Antiques and The Arts Weekly 9-27-24

by The Bee Publishing Company, Newtown, Connecticut

Make Way For Berthe Weill

Q&A: Joel Third

Sarasota Estate Auction Posts Successful Results For Its Sale Weekend

New Bidders Are Splendid For Marion

At Thomaston Place Galleries, Three Days Yields $3.5 Million Gross

Explore ‘Greenwich During The Revolutionary War’ With Local Historical Society

Bodnar Goes To War Armed With Miniatures

Write All About It— Historical Letters & Antique Autographed Books Top Tremont

Coins, Marine Art & Silver Headline For Roberson’s

Decorative Arts Carve The Interest Of Neue Bidders

Gratz’s American Fine Art Impresses With Pennsylvania Impressionists Club News

SEPT. 28, 2024 @ 10:00 AM 2

Session On-site Estate Auction

Session One – Militaria, Firearms, Swords, Knives & Ammo

Session Two – Fine Art, Vehicles, Tractors, Antiques, Sports, American Indian, Victorian glass, Estate Jewelry & Country Collectables

ABSENTEE/PHONE BIDS WILL BE ACCEPTED VISIT LIVEAUCTIONEERS.COM TO BID ON LINE

Preview: Friday, Sept. 27th, 11am – 5pm & Saturday, Sept. 28th, 8am – 9:30am Auction: Saturday, September 28th at 10 am (Note early start time for Session One) Session Two will start approx. 11:30 am Location: 195 Derby Road, Middletown, NY 10940 Contact: (845) 386-4403

Email: estateofmind2009@yahoo.com

For additional photos & information, visit www.EstateOfMind.biz or www.LiveAuctioneers.com/Estate-of-Mind www.AuctionZip.com ~ Auctioneer ID# 11093 Accepting donations for Vietnam Veterans Wall

SESSION ONE:

Smith & Wesson 38 Cal. Special Revolver, Serial #19D2254, 3 1/4” BBL **Nics Check Required**

Japanese Military Mounted Katana Sword, 19/20th C., L. 37”

J. Tarratt London Arms Silver Engraved Percussion Pistol, 19th C.

Vintage Confederate Bowie Knife W/Brass D-Guard Inscribed CSA, 19th C., L. 19 3/4” Lot (2) English Flintlock/Percussion Pistols, 18/19th C.

Lot (2) Vintage Painted Wood Fishing Lures Congress/Decker?, C. 1900, L. 5”

Rare Unwin & Rodgers PatenteesSheffield Rimfire Pistol, 19th C.

German Feuer Double Barrel Flare Gun, C. 1950/60, Ser. #4068, L. 13 1/2”

Bushmaster Mod XM15-E2S 223 Cal. Semi-Automatic Rifle, **NICS Check Required**

German WWII Luftwaffe Dress Sword, C. 1930/40, L. 37”

Lot (2) Country Painted Baskets Incl. Yellow/Green, 19/20th C.

O/C Horseback Riders Signed Edgar Payne (1883-1947 California, Missouri) C. 1930, 16” X 20”

Huge Steuben Gold Aurene Vase, Signed, #2686, C. 1930, H. 12”, D. 11 1/4”

Jelly Cupboard, Approx. H. 55”, W. 48”, D. 18”

Early German Carved Wood/Cotton Belsnickle Mantle Ornament, 19th C., H. 9”

Set (5) Hirata (Japanese) Tea Service (950 Sterling) Incl. Coffee Pot, Tea Pot, Sugar & Creamer w/ Waste Bowl, C. 1930/40, W. 108.3 oz.

Lot (14) Vintage Halloween Paper Masks, C. 1950/60s

Rare 1975 Bricklin SV-1, Ford 351 V-8 Engine, 36,456 Miles

3 Gal. Salt Glazed Stoneware Crock W.H. Storey Newton, NJ W/Fulper Bird Decoration, 19th C. 2 Lots (59) Gelatin Silver Photo Prints Signed M.I. Boris (Boris Majdrakoff 1887-1962), Dive Into My Eyes And Swim In Endless Seas, C. 1925, 13 1/2”

Lot Assorted American

W.H.D. Blake Collection

Exceptional/Fine Cartier Ballon Bleu 18kt Rose Gold/ Stainless Steel W/Original Box, Papers & Receipt, C. 2016

Pecs Figural Duck Jardiniere, 19/20th C., H. 13”, D. 11 ½”

September 30th @ 10am

The auction will be held live in the gallery as well as online through liveauctioneers.com

Preview: Tuesday, Sept. 24th – Thursday, Sept. 26th from 9am to 4pm & Friday, Sept. 27th from 9am to 3pm

HIGHLIGHTS: RARE 38-Star Handmade American Flag, Framed 1876 Centennial Fan, Painted Wooden Barber’s Pole, 19th C. PA Dutch Quilt w/ Lovebirds,  Frank Finney Carved Bird, German Kugels, Ash Burl Bowl, Early Round Hutch Table and Bucks County Double-Lidded Cutlery Box, Victorian Farm Table and (10) D.R. Dimes Chairs.  700+ QUALITY LOTS INCLUDING: Early Blown Glass, Flask and Bottles, Painted Firkins, Buckets and Pantry Boxes, Various Shaker Items, Blue Decorated Stoneware, Redware and Yellow ware, Baskets, Quilts, Coverlets and Textiles, Wrought Iron, Copper and Brass, Canes and Walking Sticks, Toleware and Tinware, Toys and Banks, Gameboards and Doorstops, Wooden Bowls, Scoops and Butter Stamps, Wallpaper Boxes and Decorated Chests, Lighting and Lanterns, Weathervanes and Decoys, Carved Eagle and Folk Art Carvings, Tintypes and Daguerreotypes, Footstools and Cupboards, Postcards and Trade Cards, Patriotic Items and 75+ lots of Christmas Decorations, Oriental and Hooked Rugs, Self-Taught Artists including: Sterling Strauser, Justin McCarthy and Jack Savitsky, Watercolors, Oils and Prints, Art Books, Frames and  MORE.

LiveAuctioneers

Hartzell’s Auction Gallery

38 Star Hand - Stitched Wool American Flag With Rare Star Configuration

Harvest Table with Large Variety of Country, Holiday, Textiles & Toys

NJ Tall Case Clock

Sterling Strauser o/b

Sterling Strauser o/b

Joel Third

Ridgefield, Conn., resident Joel Third has been interviewed here before. It was in January 2020, just before the global outbreak of Covid-19 changed the way we live in the world for the foreseeable future He sat down with then-editor Greg Smith to talk about his collecting career, a talk that was primarily focused on Third’s general art collection, which is prodigious. This time Antiques and The Arts Weekly wanted to learn more about the avid art collector’s remarkable collection of floral prints spanning five centuries.

What sparked your interest in art, particularly floral art?

We are always involved with flowers throughout our lives from beginning to end. Their beauty and colorful prints were always appealing. Because my profession as a communications engineer required the use of maps, they sparked my interest in print collecting, especially antique prints. From that exposure, it was an easy move to include floral prints in mine and my late wife’s collecting interest because of their colorful beauty.

Tell us about some of the floral print highlights in your collection. The prints that stand out in the collection are the ones from the Seventeenth Century. Basil Besler published a monumental floral document, a florilegium, called Hortus Eystettensis in 1613. The collection contains a few of the original, large, hand-colored prints. Emanuel Sweert published a plant catalog in 1612 for the Frankfurt Fair to market his bulbs and flowers. The collection does have a few of these original prints. While not as dramatic as the Besler prints, the Sweert prints are attractive. As an important part of America’s colonial history, I enjoy the prints of Mark Catesby, an English naturalist-explorer, who, in the early Eighteenth Century, explored the English colonies of Carolina and Virginia recording the flora and fauna. He engraved, colored and published in 1731 and 1754. Prints from Catesby are an accurate depiction of the colonies’ plant life that existed. From a beautiful presentation of color perspective, the Nineteenth Century prints of Pierre Joseph Redoute are hard to exceed. These prints copied from watercolors were published from 1830 to 1950.

Do you differentiate the art of botanists versus artists in general?

Not really; however, I do realize that in general the botanists made more precise renderings rather than did the artists, since much of their work was motivated by commercial or scientific reasons. The artists were and are capturing a beautiful image. They both created attractive prints. A good example of a botanist’s work is that of Catesby, who had to produce precise prints to satisfy his science-backers back in England; in doing so he made attractive prints sought after today.

Some months back you gave a talk at the Ridgefield Library looking at evolution of artistic technique and styles in floral prints through five centuries — Seventeenth through Twenty-First. How did you come to look at the collecting category in that way?

When looking through the collection, I realized the flower images did, in fact, evolve over the years. In general, they became more impressionistic and less realistic. This change has been explained and was due to the different motivations, science, marketing versus artistic images in creating the prints, at least in this collection. Another factor is the evolution of printing techniques from intaglio, which consisted of engraving, stipple engraving and etching — all methods of cutting the surface of a metal plate to accept the ink for printing. The printed image was then hand-colored. Then lithography was invented in Germany in the late Eighteenth Century by drawing images on a limestone with a greasy crayon, then wetting the stone, applying ink, which adhered only to the drawing and printing occurred. The principle utilized was that water and grease or oil don’t mix. It initially made only black and white prints, which had to be hand-colored. Later on in the Nineteenth Century, color lithography or chromolithography developed using multiple stones, which required precise alignment. The printing of exotic flowers excited the public with all the varieties from all parts of the world. The lithographic prints were not as precise as the engraved prints, but produced a less expensive print available to the general market. Floral prints in the Twenty and Twenty-First Centuries are more impressionistic. Other printing processes developed as well. So, the genre has expanded and absorbed many different styles, but the special charm of the centuries-old floral prints remains.

What was the earliest great floral publication?

I consider the Seventeenth Century florilegium, Hortus Eystettensis, by Besler printed in 1613 to be the earliest greatest floral publication, certainly in Europe. This florilegium contains 367

( continued on page 6 )

Tina Phillips, a Ridgefield artist, has stated, “It’s a beautiful thing when career and passion come together. At an earlier age I realized I had a gift of art, so then my purpose was to share my gift.” She teaches art at Ridgefield’s Founders Hall, which gives her a good opportunity to share her gift. She paints in an impressionistic and folk art style.

( continued from page 1 )

floral prints of more than 1,000 varieties of flowering plants. The publication was the collaboration of two men, Besler, a Nuremberg apothecary, and his patron, Johann Konrad von Gemmingen, prince bishop of Eichstatt, Bavaria (1561-1612). The prince created a comprehensive garden in Eichstatt and employed Besler to manage it and produce a catalog documenting the garden’s many plants. It took Besler 17 years to complete the hugely successful Hortus Eystettensis. Besler employed six engravers to assist him engrave the large (21 by 16¼ inches) copper plates and hand coloring the 367 prints. There were many editions of this attractive monumental publication.

