Antiques and The Arts Weekly 11-01-24

Valley Culture

Constructing Identity Along The Great Wagon Road

Q&A: Sarah Ganz Blythe

Gormé & Lawrence Among Abell's Prestigious Estates

African American Art Showcased In Swann Galleries' Auction

Empire State Rare Book & Print Fair Returns

High Wheels & Boneshakers Win The Race At Copake's Annual Bicycle Sale

Chinese Export Silver Shines Down On Chiswick Bidders

Fine Objects Society Launches With Hands-On SOHO Exhibition & Party

Sale Nets $1.47 Million With Nearly 100 Percent Sold— Giampietro Achieves Largest Bidder Pool Yet With Schutte Collection

Allentown Paper Show Brings Record Attendance For Fall Edition

Landry Pop's Inaugural Auction Was Both Iconic & Heroic

Estates & Collections Fill Up Online Sale By Fontaine's Heritage Auction

Experience 'The Nature Of Sculpture' With Meijer Gardens' David Smith Exhibition

November 8 – 9, Santa Fe

COCKTAIL RECEPTION, PREVIEW + LECTURE

Wednesday, November 6, 5:00 – 7:00 PM MST

932 Railfan Road, Santa Fe

SESSION I | (LOTS 1 – 168)

Prints, Multiples + Works on Paper

Jewelry

Friday, November 8, 1:00 PM MST

SESSION II | (LOTS 169 – 310)

Native American Arts

Patsy P. and William L. Hutchison Collection

Western Paintings + Sculpture

Spanish Colonial

Saturday, November 9, 9:30 AM MST

SESSION III | (LOTS 311 – 437)

Western Paintings

Native American Paintings + Sculpture

Valerie + Benny Aldrich

Gregory Warren Nelson Collection Highlights

Saturday, November 9, 1:00 PM MST

GENERAL PREVIEWS

Monday – Friday and by appointment

October 28 – November 8, 2024

10:00 AM – 7:00 PM MST

BIDDING OPTIONS

Online, In-Person, Telephone + Absentee Bidding

REGISTER AT SANTAFEARTAUCTION.COM

During his illustrious journalism career James L. Greenfield worked at Time Magazine, served in the Kennedy administration, and spent 25 years as Senior Editor at the New York Times. His travels spanned the globe, and his vast collecting interests are well-represented in this curated auction which Lark Mason Associates is pleased to present. Contact: niki@larkmasonassociates.com

New Celestial Globe, John and William Cary, London, 1816

Sarah Ganz Blythe

After a 15-year tenure at Rhode Island School of Design (RISD), where she was most recently the deputy director for exhibitions, education and programs, Sarah Ganz Blythe is stepping into her new role as the director of Harvard Art Museums this month. Before these roles, she held positions at the Museum of Modern Art and the Metropolitan Museum of Art. Ganz Blythe earned a PhD in art history from the Institute of Fine Arts, New York University, where her studies focused on art and utopianism in Paris at the close of the Nineteenth Century. We caught up with her to discuss her latest accolades and future plans.

Congratulations on being named director of Harvard Art Museums! This isn’t your first time working with Harvard Art Museums, right?

Thank you, I am just thrilled to be a part of this incredible institution. Yes, as a student I interned in the conservation department. That experience revealed the profound rewards of engaging deeply with and thinking expansively about art.

What does a typical day look like for you?

It has just been four weeks since my arrival, so I haven’t quite hit typical yet. But each day has been devoted to getting to know a dynamic place. This includes learning about the work and ambitions of the remarkable staff and passionate supporters as well as meeting with students, faculty and campus partners for whom the museums play a crucial role. I am also connecting with the immediate community and arts institutions in the greater Cambridge and Boston area. My arrival has coincided with the start of the academic year, so like a new student, I am quickly getting oriented.

How do you plan to build upon the impressive work of your predecessor, Martha Tedeschi?

There are so many wonderful dimensions of Martha’s tenure that I look forward to building upon. For example, the significant expansion of the Harvard Art Museums’ reach since offering free admission marks an inflection point with compelling possibilities. By tripling attendance over the last two years, our institution is quickly operating at the scale and with the visitor expectations of a sizable civic museum while caring for an extraordinary collection and ambitiously realizing an academic museum’s learning and research goals. I find this space of public access and higher education timely and inspiring.

You do hold teaching credentials and experience from RISD, Brown University and Wellesley College. Any plans to add teaching at Harvard to your résumé?

I always feel that teaching makes me better at my job. While I don’t have plans to teach, I am looking forward to learning from the many students who engage with our collections daily and contribute to the work of the museums in manifold ways.

Are there any curatorial plans you are personally looking forward to?

We are coming up on a decade since our three museums have been brought under one roof. During this period, our 50 collections galleries have been refreshed regularly with new acquisitions, smart interventions and rotations of light-sensitive material. But, overall, the narrative of those galleries has remained constant. Meanwhile, the collections are also remarkably active as objects are brought out of storage daily for learning in excitingly expansive ways in our Art Study Center. We have just begun reflecting on what we have learned over the past 10 years and are preparing for a new presentation of the collection.

How will working as the director of the Harvard Art Museums differ from previous positions you have held?

Every institution has its own cultures, responsibilities and possibilities that shape the work. This is the first institution I have worked in where there is no fee for admission. While this is just one barrier to entry, it sends a bold signal that the arts can be fundamental to daily life. I think that leaning into what this can mean will distinguish my work from the previous positions I have held.

While at RISD you were editor-inchief of the museum’s periodical Manual. Do you plan to be involved in any publications with Harvard Art Museums?

Publications, whether digital or print, are an important way that museums can live outside their walls. They are also crucial spaces in which new research, critical reflection and multiple perspectives can take form and circulate. So, yes, I am very excited to be involved with the Harvard Art Museums’ robust publication program.

What future developments and contributions are you most excited about?

Works of art, whether made eons past or yesterday, continually invite new ways of seeing.

I have found that my work is continuously fueled by returning to the object in community with others. I am compelled by how it acts in our present and connects us, the unknowns it holds that open paths for research and how it can inspire new creative outcomes. I am most excited to be embarking on this with such remarkable colleagues and seeing where it will lead us.

—Carly Timpson

Sarah Ganz Blythe. Photo: Theresa Ganz.

Harvard Art Museums at Night — evenings of art, fun, food and more — take place on the last Thursday of each month (holidays permitting). Photo: Caitlin Cunningham Photography.

www.AntiquesandTheArts.com

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

Sherri Smith Baggett Co-Publishers

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

and

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 INFORMATION  1 Year $96  2 Years $170  5 Years $425  6 Months $70

Other Rates Available, Please Call 203-426-8036 or subscribe online at www.antiquesandthearts.com EFFECTIVE March 1, 2023 Volume LVI — Number 44

University Archives’ Online-Only Auction Set For October 30

Complete set of presidential signatures from Washington to Obama, all signed as president. Likely, fewer than a dozen such sets exist in private hands, this one being one of the very best ($400/500,000).

Long, scientific three-page autograph letter in German signed by Albert Einstein, in which the scientist explores both his Unified Field Theory and General Relativity and mentions Sigmund Freud ($40/50,000).

Complete Set Of Presidential Signatures From Washington To Obama Will Headline Sale

WILTON, CONN. — A complete set of presidential signatures from Washington to Obama, two items signed by Babe Ruth (one graded GEM MT 10), an autograph letter in French signed by Pablo Picasso (PSA/DNA graded GEM MT 10) and a contract signed by both John Lennon and Yoko Ono Lennon, will all come up for bid in University Archives’ online-only rare autographs, manuscripts and books auction on Wednesday, October 30, beginning at 10 am Eastern time.

All 491 lots in the catalog are now up for viewing and bidding on the newly redesigned University Archives website — www.universityarchives.com — as well as LiveAuctioneers, Invaluable and Auctionzip. Telephone and absentee bids will also be accepted.

“One of the marquee items in our October 30 auction is Lot 89, a highly unique and oncein-a-lifetime set of presidential signatures from George Washington to Barack Obama, all

Experience

signed as president, from 1789 to 2010,” said John Reznikoff, the president and owner of University Archives, adding that the museum-quality collection comes from a Dallas, Texas, gentleman.

Reznikoff said the signed presidents set joins a great volume of exceptional presidential autographed material from other consignors. “A timely assortment up for auction just a few weeks ahead of the 2024 United States presidential election,” he said. Outstanding items of historical interest from the science, world leaders, civil rights, religion, art and music, aviation and space, history and military and sports categories will also pass the auction block.

The Washington-to-Obama set of presidential signatures consists of autograph letters signed, typed letters signed and signed letters, along with a variety of signed documents, all signed as president. There are very few complete sets of residential autographs signed as president, due mainly to the

scarcity of William Henry Harrison pieces, as he served just one month in office. Many of these sets reside in institutions and will never be offered to the public. It is likely that fewer than a dozen such sets exist in private hands, this one being one of the very best. In this way, a set of presidential autographs signed as president is scarcer than a set of autographs from the signers of the Declaration of Independence. The presale estimate is $400/500,000.

A Babe Ruth signed ticket for the “R.I. Independent Amateur Softball Championship” is dated September 2-7, 1941, held in East Providence, R.I., graded GEM MT 10 ($4/5,000); while a Babe Ruth and Ted Williams signed ticket to a “Bachelor Party” for Crosby Turner Jr in Pawtucket, R.I. on August 13, 1941, is graded NM 7 ($3/4,000).

Speaking of Babe Ruth, a 14-by-11-inch glossy photograph of George H.W. Bush as captain of the Yale baseball

The ‘Power Of The People’ At MFA Boston

BOSTON – “Power of the People: Art and Democracy,” on view through February 16, highlights the ways in which art has expressed ideas about democracy throughout history and how artists have asked citizens to contemplate democracy’s promise, participate in its practice and call for improvements. Through 180 works of art, drawn almost entirely from the MFA’s collection and ranging in time from democracy’s origins in ancient Greece to today, visitors can compare past to present and reflect on how certain democratic struggles and concepts have echoed through the ages.

The exhibition features celebrated works, such as the “Sons of Liberty Bowl” (1768) by Paul Revere Jr the ancient Roman Denarius of Brutus — or Ides of March — coin (43-42 BCE) and Shepard Fairey’s poster “Vote!” (2008), along with lesser known

but influential works of art on view for the first time, including Cyrus Dallin’s 1912 marble relief portrait of Julia Ward Howe and a porcelain sundial from the French Revolution featuring the new calendar. With ceramics, coins, ancient marble reliefs with carved inscriptions, paintings, sculp-

ture, prints, photographs, posters, fashion and more, “Power of the People” invites visitors to reflect on, discuss, create and participate in the democracy we share.

The Museum of Fine Arts, Boston, is at 465 Huntington Avenue. For information, 617-2679300 or www.mfa.org.

team, greeting Babe Ruth for an on-field ceremony in New Haven, Conn., on June 5, 1948, is signed by Bush (“George Bush”) in blue pen ($300/400).

An autograph letter in French signed by Pablo Picasso, PSA/ DNA graded GEM MT 10, on the reverse of a postcard depicting “Paix,” a reproduction of the original color lithograph was produced for a peace conference in Sweden in July 1958. He mentions his second wife Jacqueline and his children in the June 20, 1960 letter ($6/8,000).

A contract signed by both John Lennon and Yoko Ono Lennon, dated September 11, 1975, relates to their production company, Bag Productions, which the couple established in the 1960s and which later produced the 1971 solo album Imagine. ($5/7,000).

Estimated $40/50,000 is a three-page autograph letter in German signed by Albert Einstein in which the scientist explores both his Unified Field Theory and General Relativity. The very long scientific letter,

addressed to Einstein’s friend and fellow physicist Cornelius Lanczos, includes 12 equations in Einstein’s hand, as well as humorous content relating to Sigmund Freud.

In an archive of 18 autograph letters signed by Hawaiian missionaries, circa 1846-49, the correspondence written by members of the 8th Company of Missionaries of the American Board of Commissioners for Foreign Missions includes vivid descriptions of a surfboard and surfing, with pen sketches; volcanic eruptions; and coastal topography ( $18/30,000).

A link to the catalog is available on the University Archives website: www.universityarchives.com. For more information, 203-454-0111.

FINE VIOLINS WANTED

Older violins pre WWII American, English, French, German, Italian ALSO: Violas, Cellos, Basses, Bows — One Item or Entire Collection — WILLIAM D. VOIERS, Dealer & Appraiser P O Box 466, S. Egremont, MA 01258 413-528-3321

★ Why Wait For Auction? I Will Pay You Now! ★

CONTEMPORARY ART: incl. any BASQUIAT, WARHOL, HURST, etc.

•ALL BETTER WATCHES incl. any ROLEX PATEK, VACHERON, etc.

• ALL SPORTS CARDS & MEMORALBIILIA

•ALL ANTIQUES, incl. SCULPTURES, FRENCH FURNITURE, BRONZES, ETC.

•ANY

•ANY BETTER LATIN AMERICAN ARTISTS, especially EMILIO SANCHEZ, etc.

•ALL DESIGNER JEWELRY, especially SIGNED PIECES

•ALL GOLD & SILVER BULLION and FRANKLIN MINT ITEMS

•ANYTHING BY TIFFANY

•ALL STERLING SILVER & JUDAICA

•ALL ENTERTAINMENT MEMORABILIA

•ANY BETTER AUTOGRAPHS, LETTERS DOCUMENTS

•THE RARER AND MORE UNIQUE, THE BETTER!

“Vote!” by Shepard Fairey, 2008, poster, screen print. Collection of Damon Beale. ©Obey Giant Art Inc.

Auction Action In Canaan, N.Y.

Estates & Collections Fill Up Online Sale

By Fontaine’s Heritage Auction

CANAAN, N.Y. — Bidders were warned to bid quickly.

“We will be selling fast,” said Ralph Fontaine of his epony-

mous Heritage Auctions on October 6. An estate-fresh Chinese jardinière with a bird motif flew to 20 times its high

Soaring to 20 times its high estimate was an estate-fresh Chinese jardinière with a bird motif that ascended to $20,000.

estimate, finishing at $20,000. “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.

“To start out the sale, we sold several lots of estate silver and gold, totaling more than $80,000,” said Fontaine. The 700-lot auction included Midcentury, Victorian, oak, French, Mission, period and country furniture, as well as lamps, art glass, a collection of Toby mugs, lots of early toys and more. “It was a lot of estates, a lot of collections,” Fontaine said, when Antiques and The Arts Weekly caught up with him after the sale. With an approximate 90 percent sell-through rate, it

served 890 signed-in bidders and 15 participating countries.

Six lots of pre-Columbian and Egyptian artifacts that came out of New York and Connecticut sold for $13,500. It was a lifelong collection of pottery and accessories. It was rumored that some of the Egyptian items came from King Ramesses II’s tomb, which may have been apocryphal. There were 48 pieces in total, selling together in one lot.

A Herman Miller Eames chair and ottoman crossed the block in need of some reupholstering. Nevertheless, it found a new home at $3,400.

Garden décor came in large sizes. Specifically, it was a huge garden cast-iron urn that brought $4,062. In two pieces and with a classical design, its bowl was in great condition bowl and very heavy. Large, too, was a roomsize Oriental estate rug. The Kashan, featuring a crown, brought $1,875. The catalog deemed it to be in very nice condition and color, and its super medallion resulted in a

great looking antique rug. The icing on this lot was that there was no evidence of damage from moths or animals.

Bluegrass fans were treated to a great five-string Bacon Blue Ribbon banjo, circa 1920s, which twanged to a final price of $1,125. It looked nice too. Inlaid and carved, the sharp looking instrument produced a great sound. Accompanied by a case, the antique instrument was approximately 38½ inches long.

A group of three early Nineteenth Century miniature portraits, estate fresh, earned $1,187. One had a typed history, dated 1836, affixed to its back and another had a small chip out of the glass (the portrait was fine).

Prices given include the buyer’s premium as stated by the auction house. Ralph Fontaine does not have a specific date yet for his next sale, but said it will be in the first week of December. It’ll be an anniversary event, marking 28 years of auctioneering. For information, 518-781-3650 or www.fontaineheritage.com.

Among the estate silver and gold in the sale that brought a collective $80,000 was an estate-fresh, 46-piece Gorham Lyric pattern sterling silver flatware set weighing 41.9 troy ounces, 37 solid, plus 9 weighted.

One of six lots of pre-Columbian and Egyptian artifacts that came out of New York and Connecticut, a lifelong collection of pottery and accessories, sold for a combined $13,500.

Yeehaw! A bidder snapped up this great five-string Bacon Blue Ribbon banjo, circa 1920s, for $1,125. Inlaid and carved, the sharp looking, 38½-inch-long instrument produced a great sound.

This group of three early Nineteenth Century miniature portraits went out at $1,187.

This Herman Miller Eames chair and ottoman was in need of some reupholstering. Nevertheless, it found a new home at $3,400

This room-size Oriental estate Kashan rug featuring a crown brought $1,875. A great looking antique rug with no evidence of damage from moths or animals, it measured 139 by 177 inches.

This huge garden cast-iron urn brought $4,062. The classical urn was in two pieces and very heavy, measuring 43 inches across and 52 inches tall.

Review by W.A. Demers, Senior Editor Photos Courtesy Ralph Fontaine’s Heritage Auctions

Best of Americana

November 15–17, 2024 | Chase Center on the Riverfront, Wilmington, Delaware

One of the most acclaimed antiques shows highlighting the best of Americana for 61 years! Don’t miss the finest offerings from more than 60 distinguished dealers at this spectacular showcase of art, antiques, and design.

Opening

Night Party! Thursday, November 14 | 5:00–9:00 pm

Celebrate the opening of the show with cocktails, hors d’oeuvres, and exclusive early shopping. Reserve your ticket!

General Admission and Opening Night Party tickets include entry to all three days of the show and to Winterthur during the show dates.

Exhibitors

Arader Galleries

Aronson of Amsterdam

Avery Galleries

Barbara Israel Garden Antiques

A Bird in Hand Antiques

Blandon Cherry Antiques

Charles Clark

Charles Plante Fine Arts

Christopher H. Jones Antiques

Dan and Karen Olson Antiques

David Brooker Fine Art

David Schorsch-Eileen Smiles

Diana H. Bittel Antiques

Dixon-Hall Fine Art

D. M. DeLaurentis Fine Antique Prints

Earle D. Vandekar of Knightsbridge, Inc.

Elle Shushan

Elliott & Grace Snyder

Francis J. Purcell, Inc.

Glen Leroux Antiques, Inc.

Greg K. Kramer & Co.

G. Sergeant Antiques

The Hanebergs Antiques

Hilary & Paulette Nolan

H. L. Chalfant American Fine Art and Antiques

Ita J. Howe

James L. Price Antiques

James M. Kilvington, Inc.

James Robinson, Inc.

Janice Paull

Jayne Thompson Antiques

Jeff R. Bridgman American Antiques

Jeffrey Tillou Antiques

Johanna Antiques

Jonathan Trace

Kelly Kinzle

Levy Galleries

Lillian Nassau, LLC

Marcy Burns American Indian Arts, LLC

Martyn Edgell Antiques, Ltd.

Nathan Liverant and Son, LLC

The Norwoods’ Spirit of America

Olde Hope

Oliver Garland

The Parker Gallery

Ralph M. Chait Galleries, Inc.

R. M. Worth Antiques

Schillay Fine Art, Inc.

Schoonover Studios, Ltd.

Schwarz Gallery

Scott Bassoff, Sandy Jacobs Antiques

Shaia Oriental Rugs of Williamsburg

Silver Art by D & R

S. J. Shrubsole Antique Silver and Jewelry

Somerville Manning Gallery

Spencer Marks

Steven F. Still Antiques

Sumpter Priddy III, Inc.

Thistlethwaite Americana

Walker Decorative Arts

William R. & Teresa F. Kurau

Dealer list as of 10/7/24

High Wheels & Boneshakers Win The Race At Copake’s Annual Bicycle Sale

COPAKE, N.Y. — Annual traditions were back in swing at Copake Auction on October 12, when the firm conducted its 32nd Annual Bicycle Auction, which offered 522 lots of antique and vintage bicycles, accessories, collectibles, memorabilia and more. One of the notable highlights of the sale was the collection of Wayne and Kim Batten, which comprised 121 lots, all of which

sold. The entire sale had a 99 percent sell-through rate, with a realized total of $350,000.

Seth Fallon, one of Copake’s owners, commented after the auction that the “sale was very strong, we had bids left from all over the world; we also had bidders in the room from four different countries and 25 different states.” Fallon also reported “lots of activity in the room” during the sale, as well

as numerous phone and preabsentee bids.

From the Batten collection, a Crypto Geared Ordinary high wheel bicycle led the sale. It raced to a $11,040 finish, completely beating out its $1,5/2,000 estimate. The barnfresh condition bicycle had a 44-inch front wheel and retained its original logo.

According to the auction catalog, this year’s Bicycle Auction

Auction Action In Copake, N.Y.

Finishing the race in second place at $9,600 was this Hillman, Herbert & Cooper Kangaroo bicycle, manufactured circa 1880s, which had provenance to the Batten collection ($3/4,000).

This Boneshaker tricycle with wooden rims and a 36-inch front wheel pedaled to $6,600, far surpassing its $800-$1,200 estimate.

wheel bicycle retained its original name badge and had provenance to Larry Davala; it sped to $6,600 ($4/6,000).

Earning the top spot in the sale was this Crypto Geared Ordinary high wheel bicycle, which retained its original logo and had provenance to the Batten collection. It raced past its $1,5/2,000 estimate to achieve $11,040.

This iron, wood and brass Boneshaker was manufactured in the Nineteenth Century, had an acorn finial on its front and earned $6,600, more than doubling its high estimate ($2/3,000).

in at

had “the most high wheels [the auction house] has ever had at auction at one time!” More than 50 were offered during the course of the sale, including a circa 1880s Kangaroo high wheel, which rolled to $9,600, the second-highest price of the day. The bike had a 38-inch front wheel and was manufactured by Hillman, Herbert & Cooper Ltd., of Coventry, England. In “barn fresh condition,” according to the auction catalog, the bicycle also had provenance to the Batten collection. Additional high wheels that earned places in the top selling lots were a Pony Star bicycle by H.B. Smith Co., of Smithville, N.J., which sped to $6,000, and a New Rapid high wheel manufactured circa 1887, which pedaled to $6,600. It was restored by and had provenance to bicycle collector Larry Davala, and retained its original name badge, which read, “Sole US Agent... St Clary & Co., Baltimore, Md... Makers S. Georges Engineering Company Birmingham England.” The lot also came with a leather tool pouch, tools and two bells. Boneshaker bicycles were also well represented in the sale. Six were offered and sold, with hammer prices ranging from $1,300 to $5,500. A Boneshaker tricycle took the top spot in the category, earning

$6,600 with premium — the third highest price in the sale overall — despite an estimate of only $800-$1,200. The bicycle was in good condition, with wooden rims and a 36-inch front wheel.

The other Boneshaker bicycle to earn a place at the top of the sale also made $6,600. A Nineteenth Century example, this Boneshaker was manufactured with blacksmith-made iron, wood and brass and had an acorn finial on its front. The bike was in good condition, and its front wheel measured 35 inches tall.

All of the top eight lots “sold to collectors in house and were taken the day of the sale,” explained Fallon. “We had all the major collectors and institutions bidding in the bicycle and collecting and museum world.” The firm also “had a museum buyer here from the Netherlands and a collector in Milan in the room bidding; we sold to 10 different countries,” added Fallon.

Copake Auction’s next sale will take place on November 1 and features the sale of more than 1,000 pieces of Roseville pottery from the Barbara Packer collection. Following that, it will conduct an estate sale on November 23.

Prices quoted include buyer’s premium as reported by the auction house. For information, www.copakeauction.com or 518-641-1935.

A pneumatic safety bicycle, this example by Dusley Pedersen was manufactured circa 1902 and was in barn fresh, original condition, which contributed to its $5,400 finish ($800-$1,200).

was this

Manufactured circa 1887, this New Rapid high

With provenance to the Batten collection, this youth Hard Tire Safety bicycle by Western Wheel Works was in good condition and realized $6,000 against a $400/600 estimate.

Rolling

$6,000

Pony Star high wheel bicycle by H.B. Smith Co., Smithville, N.J., which was in barn fresh condition and had provenance to the Batten collection ($3/4,000).

Review By Kiersten Busch, Assistant Editor Photos Courtesy Copake Auction

Fine Art, Luxury & Antiques At Kensington Estate Auction

CLINTONDALE, N.Y. — Highlighting Kensington Estate Auction’s October 28 online sale will be a painting by the Haitian master Wilson Bigaud juxtaposed to a watercolor of the Pacific Theater of World War II by Howard Baer. In addition, this online auction will include photography, Nineteenth to Twenty-First Century art (paintings and illustrations), prints, antiquities, art glass, bronze and stone sculptures, wood carvings, coins, stamps, urban graffiti tagged art, Tiffany, sterling silver, Chanel couture, Judith Leiber minaudiere, gold and silver jewelry, rugs, Christmas collectibles and much more.

From sterling flatware to evening wear, interest is anticipated for the Tuttle Onslow sterling flatware, service for 12, which consists of 89 pieces. Regarding elegant evening and semi-formal women’s attire, there are vintage Chanel boutique items, an evening dress by Carolyne Roehm, a luscious Canadian Lynx vest and cashmere scarves. An evening out or elegant lunch also insists accessories. A Judith Leiber Swarovski crystal ramhead minaudiere, gold beaded necklaces by designer Barbara Packer, stunning Roman glass pendant by Uri Ramot, ladies 14K gold, ruby and diamond ring, 14K gold Chinese character cufflinks and pearl and sapphire bracelet are of interest to jewelry dealers and people of sophisticated taste.

Incomparable art and photography include paintings by Howard Baer, Ruth Schloss, Claude Cahill Cooper, Robert Van Vorst Sewell, Scott Gillis, Emily Nicholson, Francisc Bartok, David Bumbeck, Kathryn Lynch, Thomas Mower Martin and Gaston Blondeau. WPA art is well represented by

Lars Thorsen. Of the photography offered are two silver gelatin prints by photographer Jan Saudek and sculptures and the life’s work of Ann Sperry.

Holiday selections include a life-size (7 feet) Santa Claus by toy-maker Brian Kidwell, antique German Belsnickle Santa Claus and Christmas feather tree with glass ornaments. Included are miniature animals and candy containers and German bisque dolls. Asian art is well represented by an antique Chinese export twin-handled sterling dragon tray, pair of Japanese Musen wireless cloisonne enamel vases, Meiji period Japanese costumed Buraku theater puppet and Wayang Kulit shadow puppets. Not to be missed is the art by Nakayama Tadashi.

In addition are Meiji period woodblocks by Utagawa Hiroshige, Utagawa Kunisada III, Kunichika Toyohara, Nineteenth Century Chinese export pirate Junk boat watercolor, Meiji period Gofun dolls, dishes and many others.

The urban and Outsider art category will not disappoint. Expressing irony, surrealism and humor, the works by the Brazilian artist Monica Barki are inventive and technically interesting. Also from Brazil are the works by Afonso Oliveira and O’Namorado. Outsider folk art can be funky and innovative. Such are the art collages of the artist WT and the wood assemblage from Lenny Kislin. Not to be missed are the collage works by Kasia Czerpak.

Art and sculptures by the unparalleled: LA II graffiti artist are also included.

The objet d’art category is replete with dynamic offerings. Beginning with the Art Deco silverplated French jardiniere and including an

antique Persian reticulated filigree silver decanter, William Moorcroft vase, sterling silver Greek vase from the Museum of Cycladic Art, objets from Tiffany & Co., Elsa Peritti, Lalique and more are available.

With a diverse online auction, the ethnographic category includes a Nineteenth Century Ottoman Turk embroidered gold-thread jacket, Nineteenth Century Himalayan sculptures, Aboriginal desert paintings from artists such as Djawida Nadjongorle and others.

With winter coming, buyers will be interested in rug offerings. Beginning with a semiantique Persian hand-knotted large Sarouk rug and the

French Aubusson hand-knotted tapestry-rug with a floral motif, the sale also offers a handwoven Bakhara silky wool rug and Turkish tribal Kilim rug. Rounding out the rug offerings is the Indo-Persian hand-woven huntingmotif wall tapestry.

The popularity of stamp and coin collecting draws philatelists to collections of American mint sheets, blocks and cancelled stamps. In addition, there are silver proof medallic sets and European coins and medals from the Nineteenth Century.

This online auction will be hosted on LiveAuctioneers.com and Invaluable.com. Online bidding has begun, live bidding begins at 7 pm EST. Kensing-

ton Estate Auction also accepts left bids and phone bids with full registration. For additional information, www.kensingtonestateauction. com or 917-331-0807.

An important and rare image in memory of Alexander Hamilton, engraved by J. Scoles, c.1805.

Wilson Bigaud painting

Tuttle Onslow sterling flatware

Chanel Boutique peach suit, France

Experience ‘The Nature Of Sculpture’ With Meijer Gardens’ David Smith Exhibition

GRAND RAPIDS, MICH. — Frederik Meijer Gardens & Sculpture Park has announced the exhibition “David Smith: The Nature of Sculpture,” showcasing the prolific and inventive work of American sculptor David Smith (1906-1965). This exhibition, the first to explore Smith’s deep artistic engagement with nature, is on view through March 2.

The art of David Smith is profuse and marvelously inventive. Working in multiple media, formats and scales, he blurred boundaries between painting and sculpture and between traditional genres such as landscape and figuration. Smith’s bountiful oeuvre has secured him a firm place within art history and his adventurous approach to threedimensional form has permanently expanded the vocabulary and range of sculptural practice.

Smith is widely hailed as the first American artist to make welded metal sculpture and to absorb industrial methods and materials into his creative repertoire. His inventiveness and contributions to sculptural practice extend far beyond machine vernacular and technique, however. Indeed, many have traced the origins of modern sculpture parks to Smith’s unprecedented outdoor installations on his Bolton Landing property in upstate New York. Spanning the duration of Smith’s artmaking

“Hudson River Landscape” by David Smith, 1951, welded painted steel and stainless steel, 48¾ by 72-1/8 by 17-5/16 inches. Whitney Museum of American Art, New York; purchase 54.14 ©2024 The Estate of David Smith/ Licensed by VAGA at Artists Rights Society (ARS), N.Y.C.

career, the exhibition demonstrates the presence of nature in virtually every aspect of his production. For Smith, nature was not only a source of inspiration but also served as studio, accomplice and staging ground for his com-

plex sculptural works.

“While David Smith is recognized as the most important sculptor of the Twentieth Century, there is still much to be learned about his expansive art, especially as it relates to the natural world,” says exhibi-

XII” by David

Lee Stalsworth, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1972 ©2024 The Estate of David Smith / Licensed by VAGA at Artists Rights Society (ARS), N.Y.C.

tion curator Suzanne Ramljak, vice president of collections and curatorial affairs at Meijer Gardens. “We are excited to reveal this crucial and lesser-known aspect of Smith’s career at Meijer Gardens, where sculpture and nature are so intimately bound.”

“David Smith: The Nature of Sculpture” features a selection of some 40 sculptures, alongside related paintings, reliefs and works on paper, providing an indepth exploration of Smith’s sustaining connection with nature. Uniting key loans from major lenders — including The Whitney Museum of American Art, Hirshhorn Museum and Sculpture Garden and Storm King Art Center — the exhibition is arranged in loose chronological order, beginning with Smith’s earliest sculptures from 1932 to the year before his accidental death in 1965.

This eye-opening exhibition, exclusively in Grand Rapids, offers visitors the opportunity to witness David Smith’s thrilling sculptural translations of the natural world. This exhibition has a particularly strong resonance at Meijer Gardens, where Smith’s work is in direct dialogue with the natural environment, including larger sculptures situated outdoors.

The Frederik Meijer Gardens & Sculpture Park is at 1000 East Beltline Avenue Northeast. For information, 888-9571580 or www.meijergardens.org.

“Cubi

Smith, 1963, stainless steel, 112½ by 49¼ by 32¼ inches. Photo:

“Helmholtzian Landscape” by David Smith, 1946, painted steel and wood, 18¼ by 19 by 7½ inches, base: 2¼ by 19 by 4½ inches.

Photo: David Heald The Kreeger Museum, Washington, DC ©2024 The Estate of David Smith / Licensed by VAGA at Artists Rights Society (ARS), N.Y.C.

“Raven IV” by David Smith, 1957, steel, 28-1/8 by 32-3/8 by 13¼ inches. Photo: Cathy Carver, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966 ©2024 The Estate of David Smith / Licensed by VAGA at Artists Rights Society (ARS), N.Y.C.

“Rebecca Circle” by David Smith, 1961, steel, paint, 84¾ by 49 by 24 inches. Photo: Thomas Barratt ©2024 The Estate of David Smith / Licensed by VAGA at Artists Rights Society (ARS), N.Y.C.

“The Forest” by David Smith, 1950, painted steel on wood base, 37 by 39 by 4 inches. Photo: Larry Bercow, Raymond and Patsy Nasher Collection, Nasher Sculpture Center, Dallas ©2024 The Estate of David Smith / Licensed by VAGA at Artists Rights Society (ARS), N.Y.C.

