Cowboy & Western Collectors Saddle Up At Scottsdale Art Auction
National Museum Of Asian Art—
Letters
Cape Cod Is The New Cool—
Midcentury
An Epic Of Kings: The Great Mongol Shahnama
Transportation, Timepieces & Timeless
Ephemera Top Kleinfelter's Online-Only Sale
Horological Specialist Schmitt Horan Succeeds With Eclectic Sale
Club News
Selected Exhibitors featuring 18th & 19th Century American, English, Primitive and Period Furniture and Accessories
Fine Early China and Glassware • 18th & 19th C Silver Chinese Export Porcelain • Oriental Rugs • Fine Antique Jewelry Antique Toys • Pewter • Early Kitchen & Fireplace Accessories • Historic American Militaria American & English Samplers • Navajo Rugs, Pueblo Pottery, Baskets and Native American Artifacts September
A Bird in Hand Florham Park, NJ
Michael Gunselman Centreville, DE
H. & L. Antiques Princeton, NJ
Jane Langol Medina, OH
Antiques From Home Bathesda, MD
Steven & Sally Still Manheim, PA
Hilary & Paulette Nolan Falmouth, MA
Jon Mehl York, PA
Marc Calciano Clifton Heights, PA
Christopher & Bernadette Evans Waynesboro, VA
Jewett-Berdan Antiques Newcastle, ME
Saratoga Fine Art
Saratoga Springs, NY
Barometer Fair
Sarasota, FL
Lisa S. McAllister Clear Spring, MD
Marc Witus Gladstone, NJ
Ziebarth’s Antiques Verona, WI
Daniel and Karen Olson Newburgh, NY
Thomas Restoration Laurel, MD
Greg K. Kramer & Co. Robesonia, PA
Larry Thompson Atlanta, GA
Joseph J. Lodge Lederach, PA
James Island Antiques Charleston, SC
James L. Price Carlisle, PA
Joan Staufer Catskill, NY
Frylings Antiques Green Lane, PA
Willow Springs Antiques Rexford, NY
The Norwoods’ Spirit of America Timonium, MD
Hanes & Ruskin Niantic, CT
Richard M. Worth Centreville, DE
Stephen • Douglas Antiques Rockingham, VT
Steve Sherhag Canfield, OH
Art & Antique Gallery Holden, MA
Fleshman’s Antiques New Market, MD
Robert Conrad Yeagertown, PA
Heller-Washam Antiques Portland, ME
Beaver Creek Antiques & Arms Dillsburg, PA
Marvin Wies Baltimore, MD
Soheil Oriental Rugs Roslyn, NY
The Hanebergs Antiques East Lyme, CT
Dennis & Valerie Bakoledis Rhinebeck, NY
Wm. R. and Teresa F. Kurau Lampeter, PA
Newsom & Berdan Antiques Thomasville, PA
Steve Smooth Antiques & Navajo Textiles Lancaster, PA
Sandy Jacobs - Scott Bassoff Swampscott, MA
Joan Bowman Antiques Milford, DE
Nancy and Gene Pratt Victor, NY
Toby Chittum Antiques Petersburg, VA
Charlie Horse Antiques Petersburg, VA
John Kolar Antiques Hershey, PA
Blandon Cherry Antiques & Art Paris, KY
James Grievo Stockton, NJ
Firehouse Antiques Galena, MD
B. Hannah Daniel Athens, AL
Frank Gaglio Rhinebeck, NY
Rago/Wright is partnering with renowned expert and TV star Travis Landry—who has appeared on PBS’s Antiques Roadshow since 2017—to launch Landry Pop Auctions, a stand-alone auction house offering an exciting range of comics, toys, video games, and trading cards. Consignments are now welcome. consign @ landrypop.com t 508 570 8821 landrypop.com
Gustave J. S. White ~ Auctioneers
RHODE ISLAND ESTATES AUCTION
Furniture, Paintings, Porcelain, Silver, Oriental Rugs From Estates in Newport (“Sunnyside”, “ Tilton house”), Providence (“The Grosvenor”) and nautical articles formerly the property of Clifford Ashley, noted authority on the Whaling Era Newport County Auction Gallery
1674 East Main Rd. (Rte. 138) Portsmouth, RI
WEDNESDAY, AUGUST 28 at 10AM
INSPECTION: Tuesday, August 27 from 1-4pm and one hour before sale on Wednesday
Auction Features: Rhode Island tiger maple highboy and slant front desk , tall case clock dial reading “Josiah Wood, New Bedford”, early wooden eagle, W: 42 1/2”, Stanford White screen from “Tilton House”, NEW Ralph Lauren upholstered furniture, 9 Oriental gold-thread embroideries, gilt pedestals, etageres, vitrines, marbletop consoles, set of “tinny” shore bird decoys, ship dioramas, Japanese “Yedo Edition” in 10 volumes, jeweled hanging Victorian lamp, large quantities of Oriental porcelain and sterling silver, several palace-size Oriental carpets including blue Sarouk
Artists represented: E. Boudin, S.R. Burleigh, Hazard Durfee, Robert Feke, John Goss, Wm. McD. Hart, Anton Mauve, Edward Potthast, Jacob Pynas (attrib.), W.T. Richards, G.W. Whitaker, Thomas Willis, Alexander Wyant, Zuloga.
Please note: If you are looking for Period New England furniture, this positively is the auction for you.
Length: 42 ½”
Edward Potthast
Robert Feke
Thomas Willis
Wm. M. Hart
Imari, H: 24”
John Goss
A. H. Wyatt
William T. Richards, 20” x 30”
Travis Landry
Pop collectibles are among the hottest collecting markets of today, and when word reached our ears that Travis Landry, a pop collectibles expert many readers will know from several seasons on Antiques Roadshow, was starting his own auction house, we wanted to know more. Landry spoke with Antiques and The Arts Weekly shortly after the news broke to give us some of the inside scoop behind the headlines.
Congratulations on this new venture! How long have you been wanting to strike out on your own?
For as long as I have worked in the auction industry, I have always envisioned a brand with “Landry” in its name. However, I learned early on, that such an endeavor can only succeed with a team effort. That is why I reached out to David Rago first. What about the Rago / Wright team felt “right”?
When I look across the landscape of auction houses in the business, the branding, image and product that Rago/Wright puts out is exactly what I strived to align myself with. I feel there is a strong cross-pollination between people who collect art and design with pop culture. Most importantly, I look at Richard Wright and David Rago as titans of the industry who started out with nothing but passion and rose to the top. They are the real deal; they are people I know I can work with and learn from while having fun in the process.
The press release issued at the end of July mentioned that you’d started your auction career when you were just 12 years old. Can you tell us how it all began, and the path your career has taken you down?
As my dad would say, I’ve been going to auctions since I was a baby in my mom’s arms. Every Friday night and most weekends were spent at local auctions. The one we attended faithfully every week was Trudell’s in Bellingham, Mass. It was there, at the age of 12, that I began working as a runner on Friday nights, showing the lots being sold. It’s also where I started buying small box lots of comics and toys to sell online. A year later, I bought my first real collection and borrowed $700 from my parents to purchase a group of Transformers I found on Craigslist. I was able to double the money and kept the best piece for myself, which I still have in my house today.
As I continued working at the auctions, it eventually turned into a full summer job during high school. During my junior and senior years, I was fully immersed in tracking down toy collections with my family. My senior year was when I got the opportunity to be a guest on Season One of Travel Channel’s Toy Hunter, which evolved into becoming a recurring cast member for seasons two and three. Despite all this, I initially pursued nuclear engineering when I first went to UMass Lowell. What finally made me dive headfirst into art and collectibles was an experience during my sophomore year in college.
Right before heading back to campus, I bought an oil painting on canvas of kittens by Sidney Lawrence Brackett, which I consigned to auction. While sitting in organic chemistry class, I watched that painting, which I had paid $800 for, sell for $2,000. At that moment, I thought to myself, “What am I doing studying compounds?” By the end of that year, I transferred to Framingham State to study art history and never looked back. Growing up I watched Antiques Roadshow religiously with my parents every week. My dad would always be asking me, “What’s it worth, Travis?” and then gauge how close I was to the appraised value. The Keno brothers were idols to me, I must have read their biography more than 100 times as a kid. It was my life’s mission to become an appraiser on Roadshow, and I finally got to step onto the set in 2017. I still can’t believe that next year will make my ninth year with the show.
What are some of the noteworthy objects you’ve handled so far in your career?
The true all-stars I’ve handled include a Marvel Comics Fantastic Four #1 (11/61) CGC 8.0, a factory-sealed 1999 Pokémon Shadowless Booster Box and a 1993 Magic: The Gathering Beta Black Lotus CGC 9. The most interesting collection I’ve had the opportunity to handle so far was Andy Yanchus,’ who worked for Aurora and Marvel Comics. The problem is, the list could be endless. I find everything I handle to be cool and interesting, regardless of value — I just love it.
Can you tell us some of the categories Landry Pop Auctions will specialize in?
LPA (Landry Pop Auctions) will focus on pop culture and Modern era collectibles. Initially sales will focus on my core interests: comics, toys, trading cards, sports and video games. I also look to expand the brand into vintage fashion, sneakers and technology. I have always been a sneakerhead and have always worn what I own, but now it’s time to add that personal love to the auction arena.
Are there “Holy Grail” items you’d most like to bring to auction?
Every comic enthusiast dreams of selling an Action Comics #1 or Detective Comics #27, and I’m confident I’ll achieve that sooner rather than later. But my holy grails are a bit more specific. The ultimate piece for me to bring to public auction would be a 1985 Transformers G1 VSX Giftset — Transformers were my first true collecting love. Other grail items for me would be a 1993 Magic: The Gathering Alpha Black Lotus or a 1998 Pokémon Illustrator trading card.
Your first auction will be in October. Where will it be held and can you share some of the items you’ve lined up for the sale?
Our first auction will be held at the Lambertville, N.J., office and will feature a diverse selection of comics, TCG, sports memorabilia and video games. The goal is to showcase the wide array of material we plan to offer. While the sale is still being built, there is already a strong mix of CGC-graded comics, games and TCGs, highlighted by an MTG Beta Volcanic Island and a Collector’s Edition Black Lotus. Toys will make their LPA debut on December 3, with an auction dedicated to space toys featuring the collection of Jane and Jack Pillar.
You and your wife, Ashle, currently live in Rhode Island and are expecting a baby any day now. Will you continue to operate out of Rhode Island, or will you be relocating to New Jersey, Chicago…or elsewhere?
Ashle and I live just over the Rhode Island border in Uxbridge, Mass. We love New England, and our plan is to stay here and expand the footprint of the Rago/ Wright network. We’ve already opened an office in Millville, Mass., with plans to expand as the business grows. By the time readers see this, odds are baby Landry will be here!
—Madelia Hickman Ring
Marvel Comics Fantastic Four #1 (11/61) CGC 8.0 which sold for $150,000.
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In Cohasco’s Sept. 17 Auction, Lincoln’s 1864 ‘October Surprise’
The youngest collectible pose of John Wilkes Booth. After the assassination, many removed his picture from their parlor albums and burned them ($250/325).
YONKERS, N.Y. — A document signed by Abraham Lincoln, just two weeks before the crucial 1864 election, will appear in Cohasco’s September 17 auction of manuscripts, Americana and collectibles.
Appointing Charles Adae as “Consul of the Grand Duchy of Mecklenburg Schwerin, at Cincinnati,” Lincoln hoped that he could replicate his 1860 presidential victory. Without German-American support, Lincoln would not likely have been nominated — and might not have won.
Adae was a key figure among German-Americans in Cincinnati, running a bank bearing his name, and a vital bridge between his compatriots and Lincoln. A modern historian observes, “Lincoln had found the Germans more enthusiastic than all other nationalities in the cause of freedom...That an immigrant population should be the decisive element in a national election was unprecedented...” (Frank Baron, University of Kansas) ($9,5/12,500).
Also appearing: a three-page letter of the teenage Francis Scott Key, telling a humorous story of his encounters with young ladies. “This is the way these pretty-innocent looking creatures talk when by themselves....” Some 14 years before “the rockets’ red glare,” Key implores the recipient to, “burn this letter...” ($900-$1,400).
The first 1776 Connecticut printing of the incendiary Common Sense is said to have paved the way for the Declaration of Independence that July. From the Norwich press of Spooner and Green, it followed the first Philadelphia advertisement for the pamphlet by about three weeks. Signed twice on the cover by a member of the prominent Gere family of Groton, Conn., the 14-million-item database of RareBookHub finds just two other copies of this first edition at auction in the last 150 years (Lacking last leaf) ($23/29,000).
A dramatic broadside for a “copper-colour” runaway enslaved
This 1939 baseball first day cover, signed by four Hall of Famers, including Honus Wagner and Pie Traynor. Wagner’s eight National League batting titles, capped in 1911, remain unbroken to this day ($1,7/2,300).
Signed Document Seeks German-American Vote
person, 1855, links its stories to an illiterate colonel with 80 enslaved persons, Robert E. Lee — and a promise of freedom upon the 100th birthday of the United States, July 4th, 1876 ($8/11,000).
Among nearly 400 other lots of historical documents and collectibles across 34 categories are: a bond for financing the first nail factory in America, 1795, in Ramapo, N.Y. Signed by the inventor, as well as a former aide to Benedict Arnold — and then private secretary to George Washington ($950-$1,450); a cigar store advertising sign on cloth, “Ask for Union Made / Blue Label Cigars,” circa 190210 ($200/275); a long legal document showing the humanity of future Declaration of Independence signer, George Read. In the document, Read comments on the rights of a demised 10-year-old Quaker girl in Delaware ($1,4/1,800); a unique, complete set of five, 1777 Connecticut notes — all with matching number “34975” ($2,1/2,600); a seldom-seen signature of an officer of the Confederacy’s elite Polish Brigade. Fighting under the famed Louisiana Tigers, the brigade suffered heavy losses at Gettysburg ($220/270); and a real photo silver print postcard of the last Confederate officer to surrender, Colonel Walter Mann, holding out until June 5, 1865 ($80-$110).
Also on offer in this sale is a rare South Carolina pamphlet, 1804, taxing Indians who lease “negroes and other slaves...” ($550/750); an Antebellum advertising circular, 1850, of a New York merchant offering clothing for enslaved persons: “Negro Blankets of all Kinds... Negro Goods...Kentucky Jeans... Osnaburgs,” the latter a cheap brown linen worn on plantations ($175/275); an elusive orange card ticket to the 1870 Boston lecture series, including Frederick Douglass, abolitionist Wendell Phillips, writer Ralph Waldo Emerson and other luminaries ($700/950); an advertising “Hard Times” token of the “Manhattan Millerite,” cobbler Abraham Riker, who believed the world would end in October
A few samples from a 390-piece sheet music collection, with strong concentration in the teens to Forties. With its many classic hits and top songwriters, the archive would enable a rotating multi-wall display in home, office or music school ($400/700).
1844 ($60/80); and an important Puritan minister’s prayers and anguish upon his confinement — in New Hampshire, 1684. Writing “from ye Prison,” Reverend Joshua Moodey may have been the very first clergyman imprisoned in early America for exercising freedom of religion. Moodey later attempted to protect a family of accused witches, dramatized in The Crucible. His autographic material is dauntingly rare ($22/32,000); Bidders can also expect to see the first newspaper printing of official support for Jewish religious toleration in America, June 1790. This issue, containing George Washington’s eloquent letter to the Savannah congregation, is mentioned in the book Judaic Treasures of the Library of Congress ($19/27,000); a Pennsylvania G.A.R. commander’s file of about 150 documents and printed items — plus his kepi. The wartime private was wounded at Gettysburg ($550/750); a collection of more than 50 printer’s samples of calling cards, 187595, some chromolitho or fancy ($140/190); an archive of more than 390 pieces vintage sheet music, majority 1920s-40s, some with eye-catching covers. Including songwriters from Arlen to “Fats” Waller, the collection includes Black, Southern, Ziegfield, Oriental, Irish and ethnic, patriotic and other
themes ($400/700); a historic British signed patent license for carbonation, revolutionizing the beer and ale industry, 1914 ($160/220); and a 1939 baseball First Day cover signed vertically by Hall of Famers Honus Wagner — one of its original five inductees — plus
GRANITE TOWN PLAZA 185 ELM STREET, MILFORD, NH
future Pittsburgh members, Pie Traynor, Al Lopez and Al Simmons ($1,7/2,300).
Bids will be accepted up to September 17, 9 pm Eastern time. A 160-page printed catalog is available by mail while supplies last. For information, 914-4768500 or www.cohascodpc.com.
BI-WEEKLY SUNDAYS 8:30 am to Noon August 25, Sept. 8 and 22
Regular Admission: $5 - 8:30am to 9:30am Free Admission - 9:30am to Noon Complimentary Coffee and a Variety of Goodies. Over 40 dealers. No sale tax. Early admission $30 pp 7:00am to 8:30am 603-506-9848
www.Lambsilver.com
•ALL ENTERTAINMENT MEMORABILIA
•ANY BETTER AUTOGRAPHS, LETTERS DOCUMENTS
•THE RARER AND MORE UNIQUE, THE BETTER!
CANDIA, N.H. — Schmitt Horan & Co., known for its horological auctions, decided to do something different for its August 11 sale. It conducted an eclectic online sale with live close on the 11th that included small antiques, a large collection of German bisque and Lenci dolls, Schoenhut toys, a collection of
The top lot in the sale was this rare five-minute repeating tonneau-shaped wristwatch by Jules Jüergensen, which sold for $22,800, leading a selection of wristwatches. Dan Horan, president of Schmitt Horan, said, “The rarity is because of a five-minute repeating function in a wristwatch. Fiveminute repeating is unusual in a pocket watch, very rare in a wristwatch.”
A rare early Twentieth Century “Le Potache” whistling automaton schoolboy by Phalbois earned $7,800.
Horological Specialist Schmitt Horan Succeeds With Eclectic Sale
Auction Action In Candia, N.H.
early radio receivers, canes, a large library with emphasis on volumes related to Abraham Lincoln and other American political figures, a collection of artist’s lithograph exhibition posters, advertising and stereo gear. The company’s horological DNA won out, however, as a fiveminute repeating tonneaushaped wristwatch by Jules Jürgensen took top honors, selling for $22,800, leading a selection of wristwatches. Dan Horan, president of Schmitt Horan, said, “The rarity is because of a fiveminute repeating function in a wristwatch. Five-minute repeating is unusual in a pocket watch, very rare in a wristwatch.”
From the A. Schoenhut Company toy collection came a
The renowned Turin, Italy, doll maker Lenci was represented by this large, rare “Woman and her Dog,” which promenaded to $1,920. Slender, wearing a tall, red felt hat, fitted with a blonde mohair wig and presenting typical Lenci painted facial features, the 25½-inch-tall (including the hat) doll cradled a velvet Boston terrier in her right forearm.
was a
for a
Humpty Dumpty Circus set, including a big top tent that was fully furnished with a performance ring, festooned standards, entrance drape, trapeze, ladders and more. There were cages for animals, including elephants, tigers, apes, rhinoceros, giraffe, lion, zebra, as well as performers, including pairs of clowns and trapeze artists, filling the 52-by-37-by-25½-inch tent, which was bid to $9,000, a significant premium above its $1/1,500 estimate.
Bidders liked a rare early Twentieth Century “Le Potache” whistling automaton by Phalbois, taking the schoolboy to $7,800, closing in on its high estimate. Standing on a green velvet covered plinth that concealed the mechanism, the “potache,” French colloquial for schoolboy, wore a blue velvet coat and
Patented by Pittsburgh, Penn., lamp maker D.C. Ripley in 1870, a rare “wedding lamp,” so-called because its two fonts are “married” together, rose to $900 against a $250/350 estimate.
breeches, a white shirt and a large red bowtie. In action, the automaton whistled a tune while tilting his head left to right, his eyes alternately opening and closing and his right arm moving up and down in time with the music.
A large, rare and unusual “Woman and her Dog” doll by Lenci strolled to $1,920. Made by the renowned Turin, Italy, company, the woman figure was slender, wore a tall, red felt hat fitted with a blonde mohair wig and presented typical Lenci painted facial features with her eyes looking left. She carried a red handbag and wore a long, beaded necklace, a sheer white dress with applied felt leaves and flowers, white stockings and black leather high heel shoes. The velvet Boston terrier was cradled in her right forearm. Overall, the doll stood 25½ inches tall, including the hat. There was miniature American and English furniture in this sale. A lot of three pieces of American and English Nineteenth Century miniature furniture earned $660, meeting its high presale estimate. One piece was an American mid-Nineteenth Century chest of drawers featuring a pine case with figured mahogany veneers and a base with a decorative skirt; the lower case had four drawers, and the upper case had two drawers and a scalloped backsplash. On its back was a penciled inscription reading, “Made by J.C. Parker father of Mrs Monroe Gage Before 1860 when he enlisted” and “Made From Cigar Boxes.”
The next piece was an early to mid Nineteenth Century American Hepplewhite-style stand in walnut and poplar. It had slender, tapered legs and a single drawer with a brass pull. The last piece was an early Nineteenth Century American or
English walnut slant-front desk with mother-of-pearl inlay on the lid’s center and floral engraving. The lid concealed four pigeon holes over two drawers, the lower case with four drawers arranged two-over-two, with ebonized wooden pulls and resting on turned feet.
In 1870, D.C Ripley, a Pittsburgh, Penn., lamp maker patented a rare oil lamp called a “wedding lamp,” so-called because its two fonts are “married” together. The example in this auction featured dual clambroth fonts flanking a central reservoir for matches. They were supported by a faceted milk glass column with a flared base on a stepped square plinth. It surpassed its $250/350 estimate to reach $900.
Folk art crossed the block in the form of an American folk art mirror. Taking $570, this was a case of a mirror’s surround being more interesting than the silvered glass that it held. It was carved in oak with a round beveled glass mirror surrounded by a carved sun. Carvings of two stars, a moon and a shell pocket with beading molding on the outer edge were in the corners. A collection of early radios was led by an Atwater Kent “Radio Receiving Set #3945” or “Model 2” that tuned in $1,560. Very “steampunk,” the breadboardtype radio receiver was mounted on a walnut base and featured brown Bakelite knobs and dials, two tuners and three 01A tubes. The sale’s total was $369,570 with a 94 percent sell-through rate. A total of 800 active bidders were on four platforms: the firm’s own bidding platform, LiveAuctioneers, Invaluable and BidSquare.
Prices given include the buyer’s premium as stated by the auction house. The next sale, an online-only event, will take place on September 18. The next big catalog sale is set for November 2. For information, 603-432-2237 or www.schmitt-horan.com.
a
Emanating “steampunk” vibes, an early Atwater Kent breadboard-type radio receiver dialed in $1,560.
Fairest of them all was this American folk art mirror carved in oak with a round beveled glass mirror surrounded by a carved sun with carvings of two stars, a moon and a shell pocket in the corners. It took $570.
Among the miniature furniture on offer was this lot of three pieces of Nineteenth Century American and English miniature furniture going out at $660.
It
big price
big top. Posting
$9,000 finish against its $1/1,500 estimate was this A. Schoenhut Company toy Humpty Dumpty Circus set, whose big top tent was fully furnished and populated with elephants, tigers, apes and other animals, as well as clowns and trapeze artists.
Review By W.A. Demers, Senior Editor; Photos Courtesy Schmitt Horan & Co
Marion Antique Auctions To Host ‘September Splendor Sale’
MARION, MASS. — On September 7, Marion Antique Auctions will be offering more than 550 lots drawn from various local estates, collectors and institutions. This diverse sale has offerings in many categories. The detailed online catalog begins with an assemblage of paintings by Lemuel D. Eldred, Clement Drew, Clifford Ashley, William Posey Silva, Arthur Diehl, Martha Cahoon, Mauritz DeHaas, John J. Audubon, A. Lassell Ripley, Robert Gruppe, Joseph Linden Smith, Charles Woodbury, James Gale Tyler, J.C. Spencer, William Ferdinand Macy, John Whorf, Henry Jarvis Peck, Eijah Baxter, Francis Hayman, Bass Otis, Childe Hassam, Erwin Hoffman, John Stobart, Ding Darling and Leroy Neiman lithographs, as well as five Benjamin Russell whaling prints and etchings by Charles Woodbury.
This sale has a selection of antique nautical and whaling items. From a Maine collection comes Nineteenth Century sailor’s Valentines, one with its original paper label from the New Curiosity Shop on Barbados. Also from Maine comes a selection of 23 wooden ship models, dating late Nineteenth Century to early Twentieth Century, which includes the whaling bark Wanderer. All proceeds from this model collection will go to Maine Maritime Academy in Castine, Maine. Nineteenth Century sailor-made scrimshaw is well-represented by a collector of large teeth with interesting iconography, with one depicting Queen Victoria and another pair of large teeth with one having a harbor scene with a paddlewheel steamer. There is a very interesting tooth with a vignette of Hope on the front, after the symbol for Rhode Island, and a Native American holding a bow and arrow on the verso. Other items include a large, decorated walrus tusk,
an inlaid sewing box with a mounted skeletal polychrome decorated swift and a collection of whale bone tools rounds out this offering. A last-minute addition to this sale is a Nineteenth Century Nantucket lightship basket, made on board the South Shoals lightship. It was found in a local thrift store by the consignor.
Some of the best sterling Marion Auctions has ever offered includes a 126-piece Tiffany Chrysanthemum pattern flatware set. A Gebelein center bowl, a George III Irish dish ring, a large selection of Eighteenth century Spanish Colonial silver, eight sterling flatware sets, an English sterling silver epergne with seminude maidens and cherubs will all cross the block. There is also a monumental Tiffany sterling tea set with a classical design, weighing 332 troy ounces. It comes from the estate of Josephine Sarah Lippincott, who married Junius Goodwin, the first cousin and partner of J.P. Morgan.
The diversity of this sale continues with a small collection of American flags and nautical signal flags, the oldest one being a 36-star American flag (circa 1865-67). A large, carved Black Forest bear umbrella stand was found in a Mattapoisett, Mass., estate. Fish and bird decoys are well represented. The oldest piece in the sale is a large, fossilized Wooly Mammoth tusk from the Pleistocene ice age (approximately 10,000 to 40,000 years old). A tiger maple Kentucky flintlock rifle with an engraved barrel, marked H. Gibbs, from Lancaster, Penn., comes with a 1961 receipt from Joe Kindig and Son Antiques. It was sold to the consignor’s father for $300.