You have some Ridgefield residents — all living — listed among your example of artists in the Twenty-First Century. Can you tell us a bit about their floral art?

The following artists live in the Ridgefield, Conn., area and I acquired their paintings, watercolors or prints from local sales:

Ann Kromer, a former Ridgefield artist, now a Cincinnati one, paints from nature in a loose, impressionistic, colorful style. Her landscapes and gardenscapes have won numerous awards and has exhibited in shows throughout America, including New York City’s National Arts Clubs. The collection has many of Kromer’s small floral watercolors.

Tina Cobelle-Sturges is a well-known local artist best known for her radiant, colorful paintings with an impressionistic and folk-art style. Her work demon-

Joseph

strates her ability to strike a balance between realistic and impressionistic genres, especially in busy urban streetscapes of New York City. Sturges seamlessly weaves nature and floral elements with the urban landscapes, resulting in a simultaneously energetic and soothing composition.

Tina Phillips is a local artist who has stated, “It’s a beautiful thing when career and passion come together…” She teaches at Founders Hall, a Ridgefield Senior Center. She has managed art shows for herself and her students. She paints in a colorful impressionistic style in watercolor and oils. She painted the Keeler Tavern Museum’s walled garden showing spring flowers.

Spencer Eldridge renewed his passion for oil painting in 2002 after spending time in the woods of upstate New York. He paints en plein air in order to capture the ever-changing effects of light as it falls on nature. Eldridge’s work has been exhibited in galleries in Los Angeles, New York City, Westchester County, N.Y., and Connecticut and hangs in many public and private collections. He has been an art teacher in the Katonah, N.Y., Lewisboro School District.

Carmen Lund is a local area artist and is on the faculty of Silvermine School of Art in New Canaan, Conn. She paints her floral works in an impressionistic free style that I appreciated and included her painting of tulips in the collection.

What are some tips for the beginning collector with regard to ensuring bona fides of a prospective item offered at an antiques show or at auction?

This is a very important question, especially for those starting a collection. I have noted some tips

that I have learned from many years of collecting, a very rewarding hobby.

1) Always seek established dealers for items, as well as for advice. Dealers such as The Old Print Shop in New York City and others with decades of serving the collecting public. As far as auction houses go: Swann Galleries in New York City or Trillium Rare Prints in Franklin, Tenn. They all are on line.

2) Good reference books are important. The Art of the Garden, Collecting Antique Botanical Prints by Denise DeLaurentis and Hollie Powers Holt, published by Schiffer Publishing Ltd., Atglen, Penn,, 2006, is a very informative and attractive reference book.

3) Always try to collect original printings. If not sure, be sure to ask.

4) Try to choose a subject or grouping and don’t have a scattered collection.

You’ve retired and now have time to exhibit and present related talks.

When did you retire?

I retired in 2007 from 47 years as an electrical engineer working on communications projects all over the world with International Telephone and Telegraph.

I know it’s a hard choice, but do you have a favorite print?

Yes, I think I do. I like Emanuel Sweert’s “Sunflowers” from his 1612 publication. I like the simple antique presentation of lovely sunflowers.

How do you display and store the collection?

I archivally frame what I can and the rest are in a flat file.

—W.A. Demers

Emanuel Sweert (1552-1612), “Solis Flos Peruuianus” (Sunflowers) from the Florilegium Amplissimum et Selectissimum, 1612.

Pierre

Redoute (1759-1840) from Bouquet des Fleurs / Fleurs de Redoute, 1830-1850.

Basil Besler (1561-1629) from Hortus Eystettensis, 1613.

Periodicals Postage Paid at Newtown, Connecticut 06470

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

Sherri Smith Baggett Co-Publishers

Madelia Hickman Ring, Editor W. A. Demers, Senior Editor Laura Beach, Editor At Large Kiersten Busch, Assistant Editor Carly Timpson Assistant Editor Rick Russack, Contributing Editor Cindie Gannon, Advertising Manager 203-426-8036 (antiques advertising only) or 203-426-3141 (subscription and other information) or Fax. 203-426-1394 email (advertising) - ads@thebee.com email (subscriptions) - subscriptions@thebee.com email (editorial) - antiques@thebee.com

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EFFECTIVE March 1, 2023

Hesse To Sell Lifetime Collection Of Native American Artifacts

SYDNEY, N.Y. — Dr Constantine Zariphes Jr of Rocky Hill, Conn., devoted a lifetime to studying and collecting Native American artifacts and early American antiques. His extensive collections of well over a thousand items will be sold at unreserved public auction over the course of the next several months.

Part one of the Zariphes collection will be conducted on Saturday, October 12; it will present perhaps the best of the Native American artifacts from his collection, according to the auction house.

This initial auction includes many desirable pieces, including Seventeenth and Eighteenth Century Iroquois artifacts, Plains

Let’s

UNIVERSITY PARK, PENN. — As the 2024 presidential election approaches, the Palmer Museum of Art turns to its permanent collection to chronicle the evolution of politics in the United States and spark conversations about democracy, empowerment, propaganda, patriotism and protest in “Politics and Daily Life,” on view in the Greider Family Gallery through December 15. Located in Pennsylvania, predicted to be one of the most important swing states

Indian beaded and quilled materials, pottery and carved wooden relics, polished stone and bone items, both utilitarian and ceremonial pieces, effigies of various materials, Northwest Coast treasures and more. Bone combs, platform pipes, ball head clubs, pipe tomahawks, beads and iron trade items, gunstock clubs, projectile points, carvings in wood, pottery and stone. All are representing the many Native American cultures that have peopled this continent.

Included in the part one auction are many artifacts from the Lone Pine Site in East Hartford, Conn. Dr Zariphes was instrumental in the discovery and excavation of this site, and his scholarly report

on it was published in the Journal of the Connecticut Archaeological Society. Dr Zariphes served as president of the Connecticut Archaeological Society for four years and was lauded by this society for his 25 years of dedicated service. He published articles in scholarly journals of both the Massachusetts Archaeological Society and the Connecticut Archaeological Society. Dr William Ritchie, archaeologist for the state of New York and known as the “Father of New York Archaeology,” wrote to praise Dr Zariphes for his original work and conclu-

sions on the Lone Pine Site, stating that it coincided with his own work done on Martha’s Vineyard.

The part one Zariphes auction will offer 350 lots to be sold without reserve at the American Legion Hall, 22 Union Street, beginning at 10 am on Saturday, October 12. Previews will be conducted Friday, October 11, from 10 am to 4 pm, and from 8 am on Saturday, October 12.

Part two will offer a further 350 lots of the artifacts collection and will be conducted November 16.

Part three will feature 350 lots of early American antiques, fine arts

Talk ‘Politics And Daily Life’ With The Palmer Museum Of Art

in the 2024 presidential election, the Palmer empowers visitors through educational programs and voter registration opportunities while presenting prints, drawings, photographs and sculpture that engage political themes. The Palmer’s partnership with the McCourtney Institute for Democracy at Penn State for this exhibition brings resources from both institutions to bear, creating a monumental offering that is greater than the sum of the parts.

“Politics and Daily Life” presents politically inflected imagery from American and European artists. Arranged in three sections — “Events,” “People” and “Symbols” — the works date from the mid1800s to the early 2000s.

“Events” highlights gatherings inspired by politics, ranging from voting and parades to ceremonies and social justice protests. John Sartain’s “The County Election” (1854) transports viewers to a time when voting rights, once exclusive to property owners, were expanded to all white male adults. With new — though still limited — participants, elections became public festive gatherings like the one depicted in Sartain’s work. Well over a century later, Jacob Lawrence’s powerful “Confrontation at the Bridge” (1975) reminds viewers that the quest for equality is a universal human impulse.

In “People,” artists devote

and accessories from the Eighteenth and early Nineteenth Centuries; this session is scheduled for January 4, 2025. The Zariphes auctions will conclude with part five on February 15, 2025, and will combine both artifacts and antiques from his extensive collections.

Catalogs are available in advance of the auctions upon request by mail for $20, including postage, or are available at no cost via email in pdf format. Auction photos and partial descriptions are also online at AuctionZip #2029. Inquiries may be directed to Buzz Hesse at buzzh123@ gmail.com or 607-287-5322.

their work to elected officials, political actors, ordinary citizens and victims of injustice. Images of dustbowl refugees during the Great Depression, as pictured in Stella Drabkin’s “Refugees” (circa 1930s) and William Gropper’s “Refugees” (1937), resonate with the ongoing contemporary displacement of people due to political warfare and climate change.

Maps, flags and monuments anchor the “Symbols” section of the exhibition, addressing myths, inequality and perceived differences among citizens. Gordon Parks’ “American Gothic, Washington, DC” (1942) posits Ella Watson, a government worker, in front of the American flag.

With a broom in one hand and a mop in the other, Parks

•ALL BETTER ART, especially CONTEMPORARY ART: incl.

uses his subject to record professional and economic disparities in segregated Washington, DC. The Palmer Museum of Art at Penn State is at 650 Bigler Road. For more information, www.palmermuseum.psu.edu or 814-865-7673.

•ANY BETTER AUTOGRAPHS, LETTERS DOCUMENTS

•THE RARER AND MORE UNIQUE, THE BETTER!

Seventeenth Century Iroquois effigy bone comb.

Knobbed lunate atlatl weight

Pop-eyed slate bird stone.

“American Gothic, Washington, DC” by Gordon Parks (American, 1912-2006), 1942, printed later, gelatin silver print, 18¼ by 13-1/8 inches. Palmer Museum of Art, purchased with funds provided by the Friends of the Palmer Museum of Art, 99.32 ©Gordon Parks Foundation.

