Autumn / Winter 2010
THE NEW AMERICAN WING at the MUSEUM OF FINE ARTS, BOSTON SARGENT and IMPRESSIONISM REINTERPRETATION and RENOVATION at MONTICELLO
ALSO IN THIS ISSUE:
Six Centuries of Chairs Tiffany Stained Glass Native American Art Bronze Sculpture American Needlework
$6.95 US/C AN 05
North Carolina Pottery Wadsworth Atheneum
0
56698 28524
3
184 4 –1926
The Lamp. Drypoint, soft-ground etchii ng, an nd aquatintt, inked à la poupéée, on laid paper, 12 ¾ x 9 ¹⁵⁄₁₆ in. Signed (at lower center): [with the artistt ’s bluee monogram stamp p (Lugt 604 4)] MC Edition of 25. Fourth and fi nal state. Ex xecuted in 1890– –91.
21 East 70 0th Strreet
New w York 10021 Tel 21 12 535-8810 HirschlAndAdler.com
Th T The American Art F air
C. L. PRICKETT Fine Authenticated American Antiques Federal Inlaid Mahogany Looking Glass having a conch-shell inlaid in the crest, a line inlaid mirror border and nicely executed scrollwork throughout. Completely original! New York, circa 1800. Height 47¼", width 22½".
Outstanding Federal Eagle Inlaid Mahogany Card Table having a hinged top with a swelled front with half serpentine sides and patterned inlaid banding over a base that follows the contour of the top with a central panel with an inlaid ruffled neck eagle flanked by rectangular patterned inlay, nicely developed turned and reeded legs topped with an inlaid fife & drum. Massachusetts, probably Boston, circa 1800. Width 35½", depth 17¼", height 29½".
930 Stony Hill Road, Yardley, (Bucks Co.), PA 19067 Telephone: (215) 493-4284 Website: www.clprickett.com Email: info@clprickett.com
Clarence, Craig, and Todd Prickett Located just 25 minutes north of Philadelphia and 75 minutes south of NYC at the Newtown Exit, #49, off I-95. Hours: By appointment or by chance.
~ Our latest thirty-six page full-color brochure is now available upon request ~
Peter H. Tillou - Works of Art 17th- and 18th-century American and European Furniture, Antique Carpets, American Folk Art, Arms and Armor, Early African Sculpture, Chinese Han and Tang Dynasty Pottery, Pre-Columbian Art, European Old Master Paintings, American Paintings and Sculpture, Classic Cars 1928 –1934, Rare Coins and Medals, Early American Blown Glass, and Native American Art.
The Court Martial, an important American genre painting of exceptional quality and condition, painted by Tompkins Harrison Matteson, c. 1848. This work is virtually a companion painting to Matteson’s Justice’s Court in the Backwoods, in the collection of the New York State Historical Association, Cooperstown, NY. Oil on canvas; 30 ½ x 38 ½ inches. See: Mirror to the American Past by Hermann Warmer Williams Jr., Ill. #91 and Painters of America by Patricia Hills, Ill. #66
109 Prospect Street, Litchfield, CT 06759 ♦ 860.567.5706 Sanibel Island, Florida 33957 www.antiquesandfineart.com/ptillou ♦ Established 1953 ♦ By chance or appointment suggested
A full color catalogue is available upon request Garden Study of the Vickers Children (detail), 1884 Oil on canvas, 54½ x 36 inches, 138.4 x 91.4 cm Collection of the Flint Institute of the Arts, Flint, MI
ADELSON
GALLERIES
19 East 82nd Street New York, NY 10028 212.439.6800 www.adelsongalleries.com
on[the[cover Thomas Sully (1783–1872), The Passage of the Delaware, 1819 (detail). Oil on canvas, 146 ½ x 207 inches. Museum of Fine Arts, Boston. Gift of the Owners of the old Boston Museum (03.1079). Courtesy of Museum of Fine Arts, Boston. Full image illustrated in The New Art of the Americas Wing at the Museum of Fine Arts, Boston, page 158.