A small but select group of furniture is on offer, including a set of set American Federal dining chairs of New England
origin and a most unusual Vienna Secession Jugenstill inlaid oak lamp table. In the Arts and Crafts category, there is a set of five L&J.G. Stickley dining chairs and a Grueby tulip tile. Some of the mid-century designers in this sale include names like Harvey Probber, Adrian Pearsall and Michael Taylor for Henredon. A selection of Native American objects is expected to do quite well. Of particular interest is a Sioux effigy horn spoon and a circa 1870 pair of Cree quill-work moccasins, but the biggest surprise could be a collection of Navajo rugs and blankets. The sleeper of this sale could be two small Nineteenth Century child’s Navajo blankets. Another Indigenous race, the Taino, are represented in this auction. These pieces come from the well-known Alfredo Carrada collection, Miami Beach, Fla. One of the favorites is a figural tongue purging device used to induce vomiting.
A selection of clocks is led by an early Nineteenth Century Pennsylvania tall clock made by Daniel Oyster, Reading, Penn., along with a Willard school banjo clock and a Tiffany grandmother clock. A collection of stoneware was found in a Duxbury, Mass., estate, which includes an ovoid jug attributed to Crolius and Hook, Nineteenth Century, with incised drape designs, and several larger lots of blue shouldered advertising beer bottles. Two large antique room-size Sarouk Oriental rugs and several late Nineteenth Century Caucasian scatter rugs should create some interest from the rug collecting world. Collectibles are represented by some lots of antique match safes and a large collection of Texaco signs
and toys. Five large lots of Nineteenth Century daguerreotypes will appeal to photography collectors and dealers. Marion Antique Auctions is at 13 Atlantis Drive. For information, 508-748-3606, 508-4987136 or email info@marionantiques.com.
West Hartford Marketplace
Elijah Baxter
Navajo rug
Epergne
CANAAN, CONN. — Estates from Northwestern Connecticut provided the bounty of antique and vintage goods that State Line Auctions & Estate Services auctioned on August
State Line Sells Well Across Categories
Auction Action In Canaan, Conn.
11. Promotional material for the auction highlighted the estate of Salisbury, Conn., native, Lester A. Hoysradt and a Lakeville, Conn., estate. Presented with broad estimates,
The online catalog entry for this Nineteenth Century landscape, which measured 38 by 59 inches, suggested the signature might be that of Joseph Morviller, from 1856. Bidders drove it to $1,416.
the 412-lot sale was more than 95 percent sold. Top lots in the sale represented a broad variety of collecting categories with Asian works taking the highest price of $3,540 for a lot of three Asian style items carved in either gray or dark green jade. A 10-inch-tall carved figure achieved $443 and a carved chair inlaid with mother of pearl brought $207.
Earning a second place finish at $2,950 was a 10-inch black pottery pot by Tomas Ozuna that featured geometric designs and was signed by the artist. Other Native American objects included a 73-inch hand-painted carved totem
pole ($826) and a sterling silver necklace ($384).
Was it folk art? A trade sign?
The auction catalog did not divulge any secrets, but a carved wooden ram butted its way to the third highest result, earning $2,714. Other animal forms were also popular; a pair of Nineteenth Century cast lead eagles flew to $1,062, and a 14-inch-tall carved wood penguin shuffled out the door at $384.
Fine art lived up to its name with four results in the top 10 lots. Achieving $2,360 was a Nineteenth Century Old Master still life that depicted a dog looking at a hunter’s bounty of a dead hare and birds alongside
grapes. Three portrait miniatures — two of children, one of a dog — rose to $1,534 while a Nineteenth Century landscape, described as “masterpiece,” brought $1,416. The same price was achieved by a pastoral oil on canvas scene by Thomas Bigelow Craig.
Porcelain, glass and silver were well represented across a broad range of price points. Two unmarked porcelain figural groups achieved the apex of the porcelain category at $1,534; the top glass lot — a group of Lalique stemware — realized the same $1,534 amount. A sterling silver flatware service for 12, by Kirk & Sons, finished at $1,298 to lead the silver lots. Furniture in the auction came in many shapes and sizes. A matched pair of antique English pine bookcases, 86 inches tall, featured musical motifs in their applied cornice decoration and found a new home with a bidder who paid $1,416. An antique leather-clad Venetian chest with painted decoration brought $1,121, and a vintage Adirondack root table, measuring 41 inches in diameter, grew to $826.
State Line Auctions has not yet announced its next sale. Prices quoted include the buyer’s premium as reported by the auction house. For information, 860-453-4370 or www.statelineauctionsandestateservices.com.
Bidders topped off this Southwestern Contemporary Native American black pot by Tomas Ozuna at $2,950.
This carved wooden ram measured 19½ inches high and 34 inches long and found a new home for $2,714.
This pair of English bookcases was handsome and highly useful and sold for $1,416.
This group of three Oriental style carved jade articles earned $3,540.
Three portrait miniatures closed at $1,534.
Review by
Madelia Hickman Ring, Editor
Photos Courtesy State Line Auctions & Estate Services
This Old Master still life picture measured 43 by 51 inches and was bagged for $2,360.
A bidder can set a nice table with this group of Lalique stemware, which they acquired for $1,534.
This lot of two unmarked porcelain figural groups went out at $1,534.
American Art & Pennsylvania Impressionist Sale & Online Auction At Gratz
DOYLESTOWN, PENN. —
Gratz Gallery’s sale on Sunday, September 8, beginning at 11 am Eastern time will focus on a selection of traditional American paintings and Pennsylvania Impressionism.
The online auction will be short and sweet, including just over 50 lots of selectively chosen American regional landscapes, cityscapes and portraits. The main focus of this sale is American Impressionism, with a special highlight on the Pennsylvania Impressionists. A small selection of European gems is being offered as well. Information about the auction is available through Gratz Gallery’s website at www.gratzgallery.com, where there is a direct link to the live auction catalog at LiveAuctioneers.
Included in the sale are American and European paintings from the Nineteenth and Twentieth Centu-
ries. Some of the traditional highlights represented are works by Pennsylvania Impressionists Martha Walter, John Pierce Barnes, Daniel Garber’s student and contemporary, Albert Van Nesse Greene and Bucks County’s only native New Hope School painter, Walter Baum, as well as works by Philadelphia Ten member Nancy Maybin Ferguson.
This is an online exclusive auction, conducted in cooperation with the auction platform Liveauctioneers.com. Interested bidders must register and place bids with the gallery’s online auction collaborators. LiveAuctioneers.com allows for both absentee and real-time online bidding. For added convenience, download the LiveAuctioneers app to your smartphone and bid from wherever you decide to spend your September 8 morning. Gratz Gallery is able to extend a lower-than-industry stan-
by 25 inches.
dard buyer’s premium to its clients, offering competitive estimates on an inventory of American and European art.
Preview days are Friday and Saturday, September 6 and 7, 11 am to 4 pm at Gratz Gallery and Conservation Studio, 5230 Silo Hill Road. For information, 215-348-2500.
Gallery
‘Wanderlust’ At The Huntington Explores Albrecht Dürer’s Travels To Italy & Beyond
SAN MARINO, CALIF. —
Currently on view at The Huntington Library, Museum and Botanical Gardens to September 23, “Albrecht Dürer: Wanderlust” explores how the German Renaissance artist’s travels to Italy and beyond, and the cultural exchange with his contemporaries, transformed European art.
German Renaissance artist Albrecht Dürer (1471–1528) was a versatile artist who was at once a printmaker, painter, theorist and publisher. Born in Nuremberg, Germany, he began to travel to Italy and France in his 20s, and the Low Countries of Belgium and the Netherlands years later. These experiences would significantly shape his artistic education and worldview.
This focused exhibition of prints, books, and paintings draws from the Huntington’s collections and features 24 works created during and following his travels to Italy and beyond.
It examines Dürer’s mastery of perspective and integration of Italian artistic principles into German art, establishing him as a pioneering figure in the Northern Renaissance and earning him enduring international renown. The exhibition also presents paintings and prints by contemporaries whom he visited during his travels, including work by Raphael (1483–1520), Giovanni Bellini (1430–1516) and Lucas van Leyden (1494–1533), among others.
Dürer’s skills as a printmaker revolutionized the art of his time. His ability to create a variety of effects using only black lines proved unmatched. His contemporaries and followers copied his woodcuts and engravings or incorporated elements from them into their work. The exhibition shows examples of the dramatic effects created with thick, dense, curvilinear lines, as demonstrated in “Sam-
son and the Lion” (circa 1497–98), and delicate, compact crosshatching, as shown in “St Jerome in His Study” (1514). Dürer studied the writings of the ancient Roman architect Vitruvius to understand the “canon of human proportions.” Vitruvius’ theories and his knowledge of classical art inform the design of Dürer’s figures of “Adam and Eve” (1504), in an elegant contrapposto pose. In the piece, the wooded environment, cliffs and various animals re-imagine paradise in a northern European landscape. In the engraving “Knight, Death, and the Devil” (1513), Dürer portrays a rider and his faithful dog unknowingly marching toward the figure of Death, who holds an hourglass to indicate the brevity of life on Earth. “Knight, Death, and the Devil”; “St Jerome in His Study”; and “Melencolia I” (1514) form the trio of engravings known as Dürer’s Meisterstiche (master engravings).
In addition to showcasing Dürer’s technical mastery, the exhibition highlights his role as an artist-publisher. He started his publishing business in 1498, which allowed him to have greater control over the sale and distribution of his prints. The release of “Apocalypse” (Apocalipsis cum figuris), a series of 15 large woodcuts depicting the end of the world as described in the biblical Book of Revelation, propelled Dürer to the international stage.
His work was so highly revered that his “Life of the Virgin” series was copied—down to the “AD” monogram—and disseminated by the Italian printmaker Marcantonio Raimondi. The plagiarism prompted Dürer to initiate the first-known intellectual property lawsuit specific to art. While the Venetian Senate ruled that Dürer’s monogram could no longer be used in copies, the ruling allowed his prints to still be reproduced and dis-
tributed by others.
Dürer published some 700 engravings, etchings and woodcuts. These included individual prints and illustrations designed for books authored by him or others. His final publications included treatises on geometry (1525), fortifications (1527) and human proportion (1528). In his publication Instruction on Measurement, Dürer shares the secret of linear perspective. The exhibition displays two of Dürer’s woodcut illustrations that
show how to create images of three-dimensional objects (a portrait of a man and a lute) on two-dimensional surfaces using a perspectival apparatus.
“Albrecht Dürer: Wanderlust” is guest curated by Sophia Quach McCabe, adjunct professor of medieval art and architecture at California State University, Long Beach. The Huntington is at 1151 Oxford Road. For additional information, www.huntington. org or 626-405-2100.
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Nineteenth Century portrait of Thomas Jefferson, oil on canvas, 30
Fern Coppedge (American, 1883-1951), “Thompson Mill,” oil on canvas, 20 by 20 inches, signed.
National Museum Of Asian Art — An Epic Of Kings: The Great Mongol Shahnama
“Folio from a Shahnama (Book of Kings) by Firdawsi (d.1020); recto: Iskandar builds the iron Rampart; verso: text,” Detached manuscript folio, Il-Khanid dynasty, circa 133040; Iran, Tabriz; Opaque watercolor, ink and gold on paper; 23¼ by 15-5/8 inches. Credit: National Museum of Asian Art, Smithsonian Institution, Arthur M. Sackler Collection, Purchase — Smithsonian Unrestricted Trust Funds, Smithsonian Collections Acquisition Program and Dr Arthur M. Sackler, S1986.104.
“Folio from a Shahnama (Book of Kings) by Firdawsi (died 1020); recto: Iskandar (Alexander)and the talking tree; verso: text,” Manuscript folio, Mongol period, Il-Khanid dynasty, circa 1330; Iran, Tabriz; Ink, opaque watercolor and gold on paper; 16-1/16 by 11-7/8 inches. Credit: National Museum of Asian Art, Smithsonian Institution, Freer Collection, Purchase — Charles Lang Freer Endowment, F1935.23.
Detail Of: “Folio from a Shahnama (Book of Kings) by Firdawsi (d1020); verso: Ardashir captures Ardavan; verso: text: Kavus Journey to Barbaristan.” Credit: National Museum of Asian Art, Smithsonian Institution, Freer Collection, Purchase — Charles Lang Freer Endowment, F1942.2 (detail).
Detail Of: “Folio from a Shahnama (Book of Kings) by Firdawsi (d 1020); verso: Ardashir captures Ardavan; verso: text: Kavus Journey to Barbaristan.” Credit: National Museum of Asian Art, Smithsonian Institution, Arthur M. Sackler Collection, Purchase — Smithsonian Unrestricted Trust Funds, Smithsonian Collections Acquisition Program and Dr Arthur M. Sackler, S1986.103 (detail).
“Folio from a Shahnama (Book of Kings) by Firdawsi (d 1020); verso: Enthronement of Shah Zav; recto: unrelated text,” Detached manuscript folio, Il-Khanid dynasty, circa 1330-40, Iran, Tabriz; Ink, opaque watercolor and gold on paper, 23¼ by 15¾ inches. Credit: National Museum of Asian Art, Smithsonian Institution, Arthur M. Sackler Collection, Purchase — Smithsonian Unrestricted Trust Funds, Smithsonian Collections Acquisition Program, and Dr Arthur M. Sackler, S1986.107.
WASHINGTON, DC — The Smithsonian’s National Museum of Asian Art presents “An Epic of Kings: The Great Mongol Shahnama,” an exhibition on the first imperial copy of Iran’s national epic, Firdawsi’s “Book of Kings.” It opens September 21 and runs through January 12. The manuscript, completed sometime between 1330 and 1336 in Tabriz, the capital of the Ilkhanids, the Mongol rulers of Iran (1256–1353), is a masterpiece as much for its impressive scale (about 24 by 16 inches) as for its exceptional paintings. It exemplifies the remarkable artistic originality that flourished under Ilkhanid rule, a period traditionally associated with upheaval and destruction rather than creativity.
For the first time ever, the exhibition assembles 24 folios from the manuscript, focusing on the series of illustrated folios depicting Iran’s historical rulers — beginning with Alexander the Great. “An Epic of Kings” not only includes works from Yuan and Ming China, but also from the medieval Mediterranean world and the Latin West; this highlights the cosmopolitan nature of the Ilkhanid empire and the development of a particular and rich pictorial language as the dynasty strengthened its position at the crossroads of the East and West.
With more than 60 objects on display, “An Epic of Kings” includes works from the museum’s own holdings, alongside loaned works from the Cleveland Art Museum, the Harvard Art Museums, the J. Paul Getty Museum, the Keir Collection — currently on loan to the Dallas Museum of Art — and several prominent private collections. The National Museum of Asian
“Folio from a Shahnama (Book of Kings) by Firdawsi (d 1020); recto: Ardashir with his wife, who throws down the cup of poison; verso: unrelated text,” Detached manuscript folio, Mongol period, Il-Khanid dynasty, circa 1330-40; Iran, Tabriz; Ink, opaque watercolor and gold on paper; 23¼ by 15-11/16 inches. Credit: National Museum of Asian Art, Smithsonian Institution, Arthur M. Sackler Collection, Purchase — Smithsonian Unrestricted Trust Funds, Smithsonian Collections Acquisition Program and Dr Arthur M. Sackler, S1986.106.
Art holds one of America’s preeminent collections of the arts of the Islamic world, with particular strengths in illustrated manuscripts and ceramics among the more than 2,200 objects.
“In our second century, the National Museum of Asian Art is committed to engaging in dynamic collaborations beyond our four walls and to telling compelling stories about object histories,”
says Chase F. Robinson, the museum’s director. “‘An Epic of Kings’ would not be possible without the generosity of these institutions that lent us exceptional works of art, including some folios from this manuscript, enabling us to offer a rare chance to view many pages from a medieval Persian masterpiece and to invite visitors to learn more about the complexities of its creation in the Fourteenth Century.”
“‘The Great Mongol Shahnama’ truly represents a watershed in the history of Persian painting,”
says Simon Rettig, the National Museum of Asian Art’s associate curator for the arts of the Islamic world. “There is nothing like it before and after, and the folios on view in the exhibition show how unique and grand a manuscript it was.”
In preparation for the exhibition, the department of conservation and scientific research collaborated with the curatorial department to analyze the museum’s “Great Mongol Shahnama” paintings. A short video on pigment analysis and X-ray investigation of the works will be displayed in the exhibition to show some of the preliminary results. An extensive e-publication discussing some of the major results of this research is scheduled for release in Spring 2025.
The Smithsonian’s National Museum of Asian Art is at 1050 Independence Avenue Southwest. For information, 202-6331000 or www.asia.si.edu.
and
Detail Of: “Folio from a Shahnama (Book of Kings) by Firdawsi (d1020); recto: Taynush before Iskandar and the Visit to the Brahmans.; verso: text.” Credit: National Museum of Asian Art, Smithsonian Institution, Arthur M. Sackler Collection, Purchase — Smithsonian Unrestricted Trust Funds, Smithsonian Collections Acquisition Program
Dr Arthur M. Sackler, S1986.105.1 (detail).
Life In The Gilded Age Revealed In Book Highlight At CT River Book Auction
SOUTH
GLASTONBURY, CONN. — Ah, the Gilded Age, when the rich and socially elite did not mingle much with the common folk. Enclaves like Newport, R.I., allowed people of taste and grace to congregate and exchange pleasantries among their own kind. Another such location was Tuxedo, N.Y., which has been described as, “a caricature of the Victorian millionaire's mania for exclusiveness.” Located a short distance from New York City, it offered an escape from the dirt and grime of the Big Apple for gentle lakeshore breezes.
Connecticut River Book Auction’s Friday, September 6, sale at the South Congregational Church at 6 pm offers the opportunity to vicariously participate in the events that mattered to Tuxedo’s residents in the late 1800s.
Tuxedo's transformation in 1886 from a 6,000-acre wilderness to a compound with 30
miles of roads, a water and sewage system, two blocks of stores, a police station and initially 22 cottages, was a remarkable feat of construction accomplished by an estimated 1,800 Italian and Slav immigrants. Those cottages mentioned were humble structures containing only five to 10 bedrooms apiece. Later buildings grew in size with the Richard Mortimer’s Italianstyle villa totaling 54 rooms. In keeping with the Italian motif, entrance to this property was through an enormous iron gate flanked by two lions. One would then journey down a “majestic avenue” past marble busts of Roman emperors to the front door.
Amenities at Tuxedo included a fish hatcher, to insure that an angler would never end the day unhappily, tennis courts and playing fields. There was a stately clubhouse whose calendar of events guaranteed that no one could ever lay claim to
the complaint that there was nothing to do. Indeed, until the early 1970s one highlight of the busy social calendar was the debutante ball where upper-class young women
Southold Historical Museum To Host Living History Day
SOUTHOLD, N.Y. — Step back in history to the year 1775 and spend the day at Southold Historical Museum’s Maple Lane Complex on Sunday, September 15. Reenactors from the Third New York Regiment will set up tents and bring items that soldiers would need to live as they travelled to join up with General Washington and his troops. The event will immerse visitors in a well-researched experience of what it was like to spend the day in a military encampment.
The Third New York Regiment reenactors will portray a unit encamped in what is now Suffolk County during the War of Independence in 1775. Visitors will experience Eighteenth Century camp life, including demonstrations of firearms, military drills and other daily tasks. The reenactment will be open to visitors from 10 am to 4 pm.
The event will also feature a variety of demonstrations includ-
ing blacksmithing, spinning, carpentry and basket weaving. Members of Eastern Long Island Old Time Jam will also be playing an assortment of instruments outdoors, and the Maple Lane Complex will be open for tours throughout the day. Living History Day will also be the final day for two seasonal exhibits: “Quilts of Bygone Eras” in the Elfers Collections Center, and “Southold The-
atre: Vaudeville to Jesus Christ Superstar.”
Families are invited to come and experience the reenactment of historical events and programs. Please keep in mind that the musket drills can be loud.
The Southold Historical Museum’s Maple Lane Complex is at 55200 Main Road. For information, 631-765-5500 or www.southoldhistorical.org.
The Sixth Floor Museum Acquires NBC 5 Broadcasts Of JFK Assassination & Surrounding Events
DALLAS — The Sixth Floor Museum at Dealey Plaza — the only museum dedicated to the life, legacy and assassination of President John F. Kennedy — has announced the acquisition of WBAP-TV (now KXAS-TV) footage from NBC 5. This archive, spanning from 1956-1983, documents John F. Kennedy’s visits to the Dallas area going back to 1956, the events of the weekend of the assassination and the earliest assassination anniversaries, allowing scholars and the public to gain a greater understanding of how this chapter of history unfolded. The donation from NBC 5 ensures that local news broadcasts from the weekend of November 22, 1963, are represented in the Museum’s collection, which also contains assassination-related film and video from the other three local news
stations broadcasting in Dallas in 1963: WFAA-TV (the ABC affiliate), KRLD-TV (then the CBS affiliate) and KTVT-TV (then an independent station).
“The Sixth Floor Museum is a vital resource for all those who are interested in the events and effects of November 22, 1963, and the Museum’s news footage collections are a powerful tool for understanding this history,” said The Sixth Floor Museum CEO Nicola Longford. “We are grateful for the efforts of Brian Hocker and the Museum’s late colleague Gary Mack for helping to build the Museum’s archive of footage captured by Dallas local news and to NBC 5 for its generous donation and partnership in the Museum’s endeavor to tell the story of a critical day in American history.”
The NBC 5 Archive includes
16mm film taken in Dealey Plaza during the immediate aftermath of the assassination by WBAP-TV photographer Jimmy Darnell, who was riding in a press vehicle in the Dallas motorcade approximately eight cars behind the presidential limousine. Additional footage captures the trial, appeal and death of Jack Ruby; the Secret Service reenacting the assassination in Dealey Plaza; and numerous moments that contextualize the assassination within the larger history of Dallas County during this era, with appearances by influential figures including Lyndon B. Johnson, Richard Nixon, Dr Martin Luther King Jr and Jimmy Hoffa.
The Sixth Floor Museum at Dealey Plaza is at 411 Elm Street. For information, 214-7476660 or www.jfk.org.
vacy for its residents.
made their entrance into the world of high society. All of this magnificence was surrounded by a 24-mile, 8-foot-high barbed wire fence that was patrolled round-the-clock, insuring pri-
One can imagine joining “the committee appointed to examine into the original historical names of the Tuxedo Region.” This undertaking began in 1886 and was completed in 1888. Its author was William Waldorf Astor, believed to be Tuxedo’s wealthiest resident until his departure from the states in 1890 to reside in Great Britain. The book, Historical Names of the Tuxedo Region, is bound in its original red cloth and contains its map. Its pages reject the folklore that Tuxedo’s name derives from the formal attire of the day and establishes a 1754 colonial connection. Included with the book is a handwritten letter from William Astor to Mrs Josiah Patterson, dated 1886, thanking her for information regarding this undertaking. South Congregational Church is at 949 Main Street. For information, www.ctriverbookauction. com or 860-908-8067.
Notable Prices Recently Achieved At Various Auction Houses
Across The Block
Thomas Hirchak Bidders Bargain For Like-New Breitling MORRISVILLE, VT. — More than 850 lots of jewelry, coins and other currency, timepieces and other antiques and collectibles crossed the block on August 13 for Thomas Hirchak Company. Leading the sale was a Breitling Transocean Chronograph (model RB015212/G738). The 18K gold watch was on a brown leather strap with an 18K gold clasp and came with its original box and paperwork. It was sold, in excellent, as-new condition, for $7,375 to a buyer who was bidding online on Proxibid. For information, www.thcauction.com or 802-888-4662.
Antique Tiffany & Co. Clock Strikes
A Chord With Benefit Shop Bidders
MOUNT KISCO, N.Y. — A highlight lot from the Benefit Shop Foundation’s August 14 Red Carpet Auction was an antique Tiffany & Co., painted porcelain clock. Standing out among more than 730 other lots from local estates, including jewelry, fashion, antiques and decorative arts, the handpainted clock was won for $774 by a US buyer who was a previous Benefit Shop client. The auction catalog noted that the 11-inch-tall clock was “made to resemble a Greek temple with gilt columns and figures of a gladiator, a potter and a merchant in green and on sides.” For information, www.thebenefitshop.org or 914-864-0707.
Potbelly Phone Dials Up High Price For White’s Auctions MIDDLEBORO, MASS. — A nickel-plated American Bell Telephone Company potbelly candlestick phone was the highest seller in White’s Auctions’ August 18 auction. The 11¼-inch-tall phone, in a design patented in 1892, realized $39,040 against an estimate of $500-$1,000. According to co-owner Katherine White, the phone sold to a buyer bidding on the telephone. It was one of nearly 600 in the event that was nearly 87 percent sold by lot. For information, 508-947-9281 or www.whitesauctions.com.
Nagel’s ‘Blonde In Sunglasses’ Strikes A Pose For Heritage
DALLAS — Patrick Nagel’s “Blonde in Sunglasses” sold for $137,500 to lead Heritage’s August 8 Illustration Art Signature auction. Also known as NC#5, “Blonde in Sunglasses” is one of Nagel’s most graphically striking images and showcases the crisp and bold lines, dramatic attitude, pop sensibility and minimalist restraint that made him the most iconic artist of women of the 1980s. This absolute knockout is one of the finest to ever appear at auction, and represents an important discovery, having resided in the same collection for decades. It was the highest price in a sale that totaled $1.4 million. For information, 214-528-3500 or www.ha.com.
JMW ‘Reeling’ In The Years With Sale Of Vintage Tape Deck KINGSTON, N.Y. — On August 9, JMW Auction conducted a 300-plus lot auction that included more than 100 pieces of vintage audio and stereo equipment from one estate in the Hudson Valley. It included names like Heathkit, Sony, Sansui, Technics, Akai, Teac, Hitachi, Luckman, Mitsubishi and more. Among the vintage audio on offer, a Pioneer RT-909 four-track two-channel reel-to-reel recorder reached $1,188. Reel-to-reel tape recorders have been making a comeback in recent years with some companies restoring vintage units and others manufacturing new tape and tape players. For information, 845-389-1933 or www.jmwauction.com.
A Bison Roams In Hudson Valley Auction BEACON, N.Y. — Hudson Valley Auctioneers presented an unreserved antiques and estate auction with absentee, phone and online bidding on August 12. The sale included select items from estates in Rhinebeck, Peekskill, Brooklyn, Ho-Ho-Kus (N.J.) and other locales. “This was our usual summer auction, bidding was still pretty good despite people being on vacation,” observed Theo de Haas, general manager and junior partner. An interesting lot featuring an early museum sign and carved wooden bison realized $1,280. Strong results were noted for sterling flatware and vintage high-end stereo equipment. For information, 845-480-2381, 914489-2399 or www.hudsonvalleyauctioneers.com.
Solar Yellow Jeep Wrangler Drives To Top At Nathan MANCHESTER, VT. — On August 11, Nathan Auctions & Real Estate conducted an onsite auction of a single-owner estate, which included classic automobiles, John Deere tractors, jewelry, Remington and Ruger hunting rifles, women’s designer shoes and more. Leading the sale was a 2002 Jeep Wrangler in solar yellow, which had just over 10,000 miles. The Jeep was new when it was purchased by the late owner. The car still had its original window sticker, along with a five-speed transmission and air conditioning. According to Eric Nathan, owner of Nathan Auctions & Real Estate, “The buyer is a long-time customer and collector from New Hampshire who seeks out and buys low mileage examples of interesting cars.” He snagged the Jeep for $18,150, with buyer’s premium. For information, 802-236-1358 or www.nathanre.com.
Packard Sailboat Painting Channels Cape Vibe For Eldred’s EAST DENNIS, MASS. — A summery painting of a single sailboat seen from a beach, painted by Anne Packard (American, b 1933), was one of two paintings to sell for $20,480 in Eldred’s Contemporary Art auction on August 14. The 22-by-20-inch oil on canvas had two museum exhibitions in its history and came to auction from the Henry and Sharon Martin Collection. It was the top price achieved in the 155-lot sale, which was about 80 percent sold by lot. For information, 508-385-3116 or www.eldreds.com.
Altair Wristwatch Keeps Time At Hayloft BRONX, N.Y. — A 14K gold wristwatch with a hinged face cover, by Altair, was the highest seller in Hayloft Auctions’ August 12 sale, a 250-lot affair that was nearly 84 percent sold by lot. Estimated for $1/1,500, the timepiece, which measured 7½ inches long, weighed approximately 25 pennyweights and was described as being in “good” condition, earned $1,500 and sold to a buyer in the Metropolitan area bidding on Hayloft’s online platform. For information, 929-303-3266 or www.hayloftauctions.com.
Poulin’s Fine Art & Antiques Auction Has Diverse Selection
FAIRFIELD, MAINE — On August 27 at 10 am at Poulin’s auction facility will be filled with an array of fine art and antiques for its annual summer auction. Included in the fine art is a large oil on canvas of quail in flight by L.B. Hunt ($20/30,000), a gouache depicting a father and son returning from a hunt by A.B. Frost ($15/20,000), an acrylic by noted artist Fritz Scholder titled “Kachina Manna,” ($10/20,000) and a small work by renowned Mexican artist Diego Rivera depicting an image of “All Saint’s Day,” ($15/25,000).
From the collection of Martin Lane of New York City is a patriotic painting titled “The Union.” This circa 1852 painting depicts a number of notable politicians; one brandishing a huge red, white and blue American shield ($3/5,000). Marine paintings include an Antonio Jacobsen four-masted sailing vessel, “The Seaborn,” 25 by 42 inches ($4/6,000). A private collection of illustration art from Florida features numerous works by Norman Price. There is also a large collection of signed serigraphs by Will Moses (great-grandson of Grandma Moses). The Lane collection also includes Nineteenth Century paintings of military men and many of Native Americans.
Early American furniture, most of which comes from an old Pennsylvania collection includes Windsor chairs, a carved fan back with scroll knuckle grip armchair ($2,5/3,500) and an Eighteenth Century Chippendale mahogany block front secretary ($5/10,000). Folk art will include weathervanes, a unique carved elk head hat rack and two large carved and painted Atlantic salmon. A small but select grouping of carousel figures includes a rare Carmel & Borrelli armored horse ($15/25,000), a Muller-Dentzel carousel figure of a standing horse originally acquired at the famous Knox Berry Farm auction ($8/12,000) and a strolling deer carousel
figure ($9/12,000). A small grouping of Northwest Coast items includes a Nineteenth Century carved ceremonial feast bowl with the figure of an otter having inset abalone eyes ($2/3,000), a carved Nineteenth Century Haida painted totem dated 1890s ($2,5/4,500), a Tin-
glet rattle top basket ($2/2,500). Numerous early Nineteenth Century folk portraits will cross the block.
A signed Mitchell and Rammelsberg Victorian carved hall tree with lavish carving ($5/10,000). A Belter rococo laminated rosewood sofa and armchair in the Henry Clay pattern ($2,5/4,500), a Steinway Model M grand piano ($6/8,000) and a lounge chair designed by Charles Eames for Herman Miller ($2/4,000) are on offer. There are numerous tall case clocks, including early American clocks, some paint decorated, also Victorian tall clocks. An early Nineteenth Century Berks County, Penn., grandmother clock ($2,5/3,500) and a rare Parker 47 pregnant lucky curve abalone pen in its original case ($1,5/2,500) are highlights.
A monumental Deniere et Fils and a Louis XV-style gilt clock, which dates from the Nineteenth Century ($2/3,000) and a Nineteenth Century bronze by Louis Auguste Hiolin “Au Loup” depicting a young shepherd
The Cleveland Museum Of Art Presents ‘Creation,
CLEVELAND, OHIO — The Cleveland Museum of Art presents “Creation, Birth and Rebirth,” on view through July 27, 2025. The exhibition explores some of the fundamental moments in the sacred narratives of the medieval world: the creation of the universe, the birth of its gods and its humans and visions of the end of life conceived as a new beginning. The exhibition asks a series of questions: How was the creation of the world imagined in different religions? How were the creators of that world visualized in several religious cultures? How were ideas about conception, incarnation and birth depicted in the objects created by these cultures? How did they perceive the difference between birth and creation, and the connections between death and rebirth? What parallels were drawn between miraculous and everyday births? How did religious teachings on reincarna-
Birth And Rebirth’
Jewelry highlights include this 6.11-carat emerald cut diamond and platinum ring with GIA estimate of more than $80,000 ($35/45,000).
pursuing a wolf ($1,8/2,800) are on the block.
Jewelry highlights include a 6.11-carat emerald cut diamond and platinum ring with GIA graduate gemologist appraisal and evaluation at more than $82,000 ($35/45,000); a suite of diamond jewelry includes a necklace and matching earrings with 33 large cut diamonds and more than 100 smaller cut diamonds ($4/8,000); and a number of antique pocket watches, including a Longine platinum and diamond example ($1/2,000). Numerous gold and silver coins include an 1882-CC
$20 Liberty Head Double Eagle in AU 50 condition ($3/5,000). Two private doll collections from California and Maine include a large French closed mouth Jumeau marked “Depose 13J”($2,2/2,750). A rare all original Tete Jumeau mechanical box doll is estimated at $2,25/2,750.
A large painted metal sign of a Native American chief was used in the well-known movie Empire Falls starring Paul Newman and many other stars. The film was shot in 2005 in Skowhegan, Maine, and is based on Richard Russo’s 2001 novel Empire Falls ($400$4,000). Numerous painted wood signs include an oversize carved halibut sign ($2/2,500). Chinese and Japanese objects, Oriental rugs, including an antique Seichour rug ($1/2,000) are also on offer.
Preview is available on August 26, 9 am to 5 pm. This will be a live auction and online via Poulin Live, Icollector, ProxiBid, Invaluable, LiveAuctioneers and AuctionZip. Poulin Auction facility is located in central Maine, just off I-95, Exit 133, 1 mile north. A full color catalog is available and can be viewed on the website at www.poulinauctions.com. For information, 207-453-2114.
STORMVILLE AIRPORT Flea Market
tion and resurrection manifest in medieval material culture? What, more broadly, was the role of images in making sense of the universe?
The objects in the exhibition span from the 800s to the 1500s, drawn from several collections in the Cleveland Museum of Art, including medieval art, Chinese art, Indian and Southeast Asian art, art of the Americas and prints and drawings, offering possibilities of forging connections across cultures and geographies. The Cleveland Museum of Art is at 11150 East Boulevard. For information, 216-421-7350 or www.clevelandart.org.
“Virgin Nursing the Christ Child,” circa 1370, France, Île de France; painted limestone, 43-11/16 by 15-3/16 inches overall. The Cleveland Museum of Art, Leonard C. Hanna, Jr Fund 1984.157.
Oct 12 & 13 | Nov 2
www.stormvilleairportfleamarket.com As Seen On HGTV-Flea Market Flip 428 Rt. 216, Stormville,
Large oil on canvas of quail in flight by Lynn Bogue Hunt ($20/30,000).
Rare carousel figure, Carmel & Borrelli armored horse from a California collection ($15/25,000).
Mark Armijo McKnight’s Black & White Photographs On Display In Solo Show At The Whitney
NEW YORK CITY — On view at the Whitney Museum of American Art through January 5, “Mark Armijo McKnight: Decreation” features new and recent black-and-white photographs by Mark Armijo McKnight (b 1984, Los Angeles, California; lives in New York, New York) and focuses on his ongoing body of work, “Decreation.”
The concept of “Decreation,” originated by the French philosopher, activist and mystic Simone Weil (1909-1943), describes an intentional undoing of the self, a process Armijo McKnight explores in images of bodies and landscapes in intermediate states, such as anonymous nude figures engaged in erotic play amidst harsh environments. These photographs convey a sense of both ecstasy and affliction.
Working in the high desert of southern California, where he grew up, as well as the badlands of New Mexico, his maternal homeland, Armijo McKnight builds on a long history of photography in the US West. Its dramatic terrain has frequently been used to symbolize sublime
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beauty and an ideal of freedom from society even as its imagery has been exploited for violently oppressive ends. Armijo McKnight explores these tensions — between liberation and repression, transcendence and despair — by embracing a range of con-
tradictions in both the subjects he depicts and his technical choices. Using a large format film camera, his photographs retain a formal precision associated with Modernism, but trouble it with a queer refusal of photography”s surveying gaze.
His images’ rich contrasts are the result of the in-camera and darkroom techniques he uses to obscure certain details and saturate the images with emotion. By drawing on sources ranging from art history to ancient mythology to social philosophy, Armijo McKnight layers his photographs with metaphor.
A new 16mm film in the gallery plays a cacophonous symphony of gradually unwinding metronomes set within the dramatic geological formations of the Bisti Badlands/De-Na-Zin Wilderness in New Mexico. Two large limestone sculptures, which double as seating, suggest the forms of a pair of ancient sundials. As a whole, “Decreation” simultaneously evokes tumult and quietude, darkness and light, isolation and togetherness.
“‘Decreation’ demonstrates the Museum’s ongoing commitment to showcasing and supporting the work of artists early in their career,” said Drew Sawyer, Sondra Gilman curator of photography at the Whitney Museum. “I am excited to be working with Mark Armijo
McKnight as he expands his exploration of metaphysical questions into film and sculpture.”
“I am invested in equivocality, poetics, timelessness, the otherworldly and the archetypal. However, the unprecedented ecological and sociopolitical turmoil of our current moment have deeply impacted my psyche and subsequently my practice,” said Mark Armijo McKnight. “I have a sense of urgency to make and share this work because it is, in its way, both a reflection of and response to the tumultuous world in which we find ourselves… and hopefully also a place in which to find catharsis or take solace.”
This exhibition is on view in the lobby gallery, accessible to the public free of charge as part of the Whitney Museum’s enduring commitment to supporting and showcasing emerging artists’ most recent work.
The Whitney Museum of American Art is at 99 Gansevoort Street. For information, www.whitney.org or 212-5703600.
The Fairfield Museum Presents ‘Bridgeport At Work: Muralist Robert Lambdin And Bridgeport Brass’
FAIRFIELD, CONN. — The Fairfield Museum and History Center presents “Bridgeport at Work: Muralist Robert Lambdin and Bridgeport Brass,” on view in the South Gallery through October 27.
Westport-based artist Robert Lambdin was renowned for his murals for local post offices, schools and libraries completed under the Works Progress Administration (WPA).
After the WPA projects were completed and World War II began, Lambdin and other artists needed to find other sources of work. Amidst a climate of war and labor strikes, Bridgeport Brass Company received massive contracts for war production and hired artists to illustrate powerful scenes of industry and labor
Robert Lambdin, circa 1940s. Courtesy of Black Rock Galleries.
to reassure workers and consumers alike.
Robert Lambdin and another Westport, Conn., artist Ralph L. Boyer crafted imagery that celebrated brass production and the workers who made the company a success during the height of manufacturing in World War II. Exploring themes of advertising, truth and propaganda, this exhibition presents Lambdin’s artwork for Bridgeport Brass within the context of the company’s balancing act between management and the workforce and Bridgeport’s long history of the labor movement and workers’ rights.
The Fairfield Museum and History Center is at 370 Beach Road. For information, 203259-1598 or www.fairfieldhistory.org.
‘Jacolby Satterwhite: A Metta Prayer’ Transforms MFAH’s Cullinan Hall
“Jacolby
HOUSTON, TEXAS — Through October 13, “Jacolby Satterwhite, A Metta Prayer,” features interdisciplinary artist Jacolby Satterwhite, who transforms the Museum of Fine Arts, Houston’s vast Cullinan Hall with an expansive multimedia installation that fuses choreography, video, animation, lighting and music to reimagine a kaleidoscopic, computer-generated world.
“Jacolby Satterwhite: A Metta Prayer” was commissioned in 2023 for the Great Hall of the Metropolitan Museum of Art in New York. The immersive exhibition now brings the artist’s virtuosic work to Houston.
“A Metta Prayer” constructs a
digital space that represents love, joy and resilience. Satterwhite (b 1986) draws inspiration from the Buddhist Metta prayer to build a narrative that rebels against the conventions of commercial video games. A soundtrack produced by the artist pulses with energy, providing the video with its driving beat.
This exhibition celebrates humanity in all its glory through computer-generated scenes of life and love. There are occasional instances of adult language and imagery. Museum of Fine Arts, Houston is at 1001 Bissonnet. For more information, 713-639-7300 or www.mfah.org.
Fred Giampietro Finds $140,000 In Discovery Auction
Auction Action In Branford, Conn.
This Caucasian carpet, measuring 5 feet 2 inches by 3 feet
any
BRANFORD, CONN. — New England Auctions’ August 15
Summer Discovery auction may have been stocked with modestly estimated antiques but the sale netted Fred Giampietro nearly 140,000 with nearly 98 percent of the 419 lots gaveling down successfully.
“The sale was online only, on three platforms, and we offered phone and absentee bidding. We had 5,300 registered bidders and bidding was robust throughout the sale,” Giampietro confirmed an hour or two after the sale closed.
A steel Winchester signal cannon that came with its original box and was described as in “excellent condition with minor imperfections” earned top-lot honors. The cannon got bidders fired up and delivered a $3,500 result, more than quadrupling
Ed
Ruscha
On
its $750 high estimate.
In a related category, two Civil War canteens quenched someone’s thirst, topping off at $2,000. The side of the larger canteen was stenciled “U.S.” while the smaller example had
This circa 1820 Vermont painted tall case clock with Riley Whiting works stood 81 inches tall and brought $2,250 ($800-$1,200).
Despite some losses, imperfections and staining, this Chinese painting on silk, which was professionally mounted and framed, brought $3,250, the secondhighest price in the sale ($250/500).
“N.H.” lettering. Both had been retouched or repainted.
In second place overall, a Chinese painting on silk found a new home for $3,250. Professionally mounted and framed, it measured 73¾ by 38¼ inches.
The rug category — of which there were nearly a dozen lots — reached its apex in a 5-foot-
Retrospective, ‘Now Then,’
View At Los Angeles County Museum
LOS ANGELES — Ed Ruscha has consistently held up a mirror to American society by transforming some of its defining attributes—from consumer culture and popular entertainment to the ever-changing urban landscape— into the very subject of his art. In 1956, Ruscha left Oklahoma City to study commercial art in Los Angeles, where he drew inspiration from the city’s architectural landscape—parking lots, urban streets and apartment buildings—and colloquial language.
As his first comprehensive, cross-media retrospective in more than 20 years, “Ed Ruscha / Now Then” at the Los Angeles County Museum of Art (LACMA) traces Ruscha’s methods and familiar subjects throughout his career and underscores the many remarkable contributions he has made well beyond the boundaries of the art world. The exhibition, which is currently on view
through October 6, includes his early works produced while traveling through Europe, his installations—such as the “Chocolate Room” and the “Course of Empire” presented at the Venice Biennale in 1970 and 2005, respectively—and his ceaseless photographic documentation of
Topping the sale at $3,500 was this steel Winchester signal cannon that came with its original box ($500/750).
The larger of these American Civil War canteens had retouched lettering, while the smaller had been repainted. Despite this, bidders topped the lot off at $2,000 ($150/300).
2-inch-by-3-foot-9½-inch Caucasian carpet that had minor imperfections. Bidders took it from an opening bid of $50 to $2,750, the third highest result of the day.
A handful of clocks and watches were in the sale but a tall case clock stood out, timing out at $2,250. The Vermont-made case was paint decorated and housed Riley Whiting works. Dated to circa 1820, its condition was described as having “imperfections consistent with age.”
New England Auctions will sell the Thomas & Tess Schutte Collection on October 17 and, in
two sales on November 14, Fine European & Asian Antiques and Luxury Jewelry & Accessories.
Prices quoted include the buyer’s premium as reported by the auction house. For information, www.newenglandauctions.com or 475-234-5120.
the streets of Los Angeles beginning in 1965.
The exhibition is co-organized by the Los Angeles County Museum of Art and the Museum of Modern Art, New York.
LACMA is at 5905 Wilshire Boulevard. For information, www. lacma.org or 323-857-6010.
9½ inches, realized $2,750, the highest price of
rug in the auction ($250/500).
Review by Madelia Hickman Ring, Editor Photos Courtesy New England Auctions
Whaling & Sailing At Eldred’s $1.44 Million Marine Auction
EAST DENNIS, MASS. — For nautical art and scrimshaw collectors, Eldred’s August 8-9 auction was the place to be. The Marine Sale offered 657 lots from several important sources including scrimshaw and whaling objects from a Long Island, N.Y., estate collection, a historic Nantucket, Mass., collection and the Robert Hellman whaling and whalecraft collection. Realizing $1.44 million, the sale had a sell-through rate of 75 percent. Earning the highest honors across the two-day sale was a scrimshaw sperm whale tooth with inlaid abalone and tortoiseshell accents. Bid to $47,250 and ultimately claimed by a private collector, the iridescent accents at the bottom of
both sides of the tooth drew bidders’ interest, but the carving itself was masterful as well.
According to Dr Stuart M. Frank, founder and director of Scrimshaw Forensics Laboratory (Foxborough, Mass.) and senior curator emeritus, New Bedford Whaling Museum (New Bedford, Mass.), the work was done by an American whaleman circa 1835-50 and was colored with lampblack and china ink. Frank’s authentication letter was included with the lot. The primary whaling scene, with a pod of whales, a large ship and several smaller vessels, wrapped around the tooth. The front primarily featured a large whaleship while the reverse was characterized by whales tossing men
This polychrome Lady Liberty scrimshaw whale’s tooth was attributed to Samuel W. Tenney, the “King of the Sea” artist. Measuring 5¼ inches high on a wooden stand, it brought $25,200 ($20/25,000).
from their ships. Above the tumultuous scene were Masonic symbols and a ribbon-wrapped floral bouquet. A foliate band circled the base of the tooth, connecting the hexagonal abalone pieces.
Other notable pieces of scrimshaw included well-known figures or images. One example, attributed to the “Banknote Engraver,” featured a highly detailed portrait of George Washington on the front. The bust of Washington was depicted in uniform, with a spreadwing eagle carrying a “Washington” banner above his head and with foliate garland surrounding the image. On the reverse, was a scene depicting “a child caught between two
This pair of polychrome scrimshaw whale’s teeth with portraits of women by Manuel Enos (1826-1915), mid Nineteenth Century, 5½ inches each, brought $28,980 ($25/35,000).
Review
by
Carly Timpson, Assistant Editor
Photos Courtesy Eldred’s
The top lot in the two-day sale was this scrimshaw sperm whale tooth with inlaid abalone and tortoiseshell, American, circa 1835-50; it surpassed estimates to achieve $47,250 ($30/40,000).
Attributed to the “Banknote Engraver,” mid Nineteenth Century, this 7-inch scrimshaw whale’s tooth was carved with portrait of George Washington on one side and an outdoor scene with two women, a child and a dog on the other; it shot past its estimate range to achieve $32,760 ($12/15,000).
women, one of whom is seated beneath a tree and holding a dog. The image was probably based on a contemporaneous print, possibly an allegory for unconditional love or referencing the Judgment of Solomon,” per the auction catalog. The George Washington whale’s tooth more than doubled its high estimate, selling to an inhouse buyer for $32,760. Keeping with the patriotic theme, a polychrome carved tooth depicting Lady Liberty earned $25,000, selling to a private collector. Attributed to Samuel W. Tenney, the “King of the Sea” artist, the tooth included a “Patriotic scene of a spreadwing eagle, a colossus Lady Liberty, a monument and an American-flagged warship wraps around the circumference of the tooth.” In the eagle’s beak and wrapping around the tooth was a banner that read “Liberty And Freedom.” On the reverse side, the pictured American warship was possibly the U.S.S. Brandywine, on which Tenney served.
This mid Nineteenth Century whale’s tooth with a “Sperm Whaling” scene also had a spread-wing Liberty eagle and other patriotic symbolism, 5¾ inches, found a buyer for $26,460 ($25/35,000).
While not known to be based on historical figures, a pair of polychrome scrimshaw teeth by Manuel Enos impressed bidders, who took the set to $28,980 before selling to a private collector bidding on the phone. Both teeth depicted women wearing floral headpieces and colorful patterned dresses; one also includes a young child standing next to the woman. The pair was accompanied by an authentication letter from Frank that stated the works were done by Enos. The catalog noted that a similar pair of Enos carvings were part of the Thomas Mittler scrimshaw collection sold by Eldred’s in 2016 and illustrated in Nina Hellman’s 2015 text, Through the Eyes of a Collector. Other examples of Enos’ work can be found at the New Bedford Whaling Museum (New Bedford, Mass.) and the Cold Spring Harbor Whaling Museum and Education Center (Cold Spring Harbor, N.Y.).
A scrimshaw whale’s tooth with the inscribed title “Sperm Whaling,” was appropriately carved with a whaling scene but also included the patriotic symbolism of a Liberty eagle and, on the other side, a tableau with an American flag, Liberty shield, cannons and other weaponry
Nearly identical to an example illustrated in Scrimshaw on Nantucket: The Collection of the Nantucket Historical Association by Stuart M. Frank (Nantucket, Mass.: The Nantucket Historical Association, 2019), a whale’s tooth carved with an image of Mount Vernon and Washington’s tomb shot past its $6,000 high estimate to achieve $13,860, selling to a private in-house bidder. The carving, which was titled “Res. & Tomb of Washington. Mt. Vn.” beneath the image, was based on William Henry Capone’s engraving of William Henry Brook’s painting. Unique to this carving was the addition of a steamship flying an American flag on the Potomac River in the background.
This 6½-inch-long scrimshaw whale’s tooth depicting “Res. & Tomb of Washington. Mt. Vn.” was based on William Henry Capone’s (Britain, active 1832-1855) engraving after William Henry Brook’s (Britain, 1772-1860) painting; it more than doubled its estimates to finish at $13,860 ($4/6,000).
framed, more than doubled its high estimate to make $35,280 ($8/12,000).
“Columbia vs. Shamrock” by Timothy Thompson (English, b 1951), oil on canvas, 39 by 49 inches
This American or English carved figurehead of a woman with foliate trailboards was in two pieces to wrap around the vessel, third quarter of Nineteenth Century, 71½ inches long, finished at $22,680 ($15/25,000).
“Boston Pilot Boat” by Thomas Maclay Hoyne (American, 1924-1989), acrylic on canvas, 25 by 31 inches framed, made $18,900 ($15/20,000).
was above a large ship. The patriotic whaling piece was shot down by a private collector for $26,460.
Carved with a depiction of a gunship with a British ensign on one side and the Daniel of London, aflame and colored with red sealing wax, on the other, a whale’s tooth attributed to the “Britannia Engraver” rose to $17,640. According to Paul Madden Antiques, scrimshaw and marine antiques specialists, “Daniel IV (proper name) was set on fire in the Pacific by mutineers on March 5, 1828; the captain, officers and crew were rescued by the London whaleships Elizabeth and Charles… The ‘Brittania Engraver’ (anonymous) is considered to be the earliest practitioner of scrimshaw and a major influence to Edward Burdett.” A berry vine circled the base of the tooth, and a dotted band wrapped around its tip. Cheryl Stewart, Eldred’s head of marketing, reported “There’s been some recent research regarding the identity of ‘Britannia Engraver’ by Mary Malloy, who presented at the annual Scrimshaw Symposium in New Bedford. She thinks it might be Captain William Buckle.”
Another major category in the sale was ship portraits or marine art. The selection of paintings was led by Jack Lorimer Gray’s oil on canvas painting, “Dares’ Point, Herring Fishing Near Nova Scotia.” The work, housed in a gilt frame with a title and artist plaque, showed two fishermen at work aboard a small dory. Affixed to the reverse were labels for Quester Gallery, Stonington, Conn., and the Mary Burrichter and Robert Kierlin Collection, “a premier and substantial private collection of Nineteenth and Twentieth Century American and European paintings,” according to the auction catalog. The action-packed fishing scene was caught by a private collector, bidding in the room, for $36,540.
“Columbia vs. Shamrock,” a
Realizing $16,380 was this cased prisonerof-war boxwood model of the 80-gun frigate Le Pompee, Britain/France, circa 1796, 16¾ inches high by 21½ inches long by 9¾ inches wide ($15/20,000).
moody racing scene by contemporary maritime artist Timothy Thompson, finished second in the category, making $35,280 against a high estimate of just $12,000. A private collector, bidding in person, won the race for this painting.
Depicting the fishing schooner Stiletto racing back to the port with her catch, “Driving to Market” by Thomas Maclay Hoyne brought $27,720. A label affixed verso read “The Stiletto (19101930) was a McManus semiknockout fisherman and brought in her share of mackerel and halibut. Supply and demand created the highest price for the first fresh fish brought to market. Consequently, schooners raced back to port with their ‘trip.’ The Stiletto stranded on a sand bar off New Jersey in April 1930 and was a total loss.” The work was signed and dated “Tom Hoyne 1981” to the lower left.
Another work by Hoyne, “Boston Pilot Boat,” brought $18,900. The boat in the portrait bears the number “7” on its sails and, according to Eldred’s, there were four pilot boat number sevens in Boston. Based on the information they had received about the work and its subject, the boat in this painting was believed to be the Friend. The reverse of the frame held labels from Mystic Maritime Gallery (Mystic, Conn.), the 2005 exhibition “Fishing on the Grand Banks: The Marine Art of Thomas Hoyne” at Independence Seaport Museum (Philadelphia) and the Philadelphia-based Conservation Center for Art and Historic Artifacts.
While they did not fit neatly within the previously mentioned categories, a set of eight Nantucket baskets did fit neatly within each other. In graduated sizes ranging from 4 by 4¾ inches to 9 by 13½ inches, the nest of baskets were attributed to Andrew Jackson Sandsbury (1830-1902), who is considered one of the leading Nantucket basket makers. Each of the round baskets had an oak swing
signed Ralph
Eight Nantucket baskets attributed to Captain Andrew J. Sandsbury, circa 1890, oak handles, rims and staves, ranging from 4 by 4¾ inches to 9 by 13½ inches, sold together for $26,460 ($20/30,000).
handle with brass ears and a hardwood base. The set went out at $26,460.
A carved wooden figurehead of a woman, in two pieces to wrap around a ship’s hull, had foliate trailboards. The auction catalog described the figure, writing that the woman had “delicate, refined facial features, giving her both beauty and a sense of innocence, long hair reaching to the small of her back, and a short-sleeved V-neck gown that drapes elegantly across her body. Her right hand, on the starboard side, rests across her heart, and the left hand, on the port side, is at her side, holding the folds of her skirt. The hands are carved with the same detail and proportions of her face, with even the fingernails clearly delineated. Foliate and scroll carvings begin at her waist and continue the length.” A phone bidder took her home for $22,680.
Prices quoted include the buyer’s premium as reported by the auction house. Eldred’s Maritime Art & Americana auction will be September 12-13. For information, www.eldreds.com or 508-385-3116.
Attributed to the “Brittania Engraver,” this 5¾-inch polychrome scrimshaw whale’s tooth depicted Daniel of London on fire and a three-masted British gunship; it went out at $17,640 ($8/12,000).
“Driving to Market” by Thomas Maclay Hoyne (American, 1924-1989), 1981, oil on canvas, 33 by 45 inches framed, earned $27,720 ($20/25,000).
This
Eugene Cahoon Jr, painting of mermaids and sailors enjoying ice cream, oil on Masonite, 10¼ by 12¼ inches framed, sold to a phone bidder for $15,120 ($4/6,000).
“Dares’ Point, Herring Fishing Near Nova Scotia” by Jack Lorimer Gray (New York/Canada, 1927-1981), oil on canvas, 40 by 59 inches framed, went out at $36,540 ($30/40,000).
Club News
National Association of Watch & Clock Collectors
STURBRIDGE, MASS. — The National Association of Watch & Clock Collectors (NAWCC) is hosting the 2024 Ward Francillon Time Symposium at the Publick House in Sturbridge, Mass., October 21 through 24. The public is invited to experience New England horology with horological lectures and exclusive museum tours at the Willard House & Clock Museum, the American Clock & Watch Museum and Old Sturbridge Village, including the J. Cheney Wells collection of clocks.
The annual James Arthur Lecture will be presented by Dava Sobel. She will provide the backstory of her acclaimed book Longitude and its impact on the public’s understanding of horology, specifically marine timekeeping. Dava will present on Tuesday morning, October 22.
A full roster of eminent speakers has been recruited including Aaron Stark’s “Disrupting Time: Industrial Combat, Espionage, and the Downfall of the Waltham Watch Co.;” Sara Schechner’s “William Cranch Bond and Sons: Astronomers and Horologists;”
Dava Sobel, the 2024 James Arthur Lecturer, will provide the backstory of her acclaimed book Longitude and its impact on the public’s understanding of horology, specifically marine timekeeping.
Damon Di Mauro’s “The Early Pre-1740 Clockmakers of Boston;” Robert Frishman’s “The Mullikens: Massachusetts Clockmakers;” Mary Jane Dapkus’s “Aaron Willard Jr and the Sea Captain’s Widow;” Greg Gorton’s “The Calendar Clock Co. of Cur-
tisville, Conn.;” Richard Newman’s “Watchmaking in Early America;” and Andy Dervan’s “Richard Cranch and His Daybook: A Colonial Watch Repairman from Boston and Great Friend of John Adams.”
The lectures will be held on the mornings of October 22-23, followed by museum tours in the afternoons, and a full-day tour on October 24 at the American Clock & Watch Museum in Bristol, Conn.
The public is invited, and registration, including all programs, museum tours and meals, is $475. Each event is also separately priced if you have limited time. For more information regarding symposium registration, the complete speaker list, schedule, meals and lodging, visit www.education.nawcc.org/ symposium or call Cathy Gorton at 336-383-2321.
The Connecticut State Button Society BRISTOL, CONN. — The Connecticut State Button Society will hold its annual fall show and meeting at St Andrew’s Lutheran Church (1125 Stafford Avenue) on September 21.
A program on postal buttons
Detail view of “Only Fans” at Fashion History Museum. Image courtesy Fashion History Museum.
will be presented by Megan McGory-Gleason. Button dealer showroom hours are 9 am to noon and 1:30 pm to 3 pm. Walk-ins are welcome and there is no fee.
Dealer contact is Pam Borden: pborden1il@cox.net or 401-647-7055.
For information, www.connecticutstatebuttonsociety.org or contact Laurel Durso: ldbuttons@yahoo.com or 860-2830525
Minneapolis Institute Of Art Presents ‘A Little Fun At My Work’
MINNEAPOLIS — The exuberant Twentieth Century ceramic artist Clarice Cliff famously said, in response to critics, “Having a little fun at my work does not make me any less of an artist, and people who appreciate truly beautiful and original creations in pottery are not frightened by innocent tomfoolery.”
Drawing from the collection of the Minneapolis Institute of Art, along with promised gifts from the Tamara and Michael Root collection of studio ceramics, this exhibition at the Wells Fargo Center in downtown Minneapolis showcases the delights and talents of women in the fields of modern and contemporary industrial design and craft. The exhibition features examples of design from Cliff as well as British silver designer Kate Harris, American inventor Marion Weeber and prolific designer
Eva Zeisel. Studio ceramics include works from important American ceramic educator Laura Andreson, Finnish contemporary artist Kirsi Kivivirta and clay sculptor Karen Karnes, among others. The exhibition is on view in 20 cases in the ground-floor concourse and sky-
The Fan Association of North America CAMBRIDGE, ONTARIO — The Fan Association of North America (FANA) is planning a Northeast regional meeting to visit the Fashion History Museum in Cambridge, Ontario, Canada (near Toronto) on Saturday, November 9. FANA recently awarded a grant to the Museum to help restore some of their fan collection. As a result, the lovely exhibition, “Only Fans,” is currently on display until early January 2025.
FANA members will meet with the museum curator who will give a guided tour of the exhibit. For more information about FANA or the exhibition, contact FANA at admin@ fanassociation.org.
FANA welcomes new members and has recently lowered its dues offering members two years for the price of one. In addition, organizations, museums, authors and others are welcome to apply for grants related to hand fans. The deadline for the next round of grants is February 1. Check out the FANA website www.fanassociation.org for more details.
way levels of the Wells Fargo Center in downtown Minneapolis.
“A Little Fun at My Work” is on view through July 24, 2026.
The Minneapolis Institute of Art is at 2400 Third Avenue South. For information, 888-6422787 or www.new.artsmia.org.
National Gallery Of Art Acquires Karin Bergöö Larsson Portrait
WASHINGTON, DC. — The National Gallery of Art has recently acquired “Pierre Louis Alexandre,” a painting from 1879–1880 by Swedish artist and designer Karin Bergöö Larsson (1859–1928).
The acquisition broadens the art-historical narratives of our Nineteenth Century European collection. This painting is on view in gallery 81 on the Main Floor of the West Building.
In her portrait of Pierre Louis Alexandre, Larsson depicts a thoughtful, powerful man. This extraordinary
NEW HAVEN, CT
ESTATE SALE Wooster Square
Antique sideboard, china closet, art & book collection, bric-a-brac and HH
RAIN OR SHINE ALL MUST GO! Fri., Sat., & Sun., Aug. 24-25-26, 9-1
Church-Elm-State-Chapel to 8 Academy St. Park on Chapel. Sale by Tina H. Swirsky ~ Bring flashlights
Frame Restoration and Gilding
17th-19th Century Paintings & Prints
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painting, likely done while she was a student at the Royal Swedish Academy of Fine Arts, is more than a study of a Black model. Rather than “orientalizing” the figure with costumes and jewelry from distant lands — a common practice during this time that reinforced racial stereotypes — Larsson presents Alexandre’s individuality with great care and insight. By placing him close to the picture plane, Larsson emphasizes Alexandre’s physicality, even as his far-off gaze suggests his mind is elsewhere.
“This marvelous painting is all the more remarkable for it being, essentially, a student work. Karin Bergöö Larsson was clearly an extremely talented painter, although she produced few pictures in her short painting career,” said Mary Morton, curator and head of the department of French paintings at the National Gallery of Art.
Pierre Louis Alexandre, the sitter in this painting, was a dock worker born in French Guyana. He arrived in Stockholm in 1863, likely as a stowaway on a trading vessel. An artist’s model at the Royal Swedish Academy from 1878 to 1903, he is depicted in dozens of surviving works by many artists at the time. Alex-
andre lived in Sweden until his death in 1905.
According to scholar Monica L. Miller, associate professor of English and Africana Studies at Barnard College, Alexandre is “thought to be the most depicted Black sitter in pre-Twentieth Century European art… This portrait of
Alexandre is unique and important not only because it depicts him as a person and not merely a model, but also because it forms part of the beginning of a record of Black lives in a globalized African diaspora, even in a place as unexpected as Sweden. As such, ‘Black presence’ becomes historical connection and begins the process of reckoning.”
Larsson began her artistic training at the Arts and Crafts School (Slöjdskolan) in Stockholm, Sweden, and then attended the Royal Swedish Academy of Fine Arts. In 1882 she moved to the international artists’ colony in the village of Grez-sur-Loing, near Paris, where she met the Swedish designer Carl Larsson. They were married the next year. Not only did she collaborate with her husband, but as his primary model, she was frequently depicted in his paintings. Although she ended her painting career at her husband’s request after they married, Larsson designed and wove many of the textiles used in their home, embroidered and designed clothes for herself and their children.
The National Gallery of Art is at Constitution Avenue Northwest. For information, 202-737-4215 or www.nga.gov.
EDITED BY CARLY TIMPSON
“Pierre Louis Alexandre Karin” by Bergöö Larsson, 1879–1880, oil on canvas, mounted on
Cape Cod Is The New Cool—
CCADA’s 54th Annual Orleans Show Is Breath Of Fresh Air Amid Summer Heat
ORLEANS, MASS. — Mist
rolled through the grassy front lawn of Nauset Middle School at the onset of the 54th Annual Cape Cod Antique Dealers Association’s (CCADA) Summer Antiques Show, which was held on August 3, from 9 am to 3 pm. However, the humid and cloudy weather conditions quickly made way for the sun, which bore down on dealers and buyers alike throughout the late morning and early afternoon.
Despite the heat, interested shoppers were out in full force, with 440 people passing in and out throughout the day. This number did not account for children 18 and under, of which there were many happily running around the show, just as interested in and engaged with the items offered as their adult counterparts. By the 9 am start time, there was already a bustling crowd making their way through the two main tents in the middle of the field, as well as the individual dealers’ tents located on the perimeter of the premises. According to Carl Goveia, CCADA president and dealer of over 10 years, “We ended up having one of the best gates ever, despite the heat and humidity. Thank God for the nice sea breeze we had all day!”
After the show’s conclusion, Goveia also reported “very positive” feedback from attendees, and that most dealers “did very well, but noted the sales consisted mostly of small items priced under $100.”
Goveia, under the name Nauset Antiques, based in North Eastham, Mass., also ran a booth during the show. “I carry a bit of everything,” he explained,
showing off to us his array of offerings, which included lots of primitives, signage and an apothecary cupboard, which Goveia pointed out as something that had been drawing customers to his booth throughout the morning. He had just recently acquired it; “but it’s still here!” he joked. Goveia was also a fan of signage, displaying a wooden H.R. Brooks sign advertising “Carpentry + Painting.”
Marie Forjan, publicity coordinator for the CCADA and owner of Marie’s Memories, Eastham, Mass., set up shop right next to Goveia but offered a very different selection of items. Forjan had been busy all morning with potential customers and was chipper when we caught up with her about an hour into the show.
“I love glass and pottery,” she said. “I tend to gravitate towards early Twentieth and late Nineteenth Century for both.” For
glass, Forjan showed off a set of pink crystal drinking glasses, which she noted had been “very popular” with potential buyers. She also showed us an “unassuming” 1912 Arts and Crafts pot adorned with poppies made by Peters & Reed, which she named her favorite piece in the booth.
Jackie Nuccio, Keepers of the Past, East Falmouth, Mass., had fine art, lamps and several cases of jewelry, which, seemingly, was only a small portion of her collection. “I could fill this tent with everything I have,” she said, “I have too much.” She proudly showed off an Art Deco ring she had been wearing on her finger, as well as an 18K gold, ruby, sapphire and diamond encrusted ring, which she called “stunningly handsome.”
The booth of Nancy Mayer, Vintage Lady Linens, based in Milford, Conn., was popular
Despite the humidity early in the morning, plenty of attendees were already crowding the two main dealer’s tents just after the show opened.
Two potential customers checking out a linen tablecloth from the booth of Nancy Mayer, Vintage Lady Linens, Milford, Conn.
An antique Japanese bamboo canterbury and a gathering basket from the “hautebohemian” Carolann Burke, Carolann Burke Antiques, Quincy, Mass.
Nauset Antiques, North Eastham, Mass., run by Carl Goveia, president of the CCADA.
“My husband collects the old tools, I’m pretty much everything else,” explained Deborah Stidsen, East Dennis, Mass., when we asked how to describe her booth. The “everything else” in question? Dishware, antique music sheets and calligraphy, smalls, flags, decoys and maritime art, to name a few.
This child’s wheelbarrow with its original paint, found in a Cape Cod, Mass., house or barn, was one of many items drawing customers into the booth of Kay Linkkila, Orleans, Mass.
Patricia Ferrara (right), owner of Ten-Mile Antiques, Attleboro, Mass., talking to interested customers about the Navajo turquoise jewelry she brought.
Review & Onsite Photos by Kiersten Busch, Assistant Editor
throughout the morning, with various attendees inquiring about the copious amounts of linens, tea sets and cocktail forks that were on display. Mayer has attended the show as a dealer for around 10 years and expressed her love for the show and its audience. In terms of her linens, she’s “noticed there’s
been an uptick in younger people” showing interest in them; “They’re sustainable, economical and reasonably priced, especially the napkins.” Her favorite items in the booth? Lace inserts of Jupiter and the Three Graces.
“It’s been a good show in general,” said Sheila Gediman, Stone Bridge Antiques, Tiverton,
R.I., who was in the middle of selling a sterling silver platter shaped like a fish when we approached her booth. It was Gediman’s fourth year at Cape Cod, and this year she offered Spode chinaware, Irish linens, glassware and a 50-piece Staffordshire dining set, priced at $450. Of the set, she said “It’s a great color. It’s very 70s to me.” She acquired it altogether, but the set had previously been assembled from multiple collections.
Hailing from Rehoboth, Mass., was New England Seasons, owned by Dianne Freed. It was her third year at the show, where she brought what she described as “an eclectic mix of early country and accessories, books… I’m a Tasha Tudor specialist. It’s all just little things that make me happy.” In addition to the antique children’s and local architecture books, Freed offered a whole menagerie of animals, ranging from small metal mice statues to Staffordshire dogs to small Steiff animals — we spotted rabbits, a zebra, a lamb, squirrels, a tiger, dogs and a jaguar, among others.
Self-described as “haute-bohemian,” Carolann Burke, Carolann Burke Antiques, Quincy, Mass., brought Indian and Southeast Asian textiles, antique Japanese bamboo canterburies, Chinese blue and white pottery and folk art baskets. Burke was in the process of finalizing several sales when we approached her booth; “It’s been a very nice crowd,” she reported. “I’ve been up since 3:30 in the morning preparing,” Linda Brown of Cargill Collection, White River Junction, Vt., shared with us. “This is always a nice show. I’ve been a member of the CCADA for years; the show has a good reputation.” Brown displayed an eclectic mix of vintage primitives, wood and metal works and China. She was especially fond of a Fenton cranberry glass set that she had just purchased, noting that she loved their bright color. Her favorite item, a heavy shelf that could fold flat to transport, had already been sold.
An hour and a half into the morning, Paula Deane, Cat’s Meow Antiques, Mashpee, Mass., was already “wiped out,” as she phrased it. All that was left at her booth were a few smalls, a Steiff bear, a few sewing materials and cookie cutters, one painting and some jewelry. “I believe that anyone who comes into my booth should be able to buy,” she explained. Deane, who has attended the show for years as a dealer, is a huge fan; “It’s a great community. You can always find good stuff for reasonable prices.”
Patricia Ferrara, Ten-Mile Antiques, Attleboro, Mass., said that the show was “going well” for her almost two hours in. “I’ve been selling a lot of jewelry, especially gold, silver and American Indian, which is my specialty.” Ferrara noted that her American Indian jewelry — specifically her Navajo examples — has become much more popular as of late, and was happy to show off some, made with tanzanite and turquoise. She also offered Victorian and Chinese hat boxes and various porcelain smalls.
A table full of water and various Dunkin’ products were available for attendees and dealers alike to snack on throughout the show.
Some furry friends from Steiff watch over this eclectic mix of smalls, books, artwork and crustacean-themed dinnerware in Dianne Freed’s booth. New England Seasons, Rehoboth, Mass.
Marie Forjan, publicity coordinator for the CCADA, owns Marie’s Memories, Eastham, Mass. Pictured is the colorful glassware she offered.
A delicious spread of cooking items offered in the booth of Michele Kittalia, South Yarmouth, Mass. She also brought an array of books, weaved baskets and huge redboards.
The eclectic offerings of Regina McGrory, East Falmouth, Mass., kept attendees interested and buying; she was making sales as we walked up to her booth. Besides the smalls, wooden benches, Steiff bears, signage and decoys, McGrory also had a variety of nautical antiques, from fishing lures to barometers and officer’s swords.
A few of the items that were left in Paula Deane’s booth, only an hour and a half into the show. Cat’s Meow Antiques, Mashpee, Mass.
Thomas Leek of Tom’s Curiosity Shop, Orleans, Mass., holding up a spyglass made in London sometime after 1825 by William Ashmore.
Only one part of the fabulous set-up at Port Out Starboard Home (P.O.S.H.), run by Chris Donnelly. On the left, atop the red chest of drawers, is a ship’s diorama from the Nineteenth Century, which Donnelly acknowledged as her favorite piece. Marion, Mass.
Things were heating up in the individual dealer tents that circled the perimeter of the lawn later in the afternoon, both in terms of the weather and sales. Kay Linkkila, a local dealer from Orleans, said that she had been doing “pretty good. There have been a lot of people, some lookers and some buyers.” Linkkila specializes in garden, country and ironstone works, all of which she had on display in her booth. She also had a dozen or so breadboards for sale, of which she remarked, “I also buy a lot of breadboards!”
Thomas and Eileen Leek made up Tom’s Curiosity Shop, also located in Orleans. They deal primarily in ephemera of all kinds, which was evident when walking through their booth, consisting of 10 plus tables, all with a different theme. Some housed local Cape Cod treasures, others antique books or war posters from the early Twentieth Century, and even more with portraiture and Japanese dishware. Eileen shared that it was their third year participating in the show, and that they “sell well here.” Tom, a member of The Ephemera Society of America, enthusiastically claimed that he was “a paper guy,” showing us various maps and postcards he was offering. It did not take much to draw attendees into the booth of Chris Donnelly, the Marion, Mass., based owner of Port Out Starboard Home (or P.O.S.H., for short), which contained an impressively decorated array of maritime-related antiques. “It’s been going great, we’ve had a nice, steady crowd,” Donnelly reported. Her favorite piece in the booth was a ship’s diorama from the Nineteenth Century. Also offered were maritime portraits, telescopes, flags, fishing floats, ballast bottles, maps, ships in bottles and am antique French nautical automaton, among other items.
“I sell a mix of everything; whatever catches my eye and I think other people would enjoy,” shared Ted Biszko, whose eponymous business is based in Brimfield, Mass. Amidst all the antique advertisements at his booth, Biszko chose a framed whiskey advertisement as his favorite, saying, “It’s subtle. The face the boy is making while he’s looking at his own reflection is funny!”
Stepping into James Buchanan’s booth felt like leaving a well-decorated porch garden, only to enter a beautifully furnished home. His business, appropriately titled Cottage Couture, sells out of Acushnet River Antiques, a large co-op in New Bedford, Mass., which houses over one hundred individual dealers. “We’ve had a good day,” he cheerily explained to us, a few hours into the show. “Attendees have been drawn to the setup with the urns,” which housed purple flower arrangements inside of them. Buchanan brought a good number of primitives, as well as country and garden items, which are his specialty. He also offered painted wooden furniture — his favorite — as well as glassware and Staffordshire plates.
The last booth we stopped at for the day belonged to Alan Herman, Whaling Days
Antiques, also based out of New Bedford, Mass. A veteran to the show who has participated for more than 30 years, Herman was already virtually sold out by midday. “I already sold my favorite item,” he admitted, talking about a handmade nautical hooked rug. Herman specializes in country and whaling items,
some of which were left at his booth, including some Inuit walrus bone scrimshaw, carved bone clothespins, grape shots and an antique jug.
All proceeds from the show help fund the CCADA’s scholarship fund and cultural enrichment fund. For more information, www.ccada.com.
Rita Hargrave of Yankee’s-Inge-Newity, West Barnstable, Mass., offered early basketry, a child’s sailor uniform, decoys, samplers, grain sacks, apothecary herb jars, weathervanes and an antique rocking horse with original paint, among other curiosities.
Jackie Nuccio (pictured), Keepers of the Past, East Falmouth, Mass.
A 50-piece Staffordshire dining set, priced at $450, offered by Sheila Gediman, Stonebridge Antiques, Tiverton, R.I.
Linda Brown speaking with an interested buyer about an antique purse. Cargill Collection, White River Junction, Vt.
A selection of the chocolate molds offered at the booth of Carolyn Thompson, Bayberry Antiques, Orleans, Mass.
Ted Biszko Antiques, Brimfield, Mass.
Feeling floral with James Buchanan, Cottage Couture, New Bedford, Mass.
Antique scrimshaw and bone clothespins were some of the only items left at the booth of Alan Herman, Whaling Days Antiques, New Bedford, Mass.
Historic Homes & Properties
New York City Plaques Honoring Author Anaïs Nin & Rock Venue Fillmore East Stolen For Scrap Metal
by kaRen mattHews
NEW YORK CITY (AP)
—
Several bronze plaques commemorating figures from New York City’s rich history have been pried off the buildings they were affixed to this summer, apparently to be sold for scrap metal, part of a disturbing trend that includes the theft of a statue of Jackie Robinson from a park in Kansas.
The losses include a plaque honoring writer Anaïs Nin and one marking the spot where the short-lived rock venue the Fillmore East hosted legendary acts including Jimi Hendrix and The Who.
A third plaque that honored Elizabeth Blackwell, the first woman to earn a medical degree in the United States, was removed from the building where she ran the New York Infirmary for Women and Children but “strangely not stolen.” Instead, it was left on the sidewalk, said Andrew Berman, executive director of Village
21, 2021,
Preservation, which installed the Nin, Fillmore East and Blackwell plaques with the permission of the building owners. Berman’s group, also known as the Greenwich Village Soci-
ety for Historic Preservation, has installed two plaques a year for the past dozen years at a cost of $1,250 plus staff time, he said.
Unlike the monuments to
‘Backing Historic Small Restaurants’ Grant Program Awards $2.5 Million
To 50 Restaurants
WASHINGTON, DC — American Express and the National Trust for Historic Preservation have announced the 2024 recipients of the Backing Historic Small Restaurants grant program. Fifty small restaurants in the United States will receive a $50,000 grant each to help them upgrade, renovate, and grow their businesses. The grant program significantly expanded its reach this year, doubling the number of grantees, including in 13 new states, and increasing the total grant funding to $2.5 million, up from $1 million in prior years.
In its fourth year, the program has now reached 125 historic small restaurants in every US state as well as Washington, DC, and Puerto Rico. American Express launched the Backing Historic Small Restaurants pro-
gram in 2021 in partnership with the National Trust for Historic Preservation to support historic and culturally significant restaurants during the pandemic. The program has since expanded in its scale and financial support to continue helping independently owned small restaurants serve their local communities.
In addition to financial support, Resy, American Express’s restaurant reservation platform, will offer each grantee a year of complimentary access to Resy OS restaurant management software, to help streamline their costs and boost operations.
“Small restaurants are vital to our communities, and their impact perseveres, as they continue to innovate and make their neighborhoods more
presidents and conquerors that command attention elsewhere in the city, the preservation group’s plaques are meant to honor pioneers who might otherwise be forgotten.
“A disproportionate number of our plaques are women, people of color, LGBTQ people and countercultural sites,” Berman said. “So, it’s especially important to try to make this often invisible history visible, and that’s why it’s particularly disheartening that these plaques are being stolen.”
Nin’s stolen plaque on the East 13th Street building where the renowned diarist and novelist ran a printing press said her work there “helped connect her to a larger publisher and a wider audience, eventually inspiring generations of writers and thinkers.”
Blackwell’s plaque noted that the infirmary she opened in 1857 was the first hospital for, staffed by and run by women.
The Fillmore East’s plaque marked the concert hall that promoter Bill Graham opened in 1968, a spot beloved by artists and audiences “for its intimacy, acoustics and psychedelic light shows.”
The New York thefts are not unique. Rising prices for metals have led thieves to target historic markers in other cities including Los Angeles, where plaques at El Pueblo de Los Angeles Historical Monument and Chinatown Central Plaza were stolen last year.
The statue of Jackie Robinson, the baseball Hall of Famer who integrated the Major Leagues, was stolen from a park in Wichita in January and replaced this week.
Berman’s group hopes to replace its plaques as well, and is investigating using materials less popular for resale or finding a more secure way to attach the markers.
“We haven’t fully arrived at the solution,” he said.
vibrant and connected,” said Madge Thomas, head of Corporate Sustainability at American Express. “This year’s grantees represent the rich traditions and iconic stories of communities across the US. I’m so proud that we’re able to help them grow and continue to build their legacy.”
“Over the course of four years, our partnership with American Express has supported more than one hundred small, independent restaurants across the country, each with a distinctive history, representing a wide array of cuisines,” said Carol Quillen, CEO of the National Trust. “Equally important is what these restaurants share. They are beloved gathering places in their neighborhoods. In many cases, they have been run for generations by the same family. Empowering small businesses that hold decades of stories is one powerful way that preservation strengthens local economies as it serves local communities.”
The National Trust for Historic Preservation, which administers the Backing Historic Small Restaurants grant program, selected this year’s grantees from a group of restaurants that operate in historic buildings or neighborhoods and provide cultural significance to their communities through their history, cuisine, and locations. Many of the 2024 grant recipients include establishments that are
family owned or have been operating for generations.
One of the 2024 grantees and owner of Bernice’s Bakery in Missoula, Mont., Missy Kelleher said, “Many Missoulians have grown up with Bernice’s in their lives. While riding their bikes home from elementary school, kids love to stop in for a treat. When on a lunch break from the nearby high school, students walk over for our salad sampler and a cupcake. As adults, they’ve ordered their wedding cakes. The generational traditions have been going strong for over 45 years. This grant will allow us to increase seating capacity and improve curb appeal and thus support our mission of being a community gathering place for locals and visitors alike. Bernice’s is truly a neighborhood bakery.”
Another grant recipient, Stephen Reeve, owner of New York Café in Ketchikan, Alaska, said, “The New York Café is Alaska’s longest-operating restaurant. It began over 120 years ago when a Japanese adventurer, Tony
Ohashi, built the pioneer restaurant on the water side of Front Street in downtown Ketchikan. The grant will help us restore some key elements of the building façade and better document the café’s history in the form of historic signage. We want to honor the Japanese families that created the New York Café and much more of the surrounding historic StedmanThomas neighborhood.”
Backing Historic Small Restaurants is part of American Express’ “Backing Small” initiative, focused on providing financial support and resources to help small businesses address critical needs. Following the success of Backing Historic Small Restaurants, American Express extended the program globally in 2022 with the launch of “Backing International Small Restaurants,” which has reached nine cities in five countries around the world to date. For more information, and a complete list of grant recipients, www.savingplaces.org/historicrestaurants.
Compiled by madelia HiCkman Ring
This September
photo, provided by Village Preservation, shows a plaque on a building in New York City’s Greenwich Village honoring writer Anaïs Nin (Courtesy Village Preservation via AP).
New York Café, Ketchikan, Alaska.
Bernice’s Bakery, Missoula, Mont.
Garner Arts Center Exhibits Pat Hickman & Clare Kambhu
GARNERVILLE, N.Y. — From September 7 through October 27, Garner Arts Center hosts two exhibitions: “Track Spikes” by Pat Hickman and “Clare Kambhu: 8:20-3:40.” Both exhibitions are curated by Joe Fusaro. Hickman creates work that often embraces the history and beauty of everyday objects. She then gives these familiar objects a new life, or perhaps creates echoes of their previous life, by sculpting translucent casts, in this case casts of the vanishing track spikes used by railroads across the country. Her emphasis on process and creating unique, individual forms are woven together to form a single, contemplative installation and individual sculptures for this alluring solo exhibition in the Ned Harris Gallery at Garner Arts Center.
Clare Kambhu’s paintings depict spaces and objects encountered by students and teachers alike in educational settings. An empty chair, open drawer, or chairs upside down on a desk, speak to our collective memory of what school culture is like and simultaneously questions how this culture is created through the objects we engage with, or often dismiss, in these specific settings.
The artist’s familiarity with institutional buildings spans the majority of her young life as both student and teacher, and undeniably influences her paintings’ formal, and ideological inquiries. Kambhu’s observational oil renderings of roughed up chairs, used whiteboards, messy textbooks, grade cards, fingerprint smudges and yummy oranges
waiting for recess, all attempt to visually respond to her much larger train of thought; how are institutional spaces impacted by those they have been specifically built for.
With “Track Spikes,” Hickman traces a fading history of strength, labor, human connection, and travel through the creation of a site-specific installation of railroad track spikes in the Ned Harris Gallery. The exhibition will feature special events for school and community groups, as well as opportunities to engage with the artist and curator.
Fusaro notes, “Pat Hickman’s work will make you literally lean forward to look closely at the material, the object and the trace of that object’s form through ghostlike casts. The diligence with which each step of this process is considered is quite extraordinary. Details are just as satisfying as the whole.” Hickman is a studio artist and
professor emerita of art at the University of Hawai’i. She has kept a studio at the Garnerville Arts and Industrial Center since 2006 and is a recipient of a 2024 Artists’ Support Fund grant from the Arts Council of Rockland and the Rockland Community Foundation. Hickman’s work is included in the permanent collections of the Smithsonian Institution, the Oakland Museum, the Philadelphia Museum of Art, the Boston Museum of Fine Arts, the Denver Art Museum, the Honolulu Museum of Art and the Hawai’i State Art Museum, among others. Her gate commission, “Nets of Makali’i–Nets of the Pleiades,” stands at the Maui Arts & Cultural Center in Hawai’i.
“Clare Kambhu: 8:20-3:40” features Clare Kambhu’s work in Building 35’s main gallery at the historic Garner Arts Center. It is an invitation for the community to contemplate their own experiences of schooling, learning in
institutions and even how portraiture can be accomplished without the presence of the human figure. The exhibition will feature special events for school and community groups, as well as opportunities to engage with the artist and curator.
“Kambhu’s work has the ability to immediately put you back in a place where you grew up, where you excelled, or perhaps even experienced extreme challenges. These paintings, which feature carefully constructed compositions, bold color and energetic brushwork, ask the viewer to linger with images of objects we know so well, but never really examined as we participated in our own education,” said Fusaro.
Kambhu is an artist and educator based in Queens, N.Y. In her painting practice, the attention she dedicates to commonplace surroundings of daily life leads to questions about the con-
Smithsonian’s National Postal Museum Opens ‘Voting By Mail’ Exhibition
WASHINGTON, DC — Voting by mail did not start during the Covid-19 pandemic. It began in various forms during the Civil War when soldiers could not get home to vote, and it picked up steam again during World War II for the same reason. Mail has been and continues to be a method for providing citizens with access to election information and materials. Today, every state has some form of voting by mail.
The National Postal Museum’s exhibition “Voting by Mail: Civil War to Covid-19” explores the significant role of voting by mail in America’s democracy. Over time, legislation for both military and civilian voting using the mail has been shaped by events and politics with provisions added, removed and amended.
On view through February 23, “Voting by Mail” invites visitors to explore the changing logistical and political reasons for the various ways mail has been part of the election process, and how it continues to define where, when and how Americans vote in elections. Early methods for absentee voting that used the mail enabled military members to participate in elections when wartime deployments took them away from their polling
precincts. The Civil War and World War II caused many states to temporarily establish or expand absentee voting for significant numbers of voters in the military.
Allowances for civilians voting absentee grew in the early Twentieth Century and in 1901 Kansas became the first state to permit voting by mail but limited this to railroad employees traveling for work. Since the 1980s, in addition to in-person voting, some jurisdictions, including eight states and Washington, DC, have institut-
ed all-mail voting with the automatic distribution of ballots to registered voters. The public health emergency of the Covid-19 pandemic brought about temporary procedures, new laws and debates over using the mail for voting.
Objects on display focus on the early history of voting by mail in the United States and ways the mail is used in modern elections. Examples include: A Civil War envelope for mailing soldiers’ votes on a tally sheet enabled deployed military service members to participate in the Ohio state election of 1864; World War II absentee voting materials developed for US Armed Forces, including the design of a blank ballot allowed the government to distribute them before specific candidate names became available, thus accommodating weeks-long mailing time for US forces overseas; and examples of modern election mail, including an absentee ballot, an envelope for a mail-in ballot, an official election information guide and notices announcing elections.
“We are excited to present the role of mail in US elections for government representatives serving the American public,” said Elliot Gruber, director of the museum. “The history of mail as an official conduit of election
information and election voting materials has long been part of our nation’s history.”
The exhibition is supported by public and exhibition programming, as well as educational resources for teachers. A special website (www.postalmuseum. si.edu/voting-by-mail) makes available the stories, themes and historical artifacts presented in the exhibition.
The National Postal Museum is at 2 Massachusetts Avenue Northeast. For more information, www.postalmuseum.si.edu or 202-633-5555.
struction of our culture. Her current work focuses on the project of schooling and the ways in which our idiosyncratic humanness can break through within the constraints of educational institutions. She taught in New York City public schools for nine years. Clare received her MFA in painting from Yale School of Art. She holds a BFA in studio art and an MA in art education from New York University.
The public are welcome to attend an opening at Garner Arts Center on Saturday, September 7, from 7 pm to 9 pm. Gallery Hours: Fridays, 2 pm to 5 pm, Saturdays and Sundays 1 pm to 5 pm. Appointments may be made during normal business hours: Monday-Thursday, 9 am to 5 pm.
Garner Arts Center is at 55 West Railroad Avenue. For appointments, info@garnetartscenter.org or 845-9477108; for information, www.garnerartscenter.org.
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Clare Kambhu.
Pat Hickman.
President Coolidge voting by mail, 1924. Courtesy Library of Congress.
Transportation, Timepieces & Timeless Ephemera
Top Kleinfelter’s Online-Only Sale
MYERSTOWN, PENN. — Kleinfelter’s Auction concluded its Online Summer Antique Extravaganza on August 10. The sale offered just over 400 diverse lots from local estates, and totaled $61,398 with a 100 percent sell-through rate. “We feel the sale did very well overall!” explained Serena Myers, chief operating officer at Kleinfelter’s. “There are still fresh to the market quality collectibles that our
customers are searching for to add to their collections!”
“We sell worldwide, but the large majority was from Pennsylvania and the Great Lakes,” said Myers about the bidding pool in this sale. The top bidders from the auction were local to Myerstown. According to Myers, it was a mix of collectors, dealers and institutions who took something home.
Leading the sale was a Chris
Craft boat from 1947. Described as “beautifully restored” in the auction catalog, the 17-foot-long boat was in overall good condition and had a running diesel engine, in excellent condition itself. Also included in the lot was a trailer, which was cleaned and included a clear title. The vintage boat and trailer earned $5,291.
A 1975 Porsche 914 was the second-highest selling lot of the sale, driving off at $4,734. The
Auction Action In Myerstown, Penn.
Hailing from Pittsburgh, Penn., manufacturers, Cowden & Wilcox, this threegallon lidded stoneware crock with palm leaf motifs closed for $905.
the 88-inch-tall piece “looks great cosmetically.”
Earning the top spot in the sale was this 1947 Chris Craft boat with an accompanying trailer, which sailed to $5,291. The “beautifully restored” vessel was 17 feet long.
No party or event would be complete without this 18-piece set of wine and cordial glasses by Carlo Moretti, which poured out a $522 finish. The set was in good condition, with the tall wine glasses measuring 9 inches high.
car had just under 57,000 miles on it and came from a single owner who worked on it in the winter of 1982. According to the auction catalog, the previous owner, a man from Nebraska and his brother, replaced the clutch and completely rebuilt the engine with Porsche parts. The battery was removed at Thanksgiving time in 1983, when the original owner went into the Air Force.
“The radio was great!” explained Myers, talking about a Spartan 409GL blue mirror radio from the 1930s, which rounded out the top three best-selling lots of the sale. Although it powered on — the tubes on its back lit up after doing so — it was not fully functional; there was no radio static or noise. The 7½-inch-tall radio sounded in at $3,342.
Timepieces of all shapes and sizes were popular with bidders,
with two in particular standing out during the sale. Within the top five best-selling lots of the auction was The Rail Roader gold pocket watch, which came with its display case. The watch, marked with “Reading, Penn.,” was approximately two inches in diameter. Although it did not work, contained chips on the edge of its crystal face and appeared tarnished on the backing, bidders still wound the pocket watch up to $2,924.
A much larger clock, this one an 88-inch Nineteenth Century tallcase clock from Pennsylvania, sounded its chime at $627. Despite not having hinges on its face enclosure, the auction catalog noted that it “looks great cosmetically.”
Bidders were also drawn in by local Pennsylvania folk and fine art, with two signed threedimensional works by Lancaster,
This 1975 Porsche 914, with just under 57,000 miles on it, drove to $4,734. It was from a single owner, who rebuilt the engine in 1982.
Tuning in from the 1930s was a Spartan 409GL blue mirror radio, which was able to power on, but was not fully functional. Despite minor wear and loss from age, the 11¾-inchlong radio earned $3,342, the third highest total of the sale.
Digging in for $522 was this antique wrought iron ship anchor, which was noted as “large and very heavy” in the auction catalog. The 6-foot-4-inch long and 3-foot-9-inchwide anchor was in good condition, despite some deterioration from age and use near the end which would have been connected to a boat’s chain.
This tall case clock from Pennsylvania chimed in at $627. According to the auction catalog,
The second 3-dimensional diorama signed by Aaron Zook to cross the block, this example depicted an Amish family with a horse and buggy. The 17½ by 17½ work rode to $1,392.
Penn., native, Aaron Zook, heading to new homes for $1,810 and $1,392, respectively. The former, mounted on an octagonal wooden frame, depicted a road leading to a covered bridge. It was listed as in “good condition” by the auction catalog. The latter was a scene showing an Amish family with their horse and buggy.
A watercolor by Mildred Sands Kratz (Pottstown, Penn.), titled “Edge of Field,” made $522, despite some fraying and minor discoloration on the painting’s matte border. The auction catalog reported the 29½-by-22½inch artwork to be “very good.”
The kitchen and home ware category was led by a 62-piece Southern Colonial sterling silver flatware set. Serving up a $1,810 finish, the set was labeled in the auction catalog as “excellent condition.” A lidded stoneware crock manufactured by the Pittsburgh, Penn., ceramic company, Cowden & Wilcox, closed its lid at $905. The 14-inch piece had a palm leaf design and was in “very good condition.” Earning $522 was an
18-piece wine and cordial glass set from Carlo Moretti. The tallest of the turquoise glasses stood at 9 inches.
The Chris Craft boat was not the only aquatic-themed lot that was popular with bidders. A set of seven folk art carved wood and metal fishing decoys swam to $1,532. The individual pieces, consisting of six different types of fish and one lobster, were in good condition with only some minor rusting.
An antique wrought iron ship anchor dug in at $522. It was noted to be “large and very heavy” and a “fine example of early nautical metalwork” in the auction catalog, despite its deterioration from age and use.
Local ephemera was also a leading category in the sale. A selection of legal documents from Johannes Wolfensberger and Samuel Rex, both prominent Pennsylvania German residents of Schaefferstown, Penn., wrote in at $905. They were in good condition, with wear consistent to their age. Two other lots of
A collection of documents once belonging to Pennsylvania German Schaefferstown, Penn., residents Johannes Wolfensberger and Samuel Rex were signed off at $905. This was one of a few lots of local ephemera offered in the sale.
Wolfensberger and Rex documents went for $696 and $557, respectively.
Also from the Lebanon, Penn., area was a house auction sign from 1856, written entirely in German, and a Nineteenth Century leather fire helmet. The auction catalog described the advertisement as in “good condition considering age.” In addition to that, the paper was reported to still be strong, which encouraged bidders to push the lot to $627. The 14-inch-tall fire helmet — described as “rare!” in the catalog — was in good condition with some wear. It bore a plaque reading “Perseverance” near its top. “The fire helmet was a shocker,” said Myers. “It came out of a 30-year-old collection.” Bidders showed perseverance as they heated up their bids to $2,089, when the fire was put out by the winning bid.
Prices quoted include the buyer’s premium as reported by the auction house. For additional information, 717-272-7078 or www.kleinfelters.com.
Swimming to a $1,532 finish was this group of seven folk art carved fishing decoys, made of wood and metal. Despite some minor rust, they were all in good condition. The largest in the lot measured 9¾ inches long.
Announcing a win for $627 was this 1856 house auction sign written in German. It hailed from Lebanon, Penn.
Ticking to $2,924 was this The Rail Roader gold pocket watch marked “Reading, Penn.” Housed inside its display case, the watch was not running.
Bidders put out the fire on this Nineteenth Century fire helmet for $2,089. The rare item was from Lebanon, Penn., and was mounted with a plaque that read “Perseverance.”
Depicting a covered bridge, this signed three-dimensional diorama by Aaron Zook realized $1,810. The 12½-by-12½inch work was in good condition.
This 62-piece set of Southern Colonial sterling silver flatware was in excellent condition, going out for $1,810.
“Edge of Field” a watercolor by Mildred Sands Kratz which measured 29½ by 22½ inches, earned $522.
Review by Kiersten Busch, Assistant Editor
Photos Courtesy Kleinfelter’s Auction
INTERNATIONAL
This Metro-Goldwyn-Mayer press newspaper for the movie Freaks (1932) was described as “rare” by the auction catalog. It contained four pages of information on the film, advertising posters and other press ideas. The book sold to a Texas buyer for £3,900 ($4,975), more than 15 times its £150/250 estimate.
More than a dozen letters from Diana, Princess of Wales, to her former housekeeper, Collie, were offered. This example, dated September 25, 1984, earned the highest price, at £13,000 ($16,605). The two-page letter thanked Collie for Prince Harry’s first Christmas present and was accompanied by a Christmas card (£800-£1,200).
One of 13 David Bailey (b 1938) Live Aid signed photographs offered, this example featured Elton John and George Michael and was printed in 1985. The 19-7/8-by15-15/16-inch photograph was labeled “DB 85 2/3” in pencil. It stayed in the UK, going out for £6,240 ($7,957) (£2/3,000).
Compiled By Antiques and The Arts Weekly
Madelia Hickman Ring & Carly Timpson
Letters From Diana, Live Aid Photographs & Lucrative Press Books Lead At Sworders
ESSEX, UK — On July 30, Sworders Fine Art Auctioneers conducted Out of the Ordinary, an almost 500-lot sale offering an eclectic mix of items including taxidermy, pop memorabilia, puppets, photographs, lighting, sculpture and more. There were more than a dozen letters and cards from Diana, Princess of Wales, to her family’s former housekeeper sold in the sale, totaling £51,850 ($66,230).
This “rare” signed document from Dr Hawley Crippen (1862-1910), who was hanged in Pentonville Prison (London) for the murder of his second wife, stayed in the UK for £3,640 ($4,640). The document named Ethel Clara Le Neve, Crippen’s mistress, as the sole executrix of his November 8, 1910, will (£2/3,000).
This gelatin silver print of U2, taken by
at Live Aid in 1985, was signed by all members and went to a UK
for £3,640 ($4,640) (£800-£1,200).
Leading the group and the sale was a two-page handwritten letter from Diana to “Collie,” dated September 25, 1984. According to a post-auction press release by Sworders, Collie, otherwise known as Violet Collison, “had been the head housekeeper to John Spencer, Viscount Althorp and his wife Frances Ruth Roche at Park House on the Sandringham Estate.” This specific letter sends thanks to Collie for Prince Harry’s first Christmas present. Penned on crowned “D” Kensington Palace notepaper, the letter was also signed by Diana. Additionally, the lot came with a Christmas card and the original envelope. It wrote in at £13,000 ($16,605) and stayed in the UK with its new owner.
Other notable letters to Collie included a double-sided example where Diana thanked the housekeeper for a birthday present she received three weeks before the Royal Wedding, which earned £7,150 ($9,133), and a lot combining Collie’s invitation to the Royal Wedding and her ticket to Diana’s memorial service, which realized £1,300 ($1,660). These letters made their way to California and Kansas, respectively. Luke Macdonald, director at Sworders, said the letters were “so intimate.” “They’re things that otherwise we probably would not be aware of outside the small circles of the Royal family,” he explained further.
Blasting off to earn the secondhighest price of the sale was a
Second World War V2 rocket combustion chamber and venturi wreckage. It landed with a German buyer for £8,450 ($10,775) despite some rusting and a flattened side. According to the auction catalog, the chamber was found by a farmer in Essex, who painted and mounted it onto supporting bars. Also spiraling upwards to a £8,450 ($10,775) finish was a circa 1870 Victorian cast iron spiral staircase by Robert Boby. Boby, an ironmonger who ran an ironworks shop from St Andrews Street in Bury St Edmunds, manufactured mainly agricultural machinery. According to the auction catalog, this 24-foothigh staircase was originally part of a tower in Rattlesden Church, located in Suffolk. It now resides with a Scottish buyer.
Thirteen gelatin silver print portraits by photographer David Bailey — taken backstage at the Live Aid concert in 1985 — were offered at auction, and a signed photograph of Elton John and George Michael earned the highest price. According to the auction catalog, the portraits were taken for a benefit auction to be hosted by Sotheby’s later that year. The Elton John and George Michael picture is staying in the UK with a buyer who won it for £6,240 ($7,957).
Prices quoted include the buyer’s premium as reported by the auction house. For additional information, 0203-971-2500 or www.sworder.co.uk.
This WWII V2 rocket combustion chamber and venturi wreckage, found and repaired by a farmer in Essex, blasted off to a German buyer, who secured the lot for £8,450 ($10,775) (£1,5/2,000).
David Bailey
buyer
Auction Action In Essex, UK
Review by
Kiersten Busch, Assistant Editor; Photos Courtesy Sworders Fine Art Auctioneers
Headed to a buyer in Scotland was this Victorian cast iron spiral staircase by Robert Boby (Bury St Edmunds, Suffolk). The circa 1870 staircase once belonged to Rattlesden Church in Suffolk. It spiraled to £6,500 ($10,775), within its £6/8,000 estimate.
National Gallery Of Australia Acquires Significant Painting By
PARKES, KAMBERRI (CANBERRA) — The National Gallery today announced the acquisition of “The blue roof or Farm at Le Pouldu” (1890) by Paul Gauguin (1848-1903), the first painting by the artist to enter an Australian public collection.
“The blue roof or Farm at Le Pouldu” is currently on display in the major exhibition “Gauguin’s World: Tōna Iho, Tōna Ao.” The exhibition traces Gauguin’s artistic journey and global travel — from his Impressionist beginnings in 1873 to his final destination in French Polynesia. The newly acquired painting is a key example from his time in Brittany. Following the exhibition, the work will join the permanent collection displays of the National Gallery to be appreciated by audiences for generations to come.
“The blue roof or Farm at Le Pouldu” captures an approach to color and freedom of expression that characterizes Gauguin’s subsequent work, hinting to the art yet to come. The picturesque scene of a country farmyard has simplified structure and form, the composition divided into planes, with color used for definition. Gauguin’s bold use of orange, pinks and blues were highly Modern for a work pro-
Post-Impressionist
duced in the late 1800s, foreshadowing the developments of Twentieth Century art.
The painting is among a small number of works painted by Gauguin at Le Pouldu on the Breton coast. At the center of the composition, a woman is shown drawing water from a well, framed and almost subsumed by the rustic farm buildings. Gauguin varied his brushstrokes to capture a sense of the rough surfaces of the stone buildings, thatched roofs and the surrounding vegetation. The composition centers on the figure of the woman, dressed in dark blue with a white cap, and the well. A distinctive blue roof is characteristic of the rural architecture in Le Pouldu, and two dogs in the foreground provide further interest.
From July 1886 until his departure for Tahiti in April 1891, Gauguin traveled regularly between Paris, towns in Brittany and to the South of France, searching for a way to consolidate his style, as well places to live cheaply. He absorbed the region’s peasant traditions, music and especially woodcarving, and described scrutinizing “the horizons, seeking that harmony of human life with animal and vegetable life through compositions in which I allowed the
Master Paul Gauguin
great voice of the earth to play an important part.” The images of peasant life, the landscape and harvest scenes Gauguin painted in 1889 and during 1890 are some of the most radically simplified of his career.
The National Gallery holds seven prints by Gauguin in the collection, with the first gifted to the National Gallery by renowned Australian artist Sir Russell Drysdale in 1974. The acquisition of “The blue roof or Farm at Le Pouldu” has been brought to fruition with the extraordinary support of the National Gallery of Australia Foundation. It will be on show in the permanent collection galleries in late 2024.
National Gallery director Dr Nick Mitzevich said: “‘The blue roof or Farm at Le Pouldu’ by the Post Impressionist master Paul Gauguin is an important acquisition for the national collection. It captures a key point in art history — the moment when the artist emerged as an intensely original master, taking Impressionist color schemes and transcending them to be bolder and more daring.
“As the National Gallery, we aim to present Australian audiences with access to worldclass art that inspires and educates. This work by Gauguin adds to the anchor works in the national collection from the
past 100 years, including by artists such as Claude Monet and Mary Cassatt through to Jackson Pollock and Louise Bourgeois.
“We are extremely grateful for the generosity of the National Gallery Foundation who made this acquisition possible,” continued Mitzevich.
Since his death in 1903, Gauguin has left two enduring and conflicting legacies – his art and himself. Like other contemporary and historic artists,
Gauguin’s life and art have increasingly and appropriately been debated here and around the world. In today’s context, Gauguin’s interactions in Polynesia in the later part of the Nineteenth Century would not be accepted and are recognized as such.
“Gauguin’s World: Tōna Iho, Tōna Ao” is open at the National Gallery of Australia in Kamberri/Canberra (at Parkes Place East) until October 7. For information, www.nga.gov.au.
Banksy London Zoo Mural Offers Clue To Why Wild Animals Have Been Appearing All Over City
By Brian Melley, aP journalist Hilary Fox contriButed
LONDON (AP) — Workers arriving at the London Zoo early Tuesday, August 13, were surprised to discover an unexpected exhibit that suggested the animals were being set free.
A mural by elusive street artist Banksy showed a gorilla holding up the entrance gate as birds took flight and a sea lion waddled away. Three sets of eyes peered out from the darkness inside.
The painting may explain why Bansky-created creatures — from a mountain goat perched on a building buttress to piranhas circling a police guard post to a rhinoceros mounting a car — have been showing up in the most unlikely places around London for nine straight days.
Each of the works posted on Banksy’s Instagram page have included a London Zoo hashtag, said Dan Simmonds, animal operations manager at the zoo. But he didn’t imagine the artist would decorate the zoo’s own doorway.
“Part of the enigma of Banksy is obviously that everything is a surprise,” Simmonds said. “We certainly didn’t expect it was actually going to happen right here, on one of our huge admission shutters. But coming in and seeing it, kind of realized that, yeah, we’re so lucky.”
with a see-through plastic covering. The rhino that appeared Monday was tagged with graffiti. A wolf silhouette on a roof-mounted satellite dish — appearing to howl at the moon — was stolen hours after word got out about the artwork last week.
A big cat, stretching out on the back of a dilapidated billboard, was removed within hours by three men who said they had been hired to take it down for safety reasons.
The police sentry box that looked like a fish tank was removed from near the Old Bailey courthouse to the City of London corporate offices to protect it, a spokesperson said. It will eventually be placed where it can be viewed by the public.
It was not clear if the zoo mural would be the final in the series.
Simmonds said the zoo was honored Banksy had chosen it for one of his canvases. He was particularly excited to see the big ape because he had once been the gorilla keeper.
The roll-down shutter was closed all day to show off the work. It’s the busy season for the zoo, but the renowned street artist quickly draws his own followers and crowds show up to view it and snap photos.
Simmonds said he discovered the mural around 6:30 am when he arrived to begin feeding the hungry animals. Cyclists who circle Regent’s Park, where the zoo is located, every morning were already posing for selfies.
Banksy began his career spray-painting buildings in Bristol, England, and has become one of the world’s bestknown artists.
His paintings and installations sell for millions of dollars at auction and have drawn thieves and vandals. The latest group of works is no exception and workers at the zoo shielded it later in the day
He said he’s assuming the primate in the mural is an endangered western lowland gorilla, the subspecies they have at the zoo. Simmonds identified one of the birds as possibly being a macaw and another critter as a bat.
“As for the eyes, who knows, maybe some cats peering out,” he said. “That’s the beauty of it. Literally only Banksy will know.”
“Le toit blue or Ferme au Pouldu (The blue roof or Farm at Le Pouldu)” by Paul Gauguin, 1890, National Gallery of Australia, Kamberri/Canberra, purchased 2024 with the assistance of the National Gallery Foundation.
A new mural by elusive street artist Banksy is seen at the London Zoo, Tuesday, August 13, 2024, in London. (Stefan Rousseau/PA via AP).
DEADLINE / PUBLICATION SCHEDULE BELOW
Cowboy & Western Collectors Saddle Up At Scottsdale Art Auction
SCOTTSDALE, ARIZ. — Cowboys, Native Americans and Western wildlife were the predominant subjects in Scottsdale Art Auction’s August 3 sale. Comprising 401 lots of paintings, sculptures, drawings and etchings, the sale successfully knocked down all but 13 lots for 97 percent sold and realized a total of nearly $2 million. “The market for contemporary Western art is strong as ever, as we are seeing in both the auction and our gallery,” said Brad Richardson, coowner. “Classic pieces by the most sought-after artists in the West were well-received by collectors this year. Additionally, we had many more registered bidders than last August’s sale and plenty of new buyers for all material.” With a total of 1,600 bidders, 190 of those were brand new to Scottsdale Art Auction.
Frederic Remington, best known for his works depicting the Old West, was represented by four of the top six works in the sale, including the highestpriced lot overall. The four lots came from the family collection of Lady Jean Templeton Ward (née Reid). According to the auction catalog, “The consignor believes that these four Remington’s originally belonged to one of her great-grandmother Jean’s parents and came with her to be hung at Chilton, home to the consignor and the marital home of her American great-grandmother when she married her great-grandfather, The Honorable (Later Sir) John Ward, in 1908.” Exceeding its $25,00 high estimate to earn $81,900, was “Goot Packers At Work,” Remington’s original
Auction Action In Scottsdale, Ariz.
illustration for the March 1981 issue of The Century Magazine Done in pen, ink and black and white watercolor, the work depicted two cowboys using significant effort to strap packs onto the back of a horse. “‘Goot Packers At Work’ is unique as far as subject matter goes and collectors were really drawn to it as the bidding was furious and quite competitive with multiple bidders chasing it,” said Richardson. “Of the four Remington drawings, we put the lowest estimate on this piece but it ended up selling for the most.”
The other three works by Remington were also done for The Century Magazine. Achieving $76,700 — and the secondhighest price overall — was “Hauling Wagon Out of Bog Hole,” his emotive 1888 black and white oil painting of three cowboys helping to pull a cov-
ered wagon out of a swamp. Another black and white oil from the same year was “The Outlying Camp.” This one, which went out at $47,200, depicted a man cooking on a fire beside a cabin while another man tacked his horse.
Though text to the bottom of the image read, “A Game of Monte — Indian Territory Apaches,” both the catalog and the Buffalo Bill Center of the West (Cody, Wyo.) titled the illustration, “Indian Territory Apaches Playing Monte.” The black and white watercolor painting was highlighted with additional white pigment and depicted six men sitting in a circle playing a card game. The framed 1889 painting crossed the block for $44,250. All four works were illustrated in Peter H. Hassrick and Melissa J. Webster’s Frederic Remington Catalogue Raisonné (Cody,
Wyo.: The Buffalo Bill Historical Center, 1996).
After arriving to the market for the first time ever, Gerard Curtis Delano’s “Footprints At The Pool” was knocked down for $76,050. Playing with light and color, the vibrant yelloworange sunset flooded the scene, reflecting orange in the drinking pool as two Natives and their horses stopped beside
the water. The auction catalog described the Massachusettsborn artist’s affinity for painting Native and Western scenes, citing Delano’s own words: “In 1943, he made a trip to Arizona to visit the Navajo lands where he immediately fell in love with what he saw. ‘Arizona’s picturesque setting provide to my mind the greatest possible opportunity for pictorial beau-
“Goot Packers at Work” by Frederic Remington (American, 1861-1909) earned the sale’s highest price — $81,900. The pen, ink and watercolor illustration, 11¼ by 17 inches, was originally done for the March 1881 issue of The Century Magazine ($15/25,000).
“The Outlying Camp” by Frederic Remington (American, 1861-1909), original black and white oil for The Century Magazine (February 1888), 12 by 18 inches, topped off at $47,200 ($30/50,000).
“The Prayer” by John Nieto (American, 1936-2018), 2011, acrylic on canvas, 40 by 30 inches, went out at $26,325 ($15/25,000).
Olaf Wieghorst’s (Danish-American, 1899-1988) “Mountain Trail,” oil on canvas, 20 by 24 inches, was bid past its estimates to finish at $43,875 ($20/30,000).
The highest-earning sculpture was “Stronghearts” by Dave McGary (American, 19582013). The 29½-inch-high polychrome bronze figure was signed within an impression of the artist’s thumbprint and almost doubled its high estimate, finishing at $23,400 ($8/12,000).
Martin Grelle’s (American, b 1954) 2001, oil on canvas “Autumn Reverie,” 12 by 16 inches, was taken to $32,175 ($12/18,000).
Review by
Carly Timpson, Assistant Editor
Photos Courtesy Scottsdale Art Auction
“The Groves Were God’s First Temple” by Franz A. Bischoff (American, 1864-1929), oil on canvas, 30 by 24 inches, was bid nearly three-times its high estimate to earn $26,325 ($6/9,000).
“Footprints At The Pool” by Gerard Curtis Delano (American, 1890-1972), oil on canvas, 22½ by 40½ inches, was bid to $76,050 ($60/90,000).
Exceeding its $30/50,000 estimates to finish at $76,700 was “Hauling Wagon Out of Bog Hole” by Frederic Remington (American, 1861-1909), an original 12-by-18-inch black and white oil painting for The Century Magazine (February 1888).
“Indian Territory Apaches Playing Monte” by Frederic Remington (American, 1861-1909), original black and white
for The
Magazine (July 1889), 11 by 17¾ inches, was pushed to $44,250 ($25/45,000).
Bringing $52,650 was John Nieto’s (American, 1936-2018) “Holds His Enemy,” 1992, oil on canvas, 60 by 48 inches ($30/50,000).
ty’ […] Delano would spend the next 30 years of his life painting the rich cultural heritage of the Navajo people. However, Delano also depicted life of the plains Indians and several of his large-size paintings include a similar figure wearing a large headdress like the main figure does in ‘Footprints at the Pool.’” Works by contemporary West-
“Chapel of Loretto” by Fremont Ellis (American, 1897-1985), oil on canvas, 30 by 25 inches, crossed the block at $23,400 ($8/12,000).
ern artists also fared well, with John Nieto claiming the most ground in that category. Bold colors, sharp lines and abstraction were characteristic of Nieto’s works, several of which were offered in this auction.
Leading the grouping at $52,650 was “Holds His Enemy,” an oil on canvas portrait of a Native man against a
of the
1995,
two-tone purple background, painted in 1992. A set of five close-up portraits of prominent Native American figures, all done in 2013, sold together for $29,250. The subjects included Sitting Bull, Chief Rain in the Face, Crazy Horse, Lone Wolf and George Custer. Each was signed and titled on the reverse, and the portrait of George Custer also had a personal note: “To my best friend / Craig Keeland / from John Nieto / 7-11-13.” Bearing a similar note, “The Prayer” was also a gift to Craig Keeland, though this painting was dated 2011. The Native American subject in that painting was depicted at profile, wearing bright green clothes, holding a prayer stick and with his head tilted toward the night sky. “The Prayer” was claimed for $26,325.
Other notable contemporary artists included Bill Owen, Logan Maxwell Hagege, R. Tom Gilleon, Martin Grelle and Dave McGary. Bill Owen’s 1995 painting, “Cowboss of the Diamond A,” made $40,950. In this work, a herd of cattle, led by a cowboy, emerged from a cloud of dust that rose into the bright blue sky. The painting was housed in a natural wooden frame and a label from the Gilcrease Museum, Tulsa, Okla., was affixed to the reverse.
In Logan Maxwell Hagege’s 2018 “By The Orange Cliffs,” the artist employed his typical stylized realism to depict two people wrapped in blankets, standing beside a horse in an orange desert landscape. The work was initialed to the bottom right as well as signed, titled and dated to the reverse. It exceeded its high estimate, ultimately going out at $32,175. Many of R. Tom Gilleon’s paintings feature tipis. “Diaspora Desperation,” which sold for $38,025 in this sale, was no exception. However, instead of a lone tipi, the painting included a somber Native American with an American flag draped around their body.
“Autumn Reverie” by Martin Grelle, also a depiction of Native Americans and tipis, brought $32,175. In this autumnal scene, the two Natives are on horseback, facing a nearby camp. The work
watercolor
Century
“Cowboss
Diamond A” by Bill Owen (American, 19422013),
oil on canvas, 28 by 30 inches, was pushed to $40,950 ($15/25,000).
“By The Orange Cliffs” by Logan Maxwell Hagege (American, b 1980), 2018, oil on board, 16 by 20 inches, surpassed its estimates to achieve $32,175 ($15/25,000).
came from the Horseshoe Bay, Texas, collection of Mr and Mrs Ken Martin.
“Stronghearts,” a polychrome bronze sculpture by Dave McGary, brought $23,400 and was the highest-achieving sculpture in the auction. The sculpture depicted a mother with two young children, one hiding behind the mother’s leg and the other in a beaded cradleboard on her back. Measuring 29½ inches tall on a thin wooden base, the work weighed 48 pounds. Six other McGary bronzes were included in the sale, and all exceeded their estimates. “Walks Among the Stars” earned $19,890 ($8/12,000); “Hearts Of Conviction” (1999) earned $17,550 ($10/15,000); “Young Men of the Enemy Fear His Horses” (1996) earned $15,210 ($10/15,000); “Four Bears” (1992) earned $14,040 ($7/10,000); “Memories of Honor” (2003) earned $14,040 ($8/12,000); and “American Horse” earned $14,040 ($8/12,000).
Scottsdale Art Auction
This set of five acrylic on canvas portraits by John Nieto (American, 1936-2018) included “Sitting Bull,” “Chief RainIn-The-Face,” “Crazy Horse,” “Lone Wolf” and “George Custer.” Each of the 10-by-8-inch canvases was signed, titled and dated “2013” on the reverse; they sold for $29,250 ($12/18,000).
R. Tom Gilleon’s (American, b 1942) “Diaspora Desperation,” oil on canvas, 40 by 40 inches, went out at $38,025 ($40/60,000).
Nearly doubling its high esti-
Fascinated with the American West, Danish-born Olaf Wieghorst moved to the US and eventually moved to Southern California and assimilated into the culture and opened a painting studio. His oil on canvas painting “Mountain Trail” depicted a male figure on horseback, followed by a packhorse, on a rocky trail. Signed to the lower left and housed in a gilt frame, the mountain scene was bid past its estimates and finished at $43,875.
mate, Fremont Ellis’ “Chapel of Loretto” depicted a well-known Santa Fe, N.M., chapel. According to Scottsdale Art Auction: “In Santa Fe, Ellis was moved by the landscape and unique pueblo architecture and there is nothing more iconic in Santa Fe than the Loretto Chapel,
located just steps away from the historic plaza on Old Santa Fe Trail. The Loretto Chapel was built in 1873, and it is the home of Santa Fe’s most famous relic, the Miraculous Staircase, built of wood with no glue, nails or other hardware. It is only fitting that Santa Fe’s most famous and well-respected artist would paint Santa Fe’s most famous and wellknown architectural structure,
Seattle Asian Art Museum Presents ‘Meot: Korean Art From The Frank Bayley
SEATTLE — The Seattle Asian Art Museum presents “Meot: Korean Art from the Frank Bayley Collection,” on view through March 2, celebrating the significant Korean art collection of Frank Bayley and the contemporary Korean artists he supported. Guest curated by Hyonjeong “HJ” Kim Han, department head and Joseph de Heer curator of arts of Asia at the Denver Arts Museum, “Meot” features over 60 artworks, primarily an array of Korean ceramics from the historical to the contemporary — Buncheong ware, whiteware and blue-and-white — alongside paintings, photography, calligraphy and wooden works.
Frank Bayley (1939-2022) was a generous art patron and distinguished collector of East Asian art along with Western prints and drawings. During his lifetime, he gifted 86 works to the Seattle Art Museum, and a significant bequest upon his passing contributed over 280 additional artworks to the museum. In tribute to Bayley’s generosity and legacy, this exhibition features Korean artworks created by seven of his close artist friends, alongside traditional works that he cherished for nearly half a century. The essence of the Korean term meot encompasses style, beauty and creativity, along with highly refined aesthetic sensibilities. The exhibition reveals how Frank Bayley embodied the philosophy of meot in his unique collecting vision, as he admired both the continuity and innovation with-
in traditional artworks as well as contemporary artistic expressions of Korean art. The term also describes his friendships, particularly with Korean artists. Similarly, the contemporary artists featured in the exhibition explore creativity while delving into Korean identities in their works and practices.
“Frank Bayley did not collect art just for himself; he consistently aimed to promote Korean art and culture outside of Korea, supporting artists and museum curators like me,” says Han. “In this exhibition, visitors are able to spend time appreciating the diverse Korean art
Vase, Korean, Nineteenth Century, porcelain, blue underglaze, 15 by 9½ inches (diameter). Bequest of Frank S. Bayley III. 2023.11.203.
thoughtfully collected by Frank. Additionally and importantly, I hope people see how impactful and inspiring a donation of art to a public institution can be.”
Collection’
The Seattle Asian Art Museum is at 1400 East Prospect Street. For information, 206654-3100 or www.seattleartmuseum.org.
The Loretto Chapel. This is the only known Ellis painting of the Loretto Chapel that has ever come to auction.” The painting was struck down for $23,400.
Prices quoted include the buyer’s premium as reported by the auction house. Scottsdale Art Auction’s next sale will take place in April 2025. For information, www.scottsdaleartauction.com or 480-945-0225.
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Russell Cheney & Mid-Century American Painting Domestic Modernism
By Kristin nord OGUNQUIT, MAINE
— An exhibition of works by Russell Cheney at the Ogunquit Museum of American Art, “Domestic Modernism: Russell Cheney and MidCentury American Painting,” reframes and reasserts Cheney’s work within Midcentury Modernism in the United States.
Cheney was born on October 16, 1881, at home in south Manchester, Conn., approximately 10 miles east of Hartford, Conn., all but a company town for the illustrious Cheney Brothers Silk Manufacturing Company. The youngest of 11 children, he grew up in a 45-room mansion atop a hill overlooking the Cheney Silk Manufacturing Company mills.
The Cheneys had enjoyed great success initially as Connecticut clockmakers and later, as silk manufacturers, applying their hard work, inventiveness and business acumen to what had become a multi-generational venture. By 1860, the company employed 600; by 1920, 4,670 workers, or a quarter of the town, and their sales were $23 million (in 2021, that figure would equate to $368 million).
As early as 1872, the popular press (Harper’s New Monthly) described Manchester as a “workers’ utopia.” Eighteen years later, Harper’s Weekly, in its February 1, 1890, issue, reported, “At South
Manchester, in Connecticut, there is what, in many respects, is the most attractive mill village in the country, one of the most delightful villages in New England.”
“So, it went without saying,” historian Scott Bane writes, “That being a Cheney would be an integral part of Russell’s personality. At the same time, if the family personified Yankee virtues of ingenuity, practicality and doggedness, it was also tribal.”
It’s notable that Cheney lived and worked in the family mansion, with an expansive studio, until he was 48. In this milieu, the youngest in the family challenged convention, receiving tolerant support for being an artist, and as time went on, less support for his sexual orientation.
“The family supported Russell’s choice of an alternative career. There were other artists in the previous generation; moreover, there was always a design aspect to Cheney silk enterprise, so art was not entirely foreign to them. I think that helped. But they suspected that Russell was not cut out to play a major role in the business,” Kevin D. Murphy, PhD, the exhibition curator and editor of the newly minted catalog, commented.
Initially, Cheney studied art with Walter Griffin in Hartford. After graduating from Yale University, he continued with classes at the
Art Students League in New York, where he studied with William Merritt Chase, Kenyon Cox and George Bridgman, and at the Académie Julian in Paris. He also studied with Charles Woodbury, who was behind the emergence of Ogunquit, Maine, as a summer arts colony and who encouraged Cheney to paint outdoors in all weather and to “loosen” his style. Woodbury additionally shaped Cheney’s ideas by encouraging him “to envision the picture he was to paint before he began.”
On a 1924 voyage aboard the ocean liner Paris, Cheney met F.O. Matthiessen, a brilliant young man 20 years his junior. Matthiessen was credited with establishing American Studies as a discipline during his years at Harvard University and, in 1941, would produce his masterwork, American Renaissance: Art and Expression in the Age of Emerson and Whitman. Their love affair turned into a serious long-term relationship, and the couple eventually settled in a home in Kittery Point, Maine. The two flourished for a decade symbiotically, with Cheney living or practicing much of what Matthiessen was considering intellectually. “How thrilling this must have been for Matthiessen to be so close to someone who brought his ideas to life,” Bane writes. Eventually, the art historian Richard M. Candee writes, “Cheney developed a singular form of modernism based on the visual culture of New England, especially Maine. In his very best work he combined European avant-garde concepts with vernacular inspiration, and his paintings were rooted in a sense of place.” As for his subjects, there were the prominent workers to whom he sometimes conveys sexualized and mythic status and domestic interiors that hinted lives behind their curtained windows. There are back streets and crowded neighborhoods, with the houses situated cheek by jowl. Cheney would produce 123 regional paintings of land, water and buildings and 45 interiors in all Murphy said recently that he hopes viewers “will come away with a few different ideas to think about. First, I would like them to see that being a ‘modern’ artist could mean a number of different things in the period from the 1920s through the 1940s. The critics at the time saw Cheney’s work as modern, just like (Marsden) Hartley’s, although it is not understood as such now because our definition of Modernism has been narrow. Other scholars have argued that art that was domestically scaled and themed was considered suspect because its connection with the home associated it with women’s sphere (given the sexist views of culture, it was not seen as serious or important).
“Second, I would like viewers to grasp that Cheney’s work was the product of his engagement of the domestic in two senses: it was produced in the context of his domestic life with Matthiessen and it took as its subject domestic
“Portrait of Russell Cheney Reading” by Allen Gilbert Cram, circa 1906, oil on panel, 10 by 13 inches. Ogunquit Museum of American Art, Gift of Susan C. Hyde and Ricahrd W. Hyde.
“Kittery Point” by Russell Cheney, 1927 or 1928, 29 by 36 inches. Prudence Cheney Dorazio and Ernest T. Dorazio.
“Depot Square” by Russell Cheney, circa 1935, private collection.
“Cineraria Plant/Cinerarias ‘From the Studio Window’” by Russell Cheney, 1937 (1938), 27 by 40 inches. Robert S. Chase and Richard M. Candee Revocable Trust.
“F.O. Matthiessen on Balcony” by Russell Cheney, 1926, 36 by 29 inches. Harvard University Portrait Collection, Gift from Barney and Lucy Bowron, Minneapolis, on the occasion of Harvard University’s 350th anniversary, 1986, H848.
themes, both actual homes and the domestic (US) landscape and built environment.”
“Third I would like to have viewers think about the subtle ways in which his paintings register his status as a gay man at a conservative cultural and political moment. They seem in many cases to register feelings of isolation and exclusion.
“As one moves through the galleries, one will also be tempted to consider a number of ‘might have beens.’ As a sickly child, Cheney had suffered all of this life from asthma, when he and a number of his siblings contracted tuberculosis, his adult life was interrupted for months, and in one case, years, for treatment in sanitariums.
“As we learned with Covid, wealth doesn’t necessarily protect you from every possible illness. Tuberculosis was rampant until the invention of penicillin in 1928 and I am not sure how widely available it was at that point. His illness definitely had an impact on him in that there were substantial periods in which his travels — hence his subjects — were very limited, as was his stamina,” Murphy said.
And then there was the elephant in the room: his alcoholism, which, by the 1940s, was damaging his relationship with Matthiessen. His drinking binges had mushroomed into terrifying episodes, leading, in turn, to further hospitalizations. What now seem like, draconian treatments did little to alter the course of the disease and he died
Ogunquit
oil
from it in 1945 at the age of 63.
In later years, Matthiessen would make it his mission to garner artistic recognition for Cheney, but, to some extent, the art world had moved on. And Matthiessen, himself, troubled by what observers now believe was bipolar disorder, took his own life in 1950. This was at the height of what was called the “Lavender Scare,” when an official US crackdown pushed the country’s gay population even further to the margins of society.
Viewers will be fascinated by Cheney’s portraits, landscapes and seascapes, whether it is the 1928 view at Kittery Point, an icy blue sea or depictions of his lover in scholarly attire. Many may nod in recognition when they encounter Portsmouth’s barbershop, which was famous for its clientele and a seat of daily exchange. Then there are the back streets of the city with their angled roof lines reminiscent of Edward Hopper’s Gloucester, Mass., watercolors. In portraits of working-class men — Kenneth Hill (1937) and Howard Lathrop (1937) — he merges to great effect realism, impressionism and abstraction.
Whereas Marsden Hartley set out to be seen as Maine’s premier painter, Cheney was interested in painting what he sensed and felt more than what he actually saw. His scenes often harbor ambiguous messages, with stately interiors presented off-kilter upon close notice and his working men charged with sensual appeal. There is the disquieting interior at
canvas, 28-7⁄8 by 2-7⁄8 inches.
Sparhawk House, in which Cheney appears to challenge the trope of the measured life within a stately Colonial. There is Depot Square, a visual embodiment of The Great Depression. His snow scenes, which many critics have said are the best of his oeuvre, exude the light and harsh tranquility of this special time in the New England calendar year. He draws our eyes to the beauty up close, whether it is the geraniums on the windowsill or cinerarias featured in “From the Studio Windows” (1937).
“Yet upon reflection, viewers may also see in his vision the marginalization that happened to him as a person,” Murphy said. “The oblique perspectives, the hints of a domestic life that is never shown, the walls that exclude the viewer’s sight-line — these suggest how structures, buildings and places of work can marginalize and exclude the outsider. Who can go where? Who can be shown? Who’s excluded?”
In “Piscataqua River / Winter Trees” (1931), a small grove of twisted trees are locked in a dance while the wintry world sleeps. One can’t help but think of Cheney and Mattheissen and where their partnership would lead them.
“Domestic Modernism: Russell Cheney and Mid-Century American Painting” will be on view at the Ogunquit Museum of American Art through November 17.
The Ogunquit Museum of American Art is at 543 Shore Road. For more information, 207-646-4909 or www.ogunquitmuseum.org.
Museum Of American Art
“Still Life with Flowers” by Russell Cheney, n.d.,
on
Smithsonian American Art Museum, Gift of Mrs. Hermann W. Williams, Jr, 1970.174.
“Summer Porch” by Russell Cheney, 1941, oil on canvas, 24 by 36 inches. Brian Bittner.
“In the Studio” by Russell Cheney, 1941, oil on canvas, 23 by 27 inches. Collection of the Robert S. Chase and Richard M. Candee Revocable Trust.
“Piscataqua River / Winter Trees” by Russell Cheney, 1931, 33¾ by 41 inches. Darin R. Leese Family Collection.
“Howard Lathrop” by Russell Cheney, 1937, 36 by 36 inches. Carol L. Cheney.
“Sparhawk Hall, Kittery Point” by Russell Cheney, 1930s, 24 by 36 inches. Private collection.
Cheney Studio, South Manchester, Conn., circa 1916-18. Russell Cheney Papers, Beinecke Library, Yale University.
Auction Action In East Windsor, Conn.
Midcentury Goes Southwest In Golden Gavel Auction
EAST WINDSOR, CONN.
— Guaranteed to make you smile, Pedro Friedeberg’s (b 1936) carved hand chairs have sold more than 5,000 copies since the first was created in 1962. One of these totems of Surrealist counterculture sold for $14,760, including buyer’s premium, at Golden Gavel’s August 8, Summer Antique Southwest Midcentury Auction. Signed on the base, the chair was 34 inches tall, 17½ inches wide and 20 inches deep. The whimsical seating is designed to allow one to sit on the palm, using the fingers as a back and arm rest.
The story of its creation is recounted in an article in Architectural Digest by design editor, Hannah Martin. “When artist Pedro Friedeberg’s mentor — the painter and sculptor Mathias
Goeritz — left Mexico City for a vacation in 1962, he asked the young Surrealist a favor: Give a favorite local carpenter some work,” Martin writes.
“I told him to make a hand,” Friedeberg remembers.
“Then I said, ‘Why don’t you make it big enough to sit on.
I thought that would be funny.” When Goeritz returned, he and Manhattan dealer Georges Keller asked to see what Friedeberg had been up to. Georges told me, “These are wonderful! I want two for New York, two for Switzerland and two more for Paris.”
Ironically, Friedeberg is said to have fallen out of love with his most famous creation. “I hate them,” he is said to have exclaimed.
“They’ve become like an icon or something.”
A midcentury Baker Furniture walnut credenza/server with a rattan front dished out a final price of $3,075, surpassing its $500-$1,000 estimate.
exhibited great detail and changed
and a
for $1,045.
Of course, being folk art, the chairs are widely copied, though it’s easy to identify a bona fide Friedeberg chair. “Turn one upside down,” he advises, according to Martin. “At the bottom of the base, you should see my signature burned in.”
And in this case, the allimportant signature was there, ample bona fides for the LiveAuctioneers online purchaser.
The sale total was $137,222 with a sell-through rate of 92 percent. There were 268 online registered bidders and 270 in-person.
A 1994 Southwestern jar with small architectural form, masterly crafted by renowned Hopi artist Al Qöyawayma, sold for $11,685. His distinctive styles of Hopi pottery that call forth images of the Southwest are two -
fold. One embodies figurative sculpted reliefs using the repousse’ technique, combining traditional coil construction and tactile stone polished surfaces. Another is polychrome and a future-forward version of Sikyatki pottery from the 1500s, with pieces that are carved and slipped with various clay colors. On the King Galleries website, Al Qöyawayma himself states, “My clay creations reflect the Southwest environment’s aesthetic influences and values passed down through our family. Form, textures, contrasts, shadow and the softness of desert color hues are foremost in my work.”
Fetching $4,305 was a handcrafted wide Santa Clara Pueblo vase signed Luann Tafoya. The polished clay vase with wraparound
Pedro Friedeberg’s carved hand chairs have reached iconic status, having sold more than 5,000 copies since the first one was created in 1962. This chair, signed on the base, 34 inches tall, 17½ inches wide and 20 inches deep, sold for $14,760 to an online LiveAuctioneers purchaser and was the top lot in the 159-lot sale.
dragon carving by the renowned potter from the Pueblo of Santa Clara, N.M., exhibited the variations on classic imagery and forms for which the artist is known and measured 9 inches high by 18 inches in diameter. There were several lots of handcrafted lighting fixtures by Michael Adams of Aurora Studios, an art metal studio that produces Arts and Crafts-era lighting and custom metalwork. These were led by a handcraft five-drop hanging fixture of hammered copper with heart cutouts and green case glass shades. Signed “Aurora Handcraft” in a great bird cage style, the fixture was bid to $5,228. Going well with the Arts and Crafts-style lighting would be a Dirk Van Erp signed hammered copper vase, circa 1913-14. With
Cataloged as “non-working,” for want of a battery, this retro-style 4K gold Hamilton Ventura men’s watch still cut a great figure. With an unconventional triangular design, it beat its $800-$1,500 estimate and garnered $2,706.
Luann Tafoya, the renowned potter from the Pueblo of Santa Clara, made this polished clay vase with wraparound dragon carving. It was bid to $4,305.
Albert Moritz Wolf bronze with three horses
sleigh
hands
A signed Earl Biss (1947-1998) artist proof of his “Turn of The Century/Indians New Hats and Old Hats” took $923. Biss was a member of the Crow Nation.
Accompanied by an original receipt from a New York City gallery, a Salvador Dali “Zodiac Leo” lithograph, 22 of 50, found a buyer for $1,169.
Review By
W.A. Demers, Senior Editor
Photos Courtesy Golden Gavel
1998
original patina, the 7- ¾ -inchhigh-by 8-inch-wide vase brought $2,583, beating its high estimate of $1,500.
Furniture highlights included a Baker Furniture midcentury walnut credenza/server with a rattan front that surpassed its $500$1,000 estimate to finish at $3,075. A Bernhard Pedersen & Sons rosewood Danish credenza that had great rosewood graining with tambour doors sold for $1,300.
The first lot across the block was a jewelry sparkler in the form of a 14K gold, 1.5-carat solitaire diamond ring. It was estimated $1/1,500 but did better, settling at $2,706. Marked “K&S,” the ring was size 6.
A nice retro-style watch, a 4K gold Hamilton Ventura men’s watch fetched the same price, beating its $800$1,500 estimate. With an unconventional triangular design, the Ventura is one of the most iconic of Hamilton watches. This watch had a full monogram on the back and was cataloged as “non working,” needing a battery.
Setting the table was an S. Kirk & Son sterling repoussé 83-piece flatware set weighing in at more than 80 troy ounces. It sold for $2,706.
Fine art in the sale was led by a 1939 signed John William Hilton desert landscape that was bid to $2,091, twice its high estimate. A signed Earl Biss (1947-1998) artist proof of his “Turn of The Century/Indians New Hats and Old Hats” took $750, bore a signature and title. Biss was a member of the Crow Nation. He had a classical education in the arts, having graduated from the Institute of American Indian Arts in Santa Fe, N.M. That was followed by several years of study at the San Francisco Art Institute and a year of independent study in Europe. What sets Biss’ works apart from others’ is his lively imagination and technique, which uses flowing, textured strokes of color that convey dreamlike moods.
Also in the fine art category, a Salvador Dali (19041989) “Zodiac Leo” lithograph, 22 of 50, found a
The first lot across the block was a 14K 1.5carat solitaire diamond ring, size 6 and marked K&S. Estimated $1/1,1,50, it did better and elicited $2,706.
The top selling lot of several handcrafted lighting fixtures by Michael Adams of Aurora Studios, was an Arts and Crafts handcrafted fivedrop hanging bird cage style fixture of hand-hammered copper with heart cutouts and green case glass shades that finished at $5,228.
buyer for $950. The great early lithograph was signed and numbered with an original receipt from a New York City gallery in 1974.
A high-quality Russian bronze with great detail was Albert Moritz Wolf’s (18541923) “Three Horses and a Sleigh” that earned $850. It measured 13 by 6 by 7 inches tall. Wolf was a German artist who worked for the Russian market in the late Nineteenth to early Twentieth Century. He is credited with having created more than 20 unique models on Russian daily life subject matter.
Standing 4¾ inches tall, a Pewabic Pottery small vase — purple, red and green in color — came with its original paper label and doubled its high estimate, finishing at $950.
Signed “Nancy Youngblood” and dated “1998,” a small swirled ribbed vase, from the Pueblo of Santa Clara, N.M., finished with black gloss, measured 3¾ by 2½ inches and sold for $700.
142 Arts and Crafts enthusiasts chased this Dirk Van Erp signed hammered copper vase, circa 1913-14, to $2,583, exceeding its high $1,500 estimate. With original patina, the vase measured 7¾ inches high by 8 inches wide.
Standing 4¾ inches tall, this Pewabic Pottery small vase, purple, red and green in color came with its original paper label and doubled its high estimate, finishing at $1,168.
Prices given include the buyer’s premium as stated by the auction house. Golden Gavel hosts weekly Thursday estate auctions at 7 pm (early bird at 5:30), with specialty auctions either in person and/or on LiveAuctioneers or AuctionNinja every 1-2 months. For additional information, 860-623-2100 or www.goldengavel.com.
than
The distinctive style of Al Qöyawayma’s Hopi
was on display in this 1994 Southwestern jar with small architectural form, which left the gallery at
Form, textures, contrasts, shadow and the softness of desert color hues are foremost in his work, according to the artist.
pottery
$11,685.
The 1939 signed John William Hilton desert landscape doubled its high estimate and brought $2,091.
An S. Kirk & Son sterling repoussé 83-piece flatware set weighing in at more
80 troy ounces sold for $2,706.
A Bernhard Pedersen & Sons rosewood Danish credenza that sold for $1,599 had great rosewood graining with tambour doors. It was 83 inches long by 19¾ inches wide by 31½ inches high.
This
handcrafted Santa Clara Pueblo small black glossed swirled ribbed vase signed Nancy Youngblood made $861.
TTransitions
Cape Ann Museum Launches Campaign With More
Than $18 Million Raised
he Frick Collection announced that it has appointed Maeve Turner as its head of gardens and horticulture. With more than 15 years of experience working on major horticultural initiatives at esteemed New York City institutions, including the Brooklyn Botanic Garden and the High Line, Turner joins the Frick at a critical juncture as it looks ahead to the reopening of its Fifth Avenue home, following the completion of a comprehensive renovation and enhancement designed by Selldorf Architects in conjunction with the preservation firm Beyer Blinder Belle. The museum and library are slated to reopen to the public in early 2025. In this newly created position within the Frick’s curatorial department, Turner will manage and maintain the institution’s three historic green spaces: the Fifth Avenue Garden, known for its signature magnolias; the interior Garden Court, created in 1935 by John Russell Pope; and the walled viewing garden on East 70th Street added in 1977 by Russell Page. She will also coordinate related educational programming for the public and members. Turner’s first day at the Frick will be September 16.
The Art Institute of Chicago announced the appointment of a new executive director of provenance research, Dr Jacques Schuhmacher. In his role, Schuhmacher will supervise the provenance team that was formally established in 2020. He will lead the museum’s provenance initiatives across the entire collection, including building on the museum’s existing provenance research practice and coordinating this important work among specialists across the museum. Schuhmacher joins the museum from the Victoria and Albert Museum (V&A) in London, where he served as the senior provenance research curator.
TGLOUCESTER, MASS. — Building on the generous support of the museum’s board, donors and supporters amid growing momentum for general museum operations, Cape Ann Museum’s (CAM ) director Oliver Barker and Henrietta Gates, board chair, announced that the institution has generated more than $18 million in campaign commitments. This significant support will fund renovations to its downtown facility, provide upgrades to the CAM Green campus, enhance programming and augment the museum’s endowment.
“The growth of the museum in recent years in particular has been breathtaking,” Barker said. “The Edward Hopper & Cape Ann show last summer tested us and our capacity to host such a nationally significant exhibition. While we excelled in welcoming an unprecedented number of visitors, we will be able to offer an even better experience for the community in the future through the CAM150 Campaign.” Barker also shared that “…by raising these funds, the museum will amplify its commitment to access, innovative programming and greater visibility of CAM’s important collections.”
Barker added: “After decades of growth in collections, membership and programming, it is now time for the museum to reinvest once again in our facilities. CAM150 will fuel the institution’s commitment to broaden the museum’s reach, strengthen our mission and expand our community relevance. It will protect our valuable collections and allow the museum to engage more deeply with the people who call this area home. Most importantly, the support secured and still sought for the CAM 150 Campaign will ensure that the distinct history of Cape Ann is shared with generations to come.”
The CAM-150 Campaign marks the 150th anniversary of the museum’s founding in 1875, and will revitalize the downtown campus with world-class gallery space allowing the museum to tell the story of Cape Ann’s rich history, culture and artistic traditions; create and expand the CAM Green campus to serve as a gateway to Cape Ann for the community as well as a place for collection care, storage and access; amplify community and cross-generational engagement at both campuses, through K-12 education modules and programming that convenes community to engage, cele-
Pollock-Krasner
brate, question and learn; fuel the growth of the museum’s endowment, ensuring the efficacy of its collections, exhibits and programming for future generations.
To accommodate the renovations while the downtown campus is closed from October 7 through spring 2026, the museum will pivot operations to the CAM Green campus starting on October 9. These activities will commence with the opening of a new exhibition at the Janet & William Ellery James Center dedicated to the work of artist and teacher Umberto Romano.
Downtown campus renovations will begin in early December and are being overseen by Boston-based architectural firm, designLAB. With a focus on elevating the visitor experience, including HVAC and lighting system upgrades to more than 40 percent of the campus, renovations will result in reimagined Twentieth and Twenty-First Century art gallery space, fisheries and archival galleries, along with a revitalized CAM Studio for Education. Designed to broaden access to the breadth of the museum’s collections, renovations are focused on improving visitor accessibility and circulation between galleries.
Foundation Announces Grants
Totaling More Than $3 Million
he Norton Museum of Art has appointed Dr Regina Palm as the Harold and Anne Berkley Smith senior curator of Modern art. Palm will join the Norton September 30. The Norton is internationally known for its collection of contemporary art, Chinese art and photography, as well as American and European art, which Palm will oversee, particularly works created between the mid-1800s and 1960. Palm joins the Norton from the San Antonio Museum of Art. Prior to her tenure in San Antonio, she held positions at the Charles Hosmer Morse Museum of American Art, the San Diego Museum of Art, the Kimbell Art Museum, the Amon Carter Museum of American Art and the Cincinnati Art Museum.
Tate Modern announced the first artist to undertake the Infinities Commission, a new annual commission to showcase the limitless experimentation of contemporary art. Each year, an expert panel will be asked to select an innovative and boundary-breaking international artist to create a visionary new work for the Tanks, Tate Modern’s unique spaces dedicated to performance, installation and film. This year’s jury has selected French artist Christelle Oyiri, whose commission will be unveiled in April 2025. Oyiri is an artist, DJ and producer based in Paris. She works across multiple disciplines – from music and film to performance and installation – often exploring under-the-surface stories about contemporary culture, media and identity. She has staged installations, performances and events around the world, including at the Centre Pompidou in Paris, Haus der Kunst in Munich, Tramway in Glasgow and the Serpentine Gallery in London.
NEW YORK CITY — The Pollock-Krasner Foundation announced that it awarded $3,066,000 to 97 artists and nonprofit organizations during its July 2023–June 2024 grant cycle, providing essential support to artists in the United States and around the world. The geographic reach of this year’s grant cycle spans 10 countries—including 12 states and Washington, D.C. in the United States—with grantees from South Dakota, New York, Spain and India, among other locations globally. The Lee Krasner Award, given by the Foundation to an individual in recognition of a lifetime of artistic achievement, is presented to Toba Tucker, a contemporary American photographer who has worked within a lens-based practice for more than 50 years.
The Pollock-Krasner Foundation has awarded more than 5,100 grants totaling more than $90 million in 80 countries since its establishment in 1985. Approaching its 40th anniversary in 2025, the foundation provides funding to professional artists internationally to
support the creation of new works and the advancement of their practices. Applications for the PollockKrasner Foundation’s individual grant program are accepted year-round.
The 2024 recipient of the Lee Krasner Award, Toba Tucker, documents continuity and change in American culture through her work. Born in New York City and now based in Greenport, N.Y., after living and working in Santa Fe, N.M., Tucker joins a distinguished group of honorees recognized for their significant contributions to the arts through the Lee Krasner Award, which was established in 1991. Tucker’s photographs predominately focus on Native American populations and communities, with other subjects that include street portraits of pedestrians in New York City and Minneapolis, Minn.; residents of a drug rehabilitation program; African American members of the First Baptist Church of Riverhead, N.Y., and others. In recent years, Tucker has photographed the landscape of the American West, referencing the work of Nineteenth Century photographers.
Her work is in the collections of major arts libraries and institutions such as the Beinecke Library at Yale University; Carnegie Museum of Natural History in Pittsburgh, Penn.; Los Angeles County Museum of Art; the Metropolitan Museum of Art; Musée français de la Photographie in Paris, France; Museum of Modern Art in New York; National Museum of the American Indian in New York; New York Public Library; and the Poeh Museum in Pojoaque, N.M., among others. The Lee Krasner Award distributes funds to recipients in three installments. Recent award winners Oliver Lee Jackson and Josely Carvalho received additional installments of their award during this grant cycle.
To amplify the work of cultural institutions who provide direct support to artists, the Pollock-Krasner Foundation has awarded grants to 23 organizations. A full list of 2023-2024 artist grantees and organization grantees can be found on the foundation’s website www.pkf.org.
Janet and William Ellery James on the occasion of their landmark donation of more than 300 exemplary pieces of American art to the Cape Ann Museum in September 2023. Courtesy Cape Ann Museum.
Toba Tucker, “Canyonlands Utah #6061” (2014), Dead Horse Point, West Rim View, archival ink jet print.
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Bronze Statue Of John Lewis Replaces
More Than 100-Year-Old Confederate Monument
and poli-
in Decatur
By Ron HaRRis
DECATUR, GA. (AP) — A large bronze statue of the late civil rights icon leader and Georgia congressman John Lewis was installed Friday, August 16, at the very spot where a contentious monument to the confederacy stood for more than 110 years in the town square before it was dismantled in 2020.
Work crews gently rested the 12-foot-tall (3.7-meter-tall) statue into place as the internationally acclaimed sculptor, Basil Watson, looked on carefully.
“It’s exciting to see it going up and exciting for the city because of what he represents and what it’s replacing,” Watson said, as he assisted with the installa-
tion process. Lewis was known for his role at the front lines of the Civil Rights Movement and urged others to get in “good trouble” for a cause he saw as vital and necessary. In DeKalb County, where the Confederate monument stood for more than a century, protesters have invoked “good trouble” in calling for the swift removal of the obelisk.
Back in 2020, the stone obelisk was lifted from its base with straps amid jeers and chants of “Just drop it!” from onlookers in Decatur, Ga., who were kept at a safe distance by sheriff’s deputies. The obelisk was erected by the United Daughters of the Confederacy in 1908.
Groups like the Beacon Hill Black Alliance for Human Rights and Hate Free Decatur had been pushing for the monument to be removed since the deadly 2017 white nationalist rally in Charlottesville, Va.
The monument was among those around the country that became flashpoints for protests over police brutality and racial injustice, following the death of George Floyd at the hands of police in Minneapolis. The city of Decatur then asked a Georgia judge to order the removal of the monument, which was often vandalized and marked by graffiti, saying it had become a threat to public safety.
The statue of Lewis was officially unveiled on August 24.
26, Aug auctionsappraisers.com
27, Aug auctionninja.com SJD Auctions
Cohasco Inc.
Historical Documents & More 3
Connecticut River Book Auction
Historical Names of the Tuxedo Region & More 9
Gratz Gallery
American Art & Pennsylvania Impressionist Art 7
Marion Antique Auctions “September Splendor Sale” 5
Poulin’s Antiques & Auctions Fine
Every Tues Coventry, CT Weston’s 46 Every Thurs goldengavel.com Golden Gavel 44 Thru 11,Sept petercostanzoauctioneers.com Peter Costanzo Auctioneers 46 22,Aug-5,Sept........auctionninja.com Gerald Bell 5C
23, Aug Jewett City, CT Leone’s Auction 2
24. Aug rolandauctions.com Roland Auctions 2 24, Aug rolandauctions.com Roland Auctions 7 24, Aug rolandauctions.com Roland Auctions 44 24, Aug thoscornellauctions.com Thos Cornell Galleries 2
27, Aug oldkinderhook.com Old Kinderhook 47 27, Aug tomhallauctions.com Tom Hall Auctions 47 28, Aug Portsmouth, RI Gustave White 4C 31, Aug robersonauctions.com Roberson’s Auction 40 4, Sept kodner.com Kodner 44 6, Sept Jewett City, CT Leone’s Auction 2 6, Sept wiederseim.com Wiederseim 45 7, Sept marionantiquesauction.com Marion Antiques 6C 8, Sept tremontauctions.com Tremont Auctions 46 8, Sept tremontauctions.com Tremont Auctions 41 9, Sept northfieldauctions.com Northfield Auctions 44 11, Sept doyle.com Doyle 43 11-14, Sept h-auction.de Hargesheimer 7C 14, Sept breker.com Auction Team Breker......8C
Tremont Auctions 46 13, Nov litchfieldcountyauctions.com Litchfield County Auctions 2 17, Nov butterscotchauction.com Butterscotch Auction 2
3, Sept Brimfield, MA.................2
3-8, Sept Monson, MA 11
8, Sept Milford, NH...................3
Weekly Events Thurs-Sun West Hartford, CT 5 Sun............................Jewett City, CT 2 Sun ..........................New Milford, CT 2 DATE
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PG EVENT The Following Ads May Be Found In Last Week’s (8/23) Issue 24, Aug Dover, NH 9 24, Aug Westmoreland, NH 9 25, Aug Milford, NH 3
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20-21, Sept York, PA...................2C 21-22, Sept Chantilly, VA 9 22, Sept Milford, NH...................3 12-13, Oct Stormville, NY 11
2, Nov Stormville, NY 11 2-3, Nov Chantilly, VA 9 30, Nov-1, Dec..........Columbus, OH 5
A large bronze statue of the late civil rights leader
tician John Lewis has been lifted into place
Ga., at the spot where a Confederate monument stood for more than 110 years (AP Photo: Ron Harris).
Ansel Adams’ ‘Mount Williamson From Manzonar’ Scales Barridoff Art Sale
SOUTH PORTLAND, MAINE
— Barridoff’s summer 2024 International Fine Art Sale took place on the Barridoff lawn on August 17. The signature event featured the works of great artists like Ansel Adams, William Trost Richards, Katherine Bradford, Stephen Etnier and Wolf
Kahn, among many others. Adams (American, 1902-1984) prevailed to take top lot status.
His “Mount Williamson from Manzonar,” a gelatin silver print from a private Maine collection, sold for $30,500, including buyer’s premium, going to a private buyer on the phone, a regular
Matt King, Antiques Dealer, 64
MARSHFIELD, MASS. —
Antiques dealer Matt King passed away at his home recently, at the age of 64. A wake for King will take place 4 to 7 pm on Thursday, August 22, at MacDonald Funeral Home, 1755 Ocean Street, Marshfield. On Friday, August 23, at 10:30 am, there will be a service for King at St Christine’s Church, 1295 Main Street, Marshfield. A more extensive obituary and In Memoriam for King will appear in an upcoming issue.
POTSDAM, N.Y. — On Friday, August 16, Blanchard’s Auction Service conducted its 17th annual Premier Adirondack Auction in which it presented nearly 550 lots of Adirondack and Great Camp furnishings, sporting artwork, decoys, big game taxidermy and fishing collectibles, among other things. An Ontario hollow black duck decoy in original paint that carried an estimate of $200/400 flew to $9,225, the highest total achieved of the day. More highlights from this auction will be featured in an upcoming issue.
Correction
Barridoff patron.” The print was framed under glass and signed in pencil on the mount lower right, titled in pen and artist’s stamp on mount verso. Measurements were 15-3/8 by 19¼ inches actual and 24-7/8 by 28-3/16 inches framed. The overall auction was lively, according to auctioneer Bill Milliken, and with post-auction sales he believes the sell-through rate will approach 90 percent. More highlights from this sale will follow in a later review.
(Orlean, Mass.) CCADA’s 54th Annual Orleans Show
(Candia, N.H.)
(Canaan, Conn.)
(Branford,
(East
(Myerstown, Penn.)
(Essex, U.K.)
(Scottsdale, Ariz.)
(East Windsor,
(Clarence, N.Y.)
(Santa Fe, N.M.)
(Southold, N.Y.)
(Fairfield, Conn.) ‘Bridgeport At
(New
(Los Angeles) Ed Ruscha
Fritz Scholder’s Dynamic Chief Leads
Santa Fe Art Auction’s Native Market Sale
Schultz Bidders Adore Flemish School
Religious Tableau
CLARENCE, N.Y. — Presenting items from the Richard Byrne estate and others, Schultz Auctioneers filled two days of sales with more than 900 lots crossing the block. Major collecting categories on the first day included Victorian furniture, silver, jewelry, coins, lighting, porcelain, fine and decorative arts and Oriental rugs. The second day comprised ephemera, toys, sports memorabilia, advertising, militaria and other collectibles. Painted in oil on an oak panel, the sale’s top lot, “Adoration of the Magi,” was attributed to Dutch artist Hieronymus Bosch (1450-1516). The Flemish School work came from a local private collection that owned the painting for more than 100 years. The panel, measuring approximately 42 inches high by 30 inches wide and 2 inches thick, soared past its $3/5,000 estimate to sell for $415,000 with buyer’s premium. More in-depth coverage of the auction will be in a forthcoming issue.
SANTA FE, N.M. — Two days of an annual auction extravaganza celebrated the Native American art market at Santa Fe Art Auction on August 13-14. Up for bidding were nearly 500 lots offering a wide selection Native arts collectors, everything from traditional rugs and blankets, vintage jewelry, pottery from each of the great pueblos, basketry, Plains hide and beadwork, as well as sculpture and paintings from early Indian School to Twenty-First Century contemporary. This last category led the offerings as Fritz Scholder’s (Luiseño, 1937-2005) untitled (Chief), acrylic on paper, jumped its $5/7,000 estimate to command $13,530, including buyer’s premium. Scholder’s art breaks all the conventions in redefining the representation of the “American Indian” in American art, throwing out the traditional, stereotypical images of the mythic Indian with drawings and prints that feature bold, expressive lines, vibrant colors and potent imagery. His work is included in the collections of more than 120 museums in the United States, including the National Museum of American Art in Washington, the Museum of Modern Art in New York and the Metropolitan Museum of Art in New York. More highlights from the $593,000 two-day sale will appear in a future issue.
Hammer Museum Presents ‘Sum Of The Parts: Serial Imagery In Printmaking’
LOS ANGELES – Currently on view to November 24 at the Hammer Museum is the exhibition “Sum Of The Parts: Serial Imagery In Printmak-
ing: 1500 To Now.” Printmaking’s capacity for serial imagery was recognized during the Renaissance in Europe and has continued to
WILLISTON, VT. — On August 16, Merrill’s Auctioneers & Appraisers conducted its 502-lot Americana & Fine Art Estate Auction. The sale comprised an “outstanding” collection of fine art, historical ephemera and photographs, American and Continental furniture, jewelry, books and various other antiques from the estates of Hesterly Fearing Black (1933-2023) of Stowe, Vt., and others. At the apex was “Three Babas,” an oil on canvas
painting by Philippe Andreevich Maliavin (Russian, 18691940), signed by the artist to the lower right. The three women in the work were depicted outdoors in a village, each wearing a long colorful dress and two with head scarves. In a later frame, the painting had minor craquelure but was recently cleaned and stabilized and sold for $88,200 with buyer’s premium. Further discussion of the sale will be in a future issue.
Roy Lichtenstein Lithograph Explodes Past High Estimate At Amero
SARASOTA, FLA. —
be explored by artists across centuries and geography to creative, at times experimental ends. This exhibition highlights a variety of organizing principles within the serial format, from pictorial narratives to thematic groupings, iconographic sequences marking time and place, as well as structural and conceptual progressions.
Selected from the collection of the Grunwald Center for the Graphic Arts, this exhibition not only examines prints formally conceived as sets or series, but equally considers artists’ serial procedures and approaches in prints across five centuries. The exhibition features works by some 20 artists, including Albrecht Dürer, Jacques Callot, Wassily Kandinsky, Henri Matisse, Bridget Riley and Zarina. The Hammer Museum is at 10899 Wilshire Boulevard. For information, 310-443-7000 or www.hammer.ucla.edu.
On August 18, Amero Auctions conducted its Carefree Days of Summer auction, which featured the second phase of the liquidation of Duck and Dolphin Antiques (Key West, Fla.), the Alexander Raydon Gallery art collection and the sword collection of Bob McGregor, alongside other lots curated from estates nationwide. Leading the 464-lot sale was “Explosion,” a lithograph on paper by Roy Lichtenstein (American, 1923-1997). The work originated from the artist’s “Portfolio 9” and was published by Irwin Hollander in 1967; it bore a blind stamp from the publisher on its lower right side. The 29¼-by-22-inch lithograph had provenance to the Alexander Raydon Gallery (New York City) and exploded past its $10/15,000 estimate to earn $18,750. More highlights from this auction will be featured in a later issue.
‘Cape Ann and Monhegan Island Vistas’ On View At Monhegan Museum
MONHEGAN, MAINE —
“Cape Ann and Monhegan Island Vistas: Contrasted New England Art Colonies,” on view to September 30, explores the relationship between the historic and stillthriving art colonies of Monhegan, Maine, and Cape Ann, Mass. At the turn of the Twentieth Century, American artists flocked to the new summer art colonies that stretched from California to New England. This exhibition pairs paintings and prints by artists who worked at
both of two very different art colonies in the Northeast: Cape Ann, Mass., and Monhegan Island, Maine. Separated by 100 miles of ocean, these colonies, like many others, became important crossroads in the history of American art, hosting major artists through the years.
The Monhegan Museum of Art & History is in the historic Monhegan Island Light Station, at 1 Light House Hill Road. For information, www.monheganmuseum.org or 207-596-7003.
Sum of the Parts: Serial Imagery in Printmaking, 1500
now, installation view Hammer Museum, Los Angeles, July 13-November 24. Photo: Jeff McLane installation image of works on paper framed on walls.
Science & Light Collide At Getty Center
With More Than 100 Works Illuminated
LOS ANGELES – Featuring more than 100 works, including celestial globes, golden altars and illuminated Qur’ans, a major international loan exhibition, “Lumen: The Art and Science of Light,” is on view at the Getty Center from September 10 through December 8.
The exhibition is presented in conjunction with PST ART: Art & Science Collide, a ground-breaking regional cultural collaboration that unites more than 70 exhibition and performance spaces around a singular theme, the intersection of art and science.
The Latin word “lumen” has multiple meanings: lumen means light—whether from the sun or a lamp—but it also conveys the substance of light, including its color, and the “light” of the eye, that is, the power of sight. Focusing on the art of western Europe, the exhibition explores how the science of light informed the work of Christian, Jewish and Muslim philosophers, theologians and artists during the “Long Middle Ages,” which lasted from approximately year 800 to 1600.
“The natural philosophers and astronomers of antiquity—figures such as Aristotle and Ptolemy— theorized extensively about the nature of matter and light and did much to chart the movements of the planets and stars across the cosmos,” said Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle director of the J. Paul Getty Museum. “Building on these achievements, medieval scholars greatly advanced the understanding of astronomy, optics, mathematics and many other sciences, fueled by the transmission and translation of scholarly treatises of Christian, Jewish and Islamic scholars throughout the Mediterranean and Middle East. The outcome of this cross-cultural foment was the creation of many extraordinary works of art made to harness the marvel of light, especially in the sacred spaces of churches, temples and mosques.”
Organized in three sections, the exhibition reveals how medieval artists harnessed the knowledge of astronomy, geometry and optics to create immersive, light-filled spaces designed to inspire religiosity and awe. The exhibition also features works by seven contemporary artists who engage with, heighten and challenge our perception of light: Vija Celmins, E.V. Day, Fred Eversley, Monir Shahroudy Farman-
‘Shining
farmaian, Anish Kapoor, Helen Pashgian and Charles Ross.
The first section, Astral Light, traces the study of astronomy, presenting some of the earliest instruments used to measure distance and time, including astrolabes, armillary spheres and volvelles. Astrolabes and other scientific instruments were used to chart the stars, measure the position of celestial bodies and track seasons and the time of day, helping medieval people determine when to plant crops, celebrate religious holidays or attend religious services.
The second section, Light and Vision, includes arAtworks that showcase scientific understandings of how people thought light traveled in lines, enabling vision and cognition. Believed to be achieved in phases, medieval vision moved from physical sight to “spiritual seeing” through prolonged meditation and scrutiny of religious objects, leading to revelation within the “mind’s eye.” This section also shows how optical knowledge influenced depictions of divine light in religious art. A painting of the Annunciation, on loan from the Fine Arts Museum of San Francisco, shows light representing spiritual vision and cognition flowing from God to the Virgin Mary in seven golden rays. Nearby in the exhibition, the artist E.V. Day has provided a monumental work titled Golden Rays (In Vitro), a piece that uses gilded aircraft cable and fiber optic monofilament to dramatically transpose the golden rays seen in painted depictions of the Annunciation back into the three-dimensional world.
The final section, Aura and Performance, shows how medieval artists used light in religious spaces to evoke divinity, focus attention and create transformative experiences for the viewer. Whether in a temple, mosque, or church, places of worship are rich with objects that stimulate the senses. The sounds of a chant, smell of incense and reflection of light across gold all combine to create a layered sensory experience of the divine. Nearly 11 feet in diameter, a monumental Byzantine chandelier, called a choros, hangs high in this section.
The exhibition includes two standalone installations by contemporary artists. On view in the Getty Center’s North Pavilion gallery N106 from August 6 through January 26, 2025, “Lumen: Helen Pashgian”
Light On Truth’ Exhibition Extended At New Haven Museum
NEW HAVEN., CONN. — New Haven Museum’s exhibition, “Shining Light on Truth: New Haven, Yale and Slavery,” will remain on view through Saturday, March 1. Presented by the Beinecke Rare Book and Manuscript Library, Yale Library, the exhibition was curated by Michael J. Morand with Charles E. Warner, Jr., and designed by David Jon Walker. Admission to the New Haven Museum remains free during the show’s run, made possible by Yale University.
The exhibition opened on February 16, as part of a set of efforts to share widely the findings of the Yale and Slavery Research Project, including a book, a website and audio walking tour.
“Shining Light on Truth” presents evidence of the essential role of enslaved and free Black people in New Haven and at Yale. It celebrates Black resistance and community building, and it illuminates knowledge kept alive in archives and memory for more than three centuries — even when the dominant culture chooses to ignore, bury or forget.
The exhibition features archival images of materials from Beinecke and other collections, connects to items in the New Haven Museum col-
lections and notes other local sites of memory. It introduces visitors to some of the unheralded builders of Yale. It celebrates early Black writers such as Jupiter Hammon, Jacob Oson and William Grimes, and it showcases women such as Mary Ann Goodman, whose generosity opened paths for Black students at Yale, as well as the women who were local pioneers in Black education early in the Nineteenth Century.
“This is a deeply meaningful New Haven story that we have been honored to host — and we are delighted that it will be extended, and especially glad that more school groups will be able to visit,” says New Haven Museum executive director Margaret Anne Tockarshewsky.
“‘Shining Light on Truth’ supports the New Haven Museum’s continuing mission to connect with the community and expand our audiences.” She adds, “We are grateful to Yale for making that possible by underwriting free admission during the course of the show and ensuring access to all who want to visit.”
The New Haven Museum is at 114 Whitney Avenue. For information, 203-562-4183 or www.newhavenmuseum.org.
Pentecost in a benedictional (detail), about 103040 CE. Tempera colors, gold, and ink on parchment, 9-1/8 by 6-5/16 inches. Getty Museum, Ms Ludwig VII 1 (83.MI.90), fols. 47v.
features a meditative sculpture and light installation that could be likened to medieval sacred spaces that use light to take the viewer beyond the outside world, energizing and focusing the mind and creating transformative experiences. On view in the Museum Entrance Hall, “Spectrum 14” by Charles Ross is a site-specific commission that helps viewers visualize the earth’s rotational cycle.
The exhibition was curated by Kristen Collins, curator of manuscripts at the Getty Museum, and Nancy Turner, conservator of manuscripts at the Getty Museum. Contemporary works were curated by Glenn Phillips, senior curator, head of exhibitions, and head of Modern and contemporary collections at the Getty Research Institute.
The Getty Center is at 1200 Getty Center Drive. For information, 310-440-7300 or www.getty.edu.
Plants & People In Picture Books On View At The Carle
AMHERST, MASS. — Plants are all around us and have been weaving their stories together with people for a long time. Plants sprout in both our imaginations and our soil, growing into stories that celebrate both human and nonhuman life on Earth. “Sprouting Stories: Plants & People in Picture Books,” on view at the Eric Carle Museum of Picture Book Art through December 29, highlights plants as important members of our communities and includes titles that invite readers to consider their own experiences with plants, while offering possibilities for growing new connections with the natural world.
The exhibition features 45 picture books that highlight plants and the varied stories they tell. Books are divided into three thematic sections — “Growing Gardens,” “Plant Protagonists” and “Rooted Stories” — and are arranged along shelves in the Reading Library for visitors to explore and read. Additional books displayed on library tables invite creative play and reflection.
“Growing Gardens” includes titles such as Planting a Rainbow by Lois Ehlert (Clarion Books, 1988) and The Wall and the Wild by Christina Dendy, illustrated by Katie Rewse (Lantana Publishing Ltd., 2021).
“Plant Protagonists” includes titles such as The City Tree by Shira Boss, illustrated by Lorena Alvarez (Clarion Books, 2023) and The Tiny Seed by Eric Carle (Little Simon, 1987).
“Rooted Stories” includes titles such as Just Ask: Be Different, Be Brave, Be You by Sonia Sotomayor, illustrated by Rafael López (Philomel Books, 2019) and A Crown for Corina by Laekan Zea Kemp, illustrated by Elisa Chavarri (Little, Brown and Company, 2023).
The Eric Carle Museum of Picture Book Art is at 125 West Bay Road. For information, www.carlemuseum.org or 413559-6300.
SARASOTA, FLA. — Sarasota Art Museum of the Ringling College of Art and Design invites visitors on a journey through space and time with “The Truth of the Night Sky: Anne Patterson and Patrick Harlin,” on view through September 29 at 1001 South Tamiami Trail. For more information, www.sarasotaartmuseum.org or 941-309-4300.
Country Store Collectibles featuring Blue & White NY Jacquard Coverlet inscribed “ Sarah C. Cadmus 1842 – NY Wever” (Spelled that way); Early wooden folk art framed mirror w/carved cannon at top, stars & arrows; (Mirror broken); Unique Folk Art wall Apothecary w/lift top box & Doors; Early wooden gameboard in old mustard; “Orion” Stenciled metal Syrup dispenser; Miniature Folk Art décor. Dome top document box w/snipe hinges & others; Vintage wooden Bait Sign marked “Minnows” in shape of fish; Intricate YoYo Rosettes Bedspread; Handmade miniature slant front desk in old green paint; Lg. wooden paint décor. pantry box; Cheese Slicers; Several early candle snuffers; Several Fat & Betty lamps; Trenchers & Bowls; Vintage kitchenwares; Quilts; 2 tiger maple butter paddles Quality Artworks incl. Hudson River School w/sailboats; Sm. Veronica Nemethy of 2 men goldmining; 7x 15” O/C signed Bricher of Seascape; Litho ? signed C. Leandre 1900 of Pierrot & Columbine Love Story; 3 – Jim Adair Watercolors; George Nemethy Sloop on Hudson River; Several John Newton Howitt oils & watercolors; Alice S. Clemente 1957 of Western desert scene; Lg. framed 1917 War Bond Ad; Whimsical 1969 Election poster for NYC; Lg. print signed Miro marked “Murales Peintures”; Print of “38th NY Regiment of Jefferson Guards by FJ Fritsch & many more… Original Bill Graham Productions Posters plus small posters sold in lots of 2…. Quality Advertising incl. Tin “American Club Beer” – Lembeck & Betz, NJ sign; Vintage Coca-Cola tray & Sign; 2 Country store Advertising door pushers for “Pepsi” & “PRT Pure Vegetable Shortening”; Lg. sign - “Slate Hill Coal & Feed, Co. Inc. Store”; Reverse ptd. “Winchester Ammunition Sold Here” sign; Lg. Iron Dbl. sided sign Dillistin Lumber Co.; Lg. wooden Dbl. sided Sign -“Truck Stop & Repair”; Porcelain Lion’s Intern. Sign; Iron Bell System sign; Reverse ptd. on glass “Bass on Draught” sign…
Pinfire Dragoon Revolver; Civil War Emerson & Silver, Trenton, NJ sword; Parade sword marked “Knights of Honor”; CW Calvary Type sword w/brass scabbard; US Naval Sword w/leather scabbard; US Marine’s sword w/leather scabbard; Several Knives incl. an Early Bowie knife; Schrade 75th anniversary knife w/sterling tips; Frost cutlery knives… Native American Arrowhead lots & Stone implements… Victorian & Vintage Christmas incl. tray lots of figural ornaments, Cardboard Village Houses, Cardboard cutouts of Santas w/back stands; Lg. Lot of postcards & greeting cards; Lot of Santa nodder & Snowmen candy containers… Many Interesting Accessories incl. Unusual Cylinder table top music box w/3 bell strikers – 2 butterflies & a bee; Miller Lamp Co. Slag Glass Table Lamp; Ornate early “Wag on the Wall” Clock; Lg. National Brass cash register w/crown on oak base( Has been burnished); Restrike of Kauba bronze of two cowboys shooting with horse; Pr. of ornate iron mirror sconces; Oak Gingerbread clock w/alarm; Vintage Lg. Hummels incl. “Follow the Leader”, Stormy Weather, Ride into Christmas, etc.; D. Spaiser” Telescope; Naval Firing Line gun; Antique locks; Fancy wooden figural canes; Several whale Oil, Betty & Fat Lamps; Pr. iron miniature CW boots & squirrel nutcracker; 1917 Kelvin & Huges Nautical Sextant – London; Bronze Oriental & Tureenware jars; Cast iron doorstops; Cast iron Dachshund bootscraper; Several Victorian & pewter inkwells; 3 Early iron candy molds; Several early microscopes, most in cases; Vintage military binoculars; Lionel construction kit; Early wooden fire alarm clacker; Univox guitar model U-3014; Sterling incl. 48 pcs. flatware serv. for 8, 6 pc. pl. sett. King Cedric pattern & 52 Pcs. of Misc. Flatware; Estate Jewelry incl. Diamonds, Gold, Silver, Costume Lots & Pocketwatches featuring a 14k yg “Croton” Lady’s wristwatch; 14k yg - 6 Diamond lady’s ring; C. 1900 MOP “Fedoskino” Brooch w/copy of I. Aivazovsky painting;(Great Pin); Antique Bisque & China Head Dolls; Lg. Selection of Mohair Teddies, Animals & Pulltoys incl. an early Dbl. wooden horse & wagon pulltoy on wheeled platform; Early mohair pulltoy horse on wheels; Several Steiff Animals & Humpback Teddies; Early Bear pulltoy w/iron wheels; Over 100 pcs. of lead soldiers & figures in 3 lots… Stoneware incl. 1 Gal. Bennington, VT jug; “Birch Beer” bottle; 2 Gal. Décor. Jug marked in “Schwarz in Blue; 2 Gal. Crock w/Bird on Branch; Glass & China incl. Art Glass incl. Tiffany, Steuben, Loetz, Unusual Spiral Art Vase attrib. to Hal Berger; Mt. Washington pcs.; Miniature GWTW kero lamps; Pr. of 12”H. Bohemian mantle Lustres; 16 “Ashling” Waterford Glasses; Several Pcs. of “Tuthill” Brilliant Cut Glass… Unique highly decorated Western Black Parade Horse Saddle w/tack, tooled & studded ( super pc.) Lou
Summer Estates & Collections
Sunday, September 8th at 10 am
Previews: Wednesday 4th - Saturday 7th 10am-3pm & Sunday 8th 8-10am or in advance by appointment.
Join us for this sale of 575 lots, beginning with 200 lots of jewelry and fine silver, including a large collection of early American and Georgian silver. In addition to fine arts and antiques, the sale will feature a wide selection of historical signed documents and rare and signed books. Catalog online, bid at our website, in person at the gallery, or at liveauctioneers nvaluable i
Estate Carpets
Fine Estate Jewelry
Assorted Watches
Samuel Marx - Cork Side Table Collection of Morton D. May Exhibited St. Louis Art Museum
Rev. War POW Gen. William Phillips
1705 Voyages & Travels 2 vols.
John Terelak
Marquis de Lafayette, Signed Letter 1815
Alexander Hamilton, Signed Letter
U. S. Grant Ephemera & Signatures Robert E. Lee, Signed Letter
Spanish Carved Crests
Leroy Neiman
Salvador Dali
1564 Book on Witchcraft
Apollo 11 Astronauts Triple Signed
Alfred Chadbourn
Early Vellum Document with Cipher
John Whorf with Fogg exhibit label
Collection of 10 Banjos JFK Signed Inaugural Address
JFK Signed 1st Edition
JFK Signed 1st Edition
Large Collection of Early American and Georgian Silver.
Fine Sterling Silver
Sam Vokey, Boston
Seymour, Boston
McIntosh, Salem, MA
Eva Zeisel!
Spectacular Vintage Lighting Sale!
Friday, September 6, 2024 • 9:00am
LIVE at our Gallery and online with BIDSQUARE and LIVEAUCTIONEERS • 1041 W. Bridge St., Ste# 20, Phoenixville, PA 19460
Preview: Thursday, September 5th, 10am–5pm
Selling over 300 lots of mostly early lighting to include Art Deco, Art Nouveau, Arts & Crafts etc. chandeliers, wall sconces, table lamps, student/bankers’ lamps, pendant lights, many by well-known makers such as Pairpoint, McKee, Tilley type, Edward Miller & Co., Bradley & Hubbard, Swissvale, Handel, Emeralite, Lightolier and others. This is a single-owner sale with many items in very good condition and no reserves - not to be missed!
Edward Miller Co.
Art Nouveau Handel Bradley & Hubbard Western theme
Pairpoint
Moe-Bridges
Arts & Crafts
H.G. McFadden Bellova
Hubley
Edward Miller Co.
Bryant
Pairpoint Art Nouveau dolphin form
Austrian Pittsburgh Glass Co.
Edward Miller
Wild & Wessel Jefferson lamp
Emeralite (one of many)
Art Nouveau Jefferson lamp
Italian marble top
French icicle chandelier
Italian alabaster Italian alabaster Moe-Bridges
100+ Estate Toys inc. Marx, Arcade Lionel, Lehmann, Shuco, etc.
Regency, mahogany, 27” h.
Fore-edge books, other important signed, limited edition, etc. from Desmond Estate
Chivers, Rackham (illus)
‘Snail’ & other unusual
Walter Lamb for Brown Jordan inc: pair ‘S’ chaise lounges, three ‘Sleigh’ chairs, flat long bench & three side chairs
Tuesday, August 27th at 12pm
Woke last night to the sound of thunder, and realized it was the blaze of the glorious gavel!!! Old Kinderhook Auction Company is proud to present a sale so sweet, you’ll wish the summer never ends. Up for offer is a massive single owner collection of club couture and preppy chic, Chinese antiques, fine art & bronzes. Ending the event is a large assortment of fun and funky lots to bring you to the Fall. And what a fall it will be.
Superb Generational Cape Elizabeth Online Auction
AUCTION NINJA PLATFORM • Bidding: Thurs. Aug. 22, 8am through Thurs. Sept. 5, 7pm
We are privileged to have been selected to disburse the remaining contents of this incredible estate. Most of the items are generational and were passed down for the past five generations. The heirs have made the decision to sell them so other people can enjoy them. This is our best online auction we have conducted to date. Several items are of museum quality including a pair of LCT Tiffany Greco Roman style touchier lamps with Favrile shades, two Alfred Thompson Bricher oil on board paintings of coastal New England, and Paul Storr sterling wine cooler weighing 72 troy ounces, a tavern sign with a life size Kingfisher bird in the center. These have never been offered before and were family heirlooms. Other items included are period
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Storr (1771-1844)
Wine Cooler 72 oz
Seth Thomas Triple Decker & Other Clocks
Pair of Greco Roman 3 Light
Tiffany Torchier Favrile Pulled Feather Shades
Civil War Era Carved Wooden Ship’s Diorama In Shadow Box
Period Chippendale Pie Crust Table
Currier & Ives Racing on the Mississippi
Folk Art Relief Carved Kingfisher Tavern Sign
19th Century Painted Immigrant’s Chest
From a Selection of Staffordshire Figurines & Cottages
California Modernism Mixed Media Signed Andy Wing
AT Bricher (1837-1908) Two Untouched Uncleaned, Never Offered for Sale
Bliss Dollhouse & 100’s Pieces of Vintage Doll Furniture
Rare Picasso Art Poster 1952 Georges Haquette (1854 - 1906) Oil on Canvas
AT Bricher (1837-1908) Oil On Boards
950 Sterling Greek Icon St George Slaying The Dragon By Albrecht Dre
Rare Staffordshire Harriet Beecher Stowe’s Uncle Tom And Eva Statue
MARION ANTIQUE AUCTIONS
Saturday, September 7, 2024 at 10am 13 Atlantis Drive, Marion, MA
ARTWORK: 4 paintings by Clement Drew, Clifford Ashley, Wm Posey Silva, Arthur Diehl, Martha Cahoon, Lemuel D. Eldred, Mauritz DeHaas, John J. Audubon, A. Lassell Ripley, Robert Gruppe, Joseph Lindon Smith, Charles Woodbury, James Gale Tyler, J.C. Spencer, Charles Woodbury, W.F. Macy, John Whorf, Henry Jarvis Peck, Elijah Baxter, Francis Hagman, Bass Otis, A. Lassell Ripley, 5 Benjamin Russell Whaling prints, etchings by Eldred, Woodbury, Hassam, Erwin Hoffman, John Stobart, Ding Darling and Leroy Neiman lithographs.
NAUTICAL: Six 19th c Sailors’ Valentines, 20 antique wooden Ship Models, 2 important Scrimshaw collections, whaling tools and nautical instruments, Nantucket basket.
SILVER: Tiffany Chrysanthemum flatware set, Tiffany tea set & matching tray, early Spanish
Colonial Irish and Continental silver, 9 flatware sets.
JEWELRY: 18kt gold and emerald necklace, gold and diamond rings and necklaces, silver Squash Blossom necklace, 2 old Rolex watches.
COINS: 1887 Gold Sovereign $10 & $20 Gold Certificates, Silver Certificates, Morgan silver dollars.
CLOCKS: Penn. tall clock by Daniel Oyster, Simon Willard banjo clock, Tiffany grandmother clock.
EPHEMERA: Stamps (Graf Zeppelin, Trans Mississippi, US #1 5 cent Franklin), “The Happy Warrior” signed & with dedication by F.D. Roosevelt, 1897 10 volume set Japanese illustrations, early maps, stereoviews, daguerreotypes & photographs, 1895 Bristol County map book.
MISC: Kentucky Flintlock Rifle, Native American, Taino, Pairpoint lamp, Stoneware collection, Dedham Pottery, Herend, Royal Worcester, large Jadeite lot, French copper cookware, Eldred Wheeler pipe boxes, collection of Texaco signs & toys, match safe collection, bird & fish decoys. Mostly unreserved.
Woolly Mammoth tusk
William Posey Silva
Tiffany Art Glass
Taino collec�on
Stoneware collec�on
Spanish Colonial silver chalice
Ship Model Collec�on
Quillwork Moccasins, c. 1870
Child’s Navajo Blanket
Black Forest Bear Umbrella Stand
Large Con�nental silver epergneEnamel Texaco sign, 42” diameter
18kt Emerald & Diamond Necklace
Mauritz De Haas
Late 19th c. Chicken Weathervane
An�que Sailor’s Valen�ne collec�on
19th century Scrimshaw
Contaflex TLR, 1935
A milestone in camera history!
Working replica of Blaise Pascal’s “Pascaline” or “Arithmatique”
Estimate: 5.000 – 8.000 € / $ 5,500 – 8,800
“Hughes Printing Telegraph”, c. 1875 This teletyper was invented by David Edward Hughes in 1856. A milestone in communications history. Estimate: 4.000 – 6.000 € / $ 4,400 – 6,600 “Arithmomètre Payen”, c. 1885 Model P4 of world’s first serially produced calculating machine by Thomas’ successor L.Payen, Paris. Serial No. 1007. L. Payen, Estimate: 1.500 – 2.000 € / $ 1,650 – 2,200
Orchestral “Tambour, Timbres, Castagnettes”, Musical Box with Rare Lid Motif, c. 1875 In superb condition! Estimate:
