ISSUE —02
CONTENTS
September 2024
Upcoming EVENTS
SEPTEMBER 9: Pantheon of Power exhibition opening at Kapoor Galleries, NY
SEPTEMBER 13: Art of Subversion exhibition opening at Rehs Contemporary Galleries, NY
OCTOBER 3-6: Antiques at the Gardens at Birmingham Botanical Gardens, AL
OCTOBER 14-19: The Original Round Top Antiques Fair, TX
OCTOBER 26: Madison Avenue Fall Gallery Walk, NY
NOVEMBER 7-20: Sea, Sky, and Serenissima: Paintings by Connie Simmons exhibition at Robert Simon Fine Art, NY
NOVEMBER 15-17: The Delaware Antiques ShowA Winterthur Tradition, DE
DECEMBER 5-16: AADLA's 12 days of Christmas Virtual Holiday Art & Antique Show, NY
JANUARY 24, 2025: The Winter Show at the Park Avenue Armory, NY
Cover Image: The Porcelain Jar, 1910, painting presented by A.J. Kollar Fine Paintings, Section 03.
FOREWARD
This is the second issue of The League Journal and I would like to say that it is largely due to my co-President, Sanjay Kapoor, that it is happening at all. He has enabled its creation by lending his time and the time of his staff in creating this publication. He deserves all of our thanks. The professionalism of the staff is also notable, so a hearty thank you to them as well.
The aim of The League Journal is to de-mystify our trade for the people that have heard about art and antiques, but who may have a limited exposure to what we do and how we do it. What it takes to bring just one piece to market, whether porcelain, silver, furniture, fine art or anything else in our world, is often an interesting story in itself and is part of the process that no one sees. We urge you to join us with an article, preferably with photos, and show us something about your business that will intrigue all of us!
Clinton
Howell
CLINTON HOWELL
ROBERT MORRISSEY ANTIQUES
www.robertmorrissey.com
robert@robertmorrissey.com
(314) 644-7066
704 Hanley Industrial Ct.
St. Louis, MO 63144
URBAN ARCHAEOLOGY IN ST. LOUIS
Uncovering Hidden Treasures
In 1982, fresh out of college where I studied art history, serendipity led me to a job working for Clark Graves, the kindly patriarch of antiques in St. Louis. I had been exposed to art from an early age - one of my first memories was sitting on my father’s shoulders as he walked the galleries of the St. Louis Art Museum - but the world of decorative art was new. I was hooked immediately. Never before had I considered the aesthetics of furniture or the elegance of porcelain or any of the countless objects that adorned the lives of people throughout the centuries.
Mr. Graves, who had started his eponymous shop in 1948, occasionally handled American furniture but specialized in period English antiques. He made regular buying trips to England and took me on my first trip in 1988. He died in 1993, shortly after which I bought the shop and have been running it ever since. I soon expanded my buying trips to the Continent and began handling a wide variety of fine art. I joined AADLA in 2006, have been an accredited appraiser with the Appraisers Association of America since 2012 and changed the name of the shop to Robert Morrissey Antiques and Fine Art in 2014. It’s been a wonderful, exciting career that I wouldn’t trade for anything.
One thing I’ve learned over the years is that it isn’t always necessary to travel to Europe to find great objects. Great objects have been making their way to St. Louis for generations. Since its founding in 1764, early settlers from the South and East brought their treasured furniture, silver and paintings with them. During the days of westward expansion many of those treasures were left behind as families continued west. By 1870, St. Louis was the
Fine Pair of Philadelphia Federal Serpentine Card Tables Circa 1790
Brought to St. Louis in the 1970s by a descendent of the original owners. (Private collection, St. Louis.)
ROBERT MORRISSEY ANTIQUES
4th largest city in America and many of its wealthiest families, like their Eastern counterparts, traveled to Europe to buy antique furnishings for their newly built mansions. Then, after WWII, a few local antiques dealers like Mr. Graves traveled to Europe, especially England and France, to supply their shops. Today, St. Louis is over 250 years old and something of a vast archeological site where treasures surface in the most unexpected places.
One of the greatest calls of my career was to an unassuming 1950’s ranch house owned by a widow. The house was probably under 1,100 square feet, in one of those post-war suburban subdivisions, where every house looks exactly like the other. It was a blinding hot July day. She had all the curtains pulled so it was dark and a little musty, but she was friendly and invited me in. I stepped into the little entryway with silver foil wallpaper and gold colored shag carpet and what emerged from the darkness was a time capsule of 18th and early 19th century Philadelphia furniture and objects: A Chippendale mahogany bookcase, c. 1760; a pair of Federal card tables, c. 1790; a Thomas Sully portrait, c. 1800, rare porcelain and on and on. For the next 2 years I worked with this kindly widow dispersing her family heirlooms. Some are now in the Philadelphia Museum of Art; some went to New York auction and east coast dealers. Others are still here in St. Louis in private collections.
We became close during that time, and I asked her how all this wonderful material got here. She was the last descendant in a line of successful Philadelphia merchants and physicians who were the original owners, tracing her lineage back to the 18th century. (Rarely do we encounter such a provenance!) She was an only child, unmarried, living in her native Philadelphia and studying English literature as an adult. In the 1970s she attended a conference at the University of Pennsylvania where she met an attending English professor from the University of Missouri and the rest, as they say, is history. She sold the homestead and moved to St. Louis. Sadly, her husband died shortly after the move and she lived quietly in the modest house for many years, until it became time to move. I remember when the call came in. It was so hot and humid, and I had never bought or sold anything within 10 miles of the address, but I thought, “This is St. Louis, and you just never know.”
words by Robert Morrissey
Descended through the family. These unusual curios, which would have held small silver skewers, perhaps for olives, were probably purchased new from a fine retailer in Philadelphia in the early 19th century, or they might have been purchased by the family on a trip to Paris. (Private collection, St. Louis.)
Rare Pair of Paris Porcelain Models of Porcupines Circa 1820
www.ajkollar.com
By Appointment
allan@ajkollar.com
colleen@ajkollar.com (206) 323 - 2156 1421 E. Aloha Street Seattle, WA 98112
A.J. KOLLAR FINE PAINTINGS DEALER SPOTLIGHT
Albert Bierstadt (American 1830-1902)
Stanley Park, British Columbia Circa 1889
Oil on paper laid down on canvas
19.25 x 13.25 inches
Signed lower left: ABierstadt
Provenance:
Kennedy Galleries Inc.; New York (by 1965)
Hirschl & Adler Galleries, Inc.; New York Orin Lehman; New York (Commissioner of New York State Office of Parks and Recreation)
A.J. Kollar Fine Paintings, LLC; Seattle, Washington
Exhibited:
Dallas Museum of Fine Arts, Texas and Hirschl & Adler Galleries, New York: The Romantic Vision in America, September 1971, no. 424.
M. Knoedler and Co., New York: Albert Bierstadt, 1972, no. 4 (as Western Lake Scene)
The R.W. Norton Art Gallery, Louisiana: Artist’s of the Hudson River School, October– November 1973, no.105.
Hirschl & Adler Galleries Inc., New York: Faces and Places: Changing Images of 19th Century America, December 1972January 1973, p. 3. no. 4, illustrated (as Western Lake Scene)
Literature:
The Kennedy Quarterly, “Farewell to Adventure: Moments of Western History Preserved in Bronze and Paint,” vol. 5, no. 3, May 1965, p. 136, illustrated.