Table of Contents 132
196
Autumn/Winter 2010 Volume X, Issue 5
142
departments
features
8 11 14 20
Advertiser Index Contributors Noteworthy Sale Editor’s Letter
20 48 213
Highlights Events! Back Room
lifestyle
120 Touching History By Johanna McBrien Photography by J. David Bohl
132 “A Most Noble Old Village”: John Singer Sargent and the Broadway Art Colony, 1885–1886 By Lisa Bush Hankin
142 New Perspectives on Domestic Life at Monticello By Elizabeth V. Chew
150 Cornelius & Baker’s Answer to the Rage for Parlor Sculpture By Donald L. Fennimore
157 A Tiffany Masterpiece for the New MFA By Nonie Gadsden
158 The New Art of the Americas Wing at the Museum of Fine Arts, Boston By Elliot Bostwick Davis
162 The Samplers of Colonial Boston By Pamela Parmal
168 Native American Art at the Museum of Fine Arts, Boston
174 Earthenware Masterworks from the St. Asaph’s Tradition By Luke Beckerdite, Johanna Brown, Robert Hunter, and Linda F. Carnes-McNaughton
182 Grandeur Preserved: Historic Charleston Foundation’s House Museums and Collection By Brandy S. Culp
190 With Needle and Brush: Schoolgirl Embroidery from the Connecticut River Valley By Carol and Stephen Huber museum[focus
196 Wadsworth Atheneum Museum of Art By Brittany Good
198 Washington, D.C. Stoneware By A. Brandt Zipp
204 Sit Down! Chairs from Six Centuries By Laura F. Sprague winterthur[primer
210 How Can you Resist? Blue and White Resist-Printed Textiles By Linda Eaton
By Gerald W. R. Ward Antiques & Fine Art (ISSN:1535-5500), Vol. X, Issue 5, is published six times a year (Spring, Early Summer, Summer, Summer/Autumn, Autumn/Winter, and Anniversary) by AFA, 125 Walnut Street, Watertown, MA 02472. Material in this publication may not be reproduced in any form without written permission from the publisher. Contents copyright ©2010 AFA. All rights reserved. The advertiser seeking the services of Antiques & Fine Art will indemnify and save harmless Antiques & Fine Art and its agents from any liabilities, claims, lawsuits, damages, or expenses, including attorney’s fees and costs that may arise out of publication of the advertiser’s/agency ads or materials. Every effort has been made to ensure that all information presented in this issue is accurate and neither Antiques & Fine Art nor any of its staff is responsible for omissions or information that has been misrepresented to the magazine. Application to mail at periodical postage rate is pending at Boston, MA, and additional offices. Postmaster, send address changes to Antiques & Fine Art, P.O. Box 9723, Ft. Lauderdale, FL 33310-9922. Subscription price is $24.95 for 1 year or $39.95 for 2 years. Printed in the USA.
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Autumn/Winter
Arthur Beecher Carles (1882–1952)
Portrait of Katharine Rhoades, c. 1912 Oil on canvas, 25 J x 24 inches (63.8 x 61 cm), Signed lower right: A. Carles
100 Chetwynd Drive, Bryn Mawr, Pennsylvania 19010 Telephone: (610) 896-0680 Fax: (610) 896-8749 Website: www.averygalleries.com Email: info@averygalleries.com
INDEX TO ADVERTISERS
Adelson Galleries, Inc.. . . . . . . . . 4–5 Allen, Mark & Marjorie . . . . . 66, 67 Andersen & Stauffer Furniture Makers, LLC. . . . . . . 81 Anderson Ltd., Stephen T.. . . . . . . 80 Antiques and the Arts Weekly The Bee Publishing Co.. . . . . . 100 Arader Galleries. . . . . . . . . . . . . . . 30 Artfact, LLC . . . . . . . . . . . . . . . . 101 Avery Galleries . . . . . . . . . . . . . . . . 7 Babcock Galleries . . . . . . . . . . . . . . 9 Bertoia Auctions . . . . . . . . . . . . . . 91 Bloomsbury Auctions . . . . . . . . . . 90 Blum, Mr. & Mrs. Jerome. . . . . . . 38
Questroyal Fine Art
18
Freeman’s Auctioneers & Appraisers . . . . . . . . . . . . . . . 96 Garth’s Auctions, Inc. . . . . . . . . . . 92 Godel & Co. Fine Art, Inc. . . . . . . 25 Grand Circle Gallery . . . . . . . . . . . 37 Gratz Gallery. . . . . . . . . . . . . . . . . 41 Hagan, John G.. . . . . . . . . . . . . . . 40 Hall Antiques, Victor . . . . . . . . . . 85 Haradin Toys of Yesteryear, Ray. . . 87 Hawthorne Fine Art . . . . . . . . . . . 29 Heller Washam Antiques . . . . . . . . 77 Henkel, Jeffrey Beal. . . . . . . . . . . . 55 Hirschl & Adler Galleries, Inc. . .IFC Historic Deerfield . . . . . . . . . . . . . 83 Holland Antiques & Art, Raymond . . . . . . . . . . . . . . 46–47 Huber, Stephen & Carol . . . . . . . . 69
Arader Galleries
30
Bradley Co. Antiques, Jere’s Antiques . . . . . . . . . . . . . . . . 84 Philip H. . . . . . . . . . . . . . . . . . . 65 Just Off Madison. . . . . . . . . . . . . . 28 Brock & Co. . . . . . . . . . . . . . . 26–27 Kaplan, Arthur Guy . . . . . . . . . . . 72 Brownstein American Katz Americana, Allan. . . . . . . . . . 21 Folk Paintings, Joan R. . . . . . . . 71 Keno Auctions. . . . . . . . . . . . . . . . 79 Butler Fine Art . . . . . . . . . . . . . . . 56 Kilvington, James M. . . . . . . . . . . 63 Chalfant Antiques, H.L. . . . . . . . . 68 Kinzle Antiques, Kelly. . . . . . . . . . 75 Chatellier Fine Art, Jay . . . . . . . . . 56 Kollar Fine Paintings, LLC, A.J. . . 43 Childs Gallery . . . . . . . . . . . . . . . . 53 Latham Asian Art, Polly . . . . . . . . 72 Davis Photography, Andrew . . . . . 37 Levy, Inc., Bernard & S. Dean. . . . 13 Little Auction & Estate Sales, DeRu’s Fine Arts . . . . . . . . . . . . . . 51 Leland . . . . . . . . . . . . . . . . . . . . 97 Dianni Antique Marine Art, Liverant and Son Antiques, Louis J. . . . . . . . . . . . . . . . . . . 112 Nathan . . . . . . . . . . . . . . . . . . . . . 16 Lloyd, Inc., Robert . . . . . . . . . . . . 59 Dowling Walsh Gallery . . . . . . 36, 57 Eaton Antiques, Inc., Peter H.. . . . 71 Maine Antiques Digest . . . . . . . . . . 93 Finer, Peter . . . . . . . . . . . . . . . . . . 11 McClard Americana & Folk Art, Peggy . . . . . . . . . . . 86 Finkel & Daughter, M. . . . . . . 61, 70 Michaan’s Auctions . . . . . . . . . . . . 94 Flather & Perkins, Inc. . . . . . . . . . 84 Miller American Antiques, Inc., Austin T. . . . . . . . . . . . . . . . . . . 23 Force Fine Art, Inc., Debra . . . . . . 10 8
www.antiquesandfineart.com
Neal Auction . . . . . . . . . . . . . . 88–89 Wilson Antiques and Folk Art, Charles . . . . . . . . 76 The Old Print Shop, Inc. . . . . 32–33 Oriental Rugs, Ltd. . . . . . . . . . . . . 73 Winterthur . . . . . . . . . . . . . . . . . . 78 Overseas Adventure Travel . . . 118–119 Woodbury Antiques Dealers Association . . . . . . . . . . 82 Pantry & Hearth at the 1775 Barn . . . . . . . . . . . . 82 Yoder Auctions, Wayne . . . . . . . . . 98 Past Era Fine Antique and Estate Jewelry . . . . . . . . . . . 82 Prickett, C. L. . . . . . . . . . . . . . . . . . 1 Quester Gallery . . . . . . . . . 34–35, 74
THE BACK ROOM
27 Objects Priced-to-Sell . . . . . . . . 213 UPCOMING SHOWS
Questroyal Fine Art, LLC . . . . . . . 18 The American Art Fair . . . . . . . . 102 Rago Arts & Auction. . . . . . . . . . . 95 Autumn Hartford Antiques Show . . . . . . . . . . . . 111 Riehlman Fine Art, Franklin . . . . . 14 Boston International Rubin, Stella . . . . . . . . . . . . . . . . . 58 Fine Art Show . . . . . . . . . . . . . 108 Russack & Loto Books . . . . . . . . . 76 Dallas International Art, Sallea Antiques . . . . . . . . . . . . . . . 45
William Vareika Fine Arts
49
Antique & Jewelry Show . . . . . 216
Oriental Rugs, Ltd.
73
Schorsch American Antiques, The Delaware Antiques Show . . . . 64 David – Eileen M. Smiles American Antiques . . . . . . . . . . 19 Historic Alexandria Antiques Show . . . . . . . . . . . . . 76 Schwenke, Inc., Thomas . . . . . . . . 37 Selman Ltd., L.H. . . . . . . . . . . . . . 99 IFPDA Print Fair. . . . . . . . . . . . . 106 Shreve, Crump & Low . . . . . . . . BC Los Angeles Asian & Tribal Art Show . . . . . . . . . . . . 104 Shushan, Elle. . . . . . . . . . . . . . . . . 15 Slotin Folk Art Auctions . . . . . . . . 96 The Modern Show . . . . . . . . . . . 105 Spanierman Ltd., Gavin . . . . . . . . 12 Modernism + Art20 . . . . . . . . . . 107 Tillou Works of Art, Peter . . . . . . 2–3 Palm Beach Jewelry, Art & Antique Show . . . . . . . .IBC TK Asian Antiquities. . . . . . . . . . . 42 Vareika Fine Arts, Ltd.,William . . . 49 Philadelphia Antiques Show . . . . . 60 Weiss Collection, Stanley. . . . . . . . 39 The Pier Antiques Show . . . . . . . 105 Whalen Fine Art, Joan. . . . . . . . . . 31 Wheeler’s Art and Antique Silver Gallery. . . . . . . . . . . . . . . 86 Whitlock Textiles & Interiors, Jan . . . . . . . . . . . . . 62
THETA Charity Antiques Show . . . . . . . . . . . . . . 113 Washington Winter Antiques Show . . . . . . . . . . . . 109
Wigmore Fine Art, Inc., D. . . . . . . 17 Wilton Holiday Antiques Show. . . 110 Williams Antiques, Taylor B.. . . . . 72 Winter Antiques Show . . . . . . . . 103 Autumn/Winter
Debra Force
fine art, inc.
13 East 69th Street Suite 4f New York 10021 Tel 212 734 3636 www.debraforce.com Mon.–Fri. 10–6, Sat. by appt.
Frederick Childe Hassam (1859–1935) Summer Afternoon, Appledore (detail), mid-1890s signed Childe Hassam, lower right watercolor on paper, 14 ⳯ 10 in.
PUBLISHER & FOUNDER: EDITOR-IN-CHIEF: EDITOR-AT-LARGE: PRODUCTION DIRECTOR: CREATIVE DIRECTOR: DEALER RELATIONS / EDITORIAL ASSISTANT: ASSOCIATE EDITOR: VP, DEALER RELATIONS: DIRECTOR, NEW BUSINESS DEVELOPMENT: STRATEGIC ACCOUNT MANAGER: SENIOR CLIENT MANAGER: COLOR DIRECTORS: PHOTOGRAPHERS
John S. Smiroldo Johanna McBrien Jonathan L. Fairbanks Marianne Litty Phil Lajoie Brittany Good Lauren Byrne F. John Lapinski A. J. Rossi Jane Fitzwilliam Michelle Tillou
Peter Finer SPECIALISTS IN ANTIQUE ARMS, ARMOUR AND RELATED OBJECTS
Rick Marcouillier, Mike Peters J. David Bohl, Andrew Davis
PRODUCTION SUPERVISOR: IS MANAGER:
Curtis Harding Dennis Winders Steve Bendel
CONTROLLER:
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125 Walnut Street, Watertown, Massachusetts 02472, USA 617.926.0004 / 888.922.0004
contributors Luke Beckerdite, Independent scholar and editor of American Furniture. Page 174.
Lisa Bush Hankin, Director of research, Adelson Galleries, New York, N.Y. Page 132.
Johanna Brown, Curator, Moravian Carol and Stephen Huber, Needlework Arts at Old Salem Museums & Gardens, scholars, authors and dealers, Winston-Salem N.C. Page 174. Old Saybrook, Conn. Page 190. Elizabeth V. Chew, Curator, Monticello, Charlottesville, Va. Page 142. Brandy S. Culp, Curator, Historic Charleston Foundation, Charleston, S.C. Page 182. Elliot Bostwick Davis, John Moors Cabot Chair, Art of the Americas, Museum of Fine Arts, Boston, Mass. Page 158. Linda Eaton, Director of collections and senior curator of textiles, Winterthur Museum, Winterthur, Del. Page 210. Donald L. Fennimore, Curator emeritus, Winterthur Museum, Winterthur, Del. Page 150. Nonie Gadsden, Carolyn and Peter Lynch Curator, American Decorative Arts and Sculpture, Museum of Fine Arts, Boston, Mass. Page 157.
Robert Hunter, Independent scholar and editor of Ceramics in America. Page 174. Linda F. Carnes-McNaughton, Ceramics scholar and professional archaeologist, Fort Bragg Cultural Resources Program, Fort Bragg, N.C. Page 174. Pamela A. Parmal, David and Roberta Logie Curator of Textile and Fashion Arts Department Head, Museum of Fine Arts, Boston, Mass. Page 162.
We are always interested in purchasing single items or complete collections of antique guns, pistols, swords, armour and cannon in any quantity. We travel the world in our search for fine examples.
Laura F. Sprague, Consulting curator, decorative arts, Bowdoin Museum of Art, Brunswick, Me. Page 204. Gerald W. R. Ward, Katharine Lane Weems Senior Curator of American Decorative Arts and Sculpture, Museum of Fine Arts, Boston, Mass. Page 168.
Brandt Zipp, Partner, Crocker Farm, Inc., auctioneers, Riderwood, Md. Brittany Good, Editorial assistant Page 198. and dealer relations coordinator, Antiques & Fine Art Magazine. Page 196.
2010
A FRENCH MODEL ARMOUR FOR MAN AND HORSE IN THE LATE 16TH CENTURY STYLE BY E. GRANGER, PARIS, circa 1850
38 & 39 DUKE STREET, ST. JAMES’S, LONDON SW1Y 6DF TELEPHONE: +44 (0)20 7839 5666 FAX: +44 (0)20 7839 5777 FROM USA & CANADA TEL/FAX: 1 800 270 7951 E-MAIL: gallery@peterfiner.com www.peterfiner.com
Alfred Thompson Bricher (1837 – 1908)
New England Coast, c. 1890 Oil on canvas, 15Âź x 33 inches
Signed at lower right: ATBricher
Albert Bierstadt
Thomas Hart Benton
John Leslie Breck
Alfred Thompson Bricher
Theodore Butler
Thomas Wilmer Dewing
Childe Hassam
Earnest Lawson
Willard L. Metcalf
Maurice Prendergast
Louis Ritman
John Twachtman
22 east 82nd street
new york 10028
( 212 ) 249 0619
info @ gspanierman.com
gspanierman.com
THE SAFFORD FAMILY TWO SHELL FLAT TOP HIGHBOY Preston, Connecticut Circa 1765 Primary wood: Cherry Secondary wood: Chestnut, Pine Height: 71 inches Width: 41 inches Depth: 21 inches Provenance: The Safford Family of Preston, Connecticut.
Please call for our winter hours
GEORGE
BELLOWS IN THE COUNTRY OCTOBER 19 ~ NOVEMBER 20 Brochure available
GEORGE BELLOWS (1882-1925) Cliffs at Eddyville Oil on canvas 17 x 24 inches Signed at lower right: GEO BELLOWS
Franklin Riehlman Fine Art 24 EAST 73RD STREET, #4F | NEW YORK, NY 10021 | 212-879-2545 | www.nycpaintings.com
noteworthy sale Brock & Co. Elizabeth Vaughan Okie Paxton (1877–1971) Floral Still Life, 1920 Oil on board, 20 x 16 inches Signed and inscribed at lower left: Elizabeth Paxton / Provincetown, 1920 Foster Brothers style frame Courtesy Brock & Co., Concord, Mass.
Elizabeth Paxton was part of the Boston school of painting and specialized in subtly harmonized still lifes and graceful interior scenes. The domestic tenor of her works is enhanced by an innate sense of color and balance. Born in Providence, Rhode Island, Paxton studied painting at the Cowles art school in Boston. She furthered her painterly education with private classes from Edmund Tarbell and Philip Leslie Hale. Paxton was married to fellow artist William McGregor Paxton with whom she also studied. She won a silver medal at the Pan-Pacific exposition in 1915, among other awards. This lush still life was painted in Provincetown where Paxton and her husband spent many summers. A vase filled with vibrant summer blooms is set against a subtly modeled gray ledge and background. Paxton captures details of space, light and texture, yet abstracts the edges and details of flowers in a more impressionist manner. The total effect is both dramatic and harmonic, a masterful study in contrasts. 14
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Autumn/Winter
Queen Anne cherry high chest with rare Spanish feet. Attributed to Brewster Dayton (active 1762 - 1794) Stratford, Connecticut, 1762-1780
NATHAN LIVERANT AND SON •ANTIQUES • 168 SOUTH MAIN STREET • PO BOX 103 • COLCHESTER, CT 06415 • (860) 537-2409 www.liverantantiques.com
WILLIAM L'ENGLE (1884-1957) Circus, 1926
Featured in Connecting Cubism to an American Narrative with works by William & Lucy L'Engle, John Marin, Alfred Maurer, Henry Lee McFee, Abraham Walkowitz, Max Weber, and Marguerite Zorach
On view November 15th through January 14th. Catalogue available.
D. WIGMORE FINE ART, INC. 730 FIFTH AVENUE, SUITE 602, NEW YORK, NY 10019 212-581-1657 DWIGMORE.COM
Important American Paintings The Uncommon Catalogue Featuring 35 major paintings accompanied by honest, insightful, and humorous remarks by gallery owner Louis M. Salerno
Thomas Doughty (1793–1856) Fishing in a River, 1828
Thomas Hart Benton (1889–1975) Swing Your Partner, 1945
Contact us to receive our complimentary catalogue We own the paintings we sell — nothing is a better indicator of our confidence. Nearly 1,000 different individuals, including museums and the world’s most discerning collectors, have purchased from us because we tell the truth. Ask about us.
Q U E S T R O YA L F I N E A RT, L LC 903 Park Avenue (at 79th Street), Suite 3 A & B, New York, NY 10075 T: (212) 744-3586 F: (212) 585-3828 Hours: Monday–Friday 10 – 6, Saturday 10 – 5 and by appointment EMAIL:
gallery @ questroyalfineart.com www.questroyalfineart.com
from the editor
highlights
T
hroughout my nearly thirty-year career in the decorative arts, I have been a staunch advocate of the efficacy of teaching through art and antiques, and what can be learned about the world through objects. Much of this focus corresponds with collecting and the many rewards it brings. I continue to be driven by education but along the same vein recognize that so often we preach to the choir, sharing our passions for the past and for collecting with people of like minds. If our industry is to grow, it is time to speak to a broader audience, using techniques beyond our comfort zones and traditions. Several years ago, collector David Krashes invited some friends in the industry to discuss ways to connect young people with the idea of collecting. Dave then convened a larger meeting at Old Sturbridge Village, inviting dealers, show promoters, auction houses, collectors, and members of the trade media. From that meeting was born “Every Collector Add a Collector,” a concept that encouraged collectors to introduce a friend to the experience. Last year, Antiques & Fine Art Magazine held a meeting at the ADA/Historic Deerfield Antiques Show with dealers, the museum personnel, and Dave, to further the discussion. One idea put forth was geared to helping children become collectors, and at this year’s show Historic Deerfield ran with the idea and incorporated it into their programming. In assessing our situation in general, scholar and preservation advocate William Hosley wisely summed up the crux: we have to “stop taking the sustainability of the American experience for granted.” To that end, he, arts management consultant Alexandra Rollins, and I are working toward forming an arts education organization geared to making Americana and history relevant, hip, and “real,” broadening the experience into the greater cultural environment. Stay tuned. In the same vein, Dave Krashes recently convened a group with the aim of forming a trade organization for the art and antiques business, bringing together many attendees from the OSV meeting as well as some new blood. Those of us involved are energized and moving ahead with this mission. As is evident from this tally, many people within the education and the allied fine and decorative arts communities agree that it is time to jump-start a national campaign to make “old stuff ” approachable and fun, and to market the message in such a way that doing so is socially desirable. I have no doubt we will achieve our goals to broaden the appeal of art and antiques. This is an exciting time, and I, for one, am glad to be involved with my colleagues in “making collecting cool.” Hats off to Dave for getting the ball rolling. Thank you,
Johanna McBrien Johanna@AntiquesAndFineArt.com
20
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A fully illustrated catalogue, with an essay by Elaine Kilmurray on Sargent’s relationship to Monet and Impressionism, will accompany the exhibition. 88 pages; 31 color ills.
Sargent and Impressionism will coincide with the November release of the John Singer Sargent Catalogue Raisonné Figures and Landscapes, 1883–1889: The Complete Paintings, Volume 5, published by Yale University Press. For information or to order a copy, visit http://yalepress.yale.edu/ yupbooks/book. asp?isbn=9780300161113. 392 pages; 311 color and 127 b/w ills. Cloth: $75.
Sargent and Impressionism November 4 through December 18, 2010 Adelson Galleries, 19 East 82nd Street, New York, NY Exhibition catalogue accompanies the installation For information call 212.439.6800 or visit adelsongalleries.com
This November, Adelson Galleries will present a loan exhibition of thirty-one outstanding oils and watercolors painted by John Singer Sargent (1856–1925) in France and England between 1883 and 1889. The show will include works from private collections and public institutions throughout the United States and England. Sargent and Impressionism is focused on the artist’s work as he was extracting himself from life in Paris (following the Madame X scandal) to immerse himself in a new social setting in England. Highlights will include several works that have rarely been on public view, as well as preparatory oil studies for his famous work, Carnation, Lily, Lily, Rose (Tate Gallery, London). Sargent and Impressionism is the fourth loan exhibition exclusively devoted to the work of John Singer Sargent organized by Adelson Galleries. The show continues the tradition of scholarship on the artist begun by Warren Adelson, an internationally recognized authority on Sargent, who has worked in academic partnership with the artist’s great-nephew, Richard Ormond, since 1983. Autumn/Winter
WATCH TR ADE SIGN Attributed to the Shop of the Excelsior Sign Company, Chicago, Illinois. Circa 1875. Gilded and paint decorated cast iron, zinc and tin. Original weathered surface. Measures an impressive: 47½” H X 42” W This example remains the largest extant.
Allan & Penny Katz
•
ALLAN KATZ Americana
By Appointment • 25 Old Still Road, Woodbridge, CT 06525 folkkatz@optonline.net www.allankatzamericana.com
•
Tel. (203) 393-9356
highlights First-time Biennale exhibitor Galerie Zlotowski was pleased with their experience at the fair, stating it was “Very successful [with] new buyers, both French and European.” Among the items sold was Le Corbusier’s (1887–1965) oil on canvas Taureau VII, dated April 1954 and signed in the lower right.
Sladmore Gallery, London, sold this Rembrandt Bugatti (1884–1916), Seated Jaguar. Of the show, principal Edward Horswell notes, “We sold three sculptures by Bugatti along with works by Troubetzkoy, Pompon, Maillol, and others.”
Guests at the Grand Palais during the 2010 Biennale.
Recap: XXV Biennale des Antiquaires September 15–22, 2010 Grand Palais, Avenue Winston Churchill, Paris Save the date: 2012 Biennale: September 14–21 www.bdafrance.eu
The Paris Biennale celebrated its twenty-fifth fair this September, welcoming more then 65,000 visitors to the elegant glass-roofed Grand Palais, the legendary Parisian landmark built for the Universal Exhibition of 1900. Organized by the Syndicat National des Antiquaires (SNA), the French National Union of Antiques Dealers, the Biennale “is the occasion,” said SNA President Hervé Aaron, “to prove to everybody that Paris is the center of the world for art and decorative art.” Responding to criticism that the past floor plan was confusing, this year’s design was conceived as a showcase intended to highlight the works of art, with fairgoers and exhibitors com22
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menting on its elegance. The exhibitor stands were striking in their layouts, some recreating traditional interiors with paneling and textiles while others chose more contemporary displays with stark white walls and supports. Inaugurated in 1962 to provide a glamorous venue for antiques dealers and encourage collecting, the Biennale invited eighty leading galleries from around the world. Among the prominent French exhibitors (a number of whom also have galleries elsewhere), was Didier Aaron & Cie, Kraemer & Cie, Galerie de Jonckheere, Steinitz, Perrin Antiquaires, and François Léage. An additional seven jewelry dealers—Cartier, Chanel, Dior, Van
Cleef & Arpels, Harry Winston, Piaget, and Louis Vuitton Malletier—the latter two new to this year’s fair—were located in their own exclusive wing. Of the remaining exhibitors, twenty-four were foreign, and thirteen appeared for the first time. Among the foreign galleries were Axel Vervoordt of Belgium, and Jorge Welsh of Portugal. The strong showing from England included Bernheimer Colnaghi (celebrating their 250th ), Richard Green, Stoppenbach & Delestre, Sladmore Gallery, Entwistle, and two galleries new to the fair this year, Finch & Co. and Richard Nagy. The selection of works offered to attendees ranged from antiquities to modern. Of the new Continued on page 24
Autumn/Winter
highlights
Stand of BernheimerColnaghi. The firm of Colnaghi, which was acquired by Konrad O. Bernheimer in 2002, celebrates its 250th year in 2010. An illustrated history of the gallery is available.
Twenty-Fifth Anniversary Clock. Gold, gilded silver, enamel, and nephrite clock, set with diamonds and seed pearls. By Fabergé, workmaster Henrik Wigström. St. Petersburg, ca. 1910. Height: 15.2 cm. In the exhibition A La Vieille Russie À Paris. Photos © and courtesy A La Vieille Russie, Inc.
The legs of this Régence carved, pierced, and giltwood table feature the four continents. It was shown by Kraemer & Cie of Paris. Both Sandra Kraemer-Ifrah and her cousin Mikael Kraemer, the youngest generation of the family, noted the Biennale was a great success and, says Sandra, “Many people of our age came to the show for the first time. The general feeling about the Biennale seems to be very encouraging.”
Numerous gallery exhibitions in Paris coincided with the Biennale. Among them was A La Vieille Russie À Paris: Fabergé et la Russie impériale au carrefour des cultures, held at Didier Aaron & Cie. Curated by Mark Schaffer of New York’s A La Vieille Russie, the exhibition looked back to the 1920s and 1930s when the galley was in Paris and an integral part of the Russian émigré landscape. Not only were exquisite pieces by Fabergé on view, but the shop’s historic guest book was shown, revealing such patrons as Salvador Dali, Marlene Dietrich, and European royalty.
continued from page 20 exhibitors, many featured modern art. This is in part because the restrictions limiting art to 1980 were lifted, there no longer being an end date. The cut off of 1970, however, still stood for decorative arts. The material shown in Downtown Gallery of Paris was within the parameters by several decades. Owner François Laffanour, specializes in architect-designed furniture of the 1950s, specifically by Le Corbusier, Jean Prouvé, Charlotte Perriand, and Pierre Jeanneret. In business for the past twenty-eight years, Laffanour was the first dealer in France to show the work of Charles and Ray Eames, George Nakashima, and Isamu Nogushi, among others. Exhibiting at the Biennale for four years, Laffanour notes that he has seen interest growing in the material he sells each year he exhibits. “Originally people were surprised at what I was offering,” he says, “and now everyone knows the material.” While buyers were mostly American during his first years at the Biennale, now he says they are more global. All dealers who were asked concurred that the
Jean Carriès, Four Masks, stoneware cachepot, ca. 1890. H. 13¼, Diam. 18 in. Biennale stand of Jason Jacques of New York.
Biennale Recap
24
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buyers were more international, with most hailing from Europe and Asia. Among those responding was Richard Green of Richard Green, London (an exhibitor since 1969), who noted, “The Biennale reaches a huge global market,” a sentiment shared by James Lally of J. J. Lally & Co., New York, who said, “We made a few sales to American buyers, but they were outnumbered by the Europeans.” Americans, however, had a strong exhibitor presence, with six galleries from New York. Of these, J. J. Lally & Co. (antique Chinese works of art), Marlborough Gallery and L & M Arts (postwar and contemporary), and Jason Jacques (19th-century French ceramics/studio pottery) were new this year. Returning were Ariadne Galleries (antiquities), and Adams Williams Fine Arts (Old Master paintings). One of the most memorable stands, and which received a tremendous amount of press, was that of Jason Jacques. He collaborated with French designer Francois-Joseph Graf to recreate designer George
Hoentschel’s stand from the Paris Universalle in 1900. The display was breathtaking, with ceramics of exceptional quality largely by Hoentschel and Jean Carriès. All but six objects shipped from the New York gallery were from a single private collection that had not been seen for thirty years. Also at his stand was Jacques’ gloriously illustrated newly published book Exotica: Exotic Influences on European Decorative Arts, 1875–1925, which corresponds to an exhibition at the gallery through November 12 (visit www.jasonjacques.com). In addition to the dealers on the main floor, twenty-five were located on the balcony landing. As part of the 25th anniversary, the SNA selected this group of up-and-coming dealers to display one object each during the opening day. Quite a few met with success. their first major international fair. Looking ahead to 2012, SNA president Aaron comments, “The Biennale must [continue to] get stronger, bigger and more international and it will keep on breathing life into the French market.” Autumn/Winter
Aiden Lassell Ripley
(1896 – 1969)
Grouse and Azalea Buds Watercolor on paper, 26 x 21¾ inches Signed lower left
Our new catalogue, An American Vision III, includes over forty color illustrations of works by Avery, Benson, Doughty, Guy, Marin, Marsh, Peale, Potthast, Prendergast, Roesen, Shahn, Silva, Wendt, Wyant, and many other artists. Please call or write for a copy ($15 postpaid).
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Charles Temple Dix (1838 ‒ 1873)
Hay Schooner Entering Portland (Maine) Harbor, 1859 Oil on canvas 20 x 30 inches Signed and dated at lower left: CTDix / 1859. 19th century style frame A letter from Erik A. R. Ronnberg, Jr., noted marine historian, accompanies the painting.
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Archibald Cary Smith (1837 ‒ 1911)
Plum Island, 1866 Oil on canvas 10 x 18 inches Signed at lower right: A Cary Smith Titled and dated on stretcher bar (in pencil): Plum Island 1866 Period uted cove frame
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