Antiques and The Arts Weekly 10-18-2024

October 18, 2024

SERIOUS MISCHIEF WILD THINGS

The Art Of Maurice Sendak

Q&A: Trevor Brandt

Aestheticism Brings $1 Million For Stair

Setting The Table With Grogan — Asian Antiques & Silverware Lead September Sale

Storms & Sales At Cape Cod Glass Show

China, India & Thailand Represent In Heritage Asian Art Auction

It’s Raining Cats & Dogs At Treasureseeker

183rd Original Semi-Annual Show— Grand Old Show Of York

Lockwood Mathews Flea Market Gets Great Weather, Good Crowd

Fine Art Flourishes In Carlsen Gallery’s Anniversary Auction

American Art & Aesthetic Movement Are The Move For Peterborough

First Major US Exhibition On Early Sienese Art

ETHNOGRAPHIC ARTS WEEK

Public Exhibition: October 25, 26, 27, 11AM-4PM

Join Us! Exhibition Reception: Sunday, October 27, 1PM to 4PM | Special Guest Speaker: Amyas Naegele, 2PM

Day 1: The Thomas Wheelock Collection Of African Art

Live Showroom Auction: Monday, October 28, 2024, 11AM ET

Day 2: Ethnographic | Tribal | Ancient | Asian Arts

Live Showroom Auction: Tuesday, October 29, 2024, 11AM ET

Antique Naga Konyak Sculptural Group, Eastern Himalayas/ India, Northeast Nagaland, Ht. 45”

Monumental Antique Chinese Landscape Painting, bearing the signature of Yuan Jiang (1662-1735) and dated 1698, 52’’ x 80’’

Ancient Southeast Asian Khmer Carved Stone Deity Figure, H: 27.5”

Pre-Columbian Colima Pottery Dog Effigy Vessel

International Textile Arts

Fine Pair of African Yoruba House Posts, Ht. 91”, Attributed to Aina Obembe Alaaye (Nigeran, about 1869–1939)

Live Showroom Auction: Tuesday, November 12 | Public Exhibition: November 10, 11, 11AM-4PM

Large Ceremonial Poncho, Dept. Cochabamba, Early 19th C.

Llacota Mantle, Aymara Culture 17th/18th C. 3’9’’ x 2’11’’

Antique Ceremonial “Tapis” Textile, Lampung, Early 20 th C.

Fine Folk Outsider

2 African Kirdi Cache-Sexe Beaded

Apron, Cameroon, Early/Mid 20th C.

Chakana, Aymara Feather Mosaic, Dept. of La Paz, Late 18th - Early 19th C.

Live Showroom Auction: Monday, November 18 | Public Exhibition: November 15, 16, 17, 11AM-4PM

David Lynch (American, b. 1946)

“Woman With Striped Leg,” 1968 Acrylic Painting on Canvas

Thaddeus G. Mosley (American, b. 1926)

Untitled, Carved Wood and Metal Sculpture

Harry Bertoia (Italian/American, 1915-1978)

“Willow,” Stainless Steel Sculpture

Robert Williams (American, b. 1943)

“Perplexities of the Adult World” Mixed Media Painting on Canvas

Fine Rugs And Carpets From American Estates

Sadegh Tabrizi (Iranian, 1938-2017)

Untitled, 2009, Mixed Media Painting

Live Showroom Auction: Wednesday, November 20 | Public Exhibition: November 17, 18, 19, 11AM-4PM

Featuring the Abraham Moheban & Son Collection

Iconic and Rare Flatwoven Turkmen Wedding Cover (Shadda), Transcaspian Region, Ca. 1800, or possibly earlier, 5’6’’ x 13’6’’ (168 x 411 cm).

The only other known or published example to our knowledge is in the Russian Ethnographic Museum, St. Petersburg.

See HALI Issue 176, 2013, pages 38-39.

Provenance: Abraham Moheban & Son Collection, New York

Extraordinary Bwa Mask, Burkina Faso, L: 14’5”

Lobi Figure, Burkina Faso, H: 2’10”

Monumental Bobo Antelope Mask, Burkina Faso, H: 47”

Nuna Hornbill Mask, Burkina Faso, L: 26”

Bobo Kobe Antelope Mask, Burkina Faso, Ht: 3’6”

Annual Fall Fine Art & Antiques

Sunday, October 27th at 10 am

Previews: Wednesday 23rd - Saturday 26th  10am-3pm & Sunday 27th 8-10am or in advance by appointment.

Join us for this fine art and antiques sale of 625 lots, beginning with 250 lots of jewelry and fine silver, followed by the antiques and fine arts portion of the auction that includes over 200 works of fine art, period furniture and clocks, ephemera, art pottery and estate carpets. Catalog online, bid at our website, in person at the gallery, or at liveauctioneers nvaluable i

Harrington & Kingsbury, Spencer Mass, 1797 London, 17th C.

Laxman Pai, several works

George Nelson for Herman Miller

Early Galle

Edward S. Curtis

Tiffany Studios Lamp

Ralph Cahoon

Teng-Hiok Chiu

Enrico Meneghelli, Boston Faneuil Hall

Natural Untreated Burmese sapphire

Taxile Doat, Sevres

Herman Herzog

Laura Coombs Hills Simeon Solomon, 1889

Assorted Handbags and Couture

1.02 CT Tiffany Solitaire

Cartier diamond, emerald & coral Art Deco carved emerald Roberto Coin

Tiffany for 1893 Columbian Exposition

Clarissa Peters Russell, atrib.

Period American clocks

Andy Warhol “Mick Jagger” signed

Sears Gallagher, Monhegan

William J. Kaula, New Hamsphire

Tee Yee Neen Ho Ga Row, 1710 hand tinted mezzotint

Chinese accessories

Weathervanes ex. Myrna Kaye

Colonial Latin American paintings Fine Estate Silver -Tiffany 24in tray

463 East Lancaster Avenue Downingtown, Pennsylvania 19335 P: (610) 269-4040 info@pookandpook.com www.pookandpook.com online bidding on: PookLive, Bidsquare & Invaluable AY000004L

Trevor Brandt

The nonprofit e-journal and information center for all things traditional American folk art and Americana, Americana Insights, has just released the second volume of its annual series dedicated to presenting the latest research and discoveries on traditional American folk art and material culture: Americana Insights 2024. Its predecessor was featured in a 2023 Antiques and The Arts Weekly book review. Now, a year later, Antiques and The Arts Weekly is catching up with managing editor, Trevor Brandt, to get an inside scoop on the newest volume, and what else Americana Insights is up to.

Congratulations on the completion of the second volume of Americana Insights! Could you give us a preview of what to expect from the 2024 iteration?

Americana Insights 2024 ranges even further afield than our first volume. This year’s book spans from Appalachia to the Atlantic Ocean, with topics including early Eighteenth Century Cherokee rivercane baskets, French American samplers, New England folk artist Sturtevant J. Hamblin, the almshouse paintings of German immigrant Charles C. Hofmann and the display of antiques on mid Twentieth Century ocean liners. Other topics include Pennsylvania German fraktur, carousel carving, carriage signs, quilts and game boards. There is truly something for every enthusiast of Americana within this year’s book! We are also proud to have employed a professional decorative arts photographer to shoot the objects included within Americana Insights 2024. The images in this year’s volume look absolutely stunning, and they make Americana Insights 2024 a wonderful addition to anyone’s library!

What did you contribute to Americana Insights 2024?

I authored an essay within Americana Insights 2024 based on my research at the Newberry Library in Chicago. This essay examines the wildly ornate yet unstudied “decoupage” fraktur of the artist Friedrich Krebs (circa 1749–1815). Krebs, a former Hessian mercenary during the American Revolution, was later a prolific fraktur artist in southeastern Pennsylvania. Beginning in 1790, Krebs began to purchase expensive, imported German gilt wallpapers from merchants in Reading. He would then cut and paste figures from these wallpapers onto his fraktur, creating shimmering, almost three-dimensional objects. I am especially happy to have included some truly outstanding images within the essay, including professionally shot photographs of the fraktur certificates and examples of the Eighteenth Century wallpaper still preserved at museums in Germany. I will be speaking on this essay at a few upcoming events. On October 22 at 7 pm I am lecturing at Historic Trappe (St Luke’s, 200 West Main Street, Trappe, Penn., 19426), free and open to the public. I will also speak with my co-author, Christopher Malone, at 2 pm on November 17 at the Delaware

Antiques Show. Our new books will be sold at both talks. If you are in town, be sure to attend!

What are some of your favorite topics discussed in the volume?

That is a hard question! Visually, Matthew Monk’s essay on Cherokee baskets may be my favorite. This is the first time that Americana Insights has featured basketry and the objects turned out absolutely stunning in print. Matthew’s research is also important in tracing the adapting and overlapping meanings of these baskets to their makers and later collectors. Christopher Malone’s article on the almshouse artist, Charles C. Hofmann, similarly looks fantastic as we had many of Hofmann’s paintings in private collections specially photographed for the book. Other essays delve into topics that have long deserved scholarly attention. Dr Paul D’Ambrosio contributed two pieces — one which casts a light on the New England portraitist, Sturtevant J. Hamblin, who has long been overshadowed by his mentor William Matthew Prior. Dr D’Ambrosio’s second

contribution considers a recently discovered albumen print of W.M. Prior, which is the only known photograph of the artist. Dr D’Ambrosio uses this photograph to revisit the topic of Prior’s family life, a topic long absent from scholarship on the artist. Truly, though, each essay within the new book offers something special to the study of early Americana.

Americana Insights has both a Facebook and Instagram (@AmericanaInsights) pages that are updated regularly. How has your presence on social media been beneficial to Americana Insight’s goal of spreading love for all things Americana?

Social media is extremely beneficial to our project. Americana Insights has a twofold role in the promoting of early Americana. First, of course, we encourage new research by sponsoring essays both in print and online through generous author honoraria. In this way, our busy @AmericanaInsights Facebook and Instagram presence aids us in spreading the work of our authors and in selling books.

Our second role is as an advocate for museums with collections of Americana. We are a cheerleader for museums large and small, dedicating over half of our social media presence to boosting exhibitions, lectures and workshops on early American folk art and material culture. Our website’s “On Now” page, too, is regularly updated with the latest goings-on in the world of American folk art and material culture. In all these efforts, we seek to uplift the appreciation and study of the arts and artifacts of the early United States. And, frankly, it is not difficult to promote other institutions when their programming is so exciting and their objects so beautiful!

How are those interested in contributing to the next volume of Americana Insights able to get involved?

We are always delighted to hear from potential authors! We generally include topics from the Seventeenth through early Twentieth Centuries focusing on Americana, folk art and material culture. The best way to reach us is to email me directly at: tbrandt@ americanainsights.org. You can also use the “Submissions” tab on our website, www.AmericanaInsights.org. If you visit our website, be sure also to subscribe to our monthly newsletter! — Kiersten

Busch

Americana Insights 2024. Edited by Lisa Minardi. University of Pennsylvania Press, Philadelphia, October 2024, pp. 320, $65, hardcover.

www.AntiquesandTheArts.com

R. Scudder Smith, Founder (1963) Helen W. Smith

Sherri Smith Baggett Co-Publishers

PUBLISHED EVERY WEEK BY The Bee Publishing Company Newtown, Connecticut 06470

Periodicals Postage Paid at Newtown, Connecticut 06470

Madelia Hickman Ring, Editor W. A. Demers, Senior Editor Laura Beach, Editor At Large Kiersten Busch, Assistant Editor Carly Timpson Assistant Editor Rick Russack, Contributing Editor Cindie Gannon, Advertising Manager 203-426-8036 (antiques advertising only) or 203-426-3141 (subscription and other information) or Fax. 203-426-1394 email (advertising) - ads@thebee.com email (subscriptions) - subscriptions@thebee.com email (editorial) - antiques@thebee.com

ADVERTISING RATES

Display: $19 per column inch Auction: $25.20 per column inch

(Early) Auction: $22.50 per column inch for ads received prior to 10 am Thursday, for the next issue. Payment must accompany ad unless credit has been established DEADLINES:

All display advertising and editorial material must be received by Friday at 10 am; Auctions by Monday at 10 am (except Early Auctions - see above) for the issue dated the following Friday.

PAGE LOCATION MAY BE REQUESTED AND WILL BE FOLLOWED IF POSSIBLE

ADVERTISING POLICY

Antiques and The Arts Weekly reserves the right to refuse any advertisement submitted for publication. Further, it cannot guarantee the quality of services advertised in its pages, nor the unquestionable authenticity of objects advertised and it cannot accept any responsibility for misunderstandings that may arise from the sale or purchase of services or objects advertised in its pages. Advertising position is not guaranteed - will be honored, if possible.

POSTMASTER: Send address changes to THE BEE PUBLISHING CO, 5 Church Hill Road, Newtown, CT 06470-5503

SUBSCRIPTION

Other Rates Available, Please Call 203-426-8036 or subscribe online at

EFFECTIVE March 1, 2023

At Salon Art + Design, New Dealers, Programming & Fresh Leadership

NEW YORK CITY — Salon Art + Design, the collectible design and art fair produced by Sanford L. Smith Associates, announced its 13th edition taking place at the Park Avenue Armory from November 7-11. Salon Art + Design has established itself as the foremost platform for showcasing, acquiring and engaging with the finest in design and art from around the world. A cornerstone of New York City’s fall arts calendar, this year’s Salon is under the leadership of new executive director Nicky Dessources, who will introduce new exhibitors alongside special presentations of collectible design from established and upcoming makers. Former executive director Jill Bokor remains with the fair as chairwoman emeritus, working closely in collaboration with Dessources With nearly 50 distinguished exhibitors from across the globe, Salon Art + Design showcases a range of design, from vintage and modern to contemporary, alongside blue-chip Twentieth Century art. The fair features a diverse selection of pieces, including fur-

niture, studio glass, ceramics, Japanese art and jewelry, and sets itself apart with its fusion of historic and avant-garde contemporary collectible design and fine art. Much like distinguished interior designers who create innovative and eclectic spaces for their discerning clients, exhibitors at Salon Art + Design are invited to craft immersive settings that reflect the vibrant and evolving ways we decorate and live today.

Under the leadership of Dessources, Salon Art + Design unveils a vibrant roster of exhibi-

tors, featuring numerous firsttime galleries, including Galerie Anne Jacquemin Sablon, Bossa, Crosta Smith Gallery, Elisabetta Cipriani | Wearable Art, Fernando Jorge, Galerie CC - Castelin Cattin, Ippodo Gallery, Room57 Gallery, Thomas Colville Fine Art and Weinberg Modern. This year’s fair is enriched with innovative programming and distinctive design installations from both independent creators and prestigious design brands, showcased not only in the historic rooms at the armory’s entrance,

The Hudson River Museum Has ‘Clay Conversations’

YONKERS, N.Y. — From antique porcelain vases to contemporary dishware generated by AI technology, “Clay Conversations” illuminates the power of ceramics to serve as vessels for personal and political expression. Juxtaposing selections from the Hudson River Museum’s (HRM) Chinese porcelain collection with the work of seven New York-based artists, the exhibition spotlights how contemporary ceramicists reference and critique the medium’s longstanding ties to themes of exclusivity and exoticism. The exhibition is on view through March 9.

Perched atop bookshelves and tabletops, an assortment of porcelain vessels adorn the period rooms in the Museum’s 1877 Gilded Age home, Glenview. These seemingly quotidian ceramic forms — such as vases, jars and plates — reflect a booming global marketplace. During the late Nineteenth Century, wealthy Americans went to great lengths to acquire antique Chinese ceramics, especially blue and white porcelain from the Kangxi period of the Qing dynasty (16621722). Created for both domestic and export markets, Kangxi por-

celain was remarkably durable and technically innovative, often featuring elaborately rendered vignettes from Chinese folklore and literature. For Gilded Age collectors, possessing such precious vessels signaled their elite status and cosmopolitan worldview.

“Clay Conversations” explores the resonance of this history for our times. Contemporary ceramicists Adam Chau, Patricia Encarnación, Evelyn Mtika, Karen Jaimes and Yage Wang utilize archival research, digital technologies and literary allusions to create narratively driven and functional ceramic forms. Through intricate designs and experimental shapes, the artists craft vessels that express the histories and experiences of communities often relegated to the margins of the art world.

The exhibition also features a large-scale mixed-media installation, especially commissioned for “Clay Conversations,” by Yonkers-based artist Rachel Sydlowski. Drawing inspiration from the porcelain collection, Sydlowski translates their decorations into an immersive space that evokes the beauty and excess of

but also throughout the Drill Hall. Designers creating these special installations include Atelier FM, Natuzzi, Victoria Yakusha Gallery, Thomas Cooper Studio and more.

While the fair is renowned for showcasing new exhibitors and diverse voices in design, Salon welcomes back longstanding participants such as Bernard Goldberg Fine Arts, David Gill Gallery, Donzella Ltd., Galerie Marcilhac, Galerie ChastelMaréchal, Gallery FUMI, Liz O’Brien, Maison Gerard, NILUFAR, Todd Merrill Studio and Twenty First Gallery.

Each year, since 2016, Salon has partnered with Dia Art Foundation, a non-profit arts organization committed to advancing, realizing and preserving the vision of artists. For 50 years, Dia Art Foundation has offered artists the time, space and support to bring ambitious projects to fruition, often beyond the scale and scope of traditional exhibition

spaces. On opening night of Salon, Dia Art Foundation kicks off the evening with an exclusive benefit hour at the fair, co-hosted by Nathalie & Laura de Gunzburg, where proceeds go towards Dia and their exhibition program. Salon and Dia will continue to evolve and strengthen this collaboration, and proceeds from last year are specifically funding the Steve McQueen exhibition, which opened at Dia Chelsea on September 20. This year’s proceeds will benefit a forthcoming Duane Linklater exhibition at Dia Chelsea, opening in 2025. For information and a full list of this year’s exhibitors, visit www. thesalonny.com.

the Gilded Age. Alongside paintings by George Henry Hall and Ellen Lanyon, the installation examines the potential for apparently everyday ceramic forms to generate narratives of personal and global significance.

The Hudson River Museum is at 511 Warburton Avenue. For information, 914-963-4550 or www.hrm.org.

Nicky Dessources, new director at Salon Art + Design

It’s Raining Cats & Dogs At Treasureseeker

PASADENA, CALIF. — On September 22, Treasureseeker

Auctions conducted its End-OfSummer Spectacular Sale, featuring 340 lots adding up to what the firm called “one of [its] best sales ever!” Rick Kaplan, owner, shared that the “collection of art glass was consigned by a father and son from Indiana who drove to our location here in Pasadena.” In total, the sale realized $180,000.

According to Kaplan, “The big

surprise of the auction was Frederick Daws’ poodle dog painting, estimated $1/2,000 but sold for $35,200.” The oil on canvas work, “Sitting Poodle,” was done in 1944 and featured heavy brushstrokes texturizing the dog’s fur.

Signed “F.T. Daws 1944” to the lower right, the work was in very good condition and rose to become the sale’s top lot.

Pets were certainly popular subjects in this auction, as several paintings of cats also exceeded

their estimates. Achieving $6,600, more than double its high estimate, was a late Nineteenth Century oil on canvas by Jules Gustave LeRoy, Jr, depicting four mischievous cats playing in, on and beneath a set of drawers.

Housed in its original ornate gilt frame, “Cats,” which was signed “J. LeRoy” to the bottom right, was in great condition. Dutch painter Cornelis Raaphorst’s “Three Kittens” was also mounted in an ornately carved gilt

Auction Action In Pasadena, Calif.

More than doubling its high estimate was “Cats” by Jules Gustave LeRoy, Jr (French, 1856-1921). The oil on canvas, 30 by 26 inches in its original ornate gilt frame, was knocked down for $6,600 ($2/3,000).

“Sitting Poodle” by Frederick Thomas Daws (British, 1878-1956), 19½ by 17¼ inches, led the auction after soaring past its $1/2,000 estimate to achieve $35,200.

portrait of the

frame. The circa 1900s oil on canvas was signed “C. Raaphorst” and was in good condition and was bid to $3,200.

Another strong category was pottery — led by a bulbous green and yellow vase made by the Grueby Faience Company of Boston, circa 1900. Bearing the company’s stamp and possible maker’s initials on the underside, the matte glazed vase had large green leaves with yellow buds and details. Coming from an Orange County, Calif., collector, the vase blossomed to $8,960.

An iridescent earthenware floor vase, standing 23 inches high, made by Clément Massier, rose to $7,680. Dated 1901, the conical tubular vase was signed “MCM Golfe Juan AM” and was detailed with leaves and other vegetation. With similar iridescence, a Bat Wing and Insects vase made and signed by the artist’s brother, Delphin Massier, brought $3,840. The conical vase had bat wing sides and both the

body and wings were decorated with various insects and one side of the wings was further detailed with swirling vines.

At just 4½ inches high, a small Art Nouveau pitcher made a big impression on bidders. Cataloged as a “rare find,” the circa 1900 miniature Lady pitcher from the Hungarian pottery Zsolnay brought $3,125 ($2/4,000). The iridescent gold, blue and green pitcher had a figural womanform handle and was illustrated in Zsolnay Ceramics: Collecting a Culture by Federico Santi and John Gacher (Schiffer Publishing, 1998). On the underside, the pitcher bore Zsolnay’s red Five Churches seal.

The female form was the focus of another Art Nouveau piece. This example, a large Amphora maiden, made circa 1900, depicted a nude woman standing on a conch shell. The porcelain figure, which sold for $1,920, was signed by Ed Stellmacher and had markings for Amphora and RSTK. The 26-inch-high maiden was illustrated in Byron Vreeland’s 2011 book, Monsters & Maidens: Amphora Pottery Of The Art Nouveau Era

Bids sailed for Antonio Nicolo Gasparo Jacobsen’s 1886 painting of the steamship Chateau Lafite, which had both American and French flags flying. The oil on canvas work was marked to the lower right, “A. Jacobsen 1886 / 705 Palisades Ave West Hoboken NJ,” and it was bid to $5,440.

Making $5,000 was a four-piece tea set from Tiffany & Co. Each of the sterling silver pieces was completely detailed with repoussé flowers and leaf patterns and was monogrammed on the underside. The tallest piece in the set, a pitcher, was 8½ inches high and together the set weighed 2,120 grams.

Prices quoted include the buyer’s premium as reported by the auction house. For information, www.treasureseekerauction.com or 626-529-5775.

for $7,680 ($6/8,000).

This

Chateau Lafite by Antonio Nicolo Gasparo Jacobsen (American, 1850-1921), 1886, oil on canvas, 29 by 43 inches framed, sailed off to a new owner for $5,440 ($4/6,000).

Delphin Massier’s (French, 1836-1907) Bat Wing & Insects ceramic vase, 17½ by 12 inches, flew to $3,840 ($1/5,000).

This 23-inch-high earthenware floor vase by Clément Massier (French, 1844-1917), made in 1901, found a buyer

This Tiffany & Co., four-piece sterling silver repoussé tea set, made circa 1865-80, served up a winning bid of $5,000 ($6/8,000).

This vibrant two-tone matte glazed pottery vase by Grueby Faience Company, Boston, Mass., circa 1900, 6 by 8½ inches, brought $8,960 ($8/12,000).

“Three Kittens” by Cornelis Raaphorst (Dutch, 1875-1954), circa 1900, oil on canvas, 21 by 16 inches framed, pounced to $3,200 ($2/3,000).

Review by Carly Timpson, Assistant Editor Photos Courtesy Treasureseeker Auctions

Watches, Jewelry, Furniture, Art & Décor At Clars’ Gallery Auction

OAKLAND, CALIF. — Clars announced its October watches and jewelry auction, set to take place on Friday, October 18, starting at 9:30 am PST. This event will feature a collection of more than 90 wristwatches from German, Swiss, Japanese and French manufacturers, including prestigious brands like Maurice Lacroix, Grand Seiko, Longines, Nomos, Farer, Certina, Omega and Junghans. With a diverse array of styles and finishes, this selection caters to both seasoned collectors and enthusiastic newcomers alike.

In addition to the timepieces, the auction will showcase an array of jewelry designed to enhance any collection. Highlights include classic pearls, exquisite gold pieces and dazzling diamond creations, alongside rare gemstones such as vibrant sapphires and rich emeralds. This comprehensive offering makes the auction a must-attend event for jewelry aficionados and watch enthusiasts.

The gallery sale on Friday will also present a diverse assortment of sterling silver, porcelain, glass, furniture, Indigenous art and carpets. Notable items include antique accessories from Palais Royal and Vizagapatam, as well as an Antoine Bourdelle bronze “Medusa” door knocker. Contemporary works from artists such as Preston Singletary, Chihuly, Beatrice Wood, Gambone, Adrian Persal, Harry Bertoia and Niamh Barry will also be featured, ensuring a wide range of styles and artistic expressions.

Clars’ fine art department will

An Emile Antoine Bourdelle (1861-1929) patinated bronze “tete de Meduse” (head of Medusa) door knocker, circa 1925 ($6/8,000).

offer a selection of works from the private collection of the architecture and design firm Skidmore, Owings & Merrill (SOM). Among the highlights is a 1962 oil on canvas titled “Windswept” by Carl Morris (American, 1911-1993), with an estimated value of $6/9,000. This piece, along with others by Morris, has seen increased interest in recent years due to the artist’s significant contributions to Midcentury art.

Another standout work from the SOM collection is “Pyramid” by Alan J. Shields (American, 1944-2005), a whimsical painted and beaded canvas showcas-

Viewing Documentary Photography Through ‘The ‘70s Lens’

WASHINGTON, DC — The National Gallery of Art (NGA) presents “The ‘70s Lens: Reimagining Documentary Photography,” on view through April 6 on the ground floor of the NGA’s West Building. Experience the diverse and compelling pictures made by artists who reinvented documentary photography during the 1970s. Drawn from the National Gallery’s collection, this exhibition reveals how the field expanded to include previously underrepresented voices as well as new experimental forms enriching our understanding of this radical shift in American life and photography itself.

Featuring some 100 works by more than 80 artists, “The 70s Lens” examines how photographers reinvented documentary practice during this radical shift

Alan Shields (American, 1944-2005), “Pyramid,” acrylic and stitched beads on unstretched canvas, 77 by 77 inches ($5/7,000).

ing Shield’s playful style ($5/7,000).

Additional works by notable artists such as Margo Hoff, Gideon Jacques Denny and Mark Adams will also be included in the auction.

The Asian art segment will feature a group of nine stoneware pieces by Morino Taimei (b 1934), hailing from a private collection. Taimei’s work is represented in esteemed institutions, including the Metropolitan Museum of Art and the Museum of Fine Arts, Houston. Additionally, a rare Eighteenth Century Tibetan thangka depicting the Buddha will be offered, providing a glimpse into the rich history and artistry of the region.

The Warehouse Sale is set for Saturday October 19, 9:30 am. The Warehouse auction fea-

tures an eclectic mix of art, prints and photographs, with each month bringing a diverse selection of paintings, prints and sculptures from around the globe, all with accessible estimates. The Asian art department will present an assortment, including Japanese woodblock prints, ceramics, folding screens and various decorative pieces. In the jewelry department, Clars will offer a range of affordable items, from diamonds to silver and gold necklaces. The Warehouse boasts an accessible priced collection that encompasses modern and antique furniture and décor, silver, porcelain, glass, fashion, collectible toys, books and Indigenous arts. Collections include opaline glass, Tartanware, Russian lacquer boxes and Bjørn Wiinblad porcelain.

Bidding for Clars’ October auctions is available by phone, absentee bid and live online at LiveClars and through LiveAuctioneers and Invaluable. Clars Auction Gallery is at 5644 Telegraph Avenue. For information, 510-428-0100 or www.clars.com.

Art Restoration By Troy Amuso, Master Conservator Specializing in oil painting

in American life. Mikki Ferrill and Frank Espada used the camera to create complex portraits of their communities.

Tseng Kwong Chi and Susan Hiller demonstrated photography’s role in the development of performance and conceptual art. With pictures of suburban sprawl, artists like Lewis Baltz and Joe Deal challenged popular ideas of nature as pristine. And Michael Jang and Joanne Leonard made interior views that examine the social landscape of domestic spaces.

The questions these artists explored — about photography’s ethics, truth and power — continue to be considered today.

The Nation Gallery of Art’s West Building is at 6th Street and Constitution Avenue Northwest. For information, 202-7374215 or www.nga.gov.

An important and rare image in

of

c.1805.

memory

Alexander Hamilton, engraved by J. Scoles,

A Grand Seiko titanium alloy spring drive wristwatch ($6/8,000).

Fall Bounty Of Antiques, Decorative Arts Drives

Fontaine’s Auction Past $6.5 Million

PITTSFIELD, MASS. — Fontaine’s September 28-29 auction attained just over $6.5 million from 1,000 lots over two days. The sale was strong with Tiffany Studios lighting and decorative arts objects dominating the sale, but there were unusual and exceptional items across the board. Three major collections contributed to this auction and

notable results were achieved in each with many items selling far over estimate.

“These were old time collectors that had a keen eye for collecting and all three estates performed better than expected,” said owner and auctioneer John Fontaine.

“We were quite pleased with the competitive bidding we saw and the results.”

The top lot of the auction came out of the Dr Joseph T. Sheridan collection and was a circa 1905 Tiffany Studios Nasturtium table lamp. Estimated at $300/500,000, the lamp had a rare mosaic and turtle-back base and attracted a total of 12 active bidders, vying for the lamp online, over the phone and by absentee bid. Bidding remained

Auction Action In Pittsfield, Mass.

hot up to the very end, with several bidders chasing the lamp past the $600,000 mark. One very determined private collector hung on until the final bid, claiming the lamp for $825,000.

Besides the Nasturtium lamp, a parade of two dozen Tiffany lighting examples, from lamps and chandeliers to sconces, accounted for the first day’s top 25 lots. Altogether, there were more than 225 Tiffany lots in the auction, realizing nearly $4.5 million. Most sold within or above their estimates and attracted highly competitive bidding.

Among table lamps, the category leader was a circa 1905 Tiffany Studios Laburnum table lamp also from Sheridan’s collection, 30 inches tall, that was even more rare due to its bird skeleton base. It brought $375,000.

Tiffany lighting came in all forms, not just table lamps. A standout included a pair of circa 1881 lanterns made for the twostory Moorish smoking room in the Cornelius Vanderbilt II mansion that realized $245,000.

Louis Comfort Tiffany and Associated Artists worked in collaboration to design these lanterns for the grand New York City mansion in which socialites and the wealthy gathered. This pair was later part of the late singer John Denver’s estate. Also crossing the block was a vibrantly colored Flowering Bouquet chandelier, circa 1910, that went out at $187,500, and a circa 1910 Peony Border floor lamp with a chased pod Senior floor base and a pig tail finial; it earned $168,750.

Garden ornaments were also a robust category, with fine statuary and sculptures proving popular in both small and large scale. A 16-inch tall patinated bronze sculpture by sculptor Harriet

Whitney Frishmuth, “Reflections,” went to $17,500, while a Robert Holmes bronze sculpture, “Spinning Dancer,” 83 inches tall, which overlooked the Hudson River, brought $15,000.

Multiple other bronzes were avidly scooped up by buyers, led by a Vasily Grachev bronze group, “Tsar And His Falconer,” which flew past its $5/7,500 estimate to bring $40,625. There were about two dozen paintings represented in the auction with choice selections, led by late French Expressionist Bernard Buffet’s “Nature Morte au Compotier et Aux Fruits” going out at $37,500. This painting came out of the Ledgerock collection, which featured several other desirable items, including a mid Fourth Century attic redfigure bell krater, decorated on each side with classical figures, that achieved $21,250, selling well above its $2/3,000 estimate. “This collection had some unusual and amazing things,” Fontaine added.

From the Hunter Mountain, N.Y., estate of Hassan Basagic came a fine collection of 150 examples of Arts and Crafts furniture and decorative arts, led by a Tiffany Studios bronze floor vase, circa 1915, that achieved $20,000. Fine Stickley furniture from the estate performed solidly, including a director’s table, “No. 631,” going out at $10,625 and a book table, “No. 516,” for $8,125.

Far surpassing estimates as well was a rare Charles P. Limbert Co., Pagoda table, “Model 164,” estimated at $2,5/3,500, that realized $27,500. All prices reported include the buyer’s premium as reported by the auction house. For information, www.fontainesauction.com or 413-448-8922.

This

The top lot of the two-day auction was this Tiffany Studios Nasturtium table lamp that attained $825,000 ($300/500,000).

Another fine Tiffany lamp crossing the block was this circa 1905 Tiffany Studios Laburnum table lamp also from the Dr Joseph P. Sheridan collection, which measured 30 inches tall. Part of its appeal was its rare bird skeleton base, and buyers drove bidding to $375,000 ($300/500,000).

This pair of Louis Comfort Tiffany and Associated Artists lanterns, manufactured circa 1881 for the Moorish smoking room in the Cornelius Vanderbilt II mansion, brought $245,000 against an $80/120,000 estimate.

This vivid and colorful Tiffany Studios Flowering Bouquet chandelier, circa 1910, sold for $187,500 ($150/250,000).

This Vasily Grachev (Russian, 1831-1905) bronze grouping, “Tsar And His Falconer,” performed very well at $40,625 ($5/7,500).

This gem of a Bernard Buffet painting is his “Nature Morte au Compotier et Aux Fruits” that took $37,500 ($20/30,000).

This rare Charles P. Limbert Co., Pagoda table, “Model 164,” estimated at $2,5/3,500, realized $27,500.

Gustav Stickley oak director’s table., “No. 631,” sold for $10,625; it was manufactured circa 1905 ($5/7,500).

Kaminski Presents Estates Auction

October 19-20, Features Dürer Work

BEVERLY, MASS. — Kaminski Auctions presents its October estates auction, Saturday and Sunday, October 19-20, starting at 11 am EST. The sale will present a diverse selection of collections and estates sourced from various locations, including San Diego and Montecito in California, Seattle in Washington, Palm Beach in Florida and several towns across Massachusetts, such as York, Gloucester, Marblehead, Hyannis Port, Peabody, Nahant and Essex. Among the standout offerings is a collection of Chinese and Japanese porcelains from the Dr Stephen Chen collection of Southborough, Mass.

Fine art highlights are particularly impressive in this auction featuring a watercolor on vellum attributed to Albrecht Dürer, which comes from the estate of Alfred Moir, the late art historian and collector. Notable large-scale portraits will also be on display, including a captivating work by the French artist Pierre Mignard, identified on the reverse as “Messire Adrien Norel,” painted circa 1665. This oil on canvas bears a stamp from the renowned French artist and restorer Abel Terral. Other significant pieces include a Seventeenth Century Dutch portrait of a bearded man and a striking oil on canvas depicting a woman on a balcony, measuring 69 by 51 inches. Additionally, a Nineteenth Century portrait of Edward Southworth, potentially created by the English artist Bagshawn, will be featured, alongside a marine painting by C. Dubreuil depicting a French ship in a storm, dated 1873, and an Eighteenth Century oil on canvas painting labeled “Kermesse Flamande XVIIe Siecle.” Further European works include an oil on canvas from 1876 displaying Dutch boats on shore by Lino Fils, as well as a view of Florence’s Piazza della Signoria by Consalvo Carelli (1818-1900).

American art in the auction includes a winter scene of Provincetown by John Whorf (1903-1959), painted in oil on canvas board with an inscription on the back to Robert C. Vose Galleries, alongside a rare portrait of P.T. Barnum rendered in oil on board.

Sculptural offerings are equally compelling, featuring a bronze head of the philosopher Lucius Annaeus Seneca from Herculaneum, as well as a late Nineteenth Century Japanese parcel-gilt bronze figure depicting Fujiwara no Yasumasa playing his flute by moonlight, which boasts provenance from Christie’s Fine Japanese Works of Art in New York.

The auction also includes a wide range of exquisite jewelry. Among the standout pieces is an 18K yellow gold and diamond ring featuring a heartshaped center diamond of approximately 3 carats, accompanied by eight marquise dia-

monds from a Nahant, Mass., estate. Another highlight is a platinum and diamond ring showcasing a row of graduated round brilliant cut diamonds, totaling approximately 2.5 carats. From a San Diego, Calif., estate, a diverse collection of jewelry includes an 18K yellow gold flat link necklace weighing approximately 104 grams, a 14K suite of yellow gold, diamond and sapphire jewelry and a Tiffany heart and key bracelet, along with necklaces by renowned designers such as Alois Lander and David Yurman.

In terms of silver, the auction features a set of English sterling flatware with gold wash, hallmarked for London between 1842 and 1843 by Robert Garrard II, comprising 24 pieces, as well as a Stieff sterling flatware set. Additionally, a 1923 Saint Gaudens $20 gold coin framed in 14K yellow gold, weighing approximately 33 grams, will be offered from the San Diego collection.

The Dr Stephen Chen collection includes a remarkable assortment of Chinese porcelains and antiques, such as a Chinese apple-green-glazed jar with an ovoid body and interior white glaze, adorned with carved Kui dragons and bearing a Kangxi mark on the base.

A Chinese peach bloom-glazed waterpot featuring the Qianlong Nianzhi seal mark and an Eighteenth Century Chinese purple Peking glass vase with the Qianlong mark will also be highlighted.

Japanese items of note include a large Nineteenth Century wood Shinto figure with carved gilt dragon decorations, as well as a pair of Japanese Kutani ovoid vases from the Meiji period, enam-

eled and gilded with peafowl in a flowering garden, signed Menya Yaki and with provenance from Sotheby’s Japanese Paintings, Prints, and Works of Art.

Additional interesting items include a signed guitar from the Red-Hot Chili Peppers, an Epiphone Custom Shop Junior model autographed by band members and a Hilo ukulele signed by the Beach Boys, all sourced from a Hyannis Port, Mass., collection.

Furniture highlights in the auction feature an early Nineteenth Century mahogany campaign chest, a custom Georgian mahogany breakfront and a gilt Federal mirror with an eagle motif. The collection also includes more than 70 lots from southern Connect-

icut, showcasing a French Empire-style marble and bronze floor clock marked by Collin, Paris, along with other interesting Continental porcelains, bronzes, art and pottery. The auction preview will take place daily from October 14-20, from 9 am to 5 pm, and the auction preview is open while the auction is live at the Kaminski Auctions gallery, 117 Elliott Street, Route 62. For information, www.kaminskiauctions. com or 978-927-2223.

Seventeenth Century Italian carved gold giltwood arched relief.

Red Hot Chili Peppers signed Epiphone guitar.

Morse with Saint Francis Receiving the Stigmata, mid Fourteenth Century, gilded copper, silver, translucent enamel, parchment, glass gems; overall: 5-1/16 by 5-1/16 by 1-9/16 inches, rock crystal center: 2-11/16 by 3/8 inches. The Metropolitan Museum of Art, Gift of J. Pierpont Morgan, 1917 (17.190.767).

“The Annunciation” by Ambrogio Lorenzetti (Italian, Siena, active 1319–47), 1344, tempera and gold leaf on panel, main panel: 47-13/16 by 45-11/16 inches, predella: 3-9/16 by 48-7/16 inches. FCS.055. Pinacoteca Nazionale, Siena ©Foto Studio Lensini Siena.

overall: 8-7/16 by 5-7/8 inches, base: 5-7/8 inches. The Cloisters Collection, 1988 (1988.67).

First Major US Exhibition On Early Sienese Art— Met Museum Witnesses ‘The Rise Of Painting’

NEW YORK CITY — The Metropolitan Museum of Art has opened the first major exhibition in the United States focusing on early Sienese painting. “Siena: The Rise of Painting, 1300–1350” examines an exceptional moment at the dawn of the Italian Renaissance and the pivotal role of Sienese artists — including Duccio, Pietro and Ambrogio Lorenzetti and Simone Martini — in defining Western painting. In the decades leading up to the catastrophic onset of the plague around 1350, Siena was the site of phenomenal artistic innovation and activity. While Florence is often positioned as the center of the Renaissance, this presentation offers a fresh perspective on the importance of

Siena, from Duccio’s profound influence on a new generation of painters to the development of narrative altarpieces and the dissemination of artistic styles beyond Italy. The exhibition will be on view through January 26.

“Siena had an undeniable impact on Italian and European art in the Fourteenth and Fifteenth Centuries, providing a remarkable space for individual artistic discovery and innovation,” said Max Hollein, The Met’s Marina Kellen French director and CEO.

“This monumental exhibition brings together the most important group of early Sienese paintings ever assembled outside of Siena — offering a once-in-a-lifetime chance to explore the influence of this

Tarlati Altarpiece, Pietro Lorenzetti (Italian, active Siena 1320–44), circa 1320, tempera and gold on panel, overall: 9 feet 9-11/16 inches by 10 feet 4-3/16 inches by 3-9/16 inches, center panel height: 10 feet 4-3/16 inches, flanking panels height: 94-1/2 inches. FCS.040. Santa Maria della Pieve, Arezzo ©Foto Studio Lensini Siena.

“Christ Discovered in the Temple” by Simone Martini (Italian, Siena, active by 1315, died 1344, Avignon), 1342, tempera and gold leaf on panel, 19½ by 13-13/16 inches. FCS.036. Walker Art Gallery, Liverpool ©National Museums Liverpool.

“Virgin and Child” by a French artist, 1290–1300, ivory with extensive traces of polychromy and gilding, 9-15/16 by 6-1/8 by 2-3/8 inches. FCS.086. Museo del Tesoro, Assisi ©Museo Tesoro Basilica di San Francesco.

extraordinary artistic center.” Stephan Wolohojian, the John Pope-Hennessy curator in charge of European paintings at The Met, said, “The distinctive artistic language of Duccio, the Lorenzetti brothers, Simone Martini and their contemporaries completely recast the course of European painting. Examining the bold work of these Sienese artists allows us to trace the germination of many of the key ideas that preoccupied artists working in Italy in the following centuries.”

Drawing on the outstanding collections of The Met and the National Gallery, London, as well as rare loans from dozens of other international lenders, the exhibition highlights more than 100 works by a remarkable group of Sienese artists. It features paintings alongside sculptures, metalwork and textiles, ranging from large works made for public display to intimate objects created for private devotion. Highlights will include Duccio’s “Stoclet Madonna,” Ambrogio Lorenzetti’s “Annunciation” and historic reunifications of major pictorial ensembles, such as the back predella of Duccio’s “Maestà” and Simone Martini’s “Orsini Polyptych.” Although none of these painters survived the plague of circa 1350, their achievements had an immeasurable impact on painters and theorists in the centuries that followed.

Following the exhibition’s debut at The Met, it will be on view at The National Gallery, London, from March 8 through June 22.

A fully illustrated catalogue accompanies the exhibition and is available for purchase from The Met Store.

The Metropolitan Museum of Art is at 1000 Fifth Avenue. For information, 212-535-7710 or www.metmuseum.org.

Crucifixion” by

2002

Chalice of Peter of Sassoferrato, circa 1341–42, silver-gilt, translucent enamels,

“The

Pietro Lorenzetti (Italian, active Siena 1320–44), 1340s, tempera and gold leaf on wood, overall: 16½ by 12½, painted surface: 14-1/8 by 10-1/8 inches. The Metropolitan Museum of Art, Purchase, Lila Acheson Wallace Gift and Gwynne Andrews Fund,

(2002.436).

More From Alfred Selnick Estate At Hudson Valley Auctioneers

BEACON, N.Y. — Hudson Valley Auctioneers will present an unreserved antiques and estate auction with absentee, phone and online bidding through LiveAuctioneers on Monday, October 21, at an early start of 3 pm EST. Inhouse previews are Sunday, October 20 from 1 to 5 pm and Monday from noon to 2:30 pm or by appointment beginning October 15. The sale includes the remaining contents of the Alfred Selnick estate and several others.

An Armonk estate offered up some porcelains including Dresden, Meissen and Sevres, Wedgwood and several china services, stemware sets, a large selection of sterling hollowware and figural silver-plate, several musical instruments and a large selection of art glass and studio pottery. Potters and glassmakers include Hiroshi Ogawa, Ben Owen, James Franklin, Tim Rowan, Gail McCarthy and Wes Hunting and many others. More than the usual amount of jewelry will be sold throughout the day and evening. A large selection of gold antique and more

modern jewelry, antique gold pocket watches, many tray lots of curated costume pieces and a large selection Native American silver and turquoise will be led by a Zuni belt buckle set by Sanford and Diane Cooche.

Furniture selections from early to recent include quite a few Midcentury examples by designers and manufacturers, mostly from the Selnick estate.

A Danish dining room, living room and bedroom sets by makers LK Hielle, Brande Mobelfabrik, LYBY and Falster will cross the block. Other items from the period include an Eames lounge chair and ottoman, an Eames dining table and chairs, a rare Secor Studios chair, a pair of Metropolitan settees, Taos Furniture table, Frederick Weinberg mirrors, John Stuart pieces, a Paul Evans mirror and a five-piece splat bamboo porch set. Traditional antiques include an Empire secretary desk, several Victoriana pieces, barristers, country cupboards and more. Artworks are offered throughout the sale with traditional, modern and abstract artworks as well as prints and other

Raynham Hall Museum Presents

‘Oyster

Bay:

My

Home,’ A Landscape Exhibition

OYSTER BAY, N.Y. — Raynham Hall Museum presents “Oyster Bay: My Home,” on display through Sunday, March 2.

“Oyster Bay: My Home” delves into our town’s rich American landscape, showcasing paintings, photographs and drawings of Oyster Bay from the Nineteenth and Twentieth Centuries. This exhibition features works from Raynham Hall’s collection and additional public and private collections. The works on display explore how Oyster Bay’s landscape has been transformed over time, and the inextricable link between ourselves and nature.

Raynham Hall Museum was the historic home of Robert Townsend, a central member of George Washington’s Culper

mediums. Artists include Andre Gisson, Piranesi, a signed Cropsey, a Mary Cassatt pencil drawing, George Nemethy, two large romantic oils by Sydney Percy Kendrick, C. Ravel, a bronze frieze by Cirillo Bagozzi, Harry Solon, Buddy Ebsen, Walter Shirlaw, Raoul Dufy, Bruce Crane, E. Weber, Lloyd Ney, William Brown, George Robert Bonfield and many others, signed and unsigned.

A Warwick estate features items from an old farmstead of horse breeders and collectors. The house and barn yielded a large group of iron coffee grinders, an early maple workbench, a trotter weathervane, a Criterion disc player with 40 discs and other country items. Several gilt frames and mirrors, interesting artwork, many antique decorative accessories and a selection of Chinese and

retiring collector from an old Newburgh family. A sure highlight of the sale will be the custom made bird’s-eye desk created in a modern American craft style by Austin Heitzman in 1999 for Alfred Selnick.

Other items of interest in the almost 600-lot sale include Selnick’s Steinway and Sons Model S grand piano, a carved Carrera marble nude woman

on a green marble pedestal, a carved amber figure of Christopher Columbus, a heavily carved Japanese dragon desk, a rare Thonet Model 511 rocker and two Nineteenth Century cast iron fern benches. Hudson Valley Auctioneers is at 432 Main Street. For further information, www.hudsonvalleyauctioneers.com 845-480 -2381 or 914-489-2399.

Spy Ring. The home was occupied by a succession of British officers, including Lieutenant Colonel John Graves Simcoe, during the Revolutionary War. Transformed into a Victorian villa in the 1850s, the house offers two eras of interpretation, the Revolutionary era and Long Island’s late Nineteenth Century aesthetic. The Raynham Hall Museum is at 30 West Main Street. For information, 516-922-6808 or www.raynhamhallmuseum.org.

NASHVILLE, TENN. — Cheekwood Estate & Gardens presents “Interventions: Ann Carrington,” on view through October 27 at 1200 Forrest Park Drive. For information, 615-3568000 or www.cheekwood.org.

Austin Heitzman bird’s-eye maple American craft desk. Steinway and Sons Model S grand piano.

Sydney Percy Kendrick.

Notable Prices Recently Achieved At Various Auction Houses

Across The Block

Abstract Kelly Painting Rises To Top At Santa Fe Art Auction

SANTA FE, N.M. — On September 18, Santa Fe Art Auction conducted its Contemporary Art, Design and Photography sale, which included nearly 300 lots. Leading the sale was an oil on linen work by Robert Kelly (American, b 1956), titled “Saints’ Quarters III.” The painting, completed in 1993, “exemplifies [Kelly’s] mastery of geometric abstraction, with its bold use of form and color,” per the auction catalog. The work utilized overlapping rectangular shapes in red, black, teal and white. It measured 80 by 60 inches and had provenance to both Ventana Fine Art and a private collection, both from New Mexico. The abstract painting earned $7,500. For information, 505-954-5858 or www.santafeartauction.com.

East Wing Finds Asian Buyers For Asian Antiques

OAKVILLE, CONN. — East Wing Estate Sales & Auctions’ September 28 auction featured more than 450 lots of antique furnishings, colonial antiques, decorative arts and military memorabilia as well as 30 lots of Asian works of art from a single private collection. These lots sold to multiple online bidders for a total of $17,563. A representative for East Wing noted that the large majority of the lots were purchased by private collectors in China. For information, 203-707-8464 or www.eastwingestates.com.

Winter Associates’ Seago Landscapes Repatriated To England PLAINVILLE, CONN. — Winter Associates’ September 30 auction featured approximately 350 lots of fine art, American furniture and Nineteenth and Twentieth Century pottery but it was two paintings by Edward Brian Seago (English, 1910-1974) that sparked the most interest. Both had been purchased from Chicago dealer, W. Russel Button, by the seller’s family, who displayed them in a New York state home for decades. A representative for the firm said that all of the available phone lines were used for each, nearly all for bidders in England. “Bawdsey, Suffolk,” (pictured), oil on Masonite, 15½ by 23¼ inches, sold for $24,000. “Landscape Near Blythborough, Suffolk” brought $15,600. Both sold to the same London bidder. For information, 860-793-0288 or www.auctionsappraisers.com.

Colombian Emerald & Diamond Ring Shines Brightest For Kingston GREENVILLE, DEL. — Kingston Auction House conducted its Fine Estate Jewelry Auction on September 25, offering 120 lots of various jewelry from several big-name designers. The gem of the sale, and its top lot, was an American Gemological Laboratories (AGL) certified Colombian emerald and diamond ring. The size eight ring was crafted in platinum and 18K yellow gold, and contained one emerald cut emeraldand 28 round cut diamonds. With a color of F/G and VS clarity, the ring sparkled at $40,640, finishing just over its $20/40,000 estimate. For information, 302-652-7978 or www. stuartkingstonjewelers.com.

Islamic Incense Burners Scorch Freedom’s Expectations SARASOTA, FLA. — Two Islamic bronze incense burners, one in the form of a tiger (pictured), the other a bird, that were consigned by a local dealer to Freedom Auction Company’s 643-lot Mid-Century, Music Equipment and The Arts auction on September 28 attracted considerable interest and ultimately sold to the same international bidder. Each had been estimated at $300/600, and the tiger achieved $3,425 while the bird made $1,875. For information, 941-725-2166 or www.freedomauctions.com.

Circa 1963 Men’s Rolex Submariner Watch

Glows At Blackstone Valley Auction SUTTON, MASS. – At Blackstone Valley Auctions & Estates on September 29, a circa 1963 men’s Rolex Submariner Tritium dial watch surfaced at $17,825. It featured a perpetual date matte black dial with Tritium hands and dot chapter marks housed in a stainless-steel case. To illuminate their watches, Rolex, like many watched companies, used radium up until 1963 when the company switched materials due to safety concerns. Tritium was introduced during this transition period. Tritium was another radioactive material but was considered much safer than radium due to the material being too weak to absorb into human skin while still being able to give off a nice glow. For information, www.bvauctionandestate.com or 508-434-7223.

Flemish Verdure Tapestry Is Another Man’s Treasure At ACES STAMFORD, CONN. — Nearly 400 lots were offered at All Country Estate Sale’s (ACES) fall estates auction, conducted on September 29. The eclectic mix of lots included a Seventeenth Century Flemish Verdure battle tapestry. The tapestry came with provenance to Johanna Ransohoff (b 1907), from the German Jewish merchant family who originated in Westphalia, Germany. It had descended through the family to the current owner, a woman from Somers, N.Y. The 71-by-70-inch work was, according to ACES founder Alex Fonarow, “found in a garbage bag the consignor was intending to throw away.” The lucky buyer gave the tapestry a new home for $6,985, far surpassing its $1/1,500 estimate. For information, 914-222-8686 or www.aces.net.

A Day Of Diamonds At Weschler’s ROCKVILLE, MD. — Weschler’s Auctioneers & Appraisers’ jewels, watches and silver auction on September 27 was rich in notable diamond-encrusted pieces. Especially catching bidders’ eyes was an Edwardian platinum and diamond ring with a gross weight of 2.9 pennyweight, shank size 6. It sold for $47,250 and was the top lot in the 119-lot sale. For information, 202-628-1281 or www.weschlers.com.

Dave McGary’s ‘Short Bull’ Goes Long At Kodner Gallery DANIA BEACH, FLA. — Estate jewelry, fine art and collectibles crossed the block at Kodner Gallery on October 2. Notable was a bronze sculpture by Dave McGary (American,1958 - 2013) titled “Short Bull,” which sold for $13,860. Internationally known sculptor Dave McGary, who was born into a ranching family in Cody, Wyo., was best known for his larger-than-life portrayals of Native Americans in authentic Indigenous clothing intricately replicated. For information, www.kodnergallery.com or 954- 925-2550

Morphy’s October 17-19 Coin-Op & Antique Advertising Auction

LAS VEGAS, NEV. — There will be no shortage of accomplished entertainers at Morphy’s October 17-19 coin-op and antique advertising auction. A world-class lineup of European antique music machines is waiting in the wings to thrill auction guests with bravo-worthy performances rivaling famed orchestras and musicians of a century ago. Those who cannot attend the event in person are invited to bid absentee, by phone or live online through Morphy’s bidding platform.

Leading the A-list lineup is a circa 1912 Hupfeld PhonolisztViolina Model “A,” which is regarded as the most successful automatic violin and pianoplaying machine ever made and one of the most spectacular of all music machines. Its complex mechanisms reproduce violin expression, bowing, vibrato, staccato, etc., as well as piano expression, replicating the technique of highly accomplished pianists.

Restored in 1986 and again in 2014, it was acquired in 2012 by its present owner from Sanfilippo Place de la Musique in historic Barrington, Ill. Jasper Sanfilippo obtained the unit in 1983 from a restaurant in France. Its auction estimate is $250/500,000.

Another musical wonder, a Coinola Model SO Super Orchestrion, is one of approximately 50 manufactured circa 1920 by the Operators Piano Company of Chicago. Its “orchestra” includes an 88-note piano (78 notes play automatically), a mandolin, violin and flute pipes; drums, a cymbal and other smaller percussion instruments. It is designed to play 10-tune “O” rolls. Marketed at the start of the Prohibition era, its original owner is reputed to have been a Chicago mobster. Restored twice, in 1986 and again in 2015, it is ready to grace a new collection and is estimated at $100/200,000.

Also ready to step into the

Circa 1880 carved and painted Native American cigar store figure attributed to Samuel Robb. Height of figure is 50 inches; with stand, 70 inches. Original polychrome paint. Originally, figure would have held spear in right hand and bunch of tobacco in left hand ($20/40,000).

spotlight is a circa 1920 Mills Deluxe Violano-Virtuoso comprising two violins that play elegantly and simultaneously. Housed in a Brazilian mahogany cabinet, this unit underwent a 36-month restoration in which no small detail was spared. The US government designated the Violano-Virtuoso as “one of the greatest scientific inventions of the age,” and this example is a functional testament to that distinction. ($40/70,000).

Rare and sought after, a circa 1895 Symphonion No. 38B Eroica three-disc music box with clock was made by Symphonion Musikwerke of Leipzig, Germany. Housed in a

Lenzkirch oak hall-clock case, it plays 14-inch discs in sets of three across six individual combs ($40/70,000).

A circa 1890 French musical automaton picture clock with music box is as artful as it is scientifically precise. It depicts what appears to be the Crystal Palace, which was built in 1851 in London’s Hyde Park to house the “Great Exhibition.” Its three-dimensional diorama painting shows die-cut horses and jockeys in the foreground, and the Revel clock with a porcelain dial is adorned by flowering vines ($12/30,000).

Front and center among the 145 rare slot machines is a circa 1904 Caille Bros. Roulette 5¢ floor-model slot with a 7-way roulette wheel payout. Housed in a rare Honduran mahogany cabinet with ornate copper-flashed and plated iron castings, this machine has been fully restored and is one of the finest examples Morphy’s antique coin-op experts have ever seen. Since the 1990s, it has been held in a private collection ($150/300,000).

A 1912 Caille Bros “Tourist” cast-iron slot machine shows off intricate castings and has its original “country” reel and back door. The unit is fun to play. The user deposits a nickel, pulls the handle, and if the “winning country” comes up, the machine pays out. In untouched condition with a great patina, it even retains its proper key. ($40/60,000)

Bidders wondering if it will be their lucky day at the auction might want to consult a circa 1891 Roover Bros. Donkey Wonder floor-model fortune teller machine. One of only three or four original machines of its type known to exist, the auction example retains its original “lady” equine fortune teller, who moves her head from side to side, scans the audience and flips her baton to spin the wheel of fortune. It operates by clockwork and is electrified

Circa 1948 “Bat A Score’” arcade machine with baseball graphics. Made by H.C. Evans, Chicago. Restored inside and out. Animated figures of pitcher and batter, plus stationary catcher, are on interior field. Player gets 10 pitches for a nickel, with the goal being to hit the steel ball into one of the five rear levels. Operates perfectly. Retains keys ($20/40,000).

only for the specific purpose of illuminating the cabinet section ($40/70,000).

Another clairvoyant who will be on hand to predict the future is Princess Doraldina, who holds court behind the glass of a circa 1918 5¢ fortune-telling machine. Manufactured in Rochester, N.Y., it is one of few surviving examples. The wax figure of the mystical princess moves its head and arm, selects a fortune and dispenses it on a card. An older restoration, this machine comes with a supply of both original and reproduction fortune cards ($30/50,000).

Exploring 3,000 Years Of Spiritual Belief & Practice Through ‘Living With The Gods’

HOUSTON — The Museum of Fine Arts, Houston (MFAH) presents “Living with the Gods: Art, Beliefs and Peoples,” an expansive exhibition of more than 200 objects made over 3,000 years in order to help humans make contact with the divine. For the exhibition, MFAH director Gary Tinterow has invited British art historian and longtime museum director Neil MacGregor to revisit his 2017 BBC radio series and book of the same title, bringing that vision to great objects in the MFAH’s collections as well as landmark loans from international institutions.

“Living with the Gods” presents works from the MFAH collections to emphasize their original, spiritual intent. The exhibition features unprece-

Circa 1918 Princess Doraldina 5¢ fortune teller machine, manufactured in Rochester, N.Y., one of few surviving examples. Older restoration, working order. Wax figure moves head and arm, selects fortune and dispenses it on a card. Includes box of both original and repro fortune cards ($30/50,000).

The auction will be conducted live at Morphy’s satellite gallery at 4520 Arville Street, #1. Start time is 9 am Pacific time (noon Eastern time). Preview Monday through Wednesday, October 14-16 from 9 am to 4 pm local time; or on auction days from 8-9 am. For information, 877-968-8880 or www.morphyauctions.com.

5229 Albany Post Rd. Staatsburg, NY 12580 Between Rhinebeck & Hyde Park 10,000 sq. ft. Antique Mall Auctioneers & Appraisers Limited Dealer Space Available Rhinebeckantiqueemporium.com

dented loans from the Prado, Madrid, and the collections of the City Palace, royal residence of the Maharaja of Jaipur, and significant loans from other institutions, including the Museum of Fine Arts, Boston; Metropolitan Museum of Art, New York; Kimbell Art Museum, Fort Worth; the Menil Collection, Houston; National Gallery of Ireland; and the Museo Nacional de Antropología, Mexico City. The Ministry of Culture, Greece, supported important loans from the Benaki Museum, Athens, as well as the Church of Agios Matthias Sinaites, Heraklion, a dependency of the Holy Monastery of St Catherine, Sinai, Egypt.

Displayed in dialogue across a suite of 11 galleries, masterpieces in the installation explore elemental themes,

among them: the cosmos, light, water, fire; the mysteries of life and death; the divine word; and pilgrimage. “Living with the Gods” draws from regions across ancient Egypt, Greece and Rome, Africa, Asia, Oceania, Europe and the Americas and includes both historic and contemporary works.

Gary Tinterow, director and Margaret Alkek Williams chair of the MFAH, commented “For millennia, people have been making art to communicate with their God or gods and to sustain their communities.

Neil MacGregor’s acclaimed 2017 BBC radio series and book brilliantly chronicled this enduring form of human expression. We are honored that he brought that perspective to Houston, making it visible through objects chosen

from our own collections as well as some truly exceptional loans. This exhibition is a magnificent capstone to our first century as a museum.”

The Museum of Fine Arts, Houston, is at 1001 Bissonnet. For information, 713-639-7300 or www.mfah.org.

Frame Restoration and Gilding

17th-19th Century Paintings & Prints

Over 40 Years Experience

Member American Institute for Conservation Macomber Art

Restoration Services

252-229-5270 macartrestore@gmail.com

Setting The Table With Grogan—

Asian Antiques & Silverware Lead September Sale

BOSTON — Grogan & Company closed its September auction series with a Silver and Decorative Arts auction, which took place on September 26. The sale offered nearly 200 lots of decorative art, fine art, furniture, Asian art and antiques, jewelry and collectibles. Garnering an 88 percent sell-through rate, the sale finished with a $336,437 total.

“The top lots showed the continued demand for quality: the unique, the rare, the importance of provenance; our buyers are really discerning. When we have specific, special things — like you see in this sale — buyers are

always right there,” shared Georgina C. Winthrop, company president, in a post-sale phone conversation.

Leading the day was a lot of five Chinese carved jade pendants, which sold for more than 10 times their high estimate, for a $46,875 finish. Dating from the Nineteenth and early Twentieth Centuries, the lot had provenance to the collection of a gentleman from Washington, DC; the set of five pendants descended through the family. For Winthrop, this lot was a great example of the joys of having an open auction: “So many people came to preview and bid in person on the jade. I’m proud

Auction Action In Boston

The top lot of the sale was this set of five Chinese carved jade pendants from the Nineteenth and early Twentieth Centuries. The set carved out a $46,875 finish, far surpassing their $2/4,000 estimate.

Rounding out the top three lots was this flatware service in the Amarre pattern by William Spratling, manufactured in Mexico circa 1980. The approximately 206 troy ounce lot set the table for $10,625 ($5/7,000).

This 15-piece silver swan-form table set from Gorham was manufactured in the early Twentieth Century and flew to $5,313 against a $2,5/3,500 estimate.

of our reach on a lot like that.”

The second highest selling lot of the day was also of Chinese origin. Carving out a $15,000 finish was a lot of two Chinese carved jade figures from the Twentieth Century; both depicted seated deities. The set of two also had provenance to the Washington, DC, collection.

Moving down to Southeast Asia, a Japanese export silver and enamel tea service poured out at $9,375, near the high end of its $5/10,000 estimate. The set, which included a tea pot, hot water kettle, tea caddy, creamer, sugar bowl with tongs and a burner, originated from Sanju Saku, Yokohama, Japan, and had provenance by descent through a Massachusetts family. Silver, according to Winthrop, did exceptionally well in the sale,

Review By Kiersten Busch, Assistant Editor

with most silver lots sold, earning a 96 percent sell-through rate.

In particular, Gorham was well represented in the sale, with two lots from the Providence, R.I., makers landing in the top 10 best selling lots of the day. Earning $9,375 was a silver early or proto-Martelé covered tankard designed by William Christmas Codman and manufactured in 1897. According to the auction catalog, the 27.9 troy ounce tankard was most likely exhibited in the 1897 New York City Gorham exhibition. It had provenance to a Massachusetts collector and was featured in L.J. Pristo’s book Martelé: Gorham’s Nouveau Art Silver (Phoenix Publishing Group: Phoenix, 2002).

According to Winthrop, the tankard was purchased by the consignor to use as a desk ornament; they quickly realized its importance as a Martelé Gorham piece and turned to Grogan to sell them. “It sold to a big collector of Martelé Gorham — it is going to

“Poinciana In The Everglades” by Sam Newton (American, b 1948), oil on board, 27¾ by 51¾ inches framed, signed “S. Newton” lower right, had provenance by descent to a Florida gentleman and grew to $5,938, more than doubling its $1,5/2,500 estimate.

From Sanji Saku, Yokohama, Japan, this Japanese export silver and enamel tea service came with six pieces and weighed 52.5 troy ounces; it poured out for $9,375 ($5/10,000).

Hailing from Denmark, this Silver Grape Compote by Georg Jenson, marked “Georg Jenson 264,” was designed in 1918 and measured 10½ inches high; it had provenance to a Massachusetts family and sipped on a $4,688 finish ($5/7,000).

a happy home with other pieces like it,” explained Winthrop. “It’s always wonderful getting to continue the story of pieces like this.”

A Gorham 15-piece silver swanform table set flapped its wings to $5,313. The lot was made in Providence in the early Twentieth Century and contained one elongated double-headed centerpiece, two molded bowls and 12 ring holders; they were all stamped “Gorham” on their bases and had provenance to a New York family.

Other silver that excelled included a 126-piece William Spratling flatware service in the Amarres pattern, weighing approximately 206 troy ounces in total. Made in Mexico circa 1980, the set had provenance to a Massachusetts family and were all marked “TS-24.” The winning bidder set their table for $10,625. Another set of William Spratling flatware, also in the Amarres pattern, sold for $9,375, while a Tiffany & Co., service in the English King pattern sold for $6,875. Grogan & Company will conduct its Fine Art and Fine Jewelry sales over two consecutive days on November 2-3. Prices quoted include buyer’s premium as reported by the auction house. For additional information, 617-720-2020 or www. groganco.com.

This early or proto-Martelé silver covered tankard from Gorham was designed by William Christmas Codman (1839-1921) and came with provenance and publication history. It closed its lid for $9,375 ($2/3,000).

two seated deities, one with a child, were carved from jade and originated from Twentieth Century China. The set of two were pushed to $15,000 against a $1/2,000 estimate.

These

Photos Courtesy Grogan & Company

Lamps & Art Glass Exceed Expectations At Woody Auction

DOUGLASS, KAN. — At least six lots skyrocketed above the auctioneer’s estimate, leaving Woody Auction’s crew excited and scratching their heads at the same time! Hailed as an event that would “Illuminate your space with timeless elegance and charm” and “bring a bright light to the antique world,” that’s exactly what happened with the quality lamps featured throughout the September 21 event. In fact, the lamps shed a spotlight on a few other genres of antiques that soared above the estimates, also.

According to Jason Woody, the auctioneer and operating manager of Woody Auction, “It’s fun to see an item climb above our expectations. It is gratifying to see the seller realize more than they believed possible!” The sale was a consignment event with 24 sellers representing 14 US states and one European country. More than 1,100 bidders participated online and about 50 people bid directly with Woody Auction via attending or phone/ absentee bidding.

Outshining all the lots in the auction was the Duffner & Kimberly leaded glass wisteria lamp, 28½ by 21½ inches, featuring a beautiful Duffner wisteria shade on a heavy brass four light claw foot electrified base. It weighed nearly 30 pounds and came from a private collection in New Mexico. Originally estimated at $1,5/2,000, it crossed the block at $33,000.

Another lamp was a bright light in the event: a contemporary leaded glass koi fish lamp shade with beautiful colored koi fish amongst textured colors of water, mounted on a bronze three light base. It stood 21½ inches tall and came with a handwritten note stating that

the lamp was made by a student at Tiffany Studios. The auction house’s estimate was $400/600 and it climbed to $8,300 before the hammer came down. Other items in the auction also blew past Woody Auction’s estimates. An oval vase signed

Daum Nancy, French Cameo Art Glass, standing 4¾ inches tall, featured a beautiful farmstead scene. The vase boasted exceptional enamel highlights of blue, white and green mottled ground with cameo carving and the artist’s initials and was originally estimated to sell between

$2/3,000. It changed hands for $8,400. The bidder had been looking for this particular vase for many years.

An art glass lamp shade made by Loetz and measuring 7 by 13½ inches, with cased opal with trailed Vulcan threading and silver-yellow oil spots (designed by Kokomon Moser), gaveled at $5,750. Its pre-auction estimate was $750-$1,500.

A brilliant period cut glass decanter, amethyst cut to Vaseline, standing 16½ inches tall and in an Eiffel Tower shape, was originally estimated at

The Phillips Collection Presents ‘William Gropper: Artist Of The People’

WASHINGTON, DC — The Phillips Collection has announced its upcoming exhibitions and programmatic highlights through summer 2025. Featuring an array of contemporary and historic art by leading international and DC-based artists, the schedule includes the first exhibition in Washington, DC, devoted to social realist artist William Gropper, on view through January 5.

“The Phillips has always been known for its leadership role in championing artists, emerging and established, who are courageously independent in their

vision and approach,” says Vradenburg director and CEO Jonathan P. Binstock. “In this time of deep division, we want guests to make meaningful connections with friends, family and the broad range of artworks we present, and to open their eyes and hearts to the artist’s perspective, which can foster greater understanding.”

William Gropper (b 1897, New York City; d 1977, Manhasset, N.Y.) was a leading social realist artist whose work fervently addressed pressing socio-political issues of the Twentieth Century. The son of impoverished immigrants from

Romania and Ukraine, Gropper used his art to call attention to social injustice, contributing thousands of satirical illustrations to radical publications such as the New York Tribune, New Masses, and The Sunday Worker. The first exhibition dedicated to Gropper in Washington, DC, this presentation features more than 30 works that reveal his biting commentary on human rights, anarchy, labor, freedom and democracy.

The Phillips Collection is at 1600 21st Street, Northwest. For information, 202-387-2151 or www.phillipscollection.org.

$1,5/2,000. It was cut in the Sabine pattern by Val St Lambert, circa 1908, with a pattern cut and numbered stopper. Being highly reactive under black light, it brought $5,700 from an online bidder.

Selling at more than double the estimate of $1,5/2,500 was an English art glass laydown falcon perfume bottle, which measured 7½ by 2 inches. This was an extremely rare form made by Webb in peachblow satin with gold enamel highlights and a sil-

ver twist cap with a spring-loaded cork stopper. The motivated bidder from the Midwest was thrilled to get it for $5,225. Prices reported include the buyer’s premium. For information, www.woodyauction.com or 316-747-2694.

Daum Nancy French cameo art glass vase, 4¾ inches tall ($8,400).

Loetz art glass lamp shade with cased opal, trailed Vulcan threading and silver-yellow oil spots, 7 by 13½ inches ($5,750).

Amethyst cut to Vaseline cut glass decanter, Eiffel Tower shape, 16½ inches tall ($4,750).

Auction Action In Douglass, Kan.

Rare English art glass laydown falcon perfume, 7½ by 2 inches ($5,225).

Duffner & Kimberly leaded glass Wisteria lamp, 28½ by 21½ inches ($33,000)

Contemporary leaded glass Koi Fish lamp, 21½ inches tall ($8,300).

Fine Art Flourishes In Carlsen Gallery’s Anniversary Auction

The sale’s premier lot was an oil on canvas painting by Julie Hart Beers, “River Landscape With Cows,” which sold far past its estimate of $1,5/3,000, finishing at $23,750 and going to an East Coast gallery. Russ Carlson said the painting was in pristine condition, untouched with no relining or inpainting.

FREEHOLD, N.Y. — An oil on canvas painting by Julie Hart Beers (1835-1913), “River Landscape With Cows,” measuring 6½ by 20 inches, sold far past its estimate of $1,5/3,000 at Carlsen Gallery on September 22, finishing at $23,750 and going to an East Coast gallery. According to American Art Gallery’s website, Beers is regarded as among the best and perhaps the only woman artist of Nineteenth Century America to specialize in landscapes. It’s a biography undergirded by the observation made by William Gerdts in his exhibition catalog, Women Artists of America, 1707-1964, in which he wrote of her rarity: “It is perhaps not surprising to find so few women landscapists, since the rigors of painting outdoors and the unseemliness of women engaging in this activity during the Victorian era acted as a deterrent.” A year after her first husband’s death in 1876, Beers married Peter Kempson and moved to Metuchen, N.J., however, she continued to use the last name “Beers” and sign her works as in this one, “Julie H. Beers.”

The auction included fine art

from the Swyer family art collection, the lifelong collection of Theo Lovell and the Albany, N.Y., home of conservative newspaper and radio personality, Fred Dicker. Lew and Ann Swyer were major players in the Albany community; Lew was former president of the Lewis A. Swyer Construction Company, and a well-known philanthropist and community leader.

“They loved period art and amassed quite a collection,” said Russ Carlsen, gallery co-owner. These art collections contributed works by Julie Hart Beers, Jervis McEntee, Walter Launt Palmer, Emile Gruppé, Francis Silva, W.R. Tyler and others.

The paintings, many presenting winter scenes, seemed to dominate the notable lots on offer, although the other bigticket items in this 361-lot sale were a carved pine statue of Apollo from a doctor’s collection that was bid to $19,200 and a Nineteenth Century Japanese silver rooster and hen pair from the Meiji period, which sold for $12,000. Weighing approximately 204 troy ounces, the naturalistically cast and carved pair measured 14¾ inches tall.

Overall, the sale grossed about

$400,000 with a 98 percent sellthrough rate. There were 41 potential buyers in the room, 92 bidders on HiBid, 63 on the phones, 874 on LiveAuctioneers and a large but unquantifiable number on Invaluable. It was the firm’s 33rd anniversary of conducting auctions at the Freehold Art Gallery, although the Carlsens have been auctioneering since 1984.

A run of paintings by American Impressionist Walter Launt Palmer (1854-1932) brought cloudy and snowy landscapes to the fore. Leading them were “Cloud Shadows,” a watercolor measuring 19 by 23½ inches, and “Winter Landscape” also a watercolor, measuring 24 by 18 inches; both paintings sold for $9,600. Another watercolor, “Evergreens In Winter,” measuring 20 by 14½ inches, brought $6,875, and an oil on canvas signed “W.L. Palmer” in the lower left and measuring 24 by 18 inches, left the gallery at $5,100. According to the Caldwell Gallery which represented the artist, Palmer studied art under Charles Elliott and Frederick E. Church and was a member of the Hudson River School. He was the son of

Auction Action In Freehold, N.Y.

This circa 1790 Portsmouth mahogany bow front chest of drawers, with 13 satinwood panels, will need to spend some time at a furniture restorer, Russ Carlson reported. It found a buyer at $5,625.

was Walter

Walter Launt Palmer, “Evergreens In Winter, “ watercolor, garnered $6,875.

“Along The Esopus” by Jervis McEntee was an oil on canvas signed with a cartouche, which crossed the block at $6,900.

Emile Gruppé, “A New England Cottage,” oil on canvas, earned $5,700.

A Nineteenth Century Japanese silver rooster and hen pair from the Meiji period sold for $12,000. Weighing approximately 204 troy ounces, the naturalistically cast and carved pair measured 14¾ inches tall.

Francis A. Silva’s “Atlantic City, Sept. 16, ‘82,” a mixedmedia on paper, left the gallery at $9,000.

Fetching $9,600

Launt Palmer’s “Winter Landscape,” a watercolor from the Fred Dicker collection.

Review by W.A. Demers, Senior Editor Photos Courtesy Carlsen Gallery

sculptor Erastus Dow Palmer and is best known for his winter landscapes and Venetian scenes. A different kind of view was afforded by Francis Silva’s (1825-1886) “Atlantic City, Sept. 16, ‘82,” a mixed-media on paper, which realized $9,000. Silva’s beach scene placed the New Jersey casino gaming capital in the artwork’s distant skyline. The work had provenance to a 1998 sale at Sotheby’s.

Jervis McEntee (1828-1891), a Hudson River School painter, is another artist whose works performed well in the auction.

“Spruce Mountain,” an oil on canvas mounted on board and measuring 6 by 11½ inches, depicted the solemn Vermont peak rising above farming fields; this New England painting took $9,000. His oil on canvas, “Along The Esopus,” a tributary of the Hudson River in Ulster County, N.Y., measured 8½ by 14¾ inches and went out at $6,900. McEntee is relatively unknown among the Hudson River School artists, according to Artvee, an art and literary website, but he stood shoulderto-shoulder with some of the school’s luminaries — such as Frederick Church, Sanford Robinson Gifford, Worthington Whittredge, John Ferguson Weir and Eastman Johnson. In addition to his paintings, McEntee is known for his journals which are rich in detail about the life of a typical New York painter during and after the Gilded Age. Rising up like a pyramid amid a wooded landscape is Berlin Mountain in William Richardson Tyler’s (1825-1896) “Berlin, N.Y.,” an oil on canvas landscape measuring 22 by 38 inches that earned $6,300. In addition to this view, which was essentially in Tyler’s back yard and a day trip for him, the ArtPrice website reported that he painted in the Adirondacks and the White Mountains of New Hampshire.

Another winter scene featured William Garrett Van Zandt’s (1857-1942) “Sleigh Ride,” a 1907 oil on canvas depicting a well-to-do looking gent at the reins of a country sleigh shoosh-

ing through a snowy landscape. Van Zandt lived in Albany, N.Y., and was the son of Thomas Kirby Van Zandt, a well-known painter of horses for wealthy New Yorkers. This painting measured 21 by 34 inches and captured $7,800.

Two additional paintings were notable in the sale. Emile Gruppe’s (1896-1978) “A New England Cottage” — an oil on canvas measuring 24 by 36 inches — depicted a stately country home with gambrel roof, gated fence and gardener at work; the painting found a buyer at $5,700. With Vose Gallery provenance, an oil on panel measuring 10 by 13¼ inches and cataloged simply as, Woodbury “Tidal River with Figures,” came in at $5,625, more than four times its high estimate.

A bronze “Pan Of Rohallion” sculpture after Frederick MacMonnies, measured 29½ inches tall and piped to $5,400. MacMonnies was born in Brooklyn, N.Y., and became one of the preeminent American sculptors of the late Nineteenth Century, according to the Art Institute of Chicago. Enlisting the assistance of architect Stanford White, MacMonnies got the

A paint-decorated American tall case clock, probably with a Shaftsbury, Vt., origin, struck $6,000.

assignment for “Pan of Rohallion,” which took the form of a fountain figure for a garden pool located on a private estate in New Jersey, which was named Rohallion after a place of same name in the patron’s native Scotland.

Furniture highlights included a circa 1790 Portsmouth mahogany bow front chest of drawers with 13 satinwood panels, which crossed the block $5,625, and a paint-decorated American tall case clock thought to have been made in Shaftsbury, Vt. At 84 inches tall, it realized $6,000. Prices given include the buyer’s premium as stated by the auction house. The Carlsens’ next sale doesn’t have a specific date yet but will occur around the week after Thanksgiving. For information, www.carlsengallery.com or 518-634-2466.

Walter Launt Palmer’s watercolor “Cloud Shadows,” from the Fred Dicker collection, was one of two of the leading paintings by the artist; it realized $9,600.

Jervis McEntee’s “Spruce Mountain,” an oil on canvas mounted on board, found a buyer at $9,000.

As nostalgic as a Currier and Ives print, W.G. Van Zandt’s 1907 “Sleigh Ride” oil on canvas painting featured a well-todo gentleman gliding by a snowy scene in a horse-drawn sleigh. It was bid to $7,800.

Russ Carlson said that William Richardson Tyler’s “Berlin, N.Y.” landscape was a “day trip” for the artist; the oil on canvas sold at $6,300.

A bidder liked this carved pine statue of Apollo from a doctor’s collection and paid $19,200.

Frederick MacMonnies’ “Pan Of Rohallion” sculpture inspired many copies of the dynamic piping figure. This bronze, measuring 29½ inches tall, made $5,400.

This oil on panel, Woodbury “Tidal River With Figures,” came with Vose Gallery provenance and finished at $5,625.

American Art & Aesthetic Movement Are The Move For Peterborough

Auction Action In Peterborough, N.H.

Leading the sale was this Aesthetic Movement carved teak armchair designed by Lockwood de Forest (American, 1850-1932) and manufactured by the Indian Ahmedabad Wood Carving Company. For $24,400, it will head to the Art Institute of Chicago ($20/30,000).

to $1,830 was

24 by 29 inches, signed lower left “J.M. Hart,” in a period gilt frame, sold directly after the sale’s conclusion for $2,400 ($3/4,000).

Rounding out the top three lots of the sale was “Unloading, Normandy Coast” by William Henry Howe (American, 18461929), oil on board, 14¼ by 17¾ inches, signed lower left with partial date, which wheeled off for $2,562 to a collector with direct family ties to the artist ($500/700).

PETERBOROUGH,

N.H. — Peterborough Auctions closed out September with its Fine Art and Antiques auction, which took place on the 22nd of the month. The sale offered 366 lots featuring fine art, paintings, prints and various antiques from local estates.

“We feel like the sale did well overall, and are satisfied with the results,” shared Nick Prior and Molly Williams, co-owners of Peterborough Auctions. “We had some nice surprises with the prints and a few of the eclectic antiques and sold the top lot to a major American museum.”

The top lot in question was one of two pieces of Aesthetic Movement furniture offered, this one designed by Lockwood de Forest in December 1881 and manufactured by the Ahmedabad Wood Carving Company in India around 1882-86. The armchairfeatured a carved folate trailing vine motif on all surfaces,

among other details. The chair may have previously been owned by Alfred de Forest, the son of Lockwood de Forest. Finishing at $24,400, it will head to its new home with the Art Institute of Chicago.

Of the important purchase, Prior and Williams shared, “The museum will be conserving, restoring and reupholstering the chair before installing it into their permanent collection. We are thrilled that this historic piece will be available for the public to see and learn from at one of the country’s top art museums.”

The second Aesthetic Movement item earned the secondhighest price of the sale. This example, also manufactured by the Ahmedabad Wood Carving Company, was a hexagonal parlor table with elaborately carved edges and panels; it was attributed to de Forest.

The auction catalog estimated that the table was made between 1885-1900 and was possibly assembled in New York. For $5,185, it was purchased by a local collector with direct family connections to de Forest.

The two top lots were both, according to Prior and Williams, “nice surprises for our consignors who didn’t realize the historic and monetary value of these pieces that were in their uncle’s house. They were nice surprises for us as well — we knew they were interesting and potentially

lower right, sold for $2,074 ($200/300).

Finishing second in the sale was this Aesthetic Movement hexagonal carved parlor table, manufactured by the Ahmedabad Wood Carving Company and attributed to Lockwood de Forest (American, 1850-1932). It was most likely made between 1885-1900 and achieved a $5,185 finish ($6/9,000).

quite valuable when we went on the house call, but didn’t see the full scope until we brought them back to the gallery and started researching.”

Oil landscapes were popular with bidders, with many taking top spots in the sale. “Unloading, Normandy Coast” by William Henry Howe rounded out the top three-highest prices, with the oil on board earning $2,562 against a $500/700 estimate. Described by the auction catalog as “an incredibly detailed, atmospheric Norwegian landscape of a small cabin at the edge of a fjord,” “Cabin by the Fjord,” an oil on panel by Georg Anton Rasmussen, realized $1,500.

The only lithograph to enter the top 10 best-selling lots was an example by Pablo Picasso, titled “Bouquet of Peace.” The original color lithograph was purchased by the consignor’s parents in the early 1960s from a Hungarian art dealer in New York City, who brought the work from Paris. The lithograph began with a pre-sale estimate of $300/500, but after 31 bids, the buyer took home the work for $1,464.

Prior and Williams mentioned, after the sale’s conclusion, “All the other top lots sold to private collectors around the United States. We had some overseas bidders and buyers, but the bulk of the activity came from American bidders, including many bidding directly on our website for the first time, including many New England locals who also came to our preview. In general, we’re finding that bidders are more and more comfortable previewing and bidding online.”

Peterborough Auctions’ next sale will take place on Gold Sunday, December 1. The sale will focus on estate, designer and antique jewelry, watches, coins and silver.

Prices quoted include buyer’s premium as reported by the auction house. For information, 603-933-9947 or www. peterboroughauctions.us.

“A Bit of Cherry Valley” by James McDougal Hart (American, 1828-1901), oil on canvas,

Review by Kiersten Busch, Assistant Editor Photos Courtesy Peterborough Auctions

“Shere Mill Pond, No. II” by Sir Francis Seymour Haden (British, 1818-1910), 1860, etching, printed on Japan paper, 7 by 13 inches, signed

“Bouquet of Peace,” a 1958 lithograph by Pablo Picasso (Spanish, 1881-1973) was signed and dated in the plate, framed to 30 by 23 inches and bloomed to $1,464 ($300/500).

Flowing

“American Barbizon Twilight River Scene” by Charles Harry Eaton (American, 1850-1901), oil on canvas, 18 by 24 inches framed, signed lower right ($2/3,000).

SJ Auctioneers’ Online-Only Estate Auction To Take Place On October

BROOKLYN, N.Y. — More than 250 lots of diverse items ranging from high-end estate silverware to highly collectible Japanese tin buses will come up for bid in an online auction slated for Sunday, October 27, at 6 pm Eastern time, by SJ Auctioneers. Many of the items would make perfect holiday gifts for family members, adults, children or corporate employees.

The auction features items by famous name designers and makers, including Georg Jensen, Cardeilhac, Paul Storr, Wallace, Tiffany & Co., Cartier, Buccellati, Gucci, Montegrappa, Baccarat, Judith Leiber, Louis Marx, Hasbro, Lionel, TootsieToy, Agglo, Steuben, Lalique, Herend, Swarovski, Louis Vuitton, Gorham and others.

Bidding is available online at LiveAuctioneers.com. Pre-bidding is also available, meaning those who are unable to attend the online auction can still leave their bids now.

SJ Auctioneers has quickly become a primary source for buyers looking for estate silver, both as flatware sets and individual pieces. In the October 27 auction, fully 29 of the 32 expected topselling lots are sterling silver. Of those 29 lots is a 115-piece Georg Jensen sterling silver flatware serving set in the Denmark Cactus pattern, being sold without a storage case ($14;16,000); a Cardeilhac French sterling silver mirrored plateau and centerpiece bowl in the rococo style, 0.950 (a higher purity than sterling), weighing approximately 55 troy ounces ($12/15,000); a pair of English Paul Storr sterling silver tureens (or covered vegetable dishes), adorned with gadrooned rims, natural motifs and a noble crest, weighing 93 troy ounces ($10/14,000); a Georg Jensen sterling silver five-piece coffee service designed by Harald Nielsen in the celebrated Pyramid pattern (1910s-30s), weighing approximately 62 troy ounces, should bring $5,9/6,500; and a

27

Cardeilhac French sterling silver mirrored plateau and centerpiece bowl in the rococo style, 0.950 (a higher purity than sterling), weighing 55.6 troy ounces ($12/15,000).

115-piece Georg Jensen sterling silver flatware serving set in the Denmark Cactus pattern, being sold without a storage case ($14/16,000).

Features Silverware, Toys, Décor, Glass Art & More

Tiffany & Co., sterling silver water pitcher, standing at 9 inches tall, is estimated at $3,5/4,800.

The rest of the catalog is an eclectic mix of merchandise, ranging from a Michael Jordan signed Chicago White Sox baseball ($2,5/3,000); to a rare Montegrappa Special Reserve sterling silver rollerball pen made in Italy in 1996, #52 of 100 ($3,4/3,800); to a Baccarat Whiskey Stones gift set, including eight stones and tongs, in a gift box ($500/600); to a new Judith Leiber jade green snakeskin convertible clutch ($450/500).

The jewelry category will be plentiful; this includes a set of Cartier gemstone gold interchangeable bar cufflinks in malachite, lapis and more, with the original box ($4/7,500); a Tiffany & Co., Paloma Picasso 18K yellow gold pendant necklace with box ($500/750); and a pair of Tiffany & Co., 18K yellow gold stud earrings, 5.5mm, weighing 1.4 grams ($400/750).

Other jewelry offerings will feature a pair of Italian-made

Gianmaria Buccellati sterling silver cufflinks with red jasper at the center in a floral motif ($450/650); a Tiffany & Co., signed sterling silver with blue enamel ice skate charm necklace, 16 inches long ($400/600); and a Gucci dog collar with charm made in Italy with paper bag and box ($300/450).

The extensive selection of vintage Japanese-made tin buses will showcase examples made by Yonezawa, Cragstan, Ichiko, Modern Toys Japan, Daito, Daiyi and Radicon. An example is the Japanese friction bus by Ichiko,

Exhibition Celebrates Eastern Shore Folk Artist

Mary Elizabeth

NORFOLK, VA. — Eastern Shore artist and pastor Mary Elizabeth “MAMA-Girl” Onley attracted an enthusiastic flock of fans and followers. Many found inspiration in her colorful newspaper sculptures and paintings, and in her uplifting personality.

Six years after Onley’s death, Old Dominion University (ODU) presents an exhibition celebrating her joyful artistic vision. “MAMA-Girl!” is on display at the Baron and Ellin Gordon Art Galleries through May 10.

More than a dozen lenders from Virginia, Maryland and North Carolina contributed some 150 objects that represent her life and work. MAMAGirl depicted a vivid, whimsical world of plants and animals, scenes from the Bible and rural life on the Eastern Shore. The work radiates

‘MAMA-Girl’ Onley

Animals were a favorite subject for Eastern Shore folk artist Mary Elizabeth “MAMA-Girl” Onley. Photo credit: Mark Atkinson.

imagination and optimism. “It has been gratifying to witness people warm to the idea of honoring MAMA-Girl in this way,” said Cullen Strawn, ODU’s executive director for the arts, who per-

sonally curated the show.

“This is the first major effort to bring together a diverse array of works that she made throughout her career,” Strawn said. He said he hopes it’s not the last.

The artist’s son, David Rogers, helped assemble elements for the exhibition.

“I’m blown away,” Rogers said. “My mother’s gone out of the flesh, but individuals have gotten together collectively to honor her. I’m in a state of awe and praise.”

In the spring, the Gordon Galleries will release a catalogue documenting the exhibition, featuring object photography by Mark Atkinson.

The Baron and Ellin Gordon Art Galleries of Old Dominion University are at 4509 Monarch Way. For information, 757-683-6271 or www.odu.edu/ life/culture/arts/galleries.

16 inches long, with original box ($200/500). There is also a bus by the French maker Berliet. Other toys will include a large Louis Marx tin litho livestock company truck with cattle, 16 inches long, with the original box ($500-$1,500); a circa 1964-69 Hasbro GI Joe Action Soldier 7500 with the original box

($450/750); and a pre-World War II Lionel train set, Gauge O, with a 252 locomotive that runs ($350/500).

Also up for bid will be a circa 1930 Tootsie Toy set of Midgets 0510, planes and trucks, in the original box ($300/500); a lot of 24 Agglo tin friction vehicles ($250/500); a green and orange Nintendo Donkey Kong game device and watch that works ($250/500); and a red 2017 1/43scale Burago Ferrari Fxx-K Evo Hybrid 6.3 V12 car and case ($250/500).

Decorative accessories will feature a Steuben Glass Co., blue aurene signed bud vase marked on the bottom #2556, 6 inches tall ($500/950); a limited-edition 1990s Lalique satin-finished crystal shark, 3¼ inches long, created exclusively for Nassau Bottle ($500/750); and a Herend Fishnet pattern five-angel fish and coral figurine, 3½ inches tall ($500/650). For information, 646-450-7553 or www.sjauctioneers.com.

Vintage Japanese friction bus by Ichiko, approximately 16 inches long, with original box ($200/500).

183rd Original Semi-Annual Show—

Grand Old Show Of York

YORK, PENN. — For those Americana collectors who bemoan the increasing number of antiques shows that drop the term “antiques” from their name, or ones that expand the focus to include Twentieth Century design, the Original Semi-Annual York, Penn., Antiques Show and Sale is for you. More than 50 dealers, from as far away as Wis-

consin and Georgia, to those local to York, gather twice a year in the spacious Memorial Hall East, on the campus of the York Fairgrounds and Convention Center.

The show retains its long-held model: dealers brought genuine antiques of high caliber for diehard collectors who lined up ahead of the show’s 10 am opening on Friday, September 20. Its

two-day run — it closed late in the afternoon of Saturday, September 21 — gave shoppers a sense of urgency and the show was busy on both days, with families and weekend collectors comprising a sizeable portion of Saturday’s attendees.

Many of the dealers who did the February 2-3, 2024, edition of the York Show said it was “the best in recent memory,” so we asked show manager Melvin Arion how this most recent event shaped up.

“The Fall show will never match the Winter Show but, for this day and age, I thought it was very good. The gate was good Friday and fairly good on Saturday. I was pleased with how it went.”

For those who have attended the show in the most recent years, there were some missing faces (Art & Antique Gallery, Holden, Mass.; B. Hannah Daniel, Athens, Ala..; and The Norwoods Spirit of America, Timonium, Md.). In their places were a few new or ones returning after an extended hiatus: Frank Gaglio, Rhinebeck, N.Y.; Firehouse Antiques, Galena, Md., Mark & Kelli Saylor, Cape May, N.J., and Charley Horse Antiques, Petersburg, Va.

“I did well both days, it’s a worthwhile event to do,” Gaglio shared. “I sold a schoolhouse quilt on Friday and a Navajo rug I put up in its place, an ironing marble, a pier table, an owl weathervane and a dolphin fountain, as well as lots of smalls.”

Back after a couple of years, Mark and Kelli Saylor made an institutional sale within an hour of the show’s start, selling a reproduction painted bucket cupboard to Lisa Minardi for the collection at Historic Trappe. Minardi confirmed it was a replica of one featured in Historic Trappe’s newest exhibition and would be included alongside the original. An area between the show’s main floor and the atrium housed a small number of dealers who enjoyed being not only the first booths shoppers could visit, but also short proximity to both the restrooms and the concessions

Lots of lovely small, framed silhouettes, as well as larger paintings, with Joy Hanes, Hanes & Ruskin, Niantic, Conn.

Newsom Berdan, Hallowell, Maine and Thomasville, Penn.

Dealer Sam Herrup, left, made the trek to York all the way from Sheffield, Mass. While he was at the show, he caught up with James. L. Price, right. The Carlisle, Penn., dealer sold a pair of Chippendale chairs early in the show.

On the right is Joan Staufer, Catskill, N.Y.

Toby Chittum (right) is Charley Horse Antiques and she sold a small birchbark tipi model to this customer. It was Chittum’s first time at the show. Petersburg, Va. Willow Springs Antiques, Rexford, N.Y.

Mark and Kelli Saylor were all smiles, happy to be back at the show after a short hiatus. The paint-decorated Dutch cupboard they are standing next to came from the Wilton, Conn., collection of Effie Thixton Arthur (1902-1979), whose collection was exhibited at several museums and profiled in The Clarion in 1980. Cape May, N.J.

Review & Onsite Photos by Madelia Hickman Ring, Editor

Hilary Nolan sold the Southern yellow pine table he’s sitting at to a Southern collector. Hilary & Paulette Nolan, Falmouth, Mass.

stand. Jane Langol said the first morning was “a good start, with a big sale of a very important quilt at the opening.” She’d had interest in lots of smalls as well as “serious interest” in paintings. Her outside wall featured a Raggedy Anne doll as well as an important braided rug from Maine that had provenance to Merrimacport, Mass., dealer, Colette Donovan.

In the same space, Helen and Larry Bryan were H&L Antiques. Larry showed Antiques and The Arts Weekly a butterfly table he’d sold, an Eighteenth Century desk on frame and an Eighteenth Century open stepback cupboard that dated to circa 1840.

Michael Paul Gunselman was on the other side of the café from Langol. The Centreville, Del., dealer said he had sold an apothecary cabinet, a Coca-cola cast iron door handle and a couple of toys.

Once shoppers were inside the show’s main floor, there were several booths front and center that offered a diversity of choice.

A boldly colored Pennsylvania star quilt, dated to the late Nineteenth Century, anchored Joe Lodge’s booth near the entrance but our eyes were drawn to a miniature smoke-decorated bench with a single drawer that sat on a painted table, and the three miniature painted pantry boxes on top of it that the Lederach, Penn., dealer said he’d found — and was selling — separately.

Bob Haneberg had paintings by James King Bonnar, Antonio Cerio and Anthony Thieme, as well as a lovely Hudson River School landscape after Victor de Grailly. The East Lyme, Conn., dealer also had maritime, weathervanes and furniture, notably a circa 1820 mahogany card table with pineapple-carved base, tigermaple tilt-top stand and a two drawer table with a gameboard top and sewing bag fitted to the bottom drawer.

“I sold a really good Pennsylvania inlaid iron ladle, a Windsor chair, a piece of woodenware and an early Nineteenth Century Southern yellow pine table that I found in Massachusetts but is going to a Southern buyer,” reported Hilary Nolan, whose booth was around the corner from Haneberg.

Rich Garthoeffner was seen discussing the merits of a child’s “Daisy” wagon with an interested showgoer. Pat & Rich Garthoeffner, Lititz, Penn.

In Steven Still’s booth, a Lancaster County (Penn.) sampler dated 1826, powder horn owned by Thomas Leatch of Fitchburg, Mass., and two portraits by Jacob Eicholtz were shown alongside a Queen Anne walnut

dressing table with drake feet. Chadds Ford, Penn., dealer

Richard Worth paired a diminutive circa 1780 Rhode Island Windsor rocking chair with an Eighteenth Century painted Berks County (Penn.) Menno-

the

Beaver Creek Antiques & Arms, Dillsburg, Penn.

Frank Gaglio (not pictured) had an owl weathervane that got a lot of close-up attention from the woman on the right. Both it and the Schoolhouse quilt on his back wall sold during the show. Rhinebeck, N.Y.

A miniature blanket chest and full-size chest of drawers each sported red sold tags. Fleshman’s Antiques, New Market, Md.

Butch McGrath, right, was spotted discussing flatware with an attendee. Butch McGrath Antiques, Scituate, Mass.

Blandon Cherry Art & Antiques, Paris, Ky.

Firehouse Antiques, Galena, Md.

Sandy Jacobs, right, selling jewelry while Drew Epstein got some bubble pack out. Behind him is a phenomenonal folk art étagère that was made in Lancaster, Ohio, by an unknown artist and featured in Wendy Lavitt’s Animals in American Folk Art (New York City: Knopf, 1990). A copy of the book is next to it. In

far corner was a restored 1950s outboard motor. Scott Bassoff – Sandy Jacobs, Swampscott, Mass.

Marvin Wies Folk Art & Antiques, Baltimore, Md.

Zac Ziebarth, third from right in the light blue shirt, had strong sales throughout the event. The trapunto-decorated quilt on his side wall was one he found in the Midwest; it sold to a local collector. Ziebarth’s Antiques, Madison, Wis.

York Antiques Show

Textiles were a notably strong category with Barrett Menson, who brought quilts, coverlets, towels and samplers. He even had this stack of pieced quilting stars for those who want to start their own quilt project. Perkins & Menson Antiques, Ashby, Mass.

This Steiff Puss in Boots is still looking for a new home. If you’re interested — and who could resist that face and those little boots? — call Tom Jewett or Butch Berdan. Jewett Berdan Antiques, Newcastle, Maine.

Saratoga Fine Art, Saratoga Springs, N.Y.

The Hanebergs, East Lyme, Conn.

Talk about ‘a bird in the hand,’ A Bird in Hand Antique’s Joyce Bassin had this flying owl decoy by Macon, Wis., carver Casey Edwards in hers. Florham Park, N.J.

John Kolar Fine Americana, Hershey, Penn.

Small — and easily packable or portable — objects usually do well at York and Valerie & Dennis Bakoledis came prepared. Rhinebeck, N.Y.

Richard M. Worth, Centreville, Del.

Just before the show’s opening, the line stretched through the lobby.

nite cupboard. These were next to an early Nineteenth Century portrait of a mother and child, which hung over a Soap Hollow painted blanket chest that had been published in Monroe Fabian’s book, The PennsylvaniaGerman Decorated Chest (Universe Books, 1978).

Weathervanes were a popular category with Green Lane, Penn., dealers Keith and Diane Fryling, with lighthouse, cricket, swordfish and rooster examples. Standing out from their other offerings of stoneware, painted boxes, decoys, gameboards, hooked rugs and fraktur was a bentwood veneer sculpture by P.V. Schleck titled “Phoenix Series #18.” According to the card that accompanied it, Schleck was a self-taught New York City artist who specialized in creating art forms from veneers of exotic woods.

Next to the Frylings, Pat and Rich Garthoeffner were doing a brisk business, selling a cast iron rabbit bank and talking to clients about many of the things in their booth, including an album crib quilt, holiday and a

child’s Daisy wagon. In the same aisle as the Frylings and Garthoeffners, Rockingham, Vt., dealers Steven Corrigan and Douglas Jackman shared a booth with Canfield, Ohio, dealer Steve Sherhag. Their wares went well alongside each other, with each showing painted furniture, portraits and small decorative objects.

Zac Ziebarth is the president

of the board of directors for the Antiques Dealers Association of America (ADA) and he’s been coming to the York Show from Wisconsin for a couple of years. When we caught up with him after the show, he was packing to go to London to participate for the first time in the Decorative Fair, where he would be the only dealer of Native American works of art.

James Grievo, in the white shirt, had a woven back basket that got a lot of attention. While he was showing it, we were captivated by the gilt trade sign in the shape of an oversize clothespin, shown at the center top of this photo. Stockton, N.J.

Nancy & Gene Pratt, Victor, N.Y.

The oversize papier mâché mask stood out among barometers John Forster brought to the show. Barometer Fair, Sarasota, Fla.

Yeagertown, Penn., dealer Robert M. Conrad, left, in conversation with Jamie Shearer, Pook & Pook Auctions’ vice president, appraiser and auctioneer.

A landscape with Fall foliage by Franklin Briscoe hung over a circa 1770 one-drawer card table from the West Indies. Larry Thompson, Shellville, Ga.

Steve Sherhag, Canfield, Ohio.

Steve Smoot Antiques & Navajo Textiles, Lancaster, Penn.

The six-gallon crock with rooster decoration, shown top center, was stamped “J. Burger / Rochester, N.Y” and was one of the best pieces of stoneware Greg Kramer brought to the show. Greg K. Kramer & Co., Robesonia, Penn.

Antiquing makes for a good appetite. The venue has a kitchen with several options and was busy during lunchtime on the first day.

“York was superb for me. It was helpful to have the militaria show happening on the fairgrounds — several of those folks came in and shopped. I sold some good Civil War ephemera, stoneware, Native American items including beadwork, textiles and folk art. For me, it’s a unique show in that those who shop the show know the material; many have been long-time collectors but its always fun to meet new collectors. I was happy to sell to existing clients and make new ones as well.”

Across from the Garthoeffners, John Kolar had several objects of significant historical importance. These included a Chester County (Penn.) slat-back side chair once owned by William K. Dupont, an armchair in original green paint that had once been in the Connecticut State House that related to one published by Charles Santore that he had acquired from

the late dealer, Wayne Pratt, a long rifle made by Jacob Metzger and a powder horn with Noah’s Ark iconography once published in the April 2015 issue of Early American Life Nancy Douglass brought a theorem that had been sold at Christie’s in 1999. It hung in her Willow Springs Antiques’ booth alongside a stack of two cream and brown hat boxes, a cow weathervane, a red-painted rooster weathervane made by the Rochester Iron Works, a circa 1820 cherry dry sink and a circa 1880-1900 clam or oystershell patterned hooked rug she’d found in Vermont.

“[Business] has been surprisingly good for an election year,” observed Don Heller. The Portland, Maine, dealer brought several theorem pictures, a whitepainted rooster weathervane, a portrait of a child seated in a chair

that was done on a cradled board and some painted furniture. When we were in his booth, a prospective buyer called him over to discuss the construction details of an early Eighteenth Century Rhode Island paneled settle. Across the aisle from Heller, Dan and Karen Olson were also having a good show. Sales in multiple categories were reported after the show, which they described as “busy for us, both during set up and while it was open.” Among furniture pieces that traded hands were an early Nineteenth Century inlaid walnut tall chest, a two-door dry sink with drawers, two Eighteenth Century New England tea tables and a New England Queen Anne cut-corner candlestand in old finish, an early Nineteenth Century one-drawer stand, an inlaid mahogany card table from Connecticut and an English inlaid satinwood liquor chest on stand. Bennington candlesticks, baskets, decorated tin, painted pantry boxes, trade signs, glass lamps, an 1845 mangle board and an Eighteenth Century needlework from Litchfield, Conn., were among the smalls they found new homes for. Grenfell mats, decoys, stoneware, weathervanes and folk paintings — the usual bill of fare for A Bird in Hand Antiques — were among the pieces Ron and Joyce Bassin brought to the show, but an unusual standout was a large brass and leather telescope made by Ryland & Son in London in 1916. Made for field artillery and general staff, it was reputedly used to monitor German activities off the Dover coast during World War I. Its descriptive card noted it to be “a rare and positively outstanding telescope for the particular user or collector.” A Clark Vorhees carved and painted wall-mounted narwhal, made between 1940 and 1970, was a sale the Bassins made early in the event. Towards the back corner, conversation with customers kept Mike Newsom busy. Animals populated his booth, in the form of a carved white fox by Frank Finney, a good selection of small carved birds, a swan and various fish decoys, chalkware cats, a stone squirrel and a rooster weathervane, not to mention two

Marc Calciano, Clifton Heights, Penn.

Michael Paul Gunselman had this unusual baseball game wheel. Centreville, Del.

Daniel & Karen Olson had many sales, including the portrait of a young girl in a pink dress attributed to Susan Waters in the far corner of their booth. Newburgh, N.Y. Photo courtesy Dan and Karen Olson.

Stephen-Douglas, Rockingham, Vt.

David Kurau, in the pink polo shirt on the left, fielded questions from multiple attendees on Friday morning. Wm R & Teresa F Kurau, Lampeter, Penn.

Steven & Sally Still, Manheim, Penn. Joseph J. Lodge, Lederach, Penn.

The dramatic veneered sculpture by P.V. Schleck, shown on the right along the back wall, was an interesting and unusual object, on offer with Keith and Diane Fryling, Green Lane, Penn.

Robert Werowinski created a very late Seventeenth Century look with a painting of a Dutch interior, a spire flagon marked by William Charsley of London, 1729-30, two pairs of Continental brass candlesticks, an iron blade marked “AP AP,” an English oak bible box and a mid Sixteenth Century Tudor oak coffer. James Island Antiques, Charleston, S.C.

hooked rugs with animal motifs. He had a selection of six folk art carved canes — which he said were usually good sellers — from a selection of more than 100 he owns; two at the show were carved with dog’s-head handles.

John Forster, the Sarasota, Fla.based owner of Barometer Fair, does the Fall York show but not the Winter edition. A restorer of barometers, he brings ones he’s working on to the show as well as complete examples. By noon on Friday, he had sold a ship’s bowfront barometer and a boxed sextant. A particularly unusual antique he had prominently displayed on his outer wall was a large papier mâché harlequin mask that was probably made and used during Mardi Gras; he had found it in North Carolina.

Drew Epstein and Sandy Jacobs were kitty corner from Forster. Among signs, painted boxes, toy vehicles, folk portraits and a phenomenal folk art étagère was a restored 1950s outboard motor on a custom stand that was Epstein’s “thing,” meant to power a canoe.

Tom Jewett, who with Butch Berdan was also adjacent to Forster, Epstein and Jacobs, sent a good report of the show a few days after it closed.

“We sold across the board, but holiday was on fire! Some of our sales included a large clockwork Santa, a clockwork reindeer, Belsnickels, ornaments and Halloween but we also sold trade signs, a carved curtain panel, an Oddfellows pedestal and lots of smalls.”

Just across the aisle from Epstein and Jacobs, Chris Evans was manning the booth by himself. An early sale on of a threegallon cobalt-decorated stoneware pitcher to dealer/collector Roy Wadsworth gave him a strong start to the event.

Clifton Heights, Penn., dealer, Marc Calciano sold a set of 12 Royal Doulton plates on opening day as well as crocks, Asian foo dogs, Native American

Roy Wadsworth is a dealer (T&R Antiques in Eldersburg, Md.) and collector of stoneware pitchers. Specifically, he collects three-gallon pitchers, so he was happy to find one by Henry Remmey on offer with Chris and Bernadette Evans, Wayne, Va.

York Antiques Show

objects and artwork.

Blandon Cherry was back at York after debuting in February.

The Paris, Ky., dealer had several good things including a walnut and poplar one-drawer stand made in the first quarter of the Nineteenth Century in Pennsylvania. It provided a great place upon which to showcase a folky carved Black man he had acquired in Virginia.

Joan Staufer had interest in an unusual mustard-colored wholecloth bedcover that had been deaccessioned from Colonial Wil-

Lisa S McAllister, shown second from right in a discussion with a potential buyer, brought two pieces of root furniture from Western Pennsylvania that anchored the left and right back corners of her booth. On the left, a hall tree made of Eastern red cedar and, on the right, a painted armchair that retained traces of its original green paint. Clear Spring, Md.

A paneled settle with lollipop-carved arm terminals, made in Rhode Island between 1700 and 1750, was among the pieces Don Heller, left, had interest in. Heller Washam Antiques, Portland, Maine.

Jane Langol said the three Bennington pottery oval frames on the table were “very rare” and the two paintings in the center of the wall were ones she’d recently acquired. Medina, Ohio.

liamsburg, which she displayed folded in half on one of her side walls. Another piece of note — a rare New England chimney cupboard that retained its old surface and original butterfly hinges — was something she’d acquired just before the show and described as being “a 10 in both form and condition!”

The 184th Original Semi-Annual York, Penn., Antiques Show & Sale will take place at the same venue, on January 31-February 1. For information, www.theoriginalyorkantiquesshow.com.

Soheil Oriental Rugs, Roslyn, N.Y.

Four glass bride’s banks Marc Witus was selling. Gladstone, N.J.

H&L Antiques, Princeton, N.J.

Auction Action In Hudson, N.Y.

Aestheticism Brings $1 Million For Stair

HUDSON, N.Y. — Stair’s Design From 1860 to 1910 auction on September 26 focused on fine furniture and decorative arts from that period. Included among the 374 lots offered were Aesthetic Movement items from the collection of Barry R. Harwood (1947-2018), curator of decorative arts at the Brooklyn Museum (Brooklyn, N.Y.) and

adjunct professor at the CooperHewitt Museum/Parsons School of Design’s master’s program in the history of decorative arts. Also included was a selection of furniture, decorations and books from the collection of Ann and Gordon Getty. In total, the sale boasted a 98 percent sellthrough rate and exceeded its estimates to realize $1,002,688.

surface, 5 feet long, more than doubled its high estimate, bringing $46,080 ($18/22,000).

Muffie Cunningham, Stair’s director of decorative arts, noted a few factors that contributed to the sale’s success: “very good material all in one place; many retail bidders who were collecting for or furnishing places, houses and apartments; and the beginning of the sale was Barry Harwood’s collection. He was liked by many people and there was some sentimentality to that — they wanted a memento, or they just liked his eye.”

The top lot of the day was an intricately carved teakwood tracery, or decorative window arch, made by Lockwood de Forest (American, 1850-1932) and the Ahmedabad Wood Carving Company, India, after the stone examples at Sidi Saiyyed Mosque in Ahmedabad, India (built 1500 CE). From the collection of Ann and Gordon Getty, the pierced semi-circle

panel was bid to $224,000. Cunningham commented, “The teak window was a spectacular piece — before it turned up at Stair its whereabouts were unknown. Anything by Lockwood de Forest is interesting, maybe it’s esoteric, but the people who like it and know it are dedicated to it, and museums like to have it in their collections. This example was owned by de Forest and was one of the first pieces he had made in India. And it didn’t hurt that it was owned by Ann Getty. It went to a private collector but also had some institutional interest. You don’t often see Lockwood de Forest’s works and we had three pieces in this sale.”

Other carved teak works by de Forest included an armchair and a fire screen. The carved armchair, designed by de Forest and produced by the

Leading the sale after soaring beyond its $10/15,000 estimate was Lockwood de Forest’s Ahmedabad Wood Carving Co., Indian teakwood model of the windows in Sidi Saiyyad’s mosque at Ahmedabad, India. Measuring 6 feet 7½ inches high by 10 feet 5 inches wide, the window was bid to $224,000.

Ahmedabad Wood Carving Co., was upholstered in a light gray linen and was cataloged as being “in good condition with very little wear and nicks” and impressive in scale. It sold to a New York buyer for $11,250. The other piece, a carved teak and beveled glass double-sided fire screen, was attributed to de Forest and Louis Comfort Tiffany (American, 1848-1933). Measuring 41½ inches high by 39 inches long, the screen was intricately carved with foliate details on elephant mask feet. Also selling to a New York buyer, the fire screen brought $10,880 against an estimate of $3/5,000.

Founded in New York City by German immigrants Gustave and Christian Herter, the Herter Brothers company was active from 1864 through 1906. And, as Cunningham stated simply, “Herter Brothers performed very well in the sale.” Achieving the most impressive price for a Herter Brothers lot — $46,080 — was a carved walnut library table. The table, which was 5 feet long by 3 feet wide, had floral marquetry side panels, made with various woods and was fitted with a baize-lined writing surface. Branded “Herter Bro’s” twice, the table sold to a Newport, R.I., buyer. The next three lots in price were also Herter Brothers pieces. Selling to a New York buyer for $44,800 was a maple folio cabinet, also with marquetry details in various woods. Each of the nine shelves were lined with maroon baize, as was the top surface. This piece was stamped with the Herter Brothers mark. Following at $25,600, an ebonized burlwood parlor cabinet with various wood marquetry detailing. The catalog noted that a related cabinet, dated circa 1872, is in the collection of the Brooklyn Museum. The center section, behind glass, was fitted with one shelf and

This Herter Brothers carved walnut marquetry library table, fitted with an inset baize lined writing

Designed by Lockwood de Forest and produced by the Ahmedabad Wood Carving Co., this carved teak armchair, 45½ by 26¼ inches, was bid to $11,250 ($6/8,000).

This Aesthetic Movement rosewood marquetry library table, possibly Herter Brothers, 40 inches long, achieved $17,280 ($6/9,000).

This Charles Parker mixed metal double sided stand, fitted with inset green velvet panels, 31½ inches high by 19¼ inches long by 18¼ inches deep, sold to a New York collector for $12,160 ($3/5,000).

Review by Carly Timpson, Assistant Editor Photos Courtesy Stair

This ebonized burlwood marquetry parlor cabinet was made by the Herter Brothers, 42¾ inches high by 5 feet 6½ inches long by 16½ inches deep, made $25,600 ($10/15,000).

Attributed to George A. Schastey & Co., this carved rosewood and hand-painted three panel screen, 4 feet 10¾ inches by 6 feet 8 inches, made $12,800 ($3/5,000).

“The surprise of the sale” was this Aesthetic Movement silver gilt and parcel gilt mirror, 4 feet 2¼ inches by 27¼ inches; it was bid well beyond its $600/800 estimate to achieve $17,080.

the two side compartments did not have shelving. The cabinet was of “fine quality and structurally sound” and sold with its key. A Connecticut buyer scored an ebonized and parcel-gilt cabinet, with “beautifully inlaid” marquetry details, for $24,320, despite the catalog noting that the doors were locked and lacked a key.

An unmarked Aesthetic Movement rosewood library table had all the necessary carved details and marquetry inlays for Stair to catalog it as being “possibly by Herter Brothers.” Fitted with an inset leather top and opposing drawers, the table went out to a Connecticut buyer for $17,280.

The New York City firm Herts Brothers (1872-1937) was also represented in this sale. Leading the selection was a satinwood octagonal center table. Cunningham noted that this table got a lot of interest, saying that it was a “rare, signed item

that was very good looking and appealed to a variety of bidders.” Branded “Herts Brothers Broadway & 20 St NY,” the 39½-inch-wide octagonal table brought $19,200.

With a high estimate of just $800, a silver gilt and parcel-gilt mirror stunned Stair’s expectations, ultimately selling for $17,080. “That was the surprise of the sale. It had so much interest and the bidders seemingly just had to have it! It was an unusual item, and it was a

Achieving $44,800 was this Herter Brothers Aesthetic Movement maple marquetry folio cabinet, which had nine baize lined shelves and measured nearly 4½ feet high by 42½ inches wide by 29 inches deep ($7/10,000).

This Lamb of Manchester Aesthetic Movement ebonized and parcel-gilt vitrine on stand, 5 feet 9¼ inches high by 4 feet 11 inches long by 18 inches deep, went out at $10,880 ($3/5,000).

record price for something like that. Two very dedicated, interested parties were fighting to get it and the one from New York prevailed,” Cunningham said of the mirror. With a beveled mirror plate, the Aesthetic Movement piece came from the collection of Barry R. Harwood and his husband, Joseph V. Garry. Also from the Harwood and Garry collection was a metal stand by Charles Parker (18321957). The mixed metal stand was double-sided with panels depicting birds and flora against a green velvet background that matched the green

After generating “lots of interest,” this Herts Brothers, New York, satinwood octagonal center table, 30¼ by 39¼ inches, brought $19,200 ($3/5,000).

This Herter Brothers ebonized parcel gilt marquetry cabinet, 5 feet 6¼ inches high by 5 feet 4½ inches long by 19¼ inches deep, went out at $24,320 ($10/15,000).

velvet top surface. Cataloged as being “exceptional quality,” and “beautifully restored,” per Cunningham, the stand went to a New York state collector for $12,160.

Once included in an exhibition on George A. Schastey & Co., at New York City’s Metropolitan Museum of Art, a carved rosewood three-panel dressing screen, attributed to George A. Schastey & Co., made $12,800. The primary side of each of the three panels was detailed with hand-painted flowers and other plants.

For final thoughts, Cunningham added, “Regarding this fur-

niture — even the ebonized Aesthetic pieces: there seems to be a kind of resurgence in the style and that was reflected in the sale. People were mentioning they hadn’t had this much quality in one place in a long time. And there were people in person in the gallery during this sale and that doesn’t happen so much anymore!”

Prices quoted include the buyer’s premium as reported by the auction house. Stair will be auctioning jewelry on October 23 and fine and decorative arts on October 24. For information, www.stairgalleries.com or 518751-1000.

Auction Action In Whipple, Ohio

Part One Of Dr Virginia Gunn’s Textile Collection— Midcentury Glass, Ohio Paintings & Textiles Highlight Meander’s Fall Auction

WHIPPLE, OHIO — While the much-anticipated textile collection of Dr Virginia Gunn realized strong prices, it was a collection of five paintings by Ohio Regionalist artist Clyde Singer that led the way, collectively realizing $32,760, blowing past an aggregate pre-sale estimate of $5,5/10,600. After a brief spell studying at the Art Students League in New York, Singer (1908-1999) returned to his native Ohio where he spent the remainder of his life gaining numerous accolades. “Since a major exhibition at the Canton Museum of Art in 2008, his work has received more attention by both museums and collectors,” commented auctioneer and Meander co-owner Andrew Richmond.

The September 28 auction also included a small but punchy collection of Blenko Glass. Founded in 1893, Blenko has been making colorful glass in Milton, W.Va., and today, collectors of Midcentury design aggressively seek the biggest and splashiest pieces, such as the so-called Chess Piece floor decanter, measuring 36 inches high, that sold to an internet bidder for $2,337. Another floor decanter brought

The

$1,476, and a trio of “blob” vases sold for $1,260.

It was the textile collection of Dr Virginia Gunn that kept the phone ringing leading up to sale day and filled the gallery on September 28. Gunn, a retired professor of history at the University of Akron and nationally renowned expert on American textiles, amassed an enormous collection of quilts and coverlets, as well as Nineteenth Century photographs illustrating clothing from that era.

“This was just the first of many auctions to disperse Dr Gunn’s collection,” said Meander co-owner Hollie Davis. “We wanted to start the dispersal process with a bang, and we certainly did.”

Among the top textile lots were a mid Nineteenth Century Indiana floral applique quilt, selling for $2,040 against an estimate of $400/800, while an 1862 coverlet made in Logan, Ohio, surpassed its $100/200 estimate, landing at $1,320. An elaborately embroidered bodice and jacket, made in the 1850s, sold for $799.50 (estimate $100/200) and a group of three half plate daguerreotypes realized $5,535 (estimate $100/200).

The auction also included a diversity of antiques and art from other sellers, including an Elizabeth II sterling silver tea and coffee service that sold for $5,900 against an estimate of $3/5,000, and a painted trade sign for “Buchanan the Tailor,” which landed at $900 (estimate $500-$1,000).

Part two of the Gunn collection will be sold in early 2025.

“Overall, we were thrilled,” commented Richmond. “We had incredible interest and a great crowd in both our physical and virtual salerooms.”

Meander’s next auction will be November 23 and include folk art from the collection of the late Jim Dawson of Kentucky, Americana from the collection of a northeast Ohio collector/dealer, a 1958 Ford Thunderbird from a local estate and more paintings by Clyde Singer from the same Ohio estate. Prices quoted include the buyer’s premium as reported by the auction house. For information, www.meanderauctions.com, info@meanderauctions.com or 740-760-0012.

Westmoreland Museum of American Art Presents Landmark Exhibition & National Tour of ‘Anila Quayyum Agha: Interwoven’

GREENSBURG, PENN. —

The Westmoreland Museum of American Art is proud to announce the groundbreaking exhibition “Anila Quayyum Agha: Interwoven.” On view at The Westmoreland through January 5, “Interwoven” marks the largest and most comprehensive exhibition to date of the work of Anila Quayyum Agha (b 1965), the distinguished PakistaniAmerican visual artist renowned for her profound visual explorations of women’s history, spirituality and the American immigrant experience.

“Anila Quayyum Agha: Interwoven” spans two decades of Agha’s multifaceted practice, encompassing immersive installations, works on paper, paintings and large-scale wall sculptures. Bringing together works from the artist’s own studio and significant loans from public and private collections, the exhibition includes work from every period of Agha’s impressive career. Agha’s conceptually rigorous and visually alluring artworks ground complicated ideas for viewers, using “patterns used to break patterns” as the New York Times put it in a recent profile of the artist, making Agha’s work particularly successful at amplifying contra-

dictions and poetically conveying the layered dimensions of the American journey.

“We are honored to present Anila Quayyum Agha’s transformative body of work in this landmark exhibition,” said Silvia Filippini-Fantoni, Richard M. Scaife director and CEO. “Agha’s art showcases not only her technical mastery of materials, but her unique perspective as a woman navigating cultural intersections. This exhibition will prompt universal feelings of wonder and contemplation, disarming audiences with its beauty and allowing them to

ponder deep questions of identity, belonging and societal inclusivity.”

The exhibition is organized by Jeremiah William McCarthy, chief curator at The Westmoreland Museum of American Art. Following its debut at The Westmoreland Museum of American Art, the exhibition will embark on a national tour that includes the Wichita Art Museum, Kan., and the Michener Art Museum in Doylestown, Penn.

“I’m so grateful to Anila for her partnership over these past years and her trust in our institution to develop this

ambitious exhibition,” says McCarthy. “As a museum dedicated to the presentation of American art, we aim to constantly define and redefine these terms for visitors Anila’s work asks us to reconsider the boundaries of culture, religion and gender that oftentimes divide us and celebrate the shared humanity that transcends division.”

Visitors can expect to encounter awe-inspiring installations such as the debut of “A Flood of Tears” (2010/2023), a room-sized sculpture of hundreds of upholstery needles suspended by glistening glass-beaded strands. Agha’s signature light box pieces, such as “All the Flowers Are for Me – Red” (2016) and “The Greys in Between” (2018), will bathe visitors in immersive rooms of light and shadow. The exhibition contextualizes such iconic works with the artist’s explorations on paper. Agha’s drawings utilize patterns and words, printmaking techniques, waxes, dyes, beads, threads, Mylar and even steel dust to create ornate forms that evoke Islamic architecture; spirituality across multiple religions; and traditional crafts. The exhibition untangles the conceptual threads that unite the artist’s two-dimensional and three-

dimensional artworks.

“This show outlines my last 25 years of working in the United States, but it’s not a single story. I have multiple stories interwoven to create a tapestry that is colorful, varied and patterned with beauty and light. It’s not just about the surface,” says Agha. “There are meditations on the place of women in both Pakistan and the United States, the importance of mutual solidarity, and the global devastation of climate change. I feel it is my responsibility to bring these throughlines into my work.”

An accompanying exhibition catalog, Anila Quayyum Agha: Interwoven , co-published by The Westmoreland and Dancing Foxes Press, Brooklyn, and distributed by D.A.P./Distributed Art Publishers, Inc., features essays by curator Jeremiah William McCarthy, Salima Hashmi, Nadia Radwan, Javiaria Shahid and Rafia Zakaria. Their essays explore Agha’s work through the lenses of biography, feminism and art and architectural history. Copies will be available for purchase online and in the museum’s shop. The Westmoreland Museum of American Art is at 221 North Main Street. For information, www.thewestmoreland.org or 724-837-1500.

Applique quilt, made by Mary Evert Tharp Bradley in DeKalb County, Ind., 1877-78, 79 by 76 inches, earned $2,040 ($400/800).

Blenko floor decanter by Wayne Husted, Milton, W. Va., mid Twentieth Century, 36¼ inches tall, $2,337 ($200/400).

Anila Quayyum Agha pictured with her artwork in 2019. Photo: Tim Landes/TulsaPeople Magazine.

Lockwood Mathews Flea Market Gets Great Weather, Good Crowd

NORWALK, CONN. — The 17th annual LockwoodMathews Mansion Museum’s Old-Fashioned Flea Market got under way on September 15 under perfect, sunny skies and comfortable outdoor shopping temperatures. The event is a true harbinger of fall, even though the solstice awaited on the 22nd. Shoppers, many folks back from vacations with children back to school, began strolling through the museum’s park-like campus at 10 am, stopping to peruse the burgeoning merchandise laid out by more than 80 dealers on tables, on the lawn, inside popup canopies and lining the path through the park. There were food trucks deployed at the show’s entrances, and blue fabric construction fencing still cordoned off the mansion museum due to ongoing renovations inside. All the action was outdoors, and no

one was complaining.

The museum’s executive director, Susan Gilgore, said, “The Mansion’s Old-Fashioned Flea Market returns every year by popular demand. Communities in our region love it, judging by the large crowds from all corners of Connecticut, New York State and beyond, and it is a wonderful event for people of all ages that helps us raise visibility and some vital funds for our institution’s educational and cultural programs. We certainly look forward to the reopening of the mansion in 2025 after a two-year hiatus, as we will be able to share with our Flea Market visitors this newly upgraded, iconic and always magnificent National Historic Landmark!”

The Mansion’s Old-Fashioned Flea Market lives up to its name — a few antiques and collections co-mingle with vin-

tage material hauled out from basements and attics as well as handcrafts. Everything from an antique Eighteenth Century work desk to brightly knitted hats and mittens and toys and home décor from the 1960s-70s can be found here. Many of the dealers are residents of Norwalk or nearby Fairfield County, Conn., towns.

Flea Market chair Steve Balser said that after a change in date for last year’s event, when it was conducted in late August, it was good to be back presenting the flea market in September. Balser is also an exhibitor. This year he brought an Eighteenth Century writing desk, an early pine dry sink, a selection of carpenters measuring sticks, chocolate molds, English weights and more.

There was not much furniture on offer as the flea market is usually more attuned to tabletop displays with a mix of

Westporter Sasha Arellano takes care of business with a customer while others peruse her selection of vintage clothing.

From left, volunteers Betty Downing, Rita Galbo, Rose Carroll (yellow-tinted glasses in the middle) and Joanne Duff manage the White Elephant table, featuring donations from community residents and friends of the museum.

From left, Douglas Hempstead, chairman of the museum’s board of trustees, Susan Gilgore, PhD, executive director, and Elizabeth Fort, senior museum administrator.

Steve Balser is chair of the flea market and always brings an interesting selection of antiques, including the dry sink he’s standing behind, a circa 1790 writing desk, a pine cobbler’s bench, circa 1870, and a mahogany tilttop candlestand, circa 1860. The dry sink is pine, circa 1850.

This selection of antique and vintage canes and walking sticks was shown by first-time show dealers Dennis and Claudia Vestunis, Pickpocket Antiques and Collectibles, Brooklyn, N.Y., included at least one gadget example that revealed a full-size dagger when its knob handle was pulled out.

Members of the Norwalk Garden Club provided ice-cold water to visitors as the day got warmer, but also information on a wide range of horticultural topics.

Review and Photos by W.A. Demers, Senior Editor

Patsy Brescia serves as first vice chairman of the museum’s board, having been involved with the mansion for 25 years. She brought these vintage game boards, designed for a street game not unlike shuffleboard; she also showed a selection of lamps, framed prints, mirrors, tableware and more.

glorious quilts are the domain of Sallie Marsico, shown here enveloped by some of her all-cotton examples, most hand-sewn, including the

she is holding, done by her great grandmother, Susan Craig.

A grouping of old weathervanes being offered by Kathleen Holmes of Fairfield, Conn., included a sailboat form and a running horse. There was also a pole with directionals.

Whereas many “shipscapes” feature vessels at sea or in port, this interesting antique painting signed “Gustave Alawn” also showed a meeting of colonists and a foreign exploring party. It was on offer for $300 by Roger Lebert, Fairfield, Conn.

Dexter Bunte of Highland Falls, N.Y., has been collecting for nearly 40 years, sourcing most of his merchandise from yard sales. He was most enthusiastic about the wooden male and female figures he had recently acquired at an estate auction, although he did not have any information about them.

Among the collections was a showcase of minerals discovered at old mining sites shown by an exhibitor who provided just his first name, Jason. This datolite, a silicate mineral, can be found at such sites in Michigan. Also shown here were antiquarian books and Asian antiques.

vintage household items and collectibles. Antique tools were another category represented, this year featuring the return of father and son, Aaron and Dexter Bunte, Highland Falls, N.Y., operating in adjacent spaces. The older Bunte, Dexter, has been collecting for nearly 40 years, scouring yard sales for most of his merchandise. “I do it for therapy,” he quipped as he held up a pair of wooden male and female figures recently discovered at an estate auction.

Vinyl LPs and 45 records are making their way out of basements and attics. Such was the case with Darien, Conn., rare book dealer Gil Rodriguez, who, along with books and photography, had a generous stack of vintage 45 rpm records.

Local authors find that having tables promoting books they have written is a good means of exposure. Greg Dillon was showing and selling his book The Thin Blue Lie, which he said was a true story of “FBI corruption, coverups and retaliation,” while in the next space over author and lecturer Luca DiMatteo educated visitors about his blog and beach read mystery, Green Haven. DiMatteo is also a principal at Connecticut Book Festivals, which is gathering this year in West Hartford on Saturday, November 23. There, too, was Allia

There was not much in the way of furniture on offer, but for those with more of a Midcentury Modern sensibility, one space featured a grouping of seating and decorative accessories.

Alicia and John Kinnear, Ridgefield, Conn., dealers, were showing a selection of jewelry and chose these pieces to showcase as some vintage examples, including the blue foliate earrings from Norway, a Victorian lighter by Vesta, a peacock enamel over sterling pin, a Midcentury brooch and micromosaic pin from Italy.

There were many vendors offering depression glassware. We chose to check in with Paula Hatem, Wilton, Conn., who had some desirable Vaseline fruit dishes in green and a few glasses in pink.

Zobel Nolan, who turned her experience as a senior editor of religious books at Reader’s Digest Children’s Publishing to branch out with her own titles, including Harriet Hurry-Up and the Oh-So-Slow Day.

Complementing the flea market dealers are representatives from area social organizations set up around the park offering information about their activities. These included members of the Norwalk Garden Club, who not only provided ice-cold water to visitors but also information on a wide range of horticultural topics, such as how to combat the spotted lantern fly, controlling invasive plants and how to promote paths for pollinators. With many folks buying older homes, some with antique or vintage issues to be addressed, Steve Barta was representing himself as the “Wicked Good Handyman,” with an impressive list of carpentry, masonry, flooring, painting, plumbing skills and more. The author of How to Choose the Best House, Barta said he has worked in Seventeenth and Eighteenth Century homes and was offering his services within a 10-mile radius of Norwalk. Dee Smeriglio and Helga Garnett were back again this year, representing the Eagles Club of Norwalk, accepting donations for cancer research and treatment and offering a wide variety of free plants that Helga starts in the spring to have available for the show. Garnett’s popular fire starter cones are both colorful and useful as thoughts turn to

One could not pass this space without smiling. The Crochet Crafter, aka Michele Koleszar, a Norwalk artist, is the creator of this crocheted menagerie, which she refers to as “nuigurumi,” Japanese for stuffed animals.

Quilts,

one

Anyone anticipating hosting an elegant dinner party could get a good start on setting the table with this Gorham Regent electroplate set being offered by Joanna Schetelich of Darien, Conn. The set was monogrammed “M.”

Marcia Chaloux, owner of Cherished Treasures, sells and repairs vintage jewelry, a business she has operated since 2003. You can also see Chaloux and her treasures at Brimfield’s New England Motel.

hearth and home. The cones come to her from everywhere, including Florida and Texas. They are dipped in colorful waxes and fill up the baskets that Garnett is given by friends and neighbors.

Donations of another kind filled the market’s White Elephant table, which afforded shoppers special items donated by neighborhood households, museum members and friends of the museum. Roseanne Conoscenti and Rose Carroll led a group of volunteers to set up and manage sales.

At a table under the shade of one of the park’s magnificent elm trees were Douglas Hempstead, chairman of the museum’s board of trustees, Susan Gilgore, executive director, and Elizabeth Fort, senior museum administrator. Hempstead described some of the mechani-

This is all Steve Barta had to show — because he is the merchandise. With many folks buying older homes, some with antique or vintage problems built in, Barta is indispensable for rectifying all that can go wrong. He is the author of How to Choose the Best House and has a website with the same title. He has done work in Seventeenth and Eighteenth Century homes within a 10-mile radius of Norwalk.

Helga Garnett was back this year with her popular fire starter cones. The cones come to her from everywhere, including Florida and Texas. They are dipped in colorful waxes and fill up the baskets that Garnett is given by friends and neighbors. Representing the Eagles Club of Norwalk, Garnett and helper Dee Smeriglio (not pictured) mark the sale’s proceeds for local cancer charities.

Everything one would need to “bring harmony to your notes,” was on offer by Courtney Crown, owner of Composition Corner. Crown, formerly an opera singer, designs and sells the musically themed stationery and accessories like notepads, journals and buttons at her online shop.

cal upgrades the museum is undergoing to improve the safety of the building and enhance the visitor experience.

He said the museum will have new HVAC capabilities so that it can stay open year-round rather than closing in the summer due to heat and in the winter due to lack of heating. It’s getting a fire suppression

Connecticut Explored is a quarterly, subscription-based magazine, published in New Britain, Conn., offering a wealth of information on Connecticut history, places to go and educational programs for grades three and four. Olivia Grella was providing information and taking subscriptions.

Nina Wisner of Norwalk, under the flea market name VintageGrl101, was thinning out some of her overproduction of gently used clothing. Most popular, she said were vintage band tees, which are hands down great conversation starters among millennials.

Darien, Conn., rare book dealer Gil Rodriguez had some literary and photographic gems, and for the 45 rpm record collector, this pile was a motherlode of the vintage format.

system as well as electricity to the second and third floors. In the basement and on the second floor, the museum will provide more space for public use, including a meeting room for lectures and school events. Archives will be moved to the basement.

The museum itself has much to relate, and that tale will

resume inside once the mechanical upgrades have been completed and it is once again ready to receive visitors.

Said to be one of the earliest and most significant Second Empire-style country houses in the United States, it was built by financier and railroad tycoon LeGrand Lockwood, completed in 1868. If you want

to experience the splendor of the Victorian era, this mansion is the place to visit. The family lived in the mansion until 1938. It was sold to the city of Norwalk in 1941 and designated a National Historic Landmark in 1971.

For additional information, www.lockwoodmathewsmansion.org or 203-838-9799.

BY JAMES D. BALESTRIERI

DENVER,

COLO.

— “Let the wild rumpus start!” or “begin,” depending on which version of Where the Wild Things Are you’ve read. “Start” or “begin,” it matters not at all to Max, the unruly lad banished to his room without his supper and left alone there with his very vivid imagination in Maurice Sendak’s classic children’s story. “Having little kids is great,” a colleague once said to me, “because you can watch all the old Disney movies and read all the really great kids’ books without feeling weird.” My kids are grownup now, but I still watch their movies and read their old books, the ones that have survived the rightsizing and downsizing, the great ones — like Where the Wild Things Are — that will await grandchildren, should there ever be any, or find their way into new hands down the road. I tell myself that it’s research for essays such as the one you are reading right now.

“Wild Things: The Art of Maurice Sendak,” on view at the Denver Art Museum until February 17, lets us pay a visit to and indulge our inner kid without any need to excuse our enthusiasm, but with our eyes open to Sendak’s honest vision of childhood as one part exuberance, one part terror.

Maurice Sendak was born in Brooklyn in 1928. His parents were Polish Jewish immigrants. Largely self-taught, he embarked on his career as an illustrator in 1947. As Christoph Heinrich, the Frederick and Jan Mayer director of the Denver Art Museum and cocurator of this exhibition, says, “Sendak’s identity and experiences as a first-generation American, combined with the legacy and heritage of his Polish Jewish family, especially through WWII and the Holocaust, make his personal perspective and artistic insight immensely valuable, powerful and timeless.”

The figures in Sendak’s early work, such as the 1952 ink drawing, “Mashed potatoes are to give everybody enough,” from A Hole is to Dig: A First Book of First Definitions, share something of the sweet nature and joyous abandon in illustrators like Ernest Shepard and Jessie Willcox Smith. But the sense of poverty at the table full of happy, hungry, unsupervised children — Is this an orphanage? Are

SERIOUS MISCHIEF WILD THINGS

the Astrid Lindgren Memorial Award for children’s literature. In the late 1970’s, Sendak began to take an interest in other media, adapting his own books for the stage and screen, and designing sets and costumes for plays and the ballet.

The Art Of Maurice Sendak

DENVER ART MUSEUM

these refugees? — speaks to Sendak’s immigrant origins and deep connection to the sufferings of Jews in Europe. The heavy black outlines and deft crosshatching would become characteristics of his work — his drawings, at any rate — and these suggest affinities with the revival of the woodblock print in Europe and America. Ten years later, in the 1962 drawing, “Pierre,” Sendak’s style has evolved; it is more modern, embracing the cartoon, enhancing the dark outlines, and allowing the crosshatching to find its own freedom in the boy’s “Jules Feiffer” hair and the lion’s “Al Hirschfeld”

mane (I found myself searching for ‘Ninas’ in the lines).

Yet, scarcely a year later, with the publication of Where the Wild Things Are in 1963, and the truly wild success that ensued, Sendak’s style is absolutely his own and the world he builds in the book is, somehow, exactly the sort of world we imagine Max would create in his room and in his mind, as if his room is an extension of his imagination. In Sendak’s watercolor and ink drawing, Max, in his costume — feline? vulpine? — roars through an imaginary moonand star-drenched woods where the palms on the palm trees might

be feathers and the flowers on the forest floor might be butterflies or snails. Every leaf and blade of grass shimmers, vibrating and alive, but the pastel palette softens the “wildness” of Max’s vision, almost as a signal that Max’s punishment will end and the supper that had been denied him will be there — “still hot.”

Where the Wild Things Are earned Sendak the coveted Caldecott Medal. He would go on to win the Hans Christian Andersen Award, the National Book Award, the Laura Ingalls Wilder Medal for American children’s literature, the National Medal of Arts, and

Eventually, Sendak would ask playwright Tony Kushner to write a new English-language version of Czech composer Hans Krása’s Holocaust opera Brundibár, which had been performed by children in the Theresienstadt concentration camp. Kushner would write the text for Sendak’s illustrated version of Brundibár, published in 2003. This is of special interest because Kushner would also publish another book in 2003, The Art of Maurice Sendak: 1980 to the Present, in which he describes Sendak’s insistence on treating children honestly in the following way: “But children both need and suffer revolution. They need freedom and routine, freedom and security. Art for children must not merely mirror, must not be satisfied simple to foment the growth that comes from freedom; art for children must organize as well. Sendak’s comprehension of this dialectic, and his masterful expression of it, account for part of his immense appeal to children and scholars alike.” This dialectic further mirrors the pairing of exuberance and terror that underpins all of Sendak’s work and subverts any surface sweetness in the books. Honesty, more than once and in more than a few states, got Sendak into hot water with those who would ban books. In the Night Kitchen remains on the list of “most-banned and censored books” because of Sendak’s depiction of the character Mickey’s genitals as the boy stomps and storms across the pages. To add an adult aspect to the terror that young readers feel, the bakers who “accidentally” fold Mickey into their dough and nearly bake him bear strong resemblance to Adolf Hitler — though some attempt to soften this by asserting that they look more like comedian Oliver Hardy, of Laurel and Hardy, than Hitler. In the illustrations from the 1967 book, Higglety Pigglety Pop!, and “Rosie and Buttermilk, her Cat,” the character studies for the 1973 cartoon, Really Rosie, some-

“Pierre” by Maurice Sendak, 1961-2, ink on paper, 4¼ by 3½ inches. ©The Maurice Sendak Foundation.

“Where the Wild Things Are” by Maurice Sendak, 1963, watercolor, ink, and graphite on paper, 9¾ by 11 inches. ©The Maurice Sendak Foundation.

Portrait of Maurice Sendak by Annie Liebovitz, 2011. Annie Leibovitz / Trunk Archive.

Detail from the title page of Where the Wild Things Are by Maurice Sendak, 1963, watercolor and ink on paper, page: 9-7/8 by 22 inches. ©The Maurice Sendak Foundation.

Hole Is to Dig” by Maurice Sendak, 1952, ink on paper with paste-up lettering, 6¾ by 5½ inches. ©The Maurice Sendak Foundation.

thing else that Kushner discovers and highlights in Sendak’s work emerges. As he writes, “Every good children’s book [is] a safe place for children to roam in, to encounter dangers in. A good book provides for children a realm of their own from which the aspiration of every child — to grow up — has not, a terrifying notion, been expunged.” Look at the child in the highchair, eyeing up the dog who has taken his place at the table and at Rosie, flouncing around in grown-up clothes. Their faces and gestures are adult. They are literally “trying on” the frowns and worries and woe-is-me masks, the personae of their parents and the adult world they are trying to figure out.

Drawing on his own memory of his terror of the kidnapping of the Lindbergh baby, in Outside Over There, Sendak writes the kind of tale you might find in the Brothers Grimm. A young girl, Ida, tasked with taking care of her baby sister, must go on a perilous journey when the baby is stolen by goblins and replaced with a doll made of ice. After hearing the voice of her father, a sailor away at sea, on the wind, Ida rescues her sister — from goblins who turn out to be babies themselves — and all is well, but the story seemingly takes its toll, revealing a world in which parents are often away or busy and cannot always protect and spare children from the dangers and evils that arise. Sendak’s notes for Outside Over There, as Kushner indicates, and many others concur, state that his “artwork for Outside [Over There] was, from its earliest inception, inspired by the paintings of the early German Romantic painters Philip Otto Runge and Caspar David Friedrich.”

Sendak’s art for the story is stylistically quite different from his other books. Knowing his inspiration, the link to Grimm’s Fairy Tales, also a product of German Romanticism, strengthens. Further, in the watercolor shown on these pages, Sendak’s interest in Friedrich and Runge becomes apparent. As in their work, the picture plane is crowded, claustrophobic with repeated forms. The sunf lowers and leaves intruding themselves through the window at left are spiky, like eyes and ears spying and eavesdropping, as if they were silent conspirators to the theft of the baby, whose empty, upturned cradle sits below the window. Every-

“A Kiss for Little Bear” by Maurice Sendak, 1968, black ink on paper, 11¾ by 8-7/8 inches. ©The Maurice Sendak Foundation.

“The Magic Flute” by Maurice Sendak, 1980, poster, 24 by 17½ inches.

“Outside Over There” by Maurice Sendak, 1981, watercolor and graphite on paper, page: 15 by 26 inches; image: 6-1/8 by 9-3/16 inches. ©The Maurice Sendak Foundation.

thing is in focus, near and far, sending whatever aspects of realism obtained here into the realm of the surreal. The cloak Ida wears all but smothers her in a turbid labyrinth of crevasses not unlike the icebergs in Friedrich’s 1824 painting, “The Sea of Ice” or the cold, contorted landscape in the 1818 oil, “Wanderer Above the Sea of Fog.” Lastly, the view out the window over Ida’s left shoulder, the actual “outside over there,” is straight out of Friedrich and Runge, a romantic landscape with a cloud-hung mountain, dark forest and robber caves — all the hallmarks of terror and attraction that Edmund Burke deemed “the sublime.”

In the end, Sendak’s own experience as a child, informing his art and writing, reminds us that lying to children, trying to make everything seem okay even when it isn’t, comes with a price — trust. At the start of this essay, I suggested that grownups attend “Wild Things: The Art of Maurice Sendak” at the Denver Art Museum by themselves. Now, having come to the end, I’m not so sure. I think I’d rather go with a few kids, even my own grownup kids, just to

hear what they remember, what they think and what they have to say — in all their interrupting, overlapping enthusiasm. I think that’s what Maurice Sendak would want, too. Let the wild rumpus start.

The Denver Art Museum is at 100 West 14th Avenue Parkway. For information, 720-865-5000 or www.denverartmuseum.org.

“My Brother’s Book” by Maurice Sendak, 2010, watercolor on paper, 11¾ by 8-7/8 inches, ©The Maurice Sendak Foundation.

“In the Night Kitchen” by Maurice Sendak, watercolor and ink on paper as printed in color in Maurice Sendak, In the Night Kitchen (New York City: Harper & Row, 1970).

“Higglety Pigglety Pop!” by Maurice Sendak, 1967, ink on paper, 9¼ by 7½ inches. ©The Maurice Sendak Foundation.

Sketch for “The Griffin and the Minor Canon” by Maurice Sendak, 1963, graphite on tracing paper, 11-13/16 by 8-15/16 inches. ©The Maurice Sendak Foundation.

“Rosie and Buttermilk, her Cat” by Maurice Sendak, character studies for Really Rosie animation, 1973, watercolor and ink on paper, 13¾ by 15-5/8 inches. ©The Maurice Sendak Foundation.

“A

©The Maurice Sendak Foundation.

Leading the sale at $55,000 was this Chinese tripod censer and cover from the mid Qing dynasty made from cloisonne enamel and gilt bronze.

This pair of Sancai-glazed pottery figures of Lokapalas, or Buddhist guardian figures, were from the Tang dynasty; their colorful glaze with splashes of amber and green were exemplary of the glaze. The pair rode to $23,750.

This intricately carved soapstone figure of Luohan from the Ming dynasty was property of the Kestenband collection and sat pretty for $22,500.

Hailing from Seventeenth or Eighteenth Century India, this bronze figure of a dancing Krishna was from the private collection of Dr John Ross, Sr; it twirled to $32,500.

China, India & Thailand Represent In Heritage Asian Art Auction

DALLAS — Heritage Auctions offered nearly 200 lots of Asian art from across the continent in its Fine & Decorative Asian Art Signature Auction, which took place on September 24. The sale totaled $794,194, with 87 percent sold by lot.

Charlene Wang, business development specialist for fine and decorative arts and luxury categories at Heritage, commented after the sale: “We are very pleased with the results and we believe the sale performed beyond our expectations, especially considering the current economic challenges in Asia. For this sale,

we focused on curating a smaller but higher-quality collection. By reducing the number of lots by 42 percent — from 417 to 238 — we were still able to increase the overall value by 17 percent compared to our last auction in March. This approach allowed us to emphasize selectivity and quality, resulting in stronger performance across all of our art categories.”

When asked about the bidders’ pool for this sale, Wang responded, “For Asian art, we have a significant following among clients in Asia, particularly in China and Japan, supported by our offices in

Auction Action In Dallas

Hong Kong and Tokyo. However, the majority of our buyers are still based in the US.”

Leading the sale was a Chinese cloisonné enamel and gilt bronze tripod censer and cover, dated to the mid-Qing dynasty. The censer had a domed lid which was decorated with five bats in ruyi heads against a turquoise blue ground. Its openwork gilt finial contained stylized lotus blooms and scrolling foliage. The censer’s globular body contained images of the Eight Buddhist Emblems, while its shoulders were flanked by a pair of gilt dragon-form handles. Each dragon was crafted with five claws on each foot, which, according to the auction catalog, was a symbol reserved for the emperor. The entire piece rested on three cabriole legs, which were issued from gilt-bronze lion masks. With provenance to Manheim Galleries in New Orleans,

Review by Kiersten Busch, Assistant Editor Photos Courtesy Heritage Auctions

With provenance to the estate of Princess Maria Romanoff, this Kangzhuo low table, traditionally used atop a couch, was made with Huanghuali wood from Hainan, China, and inset with a

of

and displayed various Buddhist and Taoist immortals. From the collection of Mr James C. Holcomb, the pair unfolded to $35,000.

gilt bronze figure of

La., in 1975, the censer sold for $55,000.

Another tripod censer from China, this example made with overlaid glass, earned the secondhighest price of the sale. It contained a seven-character Qianlong mark and was of the period. The censer was from the collection of Sal Monteleone — one of a few prominent collections that were highlighted in the sale — and had additional provenance to E & J Frankel, whom Monteleone acquired the piece from somewhere between the 1970s and 1990s. Despite a $2/3,000 presale estimate, the censer sold for $52,500.

Wang said that the lot was a “wonderful surprise,” explaining, “While the mark underneath features the classic six-character Qianlong mark, what makes this piece unusual is the additional character, ‘Lu.’ This is part of a unique numbering system used by the imperial workshop. Instead of numbers, they selected characters from the Thousand Character Text, a Chinese poem from the Sixth Century used to teach characters to children. The presence of this rare character confirms that this censer originated from the Imperial Glass Workshop in Beijing, which exclusively produced glassware for the imperial family.”

Rounding out the top three highest selling lots of the sale was a pair of Chinese carved and reticulated giltwood panels, both

on stands, which earned $35,000, against an initial estimate of $3/5,000. This lot was “perhaps the most magnificent example of a gilt wood panel we have encountered,” said Wang. “It is quite rare to see them used as screens, as they are more commonly found as architectural elements or hanging panels. This pair is particularly special, bearing a mark that dates them specifically to the Guangxu period, between the 18th and 22nd year (1892-1895). The artisan spent five years intricately carving these complex patterns, and what is even more remarkable is that they have been preserved in such good condition to this day.”

From Thailand, a gilt bronze walking Buddha Shakyamuni figure maneuvered its way to a $23,750 finish. Property of the collection of Dr John Ross, Sr, it was previously exhibited at the Los Angeles County Museum of Art, The Art Institute of Chicago and The Brooklyn Museum. The figure also appeared in Pratapadiya Pal’s book Light of Asia: Buddha Sakyamuni in Asian Art (Los Angeles County Museum of Art, 1984).

Heritage’s next sale dedicated to Asian art will take place on December 10. The next live signature sale will be in March, during Asia Week.

Prices quoted include buyer’s premium as reported by the auction house. For information, 214528-3500 or www.ha.com.

This Chinese tripod censer made with overlaid glass had the second-highest price of the sale. The inclusion of the character “Lu” made it unique, earning the piece a $52,500 finish.

This pair

Chinese carved and reticulated giltwood panels on stands were from the Guangxu period

large pane of green Duan stone from Guangdong. The 41-inch-long example perched at $23,750.

This

a walking Buddha Shakyamuni originally hailed from Fourteenth Century Thailand, but was consigned from the estate of Harry and Yvonne Lenart; it earned $23,750.

Contemporary & Historic Art At Bakker’s Live Online Auction

PROVINCETOWN, MASS. —

Bakker Auctions will conduct its annual fall live online fine arts auction on Saturday, October 19, starting at 1 pm.

Along with a wide selec5on of works by contemporary artists, a significant number of pieces by historic artists from the early to midcentury makes Bakker Auction’s October sale particularly remarkable. The earliest dated piece, “Dunes,” 1911 ($1,5/2,000) is by H.K. Hannah, a relatively unknown artist but one who, with his distinctive light-driven palette, clearly worked alongside the masters of the Provincetown Art Colony. Tod Lindenmuth, one of the most well-respected artists of the early colony, is represented by two woodblock prints. “Low Tide,” 1915 ($1/1,500) was exhibited at the Pennsylvania Academy of the Fine Arts and the Philadelphia Water Color Club, Thirteenth Annual Philadelphia Water Color Exhibition in 1915. Nancy Ferguson, student of Charles Hawthorne and known as one of the “Philadelphia Ten,” spent much time in Provincetown creating unique paintings of iconic town scenes.

“Stores Along Main Street” ($10/15,000) is perhaps one of her most notable pieces because of the easily identifiable store fronts, many of which still exist to this day. A classic Ross Moffett “Wharf” ($10/15,000), will likely be one of the most watched lots in the auction.

Other important historic female artists include Henrietta Dunn Mears (“Boat at Wharf,” $800-$1,200), Adelaide Morris (“A View from Crown Pointe,” 1931, $1,5/2,000), and Daisy

Hughes with multiple works, including “Wharf” ($800-$1,200) and “#1 Atlantic” ($1/1,500).

Continuing their focus on the unique American art form, the white-line woodblock print (i.e., the “Provincetown Print”), Bakker will offer original woodblocks used by three of the most important printers of the early Twentieth Century, including Karl Knaths (untitled/PoFed Plant, $800-$1,200), Agnes Weinrich (“At the Farm,” $1,5/2,000), and Ora Inge Maxim (untitled/The Boatyard, $800-$1,200).

Each block was included in the 1988 Provincetown Art Associa5on & Museum exhibition, “Provincetown Printing Blocks,” curated by Steven Thomas.

A vivid oil on paper by Ojibwe painter George Morrison, “Abstract, Reds,” 1957 ($4/6,000) will be sure to get national

attention. Morrison was an important figure in abstract expressionism and exhibited extensively with both de Kooning and Pollock. In 2022 the US Postal Service honored him with the release of a stamp series featuring five of his paintings.

A masterwork by Arthur Diehl, “Schooner at Lumber Wharf,” 1914 ($2/4,000) is a timely offering coming just after the Cape Cod Museum of Art’s early summer exhibition, “Showman with a Paint Brush: The Life and Art of Arthur Diehl,” and with the release of Diehl’s definitive autobiography. This particular painting was exhibited in two different earlier shows at the CCMA, in 2001 and in 2007.

Works in bronze include two pieces by Chaim Gross, “Mother and Child” ($800-$1,200) and

Leland’s October 19 Auction Features An Array Of Sports Memorabilia And Cards

NEW YORK CITY — A 1914

Babe Ruth Baltimore Orioles original team photo — one of the only images of Ruth in an Orioles uniform known to exist — and a 1951 Bowman Mickey Mantle signed rookie card with a perfect GEM MINT 10 autograph headline the Lelands 2024 Fall Classic Auction, which runs through October 19.

The 1914 Orioles team photo featuring Ruth is the earliest known original image of The Bambino as a pro player and the only one in existence. At the time, Ruth was a 19-year-old pitcher for the Orioles — then a minor league team in the International League — before his contract was sold to the Red Sox midseason. This remarkable Ruth photo — which was previously sold by Lelands for a world-record $190,000 in 2019 — is one of the most historically significant baseball photos in the hobby.

The hobby fresh 1951 Bowman Baseball #253 Mickey Mantle signed rookie card up for bid has been graded and encapsulated by PSA PR one with a perfect Auto grade of 10. The autograph was boldly signed in blue Sharpie horizontally across the face of the card. One of the most iconic

rookies, this card is a true gem for collectors.

Additional auction centerpieces include a rare 1948 Leaf Baseball # 8 Satchel Page rookie card PSA NM 7 — with only five graded higher — and a 2020-21 Panini Prizm Basketball Gold Prizm #1 LeBron James #7/10 PSA Mint 9.

The auction also features a oneof-a-kind Mickey Mantle autograph display signed 99 times with “these pens suck” inscription, a 1967 Topps Baseball unopened First Series 48-Count Cello box (BBCE), Shaquille O’Neal’s 1993 NBA All-Star Game Eastern Conference gameworn, photo-matched uniform (Resolution) from his rookie season, and Jimmie Foxx’s 1932 American League Most Valuable Player award.

Among other auction highlights are an Aaron Judge Yankees 2017 ALDS Game 5 game-worn, photo-matched jersey, a Paul Molitor 1978 rookie year Brewers signed, game-worn, photomatched jersey (MEARS A10), a circa 1973-75 Thurman Munson Yankees game-used bat (PSA GU 10), a 1984 Michael Jordan NBA debut Bulls box office stub PSA EX-MT (Pop one of one highest

“Mother Playing” ($800-$1,200), both perfect examples of his affection for a favorite subject. A highly desirable bronze seagull lamp by William Boogar ($1,5/2,000) will see much competition along with a pair of Boogar bookends.

Other artists in the auction include Robert Bliss, Byron

graded) and a 1928 R315 Babe Ruth SGC MINT 9 (Pop one of two highest graded).

The 1,600+-lot auction also includes Danny Amendola’s Super Bowl XLIX and Patriots 2015 season-long Patriots signed, game-used helmet, a Mark Messier 1990 Oilers game-worn, photo-matched jersey (MeiGray and Oilers LOA), a 1951 Joe Louis signed fight contract vs. Rocky Marciano in what was Louis’ final fight, a circa 1964 Roger Maris Yankees game-worn batting helmet and a 1998 UD Basketball game jersey #GJ20 Michael Jordan “Make-A-Wish” Autograph card.

Additional auction highlights include Nolan Ryan’s Angels unique one-game style gameworn signed jersey from April 13, 1978; Barry Bonds #463, #631 and #711 home run balls (three separate lots); a 2022 Astros World Series ring; Andruw Jones’ 2001 Rawlings Gold Glove award; a circa 1957 Browns jersey attributed to Jim Brown; a Novak Djokovic signed used tennis racquet; and a Fender guitar signed by the members of The Rolling Stones. For more information, visit www.lelands.com.

Brown, Salvatore Del Deo, John Dowd, Mary Giamarrino, David Hockney, Kahn & Selesnick, William Littlefield, Ray Nolin, Anne Packard, Selina Trieff, Harold Walker and Nancy Whorf, among others. For additional information, www.bakkerproject.com or 508-413-9758.

WOODBURY, CT: 6 Green Circle (Main St N Green) Fri 10/11 – Mon. 10/14 9 am - 4 pm

Huge Barn/Tag Sale! Antiques, vintage, furn, collectibles, art, rugs, lamps, décor, china, household, tools, hardware, womens clothes, costume jewelry, tons of great stuff!!

www.antiquesonthegreen.com for photos/info

TAG

ALONG

Fri & Sat Oct. 18 & 19 10 - 4

House is chock full. Large number of large paintings, (modern & vintage), lithographs, eglomise, venetian mirror, gilt & wood mirrors, brass and wood sconces, antique sewing box on stand, set of Bamboo dining chairs, loveseats, pr of tufted armchairs, stainless/glass coffee table, lots of antique twin headboards, chests, desks, etc. Sterling & plate, tons of vintage costume jewelry, Wedgwood, Royal Doulton, old Mrs. Eyebright collection, Minton, collection of antique French wire & china baskets, cut glass & crystal, old copper, antique brass, clocks, books, pr small iron urns, antique child’s horse bicycle, antique Chanukiah, linens, collection purses. All appliances are for sale: stainless steel fridge, dishwasher, stove, washer & dryer.

DIRECTIONS: Hutch N to Merritt Pkwy N, Exit 28 left on Round Hill Rd, 1.6 miles to left on John St., right on Buckfield Lane. ALL PARKING ON GRASS

Nancy Ferguson, “Stores Along Main Street” ($10/15,000).

Dowd, “Lighthouse,” oil on linen ($6/8,000).

George Morrison, “Abstract, Reds,” 1957, oil on paper ($4/6,000).

Transitions

DBrandywine Museum Awarded $300,000 Grant From Pew Center For Arts & Heritage

oyle has expanded its fine art department with the addition of Kunter Kula as director of fine art. In this position, he will oversee Doyle’s fine art specialists, auctions and strategy, partnering with collectors, dealers and fiduciaries to provide guidance on the acquisition, management and disposition of fine art collections. Prior to joining Doyle, Kula worked at Sotheby’s for six years, initially in the valuations department leading the contemporary art and Twentieth Century design-focused team. More recently, he was in charge of growing Sotheby’s fine art ecommerce and “buy now” offerings of works spanning the mid-Nineteenth Century to the present day. Doyle’s former director of paintings Angelo Madrigale will continue at Doyle as SVP/senior specialist.

eBay announced the appointment of Samantha Wellington as senior vice president, chief legal officer, general counsel and secretary. In this role, Wellington will oversee all global aspects of eBay's legal department, including government relations, intellectual property, employment, litigation, regulatory and corporate work across eBay’s financial services, marketplaces and product and technology organizations. She will report directly to Jamie Iannone, eBay's chief executive officer and joined the company on October 7. Most recently, Wellington served as TriNet's executive vice president of business affairs, chief legal officer and secretary.

TCHADDS FORD, PENN. — The Brandywine Museum of Art is the recipient of a $300,000 grant award from the Pew Center for Arts & Heritage, one of 39 new grants from the center that will support innovative operating models, performances, exhibitions, events and local artists in the Greater Philadelphia region. This grant will help fund “Jerrell Gibbs: No Solace in the Shade,” an exhibition organized by the Brandywine and opening next September 28, 2025. It will be the first museum exhibition of artist Jerrell Gibbs (b 1988). Based in Baltimore, Gibbs has created a highly personal body of work that explores Black masculinity—visually, conceptually and existentially.

This project will mark the artist’s largest exhibition to date, his first one-person museum exhibition and his first publication. “Jerrell is a remarkable painter whose vigorous, dazzling brushwork is paired with highly personal imagery evoking contentment and joy. His work extends and expands upon in an exciting way the figurative tradition that is so well represented in Brandywine’s collection,” said Thomas Padon, the James H. Duff director of the Brandywine Museum of Art. “I am grateful for the support of The Pew Center for Arts & Heritage in helping to make this major project possible.”

being associated with violence, trauma and fear. “I am excited about this exhibition because it demonstrates how stories of Black people can exist in an institutional setting without being in a sensationalized context,” said Gibbs. “This show captures moments of everyday Black life reinforcing the notion that paintings of Black stories and experiences are of value.”

he Cold Spring, N.Y., institution Magazzino Italian Art has updated its leadership roster, with (from left) Adam Sheffer as director, Paola Mura as artistic director, Monica Eisner as chief operating officer and (not shown) Nicola Lucchi as director of education at the Germano Celant Research Center. Together, they bring decades of experience working in museums, non-profits and galleries to their roles, positioning Magazzino for its next phase of development. The change follows last year’s opening of the Robert Olnick Pavilion along with an expanded exhibition program and new amenities.

Hauser & Wirth has appointed gallery veteran Mirella Roma as its new chief executive officer. Roma has been with Hauser & Wirth for 27 years. In the late 1990s and early 1980s she worked as an executive assistant to current co-president Marc Payot. She became an executive director in 2013 and a partner in 2020. According to the gallery, she will work alongside leadership across Hauser’s many global locations. Roma succeeds Ewan Venters, who joined the gallery as CEO in 2021. Venters will remain chief executive of Artfarm, the independent hospitality group launched by gallery cofounders Iwan and Manuela Wirth in 2014, until January 2025 or a successor is named.

Featuring more than 30 paintings drawn from museum and private collections in the United States and Europe, “No Solace in the Shade” will present an incisive body of work that challenges the power of visual stereotypes of Black life, particularly those of Black men. In his distinctly gestural figurative paintings, allegorical and often autobiographical, Gibbs conveys a sense of deep emotion behind his various expressions of Black culture. He interjects a sense of equanimity and joy not often related to Black figures in the art historical canon, dismantling the visual misrepresentation of Black men

“No Solace in the Shade” will be organized in four sections: “Sounds of Color: Recorded Memories,” “Solace,” “Admiration” and “Expansion.” Each section will orient the subjects, aesthetics and compositional strategies that Gibbs employs. “Sounds of Color” will feature paintings, named for musical notes, that feature a recurring figure Gibbs calls “Salvador” and based on an anonymous photograph from an old scrapbook. “Solace” will feature paintings that document beautiful moments of men in repose

and trouble historical misconceptions about rest and Black identity. “Admiration” will survey works with themes of community, familial and fraternal gatherings and the healing representation of home as a haven. Lastly, “Expansion” will include commissioned portraits of men Gibbs admires, including the late US Representative Elijah Cummings and August Wilson, and portraits of figures Gibbs has dreamed of —allegories more than men — who reflect aspects of his growth as a painter, father, husband and friend. Complementing these themes, a variety of public programs will be offered during the run of the exhibition, including artist talks, music and dance performances and artmaking workshops. “No Solace in the Shade” will be on view at the Brandywine Museum of Art through March 1, 2026. For information, 610-388-2700 or www.brandywine.org/museum.

Shelburne Museum Announces

Native American Art Center Design

SHELBURNE, VT. — Shelburne Museum announced the architectural team and design for the Perry Center for Native American Art, a building and integrated landscape collaboratively designed to create a national resource for the exhibition, study and care of an important collection representing Indigenous art from across the continent.

“The design of the Perry Center for Native American Art and the many steps that led us to this moment are the result of a collaborative approach focused on communication and relationship building with Tribal Nations to create a national resource for the study and care of Indigenous art,” said Thomas Denenberg, John Wilmerding director and chief executive officer of Shelburne Museum.

Annum Architects of Boston and Two Row Architect of Six Nations of the Grand River First Nation were chosen to design the Perry Center, joining together noted firms with depth of experience in both major museum and Indigenous projects.

Landscape design is by Reed Hilderbrand of Cambridge, Mass., a practice with extensive experience designing landscapes that seamless-

ly integrate with architecture.

The Perry Center for Native American Art is planned to be an 11,200 square-foot, highly sustainable structure with design consideration based on input from Tribal partners.

The $12.5 million Perry Center will serve as a welcoming space for Tribal members and scholars to study and engage with the collection and will reimagine the museum experience for all visitors. Plans call for construction to begin in spring 2025.

Integral to the project is collaboration with more than 50 Indigenous partners, who advised on cultural protocols and design considerations and care and conservation of the collection. In addition, insight and guidance about the building and landscape design were taken from

listening sessions — a series of Talking Circles — led by Indigenous-owned Two Row Architect that included leadership and culture bearers of the local Abenaki, the traditional stewards of the site, along with Tribal Nations represented in the museum’s collection.

The Perry Center will be the 40th building on the museum’s 45-acre campus and will house a significant collection that includes items gathered by Anthony and Teressa Perry and recently given to the museum. When combined with the Indigenous art already stewarded by the museum, the collection represents more than 500 items from 389 Tribal Nations across the continent. For information, www.shelburnemuseum.org or 802-985-0880.

Jerrell Gibbs (b 1988), “Trees,” 2019, oil on canvas, 36 by 48 inches. The Margaux and Raphael Blavy Collection, Saint Epain, France. ©Jerrell Gibbs.

Calendar Of Advertising & Editorial Deadlines

October 2024

November

December

Auction Previews

Lacour’s Bitters Bottle Heads To The West Coast, Tops Off Heckler Glass Sale

WOODSTOCK VALLEY, CONN. — Norman Heckler Jr presented a select group of 31 choice examples of glass bottles in his firm’s online sale that ran from September 19-25. Among the celebrated classics and new discoveries were early American glass, fine tableware, historical flasks and bottles. The top lot in the sale was a “Lacour’s Bitters” figural bottle, “Sarsapariphere,” 1860-70, which realized $28,080. It presented a modified lighthouse form, cylindrical with sunken side panels. Its color was bright grass

green with a hint of lime, and it featured an applied triple collared mouth and smooth base. At 9 inches tall, it was, per catalog note, “clean and bright, handsome color, excellent condition.” A rare figural bottle thought to have been manufactured in San Francisco, Calif., “It went to a West Coast collector,” said Heckler. “This type of bottle is favored more by the West Coast collectors. It’s a so-called ‘Western’ bottle. All the ones that we’ve sold tend to go out to the West Coast.”

More highlights from this sale will be featured in a follow-on review.

Flushing’s Bowne House Receives Textile Conservation Funding

FLUSHING, QUEENS, N.Y. — The Bowne House, which was built circa 1661 and is the oldest extent structure in Queens and one of the oldest in New York City, is the recipient of funding from the New York State Council on the Arts/Greater Hudson Heritage Network (NYSCA/GHHN) for the professional assessment of 18 early American samplers in the museum’s collection. The Textile Conservation Workshop, Inc., of South Salem, N.Y., performed the detailed, on-site assessment which included an evaluation of general textile storage conditions at Bowne House.

Bowne House was one of 93 organizations from 38 counties in New York State to share more than $65,000 in textile assessment funding. Commenting on the recent award to Bowne House, Rosemary S. Vietor, vice-president of the museum’s board of trustees said, “Bowne House is grateful for NYSCA/GHHN funding enabling a part of our collection of rare American samplers to be assessed professionally for future conservation. The museum staff professionally caretakes an extraordinary collection of textiles, furniture, fine and decorative arts, and English and American ceramics owned and used by members of the Bowne family for more than 300 years. NYSCA/GHHN funding is critical to the maintenance of this large and important collection.”

Every Thurs goldengavel.com

Golden Gavel 68

Every Tues Coventry, CT Weston’s.................64

Thru 22, Oct centralmassauctions.com

Thru 23, Oct centralmassauctions.com

Central Mass Auctions 62

Central Mass Auctions 60

Thru 24, Oct auctionninja.com Leo Legare 68 5-15, Oct auctionninja.com

Edward Beattie 66

10-29, Oct..........everard.com..........Everard Auctions&Appraisals 58

12, Oct thoscornellauctions.com Thos. Cornell Galleries 2 14-16, Oct michaans.com Michaan’s 65

16, Oct kodner.com Kodner 68

16, Oct eldreds.com Eldred’s 68

16-25, Oct blackartauction.com

17, Oct bodnarsauction.com

Black Art Auction 56

Bodnar’s Auction 68

17, Oct girardbid.com Girard Auction 48

17, Oct sloansandkenyon.com Sloan & Kenyon 63

17, Oct swanngalleries.com Swann 49

17-19, Oct morphyauctions.com..................Morphy Auctions 53

18, Oct douglasauctioneers.com Douglas Auctioneers 6C

18, Oct Jewett City, CT Leone’s Auction Gallery 2

18, Oct Lebanon, PA Martin Auctioneers, Inc 61

18, Oct michaans.com Michaan’s 65

18, Oct South Glastonbury, CT CT River Book Auction 58

18-19, Oct clars.com.......................................Clars 47

19, Oct andrewsandandrews.com Andrews & Andrews 56

19, Oct bakkerproject.com....................Bakker Auctions 66

19, Oct blackwoodauction.com Blackwood/March 64

19, Oct New Windsor, NY Mid Hudson 52 19, Oct rolandauctions.com....................Roland Auctions 2

11-14, Oct Woodbury, CT 33 18-19, Oct Greenwich, CT 33 19, Oct Westmoreland, NH 7

19, Oct rolandauctions.com....................Roland Auctions 7 19, Oct rolandauctions.com....................Roland Auctions 65 19-20, Oct kaminskiauctions.com Kaminski 54-55 20, Oct blanchardsauctionservice.com..............Blanchard’s 64 20, Oct collectivehudson.com Collective Hudson 66 20, Oct crnauctions.com CRN Auctions 67 20, Oct hartzellsauction.com Hartzell’s Auction 64 20, Oct nyshowplace.com Showplace 8C 21, Oct.....hudsonvalleyauctioneers.com....Hudson Valley Auctioneers 63 22, Oct auctionninja.com SJD Auctions 68 22, Oct coyles.com Coyle’s 57 22, Oct woodburyauctions.com Schwenke Auctioneers 2 22-23, Oct stenellaauctions.com Stenella Auction 66 23, Oct doyle.com Doyle 5C 23, Oct hindmanauctions.com...............Freeman’s Hindman 52 23, Oct southbayauctions.com South Bay Auctions 60 23, Oct thebenefitshop.org Benefit Shop 67 23-25, Oct nyeandcompany.com Nye and Co. 48 24, Oct doyle.com Doyle 5C 24, Oct hindmanauctions.com...............Freeman’s Hindman 52 24, Oct stairgalleries.com Stair Galleries 59 25, Oct hindmanauctions.com...............Freeman’s Hindman 52 27, Oct tremontauctions.com Tremont Auctions 3C 27, Oct tremontauctions.com Tremont Auctions 66 28, Oct liveauctioneers.com MCS Estate Buyers 66 28-29, Oct materialculture.com Material Culture 2C 30, Oct.............everard.com.............Everard Auctions&Appraisals ..58 30, Oct litchfiledcountyauctions.com Litchfield County Auctions 2 30, Oct pookandpook.com Pook & Pook 4C 31, Oct..............everard.com..............Everard Auctions&Appraisals 58 31, Oct liveauctioneers.com MCS Estate Buyers 66 31, Oct swanngalleries.com Swann 49 1, Nov Jewett City, CT Leone’s Auction Gallery 2 12, Nov materialculture.com Material Culture 2C 12, Nov swanngalleries.com Swann 49 13, Nov litchfieldcountyauctions.com Litchfield County Auctions 2 13, Nov newenglandauctions.com New England Auctions 50 13-14, Nov aandoauctions.com Ahlers & Ogletree 7C 14, Nov newenglandauctions.com New England Auctions 51 17, Nov butterscotchauction.com Butterscotch Auction........2 18, Nov materialculture.com Material Culture 2C 20, Nov materialculture.com Material Culture 2C 8, Dec tremontauctions.com Tremont Auctions 66 2025, Feb litchfieldcountyauctions.com Litchfield County Auctions 2

19-20, Oct Higganum, CT 9 20, Oct Milford, NH 3 2-3, Nov Chantilly, VA 25 3, Nov Milford, NH 3 7-10, Nov Atlanta, GA 5 8-10, Nov Boston 17 16, Nov Westmoreland, NH 7 17, Nov Milford, NH 3 30,Nov-1,Dec........Columbus, OH 5 2025 9-12, Jan Atlanta, GA 9 25-26, Jan Columbus, OH 9 13, May..................Brimfield, MA 2 8, July Brimfield, MA 2 2, Sept Brimfield, MA 2

9 12-13, Oct Greenwich, CT 13 12-14, Oct Walpole, NH 19 13, Oct Wayne, NJ 17

Courtesy legaCy Com

Jan Brooks, smart, funny, talented and complex, died of lung cancer on September 12. Her multitude of friends will savor her memory and miss her generous spirit, sharp wit, big laugh, curiosity and energy.

Born in Quanah, Texas, Jan grew up in Denton, Texas, where her family ran Brooks Dairy. Beginning in 1968, with an interest in music and then metalwork, Brooks attended several colleges and universities. Studying blacksmithing, Brooks earned a BA in 1972 and an MFA in 1974.

From 1974 to 1977, Brooks taught metalsmithing at SIU Carbondale before moving to North Carolina, where she worked as an assistant professor of Creative Arts and gallery

Jan Brooks, Dealer & Artist, 74

director at UNC Charlotte.

Throughout the 1970s and ‘80s, Jan exhibited her work in more than 200 shows, including the 1982 exhibition “Towards a New Iron Age” at the Victoria and Albert Museum in London. Her work is in both public and private collections. Brooks focused on commissions and public art projects and became involved in the nonprofit sector. She served on many boards, panels, and juries. She was vice president of the American Craft Council in the late 1980s and received an NEA grant in 1990.

In the early 1990s, she did graduate work at Duke University, researching the post-World War III development of the studio craft movement in American universities.

In 1995, Brooks moved to

Beauford Delaney’s

New York Years Captured

In Swann Auction’s Top Lot

NEW YORK CITY — The top lot in Swann Auction Galleries’ October 3 auction of African American art was an untitled (Greenwich Village Street, New York) work by Beauford Delaney (1901-1979), which realized $629,000, including buyer’s premium, against a $250/350,000 presale estimate. The richly impastoed depiction of the Village is a scarce and significant example of Delaney’s New York period, according to the catalog notes, which states, “His depiction of a street corner and the El train line is particularly infused color through a densely layered impasto.”

The painting was oil on linen canvas, dated circa 1945-46 and measured 18 by 21½ inches. It was indistinctly signed and dated in oil, lower right recto,

Santa Fe, N.M., and married longtime friend Lane Coulter in 2000. The couple ran Coulter Brooks Art & Antiques, specializing in Southwestern arts. She also worked in organized philanthropy and the nonprofit sector, serving as executive director of Northern NM Grantmakers for six years. She had far-ranging interests and was passionate and active about local and national politics and public policy.

She was a dedicated guitar player with a soulful, disarming voice. She loved music, food, art, and animals and was partial to

Scottish Terriers. She is survived by her husband, Lane Coulter; his daughter, Amelia; grandson, Felix; her brother, Rob Brooks; his wife, Mary; Rob’s children, Dean, Joanna and Matt; and their families.

A memorial will be held on October 15 at 2 PM at the Meem Auditorium on Museum Hill. Address cards to Lane Coulter, The Montecito, 450 Rodeo Road, Santa Fe, N.M., 87505. In lieu of flowers, donations can be made to the New Mexico School for the Arts, New Energy Economy, or Street Homeless Animal Project.

ANTIQUES SHOW REVIEWS

AUCTION REVIEWS

(Pittsfield, Mass.)

(Boston)

(Freehold, N.Y.)

(Peterborough, N.H.)

(Hudson, N.Y.)

(Whipple, Ohio) Midcentury Glass, Ohio Paintings & Textiles

and inscribed “181 Greene St” (twice)” and “NY” on the stretcher bars, verso. Provenance indicated that the painting had been acquired directly from the artist to Professor Kenneth Lash (1918-1985) and descended in his family. Lash was a poet, essayist, university professor and chair of art and humanities departments. Before his service in the US Navy, Lash lived in New York in the early 1940s, where he frequented many jazz clubs and after-hours sessions at trumpeter Frankie Newton’s Greenwich Village loft, blocks away from Beauford Delaney’s studio. Lash was part of a support network of friends and patrons who assisted Delaney both before and after his trip to Paris. Watch for a later sale review in an upcoming issue.

Corrections

The teaser in the October 11, 2024, issue for the millinery trade sign that was sold at Hudson Valley Auctioneers on September 23 misstated the sold price. The trade sign, double-sided, Nineteenth Century, star-shaped with painted wood gilt letters, “Millinery And Fancy Goods,” 34 by 34 inches, sold for $40,000, including buyer’s premium, not $42,000.

A teaser in the October 4, 2024, issue describing an oil on canvas painting by Julie Hart Beers (1835-1913), “River Landscape With Cows,” that was the top lot in Carlsen Gallery’s September 22 auction, misstated the painting’s measurements. They were 6½ by 20 inches not 66½ by 20 inches. We regret these errors.

Self-Taught Artist & Musician Otis Houston Jr To Receive

American Folk Art Museum’s Visionary Award

NEW YORK CITY — On October 25, the American Folk Art Museum will present self-taught artist and musician Otis Houston, Jr, with the museum’s Visionary Award, which recognizes the achievements of Houston Jr’s prolific, three-decade artistic practice encompassing installation works, performance, collage, found object assemblages, paintings, text-based works and music.

Based in East Harlem, N.Y., Houston is best known for his unmistakable and provocative site-specific performances underneath the Triborough Bridge (now the Robert F. Kennedy Bridge) alongside the FDR Drive in Manhattan, designed to engage with motorists and passersby. For more than 25 years, Houston has conducted impromptu street performances at this site, composed of sculptural assemblages of ephemeral objects, such as fruit, as well as signs made of towels and cardboard covered with poetic phrases in spray paint.

The public stage for his art has earned him the attention of international media, with profiles in The New York Times and The New Yorker, among others, as well as recognition from renowned galleries and museums, including The John Michael Kohler Arts Center and Art Preserve, Sheboygan, Wisconsin, which staged the artist’s first institutional solo exhibition in 2022.

An ever-present theme running throughout Houston Jr’s practice is social activism. His work frequently calls attention to issues of racial injustice, poverty, addiction and inequality, often through his irreverent sense of humor, while simultaneously offering liberatory messages of hope, health and love. His signature, aphoristic textbased works include messages declaring “Can’t GO Unless WE ALL GO,” “You Can Kill Me But You Can’t Kill My Spirit” and “The Last Frontier Love.”

Raised in Greenville, S.C., Houston did not begin to engage with art until he was incarcerated in the late 1970s following his relocation to Harlem. It was during this time that he began to read voraciously about art and attended art therapy classes, setting the foundation for the practice that he would later maintain through his regular presence along the FDR beginning in 1997. The American Folk Art Museum currently holds three works by Houston in its permanent collection, all of which are dated to the artist’s early career in the late 1980s, when he first began experimenting with mixed-media and collage as part of his art therapy classes.

Houston remarked: “Well, it feels really great, after 27 years, to be receiving this award, and to know that all of my work hasn’t been in vain. I’m thankful for all the people who have helped me get here,

Ernier Barnes’ Shootaround Scores Big Points For Abell

LOS ANGELES, CALIF. — A dynamic composition by Ernie Eugene Barnes, Jr (1938-2009) that captured the action of basketball through an athletic, lithe figure, “Shootaround” was one of the top sellers in Abell Auctions’ October 5-6 Prestigious Estates and Fine Art auction. Measuring 39-7/8 by 21½ inches in its original frame and coming to auction from the estate of Steve Lawrence and Eydie Gormé, the composition soared past its $100/200,000 estimate and slam-dunked at $262,500, including buyer’s premium. Purchased by a California buyer, it will be included in the Ernie Barnes Catalog Raisonné and was a highlights of the 667-lot sale, which was more than 92 percent sold. Watch for a more complete auction review in an upcoming issue.

Jacob and Sam and everyone from the gallery, and everyone else down the line. And I thank God and my family for telling me to be myself, and I appreciate it. Art has helped me in so many ways. In one way, just doing what my mother told me to do — being myself. My art is an outward expression of who I am. It fulfills me. I meet so many people, it relieves stress, helps me to have a purpose in life and I enjoy every minute of it.”

Jason T. Busch, the Becky and Bob Alexander director & CEO of the American Folk Art Museum, commented, “For nearly four decades, Otis Houston Jr has cultivated a truly unique and independent voice, imbuing his art with social consciousness to drive awareness for change and progress. His work is situated at the core of the museum’s mission of championing self-taught artists whose practices participate in the expansion of the art historical canon. We are extremely honored to present Houston with the American Folk Art Museum’s Visionary Award, and further shed a light on the importance of his work.”

Established in 2008 through the generosity and foresight of AFAM’s late Trustee Audrey B. Heckler, the Visionary Award

honors an individual, institution, or project that has made a unique and distinctive contribution to the field of self-taught and vernacular art. Supported by the Foundation to Promote SelfTaught Art, past recipients of the Visionary Award include Phyllis Kind (2008), Sam Farber (2011), Lee Kogan (2013), Ruth DeYoung Kohler (2015), The Souls Grown Deep Foundation (2016), Rebecca Hoffberger (2017) and Tom di Maria, Creative Growth Art Center (2019), among others.

The Visionary Award will be presented to Houston Jr during a ceremony at the museum’s annual benefit gala on October 25. The gala will also recognize and honor Miriam Buhl, pro bono counsel at Weil, Gotshal & Manges LLP, as well as AFAM Trustees Ralph and Bobbi Terkowitz, whose longtime support and contributions to the museum have made a lasting impact at the museum. This year’s “Casino Night” theme for the gala is playful homage to and celebration of the museum’s current exhibition, Playing with Design: Gameboards, Art and Culture, which features more than 100 historic gameboards, from the collection of Bruce and Doranna Wendel, and explores the history of play and

games in American culture. Busch remarked further, “We are proud to honor Miriam, Ralph and Bobbi at our gala this year. Each of them has been so magnanimous in their generosity to the museum, donating their time, expertise and guidance in helping steer the museum into the future, and better positioning us to deliver on our mission. We are grateful for their support.”

Houston lives and works in East Harlem, New York. He has presented solo exhibitions at The John Michael Kohler Arts Center and Art Preserve, Sheboygan, Wis., (2022); Gordon Robichaux, New York (2021); Room East, New York (2017), and two-person exhibitions at Gordon Robichaux, New York (with Florence Derive, 2018), and Cave, Detroit (with Miles Huston, 2016). His work has been featured in numerous group exhibitions, including at Vielmetter Los Angeles (curated by Mark McKnight), Los Angeles; apexart (curated by Sam Gordon), New York; Room East, New York; The Broodthaers Society of America, New York; Socrates Sculpture Park (curated by Chelsea Spengemann), New York; and CANADA, New York; Parker Gallery, Los Angeles; Marc Selwyn Gallery, Los Angeles; Rebecca Camacho Presents (curated by Bob Linder), San Francisco; and F Magazine, Houston, Texas. Profiles of the artist and his art have appeared in The New York Times, The New Yorker, Hauser & Wirth’s Ursula magazine, The Wall Street Journal, The Art Newspaper, the Brooklyn Rail, ARTnews, Hyperallergic, and Contemporary Art Daily In 2022, the first monograph dedicated to Houston Jr’s work, Can’t GO Unless WE ALL GO, was copublished by Zolo Press and Gordon Robichaux and included text by Zoë Hopkins Images and videos of his work taken by daily commuters and passersby populate YouTube and numerous blogs. Houston’s album of original songs, America, was released in 2006 on iTunes and reissued in 2020 as a vinyl record published by Post Present Medium. BLACK CHEROKEE, a 22-minute documentary on the artist directed by Sam Cullman and Benjamin Rosen, was released in 2012.

Estate-Fresh Chinese Jardinière Draws Chinese Bidders At Ralph Fontaine’s Auction

CANAAN, N.Y. — An estatefresh Chinese jardinière with a bird motif flew to 20 times its high estimate, finishing at $20,000, including buyer’s premium, at Ralph Fontaine’s Heritage Auction’s sale on October 6. “The estate was about 15 miles away from the gallery,” said Ralph Fontaine, “and the jardinière had been in the family’s collection for many years.” It was 14 inches wide and 10 inches tall. Fontaine said that about 20 Chinese bidders were lined up to vie for it, one of which was the victor, bidding online. A later review will feature some of the other notable lots from the sale.

Otis Houston Jr Photo by Ejlat Feuer, courtesy Gordon Robichaux, New York City.

Historic Pre-Civil War Photograph Of An Interracial Couple At Freeman’s | Hindman

CINCINNATI, OHIO — On October 25, Freeman’s | Hindman will bring to auction what is believed to be the first American photograph of a romantically posed interracial couple. The anonymous ninth plate daguerreotype, taken around 1850-55, depicts a white woman and an African American or mixed-race man in an amorous pose. The image will be offered as a highlight of Freeman’s | Hindman’s auction of American historical ephemera and early photography in the company’s Cincinnati saleroom.

The sitters and the photographer remain a mystery. Extensive research by Freeman’s | Hindman has uncovered no historic record of the photograph. While the image was likely taken in a Northern state, hundreds, if not thousands, of daguerreotypists could have made the exposure.

In a world where racial stereotypes denied the humanity of African Americans and the notion that they were capable of the same emotions as white Americans, this image offers a striking rebuttal. Posed or not, the message

of this extraordinary image is clear: in matters of the heart, white and Black could be equal partners.

In the 1850s, 28 states and several Native American tribes had laws prohibiting not only interracial marriage, but interracial sex. Even in Northern states where abolitionism was strongest and interracial marriage was legal (New York, Pennsylvania, Massachusetts and most of New England), interracial relationships were still viewed as taboo.

In the South, where slavery was the driving force of not only the economy but society itself, legal concerns would have been the least of the dangers facing the photographer and the sitters. Though sexual violence perpetrated by enslavers was widely accepted, “amalgamation” — the fear of “race mixing” — was used to justify the separation of whites and Blacks and uphold enslavement as a necessary institution. It goes without saying that in such an environment both the sitters and photographer may have risked physical harm for this defiance of societal norms

This image was likely meant to be a political statement. Photography was one of the abolitionists’ most powerful tools in not only fighting the evil of slavery, but in proving the equality of the races. At a time when African Americans were often grotesquely exaggerated in prints and other media, Frederick Douglass, among others, recognized photography as a means of truth-telling, and a medium that could humanize African Americans. Douglass and his colleagues understood, however, that for a photograph to have real, lasting power, it needed to be widely circulated. As a unique image, the daguerreotype was unsuited to widespread dissemination and could only be exposed to a wider audience through an engraving. If this image was taken for abolitionist propaganda it seems to have never been engraved; no trace of it exists in the historical record.

Freeman’s | Hindman is at 1550 West Carroll Avenue. For information, www.hindmanauctions.com or 513871-1670.

New Exhibition At New-York Historical Society Explores Women’s History Through Everyday Clothing

NEW YORK CITY — This fall, the New-York Historical Society presents “Real Clothes, Real Lives: 200 Years of What Women Wore, the Smith College Historic Clothing Collection.” The engaging exhibition showcases garments and accessories from the Smith College Historic Clothing Collection, an archive of the everyday clothing of American women — a subject often neglected in museum exhibitions. On view through June 22, in the Joyce B. Cowin Gallery of Women’s History, “Real Clothes, Real Lives” delves into the fascinating history, economics and real stories behind everyday fashion and reveals how women have worked and dressed over two centuries through examples from the Smith College collection as well as objects and images from New-York Historical.

From a well-worn Depressionera house dress to a college girl’s psychedelic micro mini to an Abercrombie & Fitch wool suit bought off-the-rack in New York City in 1917 that was remade into a Relief uniform worn behind enemy lines in France, “Real Clothes” examines how women have influenced, adapted and defied societal expectations through the clothes they chose to make, purchase and alter.

“Clothing has always played a crucial role in women’s lives, reflecting their evolving roles, identities and social conditions,” said Louise Mirrer, president and CEO of New-York Historical. “This exhibition celebrates the impressive history and untold narratives embedded in our clothing. We hope visitors come away with a deeper understanding of the intersection of fashion, culture and women’s enduring spirit.”

“Each thread and length of fabric on view in this exhibition provides insightful clues about the women who wore these garments,” said Anna Danziger Halperin, associate director of

the Center for Women’s History at New-York Historical. “By shining a light on the diverse roles women have played and the clothes they wore, we hope to underscore the social and cultural shifts that continue to shape our past. We are delighted to present these garments as tangible connections to the rich and complex history of women.”

“If we acknowledge garments of the past that have been overlooked, we honor the lives of the women who wore them,” said Kiki Smith, director of the Smith College Historic Clothing Collection. “In the words of the Spanish writer Antonio Muñoz Molina, ‘We see things if we know they exist.’ This exhibition celebrates the significance of these everyday garments and reveals why they are important to save.”

The Smith College Historic Clothing Collection was first established in 1979, guided by costume design professor Kiki Smith’s vision. Today, the collection consists of more than 4,000 garments and accessories depicting the everyday clothing choices accessible to working American women.

Divided into five sections, the exhibition begins with “Home: All Work, No Pay,” an homage to the practical garments worn to perform daily household tasks. Many of these garments bear signs of repeated use — worn cuffs, stains, patched holes — telling stories of women’s daily toil, such as a black-and-white cotton work dress (circa 186570) in a ‘mourning print’ that indicates it was worn by a widow; a red cotton chambray apron (circa 1895-1915); and a portable lockstitch sewing machine (circa 1890), an innovation that was hailed as a technological marvel that would “liberate” women when it became widely available in the 1850s.

“Service: Capable and Accomplished” spotlights uniforms, clothing that strips away indi-

viduality by fusing the wearer with their profession. Items on view include a housemaid’s worn-down pair of boots (circa 1920), a bubblegum pink waitress uniform (circa 1955) and a maternity uniform worn by a McDonald’s fast-food worker (circa 1976).

“Public Dress: In Good Taste” demonstrates how women in the Nineteenth and Twentieth Centuries of all social classes did their best to follow written and unwritten rules for public dressing that were specific to their class, age, race, religion and locality. Items in this section include a bustle-style day dress (1875-80) that was patched and remade multiple times, showcasing the resourcefulness and determination of a working woman during that era. An early 1970s pantsuit made by Wrangler, a company known for denim menswear, highlights the era when coordinated pantsuits became a style option for women in the workplace.

“Rites of Passage: What She Wore” underscores the important role clothing plays in celebrating significant life events and how gendered traditions and social conventions have changed over time. Mourning earrings and a pin set made from materials like enamel, onyx and human hair highlight the strict dress codes of mourning in the Nineteenth Century that many women followed. A contemporary quinceañera dress (2019) reveals how a celebrant marking her 15th birthday with the party common in Latin American cultures broke with the tradition of wearing a ball gown style dress and jeweled tiara by choosing a short dress worn with white Converse sneakers and a floral crown instead.

The exhibition’s final section, “Pushing the Boundaries: Rebel Wear,” embodies defiance against societal norms, depicting moments when women chal-

lenged restrictive rules through their clothing choices and actions. Whether protesting or defying traditional gender expectations, these garments symbolize the reshaping of societal standards. Items on view include a traditional men’s gray, two-piece suit (1920-28), which was custom-made for an individual assigned female at birth. The suit is distinguished from men’s suits of the era by the small waist and deeply curved

pleats. Also on view is a yellow micro mini dress from the late 1960s hand made by a first-year college student, an outfit meant to challenge the restrictive boundaries set by a society being rocked by the civil rights, women’s liberation and anti-war movements.

The New-York Historical Society is at 170 Central Park West at Richard Gilder Way (77th Street). For information, www. nyhistory.org or 212-873-7489.

Daguerreotype of an interracial couple ($30/50,000).

Left: Motor Corps of the National League for Women’s Service, Ambulance Corps Uniform, circa 1917. Khaki cotton twill jacket and skirt with brass buttons, blue wool collar patches featuring wheel and wing embroidery in gold, a leather cross strap and wide belt, leather gloves and brown cotton sateen knickers (not shown). Right: Abercrombie and Fitch Co. (established 1892). Smith College Relief Unit Uniform and Hat, circa 1917. Gray-green wool jacket and skirt with plastic buttons, gold colored pin with red cross, black wool felt armband with “USA Smith College Relief Unit” embroidered in red. Black brushed felted-wool hat with wide rayon faille hatband. Photograph by Anna-Marie Kellen for the Smith College Historic Clothing Collection.

INTERNATIONAL

Compiled By Antiques and The Arts Weekly Carly Timpson

Stolen Ancient Artifact Returned To Iraq After Being Held By The Met Police For 22 Years

LONDON — Thanks to the exceptional and sustained efforts of the Embassy of the Republic of Iraq in the United Kingdom over several years, and as part of the ongoing Diplomacy of Retrieval initiative, the Embassy, represented by Ambassador Mohammed Jaafar Al-Sadr, has successfully recovered a rare artifact. This artifact is a panel depicting the upper portion of a winged Assyrian genie, which originally adorned the Northwest Palace at the Nimrud archaeological site. The panel, weighing approximately 333 kilograms, is square shaped with dimensions of 45½ by 44½ inches, and dates to between 883 and 859 BCE.

A formal handover ceremony for the artifact took place in London on September 4. The event was attended by representatives from the Metropolitan Police Art & Antiquity Unit, the British Museum, the British Institute for the Study of Iraq, the Nahrain Network and the lawyer who facilitated the panel’s return.

During his speech, Ambassador Al-Sadr highlighted the immense historical significance of the artifact, a significance that has only increased following the destruction of the Nimrud Palace in Nineveh Province by ISIS.

Ambassador Al-Sadr emphasized that the panel’s return to Iraq — the cradle of civiliza-

tions in the Mesopotamian Valley — carries profound historical and cultural value. He acknowledged that this achievement would not have been possible without the close collaboration between the Embassy of the Republic of Iraq in the United Kingdom and the Metropolitan Police Art & Antiquity Unit. The ambassador expressed his deep gratitude for the extensive support provided by the police officers, British Museum officials and the lawyer involved. He also urged all individuals in possession of Iraqi artifacts to return them to their homeland. The ceremony was attended by several diplomats and staff members from the embassy.

V&A Gains Support From The National Lottery Heritage Fund To Transform Its Historic South Asia Gallery

LONDON — The Victoria & Albert Museum (V&A) has received initial support from The National Lottery Heritage Fund for plans to transform its historic South Asia Gallery to create a major new gallery for one of the world’s most important and varied collections of South Asian art and design. Made possible by National Lottery players, the project will open in Spring 2028 and will re-present and reinterpret the V&A collection, creating a welcoming and visually arresting gallery, with its opening complemented by a compelling, wide-ranging activity program onsite, offsite and online. Development funding of £250,000 ($334,871) has been awarded by The National Lottery Heritage Fund to help the V&A progress their plans to apply for a full National Lottery grant of £4 million ($5.36 million) at a later date.

For the first time since 1990, transformed displays, interpretation and integrated audio-visual technology will reshape the visitor experience. The gallery will be built around a new grand narrative exploring South Asian artistic production and its influence around the world, divided across three time periods — early and medieval South Asia (circa 3000 BCE to 1500 CE), early modern (circa 1500 CE to 1800 CE) and modern (circa 1800 CE to the present).

One of the highlight objects that will be displayed in the gallery is The Kochi Ceiling — a painted and carved Nineteenth Century wooden temple ceiling from South India that will be conserved, reconstructed and suspended at

height, providing an instant and dramatic visual impact. This impressive object has fine sculpted panels which depict Hindu deities and stories from the Ramayana. The ceiling has been in storage for more than 70 years and was last on display in 1955. A contemporary artist or designer will be commissioned to create a series of new panels to fill gaps in the original ceiling, bringing together historic and contemporary art, showing continuity and innovation in South Asian design.

Tristram Hunt, director of the V&A said: “We’re delighted to have the support of The National Lottery Heritage

Fund to transform our historic South Asia gallery, which houses one of the oldest collections at the V&A. The collection is one of the most significant of its kind in the Western world and we’re enormously grateful for this grant that will help create a world-leading gallery of South Asian art and design and engage with a new generation of British, global and diasporic communities.”

Stuart McLeod, director of England - London & South at The National Lottery Heritage Fund, said: “We are delighted to give our initial support to the V&A to re-present and reinterpret their

incredibly important collection of South Asian art and design. One of the things that stood out for us was their commitment to consultation and co-working to develop a gallery which reflects the diverse histories and cultures of South Asia. We look forward to working with the team to progress their plans to apply for a full grant at a later date.”

The redevelopment of the gallery will create a new world-leading gallery for the appreciation of South Asian art and design, showcasing the regions diverse cultures and its international impact; transform the visitor experience through a full redesign and redisplay of the gallery, making it accessible to the broadest possible audience; for the first time, include modern and contemporary South Asian art and design by leading artists and designers; and bring new transparency to the colonial history of the V&A’s South Asian collection and the complex history of collecting South Asian art in the UK.

The South Asian collection at the V&A is one of the most significant and comprehensive of its kind in the Western world. It consists of approximately 50,000 objects dating from 3000 BCE to the present day. Unrivalled in its range, it contains exceptional works that represent the sophisticated artistic achievements of the region. The distinctive strengths of the collection are the decorative arts and manuscripts relating to court cultures, particularly the Mughal court (1526-1857), the unparalleled body of textiles and dress and the extensive range of paintings. The museum has

a fine body of South Asian sculpture and architectural pieces, arms and armor and Indo-European furniture. Modern and contemporary works range from paintings and graphic arts to jewelry and fashion.

The new gallery will build upon a strong legacy of community engagement which started with the Arts of Bengal exhibition (1979) held at the Whitechapel Art Gallery located in the heart of the Bangladeshi community and includes the pioneering Shamiana: The Mughal Tent project (1997) which inspired hundreds of South Asian women across the country. More recently, festivals, music concerts, seasonal celebrations and Friday Late events have engaged families and attracted younger audiences.

The V&A’s ambitious program of temporary exhibitions reflects the breadth of the collection and the museum’s commitment to highlight a variety of narratives. This includes “Colours of the Indus: Costume and Textiles from Pakistan” (1997-8), “The Arts of the Sikh Kingdoms” (1999), “Cinema India: The Art of Bollywood” (2002), “Maharaja: The Splendour of India’s Royal Courts” (2009-10) and more recently “The Fabric of India” (2015-16) and “Lockwood Kipling: Arts and Crafts in the Punjab and London” (2017). In November 2024, “The Great Mughals: Art, Architecture and Opulence” will open at V&A South Kensington — the first exhibition to present the monumental artistic achievements of the Golden Age of the Mughal court (circa 1560-1660).

A photo taken of the artifact during the offical handover ceremony. ©2024 Embassy of the Republic of Iraq in London.

Panel from the Kochi ceiling depicting Shiva. (Museum no.

©Victoria and Albert Museum, London.

‘Bark Salon’ On Display In Wurrdha Marra, NGV Australia’s First Nations Galleries

MELBOURNE, AUSTRALIA — Featuring more than 160 bark paintings hung en masse from floor to ceiling, “Bark Salon” is a large-scale display of First Nations bark painting that references — and subverts — the traditional European salons of the Eighteenth and Nineteenth Centuries. On display within the Ian Potter Centre: NGV Australia’s dedicated First Nations galleries, Wurrdha Marra, “Bark Salon” offers a uniquely Australian counterpoint to this European tradition and highlights the extraordinary creativity and diversity of bark painting from the National Gallery of Victoria’s (NGV) collection.

A thought-provoking First Peoples response to NGV International’s popular Salon Gallery, “Bark Salon” is designed to emulate the style and atmosphere of the salons popular across Europe, including at the Royal Academies in London and Paris. During the Eighteenth, Nineteenth and Twentieth Centuries, the salon served as a critical platform for artists to exhibit their work to potential patrons. The space, hung en masse, was notably democratic; it welcomed not only aristocrats and the bourgeoisie but also individuals from diverse social and economic backgrounds. The salon also functioned as a pivotal forum for dictating aesthetic tastes, which in turn inspired rebellion from artists experimenting with subject matter, form and tradition.

“Bark Salon” offers audiences the chance to trace the monumental shifts in the bark medium: radical experimentation, the development from figuration to abstraction and developments in medium and form. Through this art-historical framework and salon style, audiences are able to appreciate the synergies of subject, style and technique between the works on display.

The exhibition spans eight decades

from the 1950s to today and features bark paintings from across the country, including Yirrkala, Melville Island, Ramingining, Elcho Island, Kalumburu, Maningrida and more. The exhibition features works by leading and pioneering figures, including Barrupu Yunupiŋu, ‘Nyapanyapa Yunupiŋu, David Namirlmirl Mangiru, Wally Mandarrk, Rosie Karadada, Nonggirrnga Marawili, Goobalathaldin Dick Roughsey, Dhambit Munuŋgurr and more. The presentation also emphasizes bark paintings by women, which is a particular strength of the NGV Collection.

Since the early Twentieth Century, Indigenous artists have been transposing traditional designs and stories onto bark as a way of communicating their profound connection to Country. The material is sourced from the Stringybark (Eucalyptus tetradonta), which is cut from the tree in the wet season when the sap is rising. Traditional ochre pigments in red, yellow, black and white are used, but more recently artists have experimented with acrylic paints to create vibrantly colorful expressions of the land, sea and air. Highlight works from the display include Naminapu Maymuru-White’s “Milŋiyawuy (River of Stars),” 2020. The artist is celebrated for her works depicting Milngiyawuy, which in English refers to the Milky Way, or River of Stars. Renowned for her innovative monochromatic ochre compositions, MaymuruWhite’s work navigates the celestial tapestry, intertwining the tangible and metaphysical realms.

John Mawurndjul’s “Mardayin design at Mukkamukka,” 2003, is a further highlight. Mawurndjul’s works explore the mardayin: sacred law, objects, localities and species. Mardayin also refers to a ceremony performed by Kuninjku peoples, and this particular work situates the

“Bäru story” by Nancy Gaymala Yunupiŋu (1935-2005), 1990, earth pigments on Stringybark (Eucalyptus sp.), 44¾ by 27¾ inches. National Gallery of Victoria, Melbourne. Purchased from Admission Funds, 1990. ©Nancy Gaymala Yunupiŋu, courtesy of Buku-Larrŋgay Mulka Centre, Yirrkala.

mardayin at Mukkamukka, a moiety site along the Mann River. The fine crosshatching effect (or raark) is composed with red and yellow ochres and white clay pigment, devising a hypnotic, sweeping depiction of Mukkamukka.

Also on display is “Lightning in the rock,” 2015, by Ms Noŋgirrŋa Marawili.

During the 1980s, Marawili began

assisting her late husband, Djutadjuta Mununggurr — a leader of the Djapu clan — to paint. This formative time enabled Marawili the authority to paint Djapu narratives, a trajectory she sustained after the passing of her husband. This work represents the Mundukul, the Lightning Snake, who lives deep beneath the sea. The artist shows the electric ‘curse’ that the snake spits into the sky in the form of lightning, and the spray of the sea trying to shift the immovable rock foundation of the Madarrpa people. The scale of “Lightning in the rock” captures the intensity of the narrative; at the time it was painted, it was one of the largest bark-panel ever made — a testament to Marawili’s bold and experimental practice.

Colin Brooks, Minister for Creative Industries said, “This extraordinary ‘Bark Salon’ display highlights the breadth of talent, creativity and storytelling of First Peoples artists from across the country. We encourage all Victorians, and visitors to our creative state, to make their way to NGV Australia for this unique and free display which opens in October.”

Tony Ellwood AM, director, NGV said, “Since the NGV began acquiring the work of First Peoples, bark painting has been a focus and strength. The NGV has been working with First Nations communities to build one of the country’s most significant collections of bark painting that represents the dynamism and diversity of the art form. This creative and thought-provoking display, referencing the traditional European salon hang, offers an opportunity for audiences to experience some of the icons of this collection in surprising and unexpected ways.”

The National Gallery of Victoria is at 180 St Kilda Road. For information, www. ngv.vic.gov.au.

Van Gogh Paintings Vandalized At A London Gallery After Two Activists Were Sentenced In Similar Attack

BY PAN PYLAS

LONDON (AP) — A pair of paintings by Dutch master Vincent van Gogh at London’s National Gallery were vandalized Friday, September 27, when a group of climate activists splattered what appeared to be tomato soup on them, shortly after two other activists were sentenced over a similar attack two years ago.

The paintings from Van Gogh’s “Sunflowers” series, which the artist painted in Arles in the south of France, were not damaged thanks to protective glass coverings. The gallery identified the two as its own “Sunflowers” (1888) and “Sunflowers” (1889) on loan from the Philadelphia Museum of Art.

The three activists from the Just Stop Oil environmental group involved in the attack were arrested while the paintings were removed, examined and then returned to their location. The exhibition reopened later Friday, the gallery said.

The group posted a video of the attack on social media, showing three people pouring soup over the paintings. The action was apparently in protests against the sentencing earlier Friday of two other activists from the group, Phoebe Plummer, 23, and Anna Holland, 22. Plummer was sentenced to two years while Holland received a 20-month sentence for their October 2022 attack on a “Sunflowers” painting. The two women threw tins of tomato soup at the artwork, then knelt down in front of it and glued their hands to the wall beneath it. They were found guilty of criminal dam-

age by a jury in July.

In both attacks — in 2022 and on September 27 — the activists wore T-shirts supporting Just Stop Oil. The group has been pushing the British government to halt new oil and gas projects and has staged highprofile stunts, including at major sporting events and on Britain’s transport networks.

In Friday’s video, one of the unnamed activists said

that future generations will regard them as “prisoners of conscience” who were “on the right side of history.”

In the 2022 attack, the gold-colored frame of Van Gogh’s painting suffered 10,000 pounds ($13,000) worth of damage. At the time, museum staff had worried the soup could have dripped through and caused immeasurable damage to the painting.

In Friday’s sentencing, Judge Christopher Hehir said the artwork could have been “seriously damaged or even destroyed.”

Hehir was also the judge in the case against Roger Hallam, the co-founder of Just Stop Oil and Extinction Rebellion, another environmental campaigning group, and had sentenced him to five years.

On September 27, he took aim at Plummer. “You clearly think your beliefs give you the right to commit crimes when you feel like it,” he said. “You do not.”

Plummer, who represented herself and who had pleaded guilty, told the hearing that she would accept “with a smile” whatever verdict came her way.

“It is not just myself being sentenced today, or my co-defendants, but the foundations of democracy itself,” she said.

Five days after her guilty verdict in July, Plummer was arrested for spraying paint on departure boards at Heathrow Airport.

Lawyer Raj Chada, defending Holland, said the two women checked that the “Sunflowers” was protected by a glass cover before throwing the soup.

This photo provided by Just Stop Oil shows two protesters who have thrown tinned soup at Vincent Van Gogh’s famous 1888 work Sunflowers at the National Gallery in London, October 14, 2022. (Just Stop Oil via AP).

Sojourner Truth’s Historic Supreme Court Documents From The New York State Archives On Display In Kingston

KINGSTON, N.Y. — The New York State Archives, in partnership with the City of Kingston and the State University of New York (SUNY) at New Paltz, today announces the opening of “Sojourner Truth: First Step to Freedom,” at City Hall in Kingston, N.Y. The exhibit is running through August and debuted in September with the unveiling of the bronze statue of Sojourner Truth, created by renowned sculptor Trina Greene. The opening reception showcased the original New York State Supreme Court documents from 1828, loaned by the New York State Archives, which recount Sojourner Truth’s historic legal victory, successfully suing a white man for her son, Peter, to secure his freedom after he was illegally sold into slavery.

“The discovery and preservation of Sojourner Truth’s court documents by

Statue of “Isabella” (later

the New York State Archives offers a vital link to our shared history, reminding us of the power of one individual’s fight for justice. Furthermore, this exhibition offers a unique opportunity for the public to connect with Truth’s courageous actions and see firsthand the court documents that played a crucial role in her groundbreaking legal victory, incredible life and fight for freedom,” said Brian Keough, assistant commissioner of the New York State Archives.

“Renowned Artist Trina Greene’s powerful sculpture of Sojourner Truth captures her strength and determination as she walked to freedom. Pairing this work of art with the original court documents from the New York State Archives highlights the personal and legal triumphs that define Sojourner Truth’s strength and enduring legacy,”

said Jennifer Lemak, chief curator of history at the New York State Museum.

The discovery of the historic New York State Supreme Court documents among 5,000 cubic feet of early court records in the New York State Archives happened in February 2022, when the Office of Cultural Education staff were revising Duely & Constantly Kept: A History of the New York Supreme Court, 1691-1847 and An Inventory of Its Records (Albany, Utica and Geneva Offices), 1797-1847 . The papers uncovered included Truth’s deposition given by her when she was still known as Isabella Van Wagenen, the writ of habeas corpus , Eleazar Gedney’s response and the court order freeing Peter.

The City Hall in Kingston is at 420 Broadway. For information, 845-3310080 or www.engagekingston.com.

Winterthur’s Annual Delaware Antiques Show Set for Nov. 15-17

WILMINGTON, DEL. —

WANTED

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

B & S Auction Service

Thomas Barrows P.O. Box 141

Portland, Conn.

Tel 860-342-2540

More than 60 of the United States’ most distinguished dealers in American antiques, furniture, paintings, rugs, porcelain, silver, jewelry and other decorative arts will showcase their wares at the Delaware Antiques Show. The event takes place from November 15-17 at the Chase Center on the Riverfront in Wilmington, with the opening night party on November 14. The Delaware Antiques Show’s proceeds benefit educational programming at Winterthur.

The event’s keynote lecture is Saturday, November 16, 10 am and is included with admission. Barbara Frelinghuysen Israel will present the keynote lecture, “Uprooted Elegance: The Surprising Journey of American Garden Ornament.”

She founded Barbara Israel Garden Antiques in 1985. Nearly 40 years and hundreds of exquisite objects later, she is recognized as an authority on the subject and her book

Antique Garden Ornament: Two Centuries of American Taste is the definitive work in the field. She has served as a consultant to the Metropolitan Museum of Art and the Smithsonian Institution for their collections of Nineteenth Century cast iron. Barbara Israel Garden Antiques has been featured in The New York Times, House & Garden, Martha Stewart Living and Flower magazine, among others. Israel is also one of the dealers at the show.

The Young Scholars Lectures are Saturday, November 16, 2 pm and are included with admission. Each year the Delaware Antiques Show highlights the research of current and/or recent Lois F. McNeil fellows from the Winterthur Program in American Material Culture, established in 1952 by Winterthur and the University of Delaware to promote the interdisciplinary study of American decorative arts and material culture. The program’s alumni hold distinguished positions

internationally in museums, antiques and auction houses, preservation organizations, historical societies, colleges and universities and libraries. Steven Baltsas will present “Of the Earth: Neoclassicism and Natural History in a Philadelphia Center Table.” Lanah Swindle will present “To Imitate China: A Close Reading of a Pair of Eighteenth-Century Hand Screens,” and Graham Titus will speak about “Performance and Pleasure at the Early Modern Table.” The lectures are sponsored by The Decorative Arts Trust. There will be additional lectures on Sunday, November 17, 2 pm, which are included with admission, Trevor Brandt will present “The Decoupage Fraktur of Friedrich Krebs.” Brandt is a PhD candidate in art history at the University of Chicago and managing editor of Americana Insights. Christopher Malone will speak about “A Landscape of Peace, Prosperity, and Despair: Charles C.

Hofmann’s Paintings Along the Schuylkill River.” Malone is curator, Historic Trappe and Lutheran Archives Center at Philadelphia. A book signing will follow the lectures. Proceeds from the Delaware Antiques Show help support key educational initiatives such as free school programs, low-priced tickets for families in need through the Museums for All program, and Discover Winterthur, a free day for the community.

Show hours are Friday, November 15, 11 am to 6 pm; Saturday, November 16, 11 am to 6 pm; and Sunday, November 17, 11 am to 5 pm General admission $25; $20 for Winterthur Members. Free for children under age 12. Tickets valid for all three days of the show and for admission to Winterthur on show days. The Chase Center on the Riverfront is at 815 Justison Street. For additional information www.winterthur.org, or 800-448-3883.

SAM Presents Retrospective Of Boundary-Breaking Artist Joyce J. Scott

SEATTLE, WASH. — The Seattle Art Museum (SAM) presents “Joyce J. Scott: Walk a Mile in My Dreams” (on view through January 19), the summative career retrospective of one of the most prolific and boundary-breaking artists of our time.

1 5/27/21 9:10 AM

The exhibition features over 140 works from the 1970s to the present, including beadwork, sculpture, textiles, jewelry, printmaking and performance, reflecting how Scott has upended hierarchies of art and craft over her 50-year career. Her work confronts racism, sexism, classism and what she calls “all the ‘isms’ society offers” through impish and audacious humor, expressions of beauty and a humanistic engagement with global events.

“This virtuosic retrospective opened in Scott’s hometown of Baltimore, where her work captivated scores of visitors and was lauded by national press. We look forward to shar-

ing it with Northwest audiences,” said co-curators Catharina Manchanda and Cecelia Wichmann. “Whether about trauma or transcendence, her work tells stories with deep concern

“War Woman III” by Joyce J. Scott (American, b 1948), 2014/2019, brown glass, beads, thread, wood, found objects, 31 by 9 by 8 inches, Seattle Art Museum, Benaroya Glass Art Acquisition Fund and the Guendolen Carkeek Plestcheeff Endowment for the Decorative Arts, 2020.1, ©Joyce J. Scott, Courtesy Goya Contemporary/TALP, photo: Scott Leen.

and care. For Scott, art is the vehicle to bring people of different generations together and build understanding while respecting difference. Beauty and biting irony are her preferred tools to help make people more receptive to humane ways of seeing and thinking.”

“Joyce J. Scott: Walk a Mile in My Dreams” brings together artworks from public and private collections from around the US. The exhibition reflects Scott’s deep ties and personal history in the city of Baltimore as well as her ties to the Seattle region, through her residencies at venues such as Pilchuck Glass School since 1992.

The exhibition features three works from SAM’s collection: a major sculpture — “War Woman III,” 2014/19 —

acquired by SAM in 2020; seven prints from Scott’s “Soul Erased” portfolio (1999); and Untitled (necklace) (1992–96). The latter are both recent gifts to the collection.

The exhibition is organized in 10 thematic sections, with pivotal works reflecting the artist’s cyclical return to motifs and materials over time as she brings forward new ideas and fosters dialogue to support personal healing and critical social change. Additionally, it includes an expansive array of archival materials and photographs drawn in part from Scott’s personal collection.

The Seattle Art Museum is at 1300 First Avenue. For information, 206-654-3100 or www. seattleartmuseum.org.

Sojourner Truth) by Trina Greene, 2021, bronze.

Storms & Sales At Cape Cod Glass Show

YARMOUTH, MASS. — Cape Cod endured a bonafide Nor’easter for a couple of days leading up to the weekend of September 21 and 22, coinciding with the Cape Cod Glass Club’s (CCGC) 36th Annual Glass Show. Hosted by the Cultural Center of Cape Cod in Yarmouth, Mass., a Nineteenth Century bank turned art gallery and event space, the CCGC and the show’s dealers were well-protected from the torrential rain that was scheduled to come down through Saturday night. This forecast would usually dampen the spirits and sales of other shows, but the weather prompted a surprising surge of customers for the 13 dealers present.

“We had almost 200 people come in yesterday,” CCGC president Betsy Lessig reported happily on Sunday, “with 300 overall.”

Although a comparatively small show, the CCGC vendors always bring an impressive volume and variety. Glass dealers and collectors are often maximalists by nature and, according to a stereoview souvenir card from the New Bedford Museum of Glass’s table, this tendency is often as old as the glassware itself. The double image showed an exhibit stall from the New England Glass Company, Boston, as it appeared during Philadelphia’s 1876 Centennial International Exhibition. The exhibition hall was designed by Henry Pettit and Joseph M. Wilson. A full service of cut glass and decanters was arranged in front of a tiered candelabra, decorated with applied taper holders and hanging crystals in the manner of a chandelier. An identical stereoview card exists in The Library Company of Philadelphia, which refers to this ornament as a “table chandelier.”

The Stretch Glass Society (SGS), Sunbury, Penn., brought their own commemorative and archival goods, but for display only. To mark its 50th anniversary, SGS decorated a set of candy dishes that was designed and made for the Society by the Fenton Art Glass Company, Martins Ferry, Ohio, in 2005. SGS mostly brings antique examples of stretch glass to educate visitors about its unique properties. Stretch glass was produced between 1916 and 1932, after which the iodized salt that caused the glass’s iridescence became too costly. Depression glass followed stretch glass in form but lacked its signature sheen and texture.

The arrangement of newcomer Decades of Dust, East Falmouth, Mass., had a glowing debut at the show — literally. Shining under black lights was a sizable collection of Uranium glass, mostly from Czech and Moravian makers. Business owners Tele and Tim Saunders reported great sales for their first CCGC show, particularly because they were added to the vendors’ list at the last minute. The Saunders were also the youngest dealers at the show, spelling a bright green future for glass collecting. There are some pieces that just jump out and they are often found in the booth of Rose Colored Glass, Ogunquit, Maine. One such object was an unusually tall Steuben candlestick fashioned together with eight separate gathers of delicate Celeste green and topaz glass. Made in Corning, N.Y., circa 1910 and 1920, the candlestick had carefully rolled edges to protect against chipping. Co-owner Julian Rogers explained the rarity of this variety, and that he had not seen its like before Another unusual shade and shape was given pride of place in the booth of Bruce Mitchell, Orange, Conn., whose glass was some of the earliest presented at the show. Positioned on the highest shelf was an English decanter, rare not only for its blue-green color but also its early Nineteenth Century dating. The decanter is decorated with reliefmolded “raspberry prunts” that also served a practical purpose.

“People back then, they didn’t

James Poore Antiques, Sagamore, Mass., doesn’t shy away from more whimsical goods such as this Bohemian or Czech owl-form jug made with black and “tango orange” glass circa 1920-30.

This rare, huge amber glass flower frog once showcased appropriately large flower arrangements in one of the four largest mansions in Newport, R.I. Andrew’s Antiques, Chaplin, Conn.

The Cultural Center of Cape Cod’s main exhibition space; if they could, vendors would surely stack their wares to the ceiling.

One of the few contemporary pieces in the booth of Bruce Mitchell, Orange, Conn., this Venetian style candlestick was blown and signed by William Gudenrath in 2005.

At first appearing as a matching set, each of these Flint glass tumblers and the decanter all showed intricate but separate designs. Betsy Hewlett Lessig, Yarmouth Port, Mass.

Dated to 1959, this rare, complete set of a frosted glass drinkware was designed by Acee Blue Eagle (Muscogee Creek, 1907-1959) to honor famous chiefs of the Apache, Kiowa, Cherokee, Pawnee, Cheyenne, Osage, Comanche and Wyandot tribes. Ed Hendlowitch, Cape Cod Glass Club, Yarmouth Port, Mass.

Review and Photos by Z.G. Burnett, Contributing Editor

Next to an

vintage dish towel from the Sandwich Glass Museum. Many dealers agreed that these would be popular if reprinted and sold today.

Blown by a team of craftspeople including Kathleen Sheard and Lynn Read, the cheetah design of this 2007 vase was achieved by decorating a flat slab of hot glass, then joining the ends together.

Cape Cod Glass Show

Made in 2005 especially for The Stretch Glass Society, Sunbury, Penn., by the Fenton Art Glass Company, Martins Ferry, Ohio, these candy dishes were hand decorated in celebration of SGS’s 50th anniversary.

These small bottles will no doubt be familiar to veteran “diggers,” and were just some of hundreds found in the Sandwich Glass Museum’s basement during recent renovations.

Stretch

with Thumbprint water goblet from the Sandwich Glass Factory and another in the Cable pattern.

Amongst Baccarat and Lodz perfumes, C&J Antiques, Norfolk, Mass., highlighted this extremely hand-painted ostrich egg form perfume from Mount Washington, South Boston, Mass.; salts in this form are far more common.

At about 16 inches tall, this delicate Steuben candlestick stood out even among the other fine offerings of Rose Colored Glass, Ogunquit, Maine.

wash their hands that much,” Mitchell explained. “So, if someone is drinking and their hands are greasy, the prunts give a better grip.”

In our water pump age of custom, 20-gallon home aquariums, it’s almost unthinkable for any pet fish owner to fill a glass globe and plop one or two into the unfiltered water. C&J’s Antiques, Norfolk, Mass., had just such an ornament from that time. But oh, what a fishbowl it was! Made from Vaseline glass, the bowl was mounted on an Art Deco Frankart stand, secured by three nudes. The fishbowl’s shape was common for aquariums at this time, as was the use of Vaseline and Uranium glass, but the stand was rare, according to coowner Jim Watson. Its base showed “Frankart, Inc,” in raised letters as well as “patent applied,” and it might be unique.

Animal motifs, whether carved, blown or molded, have been popular with makers and collectors since prehistoric times and James Poore Antiques, Sagamore, Mass., brought a striking and unexpected example of the craft. Standing more than a foot tall on one of his tables was a thick glass vase showing the, perhaps unintentionally, nervous face of a cheetah. This image was achieved with a single slab of glass that was decorated with different colors, then molded into shape; its seam was visible verso, but this did not detract from the impressive result. The vase was dated and signed on the bottom by Kathleen Sheard and Lynn Read’s Vitreluxe glass blowing team.

Reproductions would not normally be shown at an antique glass show, let alone have their own table, but those authorized by the Sandwich Historical Society are a different story. Local craftspeople David McDermott and Yukimi Matsumoto

of the McDermott Glass Studio used original Boston and Sandwich

A diverse selection of offerings from the New Bedford Museum of Glass’s gift shop, New Bedford, Mass.

This Vaseline glass fishbowl was balanced on a rare Frankart stand, of which Jim Watson has not seen a similar example. C&J Antiques, Norfolk, Mass.

impressive pile of reference books on the CCGC’s “Identification Booth” was this

A select few colored Flint glass vessels from Betsy Lessig, Yarmouth Port, Mass. From left: a Flute pattern cobalt tumbler, an amethyst Inverted Diamond

The

Glass Society, Sunbury, Penn., always creates a festive seasonal display.

“It’s very trendy with the kids right now,” said Tele Saunders, co-owner of Decades of Dust, East Falmouth, Mass., of their large Uranium glass display.

The deep, blue-green color of this rare English decanter dates it to the Regency era, circa 1795 to 1837, with molded “raspberry prunts” that were supposed to provide a better grip for greasy hands. Bruce Mitchell, Orange, Conn.

Glass presses, each with a proprietary pattern. These included the well-known Dolphin Candlesticks, drinking glasses and pitchers with Ribbed and Diamond Quilted Sunburst patterns, and lead crystal cup plates showing Leaf and Scroll and Heart and Diamond designs. Blown glass pumpkins by McDermott, Matsumoto, Kate Thomas and Peter Waechter were also offered for the season.

The Sandwich Glass Museum’s booth sat beside this table, displaying a refreshingly utilitarian assortment of industrial bottles While carrying out renovations at the museum, explained Olivia Padula, curator of collections, crates of “digger” bottles were found in storage. Rather than discard or donate them, the museum contacted expert Chris Powell, who helped them price each affordable bottle. All proceeds went to the museum.

Padula only began her curatorship in February of this year, yet she joined the museum much earlier as a volunteer and then an intern. “Olivia is indispensable to us,” said director Mary Childs. The museum’s next special exhibit, “From the Maker’s Hands,” will “detail the earliest stages of the glass making and designing process, from conception to the finished product,” highlighting (usually female) workers’ contributions to Sandwich glass’s patterns and designs. Showcasing hand-drawn sketches and paintings from the museum’s archives, “From the Maker’s Hands” opens on November 15.

Diminutive pressed glass toys

“I’m known for my colors,” said Jim Dwire of Two J’s, Bolton, Conn., whose display indeed included many points in the color spectrum.

At left, a handleless cup raised on its saucer’s circular foot; the description of this Midwestern pressed glass toy noted that “very few of this variety exist.” At right, this documented Boston and Sandwich tumbler or taster had a petalled/ scalloped rayed base with a faint pontil scar. Cape Cod Glass Club, Yarmouth Port, Mass.

Authorized reproductions of designs made with lead-free glass using an authentic Nineteenth Century press, presented by the Sandwich Historical Society.

were found across the aisle at the Cape Cod Glass Clubs’ booth.

These early to mid-Nineteenth Century toy pieces lacked none of the standard sizes’ details, having been made from their own, tiny molds. A handleless cup and saucer, probably Midwestern, was generously documented and extremely rare in its bright cobalt color. Its neighbor, a 1830-50 bluegreen toy tumbler or taster from the Boston and Sandwich Glass Company, showed a similar “lacy” pattern but was otherwise a stylistic contrast from the Midwestern cup and saucer.

Betsy Lessig, Yarmouth Port, Mass., showcased her own booth of early American pattern glass.

The majority of these were clear glass, making it even easier to see the many design and pattern varieties presented. One central arrangement of a decanter and rocks glasses, all made from Flint glass, illustrated this perfectly.

The decanter showed a Five Row Arrow pattern and was surrounded by no fewer than eight separate patterned glasses with

names such as New English Pineapple, Bull’s Eye with Diamond (also known as Owl), Grooved Bigler and Comet. Despite these differences, they still showed well as a set.

One of the show’s most unexpected objects was brought by Andrew Daniels of Andrew’s Antiques, Chaplin, Conn., an oversized amber glass flower frog. Possibly named “frogs” because of how they sat in water to anchor floral arrangements, this example most resembled an American Bullfrog in size and weight, measuring about eight inches across and weighing about five pounds. Daniels shared that this frog came from one of the four most prominent mansions in Newport, R.I., where it was once used to keep the stems of large, heavy flowers and other greenery in place.

The Cape Cod Glass Club meets monthly at the Sandwich Public Library, 129 Main Street, Sandwich, Mass. For information, 508776-9098 or www.capecodglassclub.org.

Two J’s has been in operation for over 30 years, specializing in Twentieth Century American-made glassware including Depression, Elegant Depression and art glass.

A stereoview card from the 1876 Centennial International Exhibition showing wares from the New England Glass Company, Boston, including a “table chandelier” candelabra.

Rose Colored Glass, Ogunquit, Maine, specializes in rare colors in familiar molds, specifically of American glass.

Historic Homes & Properties

Greenwich Historical Society—

Four Distinctive Properties Awarded Plaques For Architectural Significance

COS COB, CONN. — The Landmarks Recognition Program awarded plaques to First Congregational Church Meeting House in Old Greenwich, the former Rosemary Hall Gymnasium now on Brunswick School property, and two private residences: Greenwich’s Stonycrest and the Walhall Gatehouse in Riverside.

The plaques were presented at the Historical Society’s Annual Meeting on September 18, at the Belle Haven Club.

“We introduced this program 35 years ago to celebrate and preserve the architectural heritage that has contributed to making Greenwich world renowned for its exceptional beauty,” says curator of Library and Archives Christopher Sheilds. “In this ‘teardown’ era, Greenwich is at risk of losing its cherished New England character. Landmarks Recognition aims to create awareness for the value of these properties and the need to preserve them for future generations.”

A panel of Greenwich-based architects, including Aarron Helfand, Darren Henault and Anne Walker Matviak, conducted research to identify deserving candidates in a rigorous selection process.

The First Congregational Church of Greenwich Known as the “Founding Church of Greenwich,” the his-

tory of the First Congregational Church of Greenwich begins when Greenwich was first recognized as a separate and distinct town in 1665. Its earliest structure dates to 1667 and was followed by three subsequent iterations that reflected the changing needs of the congregation.

The initial section of the current stone Meetinghouse was constructed in 1895 in the NormanGothic style. When the church was unable to accommodate the number of worshipers by the middle of the Twentieth Century, a large addition to the Meetinghouse was completed circa 1962.

Visible from Sound Beach Avenue, this more contemporary addition was carefully conceived so that the old and new portions blend harmoniously.

The interior is enhanced by a remarkable collection of stained

glass windows. The north transept windows were designed by the J&R Lamb Studios in a Tiffany style in 1896.

Philadelphia’s Willett Studios created the windows for the 1960s addition, and the windows in the chapel depict the story of the settling of Greenwich and the evolution of First Church. The brightly colored chancel window is stunning in “sculptured gold” which turns fully golden after the sun goes down to breathtaking effect.

Rosemary Hall

Gymnasium, 1929

Initially an independent girls’ preparatory school in Wallingford, Conn., the Greenwich campus of Rosemary Hall opened in 1900. In 1981, it relocated back to Wallingford upon merging with the Choate School. The Brunswick School now owns the Greenwich property.

The school’s former Greenwich campus is a rare exception to the style of many distinguished educational institutions: it looks not to English universities for inspiration, but instead to the villages and monasteries of Italy.

Designed in a Romanesque style by Theodore E. Blake, the gymnasium serves the architectural role of a church in the context of an imagined Italian village. The square tower and loggia that runs the length of the building, and the niches for statues that sit between generous arched entrances, reinforce the impression of a medieval church.

The buildings were listed on the National Register of Historic Places in 1998 for architectural significance.

Many accomplished women were graduates during the school’s time in Greenwich, including actresses Ali McGraw and Glen Close.

Stonycrest, 1899

Joseph Dillaway Sawyer was a man with a colorful and varied career. He spent many years in

various dry goods commission houses in Boston. In 1886, he purchased land that would become the Hillcrest Park section of Greenwich where he built 16 homes, including Stonycrest.

Designed by the architect Emily Elizabeth Holman of Philadelphia, the distinctive home features a side entrance with a massive stone porte cochère. With its informal perfection, Stonycrest embodies the spirit of Greenwich. Its exceptional charm, grandeur and elegance are imbued with a deep sense of family and community. Today, it is a privately-owned residence.

Walhall Gatehouse, 1913

Once a chauffeur’s residence, this charming gatehouse with enchanting views of Long Island Sound, is one of the only vestiges left of Walhall, the great estate of John Jacob and Valeria Langeloth. It is now a private residence.

John Duncan, the architect of Grant’s Tomb and the Soldiers and Sailors Arch in Grand Army Plaza in Brooklyn, designed the massive 30-room limestone Italian Renaissance mansion and the estate’s outbuildings in 1912.

The entry to the gatehouse is notable. The solid granite walls and wrought iron gate are unaltered. Additions over time have upheld the architectural integrity of this important vestige. The living room and entry incorporate a panel of Seventeenth Century Italian stained glass win-

dows. Beams from an early Salem, Mass., schoolhouse are incorporated into the ceiling of the living and family rooms. Gatehouse interiors include much of the original flooring. The garage features an art studio that matches the architectural style of the original house. Greenwich Historical Society was founded in 1931 to preserve and interpret Greenwich history to strengthen the community’s connection to our past, to each other and to our future. The circa 1730 National Historic Landmark Bush-Holley House witnessed the American Revolution, holds the memory of enslaved men, women and children and became the site of Connecticut’s first American Impressionist art colony from 1890 to 1920. Its landscape and gardens are restored based on documentation from the site’s Impressionist era. The campus also includes a nationally accredited museum, library and archives, a museum store, café and a community education center. Greenwich Historical Society educates thousands of school children annually and connects visitors to the history of this globally influential community through exhibitions, lectures, programs and events. It receives no town funding and relies on donations and grants to continue its work in education and preservation.

For more information: www. greenwichhistory.org/aboutgreenwich-landmarks.

Compiled by madelia HiCkman Ring

First Congregational Church Meetinghouse, 1895.

Rosemary Hall, 1929.

Stonycrest, 1899.

Walhall Gatehouse, 1913.

From left, Nick Rotundi, Charles Hilton Architects; Debra Silverthorn, Pat Larrabee, First Congregational Church; Christopher Shields, Greenwich Historical Society. Photo courtesy Ubina Studios / Elaine Ubina.

Photos Courtesy the Greenwich Historical Society

1.

3.

9.

A Tibetan thangka representing Buddha. 2. Alan Shields, Pyramid, acrylic and stitched beads on unstretched canvas, 77" x 77" (triangular). Provenance: Collection of Skidmore, Owings & Merrill (SOM).

Thomas Addison Richards, Southern Haystacks, oil on canvas, 27" x 47". 4. Four Preston Singletary glass 'Tlingit Berry' baskets. 5. Bruno Gambone, Italy, 1970 unique and massive glazed stoneware vessel, 26" h. 6. Morino Taimei, Glazed Ceramic Cube. Provenance: Collection of the Mitsui Family. 7. Morino Taimei, Black Glazed Stoneware Cube Provenance: Collection of the Mitsui Family. 8. A pair of Adrian Pearsall Wave Chaise Lounges (one pictured).

A Jaeger-Lecoultre stainless steel P469 wristwatch, Circa 1940. 10. An Emile Antoine Bourdelle patinated bronze 'tete de Meduse' (head of Medusa) door knocker, circa 1925.11. Morino Taimei, Glazed Stoneware Cube. Provenance: Collection of the Mitsui Family.12. A Grand Seiko titanium alloy Spring Drive wristwatch. 13. Carl Morris, Windswept, 1962, oil on canvas, 40" x 48".Provenance: Collection of Skidmore, Owings & Merrill (SOM). 14. A Maurice Lacroix stainless steel Masterpiece Rectangular Petite Seconde wristwatch.15. A Niamh Barry light fixture.

The Dr. Roger Knutsen Collection of Rapid City, SD

Thurs. October 17th at 4pm

Doors will open at 2pm for viewing – no earlier please to allow for set-up Located at: Comfort Suites, 1333 North Elk Vale Road, Rapid City, SD East Edge of Rapid City, just off I-29

Dr. Knutsen has collected high-quality antiques since the 1970’s! He has a strong focus on items related to South Dakota and the colorful history of the Black Hills area! Highlights include:

1927 Telegraph sent to Gutzon Borglum from his mother, congratulating him on starting Mt. Rushmore! • Poker Alice’s Silver Chalace! • Signed Document by Seth Bullock! • Dozens of framed photos, pictures, postcards & maps of early South Dakota places, people & events including Mt. Rushmore, Days of ’76 Rodeo, Homestake Gold Mine, Sylvan Lake, The State Game Lodge, Deadwood, Indian Pete Cumberlain, Deadwood Dick, Annie Talent, & more

Native American Art & Artifacts including beadwork, arrowheads & photography • Super pieces of original Advertising Signs, Posters, Clocks, & Displays! Including Pre-Prohibition & Hamm’s beer signs! • Original Confederate Virginia Infantry Flag • Original Concert Posters including 1956 Elvis and 1960’s Psychedelic Art! • Original Political Posters, Signs, Pinbacks & Ephemera • High-Quality Antiques – 1832 Needlepoint Sampler, several fantastic clocks & lamps, cast iron toys, unique cans, bronze dogs, Opium Pipes, brass door knockers & more • 2 Vintage Notre Dame team signed footballs!

400 Cataloged lots on this auction – Quality from start to finish!

Note: From Seth Bullock to Poker Alice, Gutzom Borglum to President Coolidge, Cowboys to Native Americans, this auction has it all! It has been decades since an auction of this quality & historical significance has been offered in South Dakota. Dr. Knutsen had the contacts, knowledge and ability to buy the best and the rarest pieces from top auction houses & antique dealers nationwide! If you love

OCT 17 Old Master Through Modern Prints

OCT 31 Fine Photographs

NOV 12 Modern & Post War Art

NOV 26 Contemporary Art

DEC 12 Illustration Art

DEC 17 Fine Photographs

Paul Gauguin, Pastorales Martinique, zincograph, 1889. Estimate $20,000 to $30,000. At auction October 17.

WEDNESDAY NOVEMBER 13TH

EARLY ENGLISH CERAMICS, PERUVIAN ART AND

EUROPEAN COLLECTION

IN PERSON PREVIEW:

NOVEMBER 4TH-8TH &__ 11TH

9:30AM -3:30PM NOVEMBER 12TH 9:30 AM -2:00PM

THURSDAY NOVEMBER 14TH

FEATURING A FINE COLLECTION OF EARLY ENGLISH CERAMICS, SOUTH AMERICAN POTTERY, FINE JEWELRY, WORKS OF ART BY SALVADOR DALI, JIMMY LAWLOR, ADOLPH GOTTLIEB, RAOUL DUFY, ALEXANDER CALDER, JOAN MIRO, GEORGES ROUAULT, JACK ROTH, ANDY WARHOL, ROBERT ANDREW PARKER, ROBERT MOTHERWELL AND MORE.

Join Us For a Historic Week

Arms, Armor and Militaria

October 23 | Live+Online

Visions of America: The Stephen White Collection October 24 | Live+Online

American Historical Ephemera and Photography October 25 | Live+Online

All auctions held at Freeman’s | Hindman Cincinnati: 5030 Oaklawn Drive, Cincinnati, OH 45227

ARMS, ARMOR, AND MILITARIA

Tim Carey | 513.666.4984 armsarmor@hindmanauctions.com COWANS.COM

AMERICAN HISTORICAL EPHEMERA AND PHOTOGRAPHY

Katie Horstman | 513.666.4958 katiehorstman@hindmanauctions.com HINDMANAUCTIONS.COM

914-882-7356 • E-mail: mag2715jag@aol.com www.midhudsongalleries.com

MULTIPLE ESTATES AUCTION

Saturday, October 19 th at 2pm

Exhib. Fri. Oct. 18th 12 Noon-3pm & Day of Sale 12 Noon 179 Temple Hill Road, Suite 100B, New Windsor NY 12553

IMPORTANT AMERICAN & EUROPEAN PAINTINGS: Laurence A. Campbell; Guy Pene du Bois; Edward Potthast; Edward Hopper sketch; Giovanni Benedetto Castiglione (attr. to); 17th C. Circle of Frans Francken II ; Maurice de Vlaminck (attr.to ); Remi Iren; Florence Robinson; Mary Louise (Low) Fairchild; E.N. Fairchild; Amelio Schwicker; Wm. Bright Morris; Wm. Page; Arthur J. Barber; Sam Francis WORKS ON PAPER: Warhol, Albert Kaufman (several); Henry Miller ; Renee Magritte; G.K. Poster Mistinguette. PRINCESS DIANA GINA FRATINI DRESS WITH PROVENANCE. IMPORTANT EXTENSIVE TAINO

COLLECTION. MORE: Abundance of sterling silver smalls inc. Jensen; Hollywood and other photos; Moreau lamps; bronzes inc. Vienna bronzes; Pre-Columbian. ORIENTAL: Blanc de Chien brush pot; Sang de Boeuf Ming stem cup; jade lions; Mei Ping vase; Chinese bronzes; Japanese Silver; A LIFETIME COLLECTION OF LONGABERGER BASKETS (Maker signed and dated). Loads of costume jewelry. Diverse interesting auction with something for everyone!!! We are live in the room and online. Come spend the afternoon with us.

A remarkable pre-Civil War ninth plate daguerreotype of an interracial couple., $30,000 - 50,000

To be offered in American Historical Ephemera and Photography, October 25

October Estates Auction

October 19th & 20th, Saturday & Sunday, 11:00 AM 117 Ellio St., Beverly, MA 01915

lot715

RareP.T.Barnumportrait,oilonboard, 20”x16”,framedrecently29”x22”

We have been commissioned to sell great collections and estates from San Diego, California, Montecito, California, Sea le, Washington, Palm Beach, Florida, York, Maine, Gloucester, Marblehead, Hyannis Port, Peabody, Nahant, and Essex, Massachuse s. Auction to be held at the Kaminski Gallery, 117 Ellio St., Beverly, Massachuse s.

Preview: Monday-Sunday, October 14th-20th, 9:00 AM-5:00 PM.

lot645 A rtoJacopoRobusti, TheMiracleoftheSlave

lot736

R.Rubin,ViewofManha an, OilonBoard

lot220 LouisFloutier,ArchedStoneBridge

lot699 17th/18thC,Portraitof WomanonBalcony

lot659 19th/20thCItalian, CanalViewinVenice

lot656 LucienGilbertDarpy, LandscapewithFigures

lot658

ConsalvoCarelli,ViewinFlorence, OilonCanvas

lot298 F.G.Stevenson,PrintA er Gainsborough’sMusidora

lot701 17thCDutch,Portrait ofBeardedMan

lot696 18thCFlemishSchool, St.Jerome

lot174 EdwinHarris,Gentleman ViewingaPainting

lot652 18thCOilonCanvas,FlemishFestival

lot161 GeorgeMorland,Manwith HorseandDog

lot677 JohnDuncan,NightRider, OilonWoodPanel

lot651

C.Dubreuil,FrenchShipinStorm,OilonCanvas

lot396 Kuniyoshi,KabukiActor, ColoredWoodblock

lot200 SetofGlassMosaicPanelswithReligiousScenes

lot705

PierreMignard,Portrait ofAdrienNorel

lot310 FrenchCanadianFloralStillLife, OilonBoard

MA LIC #171

lot523

SouthSeaFancyGraduated PearlNecklace,18kClasp

lot520

18kGoldandHeart-ShapedYellow DiamondRing

lot578

AntiqueSilverRepousseBox,41/4”Hx91/2” Wx5”D.Approximately31.5troyozTW.

lot166 RussianBronzeSculpture ofCossackonHorse

lot574

SetofEnglishSterling FlatwareHallmarkedfor RobertGarrardII

lot702

17thCItalianCarvedGold GiltwoodArchedRelief

lot577

Pairof.800Silver AntiqueSpoons

lot704 BronzeHeadof PhilosopherLucius Annaeus Seneca

lot674

HiloUkulele, SignedbyBeach BoysMembers

lot518

Suiteof14k(tested)YellowGoldDiamondSapphireJewelry,to include:bracelet,71/4”L(marked18kbuttests14k);clipearrings, 11/8”H;ring,size31/2.Approximately75gramsTW.

lot575

OrnateSilverRenaissance RevivalDoubleVase

lot773

MeissenFigure ofCupid

lot672

RedHotChili PeppersSigned EpiphoneGuitar

lot655 AntiquePersianHerizrug,11’4”x7’11”.

lot80

Smith&Wesson,Springfield,Massachuse s, five-shotrevolver,pat.Nov21,1865.

lot809

PairofSevresachepots,a ributedasmadefor PrincessLouisa,41/8”x61/4”.

lot160

FrenchMarquetryMarble-Top Two-DoorCabinet

lot650

AntiquePersianLavarKermanrug,17’9”x9’5”.

lot69

FrenchEmpire StyleMarbleand BronzeFloorClock

lot78

PairofMahoganySingle-Drawer GalleriedStands

lot735 FineTurkomanrug,9’6”x6’7”.

A Great Selection of Estate Art and Ephemera

Early Nautical with Documentation

Great Assortment of Estate Antique Furnishings

Early Chinese Marble Items

TWO SESSION OCTOBER ESTATES AUCTION

Tuesday, October 22, 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. Oct 21st - 9:00 AM – 6:00 PM Tues., Oct. 22nd - 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 including items drawn from a prominent physician’s Winchester home, fine Beacon Hill Townhouse, lg oceanfront Hull home, Fox Hill Village, Lexington, Wellesley and others with selected additions for a fine Session 2 sale. Session 1 will include collection of interesting curiosities, oriental rugs, etc. 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: Nice collection of 17th/18th C. maps and others, Russian circus poster 1969-70, Marine prints incl Stobart, primitive lots, artwork, estate curiosities and more.

SESSION 2 AT 5:00 PM – FURNITURE: Antique CT flat top fan carved highboy, NH antique flat top highboy, antique CT Queen Anne walnut lowboy, handsome tall burl walnut Biedermeier Abattant secretary w/ full interior, Antique CT cherry lowboy, Engl walnut apothecary chest fitted with 9 drawers and sliding top, 2 signed Eldred Wheeler chests and stand, antique walnut tall chest on frame, Sacks custom chest on chest, Thomas Moser “New Century China” bed, sm painted country sm size slant lid desk, antique 6 draw blanket chest, VT grain painted 4 draw chest, carved sm. Federal sofa, antique NH card table, inlaid tambour secretary, pr Moorish style tile top tables, pr bellflower inlaid Pembroke tables by John Sullivan, cherry antq Fed. Slant lid desk, Irving and Cason inlaid tall chest, 6 antq dining chairs, country tall clock, unusual child size bookcase, antq Italian side table, antq Shenandoah walnut slant lid desk, England miniature Rosewood 5 drawer chest, Chinese MT stand, inlaid revolving bookcase, antique 11 drawer apothecary cabinet, sewing

table, hanging Dutch cupboard, country and mahogany chests and more. ITEMS OF SPECIAL INTEREST: Wonderful finely carved 25” open winged eagle in nice condition, Native American including Plains beaded bag c 1890 sinew sewn, No. Cal. Basketry box with whale, thunderbird, ship etc. 8 ½” D, sm NW coast basket, lot with Hopi polychrome bowl etc. ACCESSORIES: Oscar Bach deco figural ashtray w/ aurene insert, Cloisonne enameled floor lamp, 39” bronze lamp, 9 place settings of Herend Chinese Bouquet (blue), Dutch wag-on-the wall clock w/lion painted scenes, Chelsea Brass Ships Clock with eight day time and strike movement; diameter, Moroccan pottery butter churn, Foster Campos S. Willard patent banjo clock, Chinese Coromandel Six Panel Table Screen, with several figures and exotic animals; height: 22 in., miniature brass Georgian safe, lovely collection of Irish Belleek including black mark tea set, signed basket woven bowls, and more, Steuben, art deco onyx clock set, several good lots of bronze figures etc from private local collection, enamel and onyx lamp, art glass, cranberry enamel lustres, St. Clair paperweight lamp, and much more. SILVER and Jewelry: Beautiful sterling reindeer and sleigh, sterling silver lots, flatware, 925/18k bracelet, 14K and 18k jewelry, and more. ARTWORK:

Stormy coast signed Thoma 19thC, L. Andshalter Young Girl Seated with Bible, European School (19thC) Panoramic River Landscape with Figures in the Foreground, European School (19thC) Nocturnal Harbor View, Grand Canyon painting (Amanda Peters), American or English School (19thC) Artist Self Portrait On the Conway o/c RE Wilkinson, 19th C painting after W. Hogarth March of the Gourds of Finchley, Wini Smart ’76 w/c, watercolors by Carolyn Latanision, and more.

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 774-571-8263 to arrange. No Online Bidding. Email: coylesauction@verizon.net

DIRECTIONS: Sale held at the VFW Post 1526, 123 Holliston St., Medway, MA off Route 109 www.coylesauction.com

Finely carved 25” open winged eagle in nice condition

Oscar Bach deco ashtray with aurene insert

English Walnut Apothecary Chest, tted with nine drawers and unusual sliding top to reveal bottle holders

Native American including Plains beaded bag c 1890 sinew sewn, No. Cal. Basketry box with whale, thunderbird, ship etc. 8 ½” D

Chinese Coromandel Six Panel Table Screen, with several gures and exotic animals; height: 22 in.

Antique Chippendale black walnut Shenandoah Valley slant lid desk

Continental Burl Walnut Secretary Abattant, 19th century, with fall front desk section and four drawers Antique Connecticut Queen Anne black walnut lowboy

European School (19th century) Panoramic River Landscape with Figures in the Foreground oil on canvas

Chinese Sancai Glaze Roof Ornament

American or English School (19th century) Artist Self Portrait

European School (19th century) Nocturnal Harbor View oil on board

Artist signed Lorenz ’70 oil laid on board

Foster Campos Willard’s Patent Banjo Timepiece

Thoma (European, 19th century) Coastal View with Fishing Boats and Figures on the Shore

Sterling Silver offerings including Reindeer and sleigh

Antique bronze and brass gural tazzas

Antique Queen Anne highboy with fan carving

New Hampshire antique at top maple highboy

Eldred Wheeler furniture with labels including 2 chests and stand

Bench made beautifully inlaid tambour desk

Interesting group of Moroccan objects including daggars etc.

English Miniature Rosewood Five Drawer Chest; height: 16 in

11 Drawer Apothecary Cabinet, late 19th century; height: 24 in

will hold a LIVE and IN-PERSON BOOK AUCTION on OCTOBER 18 TH , 2024 at the South Congregational Church located at 949 Main Street in South Glastonbury, CT 06073 Inspection begins at noon with the auction starting at 6 pm. ABSENTEE / PHONE BIDDERS call 860-908-8067 for Information.

October and the harvesting of this season’s crops is coming to a close. Here at CRBA recent consignments promise a fall event rich literary and scholarly morsels upon which discerning minds can savor.

For the historian, here is a sampling of available 1st editions: a signed copy of Demaree’s (1920) “History of Company A (308th Infantry) of the Lost Battalion,” in dj a copy of Sapper’s (1917) “No Man’s Land,” a signed copy of  Emmons (1853) “The  Navy of the United States from the Commencement 1777 to 1853,” in 9 volumes Clark’s (1964-68) ) “Naval Documents of the American Revolution,” and Porter’s (1886) ) “The Naval History of the Civil War.”

A fan of children’s books then consider 1st editions of a lovingly inscribed worn copy by Dorothy Lathrop (1931) of “The Fairy Circus” to her mother, a signed copy of  Stefansson & Irwin (1924) “Kak the Copper Eskimo,” or Olcott’s (1918) “The Book of Elves and Fairies.”

This auction has several lovely sets, limited editions and fine bindings such as Edward Earl of Clarendon (1702, 1703, 1704) “The History of the Rebellion and Civil Wars in England,” with (1759) “The Life of Edward Earl of Clarendon,” and Thoreau’s (1906) “The Writings of Henry David Thoreau: The Walden Edition,” 20 volumes in leather. Or consider James McNeil Whistler ‘s (1890)

“The Gentle Art of Making Enemies.” with his butterfly monogram and then there is Algoud ‘s( 1927) “Mas et Bastides de Provence,” and Banning’s (1915) “Bypaths in Arcady A Book of Love Songs” to delight the senses.

For readers who enjoy holding a volume once in the hands of its author the following books are signed: Thomas Mann (1940) “The City of Man: A Declaration on World Democracy,” and (1939) “Your Royal Highness,” by W. H. Auden (1935) “The Dog Beneath the Skin,” by Carl Sandburg (1926) “Selected Poems of Carl Sandburg.” JUST ADDED is a Nabokov signed two volume paperback copy of “Lolita” issued by Olympia Press.

To this add an Ezra Pound signed copy of “Manuale della Letteratura Italiana,” a signed copy of “Solo Flight,” by the woman pioneer aviator Jean Batten, and signed volumes by Omar Bradley, June Havoc, Charlton Heston, and Yogi Berra to name just a few in an entertaining evening that awaits the absentee, phone or attending bidder.

For more information on this 6 pm, Friday, October 18th book auction to be held at the South Congregational Church, 949 Main Street, South Glastonbury, CT 06073  visit ctriverbookauction.com

Thursday, October 24 at 10am

Ulysse Nardin Chronometer Men’s Wristwatch

Montague Dawson Sailing Ship O/C Painting

Marilyn Monroe Large Signed DeCunto Large O/C Painting

Antique Italian Micro Mosaic 18K Earrings

Charles Gruppe American, 1860-1940 Untitled (Landscape) O/C

1854 “Indian Princess”

John Joseph Enneking 1841-1916 Grazing Sheep 1891 O/C

MARTIN’S Select 53rd Annual Fall Auction

LARGE

ONE DAY AUCTION – Selling with Multiple Auctioneers

Horse Drawn Coaches & Carriages, Sleighs, Appointments & Antiques, Horse/Pony and Sleighs, Wagons, Carriage Appointments of Harnesses, Equine Items, Pairs of Coach & Carriage Lamps, Coach Horns, Livery, Holly Whips, Top Hat, Ladies Driving Hats, Stable Fixtures and Harness Racks, Good Quality Books, Collectibles and Antiques

Friday, October 18, 2024 Lebanon Fairgrounds Expo Center, Lebanon, PA 17402

Auction Bidding: LIVE (in person at auction site) bidding starts at 9am Preview: Thursday, October 17, 10-6 • No Dogs or Pets Allowed Carriages and Sleighs 9:30am • Consignments sold ONLINE at 11am For Online Bidding, go to: www.martinauctioneers.hibid.com

website: www.martinauctioneers.com. Martin Auctioneers has limited office hours. Please leave a voice message or send email. We are unable to guarantee correspondence via Facebook, messenger or text. To Register for online Auction. Please go to http://www.martinauctioneers.hibid.com.

understand he is buying property entirely upon his/her own

of the hammer. Payment Terms: CASH, VISA, Discover, Mastercard, Certified Check or Wire Transfer. Pennsylvania sales tax 6%. Dealers: Must provide a copy of your current Tax ID# or you will have to pay 6% sales tax. Wire transfers there will

Pony Size Pantechnicon Miniature Phaeton

Coffee & Tea Peddler’s Wagon

Coach

Sadler’s Bench

Carriage 2010 Abbott & Downing Stagecoach Horse Size Roof Seat Break Bronze by A BARYE

Fiberglass Friesian Milk Wagon

Antique Rocking Horses

Wescott Dog Ambulance Made for Veterinarian from Portland Maine

Sealtest Ice Cream Metal Sign

Navy Cruise Ship Folk Art Box from The USS Papago (ATF-160) Hindenburg Airship AP Wirephoto & others

GUCCI Dionysus Embellished Handbag & Many other Designer Bags

Dolce and Gabbana Dress & other Designer Clothing

Dewey & Chicago Mills 5 Cent Dewey Upright Slot Machine

Antique Gamblers’ card playing Sleeve Cheating Device

Carved Blunderbuss, Colt Revolver, & other Antique Firearms

October Estate Catalogue Auction

Including Property from the Estate of LGBTQ Advocate Bernard “Bernie” Delia Antiques & Fine Art from Various Estates and Consignors

Thursday, October 17th at 11 am

Antiques, furniture, paintings and sculpture, silver, decorative arts, rugs, collection fountain pens and writing instruments, Asian ceramics and works of art, jewelry, antiquities and ethnographica, and clocks

EXHIBITION: Saturday, October 12th: 11am-4pm • Monday, October 14th: 10am-5pmTuesday, October 15th: 10am-5pm • Wednesday, October 16th: 10am-3pm Absentee, Telephone and Internet Bids Accepted

Victorian Gold-Leafed Vestibule Mirror late 19th century.

Follower Of Gaspard Dughet (French / Italian, 1615-1675) Italianate Landscape, Oil on canvas

James Abbott Mcneill Whistler (American, 1834-1903) Lime-burner, 1859, Signed in the plate and dated 1859, lower right.

Childe Hassa (American, 1859-1935) The Home Sweet Home Cottage, Easthampton, NY, 1921

Attributed to Alexander Hamilton Clements (American, 1818 - 1896) Rock Creek (Washington DC), Late October, circa 1887, Oil on board.

Part Collection Estate Jewelry

Part Collection Fountain Pens and Writing Instruments including Cartier, Dupont, Delta, Aurora, Michel Perchin, Waterman, and Others

Italian School (18th century) Saint Agnes of Rome, Virgin and Martyr, Oil on canvas

Wedgwood Portland Jasperware Vase

R. Schmotz-Metzner (German, early 20th century) Bronze Figure of an Archer

Leon Richet (French, 1847-1907) THE FRENCH COAST, Signed lower right. Oil on panel. Framed - 10 in. x 12 in.

Douglas Arthur Teed (American, 19th century) MOUNTAINOUS LANDSCAPE, BINGHAMTON, NEW YORK, EARLY AUTUMN, Signed lower left and dated “May 1885”. Oil on canvas. Accompanied by original bill of sale, dated May 25, 1885 to William H. Olin

Reverend Franklin P. Cole (American, 1909-1997, active Maine) GEORGE WASHINGTON, 1969, Relief-carved and painted tree trunk folk art gure

Thomas Waterman Wood (American, 1823 - 1903).

Dewitt Clinton, the 7th and 9th New York State Governor, 1892, Oil on canvas

Thai Carved and Gilt-Wood Mask of Buddha Applied with small colored mirror “sequins” - H: 20 in.

Reverend Franklin P. Cole (American, 1909-1997, active Maine) ABRAHAM LINCOLN, 1969, Relief-carved and painted tree trunk folk art gure

Silas Jerome Uhl (American, 1842 - 1916) Beautiful Lady at the Market, Oil on canvas

Albert Lorey Groll (American, 1866-1952) ARIZONA MESA, Oil on canvas

Chinese Famille Verte Reticulated Porcelain Wedding Lantern early 20th century. electri ed.

October Gallery Auction

Friday, October 18th at 10 am

Previews:

Sunday, October 13th, 10 am - 5 pm

Thursday, October 17th, 10 am - 5 pm

Friday, October 18th, 9am - end of auction

October Annex Auction

Monday, October 14th; 9 am

Tuesday, October 15th; 9 am

Wednesday, October 16th; 9 am

Previews:

Sunday, October 13th, 10 am - 5 pm

Monday, October 14th, 9 am - 5 pm

Tuesday, October 15th, 9 am - 5 pm

Wednesday, October 16th, 9 am - end of auction

To view a catalog, download Michaan’s app, and bid online visit bid.michaans.com.

PIETRO BARUCCI (Italian,1845-1917) “Stagno Maccarese” 1897 Vintage Tin Advertising Tire Cover Sign. Vintage Advertisement Session.

Friday, October 18th Gallery Auction.

Italian Grand Tour Saint Peter’s Basilica Micromosaic. The Vito Giallo Collection “Chapter II” Session.

Drink Goblin Orangeade Vintage Porcelain Advertising Sign. Vintage Advertisement Session.

Burmese Kammavaca Book.

Carved Opal Figure of a Salamander on Host Rock. The Vito Giallo Collection “Chapter II” Session.

Cased World Globe Clock. Globe to top framed with 25 miniature clock faces labeled with different regions;

Antique Diamond, Freshwater Pearl, Ruby, Platinum-Topped, 14k Yellow Gold Bird Brooch.

390: Ivan Aivazovsky, Brig at Dawn, 1890, Oil on Panel

83: Meissen Allegorical Ornate Porcelain Ewer

82: Meissen Allegorical Ornate Porcelain Ewer

76: Steinway & Sons Mahogany Baby Grand Piano

71: John-Richard Pair of Fornasetti-Style Chests

54: Persian-Style Gilt-Decorated Ewer

370: Pair of English Flintlock Dueling Pistols, Clark, England

47: Ernst NEIZVESTNY MinotaurSculpture

391: Tiffany & Co. Silver and 18K Gold Cufflinks

389: Ralph CAHOON MermaidOil Painting

304: 18K Gold, Red & Colorless Simulated Stone Necklace

223: Antique English Silver Vermeil Covered Urn

222: Russian Plique-A-Jour Silver Centerpiece

99: Set of 6 Chris Harter Chairs

63: Rock-Ola Bubbler Peacock Jukebox

158: Pair of 19th C. French Satinwood Stands

151: 19th C. Regency Cockfighting Chair

136: 17th-18th C. French Provincial Desk

122: Victor KHROMIN Figural AbstractOil Painting

104: David LEVINE Rooftops (Brooklyn) - Watercolor

307: Pair of 14K Gold, Sapphire and Ruby Cufflinks

416 Francois Linke Louis XV-Style Bedstead - Part of 5pc Suite

McsEstateBuyers.com

OCTOBER 28, 2024 12:15am edt

Fabulous Collectors Vintage Jewelry

OCTOBER 31, 2024 1:30am edt

Estate Sterling andVintage Jewelry

Lots

www.liveauctioneers.com/auctioneer/7072/mcs-antique-and-estate-buyers

a renowned Americana collector

Absolute Auction of Period Americana, Britishware, Chinese Porcelain & Fine Antiques OCTOBER 22 & 23

Visit StenellaAuctions.com

to view full catalog and participate in the auction

“This collection features over 700 lots of period Americana, Folk Art, Chinese porcelain and British antiques, along with one of the finest collections of Kittinger and Colonial Williamsburg reproductions still in private hands. A collection like this is unique and rarely seen in its entirety.” — Jim Stenella, auctioneer and expert on 18th-century period furniture and museum reproduction decor

ABOUT THE COLLECTION: George E. Harrison III, alongside his wife Linda, were celebrated for their meticulously curated collection of Americana. Their home was more than just a residence; it was a meticulously curated showroom of period pieces, akin to a museum, reflecting their deep passion and expertise. Their business, Americana Interiors, highlighted their extensive knowledge of Kittinger furniture and Williamsburg-style decor. George was renowned for his unique approach to engaging buyers, offering not only exceptional items but also an educational and immersive buying experience. The list of distinguished clients he worked with over the years is extensive.

Following George’s passing in March 2024, and in honor of their beloved pets, the proceeds from this auction will benefit the SPCA and other animal charities. This auction presents a once-in-a-lifetime opportunity to acquire significant period pieces, rare collectibles, and exclusive items from a distinguished collection, all without reserve.

STENELLA

AUCTIONS

104 S. Second St • Perkasie PA 18944 Inquiries: info@stenellaauctions.com 215.453.8490 • StenellaAuctions.com Pennsylvania SPCA & The Morris Animal Refuge Charities Supported From This Sale | Lic#AU-002318-L

The Bene t Shop Foundation Auction

Red Carpet Auction - Wednesday, October 23 at 10 am

Vintage Glazed Pottery Elephant Garden Stool

Stanley Hagler & Ian St. Gielar Statement Brooch

SEOUL FURN ANTQ CO Lacquered Asian Hat Bx W Lid

Pair Chinese Cloisonne Vases on Wood Stands

Meiselmas Imports Ceramic Frog Floor Planter Italy.png

Framed Animation Cel. The Prince & The Pauper

DC Superboy Collectible Comic Bk, Oct. 1958,#68

Connecticut Furriers Fur & Leather Jacket USA

Ceramic Lemon Majolica Teapot, Hand Painted

ANTIQUE AUCTION

FRIDAY, OCTOBER 18 AT 6 PM

Fine Art: Paintings: Stephen G. Maniatty, Elice Davis Pieropan, Enneking, Frank Lincoln, N.E. Banks, T. Bailey, Hope R. Angier. Dirk Xu, Florian K. Lawton, Louis Witkin, Charles E. Pont, Homer Gunn, F.W. Tencza, William Frahme, Pinocchio movie cell, William McLean, unsigned and more. Prints: Mark Munier, Barry Moser, James Henry Daugherty, John Mecray, Wooster Scott, Cate Mandigo, Edward Gordon, Patchell-Olson, Ed Hogan, Rob Gonsalves, Shuntei Miyagawa, Utagawa Toyokuni, Utagawa Kunisada, Hyman J. Warsager, William Bradford Green, Edward Auguste Landon, and more.

Furniture: Early: 2 Queen Anne highboys, 2 Chippendale slant front desks, Chippendale 2-drawer blanket chest, Sheraton secretary, Birdseye maple 4-drawer chest, Sheraton work table, chest and drop leaf tables, country 2-part desks, 2-drawer stand, dough box, Shaker #7 rocker, chairs and stands, and more. Victorian, Modern & Custom: Eldred Wheeler huntboard, folding desk/table (J.C. Vickery), Queen Anne Style stand by River Bend Ltd., oak icebox, oak roll top desk, oak commode, wicker parlor set, 3 pc cast iron garden set, 3 cast iron urns, 10 pc metal patio set, large butcher block, wicker bedroom set, mahogany bedroom set, Barrister bookcase, 2

blockfront chests, cherry corner cupboard, inlaid card table, inlaid sideboard, leather wingchair, leather recliner, 4 sofas, mahogany cedar chest, upholstered armchairs, and more.

Outstanding Collection of American Stoneware: 35+ pieces including butter churns, jugs, crocks, and spittoon. 1 to 6-gallon sizes, including Bennington (11), Fort Edward, Boston, Whately, Great Falls, Keene, with decorations of birds, flowers and sprays.

Clocks: Hoadley tall clock, Seth Thomas pillar and scroll clock, Wall Regulator calendar clock, carriage clock, crystal regulator, Howard Miller bracket clock, skeleton clock, and more.

Weavertown Coach Surrey with The Fringe on Top Silver: Sterling flatware 81 pcs. Towle - Old Colonial, 82 pcs. Lunt - Mignonette

Glass and China: 160 pc Flow Blue dinner service Ridgways “Chiswick”, Masonic Liverpool pitcher, Buffalo pilgrim pitcher, Waterford lamps and tableware, pair Imari lamps, paperweights, Sandwich opalescent tiebacks, milk glass covered boxes, Royal Doulton, advertising ware, examples of Meissen, Rosenthal and Hutschenreuther, and more.

Accessories: Fine J&P Coats Spool cabinet with tambor slides, Corticelli silk dispenser, Currier & Ives Christmas sleigh, 12 tune Swiss music box, American and #5 Enterprise coffee grinders and smaller examples, fine bronze National cash register, Chickering & Sons upright piano, parlor stove, Becker’s & Sons cased balance scale, Mountain Boy sled, Diamond dyes cabinet, basket quilt, rocking horse on frame, game boards, curly maple dressing mirror, Schooner ship model, 1952 Red Sox team ball, andirons, dog boot scraper, candle boxes, Shaker sewing boxes, knife box and other woodware, brass candlesticks, food molds, Rockingham ware spittoons, angle lamp, Banks: to include Tammany, Mammy, globe, John Harper, Jolly, Humpty Dumpty, T. Cooke sextant, oak crank telephone, cast iron doorstops and ladder cart toy, double rabbit chocolate mold, marine lanterns, student lamps, Tiffany style dragonfly lamp, lady’s inlaid travelling box, clock jack, Steiff bears and animals, yellow butter churn, Molas, Oriental Rugs: scatter sizes and more.

PREVIEW: THURSDAY 8am - 4pm & FRIDAY 8am - 6pm

Edouard Cortes ‘Riverwalk’

H. Claude Pissarro ‘Countryside’

Maximilien Luce ‘Figures by Pond’

Henri Laurens ‘Sique’