This painting will be included in the forthcoming Albert Bierstadt catalogue raisonné database. We thank Melissa Webster Speidel, President of the Bierstadt Foundation and Director of the Albert Bierstadt catalogue raisonné project, for her assistance cataloging this work.
John George Brown (American 1831-1913)
Shine Sir?
Oil on canvas
25 x 20 inches
Signed lower left: J.G. Brown N.A.
Provenance:
The Sarkowsky Collection; Tacoma, Washington
[A.J.Kollar Fine Paintings, LLC; Seattle, Washington]
Private Collection; Bellevue, Washington
2009
By descent in the same family
Illustrated:
American Painting Catalogue 2009-2010, A.J. Kollar Fine Paintings, LLC; Seattle, Washington, illustrated in color page 1.
Reson B. Crofft (American c.1809-1877)
Young Boy with Dog Circa 1840-45
Oil on canvas
30 x 25 inches
Provenance:
George M. Martin; Yakima, Washington; circa 1970-1994
Jonathan Martin (son of George Martin) by inheritance; 1994-2012
Larry and Marilyn Canaan; Bellevue, Washington 2012 – 2020
A.J. Kollar Fine Paintings LLC; Seattle, Washington
Note:
Crofft is a classic “plain painter”, intrigued with costume detail and forthright in his use of color, which is applied to emphasize the contours of the figures standing against a neutral background. This portrait of a young boy with his dog is typical of the artist’s work, especially the modeling and contouring of the figure, and the dramatic gaping pose of the dog, whose attentive upturned snout recalls the natural sublime to be seen in certain mid-nineteenth century lithographs. The portrait also features Crofft’s signature use of primary colors, set in high contrast, to enhance the figure’s presence
William Worcester Churchill (American 1858-1926)
The Porcelain Jar
1910
Oil on canvas
27 x 22.5 inches
Signed and dated upper right: Churchill / 1910
Provenance:
Dr. Irving Levitt (Michigan and New York)
Susan Levitt Barkoff (by inheritance from above)
A.J. Kollar Fine Paintings, LLC; Seattle, Washington
Note:
Dr. and Mrs. Irving Levitt of Detroit and New York were avid collectors of American art. They were associated with such organizations as the Detroit Institute of Arts, where Dr. Levitt served on the museum’s collections committee and as first president of the Institute’s “Friends of the American Wing”; and Kennedy Galleries in Manhattan where Dr. Levitt worked in the 1970s. Mrs. Levitt additionally helped develop the Detroit Museum’s Kresge Court.
Charles Marion Russell (American 1864-1926)
Long Range Guns were often the White Man’s Passport 1922
Watercolor, Pen and Ink 8.25 x 11 inches
Signed and dated lower left: C M Russell 1922 with Monogram Buffalo Skull
Inscribed lower right: To Roy Page Jr on his / first Christmas from / CM Russell 1922
Inscribed verso: Long Range Guns were often the white man’s passport (likely in the hand of Nancy Russell)
Provenance:
Roy Page Jr (received as Christmas gift from the artist) Private Collection; 1987-present
Note:
A letter of authenticity by Ginger K Renner dated October 17, 1987 accompanies this work.
James Milton Sessions (American 1882-1962)
Late Afternoon Snow
Watercolor
17.75 x 22 inches
Signed lower left: Sessions
Provenance:
James M. Sessions (the artist)
Private Collection; New York City (friend of the artist)
Private Collection; Sycamore, Illinois
A.J. Kollar Fine Paintings; Seattle, Washington
Private Collection; Bellevue, Washington 1997 – present
Illustrated:
American Fine Art Magazine, Issue 48, November / December 2019; Enduring Watercolors, Revisiting the life and prolific works of art by James Milton Sessions, illustrated page 59.
American Painting Catalogue 1997-1998, A.J. Kollar Fine Paintings, LLC; Seattle, Washington, cover illustration and page 24.
Everett Shinn
(American 1876-1953)
Street Carnival 1948
Oil on panel
13.5 x 18.75 inches
Signed and dated lower right: Everett Shinn 1948
Provenance:
James Graham and Sons; New York, New York Arthur G. Altschul Collection; New York (acquired from above) 1953-1998 [Sotheby’s, New York: American Paintings, Drawings and Sculpture, Dec. 3, 1998, lot 259]
A.J. Kollar Fine Paintings, LLC; Seattle, Washington Private Collection; Medina, Washington 2005-2023
Exhibited:
Museum of Fine Arts, St. Petersburg, Florida, Everett Shinn: Painter of City Life, January 1969.
The Fort Smith Art Center, Fort Smith, Arkansas, The American Ash Can School of Painting, February 1971, number 18.
Oklahoma Art Center, Oklahoma City, Oklahoma, Everett Shinn 1873-1953, March -April 1971.
New Jersey State Museum, Trenton New Jersey; Delaware Art Museum, Wilmington, Delaware; Munson-Williams-Proctor Institute, Everett Shinn 1873-1953, SeptemberDecember 1973, No. 61, Illustrated page 49.
Owen Gallery, New York, Everett Shinn Important Paintings and Pastels, Oct. - Dec. 1996. Illustrated.
Literature:
Divine, Robert; T.H. Breen, George Frederickson, R. Hal Williams, The American Story, Volume Two: Since 1865, Penquin Academics, New York, 2002. Full Color illustration on the front and back covers of the text.
Courier-Post, Camden, New Jersey, September 22, 1973, illustrated p. M10.
Ormonde de Kay, “Shinn”, American Heritage, December 1985, illustrated in color p.77.
NAVIGATING THE FUTURE OF ART & ANTIQUES: Highlights from the CINOA Annual General Meeting
The Annual General Meeting for CINOA was held in Estoril, a suburb of Lisbon, on July 2-5. The meeting is part of the charter of CINOA as requisite for its status as a non-profit under Belgian law and whereas it may seem a laborious concept, it is an excellent opportunity for various members to exchange ideas as regards new legislation being proposed nationally within EU member states as well as by the EU itself. It is fairly clear that the only organization that has consistent standing within the EU is CINOA, mostly because our members are relatively active— meaning that it could be better, but that it is pretty good—most members are quite seriously engaged because the alternative is to allow rules and regulations that are not apt to the microbusinesses that we represent.
I have been President of CINOA for about six years now, partly due to Covid and our inability to have any AGM for three years and partly due to the amount of time I can spend on CINOA issues. I don’t relish the role, but I am extremely proud to have an extraordinary Executive Secretary in Erika Bochereau. Erika is the nexus of CINOA—she connects all the dots and keeps the members informed about the latest issues that are at hand. She works closely with the two Vice Presidents, Mark Dodgson of the British Antique Dealers Association as well as the Czech representative, Petra Young. The complications that we face in parsing governmental language is a real challenge.
I am enclosing our Newsletter (on right) to complement what I am writing here. We are very lucky in the U.S. for the most part. Although you may blame the European countries for being socialist, it isn’t socialism that is the problem as we have the identical problem in the U.S. Few people understand what we do. To put it as bluntly as I can, we try to explain our business to regulators to give them the proper input they need to write functional laws. We are currently facing laws to do with Anti Money Laundering (AML) and cultural artifact restrictions— restrictions in the EU, by the way, will impact auction houses in the U.S. that sell to the European trade.
I can’t emphasize enough how important it is to work with law makers, museums sympathetic journalists and more. We need people who understand that the trading of legitimately purchased and sourced art and antiques is part of human nature and the broadening of understanding about and around the world. It is a form of PR that can be practiced at all times with friends and relatives—tell people what you do, the challenges you face and the pleasure your clients get from what you have to offer. We need to make the world safe for art and antique dealers everywhere.
words
by
Clinton Howell, President of CINOA
DOUGLAS STOCK GALLERY
www.douglasstockgallery.com douglas@douglasstockgallery.com (781) 205-9817
21 Eliot Street (Route 16) South Natick, MA 01760
WOVEN LEGACY: The Iron Rug of Persia
Helen and I have specialized in antique rugs for nearly forty years. Over that time, we have established many relationships, both with clients and with sources we work with on a regular basis.
In the case of this antique Persian Bidjar rug, which measures approximately 4’7” x 7’2” and is available for purchase at the time of writing this description, is outstanding in several respects. It is a combination of factors that give it great appeal. First, Bidjars, which were woven in the northwest Persian province of Kurdistan, are known colloquially as “The Iron Rug Of Persia”, due to their dense construction which makes them very durable. Second, most Bidjars were made by Kurdish weavers. It is a cottage industry, and the individuality of the weavers themselves and the rugs they wove come through in their skillful but whimsical design and choice of colors.
Dating to circa 1900, the basic format of this rug is what is called a Split Arabesque design. Earlier examples of this format would generally be more geometric and archaic but this rug excels in merging the earlier paradigm with more complex features and ancillary design elements.
Additionally, this antique Bidjar rug reminds us of the extraordinary ability and eye for beauty and color that the most gifted Bidjar weavers had. The range and quality of color is remarkable. Bidjar weavers tended to favor saturated “happy” colors, and that is evident in the best examples: the wool is of high quality, stylized floral and more geometric styles are well integrated, and the condition is excellent.
words
by Douglas and Helen Stock
06 ANCESTRAL ARCHIVES
REHS GALLERIES
www.rehs.com info@rehs.com (212) 355-5710
20 West 55th Street, 5th Floor New York, NY 10019
ART & LEGACY
A History of Rehs Galleries
The story of Rehs Galleries begins in the late 1930s with M. Edwin Schillay, a young accountant, who decided to expand his business in an unexpected way. When one of his clients, an antique dealer based in Greenwich Village, suggested that he consider the art and antiques trade as a supplement to his accounting work, Schillay gave it serious thought. With a little guidance from his client, he traveled to London to investigate the art market and soon began purchasing paintings in bulk, packing 400-500 canvases into 7 x 7 x 10 foot containers called ‘lift vans’ and shipping them back to New York. From his space at the Manhattan Storage Warehouse, Schillay sold them to a variety of department stores that then featured the paintings in their art galleries. Although galleries within department stores disappeared in the 1970s, they were a standard element in these stores from their inception in Paris and New York in the 1850s.
Peter Ellenshaw (1913 - 2007)
Monet's Garden
Acrylic on canvas
36 x 63 inches
Framed dimensions:
43.5 x 70.5 inches
Signed and dated '83
Throughout the 1940s, Schillay maintained his art business as an adjunct to his accounting firm. The war years naturally interrupted the normal flow of the art market, but he astutely continued to expand his network of contacts in the London art world as well as in the US. He purchased primarily nineteenth century British paintings, pioneering the introduction of Victorian paintings to the American market through his bulk sales to department stores. After the war ended, Schillay gradually expanded his inventory to include artwork from other European countries.
In the mid-1950s, Schillay’s wife, Ruth, decided to take a more active role in the business, and opened a retail outlet at 303 Park Avenue South, redefining the business model to include sales to private individuals, and thus establishing the early roots of the art gallery as an independent enterprise. The scope of Schillay’s sources also expanded to include auctions and estate sales, reportedly acquiring as many as 60 paintings at one sale. During these years, the department store market was also booming. Advertisements from across the US reveal Schillay’s influence on the post-war American art market. For Stewart’s Department Store, The Baltimore Sun proclaimed: “Stewart’s presents a fabulous old collection by Great Masters and Artists from England, France, German and Italy. ... Only Stewart’s brings you this magnificent art. TOMORROW. . . MEET MR. EDWIN SCHILLAY.” And from the Detroit Free Press comes the announcement that “Specially Priced 19th Century Oil Paintings from Old English estates” will be available at Hudson’s downtown department store only, where art lovers can view “dramatic 19th century oil paintings that bespeak of charm, ease and grace with each stroke.” From New York to Dayton, Ohio, Schillay’s inventory of British paintings was a singular feature of department store galleries; he often traveled to personally assist in presenting the art work to the public, no doubt introducing many customers to fine art for the first time.
The selection of paintings that Schillay made available through the department stores focused primarily on nineteenth-century British artists who had originally painted for a clientele very similar to the twentieth-century American art buyer. Although many of the artists’ names were unfamiliar, they were nonetheless often well respected painters in their own time. Edgar Bundy, for example, studied with the Belgian painter Alfred Stevens, and then went on to exhibit his historical genre canvases at the Paris Salon as well as the Royal Academy in London. Likewise, Arthur Wardle
was a successful painter of animals with over 100 works shown at the Royal Academy. Schillay’s promotion of these Victorian artists laid the groundwork for a reappraisal of mainstream British painting some twenty years later.
The year 1960 marked another turning point. The gallery was importing between 6000–7000 paintings each year, and consistently maintaining an inventory of 2000-2500 paintings on site. That called for a move to a larger space, this time to 386 Park Avenue South, just north of 27th Street. It was at this point that Schillay’s son-in-law, Joseph B. Rehs, joined the business, in part because of his father-in-law’s failing health. Rehs, who was trained as an accountant, had married Ann Schillay in 1957.
Although he initially focused on accounting work for Schillay, Rehs recognized that the art business had significant potential for development. By 1961, he was fully immersed in broadening and refining the art business. Like his father-in-law before him, he traveled to Europe to learn from the art dealers there, and to establish an international network of sources and customers. When Edwin Schillay died in January 1963, the next generation was fully prepared to maintain the business. A year later, the firm became known as Schillay & Rehs, Inc.
Joseph Rehs continued to specialize in nineteenth-century British painting, noting that many of these works were still available at affordable prices in the 1960s. He recalls, for example, his acquisition of a large figure painting by the genre artist Frederick Morgan (1856-1927) for $225—which he subsequently sold for $450. Several decades later, in 2000, the same painting was purchased for almost $1 million. Not only does this success reflect Rehs’ understanding of the art market, but it also underscores the early signs of a shift in the art historical analysis of Victorian art. Scholarly attention to the vast body of nineteenth century art overlooked by previous generations also helped to foster an even stronger market for Schillay and Rehs, Inc.
Over the next two decades, Schillay & Rehs emerged as one of the largest importers of eighteenth and nineteenth century European paintings. Increasingly, the client list included art galleries as well as an ever-growing group of department stores across the US. By the late 1960s, the gallery had a well regarded track record in the art world. In fact, The Antique Dealer magazine sought out
Mitsuru Watanabe (Born 1953) Rousseau's Music of the Night Oil on canvas
x 51.37 inches Signed
Mark Laguë (Born 1964)
Moulin Rouge Night Oil on masonite
30 x 40 inches
Framed dimensions:
36 x 46 inches
Signed
Francois Brunery (1849 - 1926)
Mieux vaut faire envie que pitie
Oil on canvas
36 x 28 inches
Framed dimensions:
45 x 37 inches
Signed
Schillay & Rehs’ opinion on the volatile art market in 1969, noting that their reporter “called on the owners of Schillay & Rehs, Inc., importers of 18th and 19th century paintings for more than 30 years, and asked them to assess today’s market for old art.”
By 1978, the gallery moved once again. More spacious quarters at 305 East 63rd Street, New York accommodated the large inventory, and more importantly, it signaled another stage of evolution in the business. As Joseph Rehs remarks “We moved into the decorative arts trade then and began to sell to interior designers.” This meant a gradual transition out of the wholesale trade. Simultaneously, Rehs’ son, Howard, began studying art history at New York University, graduating in 1981 and joining the family that same year. As he remarked in a 2002 interview with Art & Antiques magazine, he started working in the packing room at age thirteen and “...never looked back. I love it all: buying selling, dealing with clients, doing research.”
Like his father and grandfather, Howard Rehs went first to London, spending a year living and working there as he studied the European art market and purchased new inventory for the gallery. He returned not only with an understanding of the art business, but also with an interest in French Academic, Realist and Barbizon School art, which has remained a primary focus of the gallery since then. Over the course of the 1980s, the demand for nineteenth century paintings increased significantly, pushing the market to ever higher prices. In response, Schillay & Rehs turned more and more to dealing with private clients, collectors and museums. In 1991, the name of the business became Rehs Galleries, Inc., signaling not only new leadership, but also the primary role of the company as an art gallery.
Howard Rehs also embarked on two major art historical projects in 1991. He had observed the substantial prices commanded by the work of Julien Dupré, a French nineteenth-century Naturalist painter, but discovered that little information about the artist was available. In searching for further historical background, he turned to the archival records at Knoedler’s gallery, which had handled Dupré’s sales in the US, and was pleased to find a wealth of sales records. With this information as a foundation, Rehs began the lengthy process of preparing the catalogue raisonné for Julien Dupré (www.juliendupre.org), collecting
information about individual paintings and gradually establishing the historical development of the artist’s life and career. In 2015, Dr. Janet Whitmore also began working on the project, beginning with extensive research in France. Rehs Galleries’ commitment to creating a catalogue raisonné not only for Dupré, but also for the American Naturalist painter, Daniel Ridgway Knight, established the gallery as an international resource on the work of these artists. Equally important is the contribution that Rehs Galleries has made—and continues to make—to art historical scholarship.
In 1997, Rehs Galleries established a new home base at 5 East 57th Street, New York. Joseph Rehs recalls the progression of the business from an accounting firm with a sideline in the art business to a well respected twenty-first century art gallery: “From the department store to the interior decorator to the individual guy. We moved from wholesale to buying at auctions.” With some delight, he also comments that “when we first moved into 57th Street, we had a new collector walk in and purchase a $300,000 painting!” Clearly, the move to a more highly visible location was a positive change.
That same year, Howard Rehs became the president of the Fine Art Dealers Association (FADA), a position he held until 2009. Under his guidance, FADA’s membership expanded, and the Los Angeles Art Show took on a new role as one of the most important shows in the United States. He also highlighted the challenges of doing business in the online art market in 2001 when he caught another art dealer attempting to sell a work from Rehs Galleries without ever having purchased it in the first place. It proved to be a timely warning for art dealers in the digital age.
The importance of the internet to art galleries became increasingly clear as more and more dealers developed an online presence. Rehs Galleries was no exception. The gallery website contains the expected inventory of artworks and background on the artists, but it also provides a monthly newsletter, Comments on the Art Market. Initially conceived of as a forum for guiding potential buyers on how to proceed wisely in the art market, the newsletter has now become a platform for analysis of the art market, commentary on auction sales and stock market news, as well as “tales from the dark side”, a monthly assessment of recent quirky, and occasionally criminal, news of the art world. The website also contain information and links to two additional online catalogue
Bernard Buffet (Born 1964)
Locquignol, Bordure de la forét de Mormale, Nord, Les blés Oil on canvas
35.25 x 51.5 inches
Framed dimensions: 44 x 60 inches
Signed and dated 1974
Mike Wimmer Installation at Rehs Contemporary Gallery
raisonné projects, one for Emile Munier (the gallery began this project in 2003 – www.emilemunier.org) and one for Antoine Blanchard (started in 2007 – www.antoineblanchard.org).
In the early 2000s the gallery again welcomed additional family members to the business. As Joseph Rehs began considering retirement, his daughter-in-law Amy agreed to take on some of the operational responsibilities for the gallery, which had grown commensurate with the gallery’s clientele. The gallery’s longstanding representation of contemporary Realist artists was also expanding after the turn of the twenty-first century. By 2010, Rehs represented approximately two dozen artists and was exhibiting the work of another 100 contemporary realists as well. With this level of commitment to contemporary Realism, Rehs established a separate corporation, Rehs Contemporary Galleries, Inc. in 2012.
The fourth generation of the family is now involved in running Rehs Contemporary Galleries. Since 2013, Alyssa and Lance Rehs, daughter and son of Amy and Howard, have been responsible for managing the contemporary art business. In a 2017 interview with LuxPop!, Alyssa explained that in addition to running the contemporary arm: “Lance and I have ramped up our social media platforms by posting original and interesting content daily. Additionally, we added a blog to our site, which gives visitors news about the art market, gallery updates and even advice for artists who are trying to navigate the art world.”
In August of 2022, the gallery left their 57th Street location and opened up a new, and much larger, space at 20 West 55th Street in early 2023.
Realist art remains the focus of Rehs Galleries, Inc., but the scope of the business continues to evolve and expand in conjunction with the myriad currents of the art market. In describing the changes that emerged in his own years at the gallery, Joseph Rehs remarked that “When you hit a wall, you grow into the next phase.” That sounds like a sage prescription for sustaining an art gallery for generations to come.
words by Howard L. Rehs
NOT ALL THAT GLITTERS...
The Art of Separating Fact from Fiction
I can't tell you how many times people have said to me, "Well, we were told this is a . . ." You fill in the blanks. And from photographs often these things do look awfully good. Sometimes they send dimensions and we get so excited—a large work to boot! Nothing beats seeing the work in person. We, in the trade, know this very well.
One particularly interesting story was of an elderly gentleman who owned a painting he inherited from his mother who was the best of friends with Giorgio de Chirico's wife. De Chirico's wife gifted the work to the gentleman's mother. He sent me a photo and the size was 34 x 26 inches. It was the perfect subject, too, mannequins in a spare surrealist townscape. He wanted to donate it to a major museum and was seeking an appraisal in advance of the donation. From the photograph I suspected that it might be a work on paper, but he assured me that it was not, that it was surely a unique work.
He graciously offered to meet at his club in the city in which he lived. Arriving early, I sat in the comfortable well-worn leather Chesterfield chairs, ready to assist the gentleman with the large painting as he entered. Upon arrival he was holding in
one hand a white plastic garbage bag. As he removed it, his eyes were wide with anticipation, I knew I was going to have to be extremely diplomatic. I inspected it carefully, touched it, turned it over, took out a loupe and saw the telltale and ben-day dots. I had my proof, and an easier explanation, as it was more than just my opinion.
The gentleman was deeply disappointed, He couldn't believe that his mother's best friend would give her a photomechanical reproduction.
Ultimately, I think he was grateful to know the truth after so many years. He was lucky that this was not the treasure that was going to be his retirement, as he was an accomplished professional. Often disappointing news can be devastating for those that bet their retirement on a piece of work.
As dealers and appraisers, we are often told very compelling stories about works. The proof is not in the "picture," the proof is in the inspection. We all have these war stories. We'd love to hear yours.
words by Betty Krulik
BETTY KRULIK FINE ART LIMITED
www. bkrulikfineart.com
bkrulikfineart@gmail.com
(917) 582 - 1300
260 Birch Lane
Irvington New York 10533
Betty Krulik is a Certified Member of the Appraisers Association of America, and serves on its board as Past-President. She also serves on the Board of the Munson-Williams-Proctor Institute, in Utica, NY; is currently on the board of the American Friends of Masterworks Museum of Bermudian Art. She is President of the William Merritt Chase Catalogue Raisonne committee, and on the advisory committee for the Thomas Wilmer Dewing Catalogue Raisonne. She has appeared as an appraiser on Antiques Roadshow, and has lectured at the Appraisers Association of America, New York University’s Continue and Professional Studies, as a panelist for International Institute for Conflict Prevention and Resolution (CPR), New York County Lawyers Association, and for Museum and University groups around the nation. She is on the Personal Property Resource Panel of the Appraisal Foundation (a non-profit organization dedicated to the advancement of professional valuation). She serves on the Personal Property Resources Panel of the Appraisal Foundation in Washington, DC. She is a member in the prestigious Art and Antique Dealers League of America. Most recently, she has become project manager for the Willard Leroy Metcalf Catalogue Raisonne Project, Inc.
BREAKING DOWN [GALLERY] WALLS
Rehs Contemporary challenges the norms of “fine art" with tattoo, street, and functional glass art.
Featured Exhibition: Friday, September 13 - October 11
While the art world is ever-changing, certain art forms and subject matter have long been overlooked by the fine art community. This Fall, New York gallery Rehs Contemporary (20 West 55th Street, 5th Floor) will embrace these underrepresented forms of artistic expression, challenging the traditional notions of “fine art.” With their first-ofits-kind exhibition, The Art of Subversion, opening on Friday, September 13th, from 5-8 PM, Rehs will feature a provocative blend of tattoo-inspired art, street art, and functional glass art.
Curated by gallery director Lance Rehs, The Art of Subversion is a deliberate departure from the conventional art gallery landscape. The term ‘subversion’ is defined as “the undermining of the power and authority of an established system or institution.” With that, the exhibition is a celebration of artistic rebellion in an effort to redefine what constitutes “fine art”.
Lenny Vuitton (B. 1995)
Anatomy of the Hooli-Gan Acrylic on canvas
48 x 36 inches
Signed, inscribed and titled on the reverse
This is not simply an exhibition to showcase these various art forms. The goal is to initiate a broader conversation about how artwork is understood in our contemporary world. For decades, street art was seen as no more than vandalism, and only recently has it gained recognition for its cultural value. Similarly, while the traditional medium of tattoo art has been around for centuries, it has only been in the last few years that our society has shaken the stigma associated with the art form. The same cannot exactly be said for functional glass art, more simply known as ‘smoking pipes’… as with tattoos, the art
Chris Guest (B. 1979)
The Sweet Times Oil on canvas
24 x 18 inches
Framed dimensions:
32.5 x 26.5 inches
Signed and dated 2024
of pipe making and the medium of glass blowing has a profound history, yet it is an outsider in the art world.
The exhibition will feature new work from some of today’s premier artists working in these genres and mediums. Notably, street artists like Chris Guest, Bloodshed, Lenny Vuitton, and Layercake bring a dynamic and rebellious spirit to the mix, while Jackee Sandelands-Strom captures tattoo art in intricate and vibrant detail, offering a fresh perspective on this marginalized art form. When it comes to functional glass art, several heavy hitters from the pipe scene will be making their art gallery debut. Two in particular are JP Toro, founder of Toro Glass, and Nate Dizzle, creator of Swiss Perc. JP is revered for both his innovation and artistic detail, while Nate Dizzle has truly pushed the boundaries of borosilicate glass-blowing.
“The Art of Subversion is more than just an exhibition; it is a revolutionary act,” says Lance Rehs. He sees this as the start of something much bigger… a shift to embracing the art of our times.
The Art of Subversion will be on view through October 11th and is open to the public free of charge.
MASTER OF THE STRINGS
In the very exclusive world of elite violins, Roman Goronok is a major figure—and one of the key players in keeping the centuries-old instruments in circulation.
ROMAN GORONOK MIGHT AS well call himself an art dealer. “These are works of art,” he insists, “or rather a combination of artwork and tool of the trade. There’s no difference between a very fine da Vinci or Rembrandt and one of these. In terms of their part in an artistic tradition, in terms of their monumental achievement in what and how that tradition was expressed, you can say the same of these as of any painting. More so, perhaps, because as much as a da Vinci may be beautiful to the eye, one of these speaks to more senses than that.”
When Goronok tells people that he’s a violin broker, they are fascinated if a little confused. After all, as he admits, the difference between two inexpensive violins is minimal. But the kind of instrument he deals in is of a different echelon altogether, priced in many millions. They’re the kind of violins that have, over the last three centuries, been passed between the very best players like holy relics. “And once a musician bonds with one of these instruments, it becomes part of them, more important than their children,” he only half jokes. “Seriously, musicians of this caliber keep their violin next to them in bed.”
Another difference is that the rarefied world of instruments doesn’t have quite the name recognition on a public scale as do painters. Goronok deals in violins made by the likes of Andrea Amati, Francesco Ruggieri, Giuseppe Guarneri, and the
more famed Antonio Stradivari in the 16th, 17th, and 18th centuries. These are violins of a craftsmanship and tone that likely will never be seen again. And they’re increasingly rare. “Say Stradivari made 900 violins in his lifetime. Over the last 300 years a third have been lost or destroyed and a third are in museums or private collections, which leaves only 300 that may one day be available,” says Goronok, Russian-born but based in London, the son of a professor of violin and of a violin maker. “There’s no new supply. And you can’t put a price on a unique sound.”
AS SUCH, THESE VIOLINS are both extremely valuable—all the more so depending on condition, of course, but also provenance, maker, ownership history and, what’s more, never decrease in value. As a result, his clients include not only conductors and professional musicians, those looking to fill a specific gap in their collection, but also those looking to put their money into a seriously blue-chip investment— and, thankfully, not to then secret the instrument away in some vault, though that does happen on occasion.
“I’m pleased to say that most buyers who come to me have the education to appreciate why these violins shouldn’t be hidden away, which is reassuring,” says Goronok, who also deals in violas and cellos. But given the number of violins in an orchestra, and the extent of the classical music repertoire written for the violin, he
"Playing the violin is the deepest form of meditation I know."
finds that the smallest of his wares are inevitably where the market is at.
“After all, they are such extraordinary objects; they deserve to be played,” he adds. “Most of my job is in finding them, in keeping track of them—of, as someone once said of the art world, knowing which painting is on whose wall. I have my little black book, so I know where these violins are, who’s using them, which players may be near the end of their careers and so looking to release their instrument back into circulation.”
The job isn’t quite as simple as playing matchmaker, of course. It also involves authenticating the instruments, though Goronok says, “That’s not as scary as it may seem. Other people have sold and brokered these instruments for centuries, working out what is what, and for the last century at least that’s been well documented too.” These days there’s also carbon dating and dendrochronology— the counting of rings through wood to determine its age—to assuage any last doubts. There are fakes, but in a market this small, passing one off is extremely difficult.
What pleases Goronok most about his work is that it not only brings musician and instrument together but also allows investors to act, in effect, as sponsors of the arts by loaning their violin out to the kind of virtuoso player, or young player of immense potential, for which it was in some sense always destined. His dream is to find evermore enthusiastic clients who can help to make this happen.
“Because,” as Goronok notes, “if you want to be a racing driver, it’s no good practicing on a tractor. If you’ve achieved
a certain level of selfexpression with your instrument, you need an instrument fine enough to allow you to develop your voice without limits. Obviously, such instruments are not easy to get access to.”
LENDING OUT SUCH a fine instrument might sound like foolishness, given cases like that of an absent-minded British violinist, who in 2019 left his almost $340,000 (£250,000) violin—made by David Tecchler in 1709—on the train. “It was,” the musician reported, “like having my arm cut off.” Fortunately, Goronok reassures, most musicians are consequently overcareful with their antique charge, and these sonic sculptures are highly insurable: so wellknown are the individual pieces among the elite violinist circuit that if they are stolen, they are virtually unsellable on the black market, which takes away a huge part of the risk for insurers.
Inevitably, some violins have a special place even among these finest of instruments. Is, for example, the oft-cited reputation of a Stradivarius justified? Goronok explains that because the violin maker had such a long career—he lived to 93, notably late for the 18th century—he also had the opportunity to be a great experimenter, thus not only shaping the classical music canon but also making some of its more progressive compositions possible. Like Picasso, he says, Stradivari had the violinmaking equivalent of his Blue Period, or of Cubism.
“A Strad,” Goronok says, with the familiarity that only someone as close to violins like this could pull off, “can play very quietly, or it can scream, and since much of the [classical] music we hear today is romantic, for full orchestra, it has to be pretty loud. That’s the difference between a good
A DEDICATED LIFE
His family’s musical background instilled a love of violins in Goronok.
photography by Alun Callender NetJets
violin and a very, very, very fine violin—the good one just won’t have the power, it won’t have the colors either.”
Is, for example, the oft-cited reputation of a Stradivarius justified? Goronok explains that because the violin maker had such a long career—he lived to 93, notably late for the 18th century—he also had the opportunity to be a great experimenter, thus not only shaping the classical music canon but also making some of its more progressive compositions possible. Like Picasso, he says, Stradivari had the violin-making equivalent of his Blue Period, or of Cubism.
Goronok speaks with more than the knowledge that comes from, as he puts it, being surrounded by violin music from his earliest memories, or that comes from his working life. He, too, was a professional violinist as a young man, until a motorcycle accident in his twenties ended the likely prospects of becoming a top player.
“A Strad,” Goronok says, with the familiarity that only someone as close to violins like this could pull off, “can play very quietly, or it can scream, and since much of the [classical] music we hear today is romantic, for full orchestra, it has to be pretty loud. That’s the difference between a good violin and a very, very, very fine violin—the good one just won’t have the power, it won’t have the colors either.”
Goronok speaks with more than the knowledge that comes from, as he puts it, being surrounded by violin music from his earliest memories, or that comes from his working life. He, too, was a professional violinist as a young man, until a motorcycle accident in his twenties ended the likely prospects of becoming a top player.
that in helping to keep an instrument alive it means that certain pieces of music can still be played as they were first conceived. If the likes of Beethoven is worth giving sound to, then you have to have the right instrument to perform it on.”
meditation I know,” he says. “But if you can’t play [to the standard I’d hoped for] then you have to find a way of being useful to the art. I wasn’t a violin maker: You have to be an excellent carpenter and that wasn’t me. And I wasn’t interested in managing musicians. But I found brokering violins, and it’s very satisfying to be told by a musician that a certain violin is what they’d been looking for their entire life, or to know that in helping to keep an instrument alive it means that certain pieces of music can still be played as they were first conceived. If the likes of Beethoven is worth giving sound to, then you have to have the right instrument to perform it on.”
“I can’t imagine a life without music, and playing the violin is still the deepest form of meditation I know,” he says. “But if you can’t play [to the standard I’d hoped for] then you have to find a way of being useful to the art. [wasn’t a violin maker: You have to be an excellent carpenter and that wasn’t me. And I wasn’t interested in managing musicians. But I found brokering violins, and it’s very satisfying to be told by a musician that a certain violin is what they’d been looking for their entire life, or to know
“I can’t imagine a life without music, and playing the violin is still the deepest form of
But the relative rarity of the masterpieces he works with makes him wonder if he may be among the last of his already rather unusual breed. “Statistically, assuming I work for another 30 years or so, I’m likely to be among the last people who will get to handle these instruments on the open market,” Goronok says. “By the end of my career, it’s likely that most of these instruments will be in museums or private collections. This doesn’t mean they won’t be played, thankfully, but you won’t be able to buy one. Until then, I want to keep on doing whatever I can to help those who have the means to help the world of classical music.” romangoronok.com
But the relative rarity of the masterpieces he works with makes him wonder if he may be among the last of his already rather unusual breed. “Statistically, assuming I work for another 30 years or so, I’m likely to be among the last people who will get to handle these instruments on the open market,” Goronok says. “By the end of my career, it’s likely that most of these instruments will be in museums or private collections. This doesn’t mean they won’t be played, thankfully, but you won’t be able to buy one. Until then, I want to keep on doing whatever I can to help those who have the means to help the world of classical music.” romangoronok.com
words by Josh Sims
ALUN CALLENDER
A Pursuit of Timeless Masterpieces UNRESTORED & UNCOMPROMISING:
I have seen so much in so many countries and for such a long time that I only want to stock objects of art, furniture, ceramics, drawings, paintings, and gouches that are in their original condition, unrestored, and not run-of-the-mill pieces. Having been around so long, following in the niche established by my mother (cited by the New York Times as the first female fine art dealer in America now almost 100 years ago), I have become very picky and don't want things that are mediocre, even if they are antique. I like objects that were special, even when they were made, and I also don't want things made after the Industrial Revolution, only pieces handmade and prior to 1810.
My collecting went from antiquity through the 18th century, although I no longer have antiquities due to countries wanting their looted pieces returned and their origin difficult to establish. I concentrate now the Renaissance, Baroque, to Neoclassic. I want clients to see, even feel objects, while I am still able to continue with my "open" gallery. I am happy to have a place where they can come in-person to view the works.
words by Helen Fioratti
L’ANTIQUAIRE & THE CONNOISSEUR
www.lantiquaire.us
info@lantiquaire.us (212) 517-9176
36 East 73rd Street
New York, NY 10021
Large Walnut Armchair
Venice, Italy, circa 1740
47 H x 25 ½ W x 21 D in.
(119.4 x 64.8 x 54.6 cm.)
A large walnut armchair with a cartoucheshaped back centered by open work carving on the crest; elegant out swept armrests over a tight seat with a shaped apron with open work carving on cabriole legs on scrolled feet.
This beautiful finely openwork carving in walnut Venetian 18th century armchair would be the perfect chair to place in a modern setting with sofas. It would punctuate the contemporary styles which acts as a piece of sculpture giving the setting interest and dignity at the same time as a comfortable seat.
Pair of Side Chairs
Rome, Italy, circa 1770-1780
40 ½” H x 18” seat H x 21” W x 17” D
(103 x 46 x 53 x 43 cm.)
A pair of Roman circa 1770-1780 carved and with the original gilding impressive side chairs. These are of special interest as they are most definitely a pair as one has a carved head of a man at its top and the other the head of a woman who are looking at each other.
OBJECT PRESENTATION
18th century Venice was going through a period of uncertainty. There were wars all around and changes in government. The Most Serene Republic was now under Austro-Hungarian domination. In fact, Count Palffy, a Hungarian, was Venice's Civilian Governor. He was to release two important Venetian’s and he was so out of touch that he gave the order to release Manin but gave the name of the long dead former Doge by mistake rather than his namesake.
The upper classes continued as they had with entertainments in their finally appointed palaces, ordering the furnishings that have become the most coveted for later antique collectors. The 18th century produced the most beautiful furniture and decorative arts, perhaps of the time, from Venice.
An example, a mirror (1) made for a lady to help her in her "toilette" was very special. Instead of the run-of-the-mill, this was lacquered ivory and decorated with scenery and flowers in blue, green, and peach with gilded elements. Another mirror (2) from the same period circa 1730, a little larger than the norm, was lacquered again in ivory with large, gilded carvings of a flower and leaves on its summit and has chinoiserie decorations.
A third mirror (3) is most unusual, made still before the neoclassical style became the norm, this avant-garde piece was lacquered in the most popular Venetian sky blue and decorated with floral designs. This mirror has an elaborate openwork carving at the top but crowned with a carved wood vase, spilling garlands from the summit flowing down the outer sides of the mirror.
All three have their original mirror glass, are all intact, and have not had any restorations.
23 5/8" H x 15 ½" W (60 x 39 cm.)
(1) Mirror
(2) Mirror
23 5/8" H x 15 ½" W (60 x 39 cm.)
(3) Mirror
30” H x 19” W (76.2 x 48.26 cm.)
OBJECT PRESENTATION
Two extraordinary and rare wooden beds from 18th-century Barcelona (Iberia, Spain). The first bed (below) is 68" wide x 90" long and dates from the early 18th century. Its original paint depicts two winged cherubs flanking and centering a panel with a vase of flowers on a blue background. The cherubs are by the drapery and under a canopy surrounded by flowers. The headboard itself is 78" high. The bed has its original supports and four carved and multicolored posts in original condition.
The second bed (below) is of painted white and gilded wood circa 1765-1785 has finely carved side and foot rails, which can be removed (but have neither been lost nor damaged). The 60” high headboard is centered by a panel with a gilded torch crossing to a gilded quiver, this surrounded with carved, and gilded, flowers. Each post has a leaf-carved finial holding a pomegranate cluster. The bed is supported by cabriole shaped legs that transition into animal paw feet. The mattress for the bed would be 39" wide x 80" long. This bed was surely made for an important noble.
OBJECT PRESENTATION
A Polychromed and Gilded Poplar Wood Caminiera with Mirror Glass Lombardy, Italy, late 18th century Made for Antonio Greppi for Palazzo Greppi, Milan (With the initials AG), attributed to Giocondo Albertolli 70 1/8” H x 74 3/8” W (178 x 189 cm.)
Literature:
Enrico Colle, Milano Neoclassico, Milano: Longanesi, 2001.
Palazzo Greppi was designed by Giuseppe Piermarini for Antonio Greppi in 1772, when Maria Teresa of Austria ruled the city. The distribution of the architectural elements follows a modular pattern, heightened in the central part in order to enhance the entrance with arched portal. Inside there is a rectangular courtyard with porticos, with a two-flight staircase leading to the first floor where the original decorations by Giocondo Albertolli and Neoclassical frescoes can still be seen
This over-mantle mirror or caminiera is of exceptional quality. The profusion of details include sphinxes, birds, and musical instruments; all carved with great finesse. The central medallion has the initials AG in the new style of the neoclassic period with the noble’s initials, rather than their coat of arms (as had previously been displayed). Neoclassic carved, polychrome and gilt large mirror with original mirror glass and flower basket finials. Of poplar wood and finished with stucco and gilding. Very finely carved representations of sphinx, birds, and urns above depictions of armor and musical instruments decorate the surface. Mostly original blue and white paint and mirror glass.
The mirror here pictured, although two hundred and fifty years old is remarkably free of damage or defects. All of the blue and white paint and gilding are intact. The removable carvings on the perimeters of the mirror are all there, intact, they slip into the main body of the mirror on the sides and top. The three mirrors that compose the base of the whole are original and in fine condition.
in neighboring France that eventually resulted in the revolution. Greppi hoped Italy would be spared, but as a precaution, and to be certain his prized mirror would not be damaged in case of trouble, he had only his initials carved on the center face rather than his “impresa” and crown.
The mirror was made at the direction of the famous ornamentalist, architect, and sculptor Giocondo Albertoli (as per the expertise of Enrico Colle, author and museum director and expert on Italian 18th-century furnishings).
Albertoli was born on the 24th of July, 1742. He died in Milan in 1839 at the age of 98. Albertoli first studied in Parma at the atelier of a sculptor and the Academy then went on to Rome. He became very famous early on for his new forms of decorative arts and architectural ornamentation. Albertoli was elected in 1776 as a professor at the Milan Academy. He was decorated in 1809 by Napoleon with the cross of the Iron Crown.
The Nobleman Antonio Greppi, who ordered the mirror for his Milanese palace was aware of current political events
OBJECT PRESENTATION
Inset
Venice, Italy, mid-15th century
Crest on metal decorations
24" H x 55.5" L x 15" D
A late 15th century Venetian cassone which belonged to Marco Barbarigo (1413-1486), the 73rd Doge of Venice. He was the owner of this still intact cassone (or lift-top chest) with its wooden core, red velvet panels, and its profusion of metal decorations all depicting the Doge's personal “impresa.”
This is a rare and original example that belonged to this noble man then Doge, the highest ranking person in Venice. The cassone was used for storing clothes and bed clothes, often placed at the foot of the bed and also functioned as a trunk. At that time, the nobles would carry furnishings with them when they traveled.
The cassone has its original iron carrying handles on either end and is centered by an iron hasp and key. The cassone had to be made between 1485-1486, as Barbarigo was only Doge for one year before he died at 73 during a presumably violent dispute with other relatives but probably as a bystander.
Cassone with Metal on Wood Core
with Velvet Panels, Doge’s (Marco Barbarigo)
The Art and Antique Dealers League of America has a show every December called the 12 Days of Christmas Show. It is hosted by InCollect and it is designed to run as a “scroll” show. To wit, the show has 30-40 dealers who show one new object every day, giving as small amount of information on the item as possible—we want the images of the objects to be the focus. Dealers get to put their email and their phone number and if anyone is interested in an object, they can call or email. The point is to have an aesthetic experience without any distractions. We have been very lucky to get some partners in the exercise, notably InCollect as well as Ronati. If you are interested in seeing the show, you can go to the League website and find the link to the show. It is easy and it is fun, particularly when you look at the items on a large screen.
We would like to take this opportunity to introduce our members to Ronati, a company that offers technology based solutions to dealers in tracking, organizing and posting and de-listing inventory. The AADLA has partnered with Ronati on several occasions and we look forward to doing more with them in the future. If you would like to learn more about Ronati, we suggest that you go to www.ronati.com. In the next issue of The League Journal, they will present a more detailed and nuanced description of their goals are for the art and antiques businesses.
NEWPORT DESIGN WEEK RECAP
July 24 - 28, 2024
Newport, Rhode Island
Newport, R.I. is a city that I have known since 1963 and I can attest to its complete transformation—there was no bridge when I was there and downtown Newport could only be described as seedy. Today, it is part of the archipelago of coastal New England historic cities running from Mystic, Connecticut up to Bar Harbor, Maine, all of which offer American history in interesting slices in cleaned up, even sparkling, tourist ready environments. Newport, as it happens, was an important cog in the Revolutionary War, but also a major trading outpost throughout the 19th century and eventually the playground for wealthy Americans who built mansions quaintly referred to as “cottages” despite the overt opulence that belies that description.
What better place was there to have the first annual, “Newport Design Week”? This event on July 24-28 was the brain child of Anne Fairfax of the noted architectural firm, Fairfax and Sammons, classical architects who have worked up and down the East Coast of the United States as well as the West Coast and abroad. A steering committee was formed and a three day event was created, capped by the presentation of the Hyland Award to honor a significant contributor to the design world, Mitch Owens, who has just become the new editor of the Magazine Antiques.
The meat of the program was about what you can do to make your home a more salubrious environment. With talks about
Newport’s past, the harmony of great design, the extent on which a decorator often must go (eight years with one client) and of course the extent to which a good client will go, there was a feeling among the crowd that the world of design is more relevant in today’s world than it ever was. There is a lot to learn to call yourself a decorator and a whole lot of historical precedent to acquaint yourself with in order to be able to offer something that is not just a re-tread from what you’ve done before. The decorators in attendance were quite aware of the challenges that they face as panel after panel discussed ways of working around obstacles to achieve their results.
Those of us who supply the decorator trade, as I do with English antique furniture, are beholden to decorators as are, I presume, many of the members of the AADLA. But there are other suppliers who are important to the designer/decorator world and they, too, were on the roster of panelists. Matthew Grubman of P.E. Guerin, the brass foundry on Jane St. in Greenwich Village, New York showed some of the projects that his firm has been part of over their 167 year run. Scott Kravets of Kravet Inc., the textile making firm, also enthralled everyone with a lecture that covered how something is made—often extraordinarily complex—where it is made, how often the design is used and much, much more.
Design is a process, one that requires a lot of patience and perseverance, but most of all it requires a vision. That vision is what separates one designer from the next as well as the wheat from the chaff. The professionals in Newport understood this very well but they also know that to keep up, they have to constantly expand their pool of information whether it be about paint, plumbing, electronics, fabrics, hardware, woodworking and more. That is why there are design weeks and when they are in the summer in one of the gems of the northeast shoreline cities, it can’t help but be both an informative and pleasant experience.
words by Clinton Howell
CLINTON HOWELL ANTIQUES
30 E 95th St #5B
New York, NY 10028
(646) 489 - 0434
clintonrhowell@gmail.com
The Winter Show Park Avenue
Armory, NYC
January 24February 02, 2025
The Winter Show, formerly The Winter Antiques Show, has been in existence for over 75 years. East Side House Settlement, a community-based organization located in the South Bronx and the proud owner of The Winter Show, serves some of the most vulnerable communities in the country. These communities face significant challenges in education, employment, literacy rates, and attendance. With a strong focus on education and workforce development, your support empowers East Side House to deliver vital services at all stages of life, from early childhood education to services for older adults, impacting the lives of 14,000 of New York City’s most vulnerable individuals each year.
Next year, the opening night benefit will be on Thursday, January 23, 2025, and the closing will be on Sunday, February 02. The show will be held at the Park Avenue Armory between 67th and 68th streets. It looks imposing, but once you are inside the Armory, you are greeted by an array of beautiful objects and enthusiastic exhibitors who are happy to share their expertise on those special items that they have been saving to sell at this historic show. It offers a unique opportunity to mingle with some of the most knowledgeable people in their fields while supporting an important local charity.
The AADLA has a number of members in the show and we urge you to come and visit us in person. We will highlight these members in our next issue. Stay tuned!
AADLA MEMBERS: L'ANTIQUAIRE & THE CONNOISSEUR, INC. • KELLY KINZLE ANTIQUES • KAPOOR GALLERIES
• EUROPEAN DECORATIVE ARTS COMPANY • CLINTON
HOWELL ANTIQUES • A LA VIEILLE RUSSIE • A.J. KOLLAR FINE PAINTINGS, LLC • ANDERSON GALLERIES •
ANTIQUARIUM • BETTY KRULIK FINE ART LTD. • BRAD & VANDY REH • CAMILLA DIETZ BERGERON • CARLTON HOBBS
LLC • CHARLES CHERIFF GALLERIES • CHRISTOPHER BISHIP FINE ART • DALVA BROTHERS, INC. • DANIELLE ANN MILLICAN • DAPHNE ALAZRAKI FINE ART • DAVID NELIGAN ANTIQUES • DOUGLAS STOCK GALLERY • EARLE D. VANDEKAR OF KNIGHTSBRIDGE, INC. • ENGSDIMITRI WORKS OF ART • FIND WEATHERLY • FRAMONT
• G. SERGEANT ANTIQUES, LLC • GALERIE RIENZO, LTD. • GEORGE GLAZER • GODEL & CO. FINE ART • HIXENBAUGH
• ANCIENT ART LTD. • HYDE PARK ANTIQUES, LTD • ILIAD
• J.N. BARTFIELD GALLERIES • JAMES ROBINSON, INC. • JAYNE THOMPSON ANTIQUES • JULIUS LOWY FRAME & RESTORING CO. • KENTSHIRE • LILLIAN NASSAU • MAISON
GERARD • MARCY BURNS AMERICAN INDIAN ART • MARY HELEN MCCOY FINE ANTIQUES • MEDUSA ANCIENT ART, LTD. • MICHAEL PASHBY ANTIQUES • O'SULLIVAN ANTIQUES • PAUL M. HERTZMANN, INC. • PHILIP COLLECK, LTD. • PHOENIX ANCIENT ART • PREHISPANICO • R. KALLERKIMCHE INC. • REHS GALLERIES, INC • ROBERT MORRISSEY ANTIQUES • ROBERT SIMON FINE ART • ROBYN TURNER GALLERY • SCHILLAY FINE ART, INC • SPENCER MARKS, LTD. • STEPHEN RUSSELL • THE ROMAN GORONOK COMPANY • THE SCHWARZ GALLERY • THOMAS K. LIBBY
VOJTECH BLAU • YEW TREE HOUSE ANTIQUES •
AADLA invites you to support Himalayan Art Resources: A comprehensive education and research database and virtual museum of Himalayan art. Discover a wealth of knowledge at HimalayanArt.org
The Art and Antique Dealers League of America, Inc. is the oldest and principal antiques and fine arts organization in America. Learn more at AADLA.com
Interested in working with the AADLA? Reach out to us via email: info@aadla.com