“Untitled (Figure)” by David Smith, 1932, coral, steel, wood base, 2-9/16 by 1-11/16 by 15/16 inches, base: 1½ by 1-13/16 by 1-13/16 inches. Photo: Jerry L. Thompson ©2024 The Estate of David Smith / Licensed by VAGA at Artists Rights Society (ARS), N.Y.C.

“Untitled” by David Smith, 1958, bones, sand, paint onmasonite, 10 by 8 by 2-7/8 inches. Photo: Christopher Burke ©2024 The Estate of David Smith / Licensed by VAGA at Artists Rights Society (ARS), N.Y.C.

SOUTH GLASTONBURY,

CONN. — Have you ever considered the process that goes into imagining a work of fiction? Is it an unexpected thought that strikes the author while sipping coffee, unconsciously staring into space or watching a pedestrian cross a street shrouded in the mist of a late November evening? Is it a striking emotional experience that inspires pencil to paper, a reoccurring dream, or is it a less romantic, conscious, deliberate process of research with self-imposed demands of a predetermined daily output of words? I imagine that these speculations may reflect in part or in whole the writing approaches of the authors that line our shelves. I engage in this musing as Connecticut River Book Auction has just received the

Whodunnit-Style Musings At Connecticut River Book Auction

working library of the Victorian mystery writer, Kathrine Hale, that offers an insight into the creative process that results in a work of fiction. Hale led a remarkable life as a Broadway actress, appearing in the original stage production of Anne Frank , modeling in New York City and later writing pulp murder mysteries. This one-of a-kind collection includes unpublished manuscripts, publisher correspondence, fan mail and more that will appear in upcoming auctions.

We begin the sale of this collection on November 8 at 6 pm at our auction location at the South Congregational Church with several multiple book lots that appropriately set the

stage for the future.

Let’s start with a rarely found 1834 two-volume, second edition copy of Memoirs of Vidocq, Principal Agent of the French Police Until 1827 . Considered by most authorities to be the inspiration for detective fiction, this work is believed to have influenced the writing of none other than Edgar A. Poe. Now, every tale of murder requires a detective, and here we offer three real officers upon which to emulate the fictional flat foot: Nott-Bower (1925 first edition) Fifty-Two Years a Policeman ; Sherwood (1882) Memoirs of Monsieur Claude Chief of Police under the Second Empire and Macnaghten (1914, first edition) Days of

The First Community-Curated Native American Exhibition At MFAH Now Open

HOUSTON — “Grounded in Clay: The Spirit of Pueblo Pottery” foregrounds Pueblo voices and aesthetics and offers a visionary understanding of Pueblo pots as vessels of community-based knowledge and personal experience. On view at the Museum of Fine Arts, Houston, through January 12, the exhibition is the first Native-curated exhibition at the museum and features more than 100 historical, modern and contemporary items in clay.

Although Pueblo pottery has long been exhibited within the context of Eurocentric timelines and Western concepts of art and history, “Grounded in Clay” gives voice to the Pueblo Pottery Collective, a group of more than 60 individual members of 21 tribal communities who selected and wrote about artistically and culturally distinctive pots from the Indian Arts Research Center of the School for Advanced Research in Santa Fe, N.M., and the Vil-

cek Foundation in New York City.

“Grounded in Clay” shifts traditional exhibition curation models, combining individual voices from Native communities where pots have been made and used for millennia into an Indigenous group narrative. The approach illuminates the complexities of Pueblo history and contemporary life through the curators’ lived experiences, redefining concepts of Native art, history and beauty from with-

My Years , who it happened was the chief of Scotland Yard during Jack-the-Ripper’s murder spree.

Lastly, the writer needs examples of the dirty deed itself. For this purpose we have a Sammalband containing (1752) The Tryal of Mary Blandy , Spinster for the Murder of Her Father Francis Blandy , (1753) The Genuine Lives of Christopher Johnson , John Stockdale and William Peers Executed for Murder July 23, 1753 and (1752) The Female Parricide or the History of Mary Margaret d’Aubray Marchioness of Brinvillier who was Beheaded and Burnt

at Paris . To this add: (1824, first edition) The Fatal Effect of Gambling Exemplified in the Murder of Wm. Weare and the Trial and Fate of John Thurtell the Murderer and His Accomplices ; and the crime that has transcended history into song and folklore The Fall River Tragedy: A History of the Borden Murders: A Plain Statement of the Material Facts Pertaining to the Most Famous Crime of the Century , by Porter (1893, first edition). The South Congregational Church is at 949 Main Street. For additional information, www.ctriverbookauction.com or 860-908-8067.

in, confronting academically imposed narratives about Native life and challenging stereotypes about Native peoples.

The Museum of Fine Arts, Houston, is at 1001 Bissonnet Street. For information, 713639-7300 or www.mfah.org.

Notable Prices Recently Achieved At Various Auction Houses

Across The Block

Pho’s ‘Les Fleurs’ Blooms To Number One For Clarke LARCHMONT, N.Y. — On October 6, Clarke Auction Gallery conducted a 512-lot Spectacular Fine Art, Jewelry & Antiques sale, which offered what the auction catalog deemed “an exceptional array of high-end fine art, bronzes and sculptures,” as well as a selection of jewelry and watches, perfect for the upcoming holiday season. Leading the sale was Le Pho’s (Vietnamese and French, 1907-2001) oil on canvas painting titled “Les Fleurs (The Flowers),” which bloomed to $75,000, surpassing its $30/50,000 estimate. The painting had provenance to the artist’s studio, Findlay Galleries and a private New York City collection, from which it was consigned. According to the auction catalog, the work will also “be included in the forthcoming catalogue raisonné being prepared by the Findlay Institute.” For information, 914-833-8336 or www.clarkeny.com.

Edward Hopper's ‘Night Shadows’ Casts A Long One In Swann Auction NEW YORK CITY — Edward Hopper’s (18821967) bird’s-eye perspective of a city street corner, “Night Shadows,” 1921, sold for $40,000, the top lot in Swann Auction Galleries’ Old Master Through Modern Prints sale on October 17. Full of suspense and drama, the etching, 7 by 8¼ inches, was in an edition of approximately 500. Signed in pencil, lower right, it was published by the New Republic, New York. According to the catalog, Hopper began making etchings and drypoints in 1915 with the help of fellow artist Martin Lewis (1881-1962), and he produced 70 prints before he ceased etching in 1928 to focus solely on painting. For information, 212-254-4710 or www.swanngalleries.com.

Rainbow Fleet Sails To Lead Eldred’s Fall Fling EAST DENNIS, MASS. — Maud Millicent Clapp’s (American, 1913-2001) “Rainbow Fleet, Nantucket" appealed to off-island and online bidders participating in Eldred’s 330-lot Fall Fling sale on October 16. According to the catalog, Clapp trained at the California School of Fine Arts as well as with Frank Swift Chase and Philip Hecken before joining the Nantucket Artists Association in 1947. Her 24-by30-inch unframed oil on canvas composition, which carried a $1,5/2,500 estimate, achieved $3,456 from a Boston collector bidding on the phone. For information, 508-385-3116 or www.eldreds.com.

1994 Toyota Pickup Truck Drives To Success At Opfer TIMONIUM, MD. — Richard Opfer Auctioneering started off the fall season with an online-only antiques and estate auction on October 10, offering 385 lots of furniture, paintings, prints, silver, crystal, Willow Ware, pre-Columbian figures and bowls, country collectibles and vintage cars, scooters and motorcycles. Leading the sale was a 1994 Toyota pickup truck with an extended cab. Listed as a “must see and drive,” the truck had just under 77,000 miles on it. It also featured a four-cylinder engine and a five-speed manual transmission, with a tilt wheel, air conditioning and an AM/FM tape deck. The truck drove to a Rhode Island customer for $10,800, against a $4/6,000 estimate. For information, 410-252-5035 or www.opferauction.com.

Baber’s Dark Leap To Light Cements Brunk Auctions’ Post-Hurricane Return ASHEVILLE, N.C. — Forced to close during Hurricane Helene, Brunk Auctions was back online on October 10 to host its Modern Art, Design + Craft auction, a 343-lot sale that was about 85 percent sold by lot. The top lot — Alice Baber’s “Dark Leap to Light” — was an aptly titled top lot following the North Carolina firm’s ordeal. Estimated at $40/60,000, the 35-7/8-by-74-inch oil on canvas abstract composition from 1976, which was being deaccessioned from the Birmingham Museum of Art, found a new home with a private collector, bidding on the phone, for $172,200. For information, 828-254-6846 or www.brunkauctions.com.

Sandstone Vishnu Climbs Heights Of Heritage Fine & Decorative Arts Showcase DALLAS — Nearly half of the 189 lots presented in Heritage Auctions’ October 10 Fine & Decorative Showcase sale were from the collection of Jonathan Kern and sold to benefit charity. Among these was the sale’s top lot, a Twelfth Century Khmer sandstone figure of Vishnu that achieved $47,500 of an overall sale total of nearly $140,000. Helping to drive interest in the 34-inch figure was an extensive provenance that included the Marquess of Dufferin and the Duke of Northumberland, as well as three auctions at Hotel Drouot in Paris, and another at Sotheby’s. For information, 214-528-3500 or www.ha.com.

Thanksgiving Blow Mold Set Lights Up Table At Bodnar’s NEW BRUNSWICK, N.J. — Just in time for the start of the holiday season, Bodnar’s Auction conducted an auction on October 3 that featured two fresh-to-market, lifetime single-owner collections, one comprising 75 years of vinyl records and the other consisting of various Christmas and other holiday decorations, including Lenox and Hallmark ornaments. Also on offer were Lenox giftware, Belleek, cookie jars and salt and pepper shakers. Leading the sale was a vintage Union Products Don Featherstone lighted Thanksgiving blow mold set, which included two pilgrims and a turkey, all of which were in good condition. The turkey, measuring 20 inches tall, and the woman, 35 inches tall, both lit up; the man did not. The set of three sold to a Montana collector for $360. For information, 732951-2100 or www.bodnarsauction.com.

Marble Pocahontas Earns Top Price At Mapes VESTAL, N.Y. — Mapes Auctioneers & Appraisers conducted its fall 2024 antiques auction on October 8. Leading the 370-lot auction was Joseph Mozier’s (American, 1812-1870) circa 1868 white marble sculpture, “Pocahontas.” Signed “J. Mozier Sc. Rome, 1863,” the 4-foot-tall sculpture was on a 31-inch revolving burgundy marble pedestal. Aaron Everetts shared, “This beautiful sculpture came to us from a private collection out of Cazenovia, N.Y.,” and, after selling for $10,465, “it now resides in the collection of an upstate New York dealer.” For information, www.mapesauction.com or 607-754-9193.

Whaling Painting Ices Doyle’s Old Master Sale NEW YORK CITY — Auctions conducted by Doyle October 16-17 were decidedly Eurocentric, featuring English and Continental furniture and decorative arts, Russian works of art, silver, Old Master pictures and the single-owner sale of the collection of Eldo Netto, a prominent figure in New York City’s textile and interior design world. The highlight of the two-day event, in which nearly 84 percent of the 619 lots offered crossed the block successfully, was “Whalers in the Arctic” by Adriaen van Salm (Dutch, 1660-1720). Publication and exhibition history helped drive interest in the rare 22-by-32-¾-inch oil with India ink composition, which finished at $127,500. For information, 212427-2730 or www.doyle.com.

Arctic

Coeur d’Alene Art Auction 2024

Hosts Live Online Auction Nov. 9

Charles M. Russell (1864–1926), “The Rattlesnake” (1897), oil on board, 12.25 by 18.5 inches ($250/350,000).

HAYDEN, IDAHO — The Coeur d’Alene Art Auction, known for selling Western paintings and sculpture from historical and contemporary artists, announced its live online Western and American art auction, to be conducted November 9. Having already achieved $21 million in 2024 sales, with 95 percent of all lots sold and more than $400 million in sales over the last 20 years alone, the auction has

been hailed as “The Biggest and Most Successful Auction of Western art” by the Wall Street Journal.

Headlining the auction this year will be the single-owner collection of Robert “Bob” Reed. Reed was a successful businessman and art collector from Jacksonville, Fla., who quietly amassed one of the finest Western art collections. Known for his very sharp eye, Reed

Frederic Remington (1861–1909), “Two-Bits” (circa 1889), oil en grisaille on board, 24 by 18 inches ($80/120,000).

acquired examples by Charles M. Russell, Frederic Remington, William R. Leigh, Maynard Dixon and many others. Coeur d’Alene has been chosen to represent his estate and present the collection in its entirety. Coeur d’Alene is renowned for being the market leader for the Western master Charles M. Russell, and the online auction will

Maynard Dixon (1875–1946), “Where’s Them Hosses?” (1944), oil on board, 12 by 16 inches ($80/120,000).

feature multiple works by the artist. Headlining the offerings will be “The Rattlesnake,” a highly important oil estimated at $ 250/350,000. Additional works include “Cheyenne Warrior” ($60/90,000) and “Blackfoot War Chief” ( 80/120,000).

Other notable works from some of the finest Western and American artists include Thomas Hart Benton’s idyllic river scene “White Bluffs, Buffalo River” ($150/250,000); Edgar Payne’s “Navajos on Horseback” ($100/150,000); Frederic Remington’s “Two-Bits” ($80/120,000); William R. Leigh’s “Riding Cow-

Cooper Hewitt Presents ‘Making Home — Smithsonian Design Triennial’

NEW YORK CITY — Cooper Hewitt, Smithsonian Design Museum presents “Making Home — Smithsonian Design Triennial.”

Featuring 25 site-specific, newly commissioned installations, the exhibition explores design’s role in shaping the physical and emotional realities of home across the United States, US territories and tribal nations. On view through August 2025, “Making Home” is the seventh offering in the museum’s “Design Triennial” series, which was established in 2000 to address the most urgent topics of the time through the lens of design. “Making Home” is the first in the Triennial series to be presented in collaboration with another Smithsonian museum, in this case the Smithsonian’s National Museum of African American History and Culture.

“The ‘Design Triennial’ series has a long history of looking critically at issues impacting contem-

porary public life,” said Maria Nicanor, director of Cooper Hewitt.

“By addressing topics of civic relevance in multifaceted ways — from the scale of the object and materiality to larger built and social systems — past and future Triennials take the temperature of the times by placing contemporary creators, designers and thinkers at the center of timely conversations. For this seventh iteration opening this fall, the topic of home, understood as a sense of belonging, was central to each of the installations. All of them gesture towards a greater understanding of how we are living in this nation and how design plays an active role in this shared experience.”

Installed throughout the Andrew and Louise Carnegie Mansion, each floor of the exhibition is organized by themes that evoke experiences of home — “Going Home” (ground floor and

first floor), “Seeking Home” (second floor) and “Building Home” (third f loor).

“Going Home” considers how people shape and are shaped by domestic spaces. Through reinterpretations of diverse home environments that traverse interior and exterior spaces, this section explores the historical and personal factors that inf luence home design and its profound impact on people’s experiences, behaviors and values.

“Seeking Home” addresses a range of institutional, experimental and utopian contexts that challenge conventional definitions of home. Installations examine the idea of home through the lenses of cultural heritage, the human body, imagined landscapes and refuge.

“Building Home” presents alternatives to single-family construction models, expanding and redefining home to embrace com-

Celebrating Two Generations At Mattatuck With ‘Poskas: Father & Son’

WATERBURY, CONN. — For the first time, “Poskas: Father and Son” brings together the artwork of Waterbury natives Peter Poskas II and his son, Peter Poskas III. Poskas II is known for painting realist views of Connecticut cities and landscapes and exploring conditions of weather and light on his subjects. Dedicated to realist still lifes before a life-altering accident, Poskas III has recently turned his attention to impressionistic views of the land, animals and buildings surrounding his Washington, Conn., farm. A wide-ranging retrospective of late-career Poskas II, and midcareer Poskas III, this exhibition not only speaks to the body of work of both artists, but also tracks how their relationship has changed, grown and deepened over time through the lens of their artwork.

The Mattatuck Museum is at 144 West Main Street. For information, 203-753-0381 or www. mattmuseum.org.

boy” ($80/120,000); Frank Tenney Johnson’s “Trail of the Paleface” ($80/120,000); and multiple works by Maynard Dixon, including “Where’s Them Hosses?” ($80/120,000).

Coeur d’Alene is at 11944 North Tracey Road. For information, www.cdaartauction.com or 208-772-9009.

munity space, co-operative living, land stewardship, decolonial practices and historic preservation. Large-scale installations explore building typologies grounded in regional histories and cultural specificity, and address contemporary issues such as housing precarity, environmental advocacy, memory and aging Cooper Hewitt is at 2 East 91st Street. For information, www. cooperhewitt.org or 212-849-8400.

“On the Phone” by Peter Poskas III (American, b 1969), circa 2000, oil on panel. Collection of Peter Poskas II.

The World Of Mah Jongg Comes To Nathan Online Auction

MANCHESTER, VT — Nathan Auction & Real Estate is having an onlineonly auction closing on November 2 of the antiques, folk art and extensive Mah Jongg collections of Gregg and Woody Swain, who recently sold their idyllic farm in Vermont. When it was populated with the material featured in this auction, the sense of blended styles and artistic charm was hard to characterize. Enchanting would be a good way

to describe it. Aside from being serious collectors of interesting objects encompassing many forms and styles of folk and decorative art, Gregg is a wellknown author and collector in the world of Mah Jongg.

Portions of Gregg’s extensive collection have been exhibited in New York City and the Bennington Museum. Gregg is an authority on the art and history of the game of Mah Jongg and

lectures nationwide about it. She coauthored Mah Jongg: The Art of the Game (Tuttle 2014), depicting collections from North America and Europe. It is the first book to discuss the history and iconography of Mah Jongg tiles and sets. Gregg is also co-author of American Mah Jongg for Everyone (Tuttle 2020), a best-selling instructional book on how to play the National Mah Jongg League’s approach to the game.

In addition to many unique Mah Jongg sets, this auction will include prisoner of war bone carvings from the Napoleonic wars and weathervanes. Among a selection of paintings are three Arthur Jones oil paintings, a rare Stephen Hunick oil painting as well as several Outsider and midcentury works. The online only auction is hosted on Invaluable. For information, www. nathanre.com or 802-362-3194.

US Collections Shape Heritage’s Oct. 30 Ethnographic Art Auction

DALLAS — A highlight of Heritage’s October 30 Ethnographic Art: American Indian, PreColumbian and Tribal Art Signature Auction is a classic Navajo man’s wearing blanket. The historic churro wool, the pattern of stripes dyed with indigo and cochineal, the weave tight enough to hold water are features of what is considered a Second Phase Chief’s Pattern; fewer than 150 of these are known to exist today. Via eight different anonymous and named collections of treasures that span the globe and thousands of years, this event offers, among its 500plus lots, examples of Native American weavings, baskets, clothing and jewelry along with examples of pottery; headdresses and masks from Nigeria and other parts of Western Africa; and Pre-Columbian gold and ceramic objects from Peru, Colombia, Panama, Costa Rica and other parts of the Central and South American region.

Heritage’s ethnographic art events are often led by a selection of Native American art, and the October 30 auction benefits from several US-based collections, including a private Scottsdalebased collection of weavings, baskets, articles of Plains clothing and more (the collection actually covers centuries, and regions in North, Central and South America). A Comanche beaded hide baby carrier, circa 1890, is a masterpiece of intricate engineering, tightly beaded in a pattern of rich indigo. It is the cover lot on the auction’s catalog and joins other pieces from the collection selling later, including a circa 1880 Crow beaded hide baby carrier; a rare, outsized Apache pictorial coiled storage jar made by artist Hattie Randall, circa 1928, and a Navajo Moki weaving, circa 1875.

Beaded works from the Bill Boyd collection out of Oregon bring to the event a number of coveted Cheyenne cases, pouches, moccasins and more — Cheyenne

beadwork, known to be extremely fine and detailed, is unparalleled in landscape of Native American objects: A Southern Cheyenne beaded hide tobacco bag is no exception, and neither is a pair of Cheyenne child’s beaded hide boot moccasins and a pair of Southern Cheyenne adult’s

ornately fringed and beaded moccasins.

The Allan and Carol Hayes collection, out of Sausalito, offers up a number of modern polychrome jars, bowls, effigies and figures, including a large Cochiti polychrome figure by artist Virgil Ortiz, circa 1992. The figure’s

detail-rendered eyelashes, jewelry, toenails and black outfit grant him enormous charisma; two Cochiti bowls by the artist Diego Romero “Chongo,” circa 2005 — one depicting a Sendak-like character chasing a dog and the other a man falling from a ladder — come from this collection as well. Works from Western Africa make up many of the highlights of this auction’s tribal section, and several collections give shape to it. The well-established Dr Samuel and Lynn Berkowitz collection offers up key pieces, including an important Kota reliquary guardian from Gabon from the turn of the last century. From the same collection it is joined by an Ekoi Janus headdress, a Twentieth Century work from the Cross River region of Nigeria. The back-to-back head and neck is a single piece of carved wood covered with animal skin stained a dark redbrown color, with remains of white pigment on its eyes and teeth. One face has gentle femi-

nine feel with a friendly smile, while the other is more masculine, with sharply filed teeth. The Berkowitz Collection runs deep, and includes a Bwa plank mask from Burkina Faso, also from the early part of the last century. It’s 70 inches long. In Bwa ceremonies — funerals, initiations and agricultural festivals — a parade of different large masks worn by men wearing long raffia costumes would enter a village from a distance and perform acrobatic feats and energetic dances. The Pre-Columbian gold and ceramic objects in this event is another strong suit. The aforementioned Scottdale-based collection includes significant works in this category, such as a pair of Moche ear spools from Peru, circa 600-900 CE; the ceramic bases are adorned with a mosaic of lapis, shell, green stone and flint and depict a striding human with a bird beak and wings; and a Chimu staff top, also from Peru is dated to 1100-1400 CE. The bone is inlaid with blue-green stone and shell; it depicts a lower arm and hand with clenched fist and is engraved in horizontal bands with geometric designs, animals, insects, and a standing warrior at the thumb area. And a Teotihuacan mask comes from the Scottsdale offering. From Mexico, circa 400-700 CE, it is carved from a hard stone, with a youthful face with open eyes and mouth, each drilled in the corners for inlay. Also from this collection: A sculpted Nayarit couple from Ixtlan del Rio, West Mexico, circa 250 BCE-250 CE, which is remarkable not only for its intact preservation but also for being an engaging matched pair with a great sculptural presence, their adornments and garments counterpointing one another. Heritage Auctions is at 2801 West Airport Fwy Northwest corner of West Airport Freeway and, Valley View Lane. For information 214-528-3500 or www.ha.com.

This gold lot is a cocle deer pendant from Panama circa 600-1000 CE.

A classic Navajo man’s wearing blanket.

Kota reliquary guardian from Gabon from the turn of the last century.

Doyle’s Debuts Charleston Collects Auctions

Auction Action In Charleston, S.C

Christopher Walling 18K gold and opal ring topped the jewelry category at $10,880 ($1,5/2,000).

CHARLESTON, S.C. — Competitive bidding at Doyle’s inaugural Charleston Collects auction on October 1, drove the sale total beyond its high estimate. Held in Doyle’s Charleston gallery and livestreamed on Doyle.com, Charleston Collects offered an exciting array of artwork, furniture, silver, decorative arts and jewelry from Southern collections and estates. Of the 154 lots in the auction, more than 90 percent gaveled down successfully. Highlighting the auction were

two works by Charleston artist Alice R. Huger Smith (18761958) that far surpassed expectations. “Wild Rice on the Savannah” achieved $69,120, while “Towers on the Scotch Church, Charleston” realized $15,360. A key figure in the Charleston Renaissance of the early Twentieth Century, Smith is best known for her dreamlike watercolors of Charleston and the Carolina Lowcountry. The sale also saw strong results for works by John Carroll Doyle and William Aiken Walker.

Cherry sugar chest, possibly made in Kentucky, circa 1825, sweetened the furniture section at $4,480 ($1/1,500).

Alice R. Huger Smith, “Wild Rice on the Savannah,” 1958, watercolor on board, 21 by 12¾ inches, led the sale with a $63,999 result ($25/45,000).

The selection of furniture and decorative arts featured property from the Collection of Joreen White Wenzl and Daniel Wenzl of Muscle Shoals, Ala. Assembled over many decades, this remarkable and extensive collection showcased fine examples of Southern regional furniture and decorative arts. Featured among the offerings was a circa 1825 cherry sugar chest, possibly Kentucky, that tripled

its estimate and sold for $4,480. A section of the sale was devoted to stylish jewelry and fine watches, including gem-set designs, gold jewelry and signed pieces. Highlighting the selection was a stunning gold and opal ring by jewelry designer Christopher Walling that soared over its $1/2,000 estimate to achieve $10,880. The opal was an especially fine stone displaying vivid colors

The Barnes Presents ‘Mickalene Thomas: All About Love’

PHILADELPHIA — The Barnes Foundation presents “Mickalene Thomas: All About Love,” the first major international tour focused on the work of pioneering artist Mickalene Thomas, whose influences range from Nineteenth Century painting to popular culture. Co-organized by the Hayward Gallery, London, and The Broad, Los Angeles, and in partnership with the Barnes Foundation, Philadelphia, “All About Love” is being shown as a series of independent presentations, with further ven-

ues to be confirmed. Curated for the Barnes by Renée Mussai, independent curator, scholar and writer, this exhibition is on view in the Roberts Gallery through January 12.

“All About Love,” titled in homage to cultural critic, intellectual and writer Bell Hooks, marks its East Coast debut at the Barnes with approximately 50 works made by Thomas over the past two decades. Showcasing a body of vivid and multifaceted artworks, paintings, collage, photography, video and site-spe-

cific installation, this exhibition celebrates her distinctive artistic practice.

Thomas’ intricate mixed-media art is characterized by spectacularly staged, rhinestoned, largescale painted tableaux and bold, intimate compositions, decisively foregrounding Black femininity in abundant realms of visual pleasure, agency and kinship. Whether in imaginative dialogue with canonical works from the history of art or playfully reckoning with popular culture and erotica, Thomas’ exuberant portraitures offer an empowered vision of beauty and desire, formulated through a sensual, Black feminist lens.

“Mickalene Thomas: All About Love” is arranged in a series of thematic chapters that showcase the artist’s iterative practice, offer an in-depth look at select muses who appear throughout Thomas’s oeuvre and highlight the artist’s continual dialogue with canonical works by Monet, Picasso and Courbet, represented in the Barnes collection.

Concurrent with the exhibition, the Barnes also presents four monumental photo collage panels by Thomas, titled “Noir est beau (Joséphine Baker 3),” on the East end of the Annenberg Court. Originally created for Dior’s 2023

couture runway show, the embroidered panels feature archival images of pioneering African American singer and dancer Josephine Baker, who served as muse to Dior artistic director Maria Grazia Chiuri for the 2023 show. The four panels on view during “All About Love” are among 13 photo collages that were created for the runway’s scenography, all featuring women who inspire Thomas and who, she states, “with the odds set against them, persevered with confidence, elegance, beauty and talent.”

The Barnes Foundation is at 2025 Benjamin Franklin Parkway. For additional information, 215-278-7000 or www.barnesfoundation.org.

with a contemporary setting that attracted fans and collectors of his distinctive jewelry. The date of the next Charleston Collects auction has not yet been announced. For information, contact Emily Grimball Longley at 845-501-2450, charleston@doyle. com or www.doyle.com.

“Afro Goddess Looking Forward” by Mickalene Thomas, 2015, rhinestones, acrylic and oil on wood panel. ©2024 Mickalene Thomas.

Empire State Rare Book & Print Fair Returns

NEW YORK CITY — On September 27-29, the City College of New York’s Great Hall was opened to collectors of every ilk as the second annual Empire State Rare Book and Print Fair gathered dealers from around the world. Beneath the soaring cathedral ceilings and the watchful eyes of Edwin H. Bashfield’s mural “the Graduate,” 32 exhibitors offered rare books, prints and ephemera throughout the weekend. With another 16 dealers vending virtually, the event offered a selection of items to catch any collector’s eye with

a range of prices to match. As the sun set on Friday, the grandness of the venue became more intimate. Waiters circled with canapés and drinks as collectors browsed the floor alongside representatives of institutions like the Metropolitan Museum of Art, as well as Lehigh University and more. Sammy Jay from Peter Harrington Rare Books, London, said “We would consider the fair a success,” noting that they “sold a small number of high-end items” and saw “representatives from the Berg (NYPL), the

Schomberg (NYPL), the Morgan and the Beinecke at the fair.”

There were many new collectors as well. One guest admitted that though they arrived at five, their draw initially was to attend the 6 pm book signing which featured Candace Bushnell, author of the autobiographical Sex and the City. This book signing, as well as talks featuring Lois Lowry and others are a part of the fair’s goal “to make book collecting accessible to a new generation of collectors.”

Still, even as the live music of Brian Vander Ark began playing and the occasional dealer sang along, the highlight of the night was the items being offered.

Entering the hall, the doors opened on a row of vendors which demonstrated the immense range of prints being offered. At the first booth, Micheal Verne from the Verne Collection of Cleveland, Ohio, walked guests through a stunning array of Japanese prints

that embodied “quiet elegance.”

Among them were Daniel Kelly’s contemporary prints on handmade paper as well as the works of the prolific Hasui Kawase.

Beside Verne was the Old Print Shop, New York City, where a range of American art from the 1700s to present could be sampled. Robert Newman, coowner, pointed out one notable piece, an Edward Savage engraving of the Washington Family published in 1798. This high end piece was displayed alongside the contemporary cityscapes of Martha Ives.

Alongside prints, there were dealers of books and ephemera including Seth Kaller of White Plains, N.Y., who, in addition to his dealer booth, was also putting on an exhibition at the back of the hall. A throughline of all Kaller’s items was an emphasis on the great figures of American history. One item from his booth that exemplified this was a 1789 letter from George Washington to Fredrick Phile. This letter was written while the votes of the election were still being counted. In the letter, Washington, who did not yet know he was victorious, affirms his stan-

dard of “justice and public good.”

Beyond Washington, Kaller’s exhibit, “The Promise of Liberty,” proposed an America that is “constantly being founded.” The exhibit widened the concept of founders to include Jesse Owens, Susan B. Anthony and Martin Luther King, Jr, and displayed documents and items from their contributions to history. Here, artifacts stood in conversation with one another as visitors exchanged opinions, stories and their own memories of history being made.

Outside of American history, the fair also featured international dealers and offerings. Sammy Jay from Peter Harrington Rare Books of London showed many hot-ticket items including a jazz book given to the Rolling Stones drummer, Charlie Watts by Mick Jagger. Among other high interest items was a first edition 1964 copy of Grapefruit by Yoko Ono. This copy of the first printing, which was limited to 500 copies, was additionally inscribed by Ono to the composer, Ann McMillian. Hugo Rijpma from Artem Rare Books also traveled far to show his wares. Hailing from The

Before the festivities begin, dealers mill around the Great Hall.

An Edward Savage 1798 engraving of the Washington Family offered by Robert Newman of the Old Print Shop of New York City.

From the collection of Rolling Stones drummer Charlie Watts, a souvenir of a Miles Davis quintet performance that features 19 performer signatures offered by Sammy Jay with Peter Harrington Rare Books. London.

Richard Mori of Franklin, N.H., showed an 1891 fore-edge painting.

The Paul Revere bookplate as shown by Elizabeth Kelly-Griswold of Bluemango Books and Manuscripts, New Hope, Penn.

The Life of George Washington first edition full set offered by The Great Republic of Colorado Springs, Colo.

This limited edition print of Micheal Jackson, signed by the artist and musician, was on display with Ron Lozzi from Old Editions Bookshop, North Tonawanda, N.Y.

Review and Onsite Photos by Caitlyn “Cat” Snell

Hague, Netherlands, Rijpma is a new dealer on this particular scene, though he is no newcomer to the industry. Having worked as a specialist with another dealer, Rijpma struck out independently only two and a half years ago, though the quality of his showcase would not betray the fact. Of the items he brought, a rare copy of an 1847 French petition for the end of slavery was one that he believed would garner much interest. The document, by the French Society for the Abolition of Slavery, was, according to Rijpma, the “only blank one in the world” with the only other known copy being in the national library of France and containing signatures.

Dealer Michael Sekik from Librairie of Paris, France, showed a collection of original 1965 photos of the Hells Angels signed by photographer Bill Ray. Taken for Life magazine, these photos were never published and showed the Angels riding, living and getting arrested. In contrast to Sekik’s full selection, another Parisian dealer Conspiration | Éditions had only one book on their table, a 22-3/8 by 26¼ inch reproduction of the Eighteenth Century Cassini Map. Production of this expansive map of France began in 1746 and is believed to have been completed in 1796. Anne Ferré explained how the binding

of the limited edition reproduction took years to perfect and that the map is for sale this year, for the first time.

Micheal Steinbach brought from Vienna, Austria, a “little bit of everything,” hoping to appeal to the diverse taste of the New York City crowds. Among his visually tantalizing booth was a 1460 leaf of the Catholicon that had been printed on the Gutenberg Printing Press. Nearby, Jeanott Barr of Northport, N.Y., had an array of eye-catching prints. Having recently acquired a collection from the estate of textile artist Arthur Litt, Barr had more than 1,000 original gouache paintings of Litt’s patterns.

Another eye-catching booth was Walnut Street Paper from Kutztown, Penn., where coowners, Alexis and George Sirrakos offered “graphically interesting” pieces. These included a display of ephemera regarding Lynne O’Neil, a late 1940s burlesque entrepreneur, who, after her shows, would sell a variety of merchandise from calendars to garters.

Other dealers revealed that one should not judge a book by its cover. Richard Mori from Franklin, N.H., showed hidden treasure could be found in an 1891 Book of Praise, in which a fore-edge painting of a 1893 Charles Duyea “gasoline automobile” was visible when viewed

from a specific angle. Another purveyor of the unassuming, Elizabeth Kelly-Griswold of Bluemango Books and Manuscripts, New Hope, Penn., had an array of early American source documents, each which contained a story beyond the narrative. An 1802 copy of The Narrative of the Indian Wars of New England held one such treasure. Originally owned by the Gardiner family that owned Gardiners Island off the coast of

Long Island, this book revealed a Paul Revere bookplate. With variety in offerings, dealers and clientele, the second annual Empire Rare Book and Print Fair proved a success, with more than 1,000 attendees over the weekend. Fine Book Fair founders Eve and Edward Lemon said, “Despite the appalling weather, we think that the fair was a success.” On preview night, Edward said that the fair was “designed from the perspec-

tive of collectors” and was meant to be “fun, social and all about building relationships.” Attendees and dealers were happy all around, as young collectors found a welcoming atmosphere and veterans to the trade described their happiness at a fall New York City rare book fair to balance the big rare book fairs of the spring. For more information on future Fine Book Fair events, www. finefairs.com.

Micheal Verne, Verne Collection, showed off “Zojoji, Shiba,” a 1925 woodblock print by Hasui Kawase. Cleveland, Ohio.

“The petition that ended slavery,” 1847, offered by Hugo Rijpma from Artem Rare Books of The Hague, Netherlands.

Michael Sekik from Librairie of Paris, France, showed one of a collection of unpublished 1965 Bill Ray photographs of the Hells Angels.

Conspiration | Éditions’ crown jewel; the Cassini Map. Paris.

“The Graduate” by Edwin H. Bashfield looks over the fair, including the booth of Micheal Steinbach from Vienna, Austria.

Three original gouache paintings by Arthur Litt offered by Jeanott Barr of Northport, N.Y.

A display from Alexis and George Sirrakos, Walnut Street Paper of Kutztown, Penn.

A striking display from Micheal Weintraub of New York, N.Y.

This 1789 letter from George Washington that affirmed his commitment to “justice and public good” was offered by Seth Kaller of White Plains, N.Y.

Auction Action In Los Angeles

Gormé & Lawrence Among Abell’s Prestigious Estates

LOS ANGELES, CALIF. —

Abell Auction’s two-day auction on October 5-6 was billed as “Prestigious Estates and Fine Art;” one such prestigious estate in the 667-lot sale was that of pop vocal duo Steve Lawrence and Eydie Gormé. Several of the couple’s nearly

100 lots in the sale appeared in the highest ranks, including Ernie Eugene Barnes, Jr’s (1938-2009) “Shootaround,” which bidders dribbled from a $100/200,000 estimate to a $262,500 finish. The 1973 oil on canvas painting will be added to the Ernie Barnes cat-

“Shootaround”

alogue raisonné and sold to a buyer in California. The catalog’s entry for the lot included a comment from Steve Lawrence’s son, David, who wrote, “In the mid-1970s, Eydie Gormé and Steve Lawrence met artist Ernie Barnes and became admirers of his work.

A Southern California trade buyer paid $512,500 for this platinum and diamond ring that had a central pear-shaped 20.05 carat diamond flanked by two triangular diamonds that weighed an additional 1.90 carats. It was the top lot of the two-day sale ($300/500,000).

A

and

As avid basketball fans, they were especially captivated by his piece ‘Shootaround,’ which gracefully portrays a young man shooting a hook shot toward a wooden basket. The artwork’s simple yet striking colors, combined with a barnlike wooden frame, enhance its timeless appeal. After over 50 years in their collection, ‘Shootaround’ is now being placed in a new home, with the hope that it will bring as much joy to its next owner as it did to the Gormé-Lawrence family.”

Another lot from the Gormé-

Lawrence estate that outperformed expectations was an untitled abstract oil on canvas by actor, singer, producer — and artist — Frank Sinatra (American, 1915-1998), who had been friends with the couple. David Lawrence noted of this work, “Eydie and Steve became close friends with Sinatra after he became a fan of their recordings in the late 1950s. Their friendship endured until his passing. [He] was also a talented painter and the geometric artwork now on auction was a personal gift to commemorate the beginning of that tour, coinciding with his 75th birthday. This piece holds deep sentimental value in the estate collection of Eydie and Steve, symbolizing an important chapter in their

at

by Ernie Barnes, oil on canvas measuring 39-7/8 by 21½ inches in its original frame, sold to a private Los Angeles collector for $262,500 and was a third-place finish ($100/200,000).

“Grande Tete de Femme au Chapeau Orne (Large Head of a Woman with Decorated Hat)” done in 1962 by Pablo Picasso as a linocut in colors on Arches paper, the plate measuring 25 by 20½ inches. A long-time local Abell private collector paid $81,250 ($40/60,000).

John Harvery McCracken, “High Sky,” 1996, wood, fiberglass and polyester resin, 24 by 45 inches, achieved $68,750 and will be staying in Los Angeles ($60/80,000).

Southern California piano collector

teacher played this 2004 Bosendorfer rare Satin Pyramid mahogany grand piano to $32, 750 ($15/25,000).

Made circa 1970 in bronzed resin over steel and fabric, this set of eight dining chairs by Paul Evans spurred bidders to $43,750; the buyer was in Denmark ($30/50,000).

“Still Life with Fork, Spoon, Glass and Plate” by Bernard Buffet (1928-999), executed in oil on canvas in 1950, measured 20 by 29 inches in its frame and had provenance to the Parisian gallery of E. David and M. Garnier. Estimated $15/20,000, it finished

$31,250 and is going to a bidder in Monaco.

An Orange County, Calif., private collector paid $31,250 for this Richard Diebenkorn (1922-1993) woodcut in colors titled “Blue with Red” that came to Abell from a Bel Aire residence that had been done by Hendrix Allardyce Interior ($20/30,000).

Review by Madelia Hickman Ring, Editor Photos Courtesy Abell Auction

Bringing the bling at $300,000 and the secondhighest result of the sale, was this 14K white gold and 12.03-carat pink diamond ring that had two additional diamonds weighing a total of 1.25 carats. It also sold to a Southern California trade buyer ($150/300,000).

friendship with Sinatra.” It found a new home for $75,000.

Jewelry from some unidentified sellers led the sale, notably a platinum and diamond ring that weighed nearly 22 carats and beat its high estimate and sold to a California buyer for $512,500. A stunning 14K white gold and color treated pink diamond ring that matched its high estimate at $300,000 followed in value.

An estate from Big Canyon in Newport Beach, Calif., — unidentified but described as “important” — consigned a Pablo Picasso (Spanish, 18811973) linocut in colors titled “Grande Tete de Femme au Chapeau Orne (Large Head of a Woman with Decorated Hat)” that topped off at $81,250, also exceeding expectations.

“High Sky” by John Harvey

The inscription “Cenno Cenni” on the back of this Italian School painting of the Mother and Child may have meant something to bidders, who ran the 30½-by-16½-inch arched composition from an estimate of $20/30,000 to $31,250 and a new home with a collector in the UK.

McCracken (1934-2011), which came to auction from a Beverly Hills, Calif., estate, rose to $68,750. It had been made in 1996 in wood, fiberglass and polyester resin and stood out with its bold red color.

For visual impact, it would be hard to beat Ernst Neizvestny’s (1925-2016) “Falling Man,” an 87-inch tall bronze, which came to Abell from a private collection in Laguna Beach, Calif. The model was from an edition of seven and landed at $56,250.

Exhibition Of Rare Avant-Garde

European Art To Inaugurate New DC Gallery At Hopkins Bloomberg Center

WASHINGTON, DC — The Johns Hopkins University Bloomberg Center has opened the new Irene and Richard Frary Gallery with an exhibition of rare avant-garde works by artists throughout the European continent, including in Russia, Ukraine and the Baltics, created during the social and cultural upheavals in Central and Eastern Europe between 1910 and 1941.

The free public exhibition — “Art and Graphic Design of the European Avant-Gardes” — runs through February 21, and includes rare books, prints, photographs and ephemera from artists who defined some of the most influential artistic movements of the Twentieth Century, including Futurism, Dadaism, Suprematism, Constructivism and Surrealism.

The Frary Gallery’s inaugural exhibition features 75 works from artists including El Lissitzky, Kazimir Malevich, Liubov Popova, Aleksandr Rodchenko, Lajos Kassák, Karel Teige and Victor Brauner — many of which have never been on view in North America.

“We are deeply grateful to Irene and Richard Frary for

“Falling Man” by Ernst Neizvestny, bronze, 87 inches tall, nearly doubled its estimate when it realized $56,250 from a Delaware bidder ($20/30,000).

An Italian School oil on panel painting of the Mother and Child from the estate of Francis and Marion Lederer appealed to Abell’s old school collectors, who elevated the piece to $31,250.

There was more to the sale than fine art and jewelry. The same result of $43,750 was shared by two lots, on each day. Selling for that price on the first day was a set of eight circa 1970 dining chairs made by Paul Evans for Directional, USA, that came to auction from

This untitled abstract by Frank Sinatra, oil on canvas, 1990, 33 by 33 inches (framed), from the estate of Steve Lawrence and Eydie Gormé, soared to $75,000. A decorator, bidding on behalf of a client, had the prevailing bid ($10/15,000).

the collection of Japanese actress, producer and manager Yasuko Austin Nagazumi. It was matched the following day by a 2004 Satin Pyramid model Bosendorfer grand piano that was from an unidentified seller.

With a sell-through rate of nearly 93 percent and a total realized of $3.1 million, Abell’s vice president Todd Schireson was pleased with how the sale did.

“The art market continues to show resilience, with strong demand across various categories. In our last auction, art pieces maintained solid prices, reflecting sustained interest from collectors and investors alike. The market’s strength was evident in competitive bid-

ding, especially for modern and contemporary works.

“Meanwhile, despite much discussion on recessed prices of large diamonds, the jewelry market also exhibited positive trends. The prices for jewelry lots were encouraging, with a notable interest in classic and contemporary pieces. The auction demonstrated that while art remains a focal point for many collectors, jewelry also retains its appeal as a valuable and attractive investment.”

Dates of upcoming auctions have not yet been announced. Prices quoted include the buyer’s premium as reported by the auction house. For information, 323-724-8102 or www.abell.com.

their support of the Hopkins Bloomberg Center and their significant contribution to our mission to connect the worlds of research and the arts,” said Cybele Bjorklund, executive director of the Hopkins Bloomberg Center. “Through its opening exhibition, programming and future presentations, the Irene and Richard Frary Gallery will bring a fresh infusion of artistic expression and cultural dialogue to Pennsylvania Avenue. We invite our neighbors throughout the Washington community to discover the diverse array of free public events and concerts at the Hopkins Bloomberg Center.”

The Johns Hopkins University Bloomberg Center is at 555 Pennsylvania Avenue, Northwest. For information, 202-5880597 or www.washingtondc. jhu.edu/bloomberg-center.

NASHVILLE, TENN. — Paintings, sculpture, prints, and decorative arts from the permanent collection take center stage in the Historic Cheekwood Mansion & Museum until November 4 at 1200 Forrest Park Drive. For information, www.cheekwood.org or 615-356-8000.

Allentown Paper Show Brings Record Attendance For Fall Edition

ALLENTOWN, PENN. —

Once every six months, folks from the Tri-State area and beyond gather at the Allentown Fairgrounds Agri-Plex for the Allentown Paper Show: a twoday event presenting what its website says is “the finest in paper collectibles” throughout the country. For more than 50 years, the paper show has captivated attendees with unique offerings of rare books, antique postcards, advertising materials, movie and pop culture memorabilia, sports memorabilia, vintage photographs, comic books and more.

On the morning of October 5, hundreds of attendees lined up outside of the front doors of the Agri-Plex, where both the fall and spring iterations of the show take place. Enthusiasm was high as the doors opened at 9 am, when we witnessed attendees rush inside to begin their first day of shopping.

Around 170 dealers from more than 25 states were spread throughout two main rooms in the Agri-Plex, which attendees could peruse at their leisure.

Antiques and The Arts Weekly caught up with Sean Klutinoty, Allentown marketing professional and the show’s manager, after the weekend concluded. Klutinoty was very pleased to

The line grew steadily longer until seconds before attendees were allowed inside the Allentown Fairgrounds Agri-Plex, where the Allentown Paper Show takes place bi-annually.

inform us that it was “a great show. The attendance was more than 1,100 people. It is the highest attendance for the October show ever.”

As attendees poured through the front doors, many were captivated by the plethora of posters and piles of books gracing

the first booth to their right, shared by Mike Shoemaker and Christopher Herbert. Shoemaker, who owns Shoemaker Booksellers in Gettysburg, Penn., specializes in, “Americana, all of it!” He was proudest of an early printing of the Life of Frederick Douglass, an American Slave by

Lancaster, Penn., resident is the self-proclaimed “senior postcard dealer” of the show, which she has been attending for 30 to 40 years. Schaffer specializes in vintage Christmas and Valentine postcards, but also brought unique art pieces, like an illustrated children’s book block set from 1800s France; eight different scenes could be assembled with the blocks. “I also have the original box, lid and pictures showing what scenes you can make,” Schaffer followed, proudly showing us the original prints, which were in very good condition. She also shared that she had been very busy all morning, making sales and talking with loyal customers.

Frederick Douglass he had acquired “somewhere in Ohio” and a third printing of Francis Scott Key’s The Star-Spangled Banner, which was published only nine years after the conclusion of the War of 1812.

Herbert, Shoemaker’s booth partner, owns The Rock Top Book Shop, Cashtown, Penn.

While mainly a bookseller who “always has military stuff,” Herbert also brought with him a collection of large prints and posters from California, which he had displayed in large, metal print stands facing the front entrance to the show.

“This has a lot more color than I usually have,” he said of a print of a New England lobster from San Francisco. One of his favorites was a “Bo-Peep’s Sheep” print by toy designer, author and California native Charleen Kinser (1934-2008), which advertised toy sheep that she designed for her own brand, Forever Toys.

Across the aisle from Shoemaker and Herbert was Dede Schaffer, whose booth was so packed, we had to speak to her across one of several countertops she was displaying various paper offerings on. The

While Richard Mori, Mori Books, Nashua, N.H., specializes in children’s books and all things New Hampshire, his tightly packed shelves of antique fiction and nonfiction titles were full of surprises of a different kind. He proudly showed off several first editions he had acquired from “everywhere,” including My Bondage and My Freedom by Frederick Douglass (1855), These Happy Golden Years by Laura Ingalls Wilder (1943) and The Scarlet Letter by Nathaniel Hawthorne (1850). Mori also offered a rare copy of A New Spirit, A New Commitment, A New America , the Inaugural Book of President Jimmy Carter, who had just celebrated his 100th birthday a few days prior to the show’s opening. The book was signed by both the former president and his vice president, Walter F. Mondale. “You don’t see these two signatures together very often,” said Mori, when asked about the rarity of the book.

“I like things that are neat, things that are interesting,” said Jason Phillips, Phillips & Phillips, Chester Springs, Penn., when asked what he enjoys collecting and selling.

Review & Onsite Photos by Kiersten Busch, Assistant Editor

Richard Mori of Mori Books, Nashua, N.H., poses for the camera with his rare first edition of My Bondage and Freedom by Frederick Douglass.

Ashley Wildes (center, blue hair and shirt), Between the Covers Rare Books, Gloucester City, N.J., browses through a fellow dealer’s booth early on in the show.

The booth of Paul Bender, GAB Antique Shop, Southwest Reading, Penn.

Attendees could take a walk through American history at the booth of Gary Block, Antro’s Antiques, Newark, Del.

As soon as they stepped through the front doors, attendees were greeted with the booth shared by friends Mike Shoemaker, Shoemaker Booksellers, Gettysburg, Penn., and Christopher Herbert, The Rock Top Book Shop, Cashtown, Penn.

What has piqued his interest lately? A set of framed, original watercolors that were used in an illustrated version of Mark Twain’s The Prince and The Pauper , which he purchased at auction. Also, two antique hand-painted book covers from Florence, Italy. Phillips also offered antique mallets and cast iron tools, vintage advertisement and other historical paper material, among others.

Paul Bender, GAB Antique Shop, Southwest Reading, Penn., had an eclectic mix of historical objects, advertisements and pop culture items, including cardboard cutouts from the Star Trek franchise of William Shatner as Captain James Kirk and Patrick Stewart as Jean-Luc Picard, which greeted attendees as they entered Bender’s booth. However, when asked what his favorite thing to collect was, he immediately answered, “I like things people have touched.” What he meant by this was small, highly personalized items like love tokens and hobo nickels, both of which he offered in neatly categorized binders at the front of his booth. To Bender, modified coins are interesting because “they’re not trying to pass off as real.” The most interesting one he’s seen? “A dime with the Lord’s prayer carved into it.”

This was the first time back after a few years for Pamela Apkarian-Russell, Castle Halloween, Altoona, Penn., who expressed her love for Antiques and The Arts Weekly as we entered her festive and colorful booth. “I’ve been subscribed for over 50 years,” she shared. As the name of her shop implies, Apkarian-Russell specializes in all things holidayrelated, as well as “high-end and early stuff”; she was especially prepared for Halloween, with a selection of The Nightmare Before Christmas merchandise. Apkarian-Russell also offered an array of vintage advertisement posters. Some of her favorite pieces in the booth included two colorful posters encouraging travel to Egypt, with one reading “Egypt for Winter Sunshine.”

“I think I was a tree way back when; I love paper,” joked Pau-

Feeling spooky? Look no further than the booth of Norman Showers, Showers Antiquities, Selinsgrove, Penn., which had a vast collection of vintage Halloween postcards to get you ready for the spooky season.

Dave and Mimi Romea, Dave Romea Photography, Lambertville, N.J., brought both Mimi’s vintage poster collection, mostly focusing on Northern Italian themes, and Dave’s wildlife photography (far right) to the show.

lette Krick of Zionsville, Penn., when we asked her what her specialty was. Krick owns Nana’s Nook & Cranny, and she has been coming to the show for more than 40 years. What has kept her coming back? “The excitement, socializing and getting out there and showing my things,” she answered. The “things” in question included vintage postcards, vintage books, paintings, vintage Christmas decorations and advertisements, among others. “Shirley Temple is my favorite,” she gushed, showing off a coloring book by Temple, titled This is My Crayon Book , originally published in 1935. Lynn Barrett of Doylestown,

Penn., said that she “prefers books, but they’re getting heavier to transport as I’m getting older.” This did not stop her from still bringing some with her, including Moments by Sister Corita Kent, which discussed her “Moments” series, comprising of 13 screenprints, and completed in 1977. Barrett also offered antique toys and smalls, alongside vintage advertisements and maps. “I can only hope there is someone out there who would want my stuff!” she cheerily told us.

Filled with 70s and 80s “geekery” was the booth of Mike Cotter, Back in Time Books, Jacksonville, Fla., a member of the Antiquarian

Dede Schaffer, Lancaster, Penn., shows off some original illuminated artwork, which she says the artist did “for selfgratification”; the hand-done illustrations have never been published in a book.

Karen Frost, Somerville, N.J., offered a large selection of vintage black and white and sepia photography. Some were filed in bins with clever titles, such as “Cute Kids!”; “Oh Baby”; “Dogs, Cats, Etc”; “Dudes”; and “Pretty Ladies.”

Doug Rice (right), Marietta, Penn., who won a fan of the century contest for the Philadelphia Phillies on their 100th anniversary, is pictured here speaking with another Major League Baseball (MLB) enthusiast.

Capitol Hill Books, Washington, DC, found a clever way to display the covers of a selection of the used, rare and new books they brought to the show.

In the mood for a drink or a quick bite to eat? Multiple refreshment stands like this one were operating throughout the course of the day, where attendees could stop to get a variety of fair-themed drinks, snacks and meals.

There were multiple breaks in the wall between the two halls where dealers were exhibiting, making it easy for attendees to switch between rooms in search of the perfect item (or items) to take home.

Booksellers Association of America (ABAA) and the Florida Antiquarian Booksellers Association (FABA). Cotter brought a mix of 70s and 80s TV and film paraphernalia and antique books, including a signed postcard from Billie Burke, who played Glinda the Good Witch in the 1939 movie The Wizard of Oz; “I’ve already sold several Wizard of Oz pieces today,” Cotter added happily. He also offered a 1930s quilt made of various pennants that the consignor collected on her honeymoon; “It’s the single rarest and special piece I have here,” Cotter said. The booth was also intermittently scattered with various merchandise from the Star Wars universe, a series which Cotter accredits as part of the reason why his business is so successful.

“It took me six hours to unload and set up,” said Doug Rice of Marietta, Penn., who has done the show a few times before in the past but came back a year ago after he had built his collection more. “It’s good to see familiar faces from last year,” he explained, speaking about both dealers and customers alike. His specialty is everything baseball — he is a huge Philadelphia Phillies fan — dealing in everything from cards to uniforms to signed balls, all of which Rice offered in his booth. Branching out from baseball, Rice also offered various photographs and pictures. “I just started a few years ago. They’re doing really well so far; I don’t want to be just sports.”

Sammy Berk of New World Cartographic, Chicago, explained to us as we entered his booth that the business had “500 years’ worth of historical cartography.”

While Berk’s favorite cartographic period is the westward expansion, he happily showed us a map of the Americas printed in 1676, during the Age of Discovery, in which California was drawn as an island. The map was printed from a hand-crafted copper engraving done in 1626. “What I like about older maps like this one is that there are a lot of cartographic errors and fables,” Berk said, gesturing to several different points on the map, including small, fantastical sea creatures littering

Everything was pretty in pink at the booth of Christopher Maffel, Well-Stacked Books, Baltimore, Md.

This 1676 map of the Americas from the booth of Sammy Berk, New World Cartographic, Chicago, shows California as an island and labels the lost city of “El Dorado” at the bottom of a false lake in South America.

One corner of Castle Halloween’s booth, which includes a signed illustration by German painter and graphic artist Ernst Ludwig Kirchner of a girl on a bearskin rug (far right), a favorite of owner Pamela Apkarian-Russell. Altoona, Penn.

Phillips & Phillips, Chester Springs, Penn.

One of the show’s two main halls had a number of dealers who specialized in postcards positioned in the center; they all had folding chairs set up, in order for attendees to comfortably view their offerings.

Lynn Barrett, Doylestown, Penn., posing with her “pride and joy,” a serigraph by silkscreener Sister Corita Kent, hung far left, which she has owned for 40 years.

While walkways were open, dealers’ booths on both sides were crowded with eager attendees on the first day of the show. And this was just the first room!

the oceans, and a false lake in South America, which was labeled “El Dorado.” Berk explained that these errors came about from mapmakers hearing varying stories from different explorers, which eventually amalgamated into some interesting falsities: “it was like a game of telephone.”

Another interesting cartographic error came from a map titled “The Middle States of America” by J. Russell (1794), which had Allentown, Penn., marked as “Allens Town.”

The last booth we stopped at for the day was that of Norman Showers, who owns Showers Antiquities, based in Selinsgrove, Penn. His booth was full to the brim with miscellaneous ephemera, advertising items, country store items and post cards and trade

cards, which he had organized in binders and bins on a large table in the center of the booth. Showers’ favorite item that he brought to the show was a one-of-a-kind painting done during the World War II era, which was eventually made into a poster. The painting, done in bright blues and other bold colors, exclaimed “We Want More Scrap Metal,” and depicted planes, tanks and ships moving forward toward the viewer.

After the show, Klutinoty shared with us that patrons were very happy with the way things went: “I received a lot of feedback from patrons saying they love the show and look forward to each one. A new patron said they were amazed at the size of the show and the variety of items the dealers have available. Others said they have been coming for years and never miss a show.” Things were very similar when it came to dealers, many of whom, according to Klutinoty, had a great show. A good number had already signed up

to have a booth at the April 2025 iteration as well. “I have a fantastic group of dealers. They make the show,” Klutinoty expressed. “This show I had approximately 10 new dealers. I am adding new dealers each show.”

The Allentown Paper Show’s 2025 spring and fall shows will take place on April 26-27 and October 4-5, respectively. For information, 610-573-4969 or www.allentownpapershow.com.

Explore Systems Of Power With ‘Jesse Krimes: Corrections’ At The Met

NEW YORK CITY — The Metropolitan Museum of Art presents the exhibition “Jesse Krimes: Corrections” which explores the critical role photography has played in structuring systems of power in society, policing, prosecution, incarceration and identification from the singular perspective of artist Jesse Krimes (American, b 1982). The exhibition presents three major immersive contemporary installations by Krimes alongside Nineteenth Century photographs from The Met collection by the French criminologist Alphonse Bertillon, who developed the first modern system to target and identify people charged with crimes before the adoption of fingerprinting. A precursor of mug shots, this system was developed to combat rising rates of recidivism in Nineteenth Century Paris by linking an alleged suspect’s anthropomorphic measurements with an identifying photograph. This exhibition marks the first time that Krimes’s two installations, “Purgatory” (2009) and “Apokaluptein:16389067” (2010-13), created while serving a six-year prison sentence, are shown together in their full iterations. “Purgatory” was acquired by the museum in 2024. “Jesse Krimes: Corrections” is on view through July 13.

“This exhibition offers an important view into some of the complex histories that surround the powers and perceptions of incarceration,” said Max Hollein, The Met’s Marina Kellen French director and CEO. “The presentation of Krimes’ remarkable reflections of his own lived experiences alongside Bertillon’s stark prints will surely serve as a catalyst for conversations about the significance of identity and the enduring impact of imagery.”

Shown alongside nearly 150 cartes de visite of suspected anarchists by Bertillon, Krimes’s monumental image-based installations present an opportuni-

ty to reconsider the perceived neutrality of our systems of identification and the hierarchies of social imbalance they create and reinscribe. The pairing underlines how Bertillon’s system contributed to the problematic ways in which these images dehumanize their subjects. The Metropolitan Museum of Art is at 1000 Fifth Avenue. For information, 212-535-7710 or www.metmuseum.org.

“Purgatory” (detail) by Jesse Krimes (American, b 1982), 2009, soap, ink, playing cards, dimensions variable. The Metropolitan Museum of Art, New York City, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, and Alfred Stieglitz Society Gifts, 2024 ©Jesse Krimes.

46TH BOSTON INTERNATIONAL ANTIQUARIAN

BOOK FAIR

Nana’s Nook & Cranny, Zionsville, Penn.

Back in Time Books, owned by Mike Cotter. Jacksonville, Fla.

Landry Pop’s Inaugural Auction Was Both Iconic & Heroic

Auction Action In Lambertville, N.J.

LAMBERTVILLE, N.J. — Travis Landry, pop culture connoisseur, Antiques Roadshow appraiser and proprietor of one of the newest auction houses in the US — Landry Pop Auctions, which joined the Rago/Wright/ LAMA consortium in late July — had his first sale on October 8, in David Rago’s facility. The numbers were impressive for Icons & Heroes, with 321 of 322 lots of comics, trading card games and video games selling and achieving a total of $660,870.

“I’m feeling really good,” Landry said when Antiques and The Arts Weekly reached him and his family on the road back to Rhode Island. “I’m very proud of the sale, how it came together. We had multiple collections and about 95 percent of it was fresh to the market. All of my good friends follow me and we had a lot of new bidders, too.”

A hefty estimate of $80/120,000 made the stakes high for a 1941 copy of the first issue of Captain America, which

Though there are more than a few first-issue Captain America Comics in existence, there are just two known to have been owned by author Jack Kirby, and the signature in this 8.0-grade 1941 issue proved it was one of them. It sold to a collector in Oklahoma for $84,000, the sale’s top lot ($80/120,000).

was written by Jack Kirby and published by Timely Comics. It is currently ranked as number seven in Overstreet’s Top 100 Golden Age Comics, from the period 1938-56. Its condition had been graded as an 8.0; there are only 16 copies in this grade and just seven in better condition. As if the condition was not reason enough to bid high, this copy had an autograph by Kirby himself, so Landry had reason to expect it would do well. It did just that,

There was artwork to hang on the wall as well. This giclee print on canvas titled “Venetian Cat Singing Oh Solo Meow” and done in 2000 by Dr Seuss (Theodor Seuss Geisel) hit the sweet note of $4,560, more than double its estimate ($1/2,000).

bringing $84,000 from a buyer in Oklahoma.

As with most graded collectibles, it all comes down to grade and population: the higher the grade and lower the population, the better. A first issue copy of Batman, published by DC Comics in 1940, has a higher Overstreet rank — number five — and, in a 6.5 graded condition, was one of eight on record (there are 50 known to be in better condition). According to the catalog, it was a “new to the market freshly graded example right out of an attic” and sold to a buyer in Nebraska for $38,400.

The first issue of Sub-Mariner and the Angel occupies a lower rank among Overstreet’s Gold-

Nintendo gave Merchandizing Mario Awards, including this 1994 bronze Mario example that achieved $1,680 ($2/4,000).

en Age Comics — number 27 — but the copy Landry had, which was graded 5.5, achieved the fifth highest price of the day and went out at $24,000. Silver Age Comics — those published from 1956 to 1970 — have also been ranked by Overstreet and at number three on its list is the first edition of Fantastic Four, which was published by Marvel Comics in 1961. Landry had one to sell, graded in 6.5; it brought $33,600. For those in the market for other Fantastic Four issues, the sale gave bidders three examples of issue number five, one in grade 2, the other in grade 3.5. The issue in the lowest-rated condition finished at $2,880 while the 3.5-graded issues crossed the block consecutively and brought $5,040 and $2,400.

If one ranked the auction by condition grade, a 1964 copy of the number 19 issue of Marvel Comics’ The Amazing SpiderMan that had a grade of 9.8 would be at the top of the auction. The example in the auction is one of just 14 known, with only one finer copy believed to be in existence. A buyer from Rhode Island who has been a long-time client of Landry’s drove to the sale to bid on it in the room. They paid $10,200 for the issue in which MacDonald Gargan made his first appearance The sale featured three examples of the limited edition Magic: The Gathering Beta Black Lotus trading card, which was described in the catalog as “the most sought-after card from the game.” Three grades — 7, 8 and 8.5 — were available and the results fell in line with expectations, bringing $1,680, $13,200 and $33,600, respectively.

Of course, icons and heroes come in many forms and not all the comic lots sold featured

Bud Cook’s original art for Magic: The Gathering’s “Thirst for Knowledge,” from the Wizards of the Coast series, was painted in oil on Masonite, measured 24 by 24 inches and, at $4,800, was the highest price for original artwork in the sale ($4/6,000).

This copy of the first issue of The Sub-Mariner and The Angel, graded 5.5, brought $24,000 ($25/35,000).

Mike Roy’s ink on paper original cover art for the second issue of Tormented outearned expectations and brought $11,400 ($2/3,000).

Review by Madelia Hickman Ring, Editor Photos Courtesy Landry Pop Auctions

The Fantastic Four was described in Landry’s catalog as “arguably the most important Marvel book of the Silver Age” and is highly ranked by Overstreet. This 6.5-graded issue from 1961 sold for $35,000, right where Landry thought it would. After the sale, he noted it was acquired from a buyer in Singapore ($30/40,000).

superheroes. Two matted and framed Peanuts daily comic strips — one dated June 28, 1967, the other from February 4, 1975, were sold consecutively, achieving $18,000 and $16,800. Both had been signed by animator Charles M. Schulz and came from a West Coast seller. Landry confirmed the two would be staying together, bought by the same bidder.

According to the auction catalog, little is known about the publisher Sterling, which published 18 issues under six different titles. Mike Roy’s Tormented series was among these and his original ink on paper cover art from the number two issue flew to $11,400.

The number one issue of Superman, from 1939, is a comic

The Joker and Catwoman were introduced in this highly coveted first issue of Batman, which had been residing in an attic before being auctioned. The bold graphics and moderately restored copy swung to $38,400 and into the hands of a Nebraska bidder ($40/60,000).

that ranks number three on Overstreet’s Top 100 Golden Age comics and often brings sixfigures when one comes to market, regardless of condition. The example Landry had — which was the only one in the sale not to sell – was graded 1.8. Landry shared that he would try to keep it for a private sale or reoffer it in a future sale.

Landry Pop Auctions has already scheduled two future sales: Space Toys and the Collection of Jane and Jack Pillar on December 3, and another Icons & Heroes auction on December 10.

Prices quoted include the buyer’s premium as reported by the auction house. For additional information, 508-470-0330 or www.landrypop.com.

With only one example known to be in better condition, this 9.8-graded Amazing Spider-Man, number 19, was the highest-graded lot in the sale and bidders paid attention. It achieved $10,200 from a Rhode Island buyer bidding in the salesroom ($10/15,000).

This 8.5-graded beta limited edition Black Lotus card from Magic: The Gathering from 1993 was the highest-graded of three in the sale and brought the most: $33,600 from a Chicago bidder ($30/40,000).

Snoopy and Woodstock were the stars of this June 28, 1967, Peanuts strip that Charles M. Schulz inscribed “For Don with every best wish - Charles M. Schulz.” One of just two Peanuts strips in the sale, it brought the higher price: $18,000. ($10/15,000).

Historic Odessa Unveils Peter Pan-Themed Holiday Events

ODESSA, DEL. — The holiday season is just around the corner, and the Historic Odessa Foundation (HOF) is thrilled to continue its cherished tradition of celebrating the magic of the season with its annual holiday exhibit, tours and special events. From Tuesday, November 12, to Sunday, December 29, visitors are invited to experience the transformation of the National Historic Landmark Corbit-Sharp House, celebrating its 250th anniversary, into festive scenes and interpretive vignettes inspired by J.M. Barrie’s classic children’s novel Peter and Wendy

This year’s holiday exhibit will transport visitors into the imaginative world of J.M. Barrie's novel, which was published in 1911 and adapted from Barrie’s 1904 play, Peter Pan; or, the Boy Who Wouldn't Grow Up. Walk through the work by exploring iconic scenes created within the rooms of the CorbitSharp House by HOF’s associate curator Brian Miller. The tour begins in the Darlings' parlor and nursery, then into Neverland to meet the Lost Boys, and ends aboard Captain Hook's pirate ship. All of Historic Odessa’s museum properties will be outlined with thousands of lights, beginning on November 23, with the inaugural Odessa Lights up the Night community event and on full festive display throughout the 2024 holiday season. Special school and public

tours and events will celebrate J.M. Barrie's “Peter and Wendy,” including the Storybook Trees exhibit created by community members and a Storybook Time for children. In addition, a Colonial Dance with the Dover English Country Dancers will be held, as well as

regularly scheduled Candlelight Tours and Festive Food demonstrations.

The Historic Odessa Foundation offers tours and events from March through December, Tuesday through Saturday, 10 am to 4:30 pm, and Sunday 1 to 4:30 pm. Monday by reservation. Admission

is $10 for adults, $8 for seniors, students and groups while children younger than six are free.

Members enjoy special discounts and the museum is a member of the North American Reciprocal Museum Association.

For a full list of events and information, www.historicodessa.org or call 302-378-4119.

Established in 2005, the Historic Odessa Foundation owns and operates Historic Odessa, a 72-acre enclave of Eighteenth and Nineteenth Century structures located in the town of Odessa, just two miles from DE 1 and just off US Route 13, in southern New Castle County, Del.

ATHENS, GA. — Georgia Museum of Art at the University of Georgia (UGA) presents “Saint Petersburg as Franz Liszt Saw It” through December 1. The exhibition consists of lithographic prints that show Saint Petersburg in the mid Nineteenth Century and overlaps with the American Liszt Society Festival at UGA’s Hugh Hodgson School of Music. This year’s edition of the festival focuses on the idea of the “composer-pianist” and highlights Liszt’s visits to Russia in the

it will celebrate the 60th anniversary of the American Liszt Society with concerts, lectures and a documentary. UGA is at 90 Carlton Street. For information, www. georgiamuseum.org or 706-542-4662.

A Historic Odessa Foundation Christmas vignette of a child’s bedroom from a past exhibit. This year’s literary inspiration is J.M. Barrie’s Peter and Wendy, on display from November 12 through December 29.

1840s;

Sale Nets $1.47 Million With Nearly 100 Percent Sold— Giampietro Achieves Largest Bidder Pool Yet With Schutte Collection

BRANFORD, CONN. — “It was a robust sale and our highest volume of bidders to date. We had strong retail and trade interest, with about 75 percent going to private collectors,” confirmed Fred Giampietro, sending in his post-auction thoughts a few days after New England Auctions sold more than 750 lots from the lifetime

Americana collection of Thomas F. and Tess L. Schutte, October 10-11. All lots on the first day sold and, with just four lots passing on the second day, more than 99 percent of the lots offered found new homes; an aggregate total of $1,470,000 was realized.

The Schutte collection had an emphasis on Americana

and folk art from New England and Pennsylvania, including many lots acquired from either Peter H. Eaton or his late wife, folk art dealer, Joan Brownstein. Eaton was not available for comment following the sale, but the quality of the works on offer speak to the Schuttes’ eye and rigorous standards for

Auction Action In Branford, Conn.

These two portraits of two unnamed girls was initialed “RS” on one sleeve and measured 5-3/8 by 7-3/8 inches in its frame. Bidders took it to $27,500 ($4/6,000).

$30,000 and

collecting. Nearly all of the top dozen lots crossed the block on the first day of the sale, including the highest-achieving lot, a tall case clock made in Newbury, Mass., that had a brass dial engraved “Dan’l Balch / Newbury.” A date of 1780 was inscribed in chalk inside the case, which was topped by gessoed and gilt wooden finials. Estimated at $6/12,000, it did much better, clocking in a result of $42,500.

The Schuttes acquired this late Eighteenth Century Massachusetts tall case clock with works by Daniel Balch from Peter Eaton. Standing 82¼ inches tall and cataloged as in original condition, it rose to the top of the sale, bringing $42,500 ($6/12,000).

A survey of the sale suggested that the Schuttes had an affinity for folk portraits, whether in oil, watercolor or ink and the second place result of $30,000 was realized by a pair of portraits of Obed and Nancy Hale, painted by Zedekiah Belknap (17811858) on the occasion of their 1813 wedding. Like the clock,

by

Emery and Susan Fletcher were listed as the provenance for this 7¼-inch-tall doll carved from a New England pine bedpost. It sold for $12,500 ($1/2,000).

A historic yellow-painted surface embellished this 27½-inch-tall rooster weathervane by J. Howard, that had been handled by Peter Eaton. It flew to $17,500, nearly three times its high estimate ($4/6,000).

the portraits had provenance to Eaton and were also described as in excellent original condition. Joan Brownstein was included in the provenance of a miniature profile portrait of two girls that had sold at Sotheby’s in 1977 as part of the Garbisch collection. Interest more than quadrupled its estimate and it realized $27,500. The same price was realized by another lot handled by Brownstein, as well as Bob Thayer and Skinner Auctioneers. A group of profile portraits of the Patten family, painted in watercolor, ink and gouache on paper, circa 1813, in Portland, Maine, more than doubled expectations. Brownstein and an auction at Skinner were also part of the history of a portrait of Sara E. Arnold by Jane Anthony Davis (1821-1855) that was painted when she was 7 years old, in 1850.

A family history by William Saville, painted in Lexington, Mass., in 1805, was also a top

The first lot of the sale was this Eighteenth Century carved tape loom from New England. Bidders may have loved its heart-shaped top and it finished at $11,250 ($2/4,000).

Zedekiah Belknap’s oil on panel wedding portraits of Nancy and Obed Hale, measuring 27 by 21 inches, that had history of ownership in the family of the sitters, achieved

a second-place finish ($5/7,000).

“Portrait of Mary Ingraham” by Ammi Phillips, dated 1829, oil on canvas, measured 35 by 29 inches in its original paint decorated frame. It found a new home for $20,000 ($4/6,000).

Mary Goodridge’s circa 1811 needlework sample measured 18¼ by 19 inches in its frame and sold for $16,250 ($1/1,500).

Review

Madelia Hickman Ring, Editor Photos Courtesy New England Auctions

All six members of the Patten family were identified by inscriptions on the back of this watercolor, ink and gouache on paper miniature group portrait that was in its original beaded gilt, gesso and molded wood frame that measured 8-5/8 by 10½ inches. Interest in the circa 1813 work rose to $27,500 ($8/12,000).

Joan Brownstein and Ralph Esmerian were listed among the provenance of this circa 1835-40 oil on canvas folk art landscape that measured 16-7/8 by 19 inches in its painted period frame. A temptingly low estimate of $2/4,000 was quickly surpassed; it finished at $22,500.

A carved chamfered top and early blue and mustard paint, which survives under a Nineteenth Century layer of oxblood-red paint, were among the desirable elements of this Rhode Island Queen Anne kettle stand. It topped off at $10,000 ($1/1,500).

seller, though rather than depicting portraits of the family it featured a tree with large roundels with names and birthdates, as well as inverted hearts with the names of the father and mother — and their wedding date — at the bottom of the tree. The watercolor brought more than 15 times its high estimate: $27,500.

South Egremont, Mass., dealers Elliott and Grace Snyder were the Schuttes’ source for a portrait of Mary Ingraham painted by Ammi Phillips (1788-1865) in New York State in 1829. The sitter was represented holding a red bible and her spectacles and courted bidders to $20,000.

A needlework sampler, wrought in New England by Mary Goodridge at the age of 10, circa 1811, was one of several examples in the sale. The dark background color of

The highest result on the second day of the auction was $7,500, realized for this portrait of War of 1812 privateer and Captain Samuel Doten, which was painted around 1800 by Charles Delin (1756-1818). The oil on canvas composition measured 25 by 21 inches in its frame ($1/1,500).

Goodridge’s sampler provided a charming support for an alphabet, verse, trailing foliate vine and flower basket. The Schuttes had acquired it from Philadelphia sampler dealers M. Finkel & Daughter and it brought $16,250, more than 10 times its high estimate.

The Schuttes’ collection featured just two weathervanes, a cast zinc and copper example of a rooster by J. Howard on the first day and a molded cop-

The Schuttes acquired this family record, painted by William Saville in 1805, from Joan Brownstein. Described as in excellent original condition, the tree-form composition blossomed well past expectations, earning $27,500 against an estimate of $1,2/1,800.

Jane Anthony Davis’s portrait of Sara E. Arnold, watercolor on paper, in what was probably its original frame that measured 7¼ by 6-1/8 inches, finished at $16,250 ($2/4,000).

Emery and Susan Fletcher and dealer John Walton had previously owned this oak and pine Pilgrim Century Hadley chest that brought $10,000 ($2/4,000).

per running horse model on the second. The rooster, bolstered by having been published in an unidentified issue of The MAGAZINE Antiques , flew to $17,500, while the horse ran to a more modest finish of $625. An Eighteenth Century doll,

“Original condition” described this early child’s potty chair with original sage green paint. It traded hands for $10,000 ($2/4,000).

carved from a pine bedpost, was a rare survivor in its original block-printed linen cloak that was embroidered with the name “Betsy C-oye.” The 7¼-inch doll charmed bidders, who took it from an estimate of $1/2,000 to $12,500.

Pottery lots reached an apex at $11,250 for an Eighteenth Century English combware loaf dish that was one of two similar examples, the other selling immediately afterwards and earning $7,500.

Following the clock, furniture was a sizeable category and several lots achieved $10,000. A Queen Anne kettle stand made in Rhode Island in the mid Eighteenth Century achieved that price first, followed shortly after by a primitive child’s potty chair with tall back and scalloped

sides that dated to the early to mid Eighteenth Century and retained its original sage green paint. A circa 1700 William and Mary gateleg table that had provenance to both Alice Kugelman and a sale at Sotheby’s in 2013 realized this price, as did a Pilgrim Century Hadley chest with a single drawer and early mustard paint.

Prices quoted include the buyer’s premium as reported by the auction house. New England Auctions will sell European and Asian antiques on November 13, jewelry on November 14, the collections of Bob Walin and Robert Giambalvo on January 8 and a Stonington, Conn., estate on January 9. For additional information, www.newenglandauctions.com or 475-234-5120.

This Eighteenth Century combware loaf dish, measuring 12 by 10½ inches, topped off at $11,250 ($3/5,000).

INTERNATIONAL

Compiled By Antiques and The Arts Weekly Carly Timpson

Chinese Export Silver Shines Down On Chiswick Bidders

Auction Action In London

This mid Eighteenth Century Chinese export parcel gilt silver filigree casket, Canton, circa 1750, 6 inches long, brought $7,249 (£4/6,000).

Review by Carly Timpson, Assistant Editor

Photos Courtesy Chiswick Auctions

LONDON — Presenting 124 lots of Chinese export silver from the 20-year single-owner Gerard Collection, Chiswick

Auctions closed its October 9 sale with 90 percent sold and a total realized of $174,383 (£133,270), which exceeded sale estimates. According to John Rogers, associate director and head of silver for Chiswick, “The collection was highly representative of the cross section of forms and decoration across the topic of Chinese export silver. Each of the great names, identified by their marks in Chinese, was represented in the collection by at least one piece.” Buyers in the sale were mostly private collectors hailing from around the world, though some dealers won as well, with Rogers mentioning a private UK collector with Chinese background, London and other UK dealers and a Chinese collector among those winning the top lots.

Earliest in date, though highest in price, the two top achieving lots in the sale were both Eighteenth Century filigree caskets. At $8,237 (£6,300) — the sale’s highest price — was a circa 1780 parcel-gilt silver filigree and enamel casket. The rectangular box, which was 6½ inches long, featured a keylocked beveled lid and the exterior was enameled with blue, green, yellow and purple floral details and other decorative motifs against a highly detailed filigree with various patterns. The Qing dynasty casket had two handles and a gilt interior. Also with gilt interior, the other casket, which brought $7,249 (£5,544), was slightly older — made circa 1750. This example was of shaped rectangular form and featured all-over diaper work, fish scale and foliate forms in filigree, creating the

This early Twentieth Century Chinese export silver tray, Shanghai, circa 1920, marked for Shao Ji, retailed by Luen Hing, 14 inches long, was bid to $3,624 (£1,2/1,600).

This 1886 Chinese export standing cup was marked for Quan Ji, retailed by Wang Hing, 9½ inches high, topped off at $4,942 (£2/3,000).

This 11¼-inch-high late Nineteenth or early Twentieth Century Chinese export silver ewer, Canton, circa 1900, marked Ye Bo, retailed by Wang Hing, found a buyer for $3,789 (£2,5/3,500).

image of a central rosette and quatrefoil surrounded by scrolls on the lid. Both boxes were from Canton, though the makers were unknown; yet, according to the catalog, they resemble examples from the “highly important set owned by Catherine The Great (1726-96), which was acquired in Tibet between 1740 and 1750.”

Following the sale, Rogers noted, “One of the makers whose works performed best in the sale were those of the workshop of Tai Chang Long. Previously, little has been published or identified as being by this workshop, but the quality of the cast and applied decoration with the out of the ordinary forms allowed these pieces to excel.”

Surpassing its estimates and becoming one of the most notable highlights in the sale was an early Twentieth Century spit-

Achieving the sale-high price of $8,237 was this late Eighteenth Century Chinese export parcel gilt silver filigree and enamel casket, Canton, circa 1780, 6½ inches long (£5/8,000).

This early Twentieth Century Chinese export silver spittoon or cuspidor bowl, Canton, circa 1920, marked for Tai Chang Long, retailed by Wang Hing, 5½ by 7 inches, went out at $5,601 (£1,5/2,500).

toon or cuspidor bowl, detailed with peacocks among flowering plants and insects. The globular bowl had a flared rim and, on its underside, was marked in Chinese characters for maker Tai Chang Long and retailer Wang Hing. Made in Canton, circa 1920, the “spitting bowl” was bid past its £1,5/2,500 estimate to achieve $5,601 (£4,284).

Rogers added that the Tai Chang Long “workshop produced a form of bowl modeled after the European spittoon, or in Portuguese a cuspidor. These cuspidor bowls are an interesting example of the referencing of European forms within Chi-

nese silversmithing to produce wares for consumption by Western buyers.”

A Republic Period pedestal bowl made by Tai Chang Long circa 1920 was bid past its high estimate to achieve $4,942 (£3,780). This bowl’s pedestal foot was affixed with a screw and its body was cast with tableaus of various flowering plants, including chrysanthemums, irises, magnolias and peonies. Some of the tableaus also featured a heron among or beneath the flora.

Another category that performed well was cups. In a variety of forms and sizes, the “cups amply track the stylistic development of Chinese export silver from the mid Nineteenth Century. Beginning with the very end of the ‘China Trade’ period, which greatly imitated Londonmade silver, to the gradual inclusions of idiosyncratic elements of Chinese silver such as dragon head stems or dense figural Canton type work upon quintessentially Anglo forms, finally to an all over approach uniquely made by Chinese silversmiths around 1900,” according to Rogers.

This 1905 standing cup by An Chang for Luen Wo of Shanghai, Canton and Shanghai, 10½ inches high, went out for $3288 (£1,5/2,500).

The highest-earning cup in the sale was an 1886 standing cup with strap scroll handles by Quan Ji and retailed by Wang Hing. Intricately embossed, the cup was detailed with images of both a figural battle scene and a courtly scene. Making $4,942 (£3,780), the footed cup was engraved on its front shield cartouche “Moor 17 October 1886.” Also notable was a 1905 standing cup from Canton and Shanghai. The gilt-interior cup was raised on a twisted bamboo-form stem and was cast with flowering prunus and birds. Made by An Chang for Luen Wo of Shanghai, the foot’s rim was engraved “Hankow Customs Club Billiard Handicap 1905 cup presented by F. G. Becke Esquire, won by A. F. Schepens.” It went out for $3288 (£2520).

“Another maker of note represented in the sale by four pieces is that of Ye Bo. This maker is known for some exceptional tea sets, and for almost exclusively supplying Wang Hing and Luen Wo,” shared Rogers. The greatest success for a Ye Bo piece in this sale was that of a circa 1900 ewer. The Qing dynasty vessel was of baluster form on a spreading circular foot. Its handle was in the form of a prunus branch, matching its affixed finial and cast details. Other motifs included “iris flowers attended to by 10 storks, some fishing for eels, in the background buildings against a rocky outcrop, all against a textured ground,” as described in the catalog. This late Nineteenth or early Twentieth Century ewer topped off at $3,789 (£2,898).

Prices quoted include the buyer’s premium as reported by the auction house. Chiswick will auction Asian art on November 5-6. For information, www.chiswickauctions.co.uk.

The Museo Nacional Del Prado Installs ‘Rubens’s Workshop’ Next To The Central Gallery

MADRID, SPAIN — European painters of the Early Modern age undertook their professional activities in workshops, making use of numerous collaborators.

The Museo Nacional Del Prado’s latest exhibition, curated by Alejandro Vergara, senior curator of Flemish Painting and Northern Schools at the museum, focuses on that of Peter Paul Rubens (15771640), which was one of the most prolific and successful.

On display in “Rubens’s Workshop” are paintings executed by Rubens himself, works by his assistants and others resulting from different degrees of collaboration between them. The chance to see these works side by side enables visitors to discern their different levels of quality. Although all the works created in Rubens’s workshop were the products of his “brand,” both he and his contemporaries valued the originals painted entirely by his hand more than those produced by the workshop. In order to immerse visitors in the space where Rubens executed his paintings, a curtain leads into the room where, in addition to the paintings that comprise the exhibition, there is a display of tools, materials, furniture and other items characteristic of a painter’s activities—brushes, palettes, canvases, panels, easels and mahlsticks—as well as various elements that evoke the artist himself, such as a cloak and a hat made by the milliner Ana Lamata, inspired by portraits of him.

To further develop the exhibition’s argument and focus in depth on Rubens’s working methods and the use he made of his collaborators, the gallery housing the exhibition also features a video in which the painter Jacobo Alcalde Gibert recreates the process behind the execution of Rubens’s painting “Mercury and Argus” using historical materials and techniques. The video explains how Rubens

painted and how he made use of his studio assistants.

In addition, the book Rubens’s Workshop has been published to accompany the exhibition. It includes texts which explain how paintings of the time were executed in phases by superimposing different layers, so that each one of them determined the effect produced by the next one. This system allowed work to be divided, as one artist could paint some of the layers and then be substituted by another.

To give an idea of the workshop where Rubens painted his pictures (mostly in Antwerp), the museum has put together a recreation based on images of contemporary studios. The main goal of these images was to dignify the painter’s profession by stressing the nobility of his person and enterprise (Rubens painted

his own portrait on several occasions without including any references to his trade). In spite of this, they help viewers imagine what painters’ workplaces looked like. In Johannes Stradanus’ “Color Olivi” and Jan Brueghel the Younger’s “Allegory of Painting” visitors see teams of artists engaged in different tasks ranging from preparing supports, brushes and colors to painting pictures. Workshops were spaces where painters went about their business. They were also places where the wonder of artistic creation took place.

This recreated setting displays materials and objects that evoke Rubens’s life and profession. Many belong to the Museo del Prado; others have been created for this exhibition. The unfinished “Mercury and Argus” was painted by Jacobo Alcalde Gibert.

A Grand Museum Displaying Egypt’s Ancient Treasures Is Opening For A Trial Run

CAIRO

BY AHMED HATEM

(AP)

— The Grand Egyptian Museum will open 12 halls with exhibits about ancient Egypt in its main galleries starting this week in a trial run ahead of the still-unannounced official opening, officials said Tuesday, October 15.

The museum, a mega-project near the famed Giza Pyramids which has cost well over $1 billion so far, will open the halls for 4,000 visitors per day starting Wednesday, October 16, said AlTayeb Abbas, assistant to the minister of antiquities.

The museum has been under construction for more than a decade, and an overall opening date has not yet been set, having been repeatedly delayed for various reasons, including the COVID-19 pandemic. Some sections have been open since 2022 for limited tours.

More than 100,000 artifacts of Egypt’s ancient treasures will be displayed in the world’s largest archaeological museum,

according to the Egyptian state information website.

Abbas told the Associated Press that the trial run starting October 16 would help prepare for the full opening by identifying operational issues, including which parts of the museum might become overcrowded.

The displays across the 12 halls tap into issues related to society, religion and doctrine in ancient Egypt, he added. The open-style halls have been classified by dynasty and historical order, and will showcase thousands of artifacts.

Eras that will be exhibited in the main galleries include the Third Intermediate Period (about 1070-664 BCE), Late Period (664-332 BCE), GraecoRoman Period (332 BCE-395 CE), New Kingdom (1550-1070 BCE), Middle Kingdom (20301650 BCE), and Old Kingdom (2649-2130 BCE). One of the halls displays statues of “Elite of the King,” members of the royal family and high-ranking

officials who worked in the army, priesthood, and the government.

Limited tours have been allowed in parts of the site since late 2022 to test visitors’ experience and the museum’s operational preparedness.

Aude Porcedde, a Canadian tourist who visited several sections, told the AP she was amazed by the museum, adding that Egyptian civilization is important for her and for the world to know more about.

“There is a lot of history and a lot of things we are not aware of, especially coming from the other side of the world, and seeing everything here and learning from the locals has been great,” said Costa Rican tourist Jorge Licano.

The grand staircase, six stories high and with a view of the pyramids, and the commercial area are open to the public, showcasing monuments and artifacts that include sarcophagi and statues. Other parts of

The marble pieces on display remind museum goers that Rubens was one of the foremost scholars and collectors of classical sculpture of his time. Works such as “Arrotino,” figures such as Venus, Hercules, Medusa and various herms appear in many of his paintings. The Roman cinerary urn on view is similar in size and motifs to one that Rubens acquired from a collector in 1618 in exchange for paintings.

This room smells of turpentine, one of the most common odors of early workshops. Rubens once remarked to the physician Théodore Turquet de Mayerne (1573-1655), who sat for him, that, for the colors to be easily spread, it was necessary to mix them with turpentine.

The bust of Philip IV recalled the instructions given by the Spanish court to the Florentine ambassador in 1634 for a sculptor of that city to create a bronze equestrian statue of the king, “after portraits by Pedro Pablo Rubens.” This commission culminated in the statue that now stands in Madrid’s Plaza de Oriente, which was not finally based on a model by Rubens.

The wide-brimmed hat is based on one worn by Rubens in the self-portrait he sent to the Prince of Wales in 1623. Made out of beaver fur and dyed with oak galls and logwood by the milliner Ana Lamata, it evokes the painter’s luxurious style of dress. The sword alludes to the one Rubens displays in several self-portraits. Carrying a sword was a privilege of the nobility. Rubens received permission to do so when the prince and princess who ruled the Spanish Netherlands (presentday Belgium) “girded him with the sword” in 1609.

“Rubens’s Workshop” is on view through February 16. The Museo Nacional del Prado is at Paseo del Prado. For information, www.museodelprado.es/en.

the museum, including the King Tutankhamun treasure collection, are set to open at later dates.

All halls are equipped with advanced technology and feature multimedia presentations to explain the lives of the ancient Egyptians, including its kings, according to Eissa Zidan, director-general of preliminary restoration and antiquities

transfer at the museum.

One of the halls will use virtual reality to explain the history of burial and its development throughout ancient Egypt.

“The museum is not only a place to display antiquities, but it also aims to attract children to learn about ancient Egyptian history ... The museum is a gift to all the world,” Zidan told the AP.

Visitors walk past ancient Egyptian colossal statues along the Grand Staircase at the Grand Egyptian Museum in Giza, Egypt, Tuesday, October 15, 2024. (AP Photo/Khaled Elfiqi).

Image of the exposition “Rubens’s Workshop.” Photo © Museo Nacional del Prado.

Auction Action In New York City

African American Art Showcased In Swann Galleries’ Auction

NEW YORK CITY — On October 3, Swann Auction Galleries’ sale of African American art totaled $3,154,557 and posted six auction records. “We are very happy with the robust sales from the fall sale,” said Nigel Freeman, head of fine art and

director of African American art at Swann. “With a diverse sale spanning 100 years, we saw auction price records and competitive bidding across a wide range of artists — from Albert Alexander Smith to Suzanne Jackson. Now in its 17th year, our African Ameri-

work, which realized $629,000 against a $250/350,000 presale estimate.

Alma Thomas’s 1971 “Atmosphere (Atmospheric Effect No.4),” acrylic and watercolor on Arches paper, realized $149,000. It was shown in a 1971 solo exhibition “Recent Paintings by Alma W. Thomas, Earth and Space Series, 196171,” at Fisk University.

“Hear No Evil, Speak No Evil, See No Evil” got an update in Timothy Washington’s 1970 “Silent Majority,” engraving on aluminum, mounted on a wood panel. The 36-by-48-inch work was bid to $81,250.

can art department continues to bring to auction extraordinary examples of works by sought-after artists.”

The top lot was untitled (Greenwich Village Street, New York), a newly discovered work by Beauford Delaney (1901-1979), which realized $629,000 against a $250/350,000 presale estimate, with much bidding activity on the phones.

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, 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 by Professor Kenneth Lash (1918-1985) and descended in his family. Lash was a poet, essayist, university professor

and chair of art and humanities departments at the University of Northern Iowa. 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.

Another patron of African American art was basketball player Bill Russell (19342022), who was widely consid-

Review by W.A. Demers, Senior Editor

Patron of African American art, Bill Russell, who was widely considered one of the greatest basketball players in the history of the game, acquired Suzanne Jackson’s “There is Something Between Us.” It reached $281,000 in the sale.

With an abstracted group centered around a maternal figure representing strength and protection, Charles Henry Alston’s “Earth Mother (Woman and Two Sons),” achieved $125,000.

ered one of the greatest players in the history of basketball. From his estate came Suzanne Jackson’s (b 1944) “There is Something Between Us,” which reached $281,000, an auction record for the artist. The 1972 acrylic wash on cotton canvas measured 49 by 42 inches in the original artist frame. The painting was acquired from Ankrum Gallery in Los Angeles by Russell in 1972. Jackson, a painter, poet, costume and scenic designer and dancer, imbues her work with figures and recurring symbols built up through multiple layers of acrylic wash on canvas, “creating ethereal paintings in which any firm distinction between depicted elements is dissolved,” according to her website.

A sculpture highlight was Elizabeth Catlett’s (19152012) 2005 “Reclined Figure”

It sold for $62,500.

Lee-Smith involved himself in dance and theater while working at the Playhouse Settlement during the WPA period in Cleveland, an experience that informed this 1940s untitled figurative painting depicting a resting ballet dancer, which settled at $100,000.

Beauford Delaney captured the early 1940s Greenwich Village jazz club scene in this untitled (Greenwich Village Street, New York)

Nelson Stevens’s 1978 portrait of the singer and activist Nina Simone, “Uhuru–Nina,” was acquired directly from the artist and came from a private Springfield, Mass., collection.

Hughie

Photos Courtesy Swann Auction Galleries

in black marble, mounted on a stained-wood base. It had been acquired directly from the artist and kept in two private collections. According to the catalog note, “‘Reclined Figure’ embodied Catlett’s late sculptural work in a beautiful, highly polished black marble.” Catlett stated, “I like to finish sculpture to the maximum beauty attainable from the material from which it is created.”

Alma Thomas’ “Atmosphere (Atmospheric Effect No. 4),” which she did in 1971 in acrylic and watercolor on Arches paper, realized $149,000. The painting, shown in a 1971 solo exhibition “Recent Paintings by Alma W. Thomas, Earth and Space Series, 1961-71,” at Fisk University, was acquired from the Franz Bader Gallery in Washington, DC.

Bid to $125,00 was “Earth Mother (Woman and Two Sons),” by Charles Henry Alston (1907-1977). The painting was a striking, Modernist depiction of a Black family, with the abstracted group centered around a maternal figure who represents strength and protection. The oil on linen canvas from 1967, measuring 50 by 40 inches and signed and dated in oil, had provenance to the estate of the artist; Randall Galleries, New York; G.R. N’Namdi

2005

Gallery, New York; and a private collection in Illinois. It also had an impressive exhibition history.

From a California collection came a 1940s figurative painting by Hughie Lee-Smith (1915-1999), an untitled depiction of a resting ballet dancer, which settled at $100,000. Catalog notes stated that the image’s austere space, cool palette and subtle tonal brushwork showed LeeSmith’s growing sophistication and suggest the stylization and surrealism that characterize his mature work. Lee-Smith involved himself in dance and theater while working at the Playhouse Settlement during the WPA period in Cleveland. Lee-Smith taught art at Karamu House in the late 1930s in return for the full scholarship to the Cleveland School of Art (now the Art Institute of Cleveland) that the Gilpin Players awarded him in 1935. Inspired by the Gilpin Players, a black acting troupe, Lee-Smith also co-founded an inter-racial modern dance troupe there.

A historical piece of note was Albert Alexander Smith’s (1896-1940) “My Bunk,” a circa 1930 oil on linen canvas, measuring 21¼ by 25½ inches, that was inscribed “Sketched in Meuse-Argonne near Clermont, Nov. 4, 1918;”

Albert Alexander Smith’s “My Bunk,” a circa 1930 oil on linen canvas, measuring 21¼ by 25½ inches, was among a trove of artworks recently discovered in a large steamer trunk. Bid to $87,500, it was inscribed “Sketched in MeuseArgonne near Clermont, Nov. 4, 1918,” and depicted Smith’s World War I bunk.

the painting earned $87,500, which was also an artist record. Among a trove of artworks by Smith recently discovered in a large steamer trunk, it depicted Smith’s World War I bunk, recalling his military service in France during the war. According to catalog notes, the trunk belonged to his father, Alfred R. Smith, who worked as his son’s agent in New York. In the 1950s, Alfred Smith shipped this trunk to the Reverend Frederick R. Meyers of Detroit, a fellow World War I veteran and friend of Albert Alexander Smith who had become a minister. The undisturbed trunk was recently purchased from a storage facility and unpacked for the first time 70 years later.

The time-polished adage “Hear No Evil, Speak No Evil, See No Evil” was revived in Timothy Washington’s (b 1946-1970) “Silent Majority,” an engraving on aluminum, mounted on a wood panel, measuring 36 by 48 inches, which was bid to $81,250. An artist record was set for the work that exemplifies Washington’s ground-breaking technique in aluminum. Catalog notes recounted how, at the age of 20, Washington, as a BFA student in the latter part of 1967 at the Chounard Art Institute in Los Angeles, pioneered his innovative technique. He first spray painted the aluminum plates with black enamel paint, and then incised the imagery with an engraving tool.

Additional notable lots included the equally groundbreaking figurative Nelson Stevens 1978 portrait of the singer and activist Nina Simone, which brought an artist record. Acquired directly from the artist, “Uhuru–Nina” showcased Stevens’ bold new style and the radical visual language fostered by his association with the AfriCOBRA collective. The 1978 painting, acrylic on linen canvas and measuring 40 by 40 inches, came from a private Springfield, Mass., collection, which had acquired it directly from the artist, thence by descent to a private New Jersey collection. It sold for $62,500.

An artist record was set for Don McIlvaine’s dynamic evocation of jazz trumpeter Miles Davis. Estimated just $3/5,000, the 1970 oil on canvas mounted to board, measuring 37 by 48 inches and signed and dated “1/20/70,” jumped to $40,000.

John Biggers’ (1924-2001) “King Sarah,” took $47,500, and a run of works by Carrie Mae Weems’ (b 1953) included a print of her 1989, toned-silver-print “High Yella Girl,” which reached $45,000.” Prices given include the buyer’s premium as stated by the auction house. For additional information, 212-254-4710 or www.swanngalleries.com.

Fetching $47,500 was John Biggers’ “King Sarah.”

This dynamic evocation of jazz trumpeter Miles Davis was painted by Chicago’s great mural artist, Don McIlvaine. Estimated just $3/5,000, the 1970 oil on canvas jumped to $40,000.

Carrie Mae Weems’s “High Yella Girl,” brought $45,000.

Elizabeth Catlett’s

“Reclined Figure,” had been acquired directly from the artist and kept in two private collections.

white pine, paint. Collection of Jane and Gerald Katcher.

Chest made for Catarina Zumbro, Bern Township, Berks County, Penn., 1784, white pine and white oak, paint and iron. Private collection.

box, attributed to the Compass

Constructing Identity Along The Great Wagon Road Valley Culture

By Madelia HickMan Ring, editoR

TRAPPE, PENN. — To celebrate the fifth anniversary of Historic Trappe’s Center for Pennsylvania German Studies (CPGS), executive director Lisa Minardi pulled out all the stops, assembling from nearly a dozen private collections a selection that includes many of the “greatest hits” of Pennsylvania German

folk art known. In “Valley Culture: Constructing Identity Along the Great Wagon Road,” various forms of Pennsylvania German folk art — fraktur, boxes and painted furniture — are explored to show how these artifacts of daily life were transformed by German settlers moving west from Perkiomen Valley in Southeastern Pennsylvania to the Shenandoah Valley of Virginia.

Cutwork for John Mayer by Isaac Faust Stiehly (1800–1869), Upper Mahantongo Township, Schuylkill County, Penn., 1841, watercolor on paper. Collection of Robert and Katharine Booth.

Birth and baptismal certificate for Georg Miller, attributed to Friedrich Krebs (1749–1815), Cocalico Township, Lancaster County, Penn., circa 1807, watercolor and ink on laid paper. Historic Trappe, gift of Lisa Minardi, 2022.033.0077.

Curated by Lisa Minardi and Christopher Malone, who recently joined Historic Trappe as its curator, the show received lead support from Downingtown, Penn., auctioneers Pook & Pook, with additional support from Jane and Gerald Katcher, Robert and Katharine Booth, Susan and Steve Babinsky, Steve and Jenifer Smith, the American Folk Art Society, Peggy Pace Duckett and Brett Robbins and Renata Ferrari. Jeffrey S. Evans and Associates sponsored the exhibition’s Tavern Night preview party on September 26. With its mission and devotion

to the study of Pennsylvania German material culture, and semipermanent exhibitions that display every manner of objects, from furniture to ceramics to ironwork and textiles, the CPGS was uniquely positioned to be the ideal venue for the show. Minardi, who had long been hoping to do an exhibition on painted fraktur and painted furniture, noted the timing of the show coincided with some key artifacts becoming objects available to borrow. The exhibition is another feather in the cap of Historic Trappe and CPGS, which received early support from Joan and Victor John-

HISTORIC TRAPPE

Writing sample for Isaac Sauer, attributed to Jacob Strickler (1770–1842), Shenandoah (now Page) County, Va., 1814, watercolor and ink on laid paper. Berman Museum of Art at Ursinus College, PAG2001.030.

son and William K. du Pont, as well as a critical long-term loan partnership with the Dietrich American Foundation.

The study of Pennsylvania German material culture has rich traditions in the scholarship of early American decorative arts and the exhibit not only breaks new ground but provides viewers with new perspectives. Minardi elaborated. “‘Valley Culture’ builds in part on several previous shows, in particular ‘Paint, Pattern & People’ at Winterthur in 2011, but goes into much greater depth and explores additional locales not previously examined in earlier exhibitions. It’s unique in comparing the distinct material culture of six different regions: the Perkiomen Valley, Tulpehocken Valley, Cocalico Valley, Mahantongo Valley, Brothers Valley and Shenandoah Valley. The show moves from southeastern Pennsylvania to central Pennsylvania to western Pennsylvania and then Virginia, following the Great Wagon Road that Pennsylvania German settlers took as they moved west and then south — bringing artifacts and ideas with them. The combination of fraktur and furniture in the exhibition is also rare — most shows focus on one or the other but don’t give equal weight to both.”

The importance of the show cannot be overstated, as suggested by two leading experts in the field: Woodbury, Conn., dealer David A. Schorsch, and Mount Crawford, Va., auctioneer Jeffrey S. Evans, both of whom have been instrumental in handling many of the works in the show.

“This exhibition is very special,” Schorsch said. “I’m not sure I’ve ever seen an assemblage in my life that has the depth and quality that’s in this show. It’s remarkable that Lisa pulled it together in such a short period of time, bringing in some great discoveries and iconic masterpieces and making groupings of things so you can make comparisons. It really is a unique opportunity to see things that are largely privately owned. To see these objects in commonality with other objects by the same makers is incredibly important and changes your perspective. I was at the opening and it’s very impressive

Chest-over-drawers for Daniel Eisz, Berks or Montgomery County, Penn., 1795, tulip poplar, paint, brass, iron. Collection of Jane and Gerald Katcher.

Slide-lid box, probably Lancaster County, Penn., circa 1780–1810,

Dome-top

Artist, Lancaster County, Penn., circa 18001840. Collection of Jane and Gerald Katcher.

Slide-lid box for Joseph Overholser, attributed to Jonas Weber (1810–1876), Lancaster County, Penn., 1851. Private collection.

Hanging cupboard for Abraham Stauffer, attributed to John Drissell (1762–1846), Bucks County, Penn., 1800. Collection of Steve and Jenifer Smith. One of only two known, this hanging cupboard was made for Abraham Stauffer in 1800. It has a small shelf inside with a slot for displaying teaspoons.

to see how much support Lisa and Historic Trappe have received from the local community; I don’t think you can underscore how important that is.”

Evans’s praise was equally effusive. “Lisa and her staff have assembled a breathtaking exhibition of important regional folk art for this show, some of which are on public view for the first time. The proximity of the objects allows a rare opportunity to closely compare and study the ethnocultural aesthetics and symbolism of close-knit communities along the Great Wagon Road. I would argue that the main folk art gallery exhibits more great paint per square foot than any exhibition ever mounted!”

A few revelations occurred to Minardi during the course of pulling the exhibition together, largely afforded by the opportunity to view numerous examples by the same artist or from the same region side by side. Similarities between pieces made by Bucks County woodworker John Drissel (1762-1846) became apparent, while differences between fraktur made by Henrich Otto and three of his sons was a surprise to Minardi. These geographical regions created divisions within the show, beginning with the Perkiomen Valley, which runs through Central Montgomery County, along Perkiomen Creek, a 37-mile tributary. The valley was settled as early as the early 1700s by members of numerous faiths: Lutherans, Reformed, Mennonites, Brethren, Schwenkfelders, Mora-

Small chest for Johannes Zimmerman, attributed to Jonas Weber (1810–1876), Lancaster County, Penn., 1848. Collection of Robert and Katharine Booth.

Birth and baptismal certificate for Barbara Schuder, attributed to Henrich Otto (1733–circa 1799), Mahanoy Township, Northumberland County, Penn., circa 1797, watercolor and ink on laid paper. Collection of Susan and Steve Babinsky. The latest known birth and baptismal certificate attributed to Henrich Otto, a German immigrant, schoolmaster and prolific fraktur artist. He inspired many other artists, including four of his own sons.

vians and Roman Catholics. Notable artifacts from this region include a circa 1805 fraktur of Adam and Eve attributed to Durs Rudy Sr (1766-1843), a Swiss immigrant, fraktur artist and Mennonite teacher. Predating this by more than 40 years is an ink and watercolor alphabet attributed to Mennonite schoolmaster Christopher Dock (d 1771), who is one of the earliest documented fraktur artists. His

1769 pioneering treatise on childhood education provided students with examples to copy and recorded his practice of rewarding good students with “a flower drawn on paper or a bird.” Birds and flowers are also seen as decorative motifs on a blanket chest made for Daniel Eisz in 1795 that is a particularly impressive example of a large group known.

Next to Perkiomen Valley,

Hanging box for Christina Hoffman, Somerset County, Penn., circa 1820–50, 1841, white pine, paint. Collection of Steve and Jenifer Smith. Inscribed on the lid “Chrisdina x Hoffmanin 1841” and on front panel “CH CH,” this box is the only known example to bear a name or initials. Hoffman is a common surname in Somerset County, making it hard to identify a specific individual.

Birth and baptismal certificate for Friedrich Küllman, atributed to Johann Heinrich Schumacher (1745–1832), Brothers Valley Township, Somerset County, Penn., circa 1800. Private collection. Long known only as the “Brothers Valley Artist,” this fraktur artist was recently identified by scholar Jeanie Woods as Johann Heinrich Schumacher.

Drawing of three women, attributed to Samuel Gottschall (1808–1898), Franconia, Montgomery County, Penn., 1835, watercolor and ink on wove paper. Dietrich American Foundation, 7.9.HRD.1791.

“Adam and Eve Were Led Astray by the Snake in Paradise” attributed to Durs Rudy Sr (1766–1843), probably Skippack, Montgomery County, Penn., circa 1805, watercolor and ink on laid paper. Collection of Jane and Gerald Katcher.

Birth and baptismal certificate for Anamaria Otto, signed by William Otto (1761–1841), Schuylkill County, Penn., 1837, watercolor and ink on wove paper. Collection of Susan and Steve Babinsky.

Chest for Catarina Lebenstein, attributed to the Embroidery Artist, Lebanon County, Penn., 1789, tulip poplar, paint, iron. Historic Trappe, promised gift of Dave Holsten. This chest is part of a distinctive group painted by the “Embroidery Artist,” so-called due to the delicate rendering of flowers and lettering. Inspired by Henrich Otto’s fraktur, the chest decorator worked in what is now eastern Lebanon County, where this chest’s owner, Catharina Lebenstein, lived.

Group of three slide-lid boxes by John Drissell (1762–1846), Bucks County, Penn. Private collections. Mennonite craftsman John Drissell is known for his colorful paint-decorated boxes, tape looms and diminutive hanging cupboards. His work is recognizable, with a red ground and distinctive tulips rendered in bold white outlines accented in blue. About two dozen or so objects are known, nine of which were brought together for “Valley Culture.”

Portraits of John and Caterina Bickel, attributed to Jacob Maentel (1778–1863), Jonestown, Lebanon County, Penn., circa 1825, watercolor, ink and pencil on paper.

attributed to Christopher

Group of four trinket boxes, attributed to Jonas Weber (1810–1876), Lancaster County, Penn., 1851. Private collections.

Cocalico Valley in northern Lancaster County encompasses 10 municipalities: the boroughs of Adamstown, Akron, Denver and Ephrata, as well as the townships of East and West Cocalico, Clay, Ephrata, West Earl and a portion of Earl. First settled by the Lenape and Susquehannock people, the area drew immigrants from Switzerland in the early Eighteenth Century. Boxes — both large and small — are among the most well-known forms to survive from this time and region. Some were made by an unidentified artist who used a compass to outline the painted decoration between circa 1820 to circa 1850. Others were embellished with detailed landscapes, including those by Jonas Weber (1810-1876). A birth and baptismal certificate for Georg Miller attributed to prolific fraktur artist Friedrich Krebs (1749-1815) is a tour de force, featuring ani-

Hanging cupboard made for Jacob Strickler, for Johannes Spitler (1774–1837), Shenandoah (now Page) County, Va., circa 1800, yellow pine, paint, brass. Collection of Jane and Gerald Katcher.

mals, birds and cut out pictures of human figures and saints.

The exhibit continues into Tulpehocken Valley, a 322-square mile area that extends across what is now Western Berks and Eastern Lebanon counties and is bounded by the Blue Ridge and South Mountains. Prominent survivors from this area were blanket chests, portraits by Lebanon County itinerant artist Jacob Maentel (1778-1863) and fraktur by Henrich Otto (1733-circa 1799), Friedrich Speyer, Daniel Otto (circa 1770-circa 1820), William Otto (1761-1841) and Jacob Otto (circa 1762-circa 1825).

The Mahantongo Valley is represented by a newly discovered chest from the Knorr family that has never been published and is a standout of the exhibition; it features an unusual use of vibrant colors and the presence of female figures painted on the sides. Scissor-cut pictures — known as scherenschnitte — are appealing survivors and several are featured, including ones by Isaac Faust Stiehly (1800-1869), an itinerant German Reformed minister in Upper Mahantongo Township who was also a stonecutter, millwright, farmer and artist.

The Great Wagon Road turned south in Western Pennsylvania, in Brothers Valley, in what is now Somerset County, north of the Maryland border. Sparsely populated prior to the arrival in the late 1700s by the Mennonites, Quakers and Brethren (also known as German Baptists or Dunkers), surviving objects reflect dazzling displays of shapes and color combinations.

The exhibition reaches a climactic conclusion in Virginia’s Shenandoah Valley, geographically defined by the Allegheny Mountains on the west and the Blue Ridge Mountains on the

corner cabinet,

and

East and encompassing the Virginia counties of Frederick, Clarke, Shenandoah, Warren, Rockingham, Page, Rockbridge and Augusta, as well as Berkeley and Jefferson counties in West Virginia.

Two of the area’s most famous artists — Johannes Spitler (1774–1837) and Jacob Strickler (1770–1842) — are recognized for their bold, occasionally abstract designs and a color palette with predominant reds, whites and blues. A circa 1800 hanging cupboard made for Strickler and attributed to Spitler is the only known example of the form but the leaping stag decoration can be seen on a tall-case clock and other forms of Pennsylvania German folk art. When asked what she wants viewers to take away from the show, Minardi was candid. “My hope is that visitors to this exhibition will be truly inspired by the beauty, creativity and craftsmanship of the objects featured in the show. Each piece is unique and exceptional in its own way. Even those who think they’re familiar with Pennsylvania German folk art will come away with a renewed appreciation for these objects. I also hope that the show will inspire people who know nothing about the topic to fall in love with these this genre — American folk art at its finest.”

“Valley Culture, Constructing Identity Along the Great Wagon Road” will be on view in the Center for Pennsylvania German Studies at Historic Trappe until August 17. A catalog is in production and will be published by the end of the year.

Historic Trappe’s Center for Pennsylvania German Studies is at the Dewees Tavern, at 301 West Street, Trappe, PA 19426. For information, 610-489-7560 or www.historictrappe.org.

or

Chest of drawers, Mahantongo Valley, Northumberland and Schuylkill counties, Penn., 1829, yellow pine, tulip poplar, paint, brass. Collection of the Knorr Family.

Hanging

Somerset County, Penn., circa 1820–50, white pine, paint, glass, iron. Collection of Jane

Gerald Katcher. Within the group of painted boxes and furniture made in Somerset County, this hanging corner cupboard is the only known example of its form.

Collection of Jane and Gerald Katcher.

Alphabet,

Dock (d 1771), Skippack

Salford, Montgomery County, Penn., 1762, ink and watercolor on laid paper. Dietrich American Foundation, 7.9.368a,b.

Zariphes Part II Unreserved Auction Set For November 16 By Hesse

SIDNEY, N.Y. — The second auction of the extensive collection of Dr Constantine Zariphes of Rocky Hill, Conn., will be conducted on Saturday, November 16 by Hesse Auctions. Part II of the Zariphes collection will present still more of the best of the Native American artifacts from this collection, including Seventeenth and Eighteenth Century historic Iroquois artifacts, such as hats, trade silver, trade beads and iron trade items, moccasins, ball head clubs, pipe tomahawks, gunstock clubs and pottery. Another lot of particular interest is a scarce set of 38 Native-made playing cards.

In addition to a large 8-inch silver beaver bearing the mark of the Hudson’s Bay Company, there are a variety of Plains Native beaded and quilled materials, polished stone items, bronze statuary, effigies of various materials, more Plains pipes, projectile points and more. It is a diverse

pottery container

collection representing the many Native American cultures who have peopled the North American continent and who Dr Zariphes highly respected and held in awe.

The Part II Zariphes auction will offer 350 lots to be sold without reserve at the American Legion Hall, 22 Union Street, beginning at 10 am.

Previews will be conducted on

Native American Archaeological & Ethnographic Lifetime Collection

Friday, November 15, from 10 am to 4 pm, and from 8 am on Saturday, November 16.

A catalog is available upon

34th Annual Doll, Bear & Toy Show Comes To Southbury On Oct. 27

SOUTHBURY, CONN. — Connecticut’s oldest running doll show, the 34th Annual Doll, Bear & Toy Show, will bring out the doll community’s dealers, collectors and enthusiasts of all ages on Sunday, October 27, from 10 am to 3 pm.

There will be an array of modern, antique and collectible dolls, bears, miniatures, special fabrics, laces and trims on a scale for doll clothes, antique toys and holiday items.

The club will also offer a raffle of doll-related prizes and a Doll Hospital that specializes in

antique to modern doll repair, along with textile and stuffed toy restorations, limited to minor restringing and repairs on the day of the show.

Admission: $7 Adults, $1 Children (under 12 free) $5 with this article - limit 2.

Note the show's new location is at the Southbury Fire Station, 461 Main Street, located off Interstate I-84 between exits 14 and 15.

For more information, contact club member Lynda Megura 203-240-6832 or email jennylinddollclub@gmail.com.

The Huntington Acquires Rare & Important Artworks

SAN MARINO, CALIF. — The Huntington Library, Art Museum and Botanical Gardens expanded its American, European and Chinese art collections with acquisitions of works by Antoine-François Callet, Richmond Barthé, Helen Pashgian, Gu Qiao, among others.

This year, six acquisitions were selected by The Huntington’s Art Collectors’ Council, which has supported the growth of the permanent collection for the past 30 years, including a scroll by Gu Qiao and a fan by an anonymous Twelfth Century Chinese artist, both of which point to the significance of gardens in literati culture during the Qing and Song dynasties; a painting by Andrew Morton and a decorative vase designed by William De Morgan,

both highlighting the influence of global cultures on Nineteenth Century British art; and sculptures by Harlem Renaissance artist Richmond Barthé and Light and Space movement artist Helen Pashgian that pay homage to Pasadena, Calif., as an important artistic hub for launching and fostering the careers of world-class artists.

A gift from the Ahmanson Foundation, an ambitious, large-scale masterpiece by Eighteenth Century French portraitist AntoineFrançois Callet, the official painter of Louis XVI, is an important addition to The Huntington’s signature portrait collection.

“The generous support of the Art Collectors’ Council and the Ahmanson Foundation has allowed the Art Museum at The

Huntington to bring extraordinary works of art into our permanent collection,” said Christina Nielsen, The Huntington’s Hannah and Russel Kully director of the art museum. “These new additions will delight, educate and inspire visitors and scholars well into the future. They add luster to our already worldrenowned collection, and they add new dimensions to the stories we can tell.”

Some of the new acquisitions will go on display in the art galleries in the coming months, and others will be featured in upcoming special exhibitions at The Huntington.

The Huntington is at 1151 Oxford Road. For information, www.huntington.org or 626-4052100.

request by mail for $20, including postage; or it is available at no cost via email in pdf format.

The auction may also be viewed

online at AuctionZip #2029. Inquiries may be directed to Buzz Hesse at buzzh123@gmail. com or 607-287-5322.

WOODBRIDGE, CT

BARN SALE!

All antiques, Oriental rugs, Orientalia, paintings, bric-a-brac & more

RAIN OR SHINE ALL MUST GO! Friday & Saturday Oct. 25 & 26, 9-1

Rte. 34 To 1031 Racebrook Rd. Sale by Tina H. Swirsky

BREVARD ESTATE SALE

WATERFORD, CT - QUAIL

STREET

October 25,26,27 9am-4pm

50+Vtg & Antq CLOCKS, Collections of: Pocket Watches, Door Stops, Banks, Vtg Games, Toys, Trains, Bar Signs, Ephemera, Uranium Glass, Marbles. Pedal Car, MCM BR & Décor, Stoneware, Antiq Tools, Cast Iron, Safe, Steam Punk, Old Xmas,Jewelry, Fireking, Pr Vict Marble Tops, Concrete Horses, Tools & Gadgets Galore.

No’s @7:30, House Opens @9sharp. Sorry, No Early Birds, Previews or Pricing.

TAG ALONG ESTATE SALES

INCREDIBLE MID CENTURY HOME 10 Indian Trail, Harrison, N.Y. Fri & Sat Nov 1 & 2 10 – 4

Fabulous Vladimir Kagan rd dining table, Dunbar dining chairs, Orange lacquer Tommi Parzinger chest, pr of Wormsley chairs, Sapparito leather sofas, Sappariti stainless/ glass vitrine, Dux Swedish chair, great upholstered benches, stainless / glass coffee tables, lucite lamps, Acrosonic upright piano, iron table & chairs.

MOSES SAWYER oil & lithograph, other paintings & lithos, large amount of modern sculptures, lg Quan Yen, Asian wood carvings, African sculptures, lg Lorre Gulianis sculpture, maps, Asian Bronze burner, lg cloisonne urn, Royal Crown Derby china, Wedgwood china, cut glass de confers, costume jewelry, Dansk serving pieces, electronics, rattan 2 seat sofa, bamboo end tables, white lacquer bedroom set, lots of Vintage Valentino and designer clothes, shoes, bags & gloves.

DIRECTIONS: From South, Hutch to Exit 13A, right on Mamaroneck Ave., Left on Union Ave., left on Indian Trail.

Plains beaded possible bag

Large 8-inch silver beaver

Southwest figural

Transitions

MMuseum Of Fine Arts, Boston, Gets $25 Million Gift From The Wyss Foundation

useum Cobra announced the appointment of Suzanne Wallinga as its new general director. Together with financial director Cor Dinkgreve, Wallinga will form the museum’s new leadership team, ushering in a fresh era for the institution. Her forward-thinking vision and approach will further strengthen the museum’s unwavering commitment to modern and contemporary art. Wallinga is a curator and strategic advisor with a longstanding dedication to the arts. As co-founder and former director of A Tale of a Tub in Rotterdam, she commissioned works by artists such as Shezad Dawood, Ruth Buchanan and Igshaan Adams.

The Andrew Jackson Foundation announced the appointment of Jason R. Zajac as its next president and chief executive officer. Noted for his success with national fundraising programs and board- and volunteer-focused engagements, Zajac will lead the nonprofit organization that manages The Hermitage, the former estate of the seventh US president, as well as its museum, educational and interpretive programming and preservation efforts. Zajac began his tenure on October 2, becoming the seventh professional director of the presidential site.

OBOSTON — The Museum of Fine Arts, Boston (MFA), announced a $25 million gift from the Wyss Foundation that enables the MFA to reenvision its presentation of modern art for the first time in a generation. Prioritizing care, research and display of the museum’s collection, the gift supports two new staff positions for a curator and a conservator and funds a major renovation project that will create four new galleries — 5,665 square feet of space dedicated to the MFA’s holdings of Twentieth Century art. Three new galleries will be located on the first floor of the museum’s Evans Wing, where rotating displays — from single artists to thematic groupings — will showcase modern art in a wide range of media and on a global scale. On the second floor, a new gallery for modern sculpture in the Linde Family Wing for Contemporary Art will form a chronological bridge from the adjacent galleries showcasing the MFA’s renowned Impressionism and PostImpressionism collections — inviting visitors to explore the trajectory of art from the end of the Nineteenth Century to the present.

From left to right: Stuart Davis (American, 1892-1964), “Eye Level,” 1951-54, oil on canvas. The Lane Collection. ©Estate of Stuart Davis / Licensed by VAGA at Artists Rights Society (ARS), NY. Photograph ©Museum of Fine Arts, Boston; Louise Bourgeois (American, 1911-2010), “Pillar,” 1949-50, cast 1990, painted bronze, stainless steel, gift of Michael J. Zinner, MD, in loving memory of Rhonda Zinner. Photograph ©Museum of Fine Arts, Boston; Simone Leigh (American, b 1967), “No Face (Pannier),” 2018, terracotta, graphite, salt fired porcelain, steel, raffia. Robert L. Beal, Enid L. Beal and Bruce A. Beal Acquisition Fund. ©2018 Simone Leigh. All rights reserved. Photograph ©Museum of Fine Arts, Boston.

The MFA’s modern art collection is shared across several curatorial depart-

ments and includes distinctive examples of works in painting, sculpture, drawing and prints by artists such as Jean (Hans) Arp, Louise Bourgeois, Alexander Calder, Alberto Giacometti, Loïs Maillou Jones, Frida Kahlo, Käthe Kollwitz, Piet Mondrian and Pablo Picasso. To steward, strengthen and preserve these holdings, the Wyss gift includes funds for two new staff positions. Claire Howard was recently appointed as the inaugural Hansjörg Wyss curator of Modern art, who will work collaboratively with Ian Alte-

veer, Beal Family chair, department of contemporary art, and with curatorial colleagues across the museum on displays in the new galleries. A search for the inaugural Hansjörg Wyss conservator or associate conservator of Modern and contemporary art, is underway. Designed by Annum Architects, the four renovated galleries will incorporate updates to lighting, windows and climate control systems to improve energy efficiency. A gallery dedicated to Twentieth Century sculpture is expected to open in late spring of 2025, followed by three additional galleries in the fall of 2025. Three of these spaces will be named after Hansjörg Wyss and his late wife, Rosamund Zander. The philanthropist, who is an Honorary MFA Advisor, attended Harvard Business School and established the Wyss Foundation in 1998, providing support in areas, including conservation, economic opportunity, medical advancements, education and the arts. Zander was an artist, best-selling author, environmentalist and lifelong MFA visitor.

The Museum of Fine Arts, Boston, is at 465 Huntington Avenue. For information, 617-267-9300 or www.mfa.org.

Studio Museum In Harlem Set To Inaugurate New Building In 2025

ne of the main challenges for the future of art museums is sustainable development and climate change, said Kiira Miesmaa, the new director of Kiasma Museum of Contemporary Art. Another challenge is the freedom of expression for artists and art museums. Miesmaa took up her post as director in early June. A seasoned professional in the field of art, Miesmaa has a wide network of international contacts. She has extensive experience in collaboration between the commercial sector and museum institutions, and of funding and exhibition curation. The Finnish National Gallery operates three of Finland’s best-known museums: the Ateneum Art Museum, the Museum of Contemporary Art Kiasma and the Sinebrychoff Art Museum.

At the meeting of the Guggenheim Museum Bilbao’s board of trustees earlier this year, Juan Ignacio Vidarte announced his decision of stepping down as director general of the museum over the course of the year, thus culminating a long, fruitful 32-year career since he was appointed director of the consortium for the development of the museum project in 1992, and in 1996 its founding director general. The board of the museum has decided to initiate a process for selecting the next director general, to be led by a specialized international firm with extensive experience in recruiting executives within the artistic and cultural industry. This process is expected to conclude in the fall.

NEW YORK CITY — The Studio Museum in Harlem, N.Y., has announced that it will welcome visitors to its new home on 125th Street in the fall of 2025. The fivestory, 82,000-square-foot building incorporates stacked volumes of various sizes and provides the museum with 50 percent more exhibition space and 60 percent more public space than it previously enjoyed at its longtime home, a factory building occupying the same site. The first exhibition to be conducted in the building — for which Adjaye Associates served as design architect and Cooper Robertson as executive architect — will feature the work of artist, activist and educator Tom Lloyd, whose work appeared in the first-ever show presented by the museum, in a rented Fifth Avenue loft in 1968. “This building represents the collective aspirations of all who have been involved in thinking about what it would mean to make a museum on 125th Street devoted to the work of Black artists,” museum director Thelma Golden told The New York Times

Bowne Family Papers Of Flushing, L.I.

Published By Bowne House Archives

FLUSHING, N.Y. — The Bowne House is presenting the newly digitized Bowne Family Papers of Flushing, L.I. Thanks to a generous grant from the Leon Levy Foundation and the New York Preservation Archives Project, the majority of the museum’s oldest and most historic documents are now available online at www. bownehouse.org/archives-online.

For more than three centuries, Bowne family records dating from the Seventeenth to the Twentieth Centuries were preserved within the four walls of the 1661 Bowne House. Recently the Bowne House Archives published the Papers of John Bowne (1627-1695) and the Papers of Hannah (Feake) Bowne online for the first time. Now, following digitization at the Northeast Document Conserva-

tion Center in Andover, Mass., the Colonial-era collection from which they came is available in its entirety to historians, teachers and students, curators, genealogists and the general public online on demand.

The oldest record in the Bowne House Archives: Grants of land from Robert Field Sr to his sons, 1652

The Bowne Family Papers of Flushing document the social, business and religious activities of the Bowne family and their predominantly Quaker circle of acquaintance. The collection of more than 250 individual records begins in 1652, during the New Netherland period, and extends through the American Revolution. These documents include early deeds of land; correspondence with prominent early Quakers, including George

Fox; records from the Flushing Friends’ Meeting; and a rich miscellany of documents relating to individuals in the Bownes’ broader social networks and extended family.

The Bowne House digital collections are hosted on PastPerfect Online, a fully searchable database accessible from the Bowne House website. This platform allows visitors to search for individual people and/or keywords, download images, share records with others, send comments to the archives and view annotated transcriptions of selected documents. In the coming weeks, Bowne House will add additional items from companion collections, including the Parsons Family Papers, as archival collections available online continue to grow.

The Studio Museum in Harlem’s new building, New York, 2024. Photo: Albert Vecerka/Esto.

November 2024

Michel Landscape Sets Auction Record, Leads Helmuth Stone With $46K Finish

SARASOTA, FLA. — After a short postponement due to Hurricane Milton, Helmuth Stone’s Fine Art, Fine Rugs & Antiques auction was conducted on October 15, offering 351 lots. A lifetime collection of fine rugs from an Atlanta, Ga., estate was featured, alongside fine art pieces by Hunt Slonem, Max Weyl, Jose Velasco, James Whistler and

the Old Masters, as well as porcelain, Moorcroft pottery, sterling silver and more. Leading the sale at three times its $10/15,000 estimate was an oil on canvas painting by Georges Michel, which went to a private collector in Switzerland for $46,800, a new world auction record for the artist. The painting depicted figures and animals

in the foreground of a cloudy landscape. Measuring 20¼ by 27¼ inches unframed, the work recently underwent cleaning. According to the auction catalog, it had also “been authenticated by Michel Schulman and will be added to the catalog raisonn é .” Additional highlights from this sale will be featured in an upcoming issue.

Every Tues Coventry, CT Weston’s....................72

Every Thurs goldengavel.com Golden Gavel 68

Thru 27,Oct aarauctions.com

Absolute Auctions 68

Thru 31, Oct igavelauctions.com Lark Mason 4C

Thru 2, Nov nathanre.com

Begins 2, Nov....www.liveauctioneers.com

26-27, Oct milestoneauctions.com

Nathan Auction 60

Courtney Auction 71

Milestone Auctions 58

27, Oct forsythesauctions.com Forsythe’s Auctions 66

27, Oct Schoharie, NY Michael’s Auction 66

27, Oct steenburgh.com.......................Steenburgh 64

27, Oct tremontauctions.com

27, Oct tremontauctions.com

Tremont Auctions 60

Tremont Auctions 63

30, Oct eldreds.com Eldred’s 72

30, Oct kodner.com Kodner 64

30, Oct ..... litchfieldcountyauctions.com.....Litchfield County Auctions 2

30, Oct Portsmouth, RI Gustave White 6C

31, Oct doyle.com Doyle 67

1, Nov Jewett City, CT Leone’s Auction 2 2, Nov georgecoleauctions.com George Cole 69 2, Nov rolandauctions.com Roland Auctions 59 2-3, Nov groganco.com Grogan & Co 57

27, Oct Southbury, CT 29 2, Nov Stormville, NY 29

3, Nov auctionzip.com......................Joe Mazzone 72 3, Nov clarkeny.com Clarke 62 3, Nov kimballsauction.com Kimballs Auction 70 3, Nov nyshowplace.com Showplace 3C 4, Nov auctionsappraisers.com Winter Associates 65 4, Nov northfieldauctions.com Northfield Auctions 64 6, Nov bodnars.com Bodnar’s 72 6-15, Nov. crockerfarm.com Crocker Farm 8C 7, Nov strawserauctions.com Strawser Auction Group 62 7-8, Nov doyle.com Doyle 5C 8-9, Nov santafeartauction.com Santa Fe Art Auction 2C 8-10, Nov thomastonauction.com..........Thomaston Auction 61 8-10, Nov thomastonauction.com..........Thomaston Auction 66 8-10, Nov thomastonauction.com..........Thomaston Auction 72 9, Nov nadeausauction.com Nadeau’s Auction 49-51 9, Nov thoscornellauctions.com Thos Cornell Galleries 2 9, Nov winfieldauctiongallery.com Winfield Auction Gallery 7C 10, Nov auctionninja.com Farrin’s Auctions 68 12, Nov auctionninja.com SJD Auctions 66 13-14, Nov newenglandauctions.com New England Auctions 54-55 15, Nov Jewett City, CT Leone’s Auction 2 16, Nov rolandauctions.com Roland Auctions 2 16, Nov rolandauctions.com Roland Auctions 13 17, Nov butterscotchauction.com......Butterscotch Auction...........2 17, Nov butterscotchauction.com......Butterscotch Auction.........58 17, Nov finesf.com Fine Estate Inc 56 17, Nov whitesauctions.com White’s Auctions 56 20, Nov bertgallery.com Bert Gallery 68 20, Nov .....litchfieldcountyauctions.com.....Litchfield County Auctions 2 22, Nov guernseys.com Guernsey’s 52 8, Dec tremontauctions.com Tremont Auctions 60 25, Jan fontainesauction.com Fontaine’s Auction 53 Feb 2025 .... litchfieldcountyauctions.com.....Litchfield County Auctions 2 11-12, Apr.......scottsdaleartauction.com Scottsdale Art Auction 60

3, Nov Milford, NH 9 7-10, Nov Atlanta, GA 7 8-10, Nov Boston, MA 21 15-17, Nov Wilmington, DE 5 17, Nov Milford, NH 9 30, Nov-1, Dec.....Columbus, OH 7 1, Dec Milford, NH 9

13, May.................Brimfield, MA 2 8, July Brimfield, MA 2 2, Sept Brimfield, MA 2 Weekly Events Thurs-Sun West Hartford, CT 11 1st Sun Monthly...Alameda, CA 17 Every Sun............Jewett City, CT 2

RCA Victor Radio Sign Tops Davies’ Online Only Estate Auction

BROOKSTON, IND. — On October 15, Davies Auctions conducted an online only Estate and Americana Auction, which featured the estate of Susie Hannum of Terre Haute, Ind., the sign collection of Al Baker of Zionsville, Ind., and some other additions, including early American country furniture and accessories, stoneware, authentic porcelain and tin signs, paintings, political items and holiday items, including Christmas and Halloween. Leading the sale was a two-sided tin RCA Victor Radio five-color flange sign, which earned $3,105, with premium. It included a “His Master’s Voice” logo, featuring Nipper the dog. The 18-by-22-inch sign was in very good condition, with only a few minor scratches. Additional highlights from this sale will be featured in an upcoming issue.

DuMouchelles Bidders Dazzled By Diamond Ring

DETROIT — Between October 9 and 11, DuMouchelles conducted three auctions comprising approximately 1,000 lots of jewelry, art, antiques and collectibles. Achieving the highest price across the three days was a 14.16-carat emerald-cut diamond ring, set in platinum on an adjustable shank. The large central stone was graded SI1 for clarity and J for color and was flanked by two tapered baguette diamonds. Originally purchased circa 1980-90 from Jules R. Schubot Jewelers in Troy, Mich., the ring was bid to $198,400 with buyer’s premium, selling to a Canadian phone

bidder who is a long-standing client with DuMouchelles ($100/200,000). Further highlights from the auctions will be in a future issue.

Hartzell’s Bidders Blown Away By Blenko Decanter

BANGOR, PENN. — Hartzell’s Auction Gallery conducted its Star Wars, Comics and Toys Online Auction on Sunday, October 20. Featuring more than 450 lots from a Glenbrook, Penn., estate, the auction included the titular lots as well as miscellaneous other collectibles and home items. Leading the sale after exceeding its $400/800 estimate and achieving $750 with buyer’s premium was a 23½-inch-tall tangerine glass decanter. Made by William Husted for the Blenko Glass Company in 1959, an example of this handblown decanter in the same color was featured in the company’s 1959 catalog. Further results from the auction will be in an upcoming issue.

Orlinski’s Blue ‘Kong’ Has Wild Rumpus At Kodner Galleries’ Modern Art Auction

ANTIQUES SHOW REVIEWS

(New York City) Empire State Rare Book & Print Fair Returns

(Allentown, Penn.) Allentown Paper Show Brings

(New York City) Fine Objects

(Canaan, N.Y.) Estates & Collections Fill Up Online Sale By Fontaine’s

(Copake, N.Y,) High Wheels & Boneshakers

(Charleston, S.C.) Doyle’s Debuts Charleston Collects

(Los Angeles) Gormé & Lawrence Among Abell’s Prestigious

(Lambertville, N.J.) Landry Pop’s Inaugural

(Branford, Conn.) Giampietro Achieves Largest Bidder

(London)

(New York City) African American Art Showcased

DANIA BEACH, FLA. — Richard Orlinski’s (French, b 1966) limited edition cast blue resin sculpture, “Mick Blue Wild Kong,” brought $40,400, including buyer’s premium, at Kodner Galleries’ October 16 auction featuring jewelry, Modern art and collectibles. Signed and numbered 6/8, the 43¼-inch-high piece was accompanied by an artist-signed certificate of authenticity dated 9/6/2021. Artnet describes Orlinski as a sculptor whose works are designed around the concept of “Born Wild,” in which the artist seeks to transform negative impulses into positive emotions. Working mostly with industrial materials, such as resin and aluminum, his favorite subjects include monumental and decorative animals. For more on this sale, see our upcoming review.

Buffet Painting Blooms To Six Figure Finish For Weschler’s

ROCKVILLE, MD. — On October 18, Weschler’s Auctioneers & Appraisers conducted its Important Works of Art, Furnishings & Decorations auction, which offered 232 lots of fine art, Asian art and antiques, furniture, decorative art, collectibles and firearms, among others. Leading the sale at $138,600, exceeding its $70/90,000 estimate, was an oil on canvas by Bernard Buffet (French, 1928-1999), titled “Ombelles Jaunes.” The painting was signed and dated “’65” and measured 25½ by 21¼ inches. The lot was also accompanied by Bernard Buffet, a book by Maurice Duron (Hachette, Paris, 1964), and a Christmas card from Findlay Galleries, to which the painting had provenance in December of 1965. Additional provenance included the Galerie David & Garnier, Paris, in July of 1965 and a Chevy, Md., trust, from which it was consigned. Additional highlights from this sale will be featured in an upcoming issue.

The Emperor’s Nine Dragon Banner Leads

Lark Mason’s Asian Art Sale Series

NEW YORK CITY — In a series of four Asian art sales running October 1-15, Lark Mason Associates offered more than 950 lots, which realized more than $900,000, including buyer’s premium. The top lot of all four sales was a Chinese imperial yellow ground nine dragon brocaded and kesi silk panel, Qing dynasty, which rose to $78,125, with premium, in the firm’s Chinese and Other Asian Works of Art sale. Cataloged as a “sumptuous display of power,” the textile’s nine dragons represent imperial authority and the yellow color was reserved exclusively for the emperor. Such large and impressive tapestries as this were hung throughout the Forbidden City. Its padding suggests that this banner was likely used during the winter months. Said Lark Mason, “The strength of the four auctions was based upon a large number of attractive, lower to middle-market items. Going into the sale, we determined that the best approach was to offer these in smaller sales rather than a single large sale.” All four sales will be reviewed in a later issue.

Violin

Steiff Teddy Brings Comfort To William Smith Bidders

PLAINFIELD, N.H. — In William Smith Auctions’ October 16 Country Americana sale, a Steiff mohair bear rose well above its $1,5/2,500 estimate to land as the top of the 440 lots offered. Cataloged as being “unusually large,” the 28-inch-high bear was in rich apricot or cinnamon color and had threadsewn claws, a red bandana and a Steiff button. Despite wear, losses and some repairs, the large bear brought $10,000 with buyer’s premium. Additional results, including more Steiff animals, to come in a later issue.

& Piano Duet Machine, Circa 1912, Plays To Top Of Morphy’s Coin-Op Sale

LAS VEGAS — Cataloged as “the most successful automatic violin and piano playing machine ever made,” a Hupfeld Phonoliszt-Violina Piano-Violin Model “A” hit a crescendo of $221,400, including buyer’s premium, on the third day of Morphy’s coin-op and advertising sale, October 17-19. Produced in Leipzig, Germany, circa 1912, the device featured each violin playing one string, with a bow of 1,350 strands of horsehair, and devices to maintain constant tension despite humidity changes. A series of complex mechanisms reproduced violin expression, bowing, vibrato, staccato, accent and other nuances, as well as piano expression, duplicating the playing of accomplished musicians. Ludwig Hupfeld

Brunk Sets Firm Record With $11 Million Printed Constitution Archetype

ASHEVILLE, N.C. —

Three weeks after Hurricane Helene forced Brunk Auctions to delay its auction of a rare and original printed archetype of the Constitution of the United States, it sold for a triumphant $11,070,000, including buyer’s premium, the highest-ever result for the firm. The document, the only known privately owned copy, was signed by secretary of Congress, Charles Thomson and had been passed down through generations at the historic Hayes Plantation in Edenton, N.C. The document, which sold to a private collector bidding on the phone, was the last lot of a nine lot sale of related historical documents that capped two days of auctions in which nearly 650 lots gaveled down, about 90 percent finding new homes. Watch for a more extensive sale review in an upcoming auction.

Kowalski Painting Achieves Six Figures To Secure Top Spot At Rachel Davis

CLEVELAND, OHIO —

On October 19, Rachel Davis Fine Arts conducted its 265th sale, Fine Art at Auction. The sale featured 410 lots of fine art, prominently featuring the art of northeast Ohio. Leading the sale was an oil on board by the Polish artist Alfred Wierusz-Kowalski, titled “The Hunt.” Measuring 19 by 15 inches framed, it had provenance to a private collection from Bath, Ohio. More than doubling its $20/40,000 estimate, the painting, depicting a red-coated man on horseback with hunting dogs in the foreground, galloped to a $128,000 finish, with premium. Additional highlights from this auction will be included in an upcoming issue.

Walter Biggs Oil From Braford Collection Highlights Wooten & Wooten Sale

was quoted, according to catalog notes, as saying, “The most admirable quality of the Phonoliszt-Violina is its soul, thus the most important factor in violin playing has been accomplished to give soul to this self-playing violin.” It was purchased from a restaurant in France and acquired by Jasper Sanfilippo in 1983. The consignor acquired it from Sanfilippo Place de la Musique in 2012 and it was restored by Reblitz Restorations in Colorado Springs, Colo., in 1986, and 2014. Restoration of these machines doesn’t come cheaply. It can cost upwards of $150,000. More marvelous machines and advertising highlights will be reviewed in a later issue.

CAMDEN, S.C. — An oil on canvas by Walter Biggs (1886-1968) titled on verso, “Mamba’s Daughters II” took top honors at Wooten and Wooten’s October 19 sale of the collection of noted decorative arts dealers, Peg and Lloyd Braford of Natural Bridge, Va. One of Peg Braford’s prized possessions, holding a special place in her home, the large work depicted a young woman under the live oaks of Charleston, S.C. It was completed in relation to the publication of a novel by Charleston’s Dubose Heyward and was issued for the Ladies Home Companion in 1928. The 47½-by-42-inch work was signed lower right. Jeremy Wooten said it is staying in Charleston, won by a collector for $25,200, including buyer’s premium. The sale also offered items as well from collections in South Carolina, Georgia and the Eastern Shore of Maryland. A follow-on review will discuss additional highlights.

DEADLINE / PUBLICATION SCHEDULE BELOW

Fine Objects Society Launches With Hands-On SOHO Exhibition & Party

NEW YORK CITY — Anyone worried about the future of the decorative arts will be pleased to know about a new organization called the Fine Objects Society (FOS), which on October 3 made its official launch at an intimate hands-on exhibition at Henrybuilt’s SoHo showroom. About 150 folks of varying age and professional backgrounds attended, with more coming to see the exhibition while it was on view October 4-6.

Titled “Please Touch,” the event featured a few dozen decorative objects lent from several individuals, many of which

are the founding members of the Fine Objects Society: Ben Miller (president), Brenton Grom (treasurer), Sarah Margolis-Pineo (secretary), Bailey Tichenor, Michael Hilal, Jeremy Simien, W. Taylor Thistlethwaite, Oliver Newton, Monica Nelson and Zoë McGee. In addition, Teremok Antiques and Walker Decorative Arts contributed pieces to round out the selection.

Miller, who is the director of research at S.J. Shrubsole and the host of The Magazine Antiques ’ podcast, “Curious Objects,” interrupted the socializing for about five min-

utes to share the mission of the FOS with those in attendance.

“Fundamentally, Fine Objects Society is a community for people who believe in a bright future for the decorative arts, which we know looks different from the past. But, we embrace that change,” Miller said. “We know that upcoming generations have the potential to become truly great collectors and curators and connoisseurs and dealers and interior designers and scholars, and you name it. That potential is extremely strong; the problem is that we’ve lacked the infrastructure necessary to support those people and to foster that interest. We think there’s a path forward for a new golden age of collecting—that’s

what Fine Objects Society is here to do.”

The objects on view were, in his words, meant to emphasize “the central part these things can play in your daily life. They inspire joy and moments of contemplation, every time you pour a cup of tea out of your favorite teapot or light candles in your favorite candlesticks.

They were made for daily life, they were not meant to be put on a pedestal, to be sacred or untouchable, but that doesn’t mean they are not valuable or meaningful or admirable or beautiful.” Before he passed the baton to Grom, he confirmed objects were available for purchase.

Grom, the executive director of the Webb Deane Stevens Museum in Wethersfield,

Conn., followed Miller by thanking him for his vision and making a pitch for membership enrollment.

“In a matter of a few months, we were able to bring together a core team who envisioned this whole thing. Then, that we could populate the guest list tonight with an entire roomful of people is incredibly powerful.” Comparing the enthusiasm he saw to that in the late Nineteenth and early Twentieth Centuries when collecting antiques became popular, Grom noted it was “usually a social experience. The fact that we have this room full of people, many of whom are not necessarily at these certain kinds of events, particularly in this city, bodes well. We’re all just really excited to see where this goes.”

From left, Fine Objects Society president Ben Miller and treasurer, Brenton Grom.

The Henrybuilt space at 12 Crosby Street was the well-attended—and perfect—venue to chat with friends, make new ones and enjoy a beverage or appetizer while examining a selection of loaned objects. Photography by Michael Assis, Terra Orbis.

Recently retired silver expert, Kevin Tierney (left), with FOS president Ben Miller.

At left, TR Revella-Hamilton, previously at the Jenrette Foundation, is the new director of preservation and collections at the Webb Deane Stevens Museum. He stands next to Brandy Culp, chief of staff and curator for architect Steven W. Spandle. Brenton Grom, Fine Objects Society treasurer and executive director of the Webb Deane Stevens Museum, completes the trio.

If Benjamin Miller wanted people to enjoy the objects on hand, it would seem a circa 1890 Indian Raj silver claret jug, lent by Walker Decorative Arts, accomplished that objective. Photography by Michael Assis, Terra Orbis.

A group of four “ordinary” lustre bowls, made by

What was there to examine?

Bailey Tichenor, a principal at Artistoric, supplied several things, including some lustre bowls made in the 1920s for Josiah Wedgwood & Sons, a Belgian circa 1930s stoneware vase made by Charles Catteau for Boch Frères Keramis and a Moonstone vase made for Wedgwood by Keith Murray in the 1930s. Miller pulled from his collection an Etruscan or Roman-inspired Antinous mirror and stand, made by Thomas Lollar and Ricardo Arango in 2022 from welded steel, a dyed and woven rivercane herb basket made in the Southern US around 1910 by an unknown Cherokee weaver and a late Eighteenth Century pewter tankard made in London by Thomas Compton.

Jeremy K. Simien showed a Navajo squash blossom necklace, made in New Mexico circa 1920 and Brigadier General Philip Barbour’s circa 1825 miniature portrait that was attributed to Jean Francois De Vallée; both had provenance to the Peyton Wright Gallery. Guests couldn’t resist picking up and looking through a pair of French circa 1900 plated silver and motherof-pearl opera glasses. Two iron locks—one Eighteenth Century French, the other Eighteenth or Nineteenth Century Japanese — from Teremok Antiques were both sculptural and impressive in their scale, as was an Indian engraved steel push dagger or katar, made in Vijayanagara, South India, circa 1550-1650, that Walker Decorative Arts noted was comparable to one in the collection of the Metropolitan Museum of Art. Also from Walker, an Iznik polychrome pottery spandrel tile fragment, made in Ottoman Turkey around 1580 and a circa 1920 Japanese Ikebana basket.

An American carved wood

crow pull toy and English miniature three-drawer chest were provided by Taylor Thistlethwaite while a few Shaker objects were loaned by Sarah Margolis-Pineo, a LenoxMass.,-based associate at John Keith Russell Antiques and director of programs at Edith Wharton’s The Mount.

The Fine Objects Society will host a series of upcoming events, with members—an annual membership costs just $120—getting priority access to programs, members-only events and an annual members-only retreat. For further information, www.fineobjectssociety.org.

From back to front, Sarah Margolis-Pineo

a a Shaker carrier from Mount Lebanon, N.Y.; a Dresden mesh purse from Zoë McGee, a Boche Frères vase from Artistoric and Ben Miller’s Cherokee herb basket. Photography by

An architectural Nineteenth Century Continental Gothic Revival casket, made of gilt brass, on hand courtesy Teremok Antiques was a shiny object that many people stopped to examine.

Review & Onsite Photos by Madelia Hickman Ring, Editor

Guests at the opening spanned a couple decades in age. The Fine Objects Society hopes to attract members of any vintage. Photography by Michael Assis, Terra Orbis.

Daisy Makeig-Jones (1881-1945) for Josiah Wedgwood & Sons, England, 1920s, bone china with lustre glazes, from Artistoric, Photography by Michael Assis, Terra Orbis.

supplied

Michael Assis, Terra Orbis.

An agate gilt copper snuff box made in Germany in the Eighteenth Century from Teremok Antiques. Photography by Michael Assis, Terra Orbis.

Taylor Thistlethwaite supplied this circa 1810 English mahogany and oak miniature three-drawer chest while Brigadier General Philip Barbour’s circa 1825 miniature portrait attributed to Jean Francois De Vallée was from the collection of Jeremy K. Simien. Photography by Michael Assis, Terra Orbis.

A Dresden mesh purse with silver mount stamped by Whiting and Davis and attributed to Massachusetts, circa 1930, was an extraordinary creation and invited delighted scrutiny. Photography by Michael Assis, Terra Orbis.

Opening night attendees perused a pair of opera glasses from the collection of Jeremy Simien and a miniature chest from Thistlethwaite Americana.

Calendar of Antiques Shows and Flea Markets

November

November 2 Saturday

75-100 EXHIBITORS

2 Wedgewood Drive

Slater Mill Mall

Jewett City, CT

Sun 9 am-4 pm

Manager: Bob & Sue Leone

860-376-3935 or 860-642-6248 Website: www.leoneauctioneers.com

January 14-December 22

STORMVILLE AIRPORT ANTIQUE SHOW & FLEA MARKET

OVER 400 EXHIBITORS

Stormville Airport

428 Route 216

Stormville, NY 12582

Sat 8 am-4 pm

845-221-6561

Website: www.stormvilleairportfleamarket.com

November 2-3

Saturday & Sunday

50 EXHIBITORS

Granite Town Plaza 185 Elm Street

Milford, NH

Sun Early Buying: 6:30-8:30 am - $40

8:30-9:30 am - $5

9:30 am-Noon – Admission Free

Manager: Deb Lerner & Rick Martin

603-506-9848

Website: www.granitestateantiqueshows.com

THE DC BIG FLEA ANTIQUES MARKET

600+ BOOTHS

Dulles Expo Center

4320 Chantilly Shopping Center

Chantilly, VA 20151

Sat 9 am-6 pm & Sun 11 am-5 pm

Manager: D’Amore Promotions

757-430-4735

Website: www.thebigfleamarket.com

November 3

Sunday

Rain Date November 10

ALAMEDA POINT ANTIQUES FAIRE

800 VENDORS

3900 Main Street

Alameda, CA 94501

Sun 6 am-3 pm

Antiques By The Bay, Inc

Owner: Allen Michaan

Manager: Randie Bradley 510-522-7500 ext 3101

Website: www.alamedapointantiquesfaire.com

November 7-10

Thursday-Sunday

SCOTT ANTIQUE MARKETS

November 23-24

Saturday & Sunday

THE SALT CITY HOLIDAY

ANTIQUES SHOW

100 EXHIBITORS

New York State Fairgrounds 581 State Fair Boulevard

Syracuse, NY 13209

Sat 9 am-5 pm & Sun 10 am-5 pm

Manager: Allman Promotions LLC 315-686-5789

Email: allman@gisco.net

Website: www.syracuseantiqueshow.com

November 24

Sunday LIVE ANTIQUE SHOW

Best Western Inn & Conference Center

815 Lafayette Road

Hampton, NH

Sun 10 am-1 pm

Manager: Peter Mavris 207-608-3086

Email: petermavris@gmail.com Website: www.petermavrisantiqueshows.com

November 30-December 1

Saturday & Sunday

America’s Favorite Treasure Hunts!

800-1,200 BOOTHS

Ohio Expo Center 717 East 17th Avenue Columbus, OH 43211

Sat 9 am-6 pm & Sun 10 am-4 pm 740-569-2800 Website: www.scottantiquemarkets.com

December

December 1

Sunday Rain Date December 8

3,500 BOOTHS!

Atlanta Expo Centers

3650 & 3850 Jonesboro Road SE Atlanta, GA 30354

Thurs 10:45 am-6 pm, Fri &

740-569-2800

Website: www.scottantiquemarkets.com

800 VENDORS 3900 Main Street

Alameda, CA 94501

Sun 6 am-3 pm

Antiques By The Bay, Inc

Owner: Allen Michaan Manager: Randie Bradley 510-522-7500 ext 3101 Website:

Calendar of Antiques Shows and Flea Markets 2024

December 12-15

Thursday-Sunday LIVE

SCOTT ANTIQUE MARKETS

America’s Favorite Treasure Hunts!

3,500 BOOTHS!

Atlanta Expo Centers

3650 & 3850 Jonesboro Road SE Atlanta, GA 30354

Thurs 10:45 am-6 pm, Fri & Sat 9 am-6 pm & Sun 10 am-4 pm 740-569-2800

Website: www.scottantiquemarkets.com

December 21-22

Saturday & Sunday LIVE

SCOTT ANTIQUE MARKETS

America’s Favorite Treasure Hunts!

800-1,200 BOOTHS

Ohio Expo Center 717 East 17th Avenue Columbus, OH 43211

Sat 9 am-6 pm & Sun 10 am-4 pm 740-569-2800

Website: www.scottantiquemarkets.com

December

29 Sunday LIVE ANTIQUE

SHOW

Best Western Inn & Conference Center 815 Lafayette Road Hampton, NH

Sun 10 am-1 pm

Manager: Peter Mavris 207-608-3086

Email: petermavris@gmail.com Website: www.petermavrisantiqueshows.com

Throughout the year, as your event dates become firm; Let us help promote your Live & Virtual Shows & Flea Markets.

The calendar will be published the first week of every month and will publicize Shows and Flea Markets one month prior and again the month of the show.

To advertise your event please contact Cindie at 203-426-8036 or cindie@thebee.com

Wadsworth Atheneum Acquires Important 14th Century Italian Artwork

HARTFORD, CONN. — The Wadsworth Atheneum Museum of Art acquired an exceptionally rare Fourteenth Century Italian painting, the “Rasini Crucifixion” (circa 1350), a foundational work of northern Italian art representing the impact of the new painting style set in motion a decade earlier by Giotto and his disciples and a decisive turning point in European art history. While the painter’s identity remains uncertain, the Veronese painter Altichiero (1330–before 1393) is a strong candidate for attribution.

“The Rasini Crucifixion is among the most significant trecento works to come to market in recent decades, and is now the most important early Italian painting in the Wadsworth’s collection,” said Dr. Keith Christiansen, curator emeritus in the Department of European Paintings at the Metropolitan Museum of Art in New York,

“Although it is a work of relatively modest size, it possesses the narrative complexity and emotional impact of a monumental fresco on a chapel wall.”

The artist’s originality in depicting Christ’s torment on the cross is evident in the bold sculptural qualities of the figures, the rocky, nearly abstracted landscape, and a compressed bilateral composition — all highly expressive and iconographically powerful. Christ is positioned in isolation against a gold background, while below each member of the crowded scene has a different emotional reaction. Inventively foreshortened haloes tilt with the positions of the heads bearing them. Counterpoints in color, narrative and form all point to a highly original artist of the first order with a particular gift for dramatic narration.

“Rarely does an early Italian painting of this quality and significance come onto the market. Not only is it a beautiful and deeply affecting object of devotion, but it comes to us in fine condition, and with a distinguished provenance directly from the heirs of Giovanni Rasini, whose family have stewarded the work for the past ninety years,” said Dr Matthew Hargraves, director of the Wadsworth Atheneum Museum of Art. “We are extremely fortunate to have acquired such a great work of art which is now the finest early Italian picture in Hartford.”

Works of this time and place in art history have held a fascination for collectors over the centuries and have been acquired in the US since the mid-1800s, even as trends in collecting come and go. Nicholas Hall, director of the eponymous gallery specializing in Old Master artworks said, “I think it noteworthy that this ‘Crucifixion’ is the first trecento Italian painting acquired by the Wadsworth Atheneum since 1951, when Niccolò di Buonaccorso’s ‘Annunciation’ was purchased by then Director Charles Cunningham.

What makes this work so special is that it is a multifigural narrative scene of tremendous gravitas and dramatic intensity. With its new leadership, the Atheneum has placed itself among the most active museums in the United States when it comes to buying Early Modern European art and has shown exemplary commitment to cultivating its collections, having made a number of exceptional recent acquisitions, as well as caring for its existing masterpieces. It has been an honor to bring the ‘Rasini Crucifixion’ to the Wadsworth.”

The Wadsworth Atheneum’s board of trustees has dedicated the painting to past president and trustee David W. Dangremond in recognition of his tire-

The Master of the Rasini Crucifixion (active Lombardy, mid-14th century) Altichiero? (Italian, 1330-before 1393), “The Rasini Crucifixion,” circa 1350, tempera on Panel. 20½ by 13 inches. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund. Dedicated to David W. Dangremond in gratitude for his decades of devoted service to the Wadsworth Atheneum as a Trustee, Curatorial Committee Chair, and President of the Board of Trustees, 2024.22.1.

less service to the museum over many decades. Art historian, educator and philanthropist, Dangremond’s unparalleled contributions to the Wadsworth Atheneum began in 1992 when he became a trustee, before serving as chair of the museum’s curatorial committee for 12 years. He co-chaired the museum’s Director Search Committee in 2008, and later chaired its very first Ethics Committee. Dangremond has also served on the museum’s Executive, Strategic Planning, Building, Architect Selection, Finance and Austin House committees

He was elected to the post of vice president of the Board in 1998, and served as its President between 2011 and 2015, a period in which he oversaw the total renovation of the museum’s campus of buildings and reinstallation of its collections. In addition to his service to the Wadsworth Atheneum, Dangremond has been a member of the Art History faculty at Trinity College in Hartford and vice president of the Florence Griswold Museum in Old Lyme, Conn. He has also served as a trustee of many other museums and cultural organizations throughout the state, including the Connecticut Historical Society, the Connecticut Humanities Council and the Hill-Stead Museum. Nationally, he serves as a trustee of The Winterthur Museum in Delaware, a member of the National Advisory Board of Mount Vernon in Virginia and as chairman of the Newport Symposium for the Preservation Society of Newport in Rhode Island.

The Wadsworth Atheneum Museum of Art is at 600 Main Street. For information, 860-278-2670 or www.thewadsworth.org.

Compiled by The Bee Publishing Company Newtown, Connecticut

Historic Homes & Properties

Compiled by madelia HiCkman

Mormon Faith Pushes Ahead With Global Temple Building Boom Despite Cool Reception In Las Vegas

b y k en R itte R & H anna H S CH oenbaum

LAS VEGAS (AP) — A historic building boom of big, bright Church of Jesus Christ of Latter-day Saints temples — beacons to the faithful with steeples pointing heavenward around the world — is meeting resistance in some parts of the US, including one place not really known for moderation.

In Las Vegas, just a 30-minute drive from glittery casinos, homeowners in a rural foothills neighborhood complain the size and lighting of a temple that won city approval will forever change the dark-sky environment. Some say they feel trampled and that church and city officials rushed to approve the project.

“I feel like it soured people’s taste, to see how they steamrolled the neighborhood,” said Matthew DeLoe, a homeowner who was active against the temple for months.

Most temples built by the faith have been well received, but the Las Vegas fight mirrors objections over construction plans in Texas, Wyoming and even the religion’s home state of Utah. The battles are forcing the faith known widely as the Mormon church to explain to non-members why the lavish temples are so vital to their beliefs.

Temples draw the faithful closer to God, they say. They are places for the most sacred ceremonies, such as weddings that seal couples for eternity and baptisms to bring deceased family members or others into the fold. Officials insist they consult with locals and carefully design temples for each environment.

“Our goal is to give more members access to these very precious places that are sacred to us and our religion,” said Presiding Bishop Gérald Caussé, a high-ranking official whose duties include overseeing worldwide temple building, during an interview with The Associated Press in Utah in June.

Temples are separate from the church’s 20,000 worldwide meetinghouses, where anyone is welcome and members gather for Sunday services. At temples, only devout members who follow church rules are allowed inside.

Thousands of supporters and vocal opponents packed planning meetings for months before the Las Vegas City Council unanimously approved a three-story temple in July. Larger in size than the Notre Dame Cathedral in Paris, it’s set to have a golden steeple soaring nearly 200 feet (61 meters).

Some want to sue to stop the

project. They insist their concerns have nothing to do with the religious teachings of a sometimes misunderstood faith, which is known for its belief in eternal families, tight-knit congregations and bans on alcohol, coffee, gambling and same-sex relationships.

“I don’t have a problem with the church being there and

than 300 temples built in recent years. “They are clean and beautiful and quiet, as are the people who will frequent these sacred spaces,” said church spokesman Doug Andersen.

New temple projects could be announced at this weekend’s twice-a-year church conference, where congregants of the 17.2-million-member faith gather in person in Salt Lake City or watch online for guidance and church news.

What the faithful won’t hear is how much the elaborately built and lavishly furnished temples cost. The church declines to disclose construction figures, but its investment arm has a portfolio worth nearly $55 billion, according to its most recent US Securities and Exchange Commission disclosures.

The SEC fined the church and its money management arm $5 million in February 2023 for using shell companies to obscure the size of church financial holdings. Scrutiny focused on whether the taxexempt faith sits atop a treasure trove of wealth. The government noted the church was concerned that disclosure of its portfolio would lead to unspecified “negative consequences.”

The temple-building push went into hyperdrive after president Russell M. Nelson became head of the church in January 2018. About half of new temples have been built since then. Nelson, who turned 100 in September, named 15 new temple locations during a conference last April, to bring the total that are announced, open or under construction to 350.

It is the biggest building boom in the history of the faith, said Matt Martinich, a researcher and church member who tracks the growth of the global religion. Construction accelerated after 1980, from 19 temples worldwide to 122 by 2005. The 150th temple opened in Provo, Utah, in 2016. The church says five are due to open before the end of 2024 in Honduras; Brazil; Tooele, Utah; Casper, Wyo.; and Tallahassee, Fla.

Residents note that streetlights and sidewalks are scarce, homes draw water from wells and neighbors ride horses on the dirt shoulders of roads. They worry the temple will bring light pollution, noise and traffic.

It will be Las Vegas’ second temple. The first opened in 1989 about a 30-minute drive across the city.

Bud Stoddard, a regional church leader in the area, said the palatial structure is intended “to be something that when we see it, our minds, our eyes, are immediately drawn heavenward.” He predicted it will be a beacon for the 100,000 church faithful in and around Las Vegas.

“What I believe is that five years from now, this area will be more beautiful, more desirable,” Stoddard said at the site. “This will guarantee a place of quiet, a place of solitude.”

Far from Sin City, a court fight may also loom in the Texas town of Fairview. Mayor Henry Lessner said church representatives promised legal action after the town council last month unanimously rejected plans for a temple that would be among the largest buildings in a community of 11,000 residents. At 154 feet (47 meters), the spire would be taller than the town’s two water towers.

Church officials may argue that not being able to have tall steeples infringes on their right to worship. They point to the federal Religious Land Use & Institutionalized Persons Act that since 2000 has banned the use of zoning and landmarking laws to discriminate against “religious assemblies or institutions.”

Lessner predicted that his town on the edge of the Dallas-Fort Worth metropolitan area might end up as a test case for religious architectural freedom.

“We want to be good neighbors,” Lessner said. “But our community will not be bullied. ‘Don’t Mess with Texas’ includes Fairview.”

none of the neighbors have a problem with the church being there,” said Sue Kristensen, of the Nevada Rural Preservation Alliance. “The size of the building is the problem. It’s blocking everyone’s views of beautiful Lone Mountain. Monstrosity is the best word that I can think of.”

Church officials have another description for the more

Just north of Pittsburgh, the non-member public had a rare opportunity in August to tour a temple, the 196th to be completed. Crystal chandeliers, woodwork and framed paintings of idealized biblical scenes adorned the interior.

The Las Vegas temple site is a large undeveloped lot surrounded by single-family homes, schools and parks. At sunset, it’s enveloped by the shadow of a rocky natural landmark, Lone Mountain.

In Las Vegas, the temple’s outdoor lighting plan was modified and the steeple height was lowered 20 feet (6 meters), before winning City Council approval.

Caussé said the church is willing to make adjustments that are reasonable and do not change the “spiritual value or nature” of the temple.

“It is so important to us to be considered as good neighbors, because a temple is not about contention,” he said. “It has to create connection between people and with the community to be well received.”

Ring

A view of the ongoing Temple Square renovation project, showing one of the north pavilions, is seen on June 4, 2024, in Salt Lake City (AP Photo/Rick Bowmer).

The new Pittsburgh Pennsylvania Temple of the Church of Jesus Christ of Latter-day Saints is seen on August 12, 2024, in Cranberry, Penn (AP Photo/Peter Smith).

Bud Stoddard, a regional church leader, holds a rendering of the temple planned by The Church of Jesus Christ of Latter-day Saints at a site near Las Vegas, May 16, 2024 (AP Photo/Ty ONeil).

Colonial Williamsburg Explores 18th Century Celebrities & The Role Of Printed Images

WILLIAMSBURG, VA. — Before the Eighteenth Century, consumers in the Atlantic world lacked wide access to images of famous people other than monarchs. Broad circulation of engraved portraiture changed all that, and, for the first time, people could put a recognizable likeness or caricature with a name they might have heard or read about in a newspaper. Starting in November, visitors to the DeWitt Wallace Decorative Arts Museum, one of the Art Museums of Colonial Williamsburg, will learn how a market was developed for images of newsworthy or notable writers, actors, criminals, social climbers, athletes, politicians and military figures.

“Celebrity in Print,” which will be on view in the Michael L. and Carolyn C. McNamara Gallery from November 9 through November 8, 2025, will showcase approximately 30 objects that illustrate the impact that celebrities had on material culture. From recognizable people in colonial government to ordinary people who led extraordinary lives, portrait prints featured in the exhibition will be paired with examples of porcelain, silver and archeological fragments that illustrate the impact that celebrities had on material culture

“Like their modern counterparts, Eighteenth Century celebrities were trendsetters,” said Ron Hurst, the foundation’s chief mission officer. “People on both sides of the Atlantic admired the clothing, furnishings and houses of the famous. Those who could afford to do so sought to emulate those fashions, sometimes even referencing the possessions of a particular luminary. “Celebrity in Print” will allow our visitors to get a glimpse of those bygone leading lights.”

Among the more recognizable examples of colonial government notables to be featured in “Celebrity in Print” is Benjamin Franklin (1706-1790). Long

before he became a Revolutionary statesman who helped draft the Declaration of Independence and acted as the first Ambassador to France, he was already well known as a printer, writer, scientist and inventor. In “Benjamin Franklin of Philadelphia,” a mezzotint made in London in 1763 after a work by Mason Chamberlin, several of his most famous experiments are depicted including the lightening rod.

George Washington (1732-1799), perhaps the most well-known figure in the Colonies during the Revolutionary War, was also a person of great interest abroad. English print publishers were quick to capitalize on the public’s interest in news from the war in America.

Although “George Washington, Esqr.,” a mezzotint made in London in 1775, is inscribed “Drawn from life by Alex.r Campbell of Williamsburgh in Virginia,” the artist’s name is fictitious; the real artist’s identity is unknown. Washington wrote to Colonel Joseph Reed to thank him for sending him a copy of the print, noting in January 1776 that, “Mr Campbell whom I never saw to my knowledge, has made a very formidable figure of the Commander-in-Chief, giving him a sufficient portion of terror in his countenance.” The fact that the portrait bore little resemblance to Washington was not important to a public eager to get a look at the American general.

“Celebrity in Print” also explores how print media offered an opportunity for writers, artists and actors to become famous not only for their work but for who they themselves were. Plays, prints and stories of famous actors crossed the Atlantic leading to demand for portraits and descriptions of their authors or actors who made roles famous.

“Just as today we use ever-expanding technologies to shape and share our image, artists, actors, politicians, athletes

and socialites of the past used the printed word and images to expand their influence and fame,” said Katie McKinney, Colonial Williamsburg’s Margaret Beck Pritchard curator of maps and prints. “The word ‘celebrity’ wasn’t used in the modern sense until the Nineteenth Century, but the phenomenon certainly can trace its origins to Eighteenth Century print culture.”

One way in which an author’s literary intellect was portrayed to his audience was through the use of an engraved portrait, or frontispiece, in his or her publication. A highlight of “Celebrity in Print” is an image depicting Charles Ignatius Sancho (circa 1729-1780) in his book, Letters of the late Ignatius Sancho, an African (London, 1782).

Just as today, actors were known not only for the roles they played but also as public figures in their own right. Audiences were interested in their personal lives and backgrounds as well as their performances. These actors were often depicted in prints wearing costumes or striking poses that represented their most famous roles. Portraits of actors, poets and creative figures served as inspiration for ceramic figures, and their appearance appeared on handkerchiefs, snuffboxes and drinking vessels. One example featured in “Celebrity in Print” is of the successful British actor Henry Woodward (1714-1777) who was known for his comedic performances.

Models and fashionable society women are celebrated today, and the same was true in the Eighteenth Century. At midcentury, Elizabeth Gunning was one of the most portraited women in Britain. A likeness of her in mezzotint, “Elizabeth, Dutchess of Hamilton and Argyll,” made in London in 1770 after work by Catherine Read, is also featured in “Celebrity in Print.”

Printed likenesses also helped create celebrity among ordinary people who lead extraordinary lives. One such woman whose mezzotint engraving will be seen in the exhibition is Margaret Patten (d 1739). In Eighteenth Century England, 50 was the threshold of what was considered old age. It is not surprising that Margaret Patten, who claimed to be 136 years old in 1737, attracted attention. News of her long life reached newspapers throughout the English Colonies and people were especially interested in her secret to long life.

In addition to the objects on display, the exhibition is also enhanced by two 65-inch touchscreens that will enable visitors to delve more deeply into the prints on the walls as well as maps and prints that are not on view.

The Art Museums at Colonial Williamsburg are at 301 South Nassau Street. For information, www.colonialwilliamsburg. org or 855-296-6627.

National Museum Of Asian Art Presents ‘Japan In Focus’

WASHINGTON, DC — The Smithsonian’s National Museum of Asian Art presents “Japan in Focus,” a series of exhibitions and public programs that offer visitors new ways to deepen their understanding of Japanese art and culture. What began on October 26 with the unveiling of the reinstalled permanent collection will continue through late 2026 with a selection of exhibitions and programs; the museum invites visitors to discover an array of traditions from the region, from historical and contemporary artistic practices to cultural ceremonies.

Japanese art has been a cornerstone of the National Museum of Asian Art since the museum opened to the public in 1923. The museum was founded with a gift to the nation by Charles Lang Freer of some 9,500 works of art, more than 2,000 of which were Japanese paintings and ceramics as well as Buddhist paintings, metalwork and sculpture. Today, the National Museum of Asian Art has expanded its Japanese collection to more than 15,000 objects spanning four millennia, including paintings, woodblock prints, lacquers, calligraphy and photographs, accounting for nearly one-third of the museum’s permanent collection.

“The founding of our museum

is deeply rooted in Japanese arts and culture — Freer’s first purchase was a painted fan from Japan — and it has continued to be an area of expansion and expertise throughout our history,” said Chase F. Robinson, director of the National Museum of Asian Art. “As our museum enters its second century, we are continuing to build on this strength through dedicated exhibitions and public programs that create new opportunities for visitors to

forge connections through the arts of Japan.”

“Japan in Focus” is anchored by five exhibitions — each of which expand on the museum’s strengths in research, curation and scholarship — spotlighting a distinct method of artmaking: “Striking Objects: Contemporary Japanese Metalwork,” on view through January 18; “The Print Generation,” on view from November 16 to April 27; “Knotted Clay: Raku Ceramics and Tea,” on view through 2026;

“Reasons to Gather: Japanese Tea Practice Unwrapped,” on view from April 12 to April 26 2025 and “Cut+Paste,” which opens June 2025.

The Smithsonian’s National Museum of Asian Art is at 1050 Independence Avenue Southwest. For information, 202-6331000 or www.asia.si.edu.

Seago & Pho Paintings Sail Past Estimates At Ahlers & Ogletree

ATLANTA, GA. — An oil on canvas “Piccadilly Circus” street scene by Edward Brian Seago climbed to $72,600 and an oil on silk laid to Masonite still life painting by Le Pho realized $60,500 at auctions held October 9 and 10 by Ahlers & Ogletree, online and live in the firm’s Atlanta gallery.

The two-day Autumn Fine Estates & Collections auction contained nearly 750 exceptional lots that included fine art by renowned artists, fine watches and other luxury accessories, exquisite Chinese export porcelain and tableware, Eighteenth and Nineteenth Century furniture, hand-woven Persian tex-

Auction Action In Atlanta, Ga

tiles and rugs, Asian arts and decorative accessories. By the time it was done, the auction had totaled just over $859,000.

Edward Seago’s oil on canvas street scene titled “Piccadilly Circus” was the expected top lot of the first day and it more than doubled its $35,000 high estimate. The mid Twentieth Century work was signed lower left and had a gallery label to verso for MacConnal-Mason & Sons, Ltd. It was 20¼ by 26¼ inches without its frame. Seago was an accomplished self-taught artist who worked in watercolors and oils.

The circa 1972 still life by Le Pho titled “Les Dahlias Blancs” (The White Dahlias) was the top earner on day two, besting the $50,000 high estimate by more than $10,000. The painting was signed lower right, titled and inscribed “New York, Wally F. No. 44” to verso. It measured 19¾ by 25½ inches. Le Pho was born in Vietnam and studied at

the École des Beaux-Arts of Hanoi and Paris.

The auction attracted around 30-40 people to the gallery in person each day. Internet bidding was provided by LiveAuctioneers. com, Invaluable.com and Ahlers & Ogletree’s own platform, bid. AandOauctions.com. There were 38 phone bidders, and 78 absentee bids recorded.

Starting with day one, a charming late Nineteenth Century pair of 18K yellow gold, carved bone and polychrome enamel opera glasses by George Le Sache for Tiffany & Co. (American, 1837), with retail marks to the frame, rose to $15,730, tripling its $5,000 high estimate.

An untitled “Mother Pulling on Baby’s Stockings” graphite pencil and chalk on watermarked wove paper signed by the artist Mary Cassatt (American, 18441926), which measured 13¼ by 10¼ inches without a frame, blew past its $2,000 high estimate to finish at $10,285.

An unsigned oil on canvas “Portrait of a Gentleman,” attributed

to Thomas Sully (American, 1783-1872), measuring 32 inches by 27 inches, was pictured in the book Southern Interiors of Charleston, South Carolina by Narcissa G. Chamberlain; a copy accompanied the lot. It sold for $7,260, surpassing its $4,000 high estimate.

A ladies’ Rolex Oyster perpetual date stainless steel, 18K yellow gold and diamond bezel wristwatch with a perpetual jeweled movement, black dial and 10 round brilliant diamond markers weighing 0.20 total carats — graded SI for clarity — with newer boxes and tags, realized $4,235.

A two-sided oil on board painting by William Samuel Horton (American, 1865-1936), with one side titled “The Demolition of the House of Degas” (1909) and the other side titled “Mountainside Houses in Landscape” (circa 1909), both works artist signed to the lower left, changed hands for $3,025.

On day two, a Nineteenth Century untitled oil on canvas por-

trait of a terrier by Rosa Bonheur (French, 1822-1899), unsigned, inscribed “Vente Rose Bonheur 1900,” with a paper label to verso for Robert Frank Paintings & Drawings, measuring 12¾ by 8¾ inches, reached $15,730.

One of the real sleepers of the sale was a Chinese figural bronze candlestick mounted as a lamp, cast in the form of a bearded pot-bellied man with draped tassels, standing on a base, apparently unmarked. It carried a modest estimate of $300/500 but ended up selling for $3,630.

A pair of square corner Chinese rosewood cabinets in the Ming taste, each having double paneled doors opening to reveal two shelves, plus two drawers above double trap doors, riding on square legs, unmarked and measuring 71 inches tall by 54¾ inches wide, also found a new owner for $3,630.

A pair of Japanned black and gold lacquered tiered side tables by Maison Jansen (French, founded 1880), having a shaped top tier with a figural chinoiserie scene and acorn finials, over bamboo motif supports, a floral motif second tier and raised on bamboo motif legs made $3,328.

A pair of small-scale Spanish green velvet and leather tub chairs, each with side pockets and pleated skirts, manufactured around 1930 and apparently unmarked, knocked down for $2,722.

Ahlers & Ogletree will close out 2024 with three more auctions: a one-day Winter Fine Estates & Collections Auction on Thursday, November 14; a Modern Art & Design Auction on Wednesday, December 4; and their annual Winter Jewelry & Design Accessories Auction on Thursday, December 5. All three auctions will be held live and online. Prices quoted include buyer’s premium as reported by the auction house. For more information, www.aandoauctions.com or 404-869-2478.

This mid Twentieth Century oil on canvas street scene by Edward Brian Seago (United Kingdom, 1910-1974), titled “Piccadilly Circus,” signed lower left, 20¼ by 26¼ inches earned $72,600.

This circa 1972 oil on silk laid to Masonite board still life by Le Pho (Vietnamese and French, 1907-2001), titled “Les Dahlias Blancs (The White Dahlias),” signed lower right, bloomed to $60,500.

Zooming in on a $15,730 finish was this late Nineteenth Century pair of 18K yellow gold, carved bone and polychrome enamel opera glasses by George Le Sache (French, 1849-circa 1920) for Tiffany & Company.

One of the sleepers of the sale was this Chinese figural bronze candlestick mounted as a lamp, cast in the form of a bearded potbellied man with draped tassels. The unmarked lamp lit up at $3,630.

This ladies’ Rolex Oyster perpetual date stainless steel, 18K yellow gold and diamond bezel wristwatch with a perpetual jeweled movement, black dial and 10 round brilliant diamond markers ticked to $4,235.

Fine Art, Silver, Posters & More At Winter Associates Nov. 4

PLAINVILLE, CONN. — A game fish portrait “Eastern Brook Trout” by Samuel A. Kilbourne, a predominant figure in the world of natural history art and artist/publisher of Game Fishes of the United States (1879) was discovered in a western Connecticut home. The painting is a highlight of Winter Associates’ November 4 auction, which starts at 5:30 pm. Kilbourne’s highly detailed and lifelike renderings “elegantly convey the drama of sport fishing and highlights the exploration and celebration of nature in American art.” A second Connecticut collector’s many paintings include three oils of Devil’s Hopyard near the collector’s home, one by Margaret Miller Cooper and two by Harry Leslie Hoffman depicting waterfall vistas. From the same collection come other New England landscapes such as “Housatonic Valley” by Louis Aston Knight; “North Rock, Noank” by Lars Thorsen; “The Marsh in Autumn” by Stapleton Kearns; “Stream in Autumn” by William Merritt Post; and “Mystic, CT” by Marie Tiffany; as well as watercolors by Winfield Scott Clime, Yngve Soderberg and Lou Bonamarte.

The owner of the Kilbourne trout furnished his home with Americana, many naïve portraits and landscapes, cobaltdecorated stoneware and redware, two Eighteenth Century linen presses from New London County, Conn., other Eighteenth Century pieces, including two blanket chests and tall chest, painted cabinet and cupboard, whirligigs, clocks, scrimshaw, flying witch on

Samuel A. Kilbourne (1836-1881), “Eastern Brook Trout,” oil, 7½ inches high ($1,5/3,000).

Tiffany & Co. makers sterling silver vase, 1914, directorship of John C. Moore II, 14 inches high ($500-$1,000).

broom weathervane, etc. Also to be sold, is a hand-carved Eighteenth Century Pennsylvania cradle from a New England institution, illustrated in Wallace Nutting’s Furniture Treasury (no. 1568). Reproductions of early designs include an Eldred Wheeler highboy and queen-sized tester bed, as well as an unusual pair of oblong Margolis tea tables with baluster galleries. Foreign silver has offerings, including a Russian tankard, gilt silver enameled boxes, Asian Ganesha and Lakshmi figures, etc. Other silver ranges from the Nineteenth Century to modern day like many other pieces in the sale, including a Tiffany & Co. makers 14-inch-high Art Nouveau vase, a Georg Jensen no. 177 sauceboat, Tiffany & Co. silver and enamel clown figures and whimsical monkey sugar

Howard Finster (American, 1916-2001), “Coca Cola Bottle, no. 22,878,” 1992, marker and paint on board, 34 inches high ($1,5/3,000).

with charming vignettes, small collection of Russian gilt silver with enamel decoration, along with early American and other pieces by well-known makers Ball, Black & Co., Gorham, Mauser, Kirk & Sons, etc.

Howard Finster, a Twentieth Century Outsider artist with a 6th grade education, will appeal to collectors of folk art.

A self-proclaimed visionary, Finster painted primitive images of angels, figures and buildings interwoven with Bib-

lical quotes or sermon snippets as a way for his congregation to remember the teachings. His art gained the public’s attention, and in 1984-85 Finster was commissioned by both R.E.M and Talking Heads to create custom art for their album covers. Other Modern art in the sale includes two acrylics of a New York City blizzard by Nina Maguire, an Impressionistic oil of mining landscape by Allen Tucker, oil still life by Elsie Manville, silver gelatin photograph “Photographie Aerienne” of postWorld War II Paris, Sister Mary Corita Kent 1967 “Wet & Wild” screenprint, large abstracts by Nancy Van Deren and Roger Howrigan, a pair of Knoll armchairs and contemporary Chinese oils.

Other attention-getting objects to be sold include a Paul Hankar 1894 advertising poster, a circa 1871 presentation phrenology skull, more than 40 ceramic and glass inkwells, Hermes silk shawls, beaded purses, more than 100 antique and vintage hatpins; bronze figures, including several with Art Deco motifs; pietra dura; miniature portraits; clocks; walking sticks; and other collectibles. Winter Associates’ auction catalog is available online at www.auctionsappraisers.com as of Friday, October 25. Winter Associates is in central Connecticut at 21 Cooke Street. Previews are Friday, November 1, from noon to 4 pm; Sunday, November 3, from 2 to 4 pm; and Monday, November 4, from noon to 5 pm. Previewers are welcome at other times by appointment. For information, 860-793-0288.

Auctions At Showplace To Present 280 Lots Of Fine & Decorative Arts

NEW YORK CITY — Auctions at Showplace will present a collection of fine and decorative arts, antiques and furniture in its upcoming auction on Sunday, November 3. The auction features 280 lots sourced directly from prominent estates and collections across New York City and the surrounding metropolitan area. This diverse selection offers an exciting opportunity for collectors and art enthusiasts to acquire highly sought-after works.

A key highlight of the sale is a collection of works by leading Israeli School artists, including Arieh Aroch, Joseph Zaritsky, Lea Nikel, Naftali Bezem and many more. These artists, whose works are well-known for their pioneering role in modern Israeli art, are represented by significant pieces that are sure to captivate collectors. Among the standout offerings is Aroch’s 1962 painting “Tzakpar,” an oil on canvas that was exhibited at the prestigious 32nd Venice Biennale. Also of note are Joseph Zaritsky’s abstract compositions, including his “Abstract Composition” and “Flowers in the Window,” both oils on canvas. These pieces, like many in the auction, are being sold to benefit the Jewish Federations of North America.

Additional highlights from the Israeli School include Nikel’s abstract compositions, Nahum Guttman’s striking watercolor works and Marcel Janco’s tapestries. Many of these works are

representative of the artists’ influential contributions to Israeli modern art, with pieces that have been shown in renowned galleries and exhibitions around the world.

The auction also features a selection of international contemporary and modern art. Noteworthy pieces include works by

James Rosenquist, Hunt Slonem, Philip Pearlstein and Roy Lichtenstein, as well as a diverse array of sculptures, paintings, ceramics and mixed-media artworks. Of particular interest is Bruno Voigt’s 1932 mixed media piece titled “Resignation,” which comes with extensive exhibition history at institutions like the Jewish Museum in New York and the Berlinische Galerie Museum.

In addition to the fine art offerings, collectors will be delighted by a wide array of decorative arts, jewelry and furniture. Standout furniture lots include iconic pieces by designers such as Eero Saarinen, Le Corbusier and Stickley. Featured among these is a Steinway & Sons baby grand piano Model M and a Nicolas-Louis Mariette Louis XV commode from the Eighteenth Century. Decorative arts include a selection of art glass, porcelain, silver and ceramics, with featured pieces by noted artists such as Toshiko Takaezu, Vivika and Otto Heino and Warren MacKenzie. Also of note is a Tiffany & Co. Hampton pattern sterling silver flatware service for 12, a must-see for silver collectors. Auctions at Showplace is at 40 West 25th Street.

In-person preview starts 10 days prior to the auction Online catalog: www.auctions.nyshowplace.com

For information, 212-633-6063 or email auctions@showplace.com.

Arieh Aroch “Tzakpar,” oil on canvas, 1962 ($80/120,000).

Nicolas-Louis Mariette Louis XV kingwood commode ($2/4,000).

Joseph Zaritsky “Abstract Composition,” oil on canvas ($30/50,000).

tongs, Gorham “ChantillyGrand” 11-inch footed center bowl, Codman & Codman Art Nouveau repousse child’s bowl

First Major Museum Survey Of Tacita Dean’s Work In

HOUSTON — The Menil Collection opens “Tacita Dean: Blind Folly,” the first major museum survey in the United States of work by British European visual artist Tacita Dean (b 1965) who lives and works in Berlin and Los Angeles. The exhibition, organized in close collaboration with Dean, spotlights her careerdefining approach to creating art through unmediated and chance-based drawing processes across a variety of mediums, from film to printmaking. “Tacita Dean: Blind Folly” is on view at the Menil through April 19.

The show will include new works inspired by the artist’s time in Houston, some following her residency at the Menil’s Cy Twombly Gallery, alongside Dean’s monumental blackboard drawings and groups of rarely shown drawings from her studio on paper, found postcards and albumen photographs. A separate gallery will present a rotating group of her 16mm films.

Rebecca Rabinow, director, The Menil Collection, said, “The Menil is proud to present this exhibition of work by Tacita Dean, an artist we deeply admire. Over the past seven years, during multiple visits to the Menil, Tacita and curator Michelle White have developed an extraordinarily beautiful and thought-provoking exhibition. I am particularly intrigued by the many ways in which Tacita has drawn inspiration from the Menil’s permanent collection and green spaces, as well as from Houston more generally.”

Michelle White, senior curator, The Menil Collection, said, “Weaving together an array of subjects, from classical mythological narratives to natural phenomena, Tacita Dean’s work presents a poignant and urgent reflection on experience in an increasingly virtual and ecologically volatile world.

The United States At The Menil Collection

“Beauty” by Tacita Dean, 2006, gouache on black and white fibre-based photograph mounted on paper, 141 by 147 inches. San Francisco Museum of Modern Art; Purchase through a gift of Raoul Kennedy in memory of Patricia A. Kennedy. © Tacita Dean. Photo: Tenari Tuatagaloa.

In this moment, she shows us the power of analogue through the act of drawing.”

“Blind Folly,” the show’s title, reflects Dean’s desire to let the behavior of her mediums dictate the results of her work. For the artist, the playful and old-fashioned phrase connoting foolishness, “blind folly,” represents the role chance and fate play in the creative act. The artist’s process, a route without a predetermined end, results in a work of art that brings this journey to the fore.

The show opens with the artist’s new chalk drawings on found pieces of worn green slates: “Blind Folly,” “Blind and dusty,” “Green Folly,” “Wind-worms” and “Hooker’s Green.” The snaking, spiraling forms, some she made by pulling her finger through the dust, reference her time in Texas in early 2024 — her engagement with Cy Twombly’s works and her experience of the total solar eclipse.

The Menil’s exhibition continues with Dean’s large-scale “portraits” of trees. Dean has photographed trees since 2006, and in these drawings on photographic prints, she surrounds images of blossoming cherry trees, jacarandas and ancient oaks with handdrawn marks. Drawn with a brush or pencil, these isolate the powerful, ancient, or fragile trees. According to Dean, the small lines connect her to the past. As she worked, she was delighted by her “proximity to even the tiniest and most inaccessible of branches on these mighty trees.”

The second gallery presents monumental chalk drawings on blackboards, with subjects highlighting the flux of the natural world. Through a virtuosic application of chalk lines and erasures, Dean draws mountains, icebergs, clouds and other geological and celestial formations that are constantly evolving. “The Montafon Letter” (2017) and

“The Wreck of Hope” (2022), each 24 feet across, show geological forms that are in a perpetual state of change, and like Dean’s unfixed chalk lines, they teeter on the brink of erasure.

The exhibition spotlights another ongoing form in the artist’s work: clouds. “Delfern Tondo” (2024) was inspired by the swift movement of clouds in the Houston sky. Dean laid on her back in the grass outside of the museum to photograph the action. In the chalk drawing, which maintains a distinctive looking-up vantage point, the moon sinks below a central cluster of billowing forms, ringed by wispy white marks that emulate the effect of beams of moonlight refracting off the clouds.

“Blind Folly” also includes many examples of drawings on found surfaces, such as vintage postcards, Victorian-era locomotive windows and sepia-toned albumen prints that have a patina of age. Displayed alongside these works are Dean’s photographs of Cy Twombly’s studio in Gaeta, Italy, and the print series “More or Less” (2022). The title comes from Twombly’s response to a question Dean asked him. After recalling his anxieties around making art as a young artist, he said that his concerned mother would ask why he continued to paint. Dean then asked, “Does painting make you happy now?” He responded: “more or less.”

Concluding the show is a small postcard titled “Found Cy, Houston” (2024). The artist came across it while visiting an antique shop in Houston’s Heights neighborhood in a drawer of vintage postcards labeled “Interesting/Unusual—Foreign—Disaster.” At random, she pulled out an early Twentieth Century example depicting rows of wooden beams on the dirt ground, a vanished house torn

from its foundation by a strong Midwestern wind. The word “cyclone” was written in white pigment with a brush in neat cursive. The sender’s script looked quite like Dean’s handwriting and the word “cyclone” was written in such a way that the first two letters of the word stood out: “Cy.” The artist had “found Cy,” continuing this story of chance encounters that is told through Dean’s work in “Blind Folly.”

A separate gallery presents a selection of Dean’s 16mm films. On rotation will be The Green Ray (2001), The Friar’s Doodle (2009), Edwin Parker (2011) and her newest film, Claes Oldenburg draws Blueberry Pie (2023).

Published in conjunction with the exhibition’s opening in October 2024 is Blind Folly or How Tacita Dean Draws by Michelle White, senior curator, The Menil Collection. The book considers the unique and timely implications of how Dean draws. Covering more than three decades of work, White proposes that the way the artist approaches drawing is an indeterminate journey of fate and folly, chance and medium. The text, illustrated with more than 40 images, is based on seven years of conversation between the author and the artist.

In early 2025, for the 30th anniversary of the opening of the Menil Collection’s Cy Twombly Gallery, the museum will publish an artist book by Dean. Why Cy will be filled with hypnotic and colorful images conceived by the artist following a residency at the gallery and in response to the gestural and linear exuberance of the paintings on view by late American artist Cy Twombly.

The Menil Collection is at 1533 Sul Ross Street. For information, www.menil.org or 713-525-9400.

Discover ‘A Feast For The Eyes’ At The Hudson River Museum

YONKERS, N.Y. — Still-life paintings are deceptively straightforward. They depict groups of objects as their main subject matter — flowers, food, drink and the vessels that contain them — yet they are often imbued with symbolic meaning and offer a new way of looking at everyday items. “A Feast for the Eyes,” on view through December 1, invites attendees to revel in lush expressions of beauty, sustenance and abundance spanning 150 years.

As a category of art, still life traces its lineage to Seventeenth Century Europe, particularly the Dutch Old Masters, whose paintings of consumable and material comforts were highly valued by their clientele. Artists not only showed off their skill in capturing light, shadow and color of the surfaces and forms in their arrangements, but often included objects and details imbued with symbolic meaning. For example, nature’s bounty of cut flowers, perhaps beginning to wilt, or perishable food, attracting insects, signified wealth but also hinted at mortality and decay. In the Nineteenth Century many American artists, often from or trained in Europe, spe-

cialized in still life. Among the earliest paintings in the exhibition, the two masterful works by Severin Roesen demonstrate the role of still life in articulating visual and sensual pleasure in consumer goods in mid Nineteenth Century America. In the early Twentieth Century, Albert Herter painted the gladioli he grew in his garden, creating the illusion of cut stems inside a glass vase, reminiscent of French flower paintings he would have seen when he lived in Paris.

In reaction to non-representational art movements popular in the aftermath of World War II, many painters in the 1970s returned to realism and explored still life. Photoreal-

“Fruit and Watermelon, Wine and Champagne” by Severin Roesen (American, b Prussia, circa 1815–circa 1872), circa 1850–70, oil on canvas. Collection of the Hudson River Museum. Gift of Shelley and Felice Bergman, 2023 (2023.15.1). Photo: Steven Paneccasio.

ists such as Audrey Flack painted directly from photos of their compositions, striving to create the appearance, not of everyday life, but of a photograph. They shared earlier still life artists’ fascination with the play of light on reflective surfaces, which offered the opportunity to display the mastery of their craft. Jane Wilson concentrated instead on a painterly luminosity, softening sharp edges and simplifying forms. Overall, these examples of a time-honored genre ask us to consider the meanings conveyed by ordinary and extraordinary objects, when seen through the keen eyes and produced with the brushwielding hands of artists of different times and sensibilities.

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

2024 Annual Fall Americana and Chinese Sale

Saturday November 9, 2024, at 10am

Chinese

Decorative

figures, weathervanes, Tony Hunt Sr. carved mask, always with Redware collection, Transferware, Eastern carved items, many folk items, and more!

Period Furnishings: highlighted

Carpets

by 60 + lots

Chinese

porcelain, lots of Japanese Bronze, Meissen, K.P.M., Staffordshire

century French Tent Stitch needlework valences, and more!

Provenances: Estate of Linda B

500+ lot Sale To include Fine Art and Works on Paper: highlighted by works by Thomas Benjamin Kennington, Guy Carleton Wiggins, C. E. Porter, Edward Moran, Ammi Philips, Victor De Grailly, Henry Collins Bispham, Lewis Paul Dessar, Olive Parker Black, Max Kuehne, Charles Napier Kennedy, John Frederick Herring, three John James Audubon prints, William Trost Richards, Albrecht Bernhard Uhle, Cesare Dell’Acqua, William Stephen Coleman, Gustave Dore, along with 10 framed Chinese pieces, 8 early drawings/old master pieces, and 10 Persian manuscripts, and more!

Porcelain and Furnishing: highlighted

of

porcelain to include Chinese export, Rose Medallion, Rose Famille, Canton, many period pieces, early polychrome temple pieces, bronze figures, Chinoiserie decorated cabinets, champleve floor lamps, pair of hardwood tables, hardwood alter table, and more!

accessories highlighted by 34 lots of silver featuring Tiffany, Russian silver, Cartier, Georgian, Coin Silver, three early carved Eagle Pediments, early majolica, five Flemish polychrome figures, satsuma

by a Pair of George III J and W, Cory Celestial and Terrestrial globes, a 19th century life sized artist mannequin figure, federal Samuel McIntire server, South Carolina federal mahogany drop leaf table, a full suit of German Gothic armor, along with Federal, Chippendale, Geroge III, Queen Anne, William and Mary period furnishings and more!

and Textiles: highlighted by two Kirman Oriental room size carpets, two room sized Serapi’s, Heriz room size carpets, Caucasian throw rugs and runners, pair of 18th

Sonnenblick, Farmington, CT, Estate of Hale Gabrielson Lamont – Havers, Sudbury, MA, Estate of Allen Tromblay, Wilbraham, MA, Collection from Washington, CT, Estate of M’liss Crotty Chapman, Westerly, RI, Estate of Donald J. Lurito, Cambridge, MA, Estate of Cyril Urda, Torrington, CT, Estate of Dina Recanati 944 5th Ave, NY

Guy Carleton Wiggins, 9” x 11” Carousel Life Size

Serapi, 9’ x 11’ 4”

Worcester 32 Pieces

Period German Gothic Armor, Ht: 69”

George III Celestial & Terrestrial, Ht: 41”

Famille Verte, Vase Ht: 16”

C.E. Porter, 1 of 2

Federal, South Carolina Dropleaf

Baluster Temple Jars, Ht: 17 ½”

Sterling, 1 of 34 lots

Chinese, Ht: 12” Chinese, 18th C

Satsuma, 1 of 5 lots

Chinese Polychrome, Ht: 39”

Ht: 3 1/4 inches, Lg: 7 1/4“

Federal Mahogany, Ht: 41 ¾”

Victor De Grailly O/C, 17” x 23” Monumental Sterling, Dia: 12”

Ht: 54”, 1 of 2

John Frederick Herring, 28” x 36”

Attrib. to John Singleton Copley, 30” x 25”

Kerman 4’ 7” x 6’ 9”

Attrib. to Ammi Phillips O/C, 32” x 26 1/2”

American School, 20” x 30”

John James Audubon, 1 of 3

C. 1575, 1 of 4 Maps

Thomas Benjamin Kennington, 36” x 24”

Manner of John Daggett, Ht:52”

Attrib. Sebastian Vrancx, 26” x 22”

Serapi, 9’4” x 12’

After James Seymour, 32” x 47”

Attrib. Frans Hals, 10” x 8”

17th C, 31” x 26”

Max Kuhne, 24” x 30”

C.E. Keuser Silver, Ht: 17”

English Porter’s ChairHt. 66”

Argand Bronze Lamps, Ht: 19”

Federal, Lg:74 ½”

Chinese Export, 12” x 15 1/2”

Bobo Mask, Ht: 61”

Italo Scanga, Ht: 24”

Lacquer Queen Anne, Ht: 74 ½”

Timothy Chandler, 1 of 4 Case Clocks

17th C, 1 of 3

Part of Folk Collection

19th C Mannequin, Ht: 58”

Solar Timepiece Mantel Clock, Ht: 27”

Chinese Export, 1 of 10 lots

Chinese Porcelain, Lg: 52”

Meissen - Ht:4 ½”

Chippendale Oxbow, Wd: 39”

Molded Weathervane, Lg: 31”

Federal, Ht: 79”

Chippendale, Ht: 91”

Tony Hunt Sr, Ht:13”

Chinese Hardwood, 18th C

Japanese Bronze, Lg: 11”

Our Nation’s history... at auction!

Guernsey’s to present significant artifacts November 22nd

Abraham Lincoln’s Flag and Portraits: The funeral train that carried Lincoln’s coffin was viewed by 7 million mourners as it traveled from Washington to Philadelphia, New York City and on to its final resting place in Illinois. Draping the coffin was this 8-foot long, 37-star American Flag. The subject of extensive research, the Flag is being sold on behalf of the Museum of Southern History which was recently forced to close due to contaminants discovered in the ground on which it was built. The Flag will be providing funding for the acquisition of a new structure. A study of Lincoln by F. B. Carpenter (Six Months at the White House) and James Burns poignant Death of Abraham Lincoln are two of the important paintings in this sale.

Daniel Chester French’s Lincoln Memorial and Minute Man Maquettes: Universally considered amongst America’s foremost sculptors, in 1887 Mr. French created the figure of the Minute Man, the Revolutionary War farmer-turned-soldier who fought for our young Nation’s independence. Standing proudly in the center of Concord, Massachusetts, that figure has often been used in times of conflict to raise funds for US Savings and War Bonds. Decades later, French was given the honor of creating one of our most recognized, and be loved, sculptural masterpiecesWashington’s Lincoln Memorial. Remarkably, this auction will contain the plaster studies for both of these landmark works of art.

TRemarkably, those two historic flags, along with the bespoke 49Star Presidential seal - are in this important sale.

Bachrach Studio Presidential Portraits: In the genre of Portrait Photography, no name rivals that of the Bachrach Studio which, since photographically capturing Lincoln at Gettysburg, went on to become the Studio of choice of American Presidents, world leaders and other figures of fame and accomplishment. For the first time - ever - vintage prints from the Bachrach archive are being presented at auction. In addition to Presidential portraits, they include images of family gatherings and special events such as the wedding portrait of Jacqueline Kennedy. Also to be sold: the actual Studio Chair in which many prominent individuals sat for their portraits.

he two 49-Star Oval Office Flags and the only 49-Star Presidential Seal: When General Dwight D. Eisenhower became President in 1953, our Nation had 48 states. But even then, rumors circulated aboutthe admission of Alaska and Hawaii to the Union. In January, 1959, talk became fact as Alaska became our 49th State. Knowing, however, that Hawaii was soon to follow, the US Government decided against producing a 49-Star Flag given that a 50-Star Flag was on the horizon. But for Eisenhower’s Oval Office, a singular - and quite beautiful - Flag was created to stand behind the President’s desk adjacent to his 49-Star Presidential Flag.

obert Berks’ Sculptural Busts: The late sculptor Robert Berks (National Portrait Gallery, Kennedy Center, etc.) was widely known for his powerful Impressionist busts of prominent figures, including many American Presidents. The first sculptor to have his work on the cover of Time Magazine, Berks’ likeness of President Kennedy can be seen behind the podium of many White House presentations. On behalf of his Estate, a number of Berks’ original Presidential busts will be proudly presented at this event.

AImpression

locket containing George Washington’s hair has recently been added to the auction. Should you wish to discuss the possible addition of your treasured, historic item, please contact Guernsey’s.

The Auction: November 22, 3 pm

The Preview: November 20 & 21, noon to 8pm

Preview & Auction: Arader Galleries, 1016 Madison Avenue, NYC

Online bidding: LiveAuctioneers.com

Information / phone bidding: Guernsey’s

G UERNSEY’S

�� NEW ENGLAND AUCTIONS

WEDNESDAY NOVEMBER 13TH

EARLY ENGLISH CERAMICS, PERUVIAN ART

IN PERSON PREVIEW:

NOVEMBER 4TH-8TH &__ 11TH

9:30AM -3:30PM NOVEMBER 12TH 9:30 AM -2:00PM AND EUROPEAN

COLLECTION

�� NEW ENGLAND AUCTIONS

THURSDAY NOVEMBER 14TH

AN ECLECTIC COLLECTION OF ASIAN, MODERN, JEWELRY AND SILVER

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. IN PERSON PREVIEW: NOVEMBER 4TH-8TH &.._ IITH 9:30AM -3:30PM NOVEMBER 12TH 9:30 AM -2:00PM

SUNDAY…....NOVEMBER 17, 2024….11:00AM FALL ESTATES, FINE ART & ANTIQUES

Previews: Thurs. 11/14, Fri. 11/15 & Sat. 11/16…....12pm-5pm or by Appointment….Sunday November 17th.....9:00am to 11am Start In-House, On-Line, Phone & Absentee Gallery at 19 Jackson St., Middleboro, MA

19th/20th C American & European Paintings, Private Art Collection, Sterling, Coins, Jewelry, Bronzes, Native American/Navajo, 19th C J. W. Forbes Coin Silver Tea Pot, Rare Early Telephones, Black Forest Bear Umbrella/Hall Tree, TaxidermyLeopard&ZebraRugs,MechanicalOwlBank,StainedGlassWindows, Japanese Woodblocks, Brush Paintings & Netsukes, Lighting, Clocks, National Cash Register #312, 19th C German Automaton, Nigeria Yoruba Ceremonial Beaded Tunic, Chinese Lacquer Sewing Box/contents, 1759 Sevres Covered Urn, Rookwood Vase, SEG Plate, Indian Postcards, early Baseball Cards, Rugs, etc.

(508) 947-9281...(508)

Alfred Thompson Bricher (1837-1908)

Alfred S. Mira (1900-1981)

David Johnson (1827-1908)

Cigar Store Indian 85”

19th C Abel Stowell

Navajo Rug

C 1759 Sevres

Bell Box 1877

Thomas Watson’s Thumper Telephone

Williams Coffin 1878

Phelps Wall Switch

National Bell Blake, Berliner, Edison Carbon Transmitters

19th C Manner of F. M. Chase

Eugen Ferner Silver 1962

Charles Napier Henry (UK 1841-1917)

French Poster Hand Painted

Raphael Soyer (1899-1987)

C. F. Daubigny (1817-1878)

19th C German Automaton Forbes

Fall Auction Season

36. Percival Leonard Rosseau, Seascape, Martha’s Vineyard, 1920, oil, 25 3/4 x 32 1/4 in., $10,000–15,000 · 47. Paul Starrett Sample, The Horse Show, S. Woodstock, Vermont ca. 1949, oil, 31 3/8 x 44 1/8 in., $50,000–70,000 · 16. Theodore Earl Butler, Village au fond de l’etang 1907, oil, 25 3/4 x 32 in., $30,000–50,000 83 Platinum and 8.26 cts. Diamond Ring, $50,000–80,000 46. Gold, 1.58 cts. Burmese Ruby, and Diamond Ring, $4,000–8,000 20 Tiffany & Co. Platinum, Emerald, and Diamond Brooch, $20,000–40,000 · 44 Platinum, 1.56 cts. Kashmir Sapphire, and Diamond Ring, $15,000–20,000 15 J. E. Caldwell & Co. Platinum and 4.02 cts. Diamond Ring, 40,000–60,000 · 66 George Inness, Old Mill, Montclair, NJ (Ramapo Hills), 1872, oil, 23 3/8 x 35 5/16 in., $30,000–50,000 · 40 Walt Kuhn, Ogunquit, Maine (Houses on the Sound), ca. 1909-1911, oil, 33 x 40 in., $100,000–150,000 93 Clyde Aspevig, Bitterroot Valley, oil, 50 x 60 in., $20,000 - 40,000

E. LAWSON (American, 1873-1939) Oil on canvas

$8,000-12,000

REMBRANDT (Dutch, 1606-1669) Abraham and Isaac

$5,000-7,000

14k GOLD & 3-DIAMOND RING with GIA REPORT

$175,000-225,000

L.A. KNIGHT (American, 1879-1948) The Garden Path

$3,000-5,000

19th C. AMERICAN TROMP-L’OEIL PAINTING

$700-900

MARY NIMMO MORAN (American 1842-1899) Cherry Blossoms | $3,000-4,000

WILLIAM M. HART (American, 1823-1894) Oil on canvas | $3,000-4,000

14k WHITE GOLD & DIAMOND EARRINGS

$1,000-1,500

C.DONZEL (French, 1824-1889) Elegantes au Bord de la Riviere

$2,000-3,000

PROUDLY PRESENTS

FREDERICK SEXTON [1 of 11 works by the artist] $1,500-2,500

Fall Premier Firearms Two Day Sale!!

Sat & Sun, October 26 & 27 at 10:00am

We are offering a vast arry of sporting shotguns and rifles from all the major makers to include Winchester, Ah Fox, Remington, Browning, Parker Brothers, Ithaca, Marlin, etc. A vast offering of miltary weapons dating from the Rev War through Viet Nam including European and Nazi arms along with numerous Colt 1911-A1’s, Lugers, Sauer, Walther, Radom’s, Japanese, Rock Island, Soviet STS, and loaded with Civil War weapons of all makes, etc. Numerous American handguns to include engraved Colts, Smith & Wesson, Remington, and others. Western era highlights include Merwin & Hulbert, Colt Burgess, Henry Rifle, 1886 Winchester, 1873 and much more. There is some great cutlery the likes of Randall, early Bowie knive, custom knives, case & much more. A spectacular two-day auction with numerous museum quality items.

NOVEMBER ESTATES SALE – PART I

Saturday,

Bill and Rob Roland

95: Modernist Faux Parchment Bench by Baker

93 Mid-Century Modern-Style Occasional Table

91: Antique French Empire Round Center Table

89: Set of 4 Upholstered Armchairs

88: Mid-Century Leather Upholstered Club Chair

83: Late 19th C. Porcelain Plaque Inset Table

82: Hand-Painted Slat-Form Bench

75: Contemporary Maitland Smith Curio Cabinet

52: Antique American Empire Small Pier Mirror

500: Antique English Queen Anne Corner Cabinet

5: Arts & Crafts 3-Panel Floor Screen

489: Set of 4 Modern Chrome Leather Chairs

459: Vintage Venetian Painted 5-Drawer Commode

143: Gocha JOKHADZE Still Life - Oil Painting

134: Roberta CROWN Abstract - Oil Painting

127: Florence HOFFECKER Still Life - Oil Painting

119: Early 20th C. Pietra Dura Marble Top Table

Steiff mohair donkey 1904

Metal locomotive weathervane

Vintage bakelite Mah Jongg set 1 of 9 Metal articulated dragon

Napoleonic prisioner of war carved box Jimmy Lee Sudduth

Rita Dee root and branch equine sculptureIsabel Vazquez, o/c 1972 Stephen Huneck oil on board Arthur Jones Cabinet painting

Windmill Whirligig

2023 JAMES E. BUTTERSWORTH oil on spruce wood panel, signed

2071 FREDERIC CHURCH, Kaaterskill Clove, oil on board

3139 LINDEN FREDERICK (1 of 2) Study for Night Neighbors 2007 18th c. Bronze Marine Chronometer by Tobias of London

Moqueur,

Bronze numbered 16/25 2024 Early 19th c. British Naval Woolsey, Frame (1 of 5) 2021 Circa 1900 Sternboard by H.B. Simmons of Lincolnville ME.

c. Sand Paper Painting (1 of 15)

3179

STEVE LINDSAY Lifesized Lobsterman Painting Buoys 3342 PAUL SUTTMAN

Life, bronze sculpture, dated '68

high (1 of 2) 2341 18th c. Italian Mirror Back Sconces

Viennese Mantel Clock

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

NORTHFIELD, MA 01360 MONDAY NOV. 4 at 6pm

www.northfieldauctions.com or auctionzip.com, #8349 EVERYONE WELCOME! Fresh Estate Material & Unadvertized Surprizes! Furniture; ACCS; Toys;

ca.1845 Letter holders

Toys, including Schuco

Militaria

John William Theiss, Calif.Dewey, Remember the Maine Lamp

Cast Stone, Spring Garden Statue

Over 440 Antique Stickpin collection

LIVE AUCTION

November 4th at 5:30PM

19th C. to Modern Paintings, Prints & Photographs; Tiffany, Jensen, Russian & early American Silver; American Furniture inc. 18th /19th C. New London County & Painted, 20th C. Eldred Wheeler, Margolis; Stoneware, Redware & Scrimshaw; Objet d’art ; Inkwells; Vintage Textiles, Hatpins, Purses & Accessories; Bronze Sculptures; Asian; Glass; Space Exploration, etc. View catalog online as of October 25th at www.AuctionsAppraisers.com

Previews:

Friday, Nov. 1st, 12-4 pm

Sunday, Nov. 3rd, 2-4 pm

Monday, Nov. 4th, 12-5pm or by appointment.

Louis Aston Knight, 15” h.

Samuel A. Kilbourne, oil, 7” h.

Westchiloff, oil, 22” h.

Tiffany, Arezzo, Sorini stlg figures, largest: 5 ½” h.

Americana

Signed Margolis tea tables

19th C. American oils

Eldred Wheeler, cherry

Scrimshaw

Finster, 34” h.

18th/ 19th C. American

Phrenology c. 1871

Nutting Treasury No. 1568

19th C. Chinese enamel opium set, 12” w.

Silver Ganesha & Lakshmi figures, 6” h.

NASA autographs, etc.

Chinese Export Famille Rose, platter: 18” l.

Sister Kent, 1967 screenprint

Doisneau, 1950, s.g.

August Ludecke-Cleve, 15” h.

Russian silver c. 1870

Two Russian gilt silver enamel, 3” l.

19th C. Viennese

Tiffany monkey stlg

1914 Tiffany, 14” h.

Paul Hankar 1894 litho

Naïve oil; 18th C. New England

40+ inkwells

Stlg childs bowl w/ vignettes; Gorham Chantilly-Grand 11”

Americana

18th C. New London County

Antiques & Science Fiction Cover Art Auction

SCIENCE FICTION COVER PART PAINTINGS: over 30 including artists Ken Kelly, Richard Corben, Boris Vallejo, Don Maitz, Barclay Shaw, Julia Glen, John Conrad Berkey, Richard Hescox, Laurence Schwinger, etc. STICKLEY & ARTS & CRAFTS MISSION FURNITURE: L & J.G. Stickley Morris chair, L & J.G. Stickley magazine stand, Stickley Brothers bookcase, Gustav Stickley H back armchair, Gustav Stickley tabouret, Arts & Crafts stands, book racks, etc. Audi Stickley contemporary mousehole table, Audi Stickley magazine stand, Audi Stickley oval table, Audi Stickley file cabinet, arts & crafts copper items, etc.

POTTERY: Rookwood including several artist signed vases, Weller signed vase, Arts & Crafts pottery including Weller, Peters & Reed vase, Fulper, Moorecraft, Tepliz, etc.

PAINTINGS, ARTWORK & BRONZES: including George Elbert Burr watercolor, E.T. Hurley oil on canvas painting, Jeanette Swing Lewis oil on board, E.T. Hurley Arts & Crats covered bowl, E.T. Hurley bronze dish, Frans Bergman bronzes, Ferdinand Pautrot bronze, etc.

LAMPS: Tiffany Studios Aladdin bronze floor lamp Overlay floor lamp attributed to Hendel, large Jefferson reverse painted lamp, Bradley & Hubbard overlay lamp, Quezal chandeliers, slag glass lamps, Arts & Crafts lamps, etc.

ART GLASS: including Tiffany, Steuben, Galle vase, Quezal silver overlay vase, Lalique, Loetz type vases, Mt. Washington, etc. SILVER: including Castle Pattern ewer, George Jensen, silver pieces, etc.

Antique & Collectibles Auction Bid

PREVIEWS:

FURN: Empire Mahog 2-Door Linen Chest, 3-Door Armoire Period QA Mahog 3-Drawer Hunt Board, Rosewood 1-Drawer Over 1-Door Cabinet, Biedermeier 5-Drawer Flame Birch Chest, Tiger & Birdseye Maple 4-Drawer Chest, Set 8 Tiger Maple Chairs, Faux Bamboo Mirrored Door Armoire, 17th/18thc Carved & Inlaid Oak 2-Door Armoire, 18th/19thc Rococo Arch W/Gilt Wrought Sconces, Sheraton Walnut Game Table, Hepplewhite Mahog Game Table, Sheraton Wash Stands, Prim Red Blanket Box, Prim Red Bench, Louis XVI Marble Top Tilt Top Table, Fr 19thc Inlaid Walnut Dressing Table, Pr 19thc Ebonized Ped Based Stands W/Ormolu Mounts, Pr Fr Side Chairs Fr Uphols Settee, Fr Gilt Child’s Chair, 3-Tier Wrought & Gilt Wood Stand 6’8”H x 49”W x 14”D, Pr Empire Settees, Etc... VICTORIAN: Marble Top Walnut Server Marble Top Walnut Center Table, Etc... MISSION: Stickley Cherry 52” Diam Red Base Dining Table w/2 Leaves & 8 Chairs, Vintage Stickley Bros Oak Rocker, Vintage Mission Oak Rocker, Stickley Oak Coffee Table, Etc... ASIAN: Indo Carved: Elephant Sculpture 48”H x 52”W x 21”D, Elephant Ped Base Table 28.5”H x 34”Diam W/4 Elephant Chairs - Each Carved From A Tree Trunk, 32.5”H x 25.5”W x 20”D, Elaborately Carved Chinese 8pc Parlor SetSofa 44”H x 6’w x 23”D, 4 Arm Chairs, 42”H x 24.5”w x 21”D, Coffee Table 22”H x 51”W x 27”D & Pr End Stands, 19.5”H x 22”W x 17.5”D, 19thc 6-Fold Screen 6’10H x 17”w Each Panel, Thai Elaborately Carved & Giltwood Bed 48.5”H x 41”W x 77”D, Chinese Ebonized & Giltwood Carved Altar Table 54”H x 60.5”W x 15”D, Pr Slab Top Tables 20”H x 46”W x 40”D, Chinese Bench 19”H x 19”H x 5’W x 13.5”D, Chinese Red Lacquer 5-Fold Screen 70”H x 18”W Each Panel, Teak Blanket Box, W/Rosewood inlay, Rosewood Blanket Box, Chinese Red Lacquer Folding Armchair, Indo-Carved Totem 7’11”H x 19.5”W - Carved From A Tree Trunk, Etc... OTHER: Wrought 3-Tier Console Demi-Lune Table, Oak Extension Table 47” Diam W/2 Leaves. Ralph Lauren Sofa 7’5” & Loveseat 5’5”, 2-Drawer Pine Drop-Leaf Table 7’8”H x 39.5”W Open, 6 Oak Chairs, Lane Pine 2-Drawer Console Table, 30’s Carved Mahog Demi-Lune Table, Pr Tobey Handmade Mahog Beds 53.5”H x 43.5”W, Nicholas & Stone Maple Bench, 54” Diam Mahog Ped Base Table W/Inlay & 1 Leaf, Ethan Allen Uphols Settee, Mahog 8-Drawer Dresser, Giltwood Base Marble Top Coffee Table 17.5”H x 35.5” Diam, Pr Beacon Hill Coll Mahog 2-Drawer End Stands, 2 Italian Leather Uphols Armchairs, Etc...

MISC: 10-Drawer Metal Flat File, Etc...

PATIO & GARDEN: Teak Folding Desk Lounge Chair, Wrought Base Table 28”H x 30.5”Diam, Carved Tree Trunk Bench 31”H x 42”W x 29”D, Cast Stone Pedestal 58”H x 16.5”Sq, Etc... CAST CEMENT: 4 Seasons Figures On Pedestals 41”H x 12.5”Sq Each, Granite Stone Sculpture - Spinning Stone 22”H x 22”W x 14”D, Cast Cement Figure W/Symbols 33”H , Cast Cement Figure W/

-

Grapes 30”, 2 Cast Cement Benches 17.5”H x 38”W x 13.5”D & 17.5”H x 47”W x 13.5”D, Pr Cast Cement Octagonal Planters 11.5”H x 15.5” Diam, Pr Cast Cement Reclining Lions 10.5”H x 7”W x 16.5”D, Cast Cement Pagoda 49”H x 20”Diam, Granite House 24”H x 19.5”W x 17”D, Granite Bird Bath 17”H x 20.5” Diam W/Covers 6”H x 14” Diam Cast Cement Planter 14”H x 25”W x 15”D, Terra Cotta Urn 34”H x 20” Diam, Etc... SMALLS: Cambodian Khmir Bronze Prajnaparamita 4’H x 25”W, Thai Carved Ptd & Giltwood Kneeling Scribe W/Glass Inlay 38.5”H x 14.5”W x 28”D, Thai Wooden Temple 3’2”H x 48.5”W x 48.5”D, Thai Bronze Bell 40’H x 17” Diam, Carved Wood Seated Buddha 27”H x 14”W, Lg Coll Thai & Chinese Masks - Wooden, Lacquer, Etc... 10 Lg Carved Wooden Thai Figures, Lg Coll Lacquer - Bxs, Containers, Baskets, Etc... Carved Soap Stone, Coll Bells, Chinese Bxd 24pc Mini Instruments Made Of Semi-Precious Stone W/Stands, Carved Jade Running Horse Group 6”H x 9.5”W x 2.5”D, Carved Amethyst Owl On Amethyst Crystal Base 5”H x 5.5”W x 3.5”D, Carved Stone Parrot W/Sodalite Crest On Mineral Rock Specimen Base9.75”H x 5.5”W x 4.5”D, 9 Indo Tapestries High Relief W/Metal Thread, Beadwork & Embroidery, Tibetan Thangka 54”H x 37.5”W, 2 Embroidered Kimonos, Elaborate Thai Puppets, Chinese Scrolls, Etc... 5 Vintage Cast Iron Mechanical Banks - Trick Dog, William Tell, Artillery Bank, Punch & Judy & Speaking Dog, Etc... Vict polished Slate & Marble Mantel Clock 20.5”H x 20”W x 5.25”D, Franklin Mint L’ Epee Liberty Crystal Case French Clock W/ Music Box 13.25”H x 7.5”W x 6.5”D, Etc... LIGHTING: Brass & Crystal 6-Arm Chandelier 28”H x 24” Diam, Tiffany Style Leaded Shade Table Lamp 26”H x 20” Diam, Acid Etched La Rochere Boudior Lamp 13.5”H x 7” Diam, Wrought Table Lamp W/Acid Etched Shades 20.25”H x 13”W, Etc... Pr Old Paris Porcelain Vases 10”H x 9”W x 4.5”D, Porcelain Violin 22”H x 7.5”W x 3.5”D, Williams Sonoma 12 Days Of Christmas Plates 8.5”Diam & Napkins, 12 Chinese Bowls 11”Diam & 14.5” Diam Charger, Taylor Tunnicliffe & Co Staffordshire Bowl 5.5”H x 9.5” Diam W/ Serving Fork & Spoon, Sterling Vase 12”, Set 4 Sambonet Italy Candlesticks, Baccarat & Sevres Crystal Decanters, Baccarat Covered Mustard Jar W/Orig Box, Green Cut To Clear Bowl 4.75”H x 11.5”Diam, 19 Cut Glasses, Various Colors, Bxd Set Thai Flatware 52pc, Quilts Incl Nocturne By Linda Blau, Breville Barista Express, Kothimora Sword, 2 Samurai Swords, Etc...

BOOKS: 20 Vols The New Grove Dictionary Of Music & Musicians 1980, 23 Vols Native American Tribes An Ethnohistorical Report 1974, 5 Bxs Bks - Art, Birds, Garden, Etc, Wallpaper 6 Triple Rolls Brunschwig & Fils Cathay Toile, Etc... ARTWORK: Indo Ptg In Panel Court Scene4’ x 79” W/Frame 62” x 85.5”, Pr Leaded Stained Glass Panels 82.5”H , 24.5”W,

Indo Ptg 76” x 33”, Leaded Glass Sash 34” x 31.5”, Leaded Glass Panel 46.5” x 25”, Leaded Glass Panel 34.5” x 44”, Leaded Glass Copper Fire Screen 24”H x 49”W Chinese Carved Wooden Panels 77”W x 9”H Each, Pr 1738 Hogarth Engr Morning & Evening 24” x 18”, O/c Abstract Sgnd Yankel Ginsberg 15.5” x 14.25” & 34” x 30”, Pr O/C Native Amer Chiefs Sgnd 30” x 22”, O/C Native Amer Ceremony Sgnd 30” x 40”, O/C Village Scene Sgnd Wm L. Van Dijk, 1974 Braque Poster Orangerie Des Tuileries, O/C Native Amer Girls Sgnd G. Sudnick? 1933, Collage “After Monet Gyrating Hay Bales - Blue Light” Sgnd Penny Bard 40.5” x 48”, Acrylic Pastel On Paper Abstract “Le Femme” Sgnd Justin Love 1999 39.5” x 29.5”, 3 W/C & Pencil Archit Renderings By Jacob Burley Designer & Delineator, 2 Empire Gilt Framed Mirrors, Many Indo & Chinese Framed W/C & Ptgs On Paper & Silk, Egyptian Ptgs On Papyrus, Framed photos By Leonard Boykin Incl One Of Judy Garland & Liz Manelli, Photos By Harold Feinstein, Etc...

RUGS: 12’x15’8” Super Fine Persian Tabriz, 13’x16’ Turkish Serapi, 12’8” x 17’9” Kilim, 6’4” x 9’4” Persian, Pr Ralph Lauren 5’4” x 8’2” Woven Rugs, 8’ x 10’9”, Black & White Wool Rug, 9’ x 11’6” Peking, 8’ x 10’ Kilim, Plus Several Other Runners & Scatters, Etc...

PARTIAL LISTING! MANY OTHER ITEMS THAT AREN’T LISTED HERE – FULL CATALOG WITH PICS IS POSTED ONLINE WAITING FOR YOU RIGHT NOW!!!

For More Info Visit Us At: www.georgecoleauctions.com

QA Mahog Hunt Board - Lot

19thc Biedermeier Flame Birch Chest, 19th c Empire Tiger & Birdseye Maple Chest Lots 138 & 141

Chinese 9pc Carved Parlor Set - Lot 154

Steinway Grand Piano #440602M - Lot 160

Elaborate Dec Thai Bronze Bell - Lot 222

Acrylic Pastel

“La Femme” Sgnd Justin Love 1999 - Lot 266

KIMBALL’S ANTIQUE AUCTION

SUNDAY NOVEMBER 3RD @ 11AM

PREVIEW: OCTOBER 31ST-NOVEMBER 1ST 12PM-5PM AND NOVEMBER 2ND 10AM-1PM FEATURING ITEMS FROM POMFRET, NORTHAMPTON, AND SOUTH HADLEY ESTATES

400 LOTS OF ANTIQUES, JEWELRY, FINE ART, CHINESE ANTIQUES, RARE BOOKS, TOYS AND MORE JEWELRYAND SILVER:100 LOTS OF GOLD AND SILVER JEWELRY, AND COSTUME JEWELRY SOLD IN LARGE LOTS, COIN COLLECTION

ACCESSORIES; STAFFORDSHIRE FIGURES, ITALIAN FAEINCE, AUBUSON CARPET , CLEMENT MASSIER JARDINAIRE WITH STAND, MCM STUDIO POTTERY, ARTWORK: JOSEF ALBERS, ALEXANDER SEGE, FOLK ART, JAPANESE WATERCOLORS , MORE CHINESE ANTIQUES : BRONZE FIGURES AND VASES, ROSE MEDALLION PUNCH BOWLS, FAMILLE ROSE FIGURES, JARS AND VASES. OVER 150 LOTS OF ANTIQUES FROM ASIA. BOOKS/EPHEMERA: EARLY 19TH CENTURY MATH BOOKS AND LEDGERS, VICTORIAN SCRAP ALBUMS, POST CARDS , DIECUTS , HALLOWEEN , CHRISTMAS, AND EASTER, TOYS, SET PIEDMONT BEATLES CARDS , STEIFF COLLECTION, DOLLS, PRIMITIVES, & GROUPS OF ANTIQUE SMALLS

LIVE PREVIEW AVAILABLE! WE ACCEPT LEFT BIDS AND PHONE BIDS 23% B.P. OR BID ONLINE AT

TIONEERS.COM OR INVALUABLE.COM. 28% BP ALL SALES FINAL. MASS LICENSE #2404. 65 MAIN STREET , HATFIELD MASS 01038. KIMBALLSAUCTIONS@GMAIL.COM

Gustave J. S. White ~ Auctioneers

RHODE ISLAND ESTATES AUCTION

Antiques, Paintings, Porcelain, Silver, Rugs, Cast iron garden furniture from Newport’s “Belcourt Castle” and “Hammersmith Farm” and from Barnstable, MA and Hamden CT, Jamestown, and Providence.

Newport County Auction Gallery

1674 East Main Road (Rte. 138) Portsmouth, RI

WEDNESDAY,

OCTOBER 30 at 10AM

INSPECTION: Tuesday, October 29 from 1 to 4pm and one hour before sale

This will be an exceptionally strong sale featuring large cast iron garden pieces, lighting fixtures, stained glass windows (from Belcourt Castle), Caldwell bronze sconces, chandeliers, inlaid mother-of-pearl gaming tables, pair of Adam gilt looking glasses from Francis B. Peckham Estate, Lalique, Ginori, needlework. Sterling silver by Tiffany, Gorham, Kirk & Sons, Birks Tudor scroll dinner service with 157 pieces, Limoges, Meissen, and Rose Medallion.

Paintings by: Lajos Ludwig Bruck, H. Cyrus Farnum, W. Hopkins, Clara Maxfield, Adolf Nowey, Taglia Pierry, William Plummer, Emma Swan, Topman, Louis Walter, Francis Wheaton.

Bronzes by: Henri Levasseur, Emile Louis Picault

W. Hopkins 33” x 52”

Topman

Henri Levasseur

Wm. H. Plummer

A. D. Nowey

Emma Swan

Adam Mirror Crest

f

all 2024 s ToneWare & r edWare a ucTion

b iddinG by i nTerneT and P hone • n oV . 6 Th To n oV . 15 Th iddinGby nTerneTand ThTo

(riGhT) exceedinG are and

mPorTanT six-Gallon sToneWare crockWiTh elaboraTe cobalT lion decoraTion, sTamPed “f. sTeTzenmeyer. / rochesTer, n.y.,” circa 1855. ofTadmiredandreGardedamonG ThemosTfamous americanlion-decoraTed sToneWarePiecesknoWn. measurinGan imPosinG 11 1/2” aroundThecurVeofTheVessel’sfronTby 9 1/2” Tall, ThedecoraTionexhibiTsThebold, enamel-likesliP-TrailinGPrized inTheProducTsof rochesTer’smid 19Th cenTurysToneWareindusTry. GiVenTherariTy anddesirabiliTyofThesubJecTmaTTerasWell asThesizeandTranscendenTqualiTyofThe desiGn, ThiscrockisreGardedasThePoTTery’s finesT-decoraTedPieceknoWn. h 14”. fall 2024 sToneWare & redWare aucTion

(lefT) xcePT

xcePTional six-Gallon sToneWare crock laboraTe cobalT sTaGand doe scene, “J. & e. norTon / benninGTon, circa 1855. ThesubJecTmaTTer, size, and exTraVaGanceofThedesiGnranksThisWork amonGThefinesTexamPlesof norTonfamily sToneWareThaTWehaVeeVeroffered. relaTiVely feWexamPlesfromThisPoTTeryareknoWn feaTurinGacoVeTed “doubledeer” moTifand ThelarGesizeofTheVesselcomPoundsTheVisual imPacTofiTsdecoraTion. ThisexamPlefeaTures suPerbfirinGandincludesTheliGhT-colored clayandbold, enamel-likecobalTforWhichThis PoTTeryhasbecomeknoWn. anouTsTandinGWork inallresPecTs. h 14”.

WiTh labora sTamPed VT,” exTraVaGance amonG The sToneWare T fe examPles feaTurinG The larGe size imPacT of iTs suPerb firinG clay and bold oTTery has in all resPec