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2 - - Antiques & Auction News — February 5, 2016
Taking In The View same time that stereoviews were becoming more popular due in large part to their ability to make images more widely available, as it would be several decades before photographs could be reproduced in newspapers. Victorians would gather in their parlors and pass stereoviewers around, allowing them to be transported to faraway places and to see the wonders of the world that they might otherwise never have seen. Stereoviews would appear in several different formats before the years of mass-produced curved card mounts in the late 19th century. Photographers experimented with daguerreotype, tintype and albumen stereoviews in the process recording the rapidly changing physical and historical landscape of the late Victorian years. For instance, images of the landscape of the American West, the development of the railroad system, Native American Indians and their culture, and various mining booms were wildly popular. Stereoviews allowed Americans in particular to see
Portrait of a slave in Alexandria, Va., 1865-85, published by E. & H.T. Anthony and Company, is based on the negative by Matthew Brady. It sold at specialty auction house Stereographica for $303 in 2014. the vastness and diversity of the country. Virtually every small town had a photographer, many of whom were taking stereoview photographs in between the portraits that kept their businesses afloat, and many of these scenes are very rare and very collectible today, in part because they show landscapes that are otherwise
often lost to us. In the mid-1880s, manufacturers found methods to increase the production and availability of stereoviews, with large companies like Underwood & Underwood and Keystone (which would eventually buy out most of the American stereoview market) in America and the London
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in the sale were from the huge, 3,500-piece Americana collection of banking giant Credit Suisse, featuring large framed portraits, period American furniture, quilts, maps and more. On Nov. 7, Nadeau’s Auction Gallery sold Part I of the collection. The balance of the collection will be sold in subsequent auctions throughout 2016. Original artworks dominated the list of top lots. An oil-onpanel rendering of Diamond Cove on Waikiki Beach, Hawaii by Frank Chamberlin (1873-1961), measuring 11.75-by-20-inches, realized $27,600; and a signed oil-on-canvas by Marin Rico y Western subjects were popular, and some are extremely desirable, such as this Ortega (18331882 post-mortem stereoview of the outlaw Jesse James in his coffin, by A.A. 1908), titled Hughes and Brothers of Blanchard, Iowa. In 2007, this rare view sold for over “Venetian Canal,” $12,000 at Cowan’s. measuring 28by-18.25-inches and signed lower left, hit $27,000. This Bidjar Oriental carpet sold for $12,000. Here are eight views of the dead at Gettysburg by Alexander Gardner, from his “Photographic Incidents of the Civil War,” 1863. This group sold at Cowan’s in 2010 for nearly $6,000.
Invaluable.com. Between 500 to 600 phone bids were posted and over 300 absentee bids were recorded. “It was right up there with previous New Year’s Day sales that also surpassed the $1 million mark,” said Ed Nadeau of Nadeau’s Auction Gallery. “The day started strong with jewelry and progressed from there. Furniture did very well, better than expected, thanks to the quality of the items and several Oriental rugs sold for $6,000 to $12,000. Art also did very well.” Many paintings and prints
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This Philip and Kelvin Laverne “Eternal Forest” coffee table, acid-etched and enameled patinated brass and pewter clad, changed hands for $20,400.
Many large and impressive portrait paintings, all formerly housed in Credit Suisse’s opulent headquarters building in New York City, found new homes. A full-length portrait of the iconic American inventor Thomas Edison by Ellis Meyer Silvette (1876-1940) measuring a larger-than-life 90-by-40-inches, signed by Silvette and inscribed by Edison, brought $16,250. The top-selling portrait painting was a three-quarter length rendering of Andrew W. Mellon (1855-1937) the U.S. Secretary of the Treasury from 1921-1932, by Philip A. deLaszlo (1869-1937). The 1926 oil-oncanvas portrait reached $25,200. Also, an oil-on-canvas portrait of Collis Potter Huntington (1821-1900) by Francis Lathrop (1849-1909) done in the 1890s, sold for $17,500. Tops in the furniture category was a coffee table made by Philip and Kelvin Laverne, titled “Eternal Forest.” The acidetched and enameled patinatThe oil-on-panel rendering of Diamond Cove on Waikiki Beach, Hawaii by Frank ed brass and pewter clad table, Chamberlin (1873-1961) realized $27,600. signed and 41.75-inches in diameter, realized $20,400. Also, a lovely R. J. Horner Victorian oak safe cabinet having carved This dazzling lady’s platinum diamond bracelet set with 16 V-shaped links, winged griffins backsplash and boasting over 100 diamonds, brought $12,000. fitted birds-eye maple drawers,
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often because of their particular skill at composing the elements that make a good threedimensional effect, while other collectors focus on glass-plate stereoviews. The quality of the effect itself is also a factor, although to a lesser degree, and early stereoviews are often more desirable because of their scarcity and the quality of the three-dimensional effect. (Stereoviews were initially mounted on flat cards but in later years, in the era of mass production, it was discovered that the three-dimensional qualities of a photograph could be enhanced by cupping the card. The former are flat mount views and the latter are known as curved mount views.) Highly collectible stereoviews can sell for more than $1,500 at auction, but on average, most individual stereoviews sell for anywhere from $5 to $300.
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handheld stereoviewer in 1859, which would be manufactured by Joseph Bates, would make stereoviews more convenient and accessible at the
Stereoscopic Company (which was founded in the 1850s and produced hundreds of thousands of stereoviews) in England actively marketing stereoviews to schools as educational tools. Stereoview popularity would begin to wane in the early years of the 20th century, as technological advances made photographs more easily reproduced, particularly in newspapers and magazines, and by the 1920s, even the largest companies had generally ceased production. Stereoviews remain widely collectible today however and a number of factors influence their value. Rare images are, naturally, more desirable, whether they are rare because few were produced or because they are of a place or event that is not otherwise well-documented. Certain photographers’ work is also collectible,
AZThis full-length portrait of the American inventor Thomas A. Edison, by Ellis Meyer Silvette (1876-1940), brought $16,250. sold for $12,000. A Steinway & Sons East Indian rosewood grand piano, Model L (Crown Jewel Collection) with a high-gloss finish, matching bench and automatic humidistat, breezed to $24,000; a gorgeous Bidjar Oriental carpet, soared to $12,000; and a lady’s platinum diamond bracelet set with 16 Vshaped links, boasting over 100 diamonds, brought $12,000. Returning to artwork, an oilon-canvas rendering by Guy Carleton Wiggins (1883-1962) titled “November in the Hills,” signed and dated (1920), with a sales receipt dated 1989, knocked down at $15,000; while and an engraving with etching, aquatint and hand-coloring of a male black-billed Cuckoo bird, after John James Audubon by Robert Havell (1793-1878), changed hands for $17,500. Two paintings posted identical selling prices of $25,200. One was an oil-on-canvas trompe l’oeuil (trick of the eye) image of American currency by Victor Dubreuil (1846-1946), titled “Hand Over the Money.” The other was an oil-on-canvas rendering of the Hills of Carmel Highlands, overlooking Mount Doud on Big Sur, by Arthur Hill Gilbert (1894-1970). Two other portrait paintings sold well. One was a circa-1902 oil-on-canvas of James Jerome Hill (1838-1916), the Vice President of the U.S. Chamber of Commerce from 1908-12, by Adolfo Muller-ury (1862-1947), signed ($15,600); and a 1921 oilon-canvas of Jacob Henry Schiff (1847-1920), by George Laurence Nelson (1887-1978), after Seymour Thomas ($14,400). For further information, call 860-246-244 or visit www.NadeausAuction.com.