Decoy and Sporting Art Auction

November 9 & 10, 2024 | Easton, Maryland

The Country School

In conjunction with the Easton Waterfowl Festival

$30,000

Pair of pintails by the Ward Brothers

$80,000 - 120,000

Decorative black duck by Elmer Crowell

$50,000 - 80,000

Decorative curlew by Elmer Crowell

$35,000 - 45,000

Decorative woodduck by Elmer Crowell

- 40,000

Full size black duck by Charles Hart

$50,000 - 70,000

Pair of redheads by Charles Perdew

$40,000 - 60,000

Merganser hen by Captain Charles Osgood

$40,000 - 60,000

Brant by Eli Doughty

$20,000 - 30,000

Pintail by Elmer Crowell

$15,000 - 20,000

Pintail hen by the Ward Brothers

$40,000 - 60,000

Goldeneye hen by the Ward Brothers

$60,000 - 90,000

Redhead by the Ward Brothers

$25,000 - 35,000

Featuring the collections of Gene & Linda Kangas, James & Lyda Madden, Al Marzorini, and Mike & Ginger Raffia

$30,000

Least sandpiper by Elmer Crowell

- 40,000

Redhead by Elkanah Cobb

$30,000 - 50,000

Merganser by Elmer Crowell

$25,000 - 35,000

Black duck by Charles “Shang” Wheeler

$20,000 - 30,000

Yellowlegs by Elmer Crowell

$30,000 - 40,000

Pair of pintails by William Quinn

$20,000 - 30,000

Brant by Captain Robert Andrews

$10,000 - 15,000

Gull by Frank Kellum

$20,000 - 30,000

Canada goose by the Ward Brothers

$20,000 - 30,000

Preening mallard hen by Bert Graves

$20,000 - 30,000

Mallard hen by Robert Elliston

$25,000 - 35,000

Bluebill by Joseph Lincoln

$20,000 - 30,000

Bluebill by Arthur Cobb

$15,000 - 25,000

Plover by Obediah Verity

$30,000 - 40,000

Black duck by the Ward Brothers

$20,000 - 30,000

Vintage Paper, Book & Advertising Collectibles Show Returns October 12

BOXBORO, MASS. — Flamingo Eventz is planning the return of the popular Boxboro Paper Town — The Vintage Paper, Book & Advertising Collectibles Show on October 12 at the Boxboro Regency Hotel and Conference Center. This is the original Boxboro Paper Show — a longtime favorite of both dealers and customers — where visitors will find all things paper and ephemera.

“As interesting as virtual shows may be, nothing can match actually holding, touching, feeling a vintage item and discussing it with another interested human being,” according to show promoters John and Tina Bruno, who added. “We all prefer to experience our vintage treasures as they were meant to be — in person!”

Exhibitors from across the Northeast will gather to present an array of rare

and unusual ephemera, old books, photos, maps, postcards, autographs, memorabilia, keepsakes, prints, posters, advertising and more. Presented as a special exhibitor will be Bob Perry with an extensive line of ephemera archival supplies for sale. As always, there will be appraisals by appraiser John Bruno and guest appraisers.

Since Covid is still with us, masks are

encouraged.

Show hours are 9 am to 3 pm. Admission: Adults: $8 ($1 discount with ad or coupon), young collectors ages 12 to 21: $4. Appraisals by John Bruno and guest appraisers 12 to 2 pm at $5/item. There is plenty of free parking. The Boxboro Regency Hotel is at 242 Adams Place. For information, 603-5092639 or www.flamingoeventz@gmail.com.

Earth Meets Space At The Baum School Of Art With Anthony Smith

ALLENTOWN, PENN. — The Baum School of Art is presenting accomplished artist and educator Anthony Smith Jr in his first solo exhibition in the Lehigh Valley. “Terrestrial Celestial,” on view in the school’s David E. Rodale and Rodale Family Galleries to September 28, features a collection of his mixed-media explorations of dynamic earthly landscapes and grand celestial bodies.

Smith’s work integrates rich layers of personal and cultural storytelling within layered applications of paint, calligraphic linework and collage. Upon first glance, the works present as serene landscapes and skyscapes, but closer inspection offers a glimpse of the complex narratives unfolding beneath the surface.

Smith received a BA in fine arts from Amherst College in 1999 and an MFA in painting from the University of Michigan in 2001. He has exhibited nationally and internationally and has taught at such institutions as the University of Michigan, Parsons, Princeton, Maryland Institute College of Art and Lehigh University, among others, and will begin teaching at Kutztown University starting this fall.

The Baum School of Art and Smith are partnering with Sterner’s Stems to complement the “Terrestrial” portion of the exhibition. Sterner’s Stems is located on 7th and Hamilton offering rare plants, a succulent

Anthony Smith Jr, jinn Rosenwald, 16 by 43 inches, mixed media painting, 2024.

Anthony Smith Jr, “Both Gaia and Ava Ground Souls In Their Father’s Eyes,” 47 by 47 inches, acrylic mixedmedia, 2020.

bar, botanical art and a buildyour-own-terrarium bar.

The Baum School of Art is at 510 Linden Street. For additional information, 610-4330032 or www.baumschool.org.

SARASOTA, FLA. — Molly Hatch’s “Amalgam,” Sarasota Art Museum’s latest installation of its “Inside Out” series, brings more than 480 handpainted plates together The “plate paintings,” on view through April 2026, feature white, blue and gold luster with motifs from multiple cultures. The Sarasota Art Museum is at 1001 South Tamiami Trail. For information, 941-309-4300 or www.sarasotaartmuseum.org.

Nansen’s Farther North

Certain Books

Evie Eysenburg

Coins, Marine Art & Silver Headline For Roberson’s

PINE BUSH, N.Y. — The August 31 Estate Antiques Auction brought 406 lots of stoneware, art, dolls, toys, tools, signage, furniture, collectibles and other antiques across the block at Roberson’s Auctions. In total, the

sale realized around $46,000 and coowner Del Roberson shared, “We were quite surprised by a few lots. Generally speaking, we did have a good crowd in our hall as well as around 450 bidders active online. We have

The surprise of the sale, these two sets of coins, one with 70 US pennies in a frame marked “1848 Frank Tibbitt 1918” and “Penna. R.R. Co.,” and another with four Silver Dollars as well as other foreign and domestic coins, were the highest earning lot, crossing the block for $3,000 ($75-$125).

was in very good condition; it sold for $1,800 ($1,8/2,200).

somebody who serves good food so that helps!”

The top lot of the sale, which was claimed by an online buyer for $3,000 — well above its $75-$125 estimate — included two collections of coins. One of the collections had four Silver Dollars and 20 other domestic and foreign coins bore into a piece of wooden board. The other was a collection of pennies in a frame that read “1848 Frank Tibbitt 1918” across the top and “Retired April 1st 1918 Penna. R.R. Co.,” across the bottom. Following the sale, Roberson told us, “In the frame there were seventy 1917 pennies and apparently, those are rare. It was a retirement gift to Frank Tibbitt, who retired from the Pennsylvania Railroad Company… but there was something about these 1917 pennies that caught bidders’ attention. It was sold with another lot of coins, but it wasn’t those that people cared about.”

A few days later we followed up and she was able to tell us a little more: “The gentleman who bought them said they were uncirculated.”

The next two lots in price were both oil paintings. Making $1,800 was an oil on canvas seascape signed “Bricher” to the lower right. The seaside scene featured a cliff and large rock formation on the left side with waves rolling in and boats on the horizon. The auction catalog noted that the framed canvas was on a “nice old stretcher” and it sold to a local, inhouse buyer. The other top painting, also relating to the sea, was a small, framed portrait of a sloop on the water. This one, done by George Nemethy and initialed in the lower right corner, was on a wood panel and sold to a Florida-based buyer for $1,750. Silver always draws interest, and

the two sterling flatware services in this sale were no exception. Achieving $1,320 was a 48-piece service, for eight place settings. This service was in the King Cedric pattern, made popular by Oneida Silver. The other sterling silver set was an assorted lot of 52 pieces in various patterns. According to the catalog, some of them were “fancy.” The lot, which was predominantly spoons, brought $960. Both sterling silver f latware sets were sold to in-house buyers.

While most Louis Vuitton steamer trunks are commonly recognized by the company’s repeating monogram pattern, a refinished example with wooden sides was less conspicuous. Upon closer inspection, one would notice that all of the trunk’s iron hardware was marked with the company’s stamp and a label was affixed inside the lid, which was quilted. After bringing $1,375 from an online buyer, Roberson thought the trunk would make a nice coffee table.

Shipping to Minnesota after selling for $1,063 was an 1889 Colt Model Pocket Revolver. The gun’s 4-inch octagonal barrel bore a maker’s mark, “Sam Colt, N.Y.C.,” to its top and it had a five-shot decorated cylinder and round trigger guard. “Colts Patent” and a serial number were etched onto the cylinder

Coveted by collectors of antique tools and hardware, the Number One Stanley plane offered in this auction was sold to an online buyer for $1,063. In good condition, the 6-inch-long by 3½-inch high plane was cataloged as “rare.”

Prices quoted include the buyer’s premium as reported by the auction house. For information, 845-283-1587 or www.robersonsauctions.com.

Auction Action In Pine Bush, N.Y.

pieces in various patterns, was picked up for $960 ($500/800).

Cataloged as “rare,” this No.1 Stanley plane far exceeded its estimates, shaping up to $1,063 ($75-$100).

A refinished Louis Vuitton trunk with signed iron hardware and quilted interior, 13 inches high by 39½ inches wide by 21¼ inches deep, made $1,375 ($200/400).

This 7-by-15-inch framed oil on canvas seascape with large rock formation was signed “Bricher” and

This 48-piece service of sterling silver flatware in the King Cedric pattern brought $1,320 ($600-$1,000).

This assorted set of sterling silver flatware, with 52

George Nemethy’s small oil on wood panel painting of a sloop, 6 by 5 inches framed, was initialed “GN” and went out well above its estimate at $1,750 ($400/700).

With a 4-inch octagonal barrel, marked “Sam Colt, N.Y.C.,” this 1889 Colt Model Pocket Revolver was 9 inches long overall and brought $1,063 ($1/1,500).

Review by Carly Timpson, Assistant Editor

Photos Courtesy Roberson’s Auction

Bert Gallery Studio Collection At Auction On October 8

PROVIDENCE, R.I. — Bert Gallery will present its Studio Sale: Historic & Modern American Art on Tuesday, October 8, at 6 pm Eastern time on LiveAuctioneers. “It is exciting to increase the gallery outreach beyond 24 Bridge Street in Providence to a wider audience online with a dedicated artwork online auction. Welcome to all our new patrons from across the United States,” said gallery owner Catherine Little Bert.

The sale brings artworks to market for the collector or dealer who seeks accomplished artists with well-established exhibition and museum records. Each painting is well documented with extensive written descriptions for each entry, allowing buyers to discover many new names in American art.

This sale offers a mix of American art covering American Impressionists, sporting art, watercolor masters and master printmakers. Folk artist Maxwell May has two works in the auction and another small gem by Antionio Cirino of Bearskin Neck, Rockport, enhances the sale. Providence School painter George Whitaker has strong landscapes in the auction along with master watercolor artist S.R. Burleigh.

1953. During the 1940s Modernist era, artists, particularly women artists, delved into intense self-portraits, revealing their inner broodings from their portraits, and they painted their models and neighbors showing keen observations of the people they encountered.

The auction has a cluster of works by artists who escaped to island havens, such as Cape Cod, Nantucket and Block Island. These island shelters along with artist colonies, such as Newport and Rockport, offer some of the most profound American artwork created in these naturalistic and isolated sanctuaries. For Edgar Corbridge, it would be Provincetown in summers from the 1950s; for Carmel Vitullo, it was Block Island in the 1960s, and for Inna Garsoian, it would be Nantucket 1930s to 1940s.

McMullen Museum Of Art’s ‘States Of Becoming’ Explores Forces Of Relocation And Assimilation

CHESTNUT HILL, MASS. —

The McMullen Museum of Art at Boston College presents “States of Becoming,” an exhibition curated by Fitsum Shebeshe and produced by Independent Curators International (ICI). It examines the dynamic forces of relocation, resettling and assimilation that shape the artistic practices of a group of 17 contemporary African artists and informs the discourse on identity construction within the African diaspora. The artists, who either relocated to the United States or are first-generation born, have lived and worked here within the last three decades.

The traveling exhibition is on view through December 8. The McMullen is the first New England venue to host “States of Becoming,” which presents 28 works across mediums including painting, photography, sculpture, installation and video, which express the different ways in which identity is remade and reimagined.

“The McMullen Museum and Boston College’s African and African Diaspora Studies Program [AADS] are pleased to

present the recent work of 17 outstanding artists, all of whom have been members of the African diaspora in the United States,” said Nancy Netzer, Inaugural Robert L. and Judith T. Winston director of the McMullen Museum of Art, and a Boston College professor of art history.

The exhibition is arranged in three groups: artists whose relocation prompted aesthetic transformations by incorporating hybrid elements into their work; artists who share their experiences from their country of origin within their current communities; and artists who build bridges connecting the African diaspora to the United States in their practice. “States of Becoming” aims to contribute to conversations on identity construction in the face of relocation and resettling, exemplifying how diaspora artists navigate the interplay between ancestral African heritages and prevailing American cultural paradigms.

The McMullen Museum of Art at Boston College is at 2101 Commonwealth Avenue. For information, 617-552-8587 or www.mcmullenmuseum.bc.edu.

The Modernist section of the auction has several works from the Walter Feldman Trust for Artwork, Brown University. Feldman was Yale-trained under J. Albers and DeKooning, coming to Providence in

There are three women printmakers, such as RISD instructor Eliza Gardiner, WPA artist Jean Artman and the Bauhaus emigree Margarete BittkowKoehler, who shared a lifetime art friendship with the Albers, Feiningers and Klees — all forced to flee their German homeland to America in the 1930s.

Bert Gallery is at Corliss Landing, 24 Bridge Street. For information, 401-751-2628 or email bertgallery@comcast.net.

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Thurs & Fri: 10am To 6pm Saturday: 9am To 6pm Sunday: 10am To 4pm Fresh & New! Multi-Vendor, Indoor Space Antiques, Books, Collectibles, Vintage & More! 25 Talcott Rd., West Hartford, CT VENDORS: 860-214-9568

“Nantucket Neighborhood,” 1930s by Inna Garsoian.

“WPA Workers,” circa 1935–43 by Jean Artman.

Maxwell Mays (1918 – 2009), “Fancy New England Yellow House Party.”

Notable Prices Recently Achieved At Various Auction Houses

Across The Block

Floral Federal Style Armchairs Bloomed To Top At Past To Present NIANTIC, CONN. — Past to Present Auctions conducted its second auction of the month on September 15, offering various items from the estate of A. Perkins, a lifetime collector. Crossing the block were 468 lots of home furnishings, antique Staffordshire, antique fire-related items, paintings and prints, sterling, oil lamps, and Nineteenth and Twentieth Century garden décor items, among others. Leading the sale were a pair of federal style Lincoln-draped armchairs, which earned $1,593, after 82 consecutive bids. The set had matching floral upholstery and velvet backs in a red-pink color. For information, 860-449-3312 or www.pasttopresentct.com.

Stanley Whitney Abstract Brings Solid Price To Kaminski BEVERLY, MASS. — Of the nearly 575 lots offered by Kaminski Auctions in its September 15 Estates auction, an oil on canvas abstract painting by African American artist Stanley Whitney (b 1946) took top dollar, exceeding its high estimate and selling for $62,500. Dated 1980 and measuring 48 by 64 inches, the colorful composition had previously been in the corporate collection of the Best Products Company in Richmond, Va. Frank Kaminski noted the buyer was a private collector in the United States. For information, 978-927-2223 or www.kaminskiauctions.com.

The Backwoods Come To The Front For Vero Beach VERO BEACH, FLA. — Vero Beach Auction’s September 14 sale featured 361 lots of antiques, art and other estate finds. Many of the top lots were Florida Highwaymen paintings, favorites of the firm’s clientele. Earning the highest price — $9,600 — was an early painting of a cloudy Florida backwoods scene by Alfred “Al” Hair (1941-1970). Done on Opson board, the 1960s work predated Hair’s better-known “fast method” of painting. The buyer, a local collector, plans to present the piece in an effort to promote the works of the Highwaymen and share the group’s history. For more information, www.verobeachauction.com or 772-978-5955.

All prices include buyer’s premium.

1895 Morgan Dollar Dazzles At Heritage

DALLAS — More than 30 bids poured in for an 1895 Morgan Dollar, PR67+ Deep Cameo before it sold for $324,000 to lead Heritage’s September 12-15 Long Beach Expo US Coins Signature® Auction. This beauty is a breathtaking superb gem coin, of which no business strikes are known. It is possible that as many as 12,000 circulation strike Morgan dollars were produced in 1895, but if they exist, their whereabouts are unknown. For more information, www.ha.com or 214-528-3500.

Roman-Byzantine Icon Tops Hargesheimer’s Four-Day Sale DÜSSELDORF, GERMANY — From September 11-14, Hargesheimer Kunstauktionen Düsseldorf presented 2,847 lots in its 141st auction, Fine Art & Antiques | Jewelry. Exceeding its high estimate of €160,000 to become the highest-achieving lot of the sale was a Thirteenth Century Roman-Byzantine school painting of Madonna with Child. Done in tempera on chalk ground on a wooden panel, the catalog noted that the figures’ robes were accented with gold and there was some old restoration and retouching. Despite this, the work was won by a German telephone bidder for $185,045 (€166,400). For information, www.kunstauktionen-duesseldorf.de/en.

Tantalus Set Proves Tantalizing For Woody’s Bidders

DOUGLASS, KAN. — An even 400 lots of American and brilliant cut glass (ABCG) crossed the block at Woody Auction on September 7, which headlined the collections of Dr Richard Byrne and Ian Berke. Spinning to $16,000 and the sale’s top lot was a tantalus set of three amethyst cut-to-clear six-sided bottles by Stevens & Williams. It hailed from the Byrne collection of New York City; a representative for the firm confirmed the buyer was in Texas. For information, 316-747-2694 or www.woodyauction.com.

Bob Ross Painting Makes For “Happy Little Auction” At Burchard ST PETERSBURG, FLA. — Burchard Galleries conducted the September edition of its Estate Antiques, Fine Art and Jewelry Auction on September 15. The 451-lot sale also highlighted the inclusion of items from the lifelong collection of an anonymous woman. Happily leading the sale was a painting by artist, pop culture icon and host of “The Joy of Painting” (PBS, 1983-1994) Bob Ross (American, 1942-1995), which landed near the high end of its $8,000-$12,000 estimate, earning $11,993. The oil on canvas depicted the Northern Lights shining in Alaska at night, with snowcapped mountains, an icy lake and a snow-covered cabin in the foreground. According to the auction catalog, the consignor was given the painting by Ross himself; the two served in the military together and were friends. For information, 727-821-1167 or www.burchardgalleries.com.

Cast Iron Camel Bank Trots To Top At BP Auctions

NEW BERLIN, WIS. — On September 14, BP Auctions conducted a 473-lot sale of various still banks, all of which had unique compositions, including animals, vehicles, humans, buildings and other designs. Despite its $100 asking price and $200/300 estimate, a small camel bank led the sale, earning a $1,833 finish, after intense bidding. The cast iron bank, depicting a camel painted green, was in near mint condition. For information, 262-797-7933 or www. liveauctioneers.com/auctioneer/1556/bp-auctions.

Early Articulated Mannequin Brings Top Dollar For Giampietro BRANFORD, CONN. — Leading New England Auctions’ 463-lot Americana, Advertising, Historical & More auction on September 12 was an articulated mannequin made of carved wood and brass. Catalogued as being attributed to Francois-Pierre Guillois and dating to circa 1790-1850, the 5-feet-5inch-tall figure rose to $8,960 from a $2/4,000 estimate. Consigned by a California collector, it was purchased by a buyer in the UK. For information, 475-234-5120 or www.newenglandauctions.com.

Celebrating the Cleveland School

Featuring the remarkable collection of the late Albert Wasserman

WOLFS is proud to announce the sale of this collection opening Friday, October 4th with over 100 Mid-Century works including oil paintings, watercolors, ceramic works, bronze & glass sculpture.

1.Clarence Holbrook Carter (American, 1904-2000), Adam and Eve , 1926

2.Toshiko Takaezu (American, 1922-2011), DoubleFormFiveSpoutedVessel , 1959

3.Kenneth Bates (American, 1904-1994), “Recent Obsessions” , 1945

4.Thelma Frazier Winter (American 1905-1977) Adam and Eve , 1940

5.Marguerite Zorach (American, 1887-1968), ThreeNudesinaWoodedLandscape , c.1912

23645 Mercantile Road, Beachwood, Ohio | 216-721-6945

Schucos & Pre-WWII Airplanes Fly, Race & Bound To Success At Milestone Toy Auction

This 19-inch French tin-windup Hispano-Suiza “900” seaplane was all original and had provenance to the Wint Johnson collection. The plane flew in for $9,225, the highest price of the sale. ($400-$600).

WILLOUGHBY, OHIO — A phenomenal legacy collection of German Schuco toys and fine pre-WWII airplanes joined forces to conquer the top 10 at Milestone’s August 24 Premier Toy Auction. Nearly 300 lots of Schucos were offered at the live gal-

This Schuco Felix the Cat perfume bottle, measuring 5 inches tall, was all original and in excellent condition. It had provenance to the Wint Johnson collection and sold for $4,674 ($300-$500).

This store display with five vintage scale miniature battery-operated outboard motors made by K&O Models Inc., included representations of Mercury 8, Gale 35, Buccaneer, Mercury and Green Outboard. With provenance to the Wint Johnson collection, it sold for $5,760 ($2/3,000).

Auction Action In Willoughby, Ohio

This Schuco Germany windup race car with driver zoomed to $3,936 against an estimate of $1,5/2,500. The lithographed tin racer had the Schuco logo on its radiator grille and the hand-painted driver was dressed in a felt jacket, helmet and scarf with tin hands and goggles. The 6½-inch-long car had provenance to the Wint Johnson collection.

lery sale, each an outstanding original example. While most of the Schucos are now en route to successful bidders across the pond in Germany, France and other Continental destinations, the majority of the airplanes — mostly of European manufacture — will remain on US soil. All of the toys entered in the 639-lot auction came from the estate collection of Minnesotan and lifelong toy enthusiast, Winton “Wint” Johnson (1937-2022).

According to Milestone Auctions’ co-owner, Miles King, online participants kept their bidding cards close to their vests. “They must have all had the same strategy in mind because they seemed to appear all at once to view the catalog and leave bids in the hour before the sale began,” he said. “We knew that probably every major Schuco collector would be interested in Wint’s collection — there was just no way they were going to miss the opportunity — but we had no idea how strong the interest would be in his vintage airplanes, which were in beautiful condition.”

The top seller amongst the Schucos was a Felix the Cat perfume bottle in excellent, all-original condition, with a “ball-bearing” nose, red kerchief and nicely painted facial features. Against an estimate of $300-$500, it sold for $4,674. Other novelties included three Schuco figural compacts: a scarce Cavalier King Charles Spaniel, $1,023; a patterned humpback tortoise, $1,023; and a French bulldog, $906. All were in original condition, retained their mirrors and had been individually estimated at $300-$500.

Huddled on the auction runway, Wint Johnson’s rare, prewar airplanes — mostly of German and French origin — were cleared for takeoff, one by one and take off they did. “We know now that Wint had great foresight in the aviation toys he

acquired,” King said. “By profession, he was a mechanical engineer. His knowledge of mechanical systems no doubt fueled his interest in airplanes, the designs of which must have seemed avant-garde at the time of their release.”

Leading the category, and the sale as a whole, was a 19-inch French tin-windup Hispano-Suiza 900 seaplane finished in red, yellow and French blue with lithographed windowpanes. An alloriginal example, it sold for $9,225. Another high flier was a scarce, all-original 17½-inch Fleischmann tin windup pontoon seaplane, which landed at $7,072 against an estimate of $2/3,000. Prices quoted include the buyer’s premium as reported by the auction house. For information, www.milestoneauctions.com or 440-527-8060.

‘Poskas: Father And Son’ At The Mattatuck Museum

WATERBURY, CONN. — A new exhibition at the Mattatuck Museum, “Poskas: Father and Son” features the work of Peter Poskas II, a prominent contemporary landscape painter and his son, Peter Poskas III, known for realist still lifes and impressionistic landscapes. The exhibition runs through January 5. For the first time, “Poskas: Father and Son” brings together the artwork of Peter Poskas II and his son Peter Poskas III. Poskas II is known for painting realist views of Connecticut cities and landscapes, exploring the conditions of weather and light on his subjects. Poskas III, after a life-altering accident, turned his attention from real-

ist still lifes to impressionistic views of the land, animals, and buildings surrounding his Washington, Conn., farm. As a wide-ranging retrospective of late-career Poskas II, and midcareer Poskas III, this exhibition not only speaks to the body of work of both artists, but also tracks how their relationship changed, grew and deepened over time through the lens of their artwork.

The exhibition opens with an homage to Waterbury, Conn., the birthplace of both Poskas II and Poskas III. Both artists have lovingly used the city as a subject throughout their careers, and visitors will be delighted by the range of perspective, scale and

season. Much of the exhibition looks at father and son artwork side-by-side, as they have been attracted to similar subjects, including the houses, rural landscapes and farms of Connecticut. In addition to tracing their artistic practice and relationship through paintings, the exhibition includes touching family photographs and other personal effects. “Poskas: Father and Son” provides a comprehensive view of the work of two accomplished Connecticut artists as well as the tender relationship they share as father and son.

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

A Tiffany Studios “Nasturtium” table lamp ($300/500,000), circa 1905, has a seldom-seen “Mosaic and Turtle-Back” illuminated base and stands 34½ inches tall.

A select grouping of Tiffany windows features this circa 1897 pair of “Alpha” and “Omega” windows ($80/120,000), 96¼ inches tall, which came from the Church of the Transfiguration, Rittenhouse & Evans Memorial, in Pottstown, Penn.

An expected auction leader is a Tiffany Studios “Laburnum” table lamp ($300/500,000. This circa 1905 example, standing 30 inches tall, is even more rare owing to its “Bird Skeleton” base.

Fontaine’s Auction Gallery To Offer Fine & Decorative Arts September 28-29

PITTSFIELD, MASS. — Fontaine’s will present a two-day fine and decorative arts auction September 28-29, which will include 1,000 lots of Nineteenth and Twentieth Century lighting, Tiffany lamps, art glass, leaded glass windows, silver, porcelain, marble and bronze statuary, Asian items, paintings, American and European furniture, clocks and jewelry. Highlighting the sale will be more than 200 Tiffany Studios items. Sessions start daily at 11 am.

The auction will feature the Tiffany collection of Dr Joseph T. Sheridan, the Tiffany collection of Edward McHugh, the Arts and Crafts collection of Hassan Basagic, the Ledgerock collection and various other private collections.

Fontaine’s is renowned for curating Tiffany lamps around the United States to bring to auction, and this sale will not disappoint with a robust selection of choice examples. Expected to lead the auction is a Tiffany Studios “Laburnum” table lamp from Sheridan’s collection that is estimated at $300/500,000. This design came from the imagination of Clara Driscoll, then the head of Tiffany’s female-led glass cutting department. This circa 1905 example, standing 30 inches tall, is even more rare owing to its “Bird Skeleton” base. The shade is impressed “Tiffany Studios, New York” and the base is impressed “Tiffany Studios, New York, 442.”

Other scarce Tiffany Studios lamps from the Sheridan collection crossing the block are a “Nasturtium” table lamp ($300/500,000), circa 1905, with a seldom-seen “Mosaic and Turtle-Back” base, 34½ inches tall, and a circa 1910 “Flowering Bouquet” chandelier ($150/250,000), having a 28½-inch diameter shade, which is featured on the

cover of The Lamps of Tiffany by Dr Egon Neustadt.

On offer from another collection is a “Peony Border” floor lamp, a pattern name that immediately catches collectors’ attention. The circa 1915 lamp in this sale, estimated at $125/175,000, has a “Chased Pod” Senior floor base and a “Pig Tail” finial. The shade is impressed “Tiffany Studios, New York, 1574,” the base is impressed “Tiffany Studios, New York, 376” and the lamp stands 78¾ inches tall.

Also worth noting is a set of four Tiffany Studios “Vine Border & Turtle-Back” ceiling lights ($80/120,000), circa 1905, featuring rare red background glass, coming out of a private collection in California.

Leaded and stained glass Tiffany windows were such a popular product for the company around the turn of the Twentieth Century that the firm created a whole department, Tiffany Glass & Decorating Co., to deal with them. Most were consigned from churches and today are highly desirable by private collectors.

Several windows are featured in the auction, led by a circa 1897 pair of “Alpha” and “Omega” windows ($80/120,000), 96¼ inches tall, which came from the Church of the Transfiguration, Rittenhouse & Evans Memorial, in Pottstown, Penn.; a four-panel entryway with windows, commissioned from St Paul’s Presbyterian ($75/100,000) circa 1905, and “The Good Shepherd” window ($40/60,000) from First Presbyterian Church, Fish Memorial, Passaic, N.J. The latter, a circa 1895 window, measures 105½ by 42½ inches overall.

Boasting fine provenance and demonstrating the strong artistic collaboration between Louis Comfort Tiffany and Associated

Artists is a pair of lanterns made for the “Moorish” smoking room in the Cornelius Vanderbilt II Mansion ($80/120,000). The circa 1881 fixtures were also once in the collection of the late musician John Denver and are 33½ inches tall. Additionally, there is a Tiffany Studios “Curtain Border” chandelier, which once hung in the dining room of Denver’s Aspen, Colo., Starwood home.

While Tiffany and other lamps may seem to dominate the auction block the first day, there will be no shortage of other items commanding attention. Highlighting a select grouping of paintings is an oil painting by the late French Expressionist Bernard Buffet, “Nature Morte au Compotier et Aux Fruits” ($20/30,000).

Two lots sure to make bring sweet music to buyers’ ears is a Steinway & Sons Model B grand piano ($25/35,000), circa 1908, and a J.P. Seeburg Style “G” upright art style orchestrion ($20/30,000) dating to the early Twentieth Century.

Garden sculpture is a booming market in the collecting world with buyers eagerly scooping up both large and small sculptures in stone, bronze and other media to enhance their outdoor living areas. Several sculptures that make quite a statement and require thoughtful placement due to their size, are on offer here with each estimated at $10/15,000. A Robert Holmes bronze sculpture, “Spinning Dancer,” standing 83 by 56 by 49 inches, is from the Ledgerock collection, overlooking the Hudson River. Additionally, there is a monumental head of a man by sculptor Roy Kanwit, carved circa 1990s in concrete and steel, 116 by 85 by 106 inches.

Rounding out the auction will be a platinum, diamond and

emerald brooch ($15/25,000) having a leaf and floral design, adorned with more than 5 carats of diamonds and nearly 4 carats of emeralds and a pair of Samuel Yellin wrought iron hanging lights ($12/16,000), 16 by 10 inches.

Fontaine’s Auction Gallery is at 1485 West Housatonic Street (Route 20). For information, 413- 448-8922 or www.fontainesauction.com.

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THOMASTON, MAINE —

Hiding out in an attic in a Camden, Maine, estate, a Seventeenth Century unsigned oil on cradled oak panel, “Portrait of a Girl,” cataloged as after Rembrandt Harmenszoon Van Rijn (Dutch, 1606-1669) was given a $10/15,000 presale estimate for Thomaston Place Auction Galleries’ “2024 Summer Gran-

Auction Action In Thomaston, Maine

At Thomaston Place Galleries, Three Days

Yields $3.5 Million Gross

deur” sale on August 23-25. With 123 bidders watching, the painting began at $5,000 and soon escalated into the tens of thousands, then hundreds of thousands, finishing after more than 60 bids at a stratospheric $1,410,000.

Like many legendary overachievers, the portrait was found in a typical house call of a

A product of Jamie Wyeth’s painting “rambles” with his father along the Rockland waterfront, untitled (Derelict), a watercolor on board, signed lower right and depicting the schooner Eva S. Cullison laid up in Camden, Maine, in 1958, was painted by the artist at the age of 12. It sold for $23,750.

England artist Don

private collection in Camden. The only clue to its celebrity status was a slip of paper on the back of the painting from the Philadelphia Museum of Art attributing the work to Rembrandt. Of course, a slip of paper, however tantalizing, does not prove authentication, hence, the “after Rembrandt” attribution. “It was in the attic among stacks of art that we found this remarkable portrait,” Kaja Veilleux, owner and founder of Thomaston Place Auction Galleries, said in a press release, adding, “We often go in blind.”

Contacted by Antiques and The Arts Weekly following the sale, Veilleux said that after 26 hours total of selling, he was feeling great.

Veilleux demurred on saying where the portrait went, only to say it was going out of the country into a private collection. In a later news story, the Portland Herald Press reported that the painting will go to “a private European collector.”

The firm’s late summer auc-

tion, which totaled $3.5 million, continued its tradition of presenting a sale packed with art and decorative rarities. The sale posted a 90 percent sell-through rate over the three days with 1,439 registered bidders on three platforms with phones, left bids and in-galley bidding.

Not grabbing as many headlines but outperforming nonetheless, was a six-panel byobu (folding screen), done in ink, color, gofun (white pigment) and gold-leaf by Gakyojin Hokusai (Japanese, active 1800-06) depicting a fierce battle. It was estimated $10/15,000 but did much better, finishing at $48,000. Catalog notes supplied information that the artist was a student of Katsushika Hokusai (1760-1849) and the screen depicted Hideyoshi Toyotomi’s (1536-1599) conquest of Korea in 1592. The battle scene was ferocious with hundreds of soldiers and their arms and clan battle flags. The story was told over six panels, each 24 by 65 inches. With seals, the late Edo

Seventeenth Century unsigned oil on cradled oak panel, “Portrait of a Girl,” cataloged as after Rembrandt Harmenszoon Van Rijn, was the top lot many times over, soaring from its $10/15,000 presale estimate to a stratospheric $1,410,000. It is going overseas into a private European collection.

“Serenidad, Arriba,” a monumental acrylic on canvas by Venezuelan artist Mercedes Pardo, gaveled at $24,000. Signed and titled verso, dated 1987, it came in a white shadow-line frame, measuring 50 by 57 inches.

period (1603-1868) folding screen stretched to an overall measurement of 12 feet.

Another portrait, this one a “Portrait of a Young Man” by Andrea Solario (Italian, 14651522), a Renaissance painter of the Milanese School, more than doubled its high estimate when it was bid to $37,500. The unsigned oil on cradled poplar panel bore a Christie's (London) label verso. It was housed in a gilt Florentine architectural frame and measured 30½ by 25½ inches.

Slingshotting from the Fifteenth Century to the Twentieth among the top lots, an Andy Warhol (American, 1928-1987) screenprint on black paper with diamond dust was a limited edition artist’s proof titled “Mammy,” which closed at $31,250. Numbered “24/30,” it was housed in a Lexan closed box frame and measured 41½ by 41½ inches. Catalog notes stated that it was purchased by the consignor from Michael Lisi Contemporary Art in New York

This

“Portrait of a Wealthy Boston Brahmin Writing,” oil on linen painting, circa 1770, by John Singleton Copley, fetched $21,250.

Review by W.A. Demers, Senior Editor Photos Courtesy Thomaston Place Auction Galleries

A tour de force of cloisonné enamel on silver, this loving cup by Russian artist Feodor Ruckert made $31,250.

New

Stone’s stormy winter coastal scene, titled “White Head, Monhegan Island,” an oil on linen painting, left the gallery at $22,800.

A large backhoe loader made by John Deere scooped up a final price of $32,400.

Among 10 screenprints in Andy Warhol’s 1981 “Myths” portfolio, this screenprint on black paper with diamond dust, titled “Mammy,” was a limited artist’s proof numbered 24/30, earned $31,250. Catalog notes stated that it was purchased by the consignor from Michael Lisi Contemporary Art in New York City in April 2018.

City in April 2018. According to Artsy, Warhol’s 1981 “Myths” portfolio, of which “Mammy” is included, is among the artist’s most sought-after print series. There are 10 silkscreens in the portfolio, each portraying a fictional character that the artist believed was endemic to American culture. Reportedly, Warhol’s friends and actor acquaintances posed in costume and makeup for the artist’s Polaroid camera, and the resulting silkscreens became, again, according to Artsy, “quintessential Warhols, showcasing the power and persuasion of popular culture.”

More fine art was featured. “Serenidad, Arriba,” a monumental acrylic on canvas by Mercedes Pardo (Venezuelan, 1922-2005), a calm “mindscape,” realized $24,000. Signed and titled verso, dated 1987, it came in a 50-by-57-inch white shadow-line frame.

A winter coastal scene by Don Stone (1929-2015), a New England artist, showed White Head on Monhegan Island besieged by stormy surf. The oil on linen painting, signed lower right

“Don Stone, NA,” elicited $22,800. Housed in an Arts and Crafts-style frame, the 49-by59-inch painting was titled verso on a Bayview Galleries of Camden, Maine, label, with an original price of $38,000. Maine favorite Jamie Wyeth (b 1946) was represented in the sale by an untitled 1958 watercolor on board (Derelict), signed lower right, depicting the schooner Eva S. Cullison laid up on land in Camden in 1958. Simple math tells us he painted this at the age of 12, as described in an accompanying letter that read, “. . . My father and I often went on painting ‘rambles’ along the Rockland waterfront. On this particular trek, we came upon this derelict schooner Eva S. Cullison. I chose to paint the bow view, while he chose the side view (‘The Slip’). . . . ‘I loved our painting rambles!’” Also included in the lot was a newspaper clipping from February 2010, stating that this painting sold for $11,115 at Pook & Pook of Downingtown, Penn. This time around, it brought $23,750.

“Portrait of a Wealthy Boston Brahmin Writing,” circa 1770,

This six-panel folding screen done in ink, color, gofun and gold-leaf by Gakyojin Hokusai (Japanese, active 1800-06) and depicting the fierce 1592 conquest of Korea surpassed its estimated $10/15,000, finishing at $48,000.

by John Singleton Copley (17381815) shows his subject in a gray outfit with gold buttons and a matching gray wig. Fetching $21,250, the oil on linen painting was unsigned with a gallery label verso and came housed in a gilt carved frame.

British artist John Sargeant Noble (1848-1896) set about to portray man’s best friend in “A Portrait of Three Dogs,” with hounds in a barnyard. The oil on canvas, signed lower left and dated 1876, was housed in a gilt cove frame measuring 33 by 46 inches, and left the gallery at $21,250.

Going out at $17,500 were both an oil on canvas portrait by Gilbert Stuart (1755-1828) and an oil on board landscape by Edward Willis Redfield (18691965), one of the great New Hope, Bucks County, Penn., Impressionists. Elisabeth Bender Greenough's (Mrs David Greenough) likeness, done about 1805, was unsigned and in a hand-carved lotus wreath gilt frame. Catalog notes stated that David Stoddard Greenough was a builder and a real estate developer in Boston, working

What the catalog described as lightly used, this heavyweight John Deere 3038e tractor with front loader and rear bush-cutter lumbered off for $24,000.

with the architect Charles Bulfinch, among others.

“Winter Brook and Road Lined by Birch Trees,” was signed by Redfield lower right and dated 1946. It was housed in a gold matched corner shallow cove Arts and Crafts frame, measuring 36½ by 30½ inches.

Decorative arts were led by a Feodor Ruckert (1840-1917) silver cloisonné enamel loving cup, a tour de force of the Russian’s cloisonné enamel artistry; it realized $31,205. Made in Moscow circa 1896-1908, the threehandled cup was of baluster form with ropework rim and curved handles. The 4-inch-high cup’s upper section and handles had shaded polychrome floral and vine decoration on a cream ground; alternating floral decorated teardrop shapes were featured in the lobes below. The base was stamped with a Cyrillic maker’s stamp, Kokoshnik mark, and with engraved presentation inscription: "M.L.S. and W.M.S., Nov. 18-1900.”

And because every Thomaston Place three-day sale aims to attract the interest of a broad swath of potential bidders, there were vehicles and farm equipment among the notable results. Topping the category was a 2015 GMC 3500 flatbed truck with 7,534 miles; ready to go for the next winter season, it motored off for $51,600, while a practical 2017 Toyota Tacoma SR5 double cab light pickup truck carried bids to $31,200. A large backhoe loader made by John Deere scooped up a final price of $32,400, and what the catalog characterized as a “barely used” John Deere tractor with front loader and rear bush-cutter found a buyer at $24,000. Prices given include the buyer’s premium as stated by the auction house. The firm’s next sale is scheduled for November 8-10 — a three-day fall feature, Autumn Majestic 2024. For information, 207-354-8141 or www.thomastonauction.com.

“Portrait of a Young Man” by Andrea Solario, an Italian Renaissance painter of the Milanese School, oil on cradled poplar panel, more than doubled its high estimate, selling at $37,500.

Gilbert Stuart’s portrait of Elisabeth Bender Greenough, wife of Boston builder and real estate developer David Greenough, done about 1805, sold for $17,500.

An oil on board landscape by Edward Willis Redfield, “Winter Brook and Road Lined by Birch Trees,” was $17,500.

“A Portrait of Three Dogs” by British artist John Sargeant Noble portrayed hounds in a barnyard. The oil on canvas crossed the block at $21,250.

MARION, MASS. — Marion

Antique Auctions’ September

Splendor auction on September 7 lived up to its name, raking in about $476,000 with more than 97 percent of the 562 lots crossing the block successfully.

“We had a great presence

Auction Action In Marion, Mass.

New Bidders Are Splendid For Marion

online and a number of new bidders; more than half of our online bidders were new to us. We also had a pretty good crowd here, mostly local folks, for preview and for the auction. Unlike a lot of auctions, we still have a large facility in a historic build-

ing and we encourage people to come. We were very pleased,” co-owner, Frank McNamee, told Antiques and The Arts Weekly after the sale closed.

Some of the highest prices of the day were for silver, which was a sizeable portion of the sale, accounting for more than 70 lots. A 126-piece set of Tiffany sterling silver flatware, in the Chrysanthemum pattern, blossomed to $13,800, the highest price of the day. According to assistant manager, Nick Taradash, it was bought “by a local private collector who has homes here and on Saint Thomas and Sanibel (Fla.); it will be

It’s never too early to train to be an auctioneer. Desmond “Desi” Lewis is 11 years old and is the grand-nephew of Marion Antique Auctions’ co-owner, Frank McNamee, who is standing behind him. The September 7 sale was Desi’s second time on the podium, when he sold a few lots in the middle of the auction; we look forward to seeing him there in future auctions.

Most of these 1899 Black Eagle silver certificates were in “excellent uncirculated condition.” A collector from Connecticut paid $6,900 for the lot of 11 ($1,5/2,000).

“The interest in those was tremendous,” noted Frank McNamee. Nearly 100 stereo cards accompanied this late Nineteenth Century stereo optic viewer and included views of New York, Vermont, Connecticut, New Hampshire and Switzerland. A Midwest collector, bidding online, took the lot for $5,120 ($200/400).

Review by Madelia Hickman Ring, Editor Photos Courtesy Marion Antique Auctions

used regularly in Sanibel.”

“Extraordinary” was a word used to describe a 22-inch-tall English sterling silver epergne that had marks for E. & J. Bernard of London, circa 1865. A “major” gallery in London bidding on the phone, topped it off at $9,600.

The UK is also the destination of a portrait of Sir Joseph Banks, painted in the Eighteenth Century by Francis Hayman (British, 1708-1776).

A label on the back of the Eighteenth Century — and possibly original — frame read “Thomas Agnew and Sons Fine Art Publishers to His Majesty, Lon-

This Navajo child’s blanket featured a classic design that included some indigo. Measuring 31½ by 52 inches, it had some minor losses and stains but still sold within estimate, for $3,968 ($2/4,000).

One of the biggest surprises of the sale was the $2,304 realized by 146 pieces of vintage Jadeite that had been discovered at a local fire station. A collector in South Florida prevailed ($300/500).

Century portrait of Sir John Banks, oil on canvas, in a 35 by 30 ½-inch period frame with Agnew & Sons framer’s label on the back. Estimated at $1,5/3,000, it did much better, earning $10,880.

trade buyer in London paid $9,600 for this mid Nineteenth Century sterling silver epergne made by E. & J.

Nick Taradash said, “A prominent art gallery in the UK” purchased Francis Hayman’s Eighteenth

A

Barnard in London ($6/10,000).

This set of five whaling prints were made in1872 in New Bedford, Mass., by Benjamin Russell and will be staying local, with a collector who won them for $3,986 ($1/1,500).

don.” Taradash pointed out the portrait had descended in the family of the sitter.

Several lots in the sale featured paper currency and silver certificates, some of them were purchased for the collection of an 8-year-old boy. The highest selling of these, however, was a group of 11 Black Eagle silver certificates dated 1899 that a Connecticut collector won for $6,900.

A stereo optic viewer that was accompanied by 93 cards was one of the lots that received the most pre-sale attention. Included among the cards were views of the Central Pacific Railroad in California that were taken by Alfred A. Hart, a contemporary of Carleton Watkins. McNamee noted they had been in a Marion home, set aside in a pile.

Desmond “Desi” Lewis lives in Assonet, Mass., and is McNamee’s 11-year-old grandnephew; he is also a budding auctioneer. He took the podium in the middle of the auction to sell a few lots that included a Black Forest carved umbrella stand in the form of a bear, ($2,040), a fossilized Wooly Mammoth tusk ($4,992) and a circa 1950 speckled trout carving attributed to Charlie Mangus of Nantucket ($384).

A Martha’s Vineyard estate was the source of several choice pieces, notably an early Nineteenth Century Kentucky flintlock rifle that had a barrel marked “H. Gibbs” and was made by Henry Gibbs. The gun — a dated 1710 powder horn with engraved floral decoration — had been purchased from Pennsylvania dealer, Joe Kindig, Jr, in the 1960s for $325. This time around, the two brought $3,840 and sold to a descendant of Gibbs who was bidding on the phone. Lewis was also wielding the gavel for that lot.

A Nineteenth Century Navajo child’s blanket was from the same Martha’s Vineyard estate. A West Coast collector,

This early Nineteenth Century Kentucky flintlock rifle and engraved powder horn, which was dated 1710, were accompanied by receipts from Joe Kindig, Jr, and three books on rifles. The buyer was a descendant of the maker of the rifle and paid $3,840 for the group ($1/1,500).

This fossilized Woolly Mammoth tusk had been unearthed in Alaska and sold to a collector in Bourne, Mass.; upon his death, his family consigned it to Marion’s. It was cataloged as from the Pleistocene era and sold to an online buyer in the Midwest for $4,992 ($1,5/2,500).

bidding online, prevailed against their competitors and won it for $3,968, nearly its high estimate.

Given Marion’s proximity to the coast and Cape Cod, nautical antiques is a strong and plentiful category for the auction house, which has recently hired Jordan Berson, previously with the Steamship Historical Society of America, as its

One of Nick Taradash’s favorite lots in the sale was this folky oil portrait of a horse that was consigned to the sale by his father, Bernard Taradash; it was a painting that had hung at the family’s Tiverton, R.I., horse farm for years. Estimated $200/400, it trotted to $3,200 and a new home in Connecticut.

A Mid Atlantic collector, bidding online, paid $3,968 for this Nineteenth Century elaborate shellwork sailor’s valentine from the West Indies ($2/3,000).

maritime specialist. A set of five whaling prints by Benjamin Russell had provenance from the estate of Adaline Havemeyer Perkins and sold to a local collector for $3,968. The same price was realized by a Nineteenth Century single sailor’s valentine that was once owned by collector Richard Mellon Scaife and previously auctioned in 2014 by Rafael

This Tiffany sterling silver flatware set for eight had a good variety of serving pieces and was in the Chrysanthemum pattern. It was the highest-selling lot of the day, bringing $13,800 from a private collector with several homes who purchased it to be used in their Sanibel, Fla., home ($10/15,000).

Osona. It will be traveling to a new home in the Mid-Atlantic region.

Marion Antique Auctions is still accepting property for its next sale, which is scheduled

for Saturday, December 7. Prices quoted include the buyer’s premium as reported by the auction house. For additional information, 508-748-3606 or www.marionantiques.com.

Write All About It—

Historical Letters & Antique Autographed Books Top Tremont

SUDBURY, MASS. — On September 8, Tremont Auctions conducted its 558-lot Summer Estates and Collections auction, which resulted in 91 percent of lots sold and realized $356,513 total. The sale offered an eclectic mix of items from local New

England estates, including 200 lots of jewelry, early English and American silverware, artworks and decorative items and an array of autographed first edition and antique books, historical letters and documents, and ephemera. According to

Cameron Ayotte, auction manager at Tremont, the buyers were a mix of international and domestic.

Ayotte also shared that the firm had “a great group of books and historical documents sell in this auction, including an Alex-

Auction Action In Sudbury, Mass.

Dated June 18, 1792, this letter from Alexander Hamilton to Revolutionary War soldier Benjamin Walker wrote home for $8,330, far exceeding its $800-$1,200 estimate.

Addressed to Maryland Historical Society founder Brantz Mayer, this letter, dated December 26, 1865, was penned and signed by Civil War general Robert E. Lee. The lot also included three photos of Lee in uniform; there was light wear to all of them. The 5-by8-inch letter was sealed for $6,985 ($1/2,000).

Closing its cover for $49,600, the highest price of the sale, was this fourth American edition of Joseph Smith’s The Book of Mormon published in 1842 in Nauvoo, Ill. ($12/18,00).

This lot of John F. Kennedy memorabilia included a signed press release copy of the former president’s infamous 1961 “Ask not” inaugural address, a letter dated May 8, 1962, from JFK addressed to a Mr Paul Keller in Berea, Ohio; and a pencil print of JFK by Norman Rockwell, which was numbered “200/2500.” The winning bidder secured the lot for $4,712 ($2,5/3,500).

Despite fold creases and light wear, this secretary letter with signature from John Quincy Adams signed off at $6,200, far exceeding its $400/800 estimate; the lot also came with a small bookplate engraving of the former president.

Blasting off to $3,570 was this second printing of First on The Moon (Little, Brown & Company: Boston, Toronto, 1970), signed by all three members of the Apollo 11 mission: Neil Armstrong, Michael Collins and Edwin “Buzz” Aldrin, Jr ($1/2,000).

ander Hamilton letter, a Robert E. Lee letter and a John Quincy Adams letter.” However, it was an 1842 fourth edition of Joseph Smith’s The Book of Mormon (Nauvoo, Illinois: Joseph Smith) that made its way to the top of the sale, selling to a domestic buyer for $49,600 against a high estimate of $18,000. According to the auction catalog, this book, which featured late Nineteenth Century leather binding, was “a scarce edition with limited printings and the last edition printed during the lifetime of Joseph Smith.”

Returning to the signed letters, signing off at $8,330 — almost seven times its high estimate — was the Alexander Hamilton letter, which was signed twice by the former treasurer. Dated June 18, 1792, Hamilton wrote to a Revolutionary War soldier named Benjamin Walker, from New York. In addition to the signatures, the “Free Frank” correspondence had a hand inked name heading.

A letter from Robert E. Lee to Maryland Historical Society founder Brantz Mayer, dated December 26, 1865, saluted a $6,985 finish, the second-high-

Review by Kiersten Busch, Assistant Editor Photos Courtesy Tremont Auctions

est price of the sale. The letter was accompanied by three photos of General Lee in uniform, two of which were CDV-sized, unmounted ovals. The third was a 6½-by-8½-inch photograph mounted to a larger board; all three had light wear to them. Rounding out the top three best-selling lots was a John Quincy Adams secretarial letter, which was accompanied by a small book plate engraving. The written correspondence was signed by the former president and went for $6,200, far surpassing its $800 high estimate.

Buyers went down the rabbit hole for a collection of illustrations ofLewis Carroll’s Alice’s Adventures in Wonderland by Salvador Dalí (Maecenas Press, Random House: New York, 1969), which earned more than five times their high estimate. The lot included a portfolio of 12 woodcut illustrations and an original etching by Dalí, accompanied by text from the novel. The frontispiece etching and title page were both signed by Dalí, and all illustrations were present. Despite a missing leaf from the “Down the Rabbit Hole” section and some condition issues on the portfolio’s binding, the book went for $5,334.

Prices quoted include buyer’s premium as reported by the auction house. For information, www.tremontauctions.com or 617-795-1678.

A fresh-to-market table with exhibition and illustration provenance, this lacquered cork side table by Samuel Marx was designed for the May family’s modern home around 1941. Morton D. May was the director, chairman and CEO of The May Department Store Company in St Louis, Mo. The 15-inch-high, 45-inch-wide and 24-inch-deep table went for $4,826 ($2,5/3,500).

Drawing a $5,334 finish was this portfolio of 12 woodcut illustrations and an original etching of Lewis Carroll’s Alice’s Adventures in Wonderland by Salvador Dalí ($700$1,000).

Witman Auctioneers To Present

Lee Jackson 50+ Year Collection

MANHEIM, PENN. — On September 30, Witman Auctioneers will present the Lee Jackson collection of automobilia, which was assembled over more than 50 years.

After being drafted to serve in 1968 from Lancaster, Penn. and serving in the US Army, Jackson came home and started in business in Willow Street, Penn., in 1974. After that he went on to a couple of other jobs (1975 Amoco Dealer in Roherstown, 1986 Jackson’s Auto Sales) until 1999

when he bought the Old Landisville Fire Station in Landisville, Penn., and started to specialize in Corvettes. After more than 50 years in business, Jackson decided to retire from the business, but is still very active and is still drag racing.

Jackson has now decided to start selling his collection. Highlights in the sale include a 1967 Corvette Stingray convertible L79 4-speed with two tops, side pipes and matching numbers; a vast amount of Corvette parts

and accessories — encompassing original front chrome bumpers to rear taillights and practically everything in between. Racing memorabilia includes GM promotional cars, Franklin Mint and signs, including neon examples. There will be equipment and tools on offer as well as motorcy-

cles, ZL1 Anniversary 427 motor (new in crate).

This is an online-only auction — inspection will be prior to auction.

Witman Auctioneers is at 657 Fruitville Pike. For information, www.witmanauctioneers.com or 717-665-5735.

The Blanton Celebrates 100 Years Of Surrealism

AUSTIN, TEXAS — The Blanton Museum of Art at The University of Texas at Austin presents “Long Live Surrealism! 1924 – Today.” Opening during the 100-year anniversary of Surrealism’s 1924 inception, the exhibition explores the continued relevance of one of the most enduring ideas of the last century. “Long Live Surrealism!” will be on view through January 12.

“Long Live Surrealism!” brings together more than 70 works in diverse mediums by iconic Surrealists like Hans Bellmer, Leonora Carrington, Max Ernst, René Magritte, Wifredo Lam, Man Ray and Dorothea Tanning, alongside modern and contemporary artists inspired by their innovations.

“This exhibition offers visitors an expanded understand-

ing of Surrealism: not only its breadth and diversity as a historical movement that crossed disciplines, mediums and geographies, but also as a revolutionary worldview that believes in transforming daily life by challenging a viewer’s sense of reality — a concept that artists continue to respond to today,” said Claire Howard, the Blanton’s associate curator of Collections and Exhibitions, and an expert in Surrealism.

Published in October 1924 by French poet André Breton, the first manifesto of Surrealism defined Surrealism as “dictation of thought in the absence of all control exercised by reason, outside of all aesthetic and moral preoccupation.” Starting in post-WWI Europe as a literary and philosophical — and later artistic — movement with overt revo-

lutionary aims, Surrealism soon spread internationally.

Inspired by the writings of psychoanalyst Sigmund Freud, the Surrealist movement emphasized dreams, chance and the unconscious, aspiring to liberate the rational mind and to seek artistic and personal freedoms.

In addition to asserting the longevity of Surrealism as a movement beyond its traditionally given endpoint of World War II, “Long Live Surrealism!” explores the resonance of its ideas throughout the later Twentieth Century and today.

“Long Live Surrealism!” is drawn primarily from the museum’s extensive collection of works on paper, with select loans. It includes 21 works added to the Blanton’s collection since 2020, most of which are on view for the first time.

The exhibition is divided into five thematic sections representing significant Surrealist concepts.

The Blanton Museum of Art on the campus of the University of Texas, Austin, is at 200 East Martin Luther King Jr Boulevard. For information, www.blantonmuseum.org or 512-471-5482.

Auction In Sarasota, Fla.

Sarasota Estate Auction Posts Successful Results For Its Sale Weekend

SARASOTA, FLA. — Sarasota Estate Auction presented two days of fine and decorative arts auctions on August 24 and 25. Day one featured a Chiura Obata color woodcut, a lifetime collection of estate jewelry, art glass sculptures and more, while day two’s focus was on important fine art, antiques and silver. Leading both days, and in keeping with the last unofficial days of summer, was Milton Avery’s (1885-1965) pastel on paper “Beach Loungers,” which surpassed its high estimate to finish at $48,640. “We were very happy with the results,” said the firm’s auction manager, Mia McDermott. “There was a lot of interest prior to auction time.

We started at an internet bid of $14,500 and it climbed all the way up! It ended up selling to an in-house bidder.” Depicting two women lounging on a golden beach with umbrellas at the edge of the ocean in the background, the pastel composition came loaded with provenance and included a note on the reverse that was signed, dated and authenticated by Avery’s daughter, the coexecutor of the Milton Avery estate.

The note read, “this pastel was done by my father in the late 30s — March Avery Cavanaugh 10/2/69.” It is staying in Sarasota, according to McDermott, with both consignor and successful bidder happy with the outcome.

The sale totaled approximately $700,000 with an 85 percent sell-through rate. McDermott said she tallied about 8,000 registered bidders across the three online platforms, plus there were phones, left bids and in-house participation.

The name Felix Ziem conjures waterscape scenes with buildings. His full name was Felix Francois Georges Philibert Ziem (1821-1911), and he was born in France’s Cote d’Or. The buildings in his art come from his studies at the Ecole d’Architecture de Dijon, where, for a time, he intended to become an architect. Like many artists of his time, however, he was drawn to the Ital-

ian city of Venice and it is Venice that was depicted in his finest works. An oil on board landscape in this auction depicted a canal scene in Venice and was bid to $12,800. Signed in the lower left, it measured 28½ by 20½ inches.

Another Continental heavyhitter, George Grosz (18931959), was represented in the sale by a mixed media satirical piece depicting pig-snouted and pock-faced gents and a prostitute mingling in a beer hall. The watercolor and ink on German text pages, circa 192530, sold for $6,720, more than twice its high estimate. According to catalog notes, Grosz was known for his caricatural drawings and paintings of Ber-

lin life in the 1920s. During Germany’s Weimar Republic he was a prominent member of the Berlin Dada and New Objectivity groups. In 1933, he emigrated to the United States and became a naturalized citizen in 1938.

An early oil on canvas selfportrait of Sir Peter Paul Rubens (Flemish, 1577-1640), painted in 1623, gaveled for $5,440. From the Royal Collection at Windsor Castle, the painting bore old labels on the stretcher.

Leading the notable jewelry offered in the sale was a vintage bracelet that exuded 1960s charm. The emerald, diamond and platinum bracelet sold within estimate for

An 18K gold signed cuff geometric bracelet sold for $7,360. The Swiss-made flexible cuff featured small triangles stacked on top of one another, forming an abstract pattern.

This signed 18K gold necklace with a pendant surpassed its $5,5/7,300 estimate to bring $11,520.

Cataloged as “fabulous” was an 18K gold and sapphire satin finish floral bracelet that nearly doubled its high estimate, wrangling $4,800.

Sir Peter Paul Rubens in this “Self Portrait With Hat” was cataloged as after the artist and sold for $5,440. From the Royal Collection at Windsor Castle, the painting bore old labels on the stretcher.

Felix Ziem’s early studies at the Ecole d’Architecture de Dijon (France) and his love for the city of Venice come together in this oil on board depicting a Venetian canal scene, which realized $12,800.

This platinum, diamond and emerald brooch, which crossed the block for $5,760, had 7 carats of diamonds and 3.5 carats of emeralds.

Review by

W.A. Demers, Senior Editor Photos Courtesy Sarasota Estate Auction

Milton Avery’s pastel on paper “Beach Loungers,” surpassed its high estimate to finish at $48,640, the top price in the twoday sale.

The trapezoidal blue lapis in the center of this flexible bangle bracelet covered the latching mechanism. The bracelet brought $5,760.

This 14K gold Omega necklace with a simple design brought twice its high estimate, finding a buyer at $5,760.

An English Sheffield sterling flatware set, weighing approximately 144 troy ounces, made $5,760.

$13,440. Lined up were 11 emeralds (4 carats), 88 round diamonds (10 carats) and 110 baguette-cut diamonds (3 carats). The lot was accompanied by an original appraisal from 1991 that valued the bracelet at $30,000.

The second lot across the block on day one was a signed 18K gold necklace with pendant, which surpassed its $5,5/7,300 estimate to finish at $11,520. The pendant resembled a face depicting the “Mouth of Truth,” an ancient Roman sculpture. With an open circle link necklace featuring both large and small links, the pendant was signed on the back. The hanging length was 20¼ inches.

An 18K gold signed geometric cuff bracelet sold for $7,360. Made in Switzerland, the flexible cuff exuded Modernism with small triangles stacked on top of one another, forming an abstract pattern.

Flexible, too, was a 14K gold Omega necklace that elicited $5,760, twice its high estimate. The simple design was marked on the clasp.

Also fetching $5,760 was a

14K gold, chunky woven linkstyle necklace that was marked on its clasp, and an 18K gold and lapis lazuli flexible bangle bracelet, marked on inside and featuring a large blue lapis lazuli stone in the center with a four-sided shape that covered the latching mechanism. With 7 carats of diamonds and 3.5 carats of emeralds, a platinum, diamond and emerald brooch crossed the block for $5,760.

An 18K gold and diamond pave flexible cuff bracelet went out at $4,160.

A long 14K gold Byzantine necklace took the short route to $4,480.

This 18K Cartier-style diamond, emerald and amethyst ring brought five times its estimate at $5,440.

Additional jewelry highlights included an 18K gold Cartierstyle diamond, emerald and amethyst ring, selling for five times its estimate at $5,440; an 18K gold and sapphire satin finish floral bracelet, nearly doubling its high estimate to bring $4,800; a long 14K gold Byzantine necklace, taking $4,480 — four times its expectation; and an 18K gold and diamond pave flexible cuff bracelet, going out for $4,160. And a staple of today’s estate sales, an English Sheffield

This 14K gold chunky woven linkstyle necklace that was marked on its clasp had a hanging length of 7½ inches and garnered $5,760.

A 1991 appraisal that accompanied the lot gave this vintage emerald, diamond and platinum bracelet a value of $30,000. Here, it led the jewelry lots at a within-estimate $13,440.

Political satirist George Grosz caricatured the German beer hall denizens in this watercolor and ink on German text pages, circa 1925-30. It sold for $6,720, more than twice its high estimate. Grosz was a prominent member of the Berlin Dada and New Objectivity groups but later emