist Amund Dietzel (18911974). It is among the most significant artifacts in the history of American tattooing and has been displayed in major exhibitions at the Milwaukee Art Museum (2013) and Swedish American Historical Museum (2022). It was against this spectacular pink backdrop that Dietzel inked thousands of eagles, anchors and panthers on the chests and arms of sailors from the Great Lakes Naval Training Center. His name, cut in wood, is fea-

tured prominently below the center panel.

Bidding for Bray & Co’s August Auction is available by phone, absentee bid and live online at www.brayco.com. Preview is August 22-24, 10 am to 5 pm. Bray & Co is at 55 Green Street. For information, www. brayco.com or 603-427-8281.

Tattoo workstation used by Amund Dietzel, Milwaukee, circa 1925 ($20/30,000).

Dietzel tattoo shop.

Book of tattoo designs, Japan, circa 1905. ($10/15,000).

Notable Prices Recently Achieved At Various Auction Houses

Across The Block

Burmese Buddha Bust Bursts To Top At Helmuth Stone

SARASOTA, FLA. — On August 4, Helmuth Stone Gallery conducted a sale of the Lou A. and Barbara B. Pritchett collection, which offered more than 300 lots of Asian antiques, fine art, Oriental rugs and pre-Columbian objects, among other categories. Lou Pritchett was the ex-vice president of Procter & Gamble (Cincinnati, Ohio). Leading the sale was a large antique Burmese wood carved Buddha bust, which measured 17 inches tall. The bust surpassed its $500-$1,000 estimate eightfold, selling for $8,125 to a collector from Shanghai, China. For information, 941-260-9703 or www.helmuthstone.com.

Recently Discovered HJ Ward Pulp Painting Makes Splash At Heritage DALLAS — A recently discovered oil on canvas painting by Hugh Joseph Ward (American, 19091945) was the top seller in Heritage Auctions’ 409lot Illustration Art Signature Auction on August 8. Painted in 1935 and titled “Death’s Diary,” the 30-by-21-inch painting had been the cover of the May 1936 issue of Spicy Mystery Stories pulp magazine. Because its whereabouts had been unknown until the auction, the catalog described its discovery and appearance on the market as “a major event.” It sold for $137,500, the highest price in a sale that totaled $1,485,392. For information, 214528-3500 or www.ha.com.

Freedom Unrolls Historic Hobson Scroll SARASOTA, FLA. — Freedom Auction Company’s August 7 auction, titled The Circus – Historical Memorabilia, comprised 209 lots and was conducted alongside the annual convention of the Circus Historical Society. Leading the event, which was more than 97 percent sold by lot, was a 100-footlong hand-drawn plan detailing all 37 canvas structures in the Ringling Bros. Circus show. Made around 1928 by William Hobson, a Ringling Bros Barnum Bailey circus tentmaker, the drawing was discovered in the Hobson collection. Estimated at $30/60,000, and described as “rare,” the document was accompanied by its original steel tube and sold for $56,000. For information, 941-725-2166 or www. freedomauctions.com.

Auction Barn Bidders Charmed By Melchers’ Mother & Child Portrait NEW MILFORD, CONN. — The Auction Barn’s August 5 Online Estate Auction featured a wide variety of furniture, silver, fine art, rugs, bronzes, lighting, decorative arts, jewelry and collectibles, including items from the New York City estate of dealer David Killen. Topping the 400-lot sale was an oil on canvas portrait of a mother and child by Gari Melchers (French American, 1860-1932) that was described as stained and with a tear to the canvas. Despite this, interest pushed it past an opening bid of $50 and it finished at $10,625. For information, 860-799-0608 or www.auctionbarnct.com.

Dufy Watercolor Sails Into Lead At World Auction Gallery

EAST MEADOW, N.Y. — Jean Dufy’s (French, 1888-1964) “Scene de Port” watercolor and gouache was the highest-earning lot of 500 presented by World Auction Gallery in its Exceptional Prime Mid-Summer Estates Auction on July 28. Sourced from a Long Island, N.Y., home and measuring 37¾ by 32 inches framed, the painting had additionally been handled by the Atelier Matignon in Paris, which provided the accompanying certificate of authenticity. Estimated at $10/15,000, the colorful harbor scene sold for $19,500. For information, 516307-8180 or www.worldauctiongallery.com.

Leopard

DANIA BEACH, FLA. — While anti-fur protesters continue to target fashion brands and designers to encourage them to stop using fur in their collections, vintage fur coats still do well at auction. In Kodner Galleries’ August 7 auction, a vintage leopard coat, circa 1970s, sold for $2,016 to an internet bidder. With kick pleat and trimmed in leather with leather frog toggle closures, the coat was marked Zelenka-Diener Fur Designs. There was also a label identifying who it was specifically designed for. It measured 16 inches shoulder to shoulder, 21 inches across the chest and had 21-inch-long arms and a 24-inch waist. For information, 954-925-2550 or www.kodner.com.

Louis Vuitton Trunk Sails To Litchfield Lead LITCHFIELD, CONN. — Vintage Louis Vuitton luggage is a fan-favorite and typically features the brand’s signature monogram pattern but a steamer trunk with a comparatively plain exterior was the top lot in Litchfield Auctions’ 455-lot Summer Estates Auction on July 24 and earned $13,000, sailing past its $4/6,000 estimate. Embellished with decals for the White Star Line, Cadogan Hotel, London, and others, as well as a monogram “JSA,” the piece came to auction from a New England estate. Hotly contested, it sold to a buyer in London bidding online. For information 860-567-4661 or www.litchfieldcountyauctions.com.

Path To Victory At Kensington CLINTONDALE, N.Y. — On August 5, Kensington Estate Auctions conducted an estate fine art and antiques online sale, which offered 171 lots of varying art forms, jewelry, rugs and antiquarian books, among other categories. Leading the sale was “Path” by African American painter Richard Mayhew, which had provenance to a private estate. According to a representative from Kensington, “[the auction house] fielded quite a number of phone calls asking for more details about the painting” before the auction began. Pre-auction interest was so high for the oil on canvas — which focused on the organic vision of the American landscape — that it opened for $11,000 when the live auction commenced. Bidding was narrowed down between two phone bidders, with the victorious bidder winning the early Mayhew work for $23,400, almost eight times its high estimate of $3,000. For information, 917-331-0807 or www.kensingtonestateauctions.com.

Parkinson & Frodsham

Chimes Winning Bid At Sloans & Kenyon CHEVY CHASE, MD. — On August 8, Sloans & Kenyon Auctioneers and Appraisers conducted its August Estate Catalog Auction, which offered just under 550 lots of antiques, furniture, paintings and sculpture, silver, decorative arts, rugs, Asian ceramics and works of art, ethnographica and clocks. Leading the sale was an English mahogany eight-day regulator clock retailed by Parkinson & Frodsham (London), which ticked its way to $9,525, with premium. The mid-Nineteenth Century clock had a domed case with a glazed front, which revealed a signed silvered face containing a chapter ring and two subsidiary dials. The decorations were all pierced and carved, and the pendulum was mercury. For information, 301-634-2330 or www. sloansandkenyon.com.

Mayhew Painting Carves

Vintage

Coat Spotted At Kodner Galleries

Regulator Clock

Inventive Quilts by Black Artists On View In Exhibition At High Museum Of Art

ATLANTA, GA. — Over the past six years, the High Museum of Art has more than quintupled its holdings of quilts made by Black women. In “Patterns in Abstraction: Black Quilts from the High’s Collection,” on view through January 5, the museum brings a number of these recent acquisitions together to answer a larger question: “How can quilts made by Black women change the way we tell the history of abstract art?”

The exhibition includes pieces by well-known quilters from Gee’s Bend, Alabama, such as Mary Lee Bendolph, Louisiana Bendolph and Lucy T. Pettway, along with works by Atlantabased quilters such as Marquetta Johnson and early Twentieth Century examples by makers once known. Many of the works will be on view at the museum for the first time, and all were made by quilters in the Southeastern United States.

“In recent years, we have committed to increasing our holdings of quilts by Black women and have grown the collection to more than 50 works since 2017,” said Rand Suffolk, the museum’s director. “Our expanded holdings allow us to make quilts a reoccurring and dynamically changing fixture within our collection galleries as well as to

ATHENS, GA. — The Georgia Museum of Art at the University of Georgia (UGA) presents the exhibition “Saint Petersburg as Franz Liszt Saw It” through December 1. The exhibition consists of lithographic prints that show Saint Petersburg in the mid Nineteenth Century and overlaps with the American Liszt Society Festival at UGA’s Hugh Hodgson School of Music. This year’s edition of the festival focuses on the idea of the “composerpianist” and highlights Liszt’s visits to Russia in the 1840s; it will celebrate the 60th anniversary of the American Liszt Society with concerts, lectures and a documentary.

Liszt was born 1811 in Raiding, Austria. His father was in the royal Hungarian service but had a love for the cello. He passed this passion down to his son, giving him music lessons, but Liszt pursued piano instead. He began writing music at only eight years old and built a name for himself, obtaining a musical education in Vienna and putting on several well-attended concerts. When he was 17 years old he moved to Paris to become a priest but did not follow through. Liszt traveled all over Europe, working on his music, teaching and putting on concerts. He retired from touring around age 35 but continued to compose and teach until he died in 1886 while attending a music festival in Germany.

Liszt’s music has elements of nature, poetry and romanticism. His compositions represented romanticism and European culture, just as the prints

develop exhibitions that further the dialogue around the significance of these works within the broader and overlapping histories of American and Modern art, of which ‘Patterns in Abstraction’ is the first.”

The 17 quilts to be featured include variations on Birds in the Air and Housetop themes — two centuries-old quilt patterns that are geometric distillations of natural phenomenon and humanmade environments — while others have deeper meanings as memorials to family members. Presented as objects made for use and with the artistic intent to represent people, places and things abstractly and through layered symbolism, these quilts offer a larger window into how the production of nonacademic artists can transform our understanding of artistic innovation in American art.

In preparation for the exhibition, the museum convened a group of more than a dozen local and nationally recognized quilters, academics and curators in May 2023 to discuss the central question of the show and issues related to the future of collecting and displaying Black quilts.

“The lively discussions we had at our convening confirm that the High is in a unique position to build on the foundation laid

by other champions of scholarship and preservation of Black quilts, especially given its long history of embracing artists who challenge conventional ideas about art and its proximity to the Atlanta Quilt Festival, the country’s largest annual festival dedicated to Black quilts,” said Katherine Jentleson, the High’s senior curator of American art and Merrie and Dan Boone curator of folk and self-taught art. “My hope is that this exhibition can help shift the conversation about quilters as artists who made things that don’t just look like abstract art but are abstract art. Quilters deserve credit for making the same kinds of choices about form, color and symbolic meaning as those typically male and white artists who we have historically privileged as the innovators of abstraction.”

In conjunction with the exhibition, the High will launch corresponding online content through the museum’s digital platform LINK. Those resources will include essays by Jentleson, Destinee Filmore and the majority of the convening participants, including Dr Bridget R. Cooks, artist Dawn Williams Boyd and quilt scholar Dr Marsha MacDowell; filmed interviews with Gee’s Bend quilters

Ferdinand Victor Perrot (French, 1808-1841), Imprimeries Lemercier (French, active 1803-1901), Daziaro Publishing House (Russian, active 1827-1918), “The Hay Square Market/Sennaia Square,” circa 1850, lithograph, 14-13/16 by 20-5/16 inches (sheet). Georgia Museum of Art, University of Georgia; Promised gift from the Parker Collection. GMOA E.2018.208.17.

of Saint Petersburg show it defining itself as a cosmopolitan European city. The prints also focus on nature and landscapes within urban settings. Liszt’s music was rooted in folk tradition, and the exhibition also includes illustrations of proletarian Russians, who might have grown up listening to those kinds of songs. The illustrations of Saint Petersburg not only have a musical connection to Liszt, but also a historical one. Several of the prints on view belonged to a noble family that owned one of the private palaces Liszt performed at during his time in Saint Petersburg. According to

Housetop with Multiple Borders, maker once known, 1940s, cotton, purchased in Alabama. Purchase through funds provided by patrons of Collectors Evening 2017, 2017.183.

China Pettway and Louisiana Bendolph; an interactive highresolution image gallery that explores conservation stories and meaning in the exhibition’s quilts; and high-resolution photography of all the Black quilts in the High’s collection.

scenes and different occupations: coachmen, porters, water carriers, innkeepers and street peddlers. All these prints were issued by the same publisher, Giuseppe Daziaro (1796–1865). Daziaro held shops in Saint Petersburg, Moscow, Paris and Warsaw. He also collaborated with the French printer Lemercier à Paris. Within their sweeping vistas, the large cityscapes contain figures and scenes that find close parallels in the small prints.

Kirin added, “One thing that really excited me is how the past comes alive, and how making the past alive through music can be enriched by adding a visual component to it.”

The Georgia Museum of Art at the University of Georgia is at 90 Carlton Street. For information, www.georgiamuseum.org or 706-542-4662.

“Patterns in Abstraction: Black Quilts from the High’s Collection” is on the Lower Level of the High’s Wieland Pavilion at 1280 Peachtree Street Northeast. For more information, www.high.org or 404-733-4400.

Asen Kirin, Parker curator of Russian Art at the Georgia Museum of Art and curator of the exhibition, “These prints could have been in the palace — most likely were in the palace — while Liszt was performing.” Portraits of the family are on view in the museum’s permanent collection wing, just down the hall from the exhibition. The exhibition features works on paper from the Georgia Museum of Art’s permanent collection showing Russia at the time of the great musician’s visit. Large lithographic prints feature cityscapes of Saint Petersburg, while small handcolored ones picture genre

New Frontier To Auction Cowboy, Old West & Native Artifacts

CHEYENNE, WYO. — Collectors of Old West, cowboy and Native American antiques will soon be making the annual pilgrimage to Cheyenne for the best buying and socializing event of the season: the Cheyenne Firearms & Western Collectibles Show & Auction. Conducted at the Laramie County Event Center at Archer, the three-day gathering celebrates an era when America’s wideopen spaces were the domain of Native tribes, cattle ranchers, outlaw gangs and the lawmen who chased them. This year’s event, with dealers presenting their wares on August 23-25, is highlighted by an August 24 onsite auction that also welcomes Internet live bidding through a choice of two platforms.

“This year’s auction includes an outstanding selection of Western relics and memorabilia, silver saddles and tack, Native American artifacts, prison-made horsehair bridles, antique firearms and Railway Express items,” said Scott Tarbell, owner of New Frontier Auctions. “There are some truly exceptional pieces from three estates and lifetime collections, including that of Paul Hamer.”

In addition, the auction is enriched with antiques from a number of other consignors. The selection includes fine and decorative art, tribal textiles, knives and edged weapons; jewelry, vintage advertising and posters; cowboy hats, chaps and boots; and beaded leather clothing, moccasins and accessories. “Collectors gave us some of their most

Colts from the Indian Wars period ($4,5/6,500).

Highly sought-after antique Winchester 1876 Royal Canadian Mounted Police carbine, .45.75

Pat Gill fully silver-mounted saddle with matching bridle and martingale ($10/14,000).

interesting pieces,” said Tarbell. “They know the Cheyenne auction attracts enthusiastic bidders, including those at the very top end of the collecting

guns ($7/11,000).

Ken Payne, “Borrowed Pony,” large Western bronze presented on tiered wooden base. Incised with artist’s name, “6/25” and “88,” the year of copyright, 25 by 32 by 14 inches ($8/10,000).

ladder, so it pays to send us their best.”

Where you find cowboys, you’ll also find saddles, and the auction includes 11 options. Leading the lineup is a Pat Gill fully silver-mounted saddle with a matching bridle and martingale. Profusely carved with a floral motif throughout, the saddle is heavily laden with engraved silver. It has silver-lined perimeters, a bound and rope-edged cantle and gold horsehead swells, horn cap and stirrups; and is topped off with detailed corner plates accented by gold stars. The martingale is covered in 21 artfully detailed and engraved square silver conchos, with a central gold star embellishing the chest plate ($10/14,000).

Horsehair bridles crafted by prison inmates of a century ago are among the most sought after of all antique equine tack. The auction includes examples from Yuma (Ariz.) Territorial Prison and the Montana State Prison in Deer Lodge Valley. One example from Deer Lodge displays a seldom-seen palette of 11 colors, with the highlight color of pink against a white background. It is adorned with tassels, hitched glass rosettes and split-reins that include American flags, and is finished with a three-dimensional bit with cheekpieces designed as a woman’s profile ($5,5/7,500). Dozens of pairs of spurs will be auctioned, and many are from the most coveted brands, such as Tapia, J.O. Bass, Buer-

It would be hard to overstate the visual appeal of a Cree Indian beaded pad saddle. The artistry is breathtaking, with boldly colored cut-glass beads, beaded drops and tassels forming a floral motif on which no detail has been spared ($3,5/5,500). Another sensational production is the Nineteenth Century Sioux Indian cradle cover fully beaded to create an intricate geometric pattern in apple green and cobalt blue on white, with red and white hearts ($3/5,000).

“Red” is the keyword in a Germantown weaving, so named because the commercially spun wool yarn used by the Navajo to create such textiles between 1864 and 1910 came from Germantown (Philadelphia), Penn. Measuring 35 by 56 inches, its maze-like pattern incorporates cobalt blue, green and orange against a vivid crimson field. It has a black and white sawtooth border and is finished with colored fringe ($3,5/5,500).

At Cheyenne Firearms & Western Collectibles Show

man and G.S. Garcia. A pair of scarce Phillips & Gutierrez (active 1917-18; Cheyenne, Wyo.) silver spurs have classically engraved single inlaid heelbands, over-length silverinlaid shanks and huge multipoint rowels. They are unmarked but show the highly identifiable style of craftsmanship and step-down button plates unique to the collaboration of Frank Phillips and master engraver Filo Gutierrez, whose career endured for more than 50 years ($3,5/5,500). Within the mix are prison-made spurs from the Colorado State Penitentiary at Canon City and the Washington State Penitentiary at Walla Walla. The firearms category includes shotguns, flintlock, trade and other rifles; and carbines, with one of the star attractions being a coveted antique Winchester 1876 Royal Canadian Mounted Police carbine. The .45-.75 caliber longarm, one of the few of its type in the Clancher list of known RCMP-issued guns, has the specified Spanish meter sight ($7/11,000). Another highlight is a Colt .45-caliber US Cavalry single action revolver with a “US” frame mark and “RAC” inspector’s mark, referring to Renaldo Carr, who was renowned for his inspection of

Founded in 1918, Railway Express Agency (REA) was the UPS of its day, arranging transport and delivery of parcels, money and other goods by means of the existing railroad infrastructure and horsedrawn freight wagons. The auction includes several early REA items, including a seldom-seen Pony Express-style canvas and leather bag ($800$1,200); a strongbox stenciled “U.S.” and “OR Depot” with hardware and its correct key ($600/900); and a bright-red, double-sided “Railway Express Agency” sign ($600/900). There could be an auctionday surprise when a rare and historically important 1913 American flag with 47 stars makes its appearance. The flag was flown at the State Building in downtown Santa Fe, N.M., and is significant because 1913 was the year New Mexico attained statehood. However, only three months after the flag’s introduction, Arizona joined the Union as the 48th state, thus necessitating a change to the American flag’s design, from 47 to 48 stars. It measures 75 by 60 inches ($2/20,000). Other stellar lots include a large Ken Payne Western bronze titled “Borrowed Pony,” incised with the artist’s name, edition number 6/25, and “88,” and the year of copyright ($8/10,000); and a showy pair of Hamley angora batwing chaps in pinto pattern ($3,5/5,500).

New Frontier’s Saturday, August 24 auction will start at 4 pm MT, 6 pm ET. Preview in person at the show on Saturday. For information, call Scott Tarbell at 913-406-8057 or email newfrontiershow@gmail. com. View the fully illustrated auction catalog and sign up to bid absentee or live online through LiveAuctioneers or iCollector. Visit New Frontier online at https://www.newfrontiershow.com.

SJ Auctioneers To Host Online-Only Designer Jewelry Auction

BROOKLYN, N.Y. — Jewelry, jewelry and more jewelry will be on the menu in SJ Auctioneers’ online-only designer jewelry estate collection and more auction scheduled for Sunday, August 25, starting promptly at 6 pm Eastern time. The 598lot catalog represents SJ Auctioneers’ finest selections to date of fine jewelry collectibles from famous-name artists and designers.

The list includes such jewelry fashion superstars as Graff, Louis Vuitton, Chopard, Cartier, Tiffany & Company, Maggioro, Van Cleef & Arpels, Pomellato, Stephen Webster, Bvlgari, Chanel, De Grisogono, Gurhan, Zydo, Poiray, Roberto Coin, Charles Krypell, Hermes, Christian Dior, David Webb, SeidenGang, Harry Winston, H, Stern, Angela Cummings and Ivo Spina.

A pair of Graff platinum tulip chandelier earrings will make any outfit blossom with elegance. Dropping from the earlobe is a 2¾-inch-long platinum strand with a floral motif and 3-carat diamond embellishment. The diamonds have an E color grade and a VVS clarity grade. Each dangling earring is secured by a push back closure ($13,5/20,000).

A Louis Vuitton monogram fusion platinum and diamond engagement ring is crafted from platinum and set with a total of 1.82 carats of diamonds that feature grade F color and IF clarity. The center diamond weighs 1.07 carats and the side ones amount to 0.75 carats (15/18,000).

It doesn’t get any more charming than an exquisite accessory from Chopard. The fabulous fish-shaped design comes to life thanks to glittering diamonds totaling 1.88 carats, a captivating array of rubies with a total weight of 5.52 carats and a 0.06-carat sapphire. This ring is crafted from 18K white gold ($8,5/24,000).

A Cartier Rivoli 18K yellow gold diamond

This Louis Vuitton monogram fusion platinum and diamond engagement ring is crafted from platinum and set with a total of 1.82 carats of diamonds ($15/18,000).

A Chopard fish-shaped design ring with glittering diamonds totaling 1.88 carats, an array of rubies with a total weight of 5.52 carats and a .06carat sapphire ($8,5/24,000).

A pair of Graff platinum tulip chandelier earrings. Dropping from the earlobe is a 2¾-inch-long platinum strand with floral motif and 3-carat diamond embellishment ($13,5/20,000).

August 25 Estate Collection Features Dazzling Pieces By Name Designers

ring is stamped 750. The diamonds, having a total weight of 2.25 carats, allow this simple yet elegant Cartier Rivoli ring to effortlessly catch the light. Ideal for everyday wear, the size 6 luxury ring measures 10mm in width and is offered in estate condition. ($5,5/12,500).

From Tiffany & Company comes an 18K yellow gold diamond cuff bracelet stamped 750. The sleek 18K yellow gold setting is elevated by an array of sparkling diamonds at the center, which together possess a total weight of 0.55 carats. This banglestyle bracelet is 7 inches long ($3,5/4,200).

A luxurious and unique Maggioro ring from the Rhapsody Collection, stamped 750, is made of 18K white gold and features a design that consists of 0.97 carats of brown diamonds and 2.12 carats of white diamonds.

A Tiffany & Co., Paloma Picasso two-sid-

ed necklace allows the wearer to effortlessly change their look. One side of the minimalist design features circular links crafted from 18K yellow gold. Reverse the design and display the silver side instead. The necklace, 17½ inches long, comes with a toggle clasp closure ($3/4,500).

A vintage Van Cleef & Arpels brooch features an intricate design crafted from 18K yellow gold and beautifully depicts a bird in flight. It measures 1.35 inches long and 2.15 inches wide ($3/4,500).

Flamboyant yet elegant, a Pomellato pin up cocktail ring features a 10mm-thick domed band in 18K yellow gold topped with a cushion-cut topaz gemstone. Further securing and highlighting the topaz center stone is a pair of decorative claws embellished with a cluster of brilliant diamonds and pink sapphires ($2,4/3,600).

A Stephen Webster pendant necklace has

Museum Of Arts And Design Presents First Comprehensive Survey Of Sonya Clark’s Collaborative Artworks

NEW YORK CITY — The Museum of Arts and Design (MAD) presents “Sonya Clark: We Are Each Other,” highlighting 30 years of artmaking dedicated to the Black experience in America. On view through September 22, the exhibition is the first comprehensive survey of the communal artmaking projects that form the heart of the artist’s pioneering creative practice. Accompanied by a selection of Clark’s photographs, prints and sculpture, the exhibition will feature five of Clark’s large-scale, collaborative projects, including her barrierbreaking “The Hair Craft Project” (2014) and the ongoing performance initiated in 2015, “Unraveling.”

Working with a wide range of emotionally resonant materials and everyday objects — from cotton cloth and human hair to school desks and bricks — Clark encourages audiences to confront the country’s historical imbalances and racial injustices through material transformation. At the same time, Clark celebrates the complexities of the Black cultural experience. The uses of traditional craft materials, her applied knowledge of global craft techniques and the communal collaborations that are integral to the integrity of her art are among the many ways

Clark represents and honors the legacies of the African diaspora in Black life.

“We are delighted to welcome Sonya Clark back to MAD,” said Tim Rodgers, MAD’s Nanette L. Laitman Director.

“Sonya has participated in many of our exhibitions, including ‘Second Lives: Remixing the Ordinary,’ inaugurating the museum’s expansion in 2008, and the landmark exhibition, ‘The Global Africa Project,’ in 2010. We are honored to now present Sonya’s first solo exhibition in New York City, showcasing the 30-year development of a collaborative creative practice that involves everyone in the critical work of addressing racial inequality in the United States.”

Exhibition highlights include: “Solidarity Book Project” (2020-present), a collaborative, community-based artwork and activist initiative that invites participants to declare their commitment to a more equitable world by turning social and racial justicerelated books into sculptures; “Monumental Cloth Series” (2019), artworks and activations based on the historic repurposed dish towel used to signal a truce by Confederate forces at Appomattox in 1865; “Unraveling” (2015-present), an ongoing performance in

which Clark works alongside individual gallery and museum visitors to unravel a Confederate battle flag thread by thread, symbolizing the collective work involved in dismantling racism in the US; “The Hair Craft Project” (2014), a series of photographs and braided hair designs highlighting hair stylists’ ability to manipulate the hairs on Clark’s head and their undeniable textile artistry on canvases stitched with thread; and “The Beaded Prayers Project” (1998-ongoing), an installation comprised of thousands of small memorial pouches, created by community members across the globe, that are made using fabric from loved ones or donated material and contain a written commemoration, intention, wish or prayer.

“MAD has long supported contemporary artists who have expanded craft’s creative boundaries and amplified its social significance,” said Elissa Auther, MAD’s deputy director of curatorial affairs and William and Lasdon Chief Curator. “Entwined with Sonya Clark’s commitment to issues of history, race and reconciliation is an abiding and deeply investigated interest in craft and its relationship to group identity. Clark considers craft ‘an embodied wisdom and a cultural technology.’ In

a captivating appearance. Suspended from a 17-inch chain, the dynamic serpentine pendant comes to life thanks to bold quartz and tsavorite gemstones. The pendant is made from 18K white gold and stamped 750 ($1,8/2,400).

A chunky ring from the Pomellato’s Bisanzio collection is an eye-catching cocktail ring, featuring a domed band in 18K yellow gold. Three garnet cabochons in closed settings punctuate the widest part of the shank. The ring’s top dimensions measure 17-by-15-mm ($1,5/12,400).

Online bidding is available now at LiveAuctioneers. Pre-bidding is also available, meaning for those who are unable to attend the online auction, they can still leave their bids now. This auction uses AutoPay by liveauctioneers.com.

For information, 646-450-7553 or www. sjauctioneers.com.

her work, craft and community become a collective voice addressing one of the most pressing issues of our day — the question of equality and how to realize it.”

The Museum of Arts and Design is at 2 Columbus Circle. For information, www.madmuseum.org.

The Williams College Museum Of Art Presents ‘Teddy Sandoval And The Butch Gardens School Of Art’

WILLIAMSTOWN, MASS. —

The Williams College Museum of Art (WCMA) presents the exhibition “Teddy Sandoval and the Butch Gardens School of Art,” the first museum retrospective dedicated to the work of the inventive though long-overlooked artist who was central to Los Angeles’ queer and Chicanx artistic circles and was active in both US and international avantgarde movements. On view from August 23 through December 22, the exhibition covers a quarter century of the artist’s work, revealing how Sandoval (1949-1995) produced subversive yet playful works that explored the codes of gender and sexuality, often mining archetypes of masculinity through the signature icon of a faceless man sporting a mustache.

The “Butch Gardens School of Art” of the title was the artistic persona Sandoval invented for himself, adopting this pseudonym from the Butch Gardens, a gay bar in LA’s Silver Lake neighborhood that was frequented in the early 1970s by the artist and other Chicanx residents.

He distributed his own artworks and organized exhibitions with friends and collaborators under the umbrella of an imaginary Butch Gardens School of Art, which had only one member: himself.

Sandoval was trained in art and printmaking at East Los Angeles College and Califor-

nia State University, Long Beach, in the early 1970s during the Chicano Civil Rights and gay liberation movements. While the exhibition presents his work across many media, it pays particular attention to his works on paper, including prints, drawings, artist photocopies and

mail art.

Pamela Franks, Director of the Williams College Museum of Art, said, “‘Teddy Sandoval and the Butch Gardens School of Art’ exemplifies the multiple ways that WCMA makes art accessible for enjoyment, study and discussion through research-intensive exhibitions that spotlight contributions of previously underrecognized artists. We look forward to welcoming everyone to dive into the world revealed through Sandoval’s work.”

“Teddy Sandoval and the Butch Gardens School of Art” invites visitors to discover the work of an artist and consider how his practice was in dialogue with regional, national and international social, political and artistic movements.

The exhibition shows how Sandoval’s work examined the codes of masculinity within Chicanx and queer culture, most directly through his signature image of a faceless male figure — a macho icon that Sandoval presented with both irreverence and desire.

These figures appeared in his fine art prints, drawings and ceramics and were also adapt-

ed for his mail art multiples, gay male magazine illustrations and advertising for a Los Angeles-based record store. In the spirit of collectivity suggested by the “school of art,” this expansive survey proposes an alternative model for the monographic exhibition by surrounding Sandoval with works by an intergenerational group of 29 queer, Latinx and Latin American artists who share his graphic sensibilities, approaches to media or thematic interests.

According to the exhibition curators, C. Ondine Chavoya and David Evans Frantz, “Our approach honors the imagination of Sandoval’s Butch Gardens School of Art and reactivates it by bringing artists in dialogue with his work and with one another. In the process, we highlight parallel approaches across the Americas among artists who largely did not have the opportunity to show with or know one another.”

Williams College Museum of Art is at 15 Lawrence Hall Drive. For more information, www.artmuseum.williams.edu or 413-597-2429.

The Work Of Father Browne At The New Raclin Murphy Museum Of Art

SOUTH BEND, IND. — Featuring dramatic scenes from the early Twentieth Century, the front lines of World War I, images aboard the RMS Titan-

ic and moments from everyday Irish life, the Raclin Murphy Museum of Art at the University of Notre Dame presents “Through the Lens of Father Francis Browne, S.J.:

The Photographic Adventures of an Irish Priest.” On view August 27-December 1, the exhibition shines a light on one of the most recognized Irish photographers of his generation through more than 100 works added to the museum’s permanent collection.

The presentation is the first major solo exhibition in the United States to feature Father Browne’s artwork.

The youngest of eight children, Francis Mary Hegarty Browne (1880-1960) was born into an affluent family in Cork, Ireland. His mother perished eight days following his birth. Browne later became the ward of his uncle Robert Brown, Bishop of Cloyne, after his father died in a swimming accident. His love of photography was inspired in part by this same uncle who gifted Browne his first camera.

Following a trip across Europe where Browne tested his camera for the first time, he joined the Jesuits in 1897

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and entered the novitiate at St Stanislaus College. His long preparation for the Jesuit priesthood continued with studies at the Royal University of Ireland in Dublin. Browne completed his Bachelor of Arts degree in 1902 and went on to the Jesuit philosophate at Chieri, near Turin, Italy. After three years he returned to Dublin and his Regency.

In April 1912, Browne received a ticket for the maiden voyage of the largest ship in the world, the RMS Titanic He took his camera on the journey from Southampton, England, to Cherbourg, France, then to Cobh, County Cork, capturing images as he explored the ship. Browne disembarked in Ireland before the Titanic sailed on to disaster, and his images became the only surviving photographs of the vessel at sea.

His documentation of the liner, its passengers and crew appeared in newspapers and magazines worldwide.

“‘Through the Lens of Father Francis Brown, S.J.,’ recalls the arc of Father Browne’s career as both an artist and a priest,” said David Acton, the museum’s curator of photographs. “His role in the clergy provided him the opportunity to witness some of his country’s most memorable events of the era, with camera in hand.”

After his ordination in 1915, Browne became a chaplain in the Irish Guards. He worked in France and Flanders for the entirety of World War I and was allowed to carry his camera with him. Often ministering on the front lines, he was wounded five times. After the war, the Church sent Browne to Australia to recu-

perate. He photographed his travels to the other side of the world and back to Ireland.

Browne took up the post of Superior of Saint Francis Xavier Church in Dublin in 1925. Over the balance of his career, he traveled extensively in Ireland and England to preach at Jesuit gatherings, missions and retreats.

“Father Browne pursued his avocation of photography as life rapidly changed across Ireland. His photographs demonstrate his interest in history and modern innovation as well as his love for children and the Irish people,” said Joseph Antenucci Becherer, the musuem’s director.

“Through the Lens of Father Francis Browne, S.J.: The Photographic Adventures of an Irish Priest” joins the Raclin Murphy Museum of Art’s growing collection of more than 30,000 works. For information, www.raclinmurphymuseum. nd.edu or 574-631–5466.

COLUMBIA, S.C. — The Columbia Museum of Art (CMA) presents “(Un)Settled: The Landscape in American Art,” a collaborative exhibition that explores the rich, complicated and evolving topic of the American landscape, from its origins in Nineteenth Century painting to the present. The CMA is one of four participating museums in the Art Bridges Cohort Program’s American South Consortium, the institutional partnership responsible for this exhibition. “(Un) Settled” runs to September 8. The Columbia Museum of Art is at 1515 Main Street. For information, 803-799-2810 or www.columbiamuseum.org.

“Full Speed Ahead for… ,” RMS Titanic Leaving Queenstown (Cobh), County Cork, April 1912, captured by Father Francis Browne, S.J., (1880-1960). ©Fr Browne SJ Collection

Photo courtesy, Raclin Murphy Museum of Art.

“Untitled” (1977-1979) by Teddy Sandoval, xerox and airbrush on paper. Image courtesy The Williams College Museum of Art.

The Newport Show Draws Crowds For Elegance & Exquisite Taste

MIDDLETOWN, R.I. — With its tagline “Antiques, Art & Exquisite Objects,” The Newport Show certainly lived up to its expectations. In preparation for the show, the hockey rink at St George’s School was transformed from an icy arena to an extravagant event hall with 38 exhibitor booths, several refreshment stations and space for a special loan exhibition, all ready for the Gala Preview Party on Friday, July 26 before the show was opened to the public July 27-28. The event raises funds for co-beneficiaries, the Newport Historical Society (NHS) and Boys & Girls Clubs of Newport County. To date, The Newport Show has raised more than $4 million to benefit the two organizations.

Show chair Anne Hamilton said that she “felt like Newport needed a ‘real’ antiques show,” which was why, in 2007, she founded The Newport Show. Since then, it has been a summer staple in the small coastal community for local collectors,

vacationers and those who are willing to travel to get a taste for the finer things. “For nearly two decades, The Newport Show at St George’s has provided collectors, curators and all who appreciate history with an opportunity to experience the past through exquisite antiques, art and fine objects,” said Hamilton. In addition to the 38 vendors, “Stitches in Time: Needlework and Quilts,” a loan exhibition from the collections of the NHS and the South County Museum (Narragansett, R.I.), was also on view throughout the weekend, showcasing an assortment of domestic textiles and needlework pieces. The exhibition included quilts, samplers, handbags and wallets and an embroidered armchair, in addition to two contemporary works from Lycette Designs — a pair of handstitched Stubbs & Wootton slippers and a needlepoint pillow. As the exhibition wall text explained, “Needlework, such as quilts and samplers, passed down through generations can

narrate milestones, memories and familial connections. These seemingly humble objects speak to how traditions are preserved and provide a record of social changes. They are a tangible link between the past, present and future. The pieces shown here reflect the intersection between artistic expression and utilitarian purpose… Each work on display served a purpose within the household while providing their female creators an outlet for their individual style and aesthetic.”

Rebecca J. Kelly, executive director of the South County Museum, said, “The museum was pleased to play a part in this year’s event and hope the more than one thousand people who passed through the doors had the opportunity to learn more about the history and

In addition to their typical stock of mosaic lamps, Lillian Nassau, Inc., New York City, also brought smaller Tiffany Studios objects, including Favrile glass vases and various desk accessories.

This circa 1815 Regency dining set, a 71-inchwide rosewood table inlaid with brass and eight rosewood and mahogany chairs, also with brass inlay and “bespoke filled cushions” were a highlight in the booth of Roger D. Winter, Solebury, Penn. Behind the table was a circa 1695 William and Mary burled walnut cabinet once belonging to the Earl of Ashburnham with a large carved pine restaurant fish trade sign perched on top. Jayne Thompson Antiques & Design, Harrodsburg, Ky. Photo courtesy Jayne Thompson.

Silver Art by D&R, Baltimore, Md., had this table set with Camille Le Tallec dishes from 1954 and an 1883 silver dessert service from Alphonse Debain. In the center was a circa 1895 French gilt silver jardinière and surtout by Eugène Doutre Roussel.

English antiques and fine arts from G. Sergeant Antiques, Woodbury, Conn.

Artist Stuart Dunkel (American, b 1952) chatted with a guest while working on a new piece in his “Chuckie” series; varied examples from that series decorate the walls around them. Rehs Contemporary Galleries, New York City.

James Butterworth, Antique American Wicker, Nashua, N.H., has been attending The Newport Show since it began. He offered “beautifully restored wicker” and said that “people don’t expect to see this stuff here.”

Review & Onsite Photos by Carly Timpson, Assistant Editor

handicraft of Rhode Island women.”

Drawing the most attention from guests was a 1790 mahogany armchair with crewelwork embroidery, done by Abigail Ellery, the wife of William Ellery — a Newport signer of the Declaration of Independence. According to the item text, “The chair was a gift to Abigail and William’s daughter, Almy, for her marriage to William Steadman, Massachusetts’ first senator.” Bridget Newton, NHS registrar, shared that the chair stayed in the family until 2006 when it was donated to the NHS. Upon entering the show, visitors encountered the booth of Roger D. Winter, Bucks County, Penn. Given his prime location, we wanted to know a bit about his background. He told us, “I’ve been coming to this show for quite a few years. I bring primarily English with a smattering of other Continental

antiques from the William and Mary period to the early Nineteenth Century.” One of his finest offerings was a round rosewood pedestal dining table with brass inlay, complemented by a set of eight rosewood and mahogany chairs, also finished with brass inlaid details. Several other tables, including a circa 1840 Chinese great hall console table with an inset reticulated fretwork panel apron, were set with various smalls such as porcelain, candlesticks and copper kettles.

William Cook, Hungerford, UK, also specializes in Eighteenth and early Nineteenth Century furniture. In his booth, he also had various smalls and decorative objects including several antique glass decanters, tea caddies, pieces of natural history such as fossils and agates, bronzes, lamps and several mirrors. On the primary wall of his booth hung a set of 12 pastel and

pencil studies of horses by Leslie Charlotte Benenson (English, 1941-2018); the other two walls housed a large, original condition French wall tapestry and a pair of blueprints for a 1936 sailing yacht designed by Bostonbased naval architect, John Alden (1884-1962). Objects related to sailing were on theme, as the city of Newport hosted the America’s Cup — the oldest international sailing competition — 12 different times. Ann and George Wilbanks of Find Weatherly, Stamford, Conn., indicated this fact as “motivation to fill their booth with marine art in addition to animal and folk art; English, French and Asian antiques; and various other whimsical objects.” Ann Wilbanks shared, “We specialize in marine art and bring a lot related to America’s Cup for this crowd who are interested in that. We have a set of 10 halfhulls from America’s Cup defenders that were made in New London, Conn.” As such, these, and other half-hulls, ship portraits, models and blueprints, accented their booth, and yet the main eye-catcher may have been a 14-foot-long tempera on canvas mural featuring an array of flowering tropical plants and various birds. Ann Wilbanks did not know much about the 1961 piece’s history but noted that the nine names on it may be indicative of different artists working together complete the image. The Wilbankses have been attending The Newport Show since 2013 and commented: “This is one of our favorite shows. Anne Hamilton is like a force of nature, she’s remarkable.” George Wilbanks added, “We have made a few sales and received great interest on the first night. It has been much busier than last year. It’s a great show to come to because there are a lot of dealers with great variety.”

Paul Madden Antiques, Sandwich, Mass., is another dealer that specializes in marine antiques. The walls of their booth were decorated with paintings of sailing scenes, nautical charts, half-hulls and harpoons. He also brought Nantucket baskets, scrimshaw carvings, telescopes, clocks, compasses, thermometers and other instruments, landscape paintings and some antique furniture. Likely best known for his extensive collection of British

sailors’ woolworks known as Woolies, Paul Vandekar, Earle D.

Marble, bronze and stoneware sculptures, as well as stoneware urns and cast iron furniture, in the booth of Barbara Israel Garden Antiques, Katonah, N.Y.

Specializing in fine Continental antiques, especially Eighteenth Century furnishings, was French Accents, Baltimore, Md., who displayed a circa 1715 portrait of five-yearold Louis XV by Atelier Pierre Gobert on the same wall as a mid-Eighteenth Century English Chippendale period giltwood mirror.

George & Ann Wilbanks of Find Weatherly, Westport, Conn., brought wooden half-hulls and other nautical pieces as well as a large Works Progress Administration-era mural with birds and flowering plants.

Framed examples of Victorian era sailors’ woolworks and assorted Asian ceramics characterized the gallery of Earle D. Vandekar of Knightsbridge, Downingtown, Penn.

Original antique prints, maps and watercolors decorated the walls for D.M. DeLaurentis Fine Antique Prints, Doylestown, Penn.

Bibi Mohamed was ready to greet guests and was more than happy to talk to us about the “rare and magnificent” 12-volume extra-illustrated presentation set of Life of Napoleon Bonaparte by William Milligan Sloane (New York: Century & Co., 1896). Imperial Fine Books, New York City.

Luxury handbags from Gem De La Gem, Teaneck, N.J.

Vandekar of Knightsbridge, Downingtown, Penn., rightfully filled his booth with countless examples, primarily from the mid to late Nineteenth Century. In cases throughout the booth, Vandekar displayed his large selection of Eighteenth and Nineteenth European and Chinese export ceramics.

In addition to cases of fine porcelain from Spode, Coalport, Mason’s, Wedgwood and other notable makers, second-year exhibitors, The Spare Room Antiques (Baltimore, Md.), also presented fine jewelry. Owner Jacqueline Smelkinson pointed out a selection of Rivière necklaces. Smelkinson said, “They were called Rivières because they reminded people of the lights along the French Riviera. Some were Georgian, though they were popular through the Victorian era. We have a lot of them but they’re actually very hard to find.” Examples on display in her booth included a necklace with pink oval gemstones, a similar one with bright green stones and one with large, round diamonds.

Jewelry collectors and fashionistas may have also been drawn to the booth of Gem De La Gem, Teaneck, N.J. Back for a third year, Gem De La Gem specializes in vintage and unusual Hermès scarves but had some from other designers such as Valentino, Gucci and Chanel. Luxury handbags were also a draw to their booth, with several wall-height cases filled with Gucci, Chanel, Yves Saint Laurent, Brandell and Hermès bags. Other cases were filled with fine jewelry including Tiffany & Co., Cartier, Van Cleef & Arpels, Lalaounis, Chanel and Hermès.

More jewelry could be found in the booths of Brad & Vandy Reh Fine Jewelry, New Canaan, Conn., and Lotus Gallery, Austin, Texas. Francisca Tung, owner of Lotus Gallery, said “This is our third year — we love the people here. We have mainly Asian antiquities and fine jewelry.” The antiquities consisted mostly of Chinese and Japanese porcelain, furniture and art.

Daniel Garfink of French Accents Antiques, Baltimore, Md., said this was his first time at The Newport Show and only his third antiques show ever. He didn’t let that hold him back, and during the Gala Preview Party he shared, “It has only been a few hours but it has already brought great interest.”

The Newport Show

While the majority of his offerings were Continental antiques, mostly French from the Eighteenth Century, an object drawing great interest was a Canosan funerary vessel. “The reason people are drawn to it is because of the old pink color. Most would have been terracotta in color, so the bright pink is unusual. It was an urn or funerary vessel and it is painted with this image on the front side, celebrating the life of a warrior who was depicted on horseback.” Another special piece was a 1785 marble-top commode: “It is made of solid Cuban mahogany, all of which has been deforested now so these literally cannot be made anymore since the species of wood no longer exists.”

Though it is primarily an antiques show, Rehs Contemporary Galleries, New York City, showed up with something for those looking for a more modern flair. Lucia Heffernan (b 1966) was represented on the walls with several examples from her “Yoga Chicks” series, as well as

one from “Gym Rats.” Other notable artists filling the walls included Shana Levenson, Hiroshi Furuyoshi (b 1959), Chris Guest (b 1979), David Palumbo (b 1982), Carrie Goller (b 1961) and Stuart Dunkel (b 1952), who was in attendance and painted during the Gala Preview Party while surrounded by his works. Rehs Galleries, New York City, is run by Howard and Amy Rehs, but their children, Alyssa and Lance are responsible for the contemporary side of the business. Amy noted that Rehs Galleries has been coming to The Newport Show since 2013. “It is one of the smaller shows that we do, but we’ve made so many friends here over the years and we’ve gotten a bigger booth now, which is really nice. The most important thing for us is that our clients can buy something they love at a price they are comfortable with. We want you to smile when you walk into your home. We want you to be happy to be there.” The

inclusion of contemporary art helps broad-

“La Terrasse vers L’Ouest” by Jacques Martin-Ferrieres (French, 1893-1972) flanked by four works by Raoul Dufy (French, 1877-1953) — two bearing red “sold” stickers. Leighton Fine Art, Marlow, UK.

Brad & Vandy Reh Fine Jewelry, New Canaan, Conn.

Asian antiquities and fine jewelry from Lotus Gallery, Austin, Texas.

Refreshments, including a raw bar by Open Oyster, Newport, R.I., kept guests satisfied throughout the Gala Preview Party on July 26.

Standing out in the booth of William Cook, Hungerford, U.K., was a vibrant, circa 1969 chair designed by Lord Snowden for the investiture of Prince Charles when he became His Royal Highness The Prince of Wales. “If you were a guest at the ceremony, you could purchase the chairs you sat in for the price of £12 afterwards.” This chair was complete with its original upholstery and lacquer finish.

Though Frank Shaia specializes in antique rugs, he also brought exceptional woven tapestries, like the circa 1725 example at the center, and some modern seascape rugs (bottom left). Shaia Oriental Rugs, Williamsburg, Va.

The Silver Vault, Woodstock, Ill.

exhibitor, Silla Antiques & Art, Shippensburg,

specializes in bronze

Andrew Silla said his favorite piece was the center example of a man kneeling on a rock, Alfredo Pina’s (Italian, 1883-1966) “Homme Genoux sur un Rocher,” alternatively titled “The Extreme Effort.”

The Newport Show

en their clientele and offer that opportunity to more collectors who might be intimidated by the Nineteenth and Twentieth Century works featured in their primary gallery. In the Rehs Galleries booth, Howard highlighted “Monet’s Garden” (1983), a large work by Peter Ellenshaw (British/American, 1913-2007), a landscape painter who was also a matte designer and special effects creator for Disney.

Art collectors could also find favor in the booth of Gladwell & Patterson, London. Emily Campin, the company’s director, said this was the group’s second

year attending The Newport Show and they were pleased to be back in its “relaxed, happy environment.” She said, “We love coming here” and remarked on the city of Newport’s own history being an additional bonus to coming to the show. One of the new works Campin was excited to be exhibiting was a NeoImpressionist work “Saint-Tropez, le Golfe” by Yvonne Canu (French, 1921-2008).

Also back for a second time was Peace & Plenty, Washington, DC. Josh Hildreth said they brought “an eclectic mix of things [they] love, including

Centered on the back wall above a circa 1750 Venetian painted bowfront buffet was Purvis Young’s (American, 1943-2010) oil on canvas, “Ships.” Atop the buffet were a pair of Swedish Stockholm empire period marble lidded urns, a Seventeenth Century Delft chinoiserie Wanli-style blue and white charger and three Italian

European antiques, country pieces and objects that have whimsy and charm.” Most of the art on display was Twentieth Century, though Hildreth, who is an interior designer, said, “I like a broad conversation at the end of the day. For me, it is not about creating a museum, it’s about making something comfortable.” He achieved this comfortable mix by styling various pieces of furniture, art, ceramics and other decorative arts.

Diana Bittel, Diana H. Bittel Antiques, Bryn Mawr, Penn., is one of the show managers and has also been an exhibitor at the show since it began. She said that The Newport Show stands out because of its “very strong, dedicated committee with Anne Hamilton taking great care of the dealers and supporting the show with purchases.” It also helps that there is an “educated client base” and “great dealers,” making for “a very strong summer show.” Describing her booth, Bittel said “It is full of everything I love: nautical, early furniture, weathervanes and shellworks.” Her favorite, most exciting piece on display was a large shellwork diorama including animals, birds and flowers, which she said was “extremely wonderful and rare.” She was pleased to report that it sold during the show.

Newport newcomer, Carolle Thibaut-Pomerantz, New York City/Paris, is the author of Wallpaper: A History of Style and Trends. Her booth was wellstocked with a carefully curated selection of vintage wallpaper panels dating from the Eighteenth Century through the Art Deco period. All of the wallpaper panels were original woodblock prints on paper with the exception of one Chinese example that was hand-painted. ThibautPomerantz was excited to be exhibiting at the show because, in her words, “Wallpaper is an art form that is not as well known.” Of course, many are familiar with wallpaper as a concept, but these original panels as a form of art, are often forgotten. She pointed out a few impressive examples, such as “Galacial Seas,” and one panel from the panoramic “Zones Terrestres,” designed by Eugène Ehrmann in 1855. The woodblock print was done during the second half of the Nineteenth Century, though “it looks brand

new and could easily be dis-

Left: A 1790 mahogany armchair with crewelwork embroidery done by Abigail Ellery, the wife of William Ellery, who signed the Declaration of Independence. Right: A pair of handstitched Stubbs & Wootton slippers and a needlepoint pillow from Lycette Designs. “Stitches In Time” exhibition by the Newport Historical Society & South County Museum.

Moylan-Smelkinson Antiques/The Spare Room, Baltimore, Md.

Vintage wallpaper panels dating from the Eighteenth Century through the Art Deco period. Carolle Thibaut-Pomerantz, New York City and Paris.

First-time

Penn.,

sculpture.

Georgian Manor Antiques, Fairhaven, Mass.

Schorr & Dobinsky, Reading, Penn.

majolica bunny tureens. Peace & Plenty, Washington, DC.

played as art in a contemporary home,” according to ThibautPomerantz.

Silla Antiques, Shippensburg, Penn., was another first-timer. Andrew Silla was excited to show off many of his favorite pieces during the preview party.

“We have mostly 1860-1930 sculpture but some paintings as well. I’m drawn to depressive, atmospheric works.” Examples he pointed out included a bronze statue of a kneeling man, seemingly in excruciating pain, and another was a stormy and turbulent maritime painting. While it didn’t quite fit his description of interest, an especially unusual piece was a French bronze of a Native American on horseback by Édouard Drouot (French, 1859-1945). Making it even more peculiar was the fact that the figure was accurately portrayed and not a dramatized caricature like many examples at the time, especially foreign, tended to be.

Bibi Mohamed, owner of Imperial Fine Books & Oriental Art, New York City, was happy to answer questions about her collection of rare, leather-bound sets and fine bindings. She told us she had “special editions of classic American, English and French books, library sets and children’s books,” but the most important set on her shelves was a 12-volume, extra-illustrated presentation set of Life of Napoleon Bonaparte by William Milligan Sloane (New York: Century & Co., 1896). She said the set had more than 250 illustrations and documents relating to Napoleon.

Interested in antique rugs?

Look no further than Shaia Oriental Rugs of Williamsburg, Va. Frank Shaia, who said it was his third time at the show, only had rugs, though those in his stock were diverse. “We do okay here. We have mostly antique rugs, though we brought some new ones like the fish and turtles, which sell well, especially in coastal areas like Newport.”

About 80 to 90 percent Shaia’s stock were Persian, and the rest were mostly Turkish and Caucasian, except for the contemporary pictorial rugs which were Indian.

Another highly specialized area was outdoor furniture and garden ornaments. Thankfully collectors had several booths to peruse for these items. Barbara Israel Garden Antiques, Kato-

23,

Left: “Saint-Tropez, le Golfe” by Yvonne Canu (French, 1921-2008). Center: “Le Petit Déjeuner devant une Fenêtre” by Jeanne Selmersheim-Desgrange (French, 1877-1958).

Right: “Le Chemin en Bord de Rivière” by Gustave Loiseau (French, 1865-1935). Gladwell & Patterson, London.

nah, N.Y., had architectural pieces, figural and animal statues, fountains, sundials, urns and garden furniture. Most of the objects were stoneware, marble, cast iron or bronze. In their 11th year at The Newport Show, Francis J. Purcell, Inc., Philadelphia, Penn., had English and French cast and wrought iron furniture and a two-tier fountain from 1877 that had turtles and tadpoles around the zinc basin. They also had early American antiques and furnishings, including fireplace mantels, all predating 1870. Sheryl Dunleavy of The Ann Parke Collection, Darien, Conn., had a whimsical display seamlessly bridging the in- and outdoors. Stone dog statues, planters and a Victorian cast iron bench did not appear out of place among a floral embroidery screen, an assortment of Nineteenth Century

Staffordshire dogs, majolica, mirrors and framed art. Dunleavy said the opening night was “great” and noted that she had already made some sales, meaning her booth would be rearranged for the next day.

Rebecca Bertrand, NHS executive director, said, “At Newport Historical Society, our team is devoted to helping people explore history and finding engaging ways to help people connect with the past. What I love most about The Newport Show is that we take pieces of history that are often out of reach or protected behind glass, and we bring them forward, allowing the community to see, smell and touch history.”

Details about the 2025 Newport Show have not yet been announced. For more information, www.thenewportshow.com or www.newporthistory.com.

Philadelphia-based Arader Galleries brought prints spanning categories including birds, botanicals, marine and sea life, the American West, and several maps from local atlases. Gallery director Lori Cohen (left) is seen here talking to a guest. August

Bridget Newton (left), registrar of the Newport Historical Society, discusses “Stitches In Time,” her organization’s collaborative exhibition with the South County Museum.

This circa 1920-30s English folk art alphabet welcomed visitors into the booth of David Brooker Fine Art, Woodbury, Conn.

Paul Madden Antiques, Sandwich, Mass., specializes in nautical antiques but fine and decorative arts helped fill the display.

Sailor’s shell valentines were displayed anywhere there was space in the booth of Diana H. Bittel Antiques, Bryn Mawr, Penn.

Glen Leroux Antiques, Westport, Conn.

Measuring 18½ inches high by 17½ inches in diameter, this Cochití polychrome pottery olla exceeded its $2/3,000 estimate, finishing at $5,120.

More than tripling its $1,200 high estimate to earn $4,160 from a trade buyer was this 11¼-inch-wide Zuni polychrome pottery dough bowl with a quatrefoil interior design.

The only lot in the top 10 that did not come from the Stewart collection, this Acoma polychrome pottery olla with deer motifs, 9 by 10½ inches, achieved $4,800 ($600/800).

This 7¼-inch-wide Mimbres black and white pottery bowl with a rabbit motif had some losses including a hole to the base, was restored and inpainted but still did well; it was bid well beyond its estimate to $5,760 ($700/900).

American Art & Artifacts Raise The Banner At Stair

HUDSON, N.Y. — Across two days of auctions on July 31 and August 1, Stair Galleries presented nearly 500 lots of North American art and antiques with a total realized of $780,608 across both sales.

Indigenous Arts of North America

On July 31, the Indigenous Arts of North America auction presented 205 lots that “embody the sophisticated aesthetic sensibility of Native artists and artisans combined with their technical mastery of pottery, basketry, weaving and other Native arts.” With a 98 percent sell-through rate, the auction realized $187,488. Muffie Cunningham, Stair’s director of decorative arts said, “The indigenous sale was a little on the soft side but it’s a smaller market with not a lot of new collectors. All but two of the top lots sold to private collectors, the exceptions sold to the trade.”

Many of the works featured in this sale came from the collection of Gordon and Zanne Stewart, which was amassed over decades and represented their interest in multiple collecting categories. Stair released an informative statement about the Stewarts and their collection, writing, “Their mid-century home was decorated with furniture and objects from the same period, complemented by Asian and ethnographic ceramics and sculpture, Old Master, modern

Earning the highest price overall and leading the Americana auction was “The Abduction of Daniel Boone’s Daughter” by Charles Wimar (German-American, 1828-1862). The circa 1853 oil on canvas work measured 21 by 25 inches framed and sold to a Kentucky buyer for $52,480 ($40/60,000).

and contemporary art, Navajo rugs, pottery and books.”

From the Stewart collection, the sale’s top lot was a chief’s second phase wearing blanket, which was possibly Navajo in origin.

The two outer bands and a matching central band were red with a stepped blue stripe in the middle. Cunningham noted, “This blanket was in very good condition. Because these blankets were utilitarian, most had wear and damage. The Stewarts

took great care of it and kept it in great condition.” A South Carolina collector wrapped up the bidding for the piece at $11,520.

Despite a significant hole through its bottom, bidders took a black-on-white Mimbres pottery bowl to $5,760 — more than six times its high estimate. According to Archaeology Southwest (Tucson, Ariz.), “The Mimbres region includes southwestern New Mexico and adjacent areas in Arizona and northern

Mexico” and the Mimbres culture flourished between the years 1000 and 1130 CE. Decorated with twin rabbit motifs, the bowl was restored and had some inpainting but was in good condition otherwise. It had previously been in the Stewart collection and that of Gene Lang from Littleton, Colo.

Another Mimbres black and white bowl, also with a hole at its base, sold to a New Jersey collector for $3,712 ($500/700). This one, measuring 3 inches high by 7¼ inches in diameter, had abstract designs, a central fish motif and shared the same Lang to Stuart provenance. Given its age, it was considered to be in good condition despite the hole, cracks and other wear and losses.

Cunningham remarked, “The bowls have universal appeal. The shapes and designs are very attractive to many, even modern collectors and designers. These bowls were beautifully shaped, designed and crafted to be used in their regular lives, and its really impressive that they survived so long, especially considering all that the Natives had to face.”

Other forms that did well were dough bowls. One from the San Ildefonso Pueblo, New Mexico, was 16 inches in diameter and had black and red details on white slip. It had provenance to the Primitive and Folk Art Laboratory, Denver, Colo., before joining the Stewart collection. More than doubling its high estimate,

it was purchased by a trade buyer located in Arizona for $4,480. A Zuni (Zuni River Valley, New Mexico/Arizona) dough bowl with a quatrefoil interior design and zigzag stepped exterior designs sold to a trade buyer located in Connecticut for $4,160. It was incised on the bottom “4/255/F” and was formerly in the collection of Dewey Galleries, Ltd., in Santa Fe, N.M.

A large pottery olla, or storage jar, from the Cochití Pueblo in New Mexico also exceeded estimates to earn $5,120. With white slip and black and red painted decoration, the bulbous jar closely resembled an example with a similar pattern that is in the collection of the Museum of Fine Arts, Boston. The example in the sale was paired with a woven ring base and sold to a collector in Indiana.

The only object in the top 10 lots to not come from the Stewart collection was another olla. This one was from the Pueblo of Acoma (New Mexico) and was decorated with deer and flower motifs. After soaring past its $800 high estimate, a Connecticut buyer knocked it down for $4,800.

Two Navajo Germantown wearing blankets – styles which were predominantly crafted between 1864 and 1910 – from the Stewart collection had top-ten finishes. One, a bright red blanket with black and white crosses, was formerly in the collection of Terry DeWald, Tucson, Ariz. A Califor-

A 357-piece monogrammed Gorham sterling silver flatware service in the Versailles pattern with a wooden storage chest sold to the trade for $15,360 ($8/10,000).

“The Everglades Club” by Ralph Eugene Cahoon Jr (American, 1910-1982), oil on board, 35 by 42 inches framed, came from the estate of Richard P. Mellon and sold to a New York City buyer for $35,840 ($10/15,000).

A trade buyer claimed this San Ildefonso polychrome pottery dough bowl, 5¾ by 16 inches, for $4,480 ($1,5/2,000).

Review by

Carly Timpson, Assistant Editor

Photos Courtesy Stair Galleries

Auction Action In Hudson, N.Y.

“Indiaman Saluting at the Island of St Helena” by Thomas Chambers (American, 1808-1869), oil on canvas, 22½ by 28½ inches framed, brought $25,600 ($5/8,000).

nia buyer cast the winning bid of $4,160. The other was a third phase chief’s blanket with black, white and gray stripes and gray cross accents; it went out to a Kentucky bidder for $3,840.

Americana at Stair

The Americana at Stair auction on August 1 brought forth 287 lots “celebrating the history and diversity of the United States,” including furniture, folk art and decorations. Exceeding the sale’s overall high estimate with 91 percent of lots sold, the auction realized $593,120. “I would definitely call this sale a success for us,” commented Cunningham.

The highest price — $52,480 — was achieved by “The Abduction of Daniel Boone’s Daughter,” an oil painting by German-born Charles Ferdinand Wimar (18281862). According to the auction catalog, “Wimar was fascinated by the American frontier, and in particular by the conflict between Native Americans and Western settlers. The theme of captivity and abduction of white settlers by Native Americans was widely portrayed in fine art and literature at this time, helping to justify and glorify the colonization of the American West.” In this circa 1853 painting, he depicted several Natives holding young Jemima Boone — whose hands are folded together in prayer — captive in a canoe by the Kentucky River.

From the estate of Richard P. Mellon, an environmental philanthropist, was “The Everglades Club,” an oil painting by Ralph Eugene Cahoon Jr. Signed “R.

“The Vanishing Race” by Edward Sheriff Curtis (American, 1868-1952),1904, orotone photographic print, 12 by 14 inches in original Curtis Studio frame, more than tripled its high estimate to finish at $15,360 ($3/5,000).

Cahoon” to the lower right, this folky work depicted three welldressed men seated around a table on the waterfront deck of The Everglades Club. Serving the men were four topless mermaid waitresses, each wearing a uniform hat and pearl body jewelry. A buyer from New York City claimed the painting for $35,840, more than double its high estimate, though, according to Cunningham, they plan to donate the work to the Palm Beach, Fla., social club it depicts.

Albert Bierstadt’s “Western Landscape” also surpassed its estimates, selling to a trade buyer for $32,000. “Western Landscape” was previously owned by Carolyn Amory of New York, who bought the work in 1969 under the impression that it was an oil on canvas painting, only to later discover that it was done on paper and matted on canvas. The work, which was erroneously identified as Yosemite by Newhouse Galleries in the 1960s, actually depicted a Utah landscape, according to Melissa Webster Speidel of the Albert Bierstadt Catalogue Raisonné Project. Cunningham shared that the trade buyer was located in Utah, joyously saying, “It’s going back to where it was painted!”

Thomas Chambers’ “Indiaman Saluting at the Island of St Helena,” which had a high estimate of just $8,000, sold to an Illinois buyer for $25,600. It was previously exhibited in the De Young Museum’s 1986-87 (San Francisco, Calif.) “American Folk Art: A Sampling from Northern Califor-

nia Collections” exhibition and had another label from The Denver Art Museum (Denver, Colo.). Additionally, Kathleen A. Foster included an illustration of this work in her book, Thomas Chambers: American Marine and Landscape Painter, 1808-1869 (Philadelphia: Philadelphia Museum of Art, 2008). Despite scattered inpainting and craquelure, bidders took a liking to the cliffside harbor scene, and it was quickly driven up in price.

More ships were present on the seas in “Harbor View,” an American school painting signed “T. Birch.” The oil on canvas work featured a couple of tall ships surrounded by smaller vessels, with a small pod of dolphins cresting the water in the lower left quadrant. While the artist was unknown to Stair, bidders enjoyed the view and took it two-times higher than its estimate, with a trade buyer in Connecticut placing the winning bid of $8,320.

Edward Sheriff Curtis, photographer and documenter of Native American people and culture, was well-represented in this sale. His haunting orotone photograph “The Vanishing Race” was bid well past its $5,000 estimate to sell to a New Jersey collector for $15,360. The photograph was taken in 1904 as part of his The North American Indian project and it was said to represent the vanishing of indigenous peoples, with the subjects facing away from the camera and riding on horseback into the shadows of the setting sun. Two bound vol-

Achieving $32,000 was “Western Landscape” by Albert Bierstadt (German-American, 1830-1902), oil on paper on canvas, 18½ by 23½ inches framed; it sold to a trade buyer ($15/20,000).

umes of The North American Indian, numbers XII (1922) and XVII (1926) of 40 total volumes, sold together to a trade buyer in Colorado for $8,320. Volume XII was rebound but the original leather was included with the set.

“Unbeknownst to us, it was an incredibly rare piece of American furniture, and it sold to the trade in New York,” Cunningham said of an unusual cherry wood candlestand. The piece came from the collection of Hudson Valley auctioneer, Cal Smith, and was in good overall condition. Since little was known about the candlestand, Stair had its high estimate at just $700; bidders proved its worth, taking it to $8,320.

While the majority of bidders in both of the auctions — around 95 to 98 percent, according to Cun-

ningham — were based in the United States, Cunningham noted international interest in “an absolutely enormous service” of Gorham sterling silver flatware. Comprising 357 pieces in total, the service was in the Versailles pattern with monogrammed handles and was housed in a wooden storage chest. A dealer based in India, who was a new client for Stair, won the set for $15,360. Cunningham said, “The sheer volume really helped drive the bidding.”

Prices quoted include the buyer’s premium as reported by the auction house. Stair will be auctioning fine art and antiques from the Lyme, Conn., estate of Henri Charles Veit on September 11. For information, www.stairgalleries.com or 518-751-1000.

This chief’s second phase wearing blanket, possibly Navajo, 5 feet 3 inches by 4 feet 2 inches, was the highestearning lot of the Indigenous Arts auction. It sold to a South Carolina collector for $11,520 ($5/7,000).

An American school oil on canvas painting, titled “Harbor View,” signed “T. Birch” and measuring 33½ by 48½ inches framed, sold to a trade buyer for $8,320 ($2/4,000).

This American cherrywood candlestand, 26¼ inches tall by 16¾ inches in diameter, came from the collection of Cal Smith and far exceeded its estimate, selling to a trade buyer for $8,320 ($500/700).

This Navajo Germantown wearing blanket, 4 feet 10 inches by 7 feet, was won by a California bidder for $4,160 ($3/5,000).

This Navajo Germantown third phase chief’s wearing blanket, 5 feet 3 inches by 6 feet 8 inches, brought $3,840 ($5/7,000).

Shave & A Haircut: $470,000+

Auction Action In Cincinnati

Freeman’s | Hindman Gives Carpenter Barbershop Collection A Close Shave

CINCINNATI, OHIO — On August 1, the Cincinnati office of Freeman’s | Hindman sold the third and final installment of the estate collection of James Carpenter. Over his lifetime, Carpenter assembled one of the greatest collections of occupational shaving mugs and – as a barber himself – he decorated his Montague, N.J., shop with turn-of-the-century barber bottles, magazine racks, advertisements, shaving mugs and their storage racks and an 1870s barber chair.

Katie Benedict, the Cincinnati-based associate specialist in American furniture, folk and decorative arts, and who oversaw the third and final session, explained the appeal of barbershop collectibles. “Barbershops were a crucial part of America’s social fabric in the late Nineteenth and early Twentieth Centuries – they were like clubhouses for their working-class clients. Amid growing sanitary concerns with using a barber’s communal shaving equipment, patrons began ordering personalized shaving mugs which were kept on a rack at the barbershop. I think buyers now

This circa 1930s embossed tin store-advertising sign for Moxie – as well as candy, soda and cigars – measured 29-7/8 by 54-1/8 inches and was the overall highlight from Carpenter’s collection, earning $20,320 from a private collector, bidding in the January 30 session ($8/10,000).

really respond to those wholesome, community-driven connections, probably even more so post-COVID-19! The collectors of these occupational shaving mugs also seem to have forged a very tightly knit group, so the

the rare pair for $5,398 ($1,5/2,500).

social aspect associated with the history of the category seems to continue through collecting clubs, social media groups, meetups and more.”

Part one of Carpenter’s collection was sold in a stand-alone

and had gilt letters “M. Palermo” was driven to $2,794 by bidders in the August 1 session ($600/800).

sale on January 30, a 237-lot event that tallied $281,654 with each lot finding buyers. In addition to barbershop collectibles, the sale offered advertising and engine models. On March 15, the second part of Carpenter’s collection – an additional 64

Achieving $2,413 in the March 15 session, this late Nineteenth or early Twentieth Century shaving mug depicted a flour miller and was stamped underneath “C.A. Smith Barber Supplies, Philadelphia” ($400/600).

lots – was included in the firm’s annual American furniture, folk and decorative arts sale. In the session on August 1, more than 95 percent of the 226 lots gaveled down successfully. The final tally for Carpenter’s collection was $471,615.

A Moxie tin advertising sign realized the highest price of all three sessions: $20,320, and more than doubled its high estimate.

An occupational shaving mug commemorating the US Air Service during World War I soared to $8,255 from an estimate of $2/3,000. Catalog notes surmise the mug had been made for Brigadier General Morris Berman, who began his military career in 1912 and rose consistently through the ranks until his death in 1945. The same price was realized in the March 15 sale by a mug for a race car driver that had the name “Geo. Winzinger” in gilt lettering. A shaving mug for Amos Alonzo Stagg (1862-1965) realized $5,080 when it was offered on January 30. The auction catalog described Stagg as “perhaps the most influential figure in the history of collegiate athletics. Having coached and contributed to the development of multiple sports, his legacy remains primarily with football and basketball. He is enshrined in two Halls of Fame, and the NCAA Division III football championship is known as the Stagg Bowl.” The mug had pre-

The top lot of Carpenter’s collection that was offered on March 15 was this race car driver’s occupational shaving mug for George Winzinger. It sold to a private collector for $8,255 (800/1,200).

known,

Lawson owned this shaving mug decorated by men working in a shipyard. Made by Royal China International in the late Nineteenth or early Twentieth Century, it topped off at $5,080 ($2/3,000).

early Twentieth Century mug that depicted a tow truck

A private collector paid $7,620 for this copper and wood horse-drawn, steam powered fire engine model that stood 15 inches high and measured 33 inches in length ($3/5,000).

Barber poles are relatively plentiful but globes are not. This pair of leaded glass barber pole globes, made by Koken Barber’s Supply Company in Saint Louis, Mo., measured 10 inches in diameter. A private collector won

Taking second place in the August 1 session was this group of two fraternal shaving mugs and a shaving brush. Estimated at $300/500, a private collector paid $3,175 for the lot.

Review by Madelia Hickman Ring, Editor Photos Courtesy Freeman’s | Hindman

Provenance to legendary collegiate athletics coach, Amos Alonzo Stagg, undoubtedly contributed to interest in his shaving mug, which was dated “1912” and featured images of players, including Paul “Shorty” Des Jardiens, Marion L. Skinner and John Bennett Canning. A private collector prevailed to win it for $5,080 ($2/3,000).

viously been auctioned in January 2007 at Cowan’s Auctions’ Shaving Mugs and Barber Shop Collectibles auction. Selling in the first session for $5,080 as well, was a ship builder’s occupational shaving mug with the name “W.C. Lawson.”

Mugs accounted for nearly 80 percent of the August 1 sale, which saw them in all but one of the top ten results. Bringing $3,556 and the sale’s highest price was a mug identified to

Marked “J&C Bavaria” underneath and featuring the name “C.M. Berman” in gilt lettering above a biplane in flight, this occupational shaving mug flew to $8,255, the highest price of any mug in Carpenter’s collection. It was acquired in the January 30 session by a private collector ($2/3,000).

Mimi Imperator — a San Francisco, Calif., opera singer, impresario and – for a brief period –restaurateur in the city’s North Beach district. A group of two fraternal shaving mugs, accompanied by a shaving brush, followed at $3,175. Rounding out the third-place finish of the day, a tow truck operator’s occupational mug rose to $2,794. Outside of shaving mugs, barbershop antiques and collectibles included a pair of leaded

The top lot of the third session was this occupational shaving mug depicting San Francisco opera singer, impresario and restauranteur, Mimi Imperator. It hit the high note of $3,556 and was acquired by a private collector ($500/700).

glass barber pole globes, made by Koken Barber’s Supply in Saint Louis, Mo., in the early Twentieth Century ($5,398); two carved cabinets used for storing and displaying shaving mugs ($4,763); a painted tin and wood whirligig barber pole ($3,810); a seven-volume lot of barber supply catalogs ($1,524); a barbershop advertising sign ($1,016); a group of five wooden display straight razors ($476); and a velvet upholstered goose-

for

were an attractive feature, and the two sold for $4,763 ($1/2,000).

neck walnut barber chair and footstool, made by Archer of Rochester, N.Y., circa 1870s ($413).

The engine model category reached its apex at $7,620 with a copper and wood horse-drawn, steam-powered fire engine example. It replicated a circa 1870s engine produced by the Amoskeag Locomotive Works in Manchester, N.H.

“We do not have more barbershop collections on the horizon,”

Special Installation At Museum Of The City Of New York

Offers Behind-The-Scenes

NEW YORK CITY — The Museum of the City of New York, the city’s storyteller for over a century, is thrilled to announce the upcoming exhibition, “Preservation in Progress: Picturing Immigration.” This installation offers visitors an exclusive peek into the conservation of one of the museum’s prized possessions: Samuel Bell Waugh’s monumental painting, “The Bay and Harbor of New York.” The exhibition opened on April 12, timed to coincide with the anniversary of April 17, 1907 — the busiest day recorded at Ellis Island — and explores the painting’s significance as one of the earliest depictions of immigration to the United States and a historical document.

Approaching its 170th year, Waugh’s masterpiece has been impacted by the ravages of time, prompting the Museum’s commitment to its preservation. “Conservation is pivotal in preserving the essence and vitality of artworks,”

noted Sarah Henry, Robert A. and Elizabeth Rohn Jeffe chief curator at Museum of the City of New York. “A big part of our job is to steward these irreplaceable documents of our shared history as New Yorkers. With this special installation, the public is invited to witness this process firsthand and gain insights into the meticulous care and specialized techniques employed to safeguard this cultural treasure and others within our collection — and, ultimately, preserve the importance of New York City’s history.”

Throughout the exhibition, conservator Gary McGowan will be on site, actively working on the

painting in the gallery on Thursdays, Fridays and Saturdays, providing visitors with an immersive experience of the project to clean and stabilize the painting, which includes efforts to restore the parts of the work to the artist’s original vision. An overhead camera will allow viewers to zoom in on this intricate project of care and detective work. Visitors will also have the opportunity for hands-on activities, delving into the challenges of looking after materials and museum objects and exploring the measures employed by museums to safeguard their collections.

Before the proliferation of photography and the advent of cinema, stand-alone paintings and panoramic scrolls captivated audiences and documented images of life during that time. Waugh’s “The Bay and Harbor of New York,” depicting the bustling waterfront, complete with Irish migrants disembarking at Castle Garden, served as the final installment of a larger panorama titled “Italia” — an engaging narrative series that toured the US in the late Nineteenth Century. Waugh’s painting captures a dynamic scene of New York’s bustling waterfront in the years just before the Civil War. Curator Lilly Tuttle characterizes the work, a “rare document of New York’s history, one that transmits the unique energy of the city at a transformational moment.”

Stephanie Hill Wilchfort, the Ronay Menschel director and president of the Museum of the City of New York, remarked, “Beyond its aesthetic appeal, ‘The

noted Ben Fisher, the managing director of furniture and decorative arts at Freeman’s | Hindman, “But there may be a few more things from the Carpenter’s collection that will be in our October 9 sale in Cincinnati.”

Prices quoted include the buyer’s premium as reported by the auction house. For information, 513-871-1670, www.freemansauction.com or www.hindmanauctions.com.

Look At An Ongoing Painting Restoration

Bay and Harbor of New York’ embodies a pivotal chapter in our city’s narrative — one of the largest periods of immigration in our country’s history. As contempo-

rary discussions on immigration dominate headlines, this exhibition serves as a poignant reminder of how past immigrants have profoundly influenced the identi-

ty of our city and our nation.” The Museum of the City of New York is at 1220 Fifth Avenue. For information, www.mcny.org or 212-534-1672.

THE GALLERY Special Section

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

5 Church Hill Road, Newtown, CT 06470 For More Info: (203) 426-3141 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.

The taller and narrower of these two carved oak cabinets was designed to hold 21 shaving mugs, the other had glass doors and space

30 examples. Masked cornices

INTERNATIONAL

Petworth Antiques Market: The Home Of Unique Treasures

PETWORTH, WEST SUSSEX, UK —

Tucked away in the charming market town of Petworth, West Sussex, Petworth Antiques Market is a must-visit on your next countryside adventure. Renowned for its stunning collection of antiques, this market draws in dealers, collectors and curious shoppers from far and wide. Whether you’re attending the annual Petworth Antiques Fair at Petworth Park or meandering through the town’s many antique shops, you’re sure to stumble upon some remarkable finds and hidden treasures.

Spanning 275 square meters, Petworth Antiques Market features more than 35 talented dealers showcasing a diverse range of items. From vintage and antique furniture to clothing, jewelry, exquisite tableware and nostalgic collectibles, the market is filled with unique pieces just waiting to be discovered.

Open every day of the week and offering convenient onsite parking, Petworth Antiques Market is the perfect place to spend a leisurely day exploring. You can browse through the carefully curated selection of items, chat with knowledgeable dealers and maybe even find that perfect piece to add to your collection. Whether you’re a seasoned collector or just starting out, Petworth Antiques Market has something for everyone. You might just uncover some extraordinary treasures in this charming town.

The Petworth Antiques Market is on East Street. To find out more and plan your shopping trip, visit www.petworthantiquesmarkets.com.

After a fulfilling day of shopping, venture further into the charming market town and take a leisurely stroll whilst you admire its historic architecture. Then, unwind in one of Petworth’s

delightful cafes or restaurants, such as the historic Angel Inn or the awardwinning E. Street Bar & Grill. Both specialize in delicious seasonal food, showcasing the incredible suppliers and growers that surround the town.

The Angel Inn also offers a selection of cozy countryside rooms and two luxurious self-catering homes, providing an excellent base to fully enjoy all that Petworth has to offer.

If you are staying a little longer, make sure not to miss Newlands House Gallery, one of several independent galleries in the town. Newlands House occupies an Eighteenth Century townhouse in the center of Petworth. Comprising 12 rooms spread over 7,500 square feet, the gallery hosts world-class exhibitions of internationally leading Modern and contemporary art. Past exhibitions have featured the works of Helmut Newton, Ron Arad, Joan Miró,

Sean Scully and Nick Brandt.

The current exhibition, “Leonora Carrington: Rebel Visionary,” runs until October 26 and is a must-see, rated five stars by The Guardian ’s Jonathan Jones. In May 2024 Leonora Carrington became the most successful female artist in UK history in terms of sales when her painting “Les Distractions de Dagobert” (1945) was sold at Sotheby’s in New York for $28.5 million. Her legacy is now on a new footing, and this exhibition re-examines her work in the light of her posthumous success.

Readers of this edition of Antiques and The Arts Weekly can enjoy 25 percent off their entry ticket to Newlands House Gallery, using the code ANTIQUES25 when purchasing their tickets online. Newlands House Gallery is on Pound Street. To book your tickets and plan your trip, visit, www.newlandshouse.gallery.

New Portrait Of Human Rights Campaigner Peter Tatchell Goes On Display At The National Portrait Gallery

LONDON — A never-before-seen, full-length portrait of human rights campaigner, Peter Tatchell, has been acquired by the National Portrait Gallery (NPG) for its collection, and is now on display as part of the Gallery’s ground-floor “History Makers” display. Painted by the artist Sarah Jane Moon to coincide with Tatchell’s 70th birthday on January 25, 2022, the portrait celebrates the sitter’s determination and leadership through nearly six decades of campaigning. This is the first painted portrait of Peter Tatchell — and the first by Sarah Jane Moon — to enter the Gallery’s collection.

The portrait of Peter Tatchell is a near-life-size depiction and employs bright, gestural marks that are characteristic of Sarah Jane Moon’s work. A rainbow tie points to Tatchell’s work around LGBTQ+ issues, for which he is widely praised. Made in tribute and admiration for his human rights activism, the painting is one of a number of such portraits Moon has made of her LGBTQ+ heroes.

“I love the vibrant colors of Moon’s portrait. She’s done the painting in bold and joyful style, which perfectly reflects the spirit of my campaigning. I’m honored to have my portrait in the NPG, alongside so many illustrious public figures, past and present. I’m not sure I deserve it, but I guess that after nearly 60 years of LGBT+ and human rights advocacy, someone there is smiling on me,” said Peter Tatchell, campaigner and director of the Peter Tatchell Foundation

“It has been a real honor to paint Peter and convey something of the respect and admiration I have for his lifelong commitment to LGBTQ+ rights and his wider environmental and human rights work. I am very conscious that it is because of his unwavering commitment to equality that I and many other younger LGBTQ+ people enjoy greater freedoms, and I am constantly inspired by his focus and selflessness,” commented Moon.

“Since reopening last year, the National Portrait Gallery has worked hard to ensure that our new displays better reflect the diversity of the UK. Continuing this important emphasis, I’m delighted that this portrait of Peter Tatchell, one of the most influential campaigners living today, by [Sarah Jane] Moon is going on display — alongside many more of the UK’s important ‘History Makers,’” shared Sarah Howgate senior curator of contemporary collections, National Portrait Gallery

Australian-born Peter Tatchell is a writer and prominent campaigner for LGBTQ+ and human rights. His accolades and achievements in the field of human rights are numerous. Having moved to London in 1971, Tatchell co-organized Britain’s first Pride March, which took place in London on July 1, 1972; co-founded the AIDS activist group ACT UP London in 1989; and was later a founding member of the direct action organization OutRage!, which formed in 1990. Tatchell is also the director of the Peter Tatchell Foundation, an organization that works to promote and protect the rights and freedoms of individuals and communities globally.

Moon is a New Zealand-born British painter, who lives and works in London and Sussex. Moon explores issues relating to queer identity and the performance of gender in her work, which often depicts people and symbolic objects in vibrant color. Her use of heavy impasto, saturated color and gestural mark making is energetic and distinctive. Moon has exhibited widely, including at the National Portrait Gallery’s Portrait Award in 2019 and 2020, but the artist’s portrait of Peter Tatchell is the first to become part of the Gallery’s Collection.

The National Portrait Gallery is at St Martin’s Place. For information, www.npg.gov.uk.

Compiled By Antiques and The Arts Weekly

Madelia Hickman Ring & Carly Timpson

“Peter Tatchell” by Sarah Jane Moon, 2021, oil on linen, NPG 7180. Photo: National Portrait Gallery.

Petworth Antiques Market. Photo courtesy Petworth Places.

The Angel Inn Accommodation. Photo courtesy Petworth Places.

Newlands House Gallery. Photo courtesy Petworth Places.

Life Of An Eighteenth Century ‘Lady Of The House’ & Her Struggles To Fit In Are Explored For The First Time At Nostell

WEST YORKSHIRE, ENG-

LAND — The moving story of an Eighteenth Century woman struggling to fit into her role and responsibilities in a grand country house is being explored at the National Trust’s Nostell in West Yorkshire.

“Behind the Walls” explores, for the first time, the life of Sabine Winn (1734-1798), lady of the house from 1765 until her death. Portraits in the mansion depict domestic happiness, but in reality, she faced challenges, including language barriers, strained family relationships and worries around physical and mental health, that resonate with many today.

Swiss-born Sabine met Sir Rowland Winn while he was on his Grand Tour. The couple married, despite his family’s misgivings about a “foreigner” running an English house, and after several years in London they moved to Yorkshire, where Sabine’s troubles began.

In the Eighteenth Century, country houses were not just homes but public displays of wealth, taste and status, and there was a burden of expectation on women to manage their households impeccably. But there is evidence that Sabine was inexperienced at household management and struggled emotionally under the pressure of running the large house.

Simon McCormack, Nostell’s property curator explained: “Despite incredible efforts, Sabine never mastered English. In London’s elite circles, she had been able to converse in French, but in Yorkshire the language barrier caused relationships to deteriorate.

“It stymied her interactions with her English household staff, Rowland’s relatives and wider society and almost cer-

The

tainly contributed to her loneliness and isolation. This was all at a time when being a good household mistress was vital to projecting the family’s status.

“The inner lives of country house inhabitants, and women like Sabine especially, are often not deeply explored. We wanted to shine a spotlight on her and share more about the challenges she faced but also the ways she found to cope with her situation.”

To deal with her sense of isolation and the challenges facing her, Sabine retreated to her dressing room, a private sanctuary where she could surround herself with prized objects and personal belongings. The team at Nostell has redisplayed this room to bring the story of its most important past occupant to life in a way that will be thought-provoking for visitors, drawing on objects relating to her story.

A key piece here is Sabine’s Thomas Chippendale secretary (desk and bookcase), which reflects the countless letters

Monastery

Sabine wrote to Rowland during what was a long-distance relationship. In one, penned in 1769, she wrote: ‘I want to live only for you, and yet I am always without you.’ Poignantly, some of the drawers are stained with ink.

A set of cherished engravings, embellished with fabric by Sabine, has also been returned to the room. Rowland gave these to Sabine to work on as a reminder of their relationship during his frequent absences.

The dressing room also includes new film projections that portray Sabine’s mental and physical health struggles. The installation blends images of the house, its collections and Sabine’s letters with the voices and stories of Mindful Movers, a local wellbeing group who have reflected on how Sabine’s story connects to positive mental health and wellbeing today.

Simon continued: “Working with community groups has helped us tell Sabine’s story through a contemporary lens, as well as adding modern day

Of Saint Hilarion/Tell

stories of struggle to the narrative. Our community groups have their own experience of mental health struggles and have responded with real passion and connection to Sabine’s story.”

In other rooms, visitors can explore Sabine’s heartfelt letters, on loan from the West Yorkshire Archive. These letters, alongside her personal books and a newly acquired miniature portrait of Rowland Winn — probably given by him to Sabine as a love token — offer an intimate insight into her emotional world.

The letters express her affection for her husband and children but also frustration when Rowland was away on business. In one fiery exchange, she writes: ‘I shall no longer act tactfully if you do not come back this week…

In the name of God return to your senses and show that you have feelings of your own… the truth is that you love London a good deal more than you do your wife.’

Sabine’s struggle to acclimatize to British Georgian culture is also explored, along with her love for French fashions, cherished pastimes and her interests in apothecary and herbal remedies. An exquisite mahogany apothecary’s counter, supplied by Chippendale, reflects Sabine and Rowland’s struggles with health conditions and Sabine’s active interest in sickness remedies and cosmetics.

This theme continues in Nostell’s grounds, where a new trail explores some of the medicinal plants she knew and next year an apothecary garden — which Sabine had hoped to create — is due to be planted. In the free-to-enter parkland, visitors can follow a Mindfulness Trail, created with assistance from the Mindful Movers group

Ten new benches, located in tranquil areas by lakes and under tree canopies, feature plaques that invite people to be present and connect with their surroundings.

Wakefield-based Rachel Hale, who co-founded Mindful Movers in 2018, said: “Being in green space is a key thing for mental and physical wellbeing. I’d be lost without it.

“You see it time and again. People are head down, moving from A to B, thinking about their next meeting, not what’s around them. It’s about shifting that mindset. Look at the leaves, and how the light comes through them. It’s quite transformative when you start to notice these things. We miss too many wonders!”

The National Trust’s Nostell Priory is at Doncaster Road, Nostell, near Wakefield. For information, www.nationaltrust.org.uk/visit/yorkshire/ nostell.

Umm Amer In Palestine Is Inscribed On The List Of World Heritage In Danger

NEW DELHI, INDIA — The United Nations Educational, Scientific and Cultural Organization’s (UNESCO) World Heritage Committee, meeting in New Delhi, India, has decided to inscribe the Monastery of Saint Hilarion/Tell Umm Amer in Palestine simultaneously on the World Heritage List and on the List of World Heritage in Danger. This decision recognizes both the site’s value and the need to protect it from danger. In view of the threats to this heritage site posed by the ongoing conflict in the Gaza Strip, the World Heritage Committee used the emergency inscription procedure provided for in the World Heritage Convention.

In accordance with the terms of the Convention, its 195 States Parties are committed to avoid taking any deliberate measures likely to cause direct or indirect damage to this site, which is now inscribed on the World Heritage List, and to assist in its protection.

Inclusion on the List of World Heritage in Danger automatically opens the door to enhanced international technical and financial assistance mechanisms to guarantee the protection of the property and, if necessary, to help facilitate its rehabilitation.

The Monastery of Saint Hilarion/Tell Umm Amer, one of the oldest sites in the Middle East, was founded by Saint

Hilarion and was home to the first monastic community in the Holy Land. Situated at the crossroads of the main routes of trade and exchange between Asia and Africa, it was a center for religious, cultural and economic exchanges, illustrating the prosperity of desert monastic sites in the Byzantine period.

In December 2023, at its Eighteenth session, UNESCO's Intergovernmental Committee for the Protection of Cultural Property in the Event of Armed Conflict had already decided to grant "provisional enhanced protection" to the monastery under the 1954 Hague Convention and its Second Protocol.

A visitor explores elements of Sabine Winn’s life in the Servants Hall. ©National Trust / Nick Singleton.

Floor mosaic inside the Monastery of Saint Hilarion/Tell Umm Amer. Photo courtesy UNESCO.

20th Anniversary Auction Nets $1.35 Million—

Around The Country With Crocker Farm

Auction Action In Sparks, Md.

A new discovery that was found in Colorado, this redware glazed tea canister with manganese slip floral decoration and poem, made by Ezra White, Mercer, Penn., in 1846, sold to a redware collector for $15,600 ($10/20,000).

The $26,400 paid for this 4-gallon stoneware jar with bird decoration may be a new record price for both its maker, Samuel I. Irvine, and for the town of Newville, Penn., where it was made. A folk art collector prevailed ($2/4,000).

“That was probably the best example of a 1-gallon Norton jug we’ve ever offered,” noted Mark Zipp. The 11¼-inch-tall jug, with bold cobalt decoration of a pheasant, was made by J&E Norton in Bennington, Vt., circa 1855. It brought $24,000 from an advanced collector of Norton stoneware ($4/6,000).

Review by Madelia Hickman Ring, Editor Photos Courtesy Crocker Farm

This 9¼-inch-tall cobalt decorated presentation pitcher was attributed to Richard C. Remmey of Philadel phia, was inscribed “John Brad leys Growler” and was the sale’s top lot at $45,000. The catalog ranked it as “among the great creations of this dynastic Amer ican potting family” and it sold to a Philadelphia area private collector ($30/50,000).

SPARKS, MD. — Twenty years ago, Tony and Barbara Zipp — long-time redware and stoneware dealers — went into the auction business, joined by their three sons, Brandt, Luke and Mark. Since their first auction on July 17, 2004, the family firm has logged doz ens of sales and racked up countless stoneware and redware pottery auction records. The family’s latest auction, which closed on July 26, combined 484 lots in a printed catalog, with an addi tional 95 online-only lots; all 579 lots gaveled down successfully, and the white-glove event realized $1.35 million. More than 100 new bidders signed up to participate, and lots sold to buyers throughout the United States.

spectives, intimately connected to one of America’s founding potting families,” the vessel had a long history in the Remmey family before it was acquired by Crocker Farm’s consignor in the late 1980s.

A Moravian redware flask with eagle decoration and copper glaze flew to a third-place finish. It came to Crocker Farm from a collection in North Carolina that had also included a Moravian redware owl-form bottle with copper glaze. Advanced collectors bought both, with the eagle-decorated flask achieving $39,000 and the owl bottle topping off at $16,800.

Redware and stoneware made in Western Pennsylvania have been dynamic areas of the market, and that trend continued in this auction. Examples worth mentioning include a 30-gallon presentation cooler dated “1878,” that was striking not least for its size but for its delicately stenciled heron and fern motifs. A collector in West Virginia paid $16,800 for what the Zipps believe to be “among the largest examples of Nineteenth Century cobalt-decorated stoneware in existence.”

“The Twentieth Anniversary sale kind of snuck up on us,” noted twins Luke and Mark who took time out of their busy schedule to talk to Antiques and The Arts Weekly a couple of days after the sale closed. “Our spring (April 5) sale was one of our top three auctions ever, but although we didn’t have any six-figure highlights in this sale, it was still one of our best auctions in terms of quality. We’ve been blessed with an overabundance of wonderful pieces this year.”

The sale featured 30 lots by — or attributed to — the Remmey family of potters, whose combined production spanned more than a century in three of the earliest port cities in the United States: New York, Baltimore and Philadelphia. Many achieved some of the highest prices of the day. These would include the top lot, a circa 1875, cobalt-decorated presentation

“Exceedingly rare and important” were just some of the adjectives used to describe this stoneware temperance jug made in Texas in the 1870s. Despite condition issues, the 12-inch-tall vessel exceeded its estimate and sold for $22,800 to a collector in Texas ($10/20,000).

pitcher attributed to the Richard C. Remmey pottery of Philadelphia, that was decorated with brushed tulips and an incised three-masted ship and the words “John Bradleys Growler.” The catalog identified Bradley as a mariner with a long career as a Delaware River pilot who sailed ships into Philadelphia. Martin Kaye, a stoneware collector in the Philadelphia area, prevailed over competitors, paying $45,000 to “bring it back to the area.”

A bird and floral decorated stoneware pitcher — made by Henry Remmey in Baltimore circa 1825 and discovered in New England — was a close second-place finisher; a collector in the Mid-Atlantic topped it off at $42,000. The Zipps noted it to be “the first Remmey example that we have seen potted with a short, broad body type, possibly for use on a ship.”

A stoneware collector in New England acquired an important stoneware vase made by Henry H. Remmey in Philadelphia circa 1871, for $33,600. Identified as “a ceramic work of great significance, both from decorative and historical per-

This 7-5/8-inch-tall cobalt decorated stoneware presentation vase by Henry Remmey Jr, was purchased for $33,600 by a collector in New England ($4/6,000).

A stoneware spaniel, which was inscribed “R.H. Rumble / Greensboro / Greene Co., Pa. / anti-Amendment / 185 000,” sat on a wheel-thrown pedestal base signed by several Greensboro pottery workers and fetched $31,200. Considered a famous piece, it had crossed the auction block at Garth’s in 1982 but disappeared in the interim. A collector of Western Pennsylvania pottery prevailed.

A Chicago collection was the source of a 20-gallon stoneware jar with elaborate floral decoration that was described in the catalog as “outstanding” and “among the best examples of Western Pennsylvania ‘big ware’ to come to auction in recent years.” Luke and Mark Zipp described its new owner as a “major collector of Western Pennsylvania stoneware,” who acquired it for $32,400.

The same Chicago collection also sent to auction an 11-3/8-inch-tall stoneware jar with a cobalt bird that was stamped “Sam’L I. Irvine / Newville, Pa.” Mark Zipp noted that Irvine is best known for his floral decoration, and that the $26,400 the stoneware jar realized was “possibly a record for the maker and

to earn second place standing. A Mid-Atlantic collector had the top bid ($20/30,000).

Attributed to Henry Remmey Jr, Baltimore, Md., circa 1825, this 11½inch 2-gallon stoneware pitcher had incised decoration and sold for $42,000

This Moravian copper-glazed redware flask, made in Salem, N.C., circa 1819-30, is one of just three examples known, all 5½ inches tall. It sold for $39,000, to an advanced collector ($10/20,000).

Measuring 5¾ inches wide and 6 inches long, this heart-shaped stoneware inkstand had profuse cobalt decoration and was attributed to the Perine Pottery of Baltimore, Md., circa 1840. It relates to one in the Maryland Center for History and Culture and sold to a trade buyer for $31,200 ($30/50,000).

Newville stoneware makers.”

Private collectors were not the only ones competing successfully for lots, and a rare, important heart-shaped stoneware inkstand — made in Baltimore, circa 1840 — sold to a trade buyer for $31,200. The Zipps called it “an incredible piece, really extraordinary,” pointing out that despite its utilitarian purpose, it was “clearly a specially made thing.”

Vessels made in the Lewis Miles’ Stony Bluff Manufactory in the Edgefield District, S.C., by enslaved potter David Drake, have been among the hottest commodities in the Americana field in recent years, reaching an apex in August 2021 when Crocker Farm sold an 1858 vessel for $1.56 million — the world record for Drake and American pottery. Superlative examples are still highly sought-after by institutions and advanced collectors but they come to market with less frequency. A 4-gallon alkaline-glazed stoneware jar inscribed “Dave / Lm / Aug 5. 1854,” was a recently discovered work, though condition issues kept its price to $27,600; it will be shipped to its new home in a California collection.

New York pottery in the sale saw a high bar at $28,800, for a stoneware jug stamped “F. Stetzenmeyer & Co / Rochester, N.Y.,” that was particularly noteworthy for its rooster decoration. Previously known only in photos, the catalog described it as “one of the few best examples of Stetzenmeyer stoneware that we have ever offered.” The vividly decorated piece was bagged by an advanced collector.

Other areas of stoneware production were represented as well. A rare stoneware temperance jug, made by John

This 20-gallon stoneware jar featured profuse freehand cobalt decoration and was made, circa 1870, in Greensboro, Penn. A rarity due to its large size — 25¼ inches tall — it found a new home with a Western Pennsylvania stoneware collector, for $32,400 ($5/8,000).

The most distinguishing feature of this presentation stoneware sugar bowl was that it was made in and inscribed, “Brooklyn.” The catalog noted it was “rare in form and lavish in its decorative treatments, is regarded as the finest example of Brooklyn stoneware known.” It brought the sweet price of $14,400 ($15/25,000).

This 4-gallon alkaline glazed stoneware jar, made in 1854 by enslaved potter David Drake, Edgefield District, S.C., stood 13-3/8 inches and sold to a buyer in California for $27,600 ($15/25,000).

Louis Stone in Limestone County, Texas, was decorated with the figure of a man surrounded by three snakes and a frog. A recent discovery in Texas, it’s considered one of the finest examples of Stone’s work. It will be returning to Texas to a private collector who paid $22,800.

Prices quoted include the buyer’s premium as reported by the auction house. Crocker Farm’s next auction is scheduled for November 6-15. For information, 410-472-2016 or www.crockerfarm.com.

“Anytime you see Stetzenmeyer that has a design outside a flower — bird or animal — is remarkable,” noted Luke Zipp. This 4-gallon stoneware jug, made in Rochester, N.Y., and signed “F. Stetzenmeyer,” circa 1855, brought $28,800 ($20/30,000).

Described in the catalog as an “iconic object that combines rarity, high decorative appeal, and regional history,” this Rumble Prohibition Spaniel, made in Greensboro, Penn., and dated “June 18, 1889,” sold to a collector of Western Pennsylvania pottery for $31,200 ($10/20,000).

This salt-glazed stoneware face bottle is one of a small group of Tennessee face bottles known. Provenance to Al Marzorini and David Good contributed to its desirability, but it may have been the “Try Me” inscription that bidders most responded to; it achieved $12,000 ($2,5/3,500).

This copper glazed Moravian redware owl-form bottle, made in Salem, N.C., circa 1804-20, is the first example ever offered by Crocker Farm. Despite breaks and repairs, it flew to $16,800 and an advanced collector ($8/12,000).

This 4-gallon stoneware jug that depicted profiles of three Civil War soldiers was stamped “M.&T. Miller / Newport, PA” is considered an outstanding example of the potter. With provenance to a Miller family descendant, it inspired a bidding battle that ended at $22,800 ($10/20,000).

This 3-gallon stoneware jar, boldly decorated in cobalt with an owl, was dated to circa 1860 and was catalogued as “a masterwork of Ohio stoneware.” Provenance on the 14-inch-tall vessel included the collections of Al Marzorini and Clark Garret; it flew to $27,600 ($8/12,000).

Auction Action In York, Penn.

Key Pieces In Diverse Collecting Realms Stoke Solid Prices At Hake’s

YORK, PENN. — Prized Golden Age comics always lure collectors to Hake’s Auctions, and the firm’s July 30-31 online auction was no exception. Among the 2,120-lot selection was a star appearance by a CGC-rated 5.5 issue of Captain America Comics #1. It was a rare comic with a publication date of March 1941

and it contained the origin and first appearance of Captain America, Bucky Barnes and their sworn enemy, the Red Skull. Because World War II was roiling Europe, the cover depicted Captain America delivering a mighty punch to Adolf Hitler. The comic captured a winning bid of $172,221 from a private US

The star of the 2,120-lot, two-day auction, was a CGC-graded 5.5 issue of Captain America Comics #1, a rare comic with a publication date of March 1941. Capturing a winning bid of $172,221, it contained the origin and first appearance of Captain America, Bucky Barnes and their sworn enemy, the Red Skull. The wartime cover depicts Captain America delivering a mighty punch to Hitler.

An original comic book art highlight, rising to $35,046, was this oil painting used for the cover of Moon Knight: Fist Of Khonshu #6, published by Marvel in December 1985 and featuring the highly stylized art of Bill Sienkiewicz.

collector. “This is not only a key Golden Age comic book with added historical significance, it’s also a key issue when compared to the entire realm of comic books,” said Alex Winter, president of Hake’s Auctions.

Even with its back cover missing and front cover detached, an issue of Super-

A Hughes and Fairbanks furled flag jugate button, circa 1906-16, took $13,759. It had a richly colored American flag flanked by oval portraits of candidates Charles Evans Hughes and Charles W. Fairbanks against a lime green background.

by W.A. Demers, Senior Editor

Photos Courtesy Hake’s Auctions

Not long after the 1985 animated television series introduced ThunderCats, a spacebased species of cat-like aliens, a ThunderCats toyline by LJN was released in conjunction with the cartoon series. An example encased in a blister card, was a 7-inch-tall LJN/Rainbow Toys action figure with Thunderwings vehicle. It crossed the block at $24,274.

man #1, published in the summer of 1939 and including a more detailed Superman origin story, sold for $84,370. The back cover featured a Superman pin-up by Joe Shuster, though the comic often ended up missing because many readers removed the cover to display it. The issue featured stories written and illustrated by Superman’s co-creators, Jerry Siegel and Joe Shuster.

“It was a solid auction overall,” Winter said of the sale that totaled $2.9 million and posted a 95 percent sellthrough rate. “Once again, the diversity of our auctions struck a chord with collectors. We offered key pieces in the collecting categories of comics,

original art, action figures, sports and political memorabilia, and we set record prices in all of those areas. Bidding was fast and furious on the closing days, as always, and once the dust settled we were blown away by the results.”

The pop-culture auction spanned the many categories that have drawn collectors to Hake’s throughout its 57 years in business.

Characterized by Hake’s as “the best example we have ever offered,” was a Star Wars (1978) action figure of a Jawa, graded 90 - near mint/mintby the Action Figure Authority (AFA). With a vinyl cape, it brought a record $44,262. The 12-Back-A blister card con-

Among top selling political memorabilia, an important 1896 button depicting McKinley & Hobart riding a bicycle to the White House sold for $17,588. The button, deemed to be among the rarest and most desirable pin-back designs in the hobby, had on its rim the slogan, “Gold Didn’t Get There July 7th/But Watch Us Take It There Nov. 3rd.” The first part of the slogan referred to the date of the Democratic National Convention where Bryan made his famous “Cross of Gold” speech.

A scarcely found, high-grade example of one of the most iconic ships from Star Wars, a sealed Millenium Falcon, rated 80 or near mint by the AFA, flew to $28,556.

Review

Mechanical toys were led by a 3¼-inch-tall walking windup Batman by Marx that strode to $15,340.

tained the 2¼-inch-tall Kenner action figure. The winning combination here was the unpunched card and vinyl cape without any discoloration, according to the catalog notes.

Hake’s fans expect the unusual to cross the block, and expectations were met when an unusual hybrid sample, combining a Princess Leia Organa in Boussh Disguise action figure with a 1982 Star Wars: The Empire Strikes Back , Boba Fett 4-Back card, which commanded $40,814. Made in Taiwan and in an archival case, this salesman’s sample is the only known example of this unique variation. AFA-graded 75 excellent plus/near mint and accompanied by a letter of authenticity from Collectible Investment Brokerage (CIB), the duo came to Hake’s from the Wayne Gillespie collection.

Of course, there were also less esoteric Star Wars staples sold, like a scarcely found, high-grade and sealed example of the iconic starship — the Millenium Falcon. Sealed examples rarely come up for sale, and this AFA 80 near mint Millennium Falcon, which realized $28,556, was surely destined to anchor any Star Wars collection.

A fast-rising category in the realm of collectibles is original comic book art, especially cover art. Hake’s presented an oil painting of the original cover art used for Moon Knight: Fist Of Khonshu #6, which was published by Marvel in December 1985 and included art by Bill Sienkiewicz. In the 1980s, Sienkiewicz produced highly stylized imagery, a significant change from most mainstream comics. He used paints, photorealism and collage elements, thereby transforming the comics landscape. Sienkiewicz’s Moon Knight oil painting rose to the selling price of $35,046.

In the same category was Sam Kieth’s original pen-andink art for the cover of Marvel Comics Presents - Ghost Rider #99, published in March 1992. In this scene Ghost Rider (Danny Ketch) is surrounded by D’Sprytes, the goblin-like

An 8-inch-tall action figure of Batman contained in a window box earned a surprising $12,980 against a $400/700 estimate.

minions of the Fear Lord D’Spayre. Measuring 11-1/8 by 17-1/8 inches, Kieth’s artwork went out at $29,854.

Debuting in January 1985, Rankin/Bass Productions introduced the animated television series, ThunderCats The show centered around a space-based species of cat-like aliens who search for a new planet — Third Earth — but instead discover the evil of Mumm-Ra and the Mutants of Plun-Darr. It wasn’t long before a ThunderCats toyline was released by LJN in conjunction with the cartoon series. One such rare figure was offered encased in a blister card — a 7-inch-tall LJN/ Rainbow Toys action figure with the Thunderwings vehicle accessory. The European release of Thunderwings LionO differs from the American release, in that this action figure comes with Battle-Matic Action, Sword of Omens and “Secret Power Ring” that causes the figure’s eyes to light up. Lion-O lit up the

A Star Wars (1978) Jawa 12 Back-A AFA 90 NM/Mint with vinyl cape brought a record $44,262. The blister card, shown here with the 2¼-inch-tall Kenner action figure, had a winning combination of an unpunched card and no discoloration to the vinyl cape, according to catalog notes.

Despite a missing back cover and a detached front cover, this Superman #1 issued in the summer of 1939 sold for $84,370. The issue featured origin stories written and illustrated by Superman’s co-creators, Jerry Siegel and Joe Shuster.

podium and computer screens at $24,274. Among the top selling political memorabilia, an important 1896 button depicting William McKinley and Garret Hobart riding a bicycle to the White House elicited $17,588. The button is considered among the rarest and most desirable pin-back designs in the hobby. Its rim slogan read, “Gold Didn’t Get There July 7th/But Watch Us Take It There Nov. 3rd.” The first part of the slogan referred to the date of the Democratic National Convention, where William Jennings

An unusual pairing of Star Wars figures was a sample and card combining a figure of Princess Leia Organa (Boussh Disguise) and a 1982 Star Wars: The Empire Strikes Back Boba Fett 48 Back-A card. This salesman’s sample is the only known example of this unique variation. It was made in Taiwan and left the gallery at $40,814.

Sam Kieth’s original pen-and-ink art for the cover of Marvel Comics Presents - Ghost Rider #99, published in March 1992, was bid to $29,854.

Bryan made his famous “Cross of Gold” speech. Also up for bid was a Hughes and Fairbanks furled flag jugate button, circa 1906-16.

Measuring 1¼ inches with a Bastian Bros., back paper, the front featured a richly colored American flag flanked by oval portraits of candidates Charles Evans Hughes and Charles W. Fairbanks against a lime green background. The button found a buyer for $13,759.

Mechanical toys were led by a 3¼-inch-tall, walking Marx made wind-up Batman that strode to $15,340. The plastic

Batman and removable key came with a scarce original box that depicted the cowled crusader on four panels and included logos on the top and bottom flaps. In the same vein, an 8-inchtall action figure of Batman, contained in a window box, took $12,980 against a $400/700 estimate.

Prices given include the buyer’s premium as stated by the auction house. Hake’s next auction is slated for November. For information, 866-404-9800 (toll-free), 717-434-1600 or www.hakes.com.

By Madelia HickMan Ring, editoR

NEW YORK CITY — On September 13, the American Folk Art Museum (AFAM) opens “Playing with Design: Gameboards, Art and Culture,” which follows a gift of gameboards and photographs from the collection of Bruce and Doranna Wendel that was announced by the museum in June 2024. Celebrating not only the beauty of gameboards but also the greater cultural meaning behind them, the exhibition will showcase more

than 100 gameboards from the Wendels’ collection. It will feature early examples of classic games including Parcheesi, checkers and chess, as well as hand-painted iterations of some mid Nineteenth and early Twentieth Century games, such as Chutes and Ladders and Monopoly. Photographs depicting gameplay will round out the presentation.

“The exhibition was prompted by more than the Wendels’ gift,” as Emelie Gevalt, curatorial chair for collections, curator of folk art and the curator of “Playing with Design,” explains. “There has not been a major exhibition on gameboards in many years, despite their popularity among collectors and their deep interpretive value as objects that speak

to histories of American culture and daily life.”

The topic is not a new one, which Gevalt discusses in greater detail. “The Wendels curated a gameboards exhibition for the American Folk Art Museum in the mid-1980s:

‘Winning Moves: Painted Gameboards of North America,’ featuring boards from their own collection as well as others. In 1991 and 2003, the New-York Historical Society held two significant gameboards exhibitions that have contributed to the scholarship, although both focused on commercially produced boards. ‘Playing with Design’ is the first show in many years to feature handpainted gameboards.”

AFAM’s connection to the collectors, familiarity with the material and mission “to showcase forms that are often overlooked in the context of the ‘fine art’ canon” make it the ideal venue for the exhibition.

“We provide a rich context for the discussion of gameboards as objects that were both functional and artistic, often homemade and used within a domestic or community setting,” noted Gevalt. She hopes the show will foster future study through technical analysis and greater documentation of the form.

The curator noted that a resurgence of gameplaying during the pandemic gave some urgency to explore tangible connections between the present moment and “the material and creative vibrancy of the past.”

In preparing for the exhibition, there were both revelations and dispelled preconceptions for the curator. “Although boards are often assumed to be late Nineteenth and early

Twentieth Century, folks were making hand-painted gameboards in the late Eighteenth and early Nineteenth Centuries. Although these are rarer to find, it is fascinating to see that Americans were fashioning their own gameboards even before the taste for gameplaying became popularized by mass production.”

She continued, “The range of board types is truly astonishing — from bold, geometric examples that could easily find a place in a survey of Modern art, to highly personalized examples that speak to particular interests or relationships, like a masonic board painted with repeating death’s heads and compasses, or a chessboard with sides allocated for husband and wife.”

“Though people have been playing games since ancient times, gameboards have been slow to gain recognition for their major contributions to human development, socialization and artistic expression,” said Gevalt. “Because of the Wendels’ special collection, we’re able to examine how gameboards can provide deep historical insights into the values and priorities of American culture and creativity.”

She hopes viewers leave not only with a new appreciation for the “creative exuberance” of the form but are also “inspired to think about how homegrown artistry might play a role in their own lives.”

Thematic sections divide the show, exploring ideas of craftsmanship, design, culture and history of game-playing in the United States. Some examples will remind viewers of familiar modern games, while others will give material shape to historical ideals, including moral-

American Folk Art Museum

Chinese Checkers board, possibly by George Clark, late Nineteenth or early Twentieth Century, painted wood, 17½ by 15 inches. Collection of Doranna and Bruce Wendel.

Parcheesi board, late Nineteenth or early Twentieth Century, painted wood, 18 by 18 inches. Collection of Doranna and Bruce Wendel.

Trip Around the World board, late Nineteenth or early Twentieth Century, painted wood, 21½ by 22 inches. Collection of Doranna and Bruce Wendel.

Double-sided checker or chess board in the form of a book (The Sailor’s Bible), possibly by Alfred Cambell, possibly Gray, Maine, mid or late Nineteenth Century, carved, inlaid and painted wood, repurposed cigar-box components, 14 by 11 inches. American Folk Art Museum, Gift of Doranna and Bruce Wendel, 2024.7.13.

Travel game, probably New England, mid-Nineteenth Century, painted wood, 20 by 20 inches. American Folk Art Museum, Gift of Doranna and Bruce Wendel, 2024.7.7.

Arcade game, possibly Memphis, Tenn., late Nineteenth or early Twentieth Century, painted wood and metal, 20 by 12¼ inches. American Folk Art Museum, Gift of Doranna and Bruce Wendel, 2024.7.12.

ity, religion, patriotism, entrepreneurship and imagination. The gameboards on view will speak to underlying concepts of adventure and risk-taking as fundamental to life in the United States, proven through games organized around the themes of a train journey, a whaling expedition or a trip around the world.

It was no accident that gamemaking increased in the mid Nineteenth Century, buoyed by a growing society with greater leisure time. This demand was met by an increased supply that was made possible by technological advancements. Manufacturers in the United States and England replicated models from Europe, and the games were often aimed at education or the moral improvement of the players, while hand-painted examples offered alternatives to commercially produced games.

Players of one of the show’s travel game variations raced towards a castle, encountering various maritime obstacles and receiving rewards along the way, while a Parcheesi board — rendered in inlaid wood — depicted a house in

the center, showing the literal “Home” that was the objective of many games. A fortune-telling game featured a list of questions and capitalized on the popularity of Spiritualism, or the belief in the ability to contact the dead. The Game of the Goose, which was introduced in European courts in the Fifteenth Century, symbolized the ups and downs of a

spiritual journey, requiring players to advance along squares associated with stages of life.

The section on design focuses on societal changes in the late Nineteenth and early Twentieth Centuries driven by innovations in industry, fast-paced urbanization and population growth. The development of chromolithography

paralleled new design sensibilities that included abstract colorful designs.

As leisure culture expanded and Americans looked beyond the home for recreation, there was an increased popularity in games of skill and chance, including wheels of fortune, darts, shoot-out games and balland ring-toss games. Some in the exhibition have built-in

storage for playing “on the go.” “Playing with Design: Gameboards, Art and Culture” will be on view at the American Folk Art Museum from September 13 through January 26.

The American Folk Art Museum is at 2 Lincoln Square, at Columbus Avenue and West 65th Street. For information, 212-5959533, info@folkartmuseum.org or www.folkartmuseum.org.

Parcheesi board, late Nineteenth Century, inlaid wood, 19½ by 19¼ inches, AFAM, Gift of Doranna and Bruce Wendel, 2024.7.1.

Ball-toss game, late Nineteenth or early Twentieth Century, painted wood and canvas, 55 by 19 inches. American Folk Art Museum, Promised gift of Doranna and Bruce Wendel.

Untitled tintype, circa 1882–86, 4½ by 3 inches. American Folk Art Museum, Gift of Doranna and Bruce Wendel, 2024.7.25.

Chutes and Ladders board, late Nineteenth Century, painted wood, 25 by 18½ inches. American Folk Art Museum, Gift of Doranna and Bruce Wendel, 2024.7.5.

Unknown game, possibly Vermont, late Nineteenth or early Twentieth Century, painted wood, 20¼ by 20½ inches. American Folk Art Museum, Gift of Doranna and Bruce Wendel, 2024.7.15.

Nine Men’s Morris board, late Nineteenth or early Twentieth Century, painted wood, 15½ by 15½ inches. American Folk Art Museum, promised gift of Doranna and Bruce Wendel.

Agon board, late Nineteenth or early Twentieth Century, painted wood, 24 by 24 inches. Collection of Doranna and Bruce Wendel.

Wheel of fortune, early Twentieth Century, painted wood with metal pointer, 10 by 10 inches. American Folk Art Museum, Promised gift of Doranna and Bruce Wendel.

Game of the Goose, mid to late Nineteenth Century, painted wood, 16 by 15¾ inches. American Folk Art Museum, Gift of Doranna and Bruce Wendel, 2024.7.4.

Auction Action In

Nantucket, Mass.

Eclectic Americana & Maritime Art

Top Osona’s Two-Day Sale

These two regency-era terrestrial and celestial globes, manufactured by John and William Carey, earned the highest price of both days of the sale, spinning in at $39,975. Both were 47 inches tall and 27 inches in diameter ($35/45,000).

“Schooner Hannah Coomer” by William Gay Yorke (18171883), oil on canvas, 32 by 42 inches framed, signed “Wm. G. Yorke, May 1874, Brooklyn” lower left, docked for $12,300 ($10/15,000).

This polychromed and carved whaler-made mechanical sailor on top of a sperm whale, titled “The Harpooner,” dated to the Nineteenth Century and measured 5 by 6 by 2 inches. It speared a $4,160 finish, doubling its high estimate ($1,5/2,000).

NANTUCKET, MASS. — On August 3 and 4, Rafael Osona Auctions conducted a two-day sale, offering more than 1,000 lots of varying Americana, fine and decorative arts and maritime antiques.

Both days of the sale were led by a pair of terrestrial and celestial globes manufactured by London-based John and William Carey, which spun to $39,975. The New Terrestrial Globe was dated March 1, 1815, while the New and Improved Celestial Globe was dated March 1, 1799. Both

globes consisted of hand-colored engravings on a plaster sphere, each capped with a brass hour circle. They were mounted on brass meridian and mahogany tripod stands, which contained engraved calendar rings and cross stretchers, as well as a compass on raised casters.

Day two of the auction, which focused on maritime antiques, was led by a large Nineteenth Century narwhal tusk, discovered in the Arctic Circle, which earned $20,480. The auction catalog described it as having

“fine patina” and measuring 6 feet 9 inches tall.

Day one of the sale, Americana, Fine Art, Decorative Arts, offered just that. The top lots were a perfect medley of the offered categories, with an oil on masonite by American artist Anne Ramsdell Congdon going out for $36,900 — the secondhighest price of the day. The painting, in an elaborate gilt frame, was titled “View of Monomoy Beyond the Creeks.” It was signed and dated “Anne Congdon 1933” lower right. Although not a painting, other forms of art also interested bidders, with “The Captain Bunker House,” a fine embroidery piece by Susan Boardman, earning more than three times its high estimate of $5,000. Housed in a bird’s-eye maple frame, the circa 1740 piece depicted a patriotic Nantucket, Mass., home with a backyard in full bloom. It went to its new home for $15,990. On a similarly patriotic note, a Society of the Cincinnati document signed by George Washington and Henry Knox, dating May 5, 1784, earned $12,800. Matted and framed, the document acknowledged, “Be it known that Captain George Webb is a Member of the Soci-

Leading day two of the sale was this large narwhal tusk from the Arctic Circle. The 6-foot-9-inch-tall tusk dated from the Nineteenth Century and realized a sharp $20,480, surpassing its $15/17,500 estimate.

“The Captain Bunker House,” a fine embroidery by Susan Boardman, circa 1740, Nantucket, Mass., 14½ inches square (framed), was stitched up at $15,990 ($3/5,000).

Signed by George Washington and Henry Knox, this Society of the Cincinnati membership document from May 5, 1784, which recognized George Webb as a member, was inked in at $12,800, selling within its $10/15,000 estimate.

This vintage polychrome and carved-wood eagle soared to $4,380 against a $2/2,500 estimate.

Review by Kiersten Busch, Assistant Editor Photos Courtesy Rafael Osona Auctions

This original carved and painted sign for the Nantucket, Mass., restaurant the Opera House displayed for $28,350, almost two times its high estimate. The sign measured 120 inches long ($12/15,000).

“View of Monomoy Beyond the Creeks” by Anne Ramsdell Congdon (American, 1873-1958), 1933, oil on masonite, 20 by 25 inches framed, signed lower right, was bid to $36,900, the second-highest price of day one ($30/40,000).

ety of the Cincinnati.”

Ship portraits were popular with buyers on day two, The Marine Auction. The secondhighest price of the day was “Schooner Hannah Coomer” by William Gay Yorke, which sailed to a $12,300 finish. The oil on canvas in a contemporary gilt frame depicted the schooner Hannah Coomer, which was built in Boston in 1870. It was signed on the lower left, “Wm. G. Yorke, May 1874, Brooklyn.” The lot was also accompanied by a catalog from Boston’s Vose Galleries, where

the painting was on display during the gallery’s “American Ship Portrait and Marine Exhibition (April 3-May 31, 1990).

Another oil on canvas by Yorke, titled “Black Star Line Packet Ship Winged Racer” (1862), finished at $10,240.

“Three Masted Topsail Schooner” by William Stubbs rounded out the top three lots of day two. The circa 1883 oil on canvas was signed and dated lower left and housed in a contemporary molded gilt frame. It coasted to $10,240, more than doubling the low end of its $5/7,000

‘Promoting

COLD SPRING HARBOR, N.Y. — Preservation Long Island presents “Promoting Long Island: The Art of Edward Lange, 1870-1889,” a new exhibition focusing on the life, work and career of one of Long Island’s most prolific artists of the late Nineteenth Century. On view through December 1, this exhibition of watercolors, photographs and historical objects from the collection of Preservation Long Island and on loan from collections and generous lenders across Long Island, is inspired by the upcoming release of Preservation Long Island’s latest publication of the same name, arriving September.

Edward Lange grew up in a German family of prominent artists and publishers and arrived on Long Island during one of its most critical moments. For nearly two decades, he

This wooden Black Forest hall tree, carved with a mother bear and her cubs, reached $12,160. The Nineteenth Century work had branches that accommodated the hanging of coats and hats, as well as a place for umbrellas and canes at the base. It measured 79 inches high ($8/10,000).

estimate. Derek George Montague Gardner’s “Four Masted Ship with Sloop and Steamer on the Open Sea,” an oil on canvas in an elaborate carved gilt frame, earned $6,400.

Carved polychrome maritime objects also excelled with bidders. Crafted from antique whale bone, “The Harpooner,” a Nineteenth Century whalermade polychromed and carved sculpture of a sailor with a harpoon atop a mechanical sperm whale, speared a $4,160 finish, more than doubling its high estimate. Cranking the reverse

and

$10,240, surpassing its $5/7,000 estimate.

“Four Masted Ship with Sloop and Steamer on the Open Sea” by Derek George Montague Gardner (Scottish, 19142007), oil on canvas, 21 by 29 inches framed, signed lower left, floated to $7,300 ($8/10,000).

of the sculpture activated the whale, which bobbed and opened its mouth.

A vintage polychrome carvedwood eagle plaque soared to $4,380, far surpassing its $2/2,500 estimate. The 82-inchlong spread-wing eagle carried a blue ribbon banner in its beak and clutched an American flag and laurel branch in its talons.

Prices quoted include the buyer’s premium as reported by the auction house. For information, www.rafaelosonaauction.com or 508-228-3942.

Long Island: The Art of Edward Lange’ On View At Preservation Long Island

watched new industry creep into an older agricultural landscape and used his artwork to record the region’s transformation. With an entrepreneurial spirit, Lange inserted himself into Long Island’s booming economy and created detailed images of main streets, factories, railroad depots and hotels that resonated with local residents and tourists alike.

“Lange’s artwork represents a tangible connection to a period of Long Island’s history when its people, culture and landscape were undergoing rapid change,” said Elizabeth Abrams, Preservation Long Island interim executive director. “The artist’s views of Long Island towns, villages, landscapes and waterscapes have endeared themselves to Long Islanders and visitors for over 135 years.”

“Artists like Lange played a significant role in promoting

Long Island’s scenery to the larger public during the Nineteenth Century,” noted Preservation Long Island chief curator and director of collections, Lauren Brincat. “Not only was Lange’s artwork reflective of a resulting new age of booming tourism on Long Island, but it was instrumental in the region’s growth by advertising hotels, resorts and experiences to a greater public.”

Peter Fedoryk, exhibition guest curator added, “In the late Nineteenth Century, Lange’s artwork had immense visual influence in the New York metropolitan area. Today, the artist’s paintings, drawings, prints and photographic reproductions are celebrated as snapshots of a world before suburbanization permanently reshaped Long Island’s built environment.” Preservation Long Island is a

not-for-profit organization that works to raise awareness, appreciation and support for the protection of our shared past through advocacy, education and the stewardship of historic sites and collections. Preservation Long Island is at 161 Main Street. For more information, www.preservationlongisland.org or 631-692-4664.

“Three Masted Topsail Schooner” by William Stubbs (American, 1842-1909), circa 1883, oil on canvas, 28 by 42 inches framed, signed

dated lower left, sailed to

Transitions

Bonhams announced the appointment of Émilie Jolly as head of the new African and Oceanic art department in Brussels. Based in the Belgian capital, Jolly’s appointment marks the company’s continued growth in Europe after the successful development of its auctions in Brussels. Jolly will be working closely with Tim Teuten, an independent researcher and international consultant renowned in his field. Jolly has master’s degrees in both philosophy and management. After joining the German auction house Lempertz in Brussels in 2016, Jolly worked closely with the African and Oceanic art department in 2017. In addition to her role in organizing numerous successful auctions of African and Oceanic arts and serving as an auctioneer, Jolly contributed to three highly acclaimed exhibitions in Brussels: “Pierre Dartevelle: 50 Years of Collecting” (2018), “Ancestral Visions: Papua New Guinea Art from the Sepik Ramu” (2019) and “Polynesian Art” (2023).

T

Getty Images Launches Leading Editorial Photography Internship Program

NEW YORK CITY — Getty Images announced its first-ever joint editorial photography internship program across news, sport and entertainment, with support from its imaging partner, Canon USA. Three successful applicants based in the United States will have the opportunity to work alongside and learn from world leading photographers, videographers, editorial team and visual content experts.

talented professionals within the program and support their growth beyond it.”

he Museum of Contemporary Art Cleveland (moCa) announced the appointment of DJ Hellerman as its new deputy director and senior curator. Hellerman most recently served as chief curator and director of curatorial affairs at The Fabric Workshop and Museum (FWM) in Philadelphia. In the spirit of moCa Cleveland’s newly clarified mission, Art Now, in progress, Hellerman will guide the museum’s curatorial vision and work collaboratively with staff and board leadership to support moCa’s outreach, engagement and sustainability goals. Hellerman will organize exhibitions and also nurture relationships with curators in Cleveland and elsewhere to develop new projects, beginning as early as winter/spring 2025.

The Michael C. Carlos Museum of Emory University announced the appointment of TK Smith as its curator of the arts of Africa and the African diaspora. Smith is an interdisciplinary scholar whose work encompasses roles as a writer, cultural historian and exhibition curator. With his expertise in contemporary art, craft tradition and material culture, Smith will bring the museum’s collection of African objects into present day historical, political and cultural dialogues happening across the African continent and its diaspora. Smith most recently curated “Hand to Mouth,” an exhibition that explored labor through movement and performative gestures from the work of seven contemporary artists at Stove Works in Chattanooga. From 2022 to 2024, he served as the inaugural assistant curator: Arts of the African Diaspora at the Barnes Foundation in Philadelphia.

TLeveraging Getty Images’ editorial and photographic expertise as well as Canon’s industry experience and innovation in camera technologies, the interns will have the opportunity to photograph a range of editorial and/or commercial assignments across news, sport and entertainment. The interns will also participate in mentorship and networking opportunities and use a variety of Canon’s EOS cameras and RF lenses for both still and video capture—obtained through Getty Images’ partnership with Canon as a preferred digital imaging equipment supplier.

Speaking about the program, Getty Images’ global head of editorial, Ken Mainardis said, “This is an incredible opportunity, and we are thrilled to build on our partnership with Canon to continue our long-term commitment of shaping the next generation of talent. This unique mentorship experience will not only provide hands-on experience and expertise to three aspiring photographers but will strengthen the quality of our coverage and storytelling from fresh perspectives. With Canon’s support and shared mission to bolster visual content storytelling globally, we can continue to produce unparalleled, differentiated editorial imagery and video for our customers worldwide as a trusted source in the industry, as well as build a network of

Applicants for the internship program must be 18 years or older at the time of application. The internships will be based in Los Angeles (Entertainment), New York (Sport) and Washington D.C.(News). They must also be passionate about storytelling and content creation and eager to learn and display a sense of professionalism, although no professional portfolio or experience is required. While the internship is open to all applicants, Getty Images recognizes that people of color and those with intersectional identities are underrepresented in photography and are particularly encouraged to apply. The final three candidates will be announced in late August 2024. The interns will work as part of Getty Images’ editorial team and will be paid hourly. They will be trained on all facets of the editorial photography business, including but not limited to: capturing editorial content (photography and videography) from wide-ranging assignments within news, sport and entertainment; assigning events and client relations;

video and field photo editing; editorial still and video workflow and technique; major event production and technology; solo assignments as well as group assignments with editing support; visual storytelling from all angles using Canon’s camera equipment and advanced technologies; and more.

Upon successful completion of the internships in 2025, the interns will be: guaranteed portfolio and media placement; provided with a professional recommendation from Getty Images, considered for Getty Images’ “preferred provider” list and/or considered for a staff position (if available and applicable).

To learn more about these internship opportunities and to apply, head to: News (September 1, 2024-March 1, 2025): https:// jobs.lever.co/gettyimages/ b43425d1-c9c9-43f0-84ce300071e1f0a7; Entertainment (September 1, 2024-May 1, 2025): https://jobs.lever.co/ gettyimages/380347cd-0182-4e62b1f7-b286bb0c41dc; and Sport (May 20,2024-February 20, 2025): Note, this role has already been selected for timing purposes of major events.

Nelson-Atkins And Linda Hall Library Awarded Climate Planning Grant

KANSAS CITY, MO. — The National Endowment for the Humanities has awarded the Nelson-Atkins Museum of Art and the Linda Hall Library one of just five national grants for a study identifying climate impact and resiliency options.

comprehensive mitigation and adaptation strategies to lower climate impact while planning for resilient future operations. The facilities teams at each organization will consult with and be guided by BNIM and GDS Engineering throughout the project.

The project proposal was endorsed by the mayor’s office, Stowers Institute and Climate Action KC through letters of support submitted with the application. The $300,000 grant requires a full match in order to be utilized, with fundraising concluded by March 31, 2025.

he Center for Maine Contemporary Art (CMCA) announced the appointment of Robert Wolterstorff as the museum’s new executive director. Wolterstorff officially assumed his role on July 22, bringing a wealth of experience in museum leadership to CMCA. As executive director, Wolterstorff will spearhead organizational direction, fundraising initiatives, community engagement and exhibition planning and programming. Wolterstorff joins CMCA from the Bruce Museum in Greenwich, Conn., where he served as the Susan E. Lynch executive director and chief executive officer from 2019 to 2024. During his tenure, Wolterstorff successfully led the completion of the $68 million New Bruce Capital Campaign and the construction of the New Bruce building, a transformative expansion that opened in April 2023. Prior to his role at the Bruce Museum, Wolterstorff served as the executive director of the Bennington Museum in Vermont (2012-2019).

“The Nelson-Atkins is delighted to partner with the Linda Hall Library for this important project, which will advance our strategic priorities of learning from our communities to better connect all people to art and ensure the museum’s future through responsible, ethical actions,” said Julián Zugazagoitia, director and chief executive officer of the Nelson-Atkins. “Climate smart planning is necessary to ensure the collections in our care are secure for the enjoyment and education of future generations.”

The museum and the library will conduct building system operational reviews through a consortium model to identify climate impact and resiliency options, which will result in a climate smart strategic plan with broad implication to humanities organizations of various sizes and disciplines. The project will also serve as a pilot for formation of a Cultural EcoDistrict in the geographic area surrounding the museum and library, a concept that has been in discussion with local leaders for decades.

“I am delighted about the partnership with NEH, Nelson-Atkins and the Brush Creek community, which demonstrates our dedication to addressing climate change.” said Dr Eric Dorfman, Linda Hall Library president. “I extend my heartfelt thanks to everyone who has been involved in making this grant a reality.”

The primary outcome of the project is to develop

The 18-month project will be kicked off by the analysis team during the summer of 2024.

For additional information, 816-582-8753 or www. nelson-atkins.org.

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Friedeberg Sculptural Chair Wins Handily At Golden Gavel

EAST WINDSOR, CONN. — Guaranteed to make you smile, Pedro Friedeberg’s (b 1936) carved hand chairs have sold more than 5,000 copies since the first was created in 1962. One of these totems of Surrealist counterculture sold for $14,760, including buyer’s premium, at Golden Gavel’s August 8, Summer Antique Southwest Midcentury Auction. Signed on the base, the chair was 34 inches tall, 17½ inches wide and 20 inches deep. The whimsical seating is

designed to allow one to sit on the palm, using the fingers as a back and arm rest. The story of its creation is recounted in an article in Architectural Digest by design editor, Hannah Martin. “When artist Pedro Friedeberg’s mentor — the painter and sculptor Mathias Goeritz — left Mexico City for a vacation in 1962, he asked the young Surrealist a favor: Give a favorite local carpenter some work,” Martin writes.

“I told him to make a hand,” Friedeberg remembers. “Then I

said, ‘Why don’t you make it big enough to sit on. I thought that would be funny.” When Goeritz returned, he and Manhattan dealer Georges Keller asked to see what Friedeberg had been up to. Georges told me, “These are wonderful! I want two for New York, two for Switzerland and two more for Paris.”

Ironically, Friedeberg is said to have fallen out of love with his most famous creation. “I hate them,” he is said to have exclaimed. “They’ve become

like an icon or something.”

Of course, being folk art, the chairs are widely copied, though it’s easy to identify a bona fide Friedeberg chair. “Turn one upside down,” he advises, according to Martin. “At the bottom of the base, you should see my signature burned in.”

And in this case, the allimportant signature was there. There were many additional highlights in this diverse auction. They will be relayed in a future review.

24, Aug danajtharpauctions.com Dana J. Tharp 5C

24, Aug georgecoleauctions.com George Cole 53 24, Aug liveauctioneers.com Charles Street Auction 59

24, Aug milestoneauctions.com Milestone Auctions 57 24, Aug nadeauauction.com Nadeau’s.................51

Every Tues Coventry, CT Weston’s 52

Every Thurs goldengavel.com Golden Gavel 50

Thru 19, Aug...thepopularpioneer.com

Popular Pioneer 56 Thru 17, Sept cohascodpc.com

Cohasco Auction 52 17-18, Aug auctionzip.com

19, Aug mooneysauction.com

Gaudreau’s Auction 59

Mooney’s Auction 58

20, Aug Sterling, MA Sterling Auctions 56 21, Aug eldreds.com Eldred’s 56

21, Aug Portland, CT B&S Auctions 50 23, Aug douglasauctioneers.com Douglas Auctioneers 7C

23, Aug Jewett City, CT Leone’s Auction Gallery 2 23-24, Aug auction.owlshead.org Owls Head Auction 46

23-24, Aug...litchfieldcountyauctions.com Litchfield County 2 23-24, Aug woodyauction.com Woody Auction 50

23-25, Aug thomastonauction.com

23-25, Aug thomastonauction.com

23-25, Aug thomastonauction.com

Thomaston Auction 8C

Thomaston Auction 54

Thomaston Auction 58

24, Aug Dover, NH 9

24, Aug Westmoreland, NH 9

25, Aug Milford, NH 3 1, Sept Lawrenceburg, IN 14

24, Aug newfrontiershow.com New Frontier 5C 24, Aug rolandauctions.com Roland Auctions 2 24, Aug rolandauctions.com Roland Auctions 7 24, Aug rolandauctions.com Roland Auctions 48 24, Aug thoscornellauctions.com Thos. Cornell Galleries 2 24, Aug winfieldauctiongallery.com Winfield Auction Gallery 3C 25, Aug auctionzip.com Mazzone’s................54 25, Aug brayco.com Bray & Co. Auctions 4C 25, Aug liveauctioneers.com SJ Auctioneers 56 26, Aug auctionsappraisers.com Winter Associates 47 27, Aug auctionninja.com SJD Auctions 54 27, Aug coylesauction.com Coyle’s Auction 49 27, Aug oldkinderhookauction.com Old Kinderhook 55 27, Aug poulinauctions.com Poulin Auctions 52 28,Aug-11,Sept ...petercostanzoauctioneers.com..Peter Costanzo Auction 54 29, Aug bodnarsauction.com Bodnar’s Auction..........54 29, Aug overandaboveonline.com Over & Above 58 30,Aug-1,Sept ...fairchildsfineart.com Fairchilds Fine Art 6C 6, Sept Jewett City, CT Leone’s Auction Gallery 2 8, Sept gratzgallery.com Gratz Gallery 12 8, Sept tremontauctions.com Tremont Auctions 56 11, Sept troutauctions.com Trout Auctioneers 46 21, Sept cottoneauctions.com Cottone Auctions 48 25, Sept litchfieldcountyauctions.com Litchfield County 2 27, Oct tremontauctions.com Tremont Auctions 56 17, Nov butterscotchauction.com Butterscotch Auction 2

3, Sept Brimfield, MA 2 4, Sept Brimfield, MA 5 8, Sept Milford, NH 3 12-15, Sept Atlanta, GA 7 14, Sept Westmoreland, NH 9

20-21, Sept York, PA 2C 22, Sept Milford, NH 3 6, Oct Lawrenceburg, IN 14 19, Oct Westmoreland, NH 9 16, Nov Westmoreland, NH 9 30, Nov-1, Dec..........Columbus, OH 7

2025 1, Jan Glastonbury, CT 11 14, May......................Brimfield, MA 5 9, July Brimfield, MA 5 3, Sept Brimfield, MA 5

Weekly Events Thurs-Sun West Hartford, CT 14 Sun............................Jewett City, CT 2 Sun ..........................New Milford, CT 2

As

ADA Announces Arthur Liverant

The 2024 Award Of Merit Recipient

NORTHWOOD, N.H. — The Antiques Dealers’ Association of America, Inc., (ADA) is honored to announce Arthur Liverant, of Nathan Liverant and Son Antiques, as the recipient of the 2024 ADA Award of Merit. Liverant will be honored during an evening reception on November 15, in conjunction with the Delaware Antiques Show, which will take place at the Chase Center on The Riverfront in Wilmington, Delaware.

Zac Ziebarth, president of the ADA, said, “Arthur Liverant has been one of the foremost pillars in the world of American antiques for over 50 years. The contributions Arthur and Nathan Liverant & Son have made to the industry of American antiques go beyond the greatest of lengths in carrying out ADA’s core values of integrity and connoisseurship.”

Liverant is the third-generation owner of Nathan Liverant and Son, selling antiques and fine art in Colchester, Conn., since 1920.

“I’m very touched and humbled by the award, antiques

have always been my passion. It is an honor to deal with antiques, collectors and curators on a daily basis. I love running an open shop, showing people what we have and teaching them about objects and their history. I think the fact that we’re a three-generation shop encourages people to come to us, and I’m receiving this award on behalf of my father and grandfather, both of whom spent a lot of time developing the business. I was fortunate to walk into an established opportunity; my father was a great teacher and he loved people, as did my grandfather. I’ve tried to carry that tradition on in the forums Kevin and I hold, which we love to do and which have been a great success. We’ve done more than 100 of them since the first, which was titled “How Do We Know It’s Old?”

We don’t rehearse these, they are spontaneous and fun and something people have really responded to,” Liverant said in response to the award. Since 1999, Kevin Tulimieri has worked alongside Liverant

Chris Craft Boat Sails To Top For Kleinfelter’s

MYERSTOWN, PENN. —

Leading Kleinfelter’s Auction’s Online Summer Antique Extravaganza, which closed on August 10, was a Chris Craft boat from 1947. Described as “beautifully restored” in the auction catalog, the 17-foot-long boat was in overall good condi-

tion and had a running diesel engine, in excellent condition, itself. Also included in the lot was a trailer, which was cleaned and included a clear title. The vintage boat and trailer earned $5,291. More highlights from this sale will be featured in an upcoming issue.

Rare Jules Jürgensen Wristwatch Leads

Schmitt Horan’s Eclectic

CANDIA, N.H. — Schmitt Horan & Co., known for its horological auctions, decided to do something different for its August 11 sale. It conducted an eclectic online sale with live close on the 11th, which included small antiques, a large collection of German bisque and Lenci dolls, Schoenhut toys, a collection of early radio receivers, canes, a large library with emphasis on volumes related to Abraham Lincoln and other American political figures, a collection of artist's lithograph exhibition posters, advertising and stereo gear. The company’s horological DNA won out, however, as a five-minute repeating tonneau-shaped wristwatch by Jules Jürgensen took top honors, selling for $22,800 including buyer’s premium, leading a selection of wristwatches. Dan Horan, president of Schmitt

in the business and is a critical component to the business’ success to this day.

“His passion and zeal for everything antique is boundless. He loves the hunt, making new discoveries and finding treasures both great and small. But Arthur’s real gift is as a people person and a teacher. I have learned more from Arthur than from any other single person,” said Tulimieri.

For more information about ADA’s Award of Merit dinner visit, www.adadealers.com.

(Middletown, R.I.) The Newport Show Draws Crowds For

(Lexington, Ky.) Going Cuckoo For Clocks At Antique American Clocks 4 (New Brunswick, N.J.) Golden Age Comics, Fashion Barbies Bring Collectors To Bodnar’s

(Hudson, N.Y.) American Art & Artifacts

(Cincinnati, Ohio) Freeman’s | Hindman Gives Carpenter Barbershop

(Sparks, Md.) Around The Country With Crocker Farm

(York, Penn.) Key Pieces In Diverse Collecting Realms Stoke Solid Prices At Hake’s

(Nantucket, Mass.) Eclectic Americana & Maritime Art Top Osona’s Two-Day Sale

(Canaan, Conn.) Jade Lot Drives Solid Bargain For State Line

(East Dennis, Mass.) Inlaid Abalone & Tortoiseshell Appeal To Eldred’s Scrimshaw Collectors

(Fresh Meadows, N.Y.) Chinese Buddhist Statue Draws Bids At Affinity

(Rochester, N.Y.)

(Kansas

(Athens, Ga.) See Saint Petersburg As A Great Composer Saw It

(Atlanta, Ga.) Inventive Quilts by Black Artists On

Sale

Horan, said, "The rarity is because of a five-minute repeating function in a wristwatch. Five-minute repeating is unusual in a pocket watch, very rare in a wristwatch." Fear not, there were plenty of more eclectic highlights to be discussed, as they will be in a later review of this sale.

Laura Beach photo.

Jade Lot Drives Solid Bidding For State Line

CANAAN, CONN. — The estate of Lester A. Hoysradt was one of several estates featured in the 412-lot auction conducted by State Line Auctions & Estate Services on Sunday, August 11. Topping the sale at $3,540 was a group of three jade items. One was a lobed, dark-green dish, with ring handles at either end, on a carved-wood base. It was accompanied by a green-gray covered vessel on a carved-wood base and a similarly colored relief-carved vase with foliate decoration. More highlights from this auction, which was more than 95 percent sold by lot, will be discussed in an upcoming issue.

Inlaid Abalone & Tortoiseshell Appeal To Eldred’s Scrimshaw Collectors

EAST DENNIS, MASS. — In two sessions over August 8 and 9, Eldred’s presented The Marine Sale, featuring scrimshaw and whaling objects from a Long Island, N.Y., estate collection, a his toric Nantucket, Mass., collection and the Robert Hellman whaling and whalecraft collection. The top lot in the two-day sale was a scrimshaw sperm whale tooth with inlaid abalone and tor toiseshell accents. An accom panying letter of authenticity from Dr Stuart M. Frank, founder and director of Scrim shaw Forensics Laboratory (Foxborough, Mass.) and senior curator emeritus, New Bedford Whaling Museum (New Bedford, Mass.), docu mented that the work was done

by the hand of an unidentified American whaleman circa 183550. Furthermore, Frank postulated the jet-black inks used in the carving were lampblack and china ink. The primary whaling scene, with a pod of whales, a large ship and several smaller vessels, wrapped around the tooth. One side primarily featured a large whaleship while the other was characterized by whales tossing men from their ships. Above the tumultuous scene were Masonic symbols and a ribbon-wrapped floral bouquet. A foliate band wrapped around the base of the tooth, connecting the hexagonal abalone pieces. Measuring six inches long, the intricately carved and decorated tooth was bid past its $40,000 high estimate to achieve $47,250 with buyer’s premium. Additional coverage of The Marine Sale will be in a forthcoming issue.

The Museum Of Contemporary Art Chicago Presents ‘Andrea Carlson:

Shimmer On Horizons’

CHICAGO — The Museum of Contemporary Art, Chicago (MCA) presents “Andrea Carlson: Shimmer on Horizons,” on view through February 2.

Andrea Carlson (Grand Portage Ojibwe/European descent, b 1979; based in northern Minnesota and Chicago) considers how landscapes are shaped by history, relationships, and

power. Her artworks imagine places that are “everywhere and nowhere,” visualizing these shifting yet ever-present dynamics. Grounded in Anishinaabe understandings of space and time, the works in this exhibition reflect on how land carries memories of colonial expansion and violence, as well as Indigenous presence and resistance.

Chinese Buddhist Statue Draws Bids At Affinity Antique Auction

Across painting, video and sculpture, Carlson organizes imagined landscapes around one constant—the horizon. This line is reminiscent of her homelands on Lake Superior. It is also a significant art historical trope that artists have employed to depict territories as vast and vacant, ripe for the taking. Carlson’s prismatic works are not empty: they are densely layered with an abundance of motifs, making reference to the tactics of colonialism as well as her family and peers, Ojibwe culture and Indigenous sovereignty. Confronting ongoing histories of erasure and dispossession, Carlson proposes that what appears to be lost can be remade, reimagined or otherwise regained.

Andrea Carlson is the 26th artist to participate in “Chicago Works,” a solo exhibition series at the MCA that features artists who are shaping contemporary art in the city and beyond. The exhibition is presented in the MCA’s Turner Gallery, on the museum’s fourth floor.

The Museum of Contemporary Art, Chicago is at 220 East Chicago Avenue. For information, 312-280-2660 or www. mcachicago.org.

FRESH MEADOWS, N.Y. — On August 11, Affinity Antique Auction presented a 420-lot sale from a private collection, predominantly comprising European and Asian art and antiques. Among bronze sculptures, hardstone carvings, swords, teapots, porcelain, wood carvings, artwork and other items, an approximately 13-inch-high bronze statue of the four-armed Buddhist deity Manjushri Namasangiti came out on top. Beneath the figure’s crossed legs, a traditional Chinese inscription read “Ming dynasty Yongle year”; impressed to the underside of the base was an unidentified medallion. Estimated $7/8,000 the figure went out at $8,255 with buyer’s premium. More highlights will be in an upcoming issue.

The Huntington Acquires The ‘Greatest Medical Book Ever Written’

SAN MARINO, CALIF. — The Huntington recently acquired a 1543 first edition of De humani corporis fabrica (On the fabric of the human body), by the Flemish physician and anatomist, Andreas Vesalius (1514–1564). In his momentous book, Vesalius revolutionized the field of anatomy by providing detailed and accurate descriptions of the body based on the direct observa-

tion and dissection of humans. The Fabrica, which once belonged to the Los Angeles County Medical Association Library, restores a significant piece of medical history to The Huntington.

The Huntington Library, Art Museum and Botanical Gardens is at 1151 Oxford Road. For information, 626-405-2100 or www. huntington.org.

The Eiteljorg Museum Presents ‘Alfred Jacob Miller: Revisiting The Rendezvous In Scotland And Today’

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

INDIANAPOLIS — The Eiteljorg Museum presents “Alfred Jacob Miller: Revisiting the Rendezvous in Scotland and Today,” an exhibition that offers a fresh perspective on Miller’s renowned work. Best known for his vivid depictions of the legendary 1837 Rocky Mountain Rendezvous, Miller’s paintings provide a fascinating glimpse into this historic event, where fur traders, mountain men and Native Americans converged in a spectacular display of culture and commerce. Accompanying his patron, the

intrepid Scottish adventurer, William Drummond Stewart, Miller ventured into the heart of the rendezvous to document its essence firsthand. The result? A mesmerizing collection of paintings that adorned Stewart’s family home at Scotland’s Murthly Castle. And now, after over a century apart, many of these masterpieces are reunited in this exhibition.

The Eiteljorg Museum is at 500 West Washington Street. For information, 317-636-9378 or www.eiteljorg.org.

“Perpetual Genre” by Andrea Carlson, 2024, oil, acrylic, gouache, ink, color pencil and graphite on paper; 45½ by 61 inches overall. Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase, 2024.2a-d. ©Andrea Carlson. Courtesy of the artist and Bockley Gallery.

DEADLINE / PUBLICATION SCHEDULE BELOW

‘The Best Of The Best’ At RSL Auction Company

WHITEHOUSE STATION,

N.J. — On the quiet, sunny Saturday morning of August 3, a storm of excitement was brewing at the RSL Auction Company. The rumblings began the night before when old friends and fellow collectors met for refreshments and an advance

Auction Action In Whitehouse Station, N.J.

viewing of three historic collections: the Haradin family collection, the Carl and Linda Thomas paper lithography collection and the Ron and Sandy Rosen Kobe toy collection. Amounting to almost 500 lots altogether, each of them sold the next day, totaling nearly $4.26 million.

The highest price was picked up by this Charles “Rose” Reel Carriage, made circa 1870, that rolled off to its new home for $312,000 ($125/175,000).

Coming in at a close second place was this circa 1888 Jonah and the Whale still bank with a rare pedestal variation; it achieved $300,000 ($175/225,000).

third lot of

“The sale by any stretch of the imagination did unbelievably well,” said Leon Weiss, the “L” of the RSL Auction Company, the following Monday.

The collection of Dr Anthony “Tony” (1937-2016) and Roberta Haradin began in 1969, when they purchased a lot of five mechanical banks at a local auction. They let each of their three sons pick a favorite, starting a family collection of banks and toys that’s developed in number and prestige for the past 50 years. Ray Haradin, the “R” in RSL Auction Company, was one of those lucky sons, and took part in the auctions by managing phone bids. Although their banks were frequently published in books about the subject, the Haradins’ collection was never on public display. Friends and specialists were

privileged guests to their home for viewings, and many such people were present for bidding.

“I never thought these would go up [for sale],” was overheard more than a few times before the auction started. Richard Opfer of Richard Opfer Auctioneering, Inc., Lutherville, Md., covered both halves of the auction; bidders also participated over the phone, on LiveAuctioneers and RSL’s in-house bidding platform, BidSpirit.

“You’re going to get tired of hearing ‘this is the best-known example,’ but it’s true,” Opfer said when opening the auction.

A veteran of the floor, Opfer has been working in auctions for almost 60 years, and with RSL Auctions for 20 years. “He was a prince, and she’s a princess,” he said of Tony and Roberta Haradin. “It’s such a collection,

and

tion at $168,000 ($125/175,000).

The iconography of this Germania Exchange Mechanical Bank, designed by Charles Bailey, has been debated among bank enthusiasts for decades: does the inebriated goat reference a type of Bavarian bock beer, referencing the goats that would graze on the hops and malt for brewing? Or was it specifically made for a regional bank in Pittsburgh, where many examples of this bank were found nearby? We might never learn its origins, but we do know the bank sold to a bidder in the room for $102,000 ($95/125,000).

you just can’t find banks in this condition.” Opfer was especially pleased with the turnout, saying the crowd was two to three times larger than their average audience. “It’s a pleasure and honor [to conduct this auction],” he added.

The first session was standing room only and focused on the Haradin Family Collection, which produced the crown jewels of the overall auction. First among these was the “Charles” Hose Reel Carriage made by the George Brown Company of Forestville, Conn., circa 1870, in “pristine” condition. This particular example came with a long list of accolades, as well as bidders who followed the carriage through auction even as far back as when the Haradin family bought it almost 40 years ago. In his book The World

“Who cataloged this?” asked auctioneer Richard Opfer when this rare nickel plated “Save For a Rainy Day” bank by Hubley (circa 1930) was bought by a last-minute phone bidder for $4,500 against its $550/750 estimate.

In pristine condition, this Mikado mechanical bank was made following the Gilbert and Sullivan play of the same name that premiered in 1885. Here the Mikado is presented as a mysterious conjurer instead of the emperor of Japan, and as the bank worked; it showed a deposited coin move from his right to his left hand, then seemingly disappear into his desk. The bank made $90,000 ($75/95,000) disappear from the winning bidder’s wallet.

The

the auction

the first to surpass a fivefigure price point was this Clown, Columbine and Harlequin Mechanical Bank from the Gertrude Hegarty Collec-

Richard Opfer, of the eponymous auctioneering company, kept bidding lively with his own characteristic commentary.

“I don’t think that’s enough,” said auctioneer Richard Opfer of the $45,000 ($25/35,000) paid over the phone for this exquisitely preserved set of Base Ball Ten-Pins.

of Antique Toys (1990), Jeffrey Levitt, proprietor of Mint and Boxed, described the “Charles” Hose Reel as the most important American tin toy in existence. It sold the same year for $1 million, the highest price paid for an American toy before or since. The winning bidder, who preferred to remain anonymous, was one of the aforementioned who had been watching the carriage’s progress, and finally won it for $312,000.

Following this was a rare pedestal variation of a Jonah and the Whale Bank in near-mint condition, one of the few of its kind to surface on the secondary market. In vibrant original paint, the scene shows when Jonah is spat out by the whale, rather than when he’s swallowed. In order for this to happen, the operator must pull a lever to lock the whale’s mouth and tail in place, insert a penny, and push a button. This causes Jonah to be spat out onto a beach, the whale to raise its tail and the penny to be deposited. In an effort to obtain the bank, the top bidder spat out $300,000.

It did not take long for lots to reach six-figure sales – the first was the third lot, a Clown, Harlequin and Columbine Mechanical Bank that sold for $168,000. Made by the J&E Stevens Company of Cromwell, Conn., in the early 1880s, the Harlequin Bank showed a Harlequinade, a British comedic style of panto-

Review & Onsite Photos by Z.G. Burnett, Contributing Editor Catalog Photos Courtesy RSL Auction Company

mime performance by the classic commedia dell’arte characters. This example came from the eminent Gertrude Hegarty collection. In absolutely perfect condition, the bank is even more rare because the thinner metal components of these banks are often found broken or repaired.

The Harlequin was shortly surpassed by a circa 1885 merry-go-round bank made by the Keyser & Rex Company of Frankford, Penn. Also from the Hegarty collection, it brought $216,000. This carousel showed a red and yellow canopy, which varies in color from bank to bank. Operated by a working crank that rings a bell and makes the children spin round and round on their carousel animals while watched over by the ticket man, the condition was “very exceptional” and “has often been referred to as the finest extant example.”

The only top lot that was not a bank was a Royal Circus Revolving Monkey Cage cast iron toy that placed fourth in the overall auction at $192,000. With only three extant like it known, this “holy grail” of the Royal Circus set was described as the “supreme achievement”

This merry-go-round bank from the Gertrude Hegarty collection is believed to be the finest example of the form and surpassed its $120/150,000 estimate at $216,000 to reach third place in the overall auction.

cent mint condition,” and one of only three known

toy in the

This Deluxe Cupola bank was finished in eight colors, in near-mint condition and illustrated on page 77 of “the Morphy book” (The Official Price Guide to Mechanical Banks by Dan Morphy). Considered a “sublime example” and “one of the finest condition specimens in the world,” it was the top architectural bank at $54,000 ($30/40,000).

of the Hubley Manufacturing Company, Lancaster, Penn. In mint condition, the monkeys moved around their cage as the carriage was pushed around, each with smooth action.

Also by the Keyser & Rex Company was a Roller Skating Bank, “one of the most impressive mechanical banks ever

This yellow-painted Panorama cast iron bank was in “hugely outstanding” condition, including its functional panorama viewfinder, which changed images when a coin was deposited. From the Steckbeck collection auction, the bank was bid to $39,000 ($40/50,000)

It was purchased on the phone for $192,000 ($70/90,000).

The banks and toys in the Haradin collection were in almost unbelievable states of preservation, due in part to many of them retaining their original boxes.

Although it originally sold for $42,000, auctioneer Richard Opfer tested the winning bidder’s price flexibility, meaning they both offered to increase the price post-sale ($15/20,000).

“Few other banks are as exciting as the Roller Skating Bank,” read the RSL Auction Company’s catalog. Bidding for the bank was certainly exciting and terminated at $156,000 ($125/175,000).

Made circa 1910, this Royal Circus Revolving Monkey Cage was in “100 per-

examples of this cast iron

world.

One of Charles Bailey’s first designs for the J&E Stevens Company of Cromwell, Conn., this bank references the German Tariff of 1879, which placed high taxes on agricultural products being imported into Imperial Germany. Chancellor Otto von Bismark initiated the tax, and therefore, has the honor of popping out of the pig when a coin is inserted. It surprised bidders at $27,600 ($25/30,000).

Seating was tight, especially for the first session of bidding; the majority of seats were reserved for known customers and collectors who were able to attend and bid in person.

From the collection of Ron and Sandy Rosen of New Jersey, approximately 35 Japanese kobe dolls opened the auction’s second section. The highest bid of these was achieved by a “Pair of Musicians in a Wheeled Boat” for $1,200 ($800$1,000), in the center left of the second shelf down.

This near-mint condition “McGinty” skeleton was in working, dancing condition, and went to a new home for $4,800 ($4/5,000).

brought to market.” Showing four different scenes in one tableau, the most prominent was the race between the boy and girl skaters, made to move around the track with complex mechanics hidden underneath

This rare, complete set of figural “book” building blocks was made in America circa 1890, showed words and images relating to their representative letters, and was bid to $840 ($450-550).

the rink. The penny would have been placed in the top of the rear canopy and dropped into the bank once the skaters reached the referee. The real winner was the high bidder, who brought the bank home for $156,000.

One particularly nutty exchange took place during bidding for a circa 1881 Squirrel and Tree Stump Bank made by Mechanical Novelty Works of New Britain, Conn. Meant to teach children about the virtue of thrift by emulating the squirrel who stores nuts away for winter, Opfer was willing to shake bidders’ money trees for more. After closing, Opfer asked the winning bidder, “What’s $10,000 more?” The bidder, who had just purchased the preceding Bismark Pig Bank for $27,600 replied, “Why not make it $20,000 more?” As it was, the Squirrel Bank’s price stood at $42,000.

One particular phone bidder purchased at least 10 lots during the first session, including the fantastical Articulated Swan Chariot. Also made by the J&E Stevens Company, the carriage showed a girl in a large clamshell being ferried through the water by an almost proportionally correct swan. As the wheels turn, the swan flaps its wings. At $16,800 it was not nearly the most expensive lot, but the imaginative, fragile toy was in “flawless mint condition,” with no restoration and came with its own original box. The second section produced even more wonders, and the bidding concentration shifted from the floor to phones for the Carl and Linda Thomas paper lithography collection. The third co-founder and the “S” of RSL, Steven Weiss, continued assisting phone bidders — at least, those who were available to take his call.

These artfully decorated American banks dated from the late Nineteenth to the early Twentieth Centuries, some showing different painted colorways of the same models. The examples on this shelf mostly sold for between $60 and $450.

Just a fragment of the lithographic toys offered from the Carl and Linda Rosen collection.

More than a few furry friends also attended the auction, including this enthusiastic fellow who kept barking out bids.

One of many lots purchased by the same mysterious phone bidder, this Articulated Swan Chariot flew off at $16,800 ($10/15,000).

This very fine cigar store figure by Samuel Robb (1851-1928) was deemed “a good buy” by fellow auction goers at $8,400 ($7,5/9,000).

“One of the greatest antique toys that RSL Auctions has ever sold and certainly the finest paper litho toy to ever be offered publicly” was high praise indeed, but certainly deserved by an intact set of mint Base Ball Ten-Pins. These were probably produced by American manufacturer Selchow & Righter in the 1880s, but this example was found recently at a flea market in northern England. The pieces were rarely handled, and it seemed as though they had been kept in the original box for over a century. This spectacular set went to a phone bidder for $45,000.

Another toy with outstanding lithographic decoration was the Our Sailor Boy Naval Blocks set, produced circa 1900 by the R. Bliss Company of Pawtucket, R.I. From the Thomas collection, each block was colorfully illustrated to create different scenes, featuring contemporary admirals, activities and objects from contemporary life at sea. In extraordinary original condition, the set went to a bidder on the floor who had purchased a few other lots but passed on more. This lot must have been his main objective, for it was his highest bid at $8,400.

One of many Black Americana examples listed in the auction was an important painted “Ham-Fat” sled, referring to the minstrel show depicted on the sled’s surface. “Ham-fatters” were white performers in blackface “trying to capture the exotic essence of a true Black entertainer but failing miserably.” Other lots were even less delicate in their portrayal of African Americans, and the RSL Auction catalog was not shy about pointing out the rampant institutional racism that made it possible for such things to be produced. Yet, as this auction shows, they are still highly collectible, and this sled was an especially complex artifact of American sociocultural history. It sold for $7,800 on BidSpirit.

Although bound to be an uncomfortable conversation piece, this “Ham-Fatter” sled specifically depicted a white performer doing a substandard minstrel show and is important for deconstructing the complex issues of race and representation that are still challenging in the US today. The sled was won on BidSpirit for $7,800 ($5,5/7,500).

Technically still a toy, one of the larger yet still diminutive lots was a carved and painted Peacock Carousel figure that was bid to $14,400. The artist or manufacturer was unknown, probably American, and was likely part of a traveling carnival due to its small size and portability. With two burgundy velvet cushions, the peacock was intended to accommodate two especially young children. The iridescent paint is original and references the work of Louis Comfort Tiffany, placing its date around 1910. Sold by the Metropolitan Museum of Art at one time, at this auction the peacock brought $14,400.

Prices quoted with buyer’s premium as reported by the auction house. RSL Auction Company’s next online auction will consist of 250 European die-casttoy lots, date to be announced. For information, www.rslauctionco.com or 908823-4049.

Made by the Milton Bradley Company of Springfield, Mass., circa 1890, this Menagerie and Aquarium paper litho toy showed various images of land and sea creatures in their natural habitats on either side of its carriage. Though in pristine condition, the turning mechanism was not in working operation but could possibly be repaired. It was purchased by a left bid for $6,000 ($4/5,000).

These sets of “knockdown figures” were all in “great” to “stellar” condition and sold for up to $2,520 per lot.

Despite its size, this “fancy painted” store safe by the Meilinik Manufacturing Company, Toledo, Ohio, weighed about 80 pounds! Its description assured bidders that it was “manageable” to lift with its sturdy steel handle, and it was carried off at $1,140 ($1,5/2,000). The carved mantelpiece above was not included in the auction.

This rare diminutive two-seater carousel peacock showed a vibrant original finish and rounded up $14,400 ($9,5/12,500). The weathervane was not included in the auction.

The scale and the complexity of

The auction room was beset by a tense silence once bidding began, and formerly jovial guests became all business.

this set of Our Sailor Boy Naval Blocks indicated its scarcity, and it sold to the floor for $8,400 ($2,5/3,500).

Historic Homes & Properties

Thirty African American Historic Sites Receive $3 Million In Preservation Funding

WASHINGTON, DC — The African American Cultural Heritage Action Fund, a program of the National Trust for Historic Preservation, has announced $3 million in grant funding to protect and preserve 30 sites representing Black history. With more than $140 million raised since its founding in 2017, the Action Fund is the largest resource dedicated to the preservation of African American historic places.

This work would not be possible without the Action Fund’s key philanthropic partners who share a commitment to social justice through preservation and education.

This year’s awardees include the second round of Conserving Black Modernism grants, a program designed to protect and promote the work of African American architects. These sites will receive $1.2 million in preservation funding through the Action Fund with support from the Getty Foundation.

With amounts ranging from $50,000 to $150,000, this year’s Action Fund grants will support preservation efforts across four categories: Building Capital: Supporting the restoration and rehabilitation of cultural assets important to Black history; Increasing Organizational Capacity: Providing leadership staff positions within nonprofits stewarding Black heritage sites; Project Planning and Development: Funding planning activities tied to the development of preservation plans, feasibility studies, historic site reports, National Register designations and fundraising; and Programming and Education: Advancing storytelling through public education, exhibits and creative interpretation.

Since 2017, when the National Trust for Historic Preservation launched its African American Cultural Heritage Action Fund (AACHAF), it has raised over $140 million and supported 304 grantees nationwide.

The AACHAF’s work is guided by the founding executive director, Brent Leggs, and an esteemed National Advisory Council that includes thought leaders in the arts, academia, business, government, philanthropy and preservation.

Grant awardees are:

Alpha Gamma Omega House (The Ivy Heritage Foundation, Inc.), Los Angeles, Calif.

The Alpha Gamma Omega Chapter of the Alpha Kappa Alpha Sorority was founded in 1927. The chapter purchased its 1911 house in the historic West Adams district of Los Angeles in 1960, making it the first chapter in Southern California to own a home.

Imperial Hotel (Jack Hadley Black History Memorabilia, Inc.), Thomasville, Ga.

The Imperial Hotel was established by Harvey and Dorothy Lewis Thompson, a Black couple, in 1949 and remained in business until 1969. The hotel was listed as a Green Book site in 1954, marking it as a safe haven for Black travelers during segregation. Funding will support the installation of an interior metal skeleton that will reinforce and stabilize the hotel ’s walls.

Pierce Chapel African Cemetery (Hamilton Hood Foundation), Pierce, Ga.

The Pierce Chapel African Cemetery, established circa 1828, is one of the oldest burial grounds for enslaved people from several plantations in the region. The cemetery has experienced severe damage over the years and was on the National Trust’s “11 Most Endangered Places in America” list in 2023.

Erma Hayman House (City of Boise Department of Arts & History), Boise, Idaho

Erma Hayman (1907-2002) lived in Boise for most of her life, purchasing the house that now bears her name in the city’s River Street neighborhood in 1948. The Erma Hayman House now serves as a cultural center dedicated to uplifting the community’s Black and working-class history through preservation efforts and public programming.

Wabash Avenue YMCA (The Renaissance Collaborative, Inc.), Chicago

The Wabash Avenue YMCA was a thriving center of Chicago’s Black community from the building’s completion in 1913. The branch closed in 1970, however the Renaissance Collaborative, now headquartered in the building, and the Black Metropolis NHA Commission have partnered to expand local history tours centering the Wabash YMCA.

Nicodemus Historical Society & Museum (Nicodemus Historical Society & Museum), Bogue, Kan.

Nicodemus is one of the United States’ oldest surviving Black-founded communities and will be celebrating the 150th anniversary of its founding in 2027. The advocacy and memory-keeping work of the Nicodemus Historical Society has been crucial to its preservation.

Chickasaw Park (Louisville Olmsted Parks Conservancy, Inc.), Louisville, Ky.

Chickasaw Park is believed to be the only landscape designed by Frederick Law Olmsted’s firm that was specifically for African Americans. Designed in 1923 and completed in 1930, the formerly segregated park was home to the West Louisville Tennis Club and was visited by Althea Gibson, the first Black woman to win at Wimbledon.

Kennard High School at the Kennard African American Cultural Heritage Center & Museum (Kennard Alumni Association, Inc.), Centreville, Md.

Kennard High School opened as a segregated school for Black children in 1936 and was named after Lucretia Kennard, a lifelong educator and leader in the Centreville community. The school is now part of the Kennard African American Cultural Heritage Center & Museum.

Gaithersburg Community Museum (Gaithersburg Community Muse-

um), Gaithersburg, Md.

The Metropolitan Grove community was founded by formerly enslaved African Americans and remained intact through the early Twentieth Century. Much of the original building stock was lost to redevelopment efforts during the Urban Renewal period.

Camp Katharine Parsons Nature House (Phyllis Wheatley Community Center), Minneapolis, Minn.

The Phyllis Wheatley Community Center (PWCC) established Camp Katherine Parsons in 1956 to give Minneapolis-area Black youth an opportunity to enjoy nature, learn new life skills and feel empowered to achieve their goals.

Unita Blackwell Freedom House (The Lighthouse), Jackson, Miss.

The Unita Blackwell Freedom House is named after the state’s first female mayor. Blackwell (1933-2019) was a civil rights activist and served as an advisor to six US presidents; the Freedom House was her primary residence during her lifetime.

Alonzo Chatmon’s Juke Joint (The Mount Zion Memorial Fund for Blues Music and Justice), Water Valley, Miss.

The historic, Black-owned Alonzo Chatmon’s Juke Joint is part of Mississippi’s rich Blues history. Chatmon was a musician himself, and led the Mississippi Sheiks, a well-known music group in the 1930’s.

Shady Rest Golf and Country Club (Preserve Shady Rest Committee), Scotch Plains, N.J.

The Shady Rest Golf and Country Club, established in 1921, was the first Blackowned and operated country club in the nation. It hosted the first American-born professional golfer John Shippen Jr. (18791968), a Black man whose father was born into slavery. Black luminaries such as W.E.B. Du Bois and singer Ella Fitzgerald also frequented the club.

New Amsterdam Musical Association Building (New Amsterdam Musical Association), Harlem, N.Y.

The New Amsterdam Musical Association is the oldest Black-founded musical organization in the US, founded in 1904. The association’s building has served as a community support and performance space for Black musicians for over 100 years.

Woodlawn Cemetery (Woodlawn Conservancy Inc.), Bronx, N.Y.

Woodlawn Cemetery is a National Historic Landmark and resting place for many Black luminaries including Ralphe Bunche, a Nobel Peace Prize and Presidential Medal of Freedom awardee, the entrepreneur and millionaire, Madam C.J. Walker, and Ivan Bynoe, a Tuskegee Airman and war hero.

Funding will support the Woodlawn Conservancy’s hire of a consultant to develop “Where Harlem Rests,” a series of tours highlighting the notable Black individuals buried there.

Lefferts Historic House (Prospect Park Alliance), Brooklyn, N.Y.

The Lefferts Historic House is one of the Flatbush area’s few remaining farmhouses and dates back to the Eighteenth Century. According to census records, the Lefferts family enslaved at least 25 African Americans who lived and worked on the property.

Cincinnati Preservation Association (Cincinnati Preservation Association), Cincinnati, Ohio

Cincinnati was a significant migratory destination for free and formerly enslaved African Americans starting in the 1800s. Grant funding will support the city’s efforts to more deeply engage with its local and regional Black history.

Kennett Underground Railroad Center (Brandywine Valley Scenic Byway Commission), Chadds Ford, Kennett Township, Penn.

As part of efforts to chart and preserve Underground Railroad routes, Kennett Township has partnered with the Kennett Underground Railroad Center to rehabilitate a historic property that once served as a “Station” on formerly enslaved Africans’ journey to freedom.

The Brainerd Institute (Brainerd Institute Heritage), Chester, S.C.

The Brainerd Institute was founded by the Presbyterian Church in 1866 as an elite educational institution for Black students. The school graduated its last class in 1939. Decades later, the acclaimed poet Vivian Ayers, a member of that final class, is leading efforts to restore and reactivate the campus

George W. Hubbard House of Meharry Medical College (Friends Of Hubbard House), Nashville, Tenn.

Designed by McKissack and McKissack, one of the oldest Black-owned architectural firms in the US, the George W. Hubbard House was completed in 1921 and named for the founder and first president of Meharry Medical College; it is on the historically African American college’s campus.

Simms/Gray-Lewis Cottage (Rutherford B.H. Yates Museum), Houston, Texas

Isabella Simms, a Black woman and domestic servant, purchased the lots at 1216 and 1218 Wilson Street in Houston, just nine years after the Civil War ended. In 1907, Lincoln R. Jones, a Black contractor, designed and built what would come to be known as the Simms/Gray-Lewis Cottage, named for its owners.

The Pine Grove Washington-Rosenwald School (AMMD Pine Grove Project), Richmond, Va.

The Pine Grove Washington-Rosenwald School was established in 1917 as one of a series of schools founded by the education reformer Booker T. Washington and the Jewish philanthropist, Julius Rosenwald. The school functioned as an educational institution and community center for generations

For more information on the African American Cultural Heritage Action Fund, www.savingplaces.org/actionfund.

Compiled by madelia HiCkman Ring

Imperial Hotel, Thomasville, Ga. Photo courtesy George Trust for Historic Preservation.

Lefferts Historic House, Brooklyn, N.Y. Photo courtesy Historic House Trust of New York City.

Emma Hayman House, Boise, Idaho. Photo courtesy Boise Arts & History Foundation.

Brainerd Institute, Chester, S.C. Photo courtesy Brainerd Institute Heritage.

The Boca Raton Museum Of Art Presents ‘Julie Evans: Eating Sunshine’

BOCA RATON, FLA. — The Boca Raton Museum of Art presents the new exhibition “Julie Evans: Eating Sunshine,” on view through October 20. This is the first time the celebrated New York artist’s new ceramic sculptures are exhibited by a museum alongside her paintings. These sculptures are a recent, bold departure in her 30-year career, as Evans turns to ceramics to further explore her interest in the wonders of nature. Born in New York City, she was one of the pioneers of the Chelsea art scene in the early 1990s. Decades later, Evans became part of the current wave of artists who have transformed upstate Hudson New York into an art destination, where her studio has thrived since 2011.

“Eating Sunshine” is curated by Kathleen Goncharov, the senior curator of the museum, and features 48 works (24 ceramics shown together with 24 paintings, works on paper and assemblages on mylar). Both her two-dimensional and three-dimensional works radiate rich, saturated colors and ooze with biomorphic, organic forms.

The title of the exhibition — “Eating Sunshine” — reflects the artist’s fascination with plants and organisms that need life energy and nourishment from the Sun to survive. “While geared towards efficiency and survival, these interrelated systems of nature here on Earth and on our Sun share extraordi-

SAN FRANCISCO, CALIF. —

In the spring of 1980, six years before Mikhail Gorbachev introduced “glasnost” to the Soviet Union, Modernism gallery brought Russian avantgarde [1910-1930] art to the West Coast of the United States. Barely six months old and situated in a large, minimalist-designed, second-floor space in San Francisco’s then edgy South of Market district, Modernism defied censorship in the USSR and provincialism in San Francisco with a museum-quality exhibition that included works by Kazimir Malevich, Liubov Popova, Alexander Bogomazov and a dozen other seminal artists working in the teens and 20s.

The historical exhibition provided crucial context for the gallery’s presentation of contemporary abstract artists, including David Simpson, Frederick Hammersley and James Hayward, whose paintings reciprocally enriched the rarely seen work of the Soviet artists who pioneered abstraction in the heady decades ahead of Stalinist oppression. In the fledgling SOMA district gallery, past, present and future formed a creative continuum.

45 years later, resituated in a bespoke street-level space in San Francisco’s Tenderloin, Modernism continues to bring art of historical importance into dialogue with the most recent advances worldwide. Gallery founder and owner Martin Muller has expanded the program to include virtually every significant Twentieth and Twenty-First Century movement, from Dada, Cubism, Surrealism, Vorticism and German Expressionism to Pop, Formal Abstraction, Photorealism and Conceptualism.

Modernism’s “45th Anniver-

nary power, logic, elegance, and beauty that is far beyond what we can see or understand,” said Julie Evans.

The timing of the exhibition coincides with the current cycle when our sun’s magnetic poles prepare to reverse, and our planet is experiencing a peak period of solar activity. What’s happening now is the most extravagant fireworks display in the entire solar system, as the increased magnetic energy of the sun creates more solar flares and coronal mass ejections.

Kathleen Goncharov’s curatorial insights into the work of Julie Evans are the result of knowing the artist for more than 30 years. They originally met in the early 1990s when they worked together at the New School in New York, and Goncharov has followed Evans’ artistic trajectory during the past three decades.

“Julie Evans finds inspiration in the structures and patterns of the materials from nature that she observes,” said Kathleen Goncharov, senior curator of the Boca Raton Museum of Art. “Her works are imbued with penetrating colors and bold forms. Like nature, her art is both macro and micro, expansive and abstract, bursting with life in intricate detail. Evans’ intent is for the viewer to engage slowly and observe the incredible variety of forms, shapes, colors and exquisite details found in her paintings and sculptures,” adds Goncharov.

In her paintings and two-dimensional works, Evans teases nebulous forms out of poured pools of paint with arabesques curling in and out, as they reach outwards for the edges of the surface. Some sections dissolve into the atmosphere that surrounds the shapes, between what is meant to appear to the eye as solid and what is not.

In contrast, her ceramic sculptures are totally singular, separated from the space around them. As complete threedimensional forms in and of themselves, the ceramics don’t rely on atmospheric support like the shapes in the

paintings do.

Navigating this difference between her paintings and her sculptures and getting to this point where they can both finally be shown together in a museum, is the central journey of this exhibition for Evans.

The artist is also known for the quality of detail in her work. During a 15-year period, between the 1990s and the early 2000s, Evans traveled to India many times to study Indian miniature painting techniques. This influenced the attention to detail that comes across in her art to this day.

This painting technique is noted for the incredible amount of detail that artists encapsulate within each minutely small canvas frame. Historically, they are meant to be viewed by one person at a time, at a close distance.

The roots of the miniature painting tradition in India go back to the Buddhist Pala dynasty, from the Eighth Century until the end of the Eleventh Century. Evans was awarded an Artist’s Residency Fellowship to Sanskriti Kendra in New Delhi, in 1997. Also, as part of the Fullbright Senior Research Grant for Painting she was awarded in 2003, Evans lived and worked as an artist in India and Nepal for eight months.

The Boca Raton Museum of Art is at 501 Plaza Real. For information, www. bocamuseum.org or 561-392-2500.

Modernism Celebrates Its 45th Anniversary

sary Exhibition, Part I” featuring works from the Ukrainian and Russian Avant-Gardes [1910-1930] by Kasimir Malevich, El Lissitsky, Lyubov Popova and more.

In celebration of the 45th anniversary, Modernism is presenting a two-part retrospective showcasing dozens of the artists whose work has defined the gallery, enhanced cultural life in the city and contributed to art history. Part I is currently on view until August 31. Part II is scheduled to open in September.

The Russian avant-garde, which Modernism has presented in 20 historical exhibitions —including masterpieces such as Kazimir Malevich’s 1917-18 canvas “Supremus No. 84” —is represented in Part I with work by many of the artists

featured in 1980. Highlights include Malevich’s important study for “Samovar II” (1913), a multifaceted Cubo-Futurist painting shown in his 1919 retrospective and currently in MoMA’s permanent collection. Also noteworthy is Popova’s oil-pastel study for “SpatioDynamic Construction” (1921), a “tour-de-force” of pure abstraction in which the artist audaciously set geometry in motion. A third work of particular significance is “CuboFuturist Landscape with Man Walking,” a 1914 charcoal drawing by Bogomazov that boldly walks the line between figuration and abstraction, questioning where one ends and the other begins. (A Ukrainian artist from Kyiv, Bogomazov received his first US retrospective at Modernism in 1983).

Contemporary abstraction is also strongly represented in Part I of the retrospective, with hard-edge works by Hammersley and Simpson, and two of Hayward’s signature Formal Abstract monochrome paintings, one flat and one thickly impastoed. Also of note is Edith Baumann, whose acrylics appear to float, as ethereal as pure thought. At the opposite extreme is Hermann Nitsch, whose violent “Schuttbild” (1986) takes inspiration from Aktionist performance works involving spilt blood; Arnulf Rainer, whose electrifying “Alexandre” (1991) deconstructs a historic engraving with an overlay of pencilwork and paint; and Jacques Villeglé, whose visceral “FFF” (1997) was achieved by peeling

away layers of advertising from a billboard found in Agen, France.

Photography has been another essential aspect of the Modernism program since the 1980s, and is represented in Part I with work by masters such as Man Ray and Lucien Clergue, shown together with conceptually driven contemporary artists such as Elena Dorfman and Alex Nichols.

Gottfried Helnwein has been another major presence, exhibiting regularly at Modernism since 1992. Forcefully political, Helnwein’s large-scale paintings respond to the underlying corruption and violence of society he first witnessed growing up in Vienna after World War II. Dramatic canvases such as “Suspects I” (2000) suggest narratives that play out in the viewer’s imagination, bringing focus to how they perceive the broader world. Introducing an entirely different emotional register into the mix, Mark Stock is another master of narrative understatement with a long history at Modernism, represented in the retrospective with a painting from his signature turn-of-the-millennium “Butler’s in Love” series. Modernism is constantly seeking out the most radical art of the moment, featuring the work of young artists such as Kristine Mays and Sameh Khalatbari, whose politically charged compositions enlist unconventional materials such as wire and rope. The appearance of their work side-by-side with artists ranging from John Register to Kazimir Malevich continues the creative continuum that animated Modernism’s very first exhibitions. Modernism gallery is at 724 Ellis Street. For information, 415-541-0461 or www.modernisminc.com.

Julie Evans, “Frenemy,” 2022, glazed ceramic, 7 by 10 inches. Courtesy of the artist.

Modernism’s “45th Anniversary Exhibition, Part I” featuring works by Gottfried Helnwein, Hermann Nitsch, John Register and Jeffrey Browning.

ESTATE AUCTION

LIVE AUCTION

August 26th at 5:30PM

IMPORTANT ESTATE OFFERINGS: Fore-edge and other Books; Jensen, Tiffany, etc. Silver; Fine Paintings; Early 2rf” C. Toy Collection; Lead Soldiers; Asian; Antique to Mid Century furniture incl. Walter Lamb Patio, etc View catalog online as of August 16th at www.AuctionsAppraisers.com

Previews:

Friday, August 23rd, 12-4 pm

Sunday, August 25th, 2-4 pm

Monday, August 26th, 12-5pm or by appointment.

SILVER: Georg Jensen: ‘Mathilda’ 3pc serving, pair ‘Snail’ serving spoons, ‘no. 177’ sauceboat, ‘Blossom’ creamer & sugar, ‘Acorn’ condiment set and others; Tiffany: pair of 5” h. tazzas, vermeil model flowers (3), hollowware and accessories; Reed & Barton: “Francis I” flatware, floral repousse tray; “Lebolt” 277pc sterling flatware; Schwartz & Steiner 8pc tea set incl. solid tray; 1853 English sterling silver desk set; Asahi Shoten 950 silver salts (26pcs); 20+ other lots; IMPORTANT BOOKS: 25 plus Fore-edge books; twice signed “S. L. Clemens” Mark Twain 25 vol De Luxe set; “Tales of Shakespere’ by Lamb, Cedric Chivers (binder) and Arthur Rackham (illustrator); sets by Charles Dickens, Francis Parkman, Harry A. Franck, R.L. Stevenson, Washington Irving, W.M. Thackeray, J.R. Lowell, 60+ lots total; FURNITURE: Modern: Walter Lamb for Brown Jordan pair chaise lounges, flat bench, six chairs incl. three ‘Sleigh’; Carlo Malnati signed dining table; MCM side tables; “DCM” dining chair by Eames; Antique: English Georgian demilune table, Regency table, 19th C. cupboard, sewing stand and papier mache tray tables, etc. PAINTINGS: 17th C. Dutch oil portrait possibly by Jan de Baen; Spanish Colonial 39” h. oil “Archangel Michael Slaying the Dragon”; John Koch (4) oil portraits; Linda Nelson Stocks oils (3); Charles W. Shayer hunt scene oil; other artists include James Tormey, Walter Koeniger, etc. SCULPTURE: George W. Lundeen bronzes (2); Tim Prentice 30” wire grid; McClelland Barclay metal animal figures, etc. PRINTS: Lithographs: Andrew Wyeth signed portfolio of lithographs, ‘Verve’ Dec. 1937 issue with lithos by Leger, Miro, Rattner and Bores and wrapper by Matisse, others by Stow Wengenroth, Richard Hunt; Etchings: Tavik F. Simon, Philip Kappel (18), John Taylor Arms and Winfield Scott Clime; Other: Max Papart (2) carborundum prints, Olympic Munich 1972 posters by David Hockney, Tom Wesselmann and Otmar Alt.; Maps/ Ephemera: two 17th C. maps of Russian and the Caribbean TOYS: 50 plus lots of Vintage and toys, many Arcade cast iron vehicles, inc. an Ice Truck with accessories, Yellow Cab #3, and 15 others; Marx lithograph decorated wind up and battery operated toys, inc. Police Squad Motorcycles, Electric Coupe “Super Deluxe Model”, two band sets including Strauss “Ham and Sam the Minstrel Team” and Unique Art “Li’l Abner and his Dogpatch Band”, trains by Lionel and American Flyer, other toy makers incl. Gebruder Fleischmann, Hubley, Steiff, Lehmann, A. C. Williams, American Flyer, etc. 1000 plus LEAD SOLDIERS inc.: Richard Courtenay Knights (11pcs) c. 1930’s-1940’s; a wonderful variety of 19th/early 20th C. Britains incl. Hunt figures, British Colonial forces and Guards, Calvary, Infantry, artillery pieces, Set #216 Argentine Infantry; unique Authenticast sets, many designed by Holger Eriksson, and Mignot figures including Roman and Gauls; ASIAN: Asahi Shoten 950 silver salts (26pcs) in lacquer case; Hasui woodblock prints (2); Chinese Export porcelain; chests inc. cinnabar and lacquer; framed rose famille wall plaques; oil paintings by Shen Xiaoyi and Hao Yang (2); embroidered robes; metal figures, etc. CERAMICS: English Royal Worcester (36 pcs); Meissen: figures, (12) reticulated plates, pair double salts; French crocus pots; 120 pc Royal Copenhagen ‘Golden Clover’ dinner service; early 19th C. Spode tea service; Minton (12pc) plates; pair framed porcelain landscapes; Delft & Staffordshire cow figures; Serves type pair urns, etc. COINS & STAMPS: Coins inc. gold, mostly American, some Ancient (11 lots); Franklin Mint ingots and medals; U.S. Stamps (5 lots) MISCELLANEOUS: Peter Tereszczuk stained glass/ bronze lamp; Glass including pair English Regency cut lustres, Bohemian overlay, Kosta Boda, Steuben, St. Louis, Baccarat;; pair French Empire bronze sconces; Euphonia Hide-A-Phone; Vintage textiles and accessories, Oriental Rugs (4), etc.

17th C. Dutch oil, 16” h.

c.1800 Spanish Colonial, 39” h

Chivers, Rackham (illus)

25+ Fore-edge books, other important signed, limited edition, etc. from Desmond Estate

Lebolt stlg, 277 pcs including 16pc place setting for 12

G.Jensen stlg ‘Mathilda’ Hollowware including Jensen, Tiffany Jensen ‘Snail’ & other unusual

Walter Lamb for Brown Jordan inc: pair ‘S’ chaise lounges, three ‘Sleigh’ chairs, flat long bench & three side chairs

1853 English sterling by Smith & Nicholson, 15” l.

1 of 4 Koch; 18th C. English

Regency, mahogany, 27” h.

Amer. Gold & other

26 Silver by A. Shoten

U.S. coll.

1 of 2 Hasui

1000+ Courtneay, Britains, etc.

Carlo Malnati signed, 58” dia. J.Tormey, oil, 36” h.

100+ Estate Toys inc. Marx, Arcade Lionel, Lehmann, Shuco, etc.

P.Tereszczuk 13” h.S.L. Clemens signed

TWO SESSION AUGUST ESTATES AUCTION

Tuesday, August 27, 2024

VFW Hall, 123 Holliston St., Medway, MA

Session 1 – 2:30 PM Rugs and Curiosities

Session 2 – 5:00 PM Estates Auction PREVIEWS

Open! Mon. Aug. 26th - 9:00 AM – 6:00 PM Tues., Aug. 27th - 9:00 AM to ½ hr. before sales

We are pleased to offer a Fine Two Session Antique Estates Auction featuring a fine eclectic and quality selection of Antique American, English and French style furniture, fine porcelain and pottery, silver, art, fine jewelry, and much more from a Westwood home (furnishings, accessories and originally from a German villa in Wiesbaden), Jamaica Plain, Wayland, Concord, Brookline, Cape Cod and others with selected additions for a fine Session 2 sale. Session 1 will include collection of interesting curiosities, oriental rugs and dolls. Items from local estates arrive after deadline. Many diversified and fresh to the market offerings

Phone and absentee bids always accepted and welcome. Reasonable 15% Buyer’s Premium. No Reserves, No online bidding. Seat Reservations are Recommended. Call or text 774-571-8263 or coylesauction@verizon.net

Visit www.coylesauction.com and link to Auction Zip for photos and descriptions.

SESSION 1 AT 2:30 PM RUGS AND CURIOSITIES: 12+ Oriental rugs, costume jewelry, 2 lots of leaded soldiers, Coronation tins collection, antq jacquard coverlet lots, 19thC quilt made from cigar ribbons, interesting lot of Mukluks one with fur, embroidered piano shawls, last group of antique bisque dolls from collection to include K&R, Simon Halbig, Heubach Koppelsdorf, Handwerck etc., prints and art, interesting lots.

SESSION 2 AT 5:00 PM -- FURNITURE: Fine antique Rosewood labeled credenza with Wedgwood inserts & carved columns, antique mahogany Georgian sideboard, beautiful lg. heavily carved oval marble top Chinese table, inlaid antique card table “Seymour”, unusual vintage Black Forest bench with carved bears, antique inlaid Hepplewhite card table, unusual Antique NH inlaid bowfront server w/tambour doors, nice group of antique carved German furniture originally from Wiesbaden villa to include carved 18th C Kas Dowry cabinet with fine details, heavily carved oak corner cabinet with barley twist columns, great 3 part oak court cupboard w/carved bird doors and griffins, 7 pc carved oak dining set with carved animal base, carved oak grandfathers clock, Oak server with carved birds, all in exc condition; in addition 2 part Adams style cabinet, Wallace Nutting ladder back armchair, antique NY sewing stand, 2 part antique flat top highboy (restored), 17th C Spanish table with drawer, antique NH mahog tall clock w/nice inlay attr to “Cole”, fine rosewood Regency music cabinet, signed Eldred Wheeler oval

table, , 4 heavily cvd oriental chairs with marble backs and carved figures, Wm&Mary style settee, custom Regency style mixing table w/heavy slate top, fancy China trade trunk, 18th C Baroque Bed w/tall columns, and more. ITEMS OF SPECIAL INTEREST: Aux Etas Unis Paris vintage leather suitcase, early Victorian full size ornate wicker child’s stroller with parasol ACCESSORIES: 8 beautiful Austrian/French cabinet cups and saucers with hand painted figures, Russian lacquered tea caddy with sleigh scene, clock set with black marble and bronze with head of Mercury and side urns, 15” signed Jaeger Promethius bronze figure, 17th C carved bible box, 7” double handle Roseville Wisteria jardiniere with orig paper label, 18” bronze figure Louvre Museum copy, Worcester china, 6 tune Rosewood inlaid music box, Asian porcelain lots, framed Samplers, oak tantalus w/bottle, antique coverlet lots incl Liberty Wm Ramsey May 1841, etc. Rosenthal “Sanssouci” dinnerware set for 12, 22” Zinc lion head, Asian porcelain, and much more, 14” marble Corinthian statue, Stoneware Bird crock, Chinese carved painted plaque, Place setting for 12 Wedgwood Florentine in navy blue, silhouettes, Meissen floral tea set, cut glass lots, Imari, HG Selb vase, Asian lamps and porcelain, and much more. SILVER and Jewelry: Sterling Silver punch bowl Walter Walker and Brownfield Tolhurst C1891 (12.75” Diameter and 8” height), Tiffany and Co. Sterling flatware set 12 place settings, Sterling silver flatware sets, place setting for 12 of 800 silver in fitted box, 4

piece 800 silver tea set, 835 footed silver bowl, many nice lots of sterling silver, jewelry and more.

ARTWORK: Antique portrait of lady in bonnet, Pr. early portraits, 2 antique miniature portraits, portfolio and framed etching lots by Peter Halm, w/c skier Churchill Ettinger plus 2 lithographs, Venetian scene o/c Cosimo Privato, W. Clare still life o/c, P. Roder o/b sailboats, Sm. o/b Old Master painting manner of Michelangelo Caravaggio, MCM abstract print Sounding IV Jack Sonenberg, Chinese scroll w/dog, still life Suger Zsuzsa, Portrait of German textile industrial merchant, 2 o/c signed Daviniere (John), Icart print, oval portrait Continental gentleman, Mid-Century style art, 4 panel Japanese painted screen, prints, etchings, signed and unsigned artwork etc.

TERMS: M. Coyle Auction Lic 2369, Cash/check/MC&Visa 508-733-6868, No Food will be offered 15% Buyer’s Premium –ABSENTEE AND PHONE BIDS WELCOME, just call 774-5718263 to arrange. No Online Bidding. www. coylesauction.com

DIRECTIONS: Sale held at the VFW Post 1526, 123 Holliston St., Medway, MA off Route 109 Email: coylesauction@ verizon.net www.coylesauction.com

Tiffany & Co. Sterling silver atware set for 12 plus other sterling atware

17th C Spanish table with drawer

Antique Rosewood credenza with Wedgwood inserts and maker’s label

Small Old Master oil plus other artwork Estate Accessories including black marble and bronze clock set

Heavily carved oval marble top Chinese Table

Pair of hardwood carved settees Early Victorian full size ornate wicker child’s stroller with parasol (50” length)

Antique NH mahogany tall clock with nice inlay (Attributed to “Cole”)

Aux Etas Unis Paris vintage leather suitcase

Still life oil on canvas signed W. Clare Sterling Silver punch bowl Walter Walker and Brown eld Tolhurst C1891 (12.75” Diameter and 8” height)

Antique mahogany Georgian sideboard

Several antique portraits Oil on canvas of gentleman

New York antique mahogany stand

carved oak corner cabinet with barley twist columns

Antique inlaid “Seymour” card table

Antique inlaid card table

8 Austrian/French cabinet cups and saucers with hand painted gures

17th Century carved bible box Unusual vintage black forest bench with carved Bears

Nice selection of Asian porcelain and pottery

Oak 3 part German Court Cupboard with carved birds and grif ns

Unusual antique inlaid NH bowfront server with tambour doors

Set of 4 heavily carved armchairs with marble backs

– 4 pad feet – Drew, stands include 1 drawer w/New York legs, 1 drawer w/gallery, bird cage tip table, oval stand , set 4 green stenciled Hitchcock chairs, 3 arm chairs – Nickels & Stone, small bench & other small pieces of furniture, Misc. quantity of cut glass – bowls, vases, curets, etc., decanters, lg punch bowl w/cups, collection of pattern glass goblets, hand painted china, Waterford stemware, Cambridge glass, cups & saucers, lg. collection – over 70 steins & bottles including lg. German w/embossed figures, Metlack, Geschutzt & other names, Royal Doulton Penguin bottle, Jim Beam elephant & donkey bottles & other figure bottles, tall showcase, counter show case & Long counter showcases, wood marbles, oil cloth doll, 3 sm. sewing machines w/boxes, sewing items, Steiff dog, bear, antique quilts, pineapple pattern, poinsettia, wedding ring & more, Antique quilt box, grained box on feet, sm. Trunk/boxes, crock w/blue E-LP Norton #3, gardener stone ware #2 w/swan (X) decorated xmas items, coin spoons, tin foot warmer, some silver plate, mirrors – 2 pt, OG, Curly maple, lamps, set 3 volumes of Indian Tribes of the United States – R School Craft LLD – JSS by S. Eastman USA Captain of the US Army 1845 – 1857, baseball cards, framed needlework – Eveline C. Smith, Mary Jane Crawford & others, pts. On velvet, Cromo-horse & wagon & other art work, Rugs – Antique Oriental rugs, cement garden items, patio table & benches.

SPECIALS: Wood fireplace covers, 1 w/bricks, 1 w/landscape, Sulky racing cart – original yellow paint, 2 early gravestones 1764 & 1759, 24 flats of high-end costume jewelry – rhinestones, beads, gems including qt of pins, bracelets & necklaces.

THIS IS A FULL AUCTION

This auction features over 525 lots of:

Fine art and works on paper, highlighting pieces by notable artists such as Michael Graves, Hannes Autere, Walter Heath Williams, George Harrington, Sterling Strauser, Kiyoshi Saito, George Negroponte, and more. The collection includes 12 portrait paintings and seven lithographs by Harry Gottlieb.

30 lots of outdoor furnishings, showcasing iron urns and benches, concrete cast garden figures, and items from Smith & Hawken and teak.

Decorative accessories include 22 lots of bronze figures by artists including Albert Moritz Wolff, Paul Romaine Chevre, and Nicolas Lecorney, as well as enameled trinket boxes. The auction also features 30 lots of silver, with pieces from Tiffany & Co., Cartier, French Champleve, Steuben, Galle, Royal Vienna, Herend, Villory & Boch, as well as majolica, Pietra Dura, Amphora, French porcelain, and Waterford. In addition, there are over 15 lots of books.

Furnishings include a Steinway Baby Grand Piano, artistic frame chairs, and pieces by Maitland Smith, Barbara Barry for Baker, Clive Christian, Biedermeier, Irwin, Thomas Pheasant, and Stickley. The auction also features period furnishings, including Sheraton, George III, George IV, Victorian, and Chippendale styles, along with 18 lots of carpets.

Provenance:

• Collection of Steven and Paula Schimmel Woodstock, Connecticut

• Thomas F. Vanderbeck Revocable Trust Haddam, Connecticut

• Estate of Michael and Elizabeth Ponak Pomfret Center, Connecticut

• Gentlemen’s Estate Watch Hill, Rhode Island

• Estate of Sheila Shevin of Rye, New York

• Property of a New Jersey Private Collection

• Kennedy Galleries, Inc. New York, New York

1 of 12 Portrait paintings

Maitland Smith, ht 48”

Artistic Frame, retail 13k

Chesterfield, lg 64”

George Negroponte, Gouache, 22 1/2x18”

Outdoor cast iron, 1 of 2 benches

Outdoor iron, 1 of 20 lots

Paul Romaine Chevre, bronze, ht 29 1/2”

Silver & Enameled, ht 2 1/2”

Albert Moritz Wolff, bronze, ht 11 1/2”

Kiyoshi Saito, woodblock 16x21”

Lalique, 1 of 3 lots Cartier, 1 of 30 silver lots

Black Forest carving

1 of 20 book lots

Majolica, 1 of 10 lots

Tiffany & Co, 1 of 4 lots

French Opaline

Steinway Baby Grand

Barbara Barry for Baker, wd 72”

Rene Margotten, o/c 18x24”

French Champleve, lg 15”

Magnificent Mahogany

Minority Leader, Hugh Scott of

O.O.C. by Guy Wiggins of East River Charles Herbert Woodbury “A Beach Scene”

O.O.C. Robert Lee Martin Lane Coll.

Norman Price “The Rake & The Hussey” From “Part 4 –The Red Bird”

GEORGE COLE AUCTIONS

FURN: VICT: 2Pc Walnut Bed Set - Bed 6’10”H x 59.5”W W/ Matching Marble Top 3-Drawer Dresser, Thonet Bentwood Cradle On Stand, English Mahog 3-Door Armoire, Walnut Marble Top Step Down Dresser, 2 Walnut Marble Top Tables, Walnut Marble Top 1-Drawer Over 1-Door End Stand, Walnut Marble Top 3-Drawer Chest, Walnut 3-Drawer Chest, Walnut Marble Top 1-Drawer Over 2-Door Cabinet, Bradley & Hubbard Alabaster Top Brass 2-Tier Stand & 2-Tier Stand, Walnut Sewing Stand, 7pc Walnut MOP Inlay Parlor Set Etc... PERIOD: 17th/18thC Carved & Inlaid 2-Door Continental Armoire 6’5”H x 55.5”W x 28”D, Empire Chests and Tables, Prim Dry Sink, 18th/19thC Marquetry Desk, etc... OAK: Great Stick & Ball Shaving Stand, Carved Hall Stand, 3-Section Stackable w/2 Of The Sections Having Sliding Doors, 6’3”H x 33”W x 14”D, 3-Section Stackable W/Sliding Doors 7’8”H x 37”W x 12”D, 5-Section Stackable 5’8”Hx25.5”Wx11.5”D, 5-Drawer Dresser, Curved Glass China Cabinet, China Cabinet, Limbert Side Chair, c1915 Linen Fold & Foliate Carved 1-Drawer Over 2-Door Cabinet, Brunswick Arts & Crafts Style Billiards Table, Simplex Time Recorder Co Clock, etc... INDO & CHINA: 19thC Teak Rice Storage Cabinet, Chinese Teak 6-Fold Screen 6’10”Hx17”W Each Section, 19thC Teak Bench 51”Hx59”Wx22.5”D, Carved Camphor Chest, Pr Heavily Carved Teak Panels 15.5”H x 4.5”W, Teak Coffee Table 18”Hx62.5”Wx37”D, 2 Teak Coffee Tables W/Wrought Grate Tops 17.25”H x 53.5”W x 29.5”D + 15.5”H x 43.5”W x 23.5”D, Rosewood Carved Chair, Lg Mahog Blanket Box, Teak Dining Table 30”H x 63”L x 36”W, Set 6 Teak Dining Chairs, Rosewood Coffee Table, Teak Blanket Chest, Teak & Wicker Reclining Lounge Chair, Teak & Wicker Armchair W/Swing Out Arms, Teak Inlaid Marriage Blanket Box, etc...

OTHER: 30’s Floral Carved Frame Sofa & Chair, 30’s Walnut Swan & Dolphin Carved Arm Sofa, +3 Armchairs, 30’s Carved Figure Support Club Chair, Walnut Heavily Carved Club Chair, Pr Adam Style English 3-Drawer Demilune Chests W/Hand Ptd Decoration, English Mahog Sideboard, Empire Style Mahog Marble Top Pier Table, Set of 6 QA Style Uphols Armchairs, Empire Style Settee, Set 8 Uphols Parson’s Chairs, Flexsteel 7’ Sofa, Pr 6’ Uphols, 6’ Sofa, Vanguard Craftwork Sofa Bed, Set 6 Modway Black Velvet Chairs, Set 6 Coaster Chrome Frame Uphols Chairs, French Bombe Marble Top Marquetry 2-Drawer Chest, Metal Grain Ptd 3-Section Stackable Bookcase 50”H x 32.75”W x 13”D, etc...

PREVIEWS: FRI. 8/23,

8/24, 1PM-4PM and

In-Person Other Days By Advance Appt Preview Online 24/7

PICKUP: SUN 8/25, 10AM-NOON MON 8/(26-27-28), 10AM-4PM After That M-F, 1-3PM

OUTDOOR: Snapper RE-210 Riding Mower, Craftsman 4.75HP Lawn Mower, Duro Max Duel Fuel Hybrid Elite XP12000EH Generator, Dewalt 4000 PSI Power Washer, Black & Decker Edger, Weed Wacker, Leaf Blowers, Push Mower, etc...

EQUIPMENT: Lex Air Turbine LX-50A Paint Sprayer, Craftsman Table Saw, etc...

SMALLS: Coll 38 African Masks to Incl: Bateke, Don, Dogon, Marka, Mohongue, Bakuba, Baule, Ashanti, Soryge, Etc... Coll 10 Khmer Bronze Deities: 4’, 13.5”, 12”, 9”, 7.5”, 5.5”, Etc... Antique Cambodian Pottery Vessels, 2 Antique Cambodian Glazed Stone Ware Bowls, Matt Moulthrop Sgnd Red Maple Turned Wooden Bowl 8”H x 14.5” Diam, Cambodian Glazed Pottery Vessel 31”H x 28”Diam, Schildge’s Early 1800’s Pottery Ocarina Vintage Leaded Glass Shade Table Lamp, Vintage Slag Glass Table Lamp, 3pc 19thC Bronze Girandole Set, Vintage Emeralite Brass Desk Lamp W/Green Case Glass Shade, Vict Embossed Green Glass Shade, Pr Wooden 6-Arm Chandeliers 24”H x 24”Diam, Pr Wooden & Wrought 6-Arm Chandeliers 32”H x 24” Diam, Etc... Vintage Life Boat Binnacle, Arts & Crafts Oak Humidor W/Hammered Wrought Strap Applique, 20thC Bronzes - Battling Stags Sgnd C. Majdon 10”H x 16.5”W x 7.5”D, Deco Bronze Of 2 Women Sgnd 14”H x 10”W x 4”D, Bronze Of Woman W/Dog Sgnd Lornzl 14.5”H x 8.5”W x 4.75”D, Civil War Bayonet, Vintage Sword, 3 Sets Of Spurs, 68Pc Noritake “Castella” Dinner Svc Toscany Cut Glass Punch Bowl W/12 Glasses, St Louis Cut Glass Decanter, Quilts, Andirons, etc...

EPHEMERA: Lg Coll Autog Photos Herbert Hoover, Edgar Hoover, Eisenhower, Nixon, Bill Clinton, Barbara Bush, Dale Evans & Roy Rogers, Albert Schwitzer, Frederick March, Howard Chandler Christy, J.C. Penny, Astronauts Jim Irwin, Ed White, Artist Bill Keane, Etc... Post Cards Incl Local - Pack of F.D. Roosevelt Historic Site, Baseball Cards, 2 Indo Scrolls 65”x14” + 19’4”x22”, Etc... Quantity Vintage Records Incl: Rock Crooners, Rarities, B-Way, etc...

ARTWORK: Diptych Oil Pastel Drawing Sgnd Beard (Mark) ‘84 Paris 25.5” x 39.5”, Framed Multi-media “Shells” From Changeling Series 1982 36”x36” Sgnd George Miller, Seriograph La Vie Francais Pencil Sgnd Isaac Maimon AP 14/50, Seriograph “In The Cafe” Pencil Sgnd Zule 42/395, Pr 18thC Hand Colored Italian Engr - The Vatican + A West View Of Town Of Bilbao + Vizcaya, Etching Pencil Sgnd Keiko Minami, Litho Floral Still Life

Pencil Sgnd Gabriel Pans, Litho Abstract Pencil Sgnd Mogens Balle 28/45, Litho Abstract Pencil Sgnd M Mouley 22/100, Litho Sgnd H Van Moe 14/18, 2 Thomas Kincade Lithos - Victorian Christian II + Hometown Lake, 2 O/C Sgnd Alphonse Fritzner, 2 Lithos On The Trail To Fort Pitt + We Have Company Sgnd Robert Griffing, 2 O/C Portraits Of Norman Vincent Peale & His Wife, Framed Tibetan Thangka, Framed Photo NYS Senate 1886-7, etc...

CLOTHING: Vintage Incl Montalto, Alma, Mr Simon, Georges Marciano, Toni Lynn, Hanae Mori, etc... + Vestment Of Norman Vincent Peale, etc...

RUGS: 9’x12’ Serapy, Kilim 7’5” x 9’8”, Kurdish 3’1” x 11’8”, Persian 3’3” x 13’, Bashir 5’9” x 10’, Kurdish 4’9” x 6’11”, Peshawar 2’4” x 13’9”, Needlepoint 5’x8’, Maroccan 4’10” x 7’2”, Needlepoint 2’6”x10’, Karastan Shapura 5’9”x9’ Hamadan 4’5” x 6’11”, Kilim 6’4”x9’11”, And Other Semi-Antique Runners & Scatters, etc...

PARTIAL LISTING! MANY OTHER ITEMS THAT AREN’T LISTED HERE – FULL CATALOG WITH PICS IS POSTED ONLINE WAITING FOR YOU RIGHT NOW!!! For More Info Visit Us At: www.georgecoleauctions.com or call (845) 758-9114.

DIRECTIONS: Just N. Of The CVS On Rt 9 In Red Hook, NY 12571. (~¼ Mile N. Of Intersection W/Rt 199) AUCTIONEERS & APPRAISERS: George W. Cole & Robin B. Mizerak, & Elmer LeSuer.

TERMS: Cash or known check… Bidding Directly With Us - 20% buyer’s premium, For Live Online Bidding: Our Website 23%, Bidsquare.com 24%,

Sampling Of 30’s Carved Upholstered Furn

Oak Shaving Stand & Thonet Bentwood Cradle

Diptych Oil Pastel Drawing Sgnd Beard (Mark) ‘84 Paris

Sampling Of Indo Furn & Items

Sampling Coll Cambodian Khmer Bronzes & Pottery Incl 49” Bronze Prajnaparamita & 32” Stoneware Vessel

Sampling Og Large Coll African Masks

Several Vintage Stackable Bookcases

Woke

Tuesday, August 27th

Walter Matia

Thomas Quinn

Southwest Indian Baskets

Robert Brackman

Prep Chic

Over 50 Period Frames

Onyx and Champleve

Le Tallec Private Stock Large Collection of Bronzes

Lanford Monroe Jade

Early American Portraits

Baccarat

Antique Chinese Furniture

1 of 2 Portraits by Henriette Wyeth

Antiques and Collectibles consigned fresh to the market from local estates.

Hall tree, 3 piece parlor set, MT coffee table, Loveseat, Child’s sleigh, Wicker carriage, 15 hooked rugs, Lamps, Shirley, Worcester, Clinton, Sudbury and other town histories, Bisque, Jill, Ginny, and other dolls, Leaded glass, Sterling silver, Iron Fire Hydrant, wood shaft golf clubs, Cut glass, Civil War and other books, Jade elephant, Steiff animals, Horns, phonographs and cylinder records, Paintings by Stanton Webster, L. S. Novak, Leon Roger’s, Leon Girardet and others, CW, C&I and other prints, etc.

This is a live auction, no internet. Phone and absentee bids welcome. More photos on Facebook and Auction Zip.

or Known

TWO-DAY ON-SITE PUBLIC ESTATE AUCTION!

SATURDAY,

AUGUST 17 & SUNDAY, AUGUST 18, 2024

Rain or Shine under the

We will start the LIVE AUCTION at 10am on Saturday (inspection will be at 9am). We will start Sunday’s auction at 1pm (inspection at 12noon).

The parking will be right next door at Our Lady Of Lasalette Church. We will be respecting their mass schedule on both days and would like to thank these fine people for understanding our situation. WHERE IS THIS AWESOME AUCTION GOING TO BE? #33 Providence Rd (Rt.6), Brooklyn Center, Brooklyn, CT Off street parking available at the church mentioned above. Please watch for AUCTION ARROWS!!

Don’t forget to GOOGLE “auctionzip gaudreau” or go to auctionzip.com & punch in auctioneer ID# 14151 to check out the HUGE PHOTO GALLERY & additional info. Gaudreau’s Auction Company has been consigned to respectfully sell the contents of this well-established country estate that has been in the same family for over 100 years. THIS WILL BE A FULL TWO-DAY SALE. Absentee bids can be arranged, items can be requested for those that are short on time & phone bidding is available with advanced notice. We look forward to seeing YOU there!

VERY PARTIAL LISTING FOR DAY 1

The first day of this sale (starting at 10am), we will be focused on selling A HUGE amount of small items, outdoor items and special requests. This is just a very partial list to give you an idea: Gabriel angel weathervane; iron garden urns; fancy iron youth outdoor table and chairs collection of LLADRO figurines; costume jewelry; stoneware, jugs and crocks; clocks; German dolls; 18th century copper items; sets of china and dinnerware; sterling flatware set; vintage clothing, hats, hatboxes and related items; decorative statues; head vases; busts; pitcher and bowl sets; gilded box collection; lamps and lighting; fantastic collection of perfume bottles and compacts; glass hats; glass shoes; loads of vintage kitchen items of all eras; several black Americana collectibles; military helmet collection and the list smaller items and oddities goes on and on.

VERY PARTIAL LISTING FOR DAY 2

Much of the second day (starting at 1 pm) will be a walk around auction. It would not be possible to carry everything out in the time we are allowed. We will be selling all of the beautiful, mostly Victorian furniture, loads of good paintings and framed prints; small and large framed tapestries. Gorgeous black walnut marble top bedroom set with carved mountaintop style headboard; twin brass bed; (7 bedrooms of furniture) china cabinets; 2 (two) important individual second period Louis XVI vitrine glass curio cabinets with heavy bronze accents and hand painted panels. One of the is ebonized on the top portion and the other is the burl walnut style; wonderful dental cabinet with many drawers large oak icebox in very good condition, marble top stands, dressers, stands and tables; dressing screen; walnut hall tree; set of 4 mid-

century matching metal chairs by DOEHL metal furniture Co. NY NY; Fancy Walnut hat tree; large glass door walnut cabinets; Victorian sofas and chairs, etc.; many framed Cream of wheat advertising pieces; huge collection of hand colored French fashion Gody girls and other French fashion colored framed prints; many, many misc. framed prints; miniature collections that we are leaving on the walls. Again, the list goes on and on.

This estate is loaded with premium items, again, too numerous to list. This is another sale you shouldn’t miss! 15% Buyers premium on all sales / Light refreshments on site / Absolute auction!! PAYMENTS: DAY OF SALE. CASH OR GOOD CHECKS WITH PROPER ID, SORRY, NO CREDIT OR DEBIT CARDS.

CHARLES STREET AUCTION

presents

Decoys, Bird Carvings, and Ornithological Art from the collection of W. Ted Davis, Jr. A distinguished ornithologist, Boston University Professor and Nuttal Club at Harvard member. Decoys and bird carvings by Crowell, Collins, Pelletier, Peltz, Swift, Sutton, Sparre, Mueller and 100 others. • Artwork by Thorburn, Wilson, Gould & Richter, and an original 1831 Audubon.

Early Americana, Rare Sporting Collectibles and Antique Military Items from the collection of a Gentleman Retired Doctor.

Rare Colonial Americana including currency. Early stone objects include a meteorite. • Fish decoys, Trout carvings, fly rods, reels, Orvis and Shakespeare glass minnow traps and other items. • Antique sporting arms, an extensive collection of Knives, and Marble’s axes. • Antique flintlock and percussion long arms, pistols, swords, axes, tomahawks, powder horns, powder flasks and tins. • U.S. Military collectible items including a collection of distinguished service medals.

ONLINE AUCTION

Preview, absentee bid, and bid through LiveAuctioneers. Register early – Live bidding begins on SATURDAY, August 24th at 10am

To register for limited phone bidding, call 508-209-4512

Now accepting consignments for our next sale

Charles Street Auction | 2 Charles Street, Sandwich, MA 02563 | Auctioneer license #255

Saturday, August 24th, 2024 at 9:00 a.m.

In person preview is August 22nd & 23rd from 10-5:00

Our Summer 2024 online auction features bronze sculptures from Jud Hartmann, Lorenzo Ghiglieri, Bill Toma. Other highlights include 1911 T3 Turkey Red Cabinet Cards, 1938 Goudey Heads Up Baseball Cards, Chilmark sculptures, graded coins, advertising items, sterling silver presentation bowls, and more. See our entire catalog at danajtharpauctions.com. Register and bid live at liveauctioneers.com and Invaluable.com, or call us directly to leave absentee bids or to be a phone bidder. There is no in-house bidding the day of the auction.

ANTIQUE AUCTION

FRIDAY, AUGUST 23 AT 6 PM

Fine Art: Paintings: William Trost Richards (18 x 31), HenryJean Guillaume Martin, Charles Francois Daubigny, Walt Kuhn, Peter Busa, Mark Meunier (2), Maurice Kennedy, Bill Ely (9), George Van Hooks, Stanley W. Woodward, John Paulus Semple, Ben Drabeck (6), D. Torhole, Jacqueline M. Lafaurie, Bernice Webster, Arthur Hann (4), Robert Lynn Lambdin, Gardener Cox, Lilla Sorrenson Woods, Roger W. Dennis, Arthur Cohen, Albert D. McBeth, Scott H. Terry, George Albert Thompson, Vadim Dolgov, Helen Marshall, Charles Bigelow, Dennis Westerling, Roger Dennis, Marie Day Alexander, J. Thomas, R. Higgins, Robert Gwelo Goodman, Inga-Hill, Ruth M.Searing, August Henry Nordhausen, Mary Dogatko, Oley Lovett, Theodore S. Slafter, Agnes Rylander, Edna Martin, Bill Steve, R. Gardiner Cox, Sophie Trent, Sidney Carter, Rosina M. Dondero, and unsigned paintings. Prints: Joham Jacob Haid, Charles Prendergast (Cow), James Daugherty, John Taylor Arms, Barbara A. Wood, Itzchak Tarkav, Ruth Adler, Allen Stern, Rosemary Feit Covey, Emmons Brown, Ann Semprebon, John Henry Amschewitz, John L. Loughlin, Bill Stone, Sculpture: Bergman winged victory bronze, Gleb Derujinsky Neptune bronze, Thomas Holland Plaster and more.

Furniture: Early: Blanket chests, open cupboard, and wall

cupboard, Sheraton candlestand and card table, dough box on legs, floor Vitrines, aesthetic pedestal, oval top painted stand, and more.

Glass and China: Lalique “Bacchantes” frosted vase, Moser “Animor” elephant vase, Argy-Rousseau “Tragi-Comique” lamp, 2 large hand painted chargers signed S. Jackson, 15 pcs of Steuben including figurines vase and bowls, cut glass trays, Royal Worcester creamer, vase by Correia, Moser glass, vase with applied alligator, Victorian glass, 2 sets fish plates, large goblet with fox hunting scene, 48 pc Royal Doulton “Rovenna”, teapot by Holly Ann Collins, Yellowware, examples of Lalique, Daum, Holmegaard, Meissen, Moorcroft, and Val St. Lambert, paperweights, 76 pcs Rosenthal decorated by Picard, 31 pcs. Wedgwood “Edme”, and more.

Steins: Collection of 40+ including 21 Mettlach, regimental, figural, glass, and more.

Asian: 18th c. carved wood seated figure, blue porcelain charger, Satsuma standing figure, Chinese famille rose bowl and vase lamp, Japanese mixed metal charger and cloisonne, lacquered tray and more.

Silver: Sterling: Large pair of English vase lamps with repousse scenes, Tiffany tray, soap dish, spoons and box,

Th. Starr repousse pitcher, Howard tea set, 13 pc Mauser dessert set, 12 plates by Meriden, George Sharpe ornate nut spoon, other holloware by Gorham, Dominick & Haff, S. Kirk, International, Alvin, French miniature chest on frame, sailboat, coach, and carriage, 2 cow creamers, Iranian tray, jewelry box, English goblet by George Angell, coin silver including punch ladle and spoons by Henry Hebbard, and spoons, and more.

Jewelry: 14k & 18K rings, cuff links and pin.

Autographs: George Clinton, Darius Milhaud, Henry Wadsworth Longfellow, Ralph Waldo Emerson, James Russell Lowell, Theodore Roosevelt, Stanley W. Woodward, Oliver Wendell Holmes, Fritz Kreisler, Owen Wister

Accessories: Outstanding KPM porcelain plaque (16 x 13) of the Immaculate Conception, Bradley and Hubbard reverse painted lamp with dolphin fish base, Tiffany carriage clock, Attr. Tiffany brass art nouveau center bowl, Russian silver plated bronze figure on lapis base, cloisonne lamp and garnitures, stone mosaic leather box, Kachina doll, basket collection including Shaker example, Chippendale and picture mirror, Franklin style stove, and more. Oriental Rugs: Antique and modern room size and scatter sizes.

PREVIEW: THURS. 8am–4pm & FRI 8am–6pm

2294 ABEL LAUVRAY, Paysage de Provence oil on linen with estate stamp

3076 DON STONE (1 of 2) White Head, Monhegan, oil on linen

2199 GEORGE INNESS (1 of 3) oil on canvas, signed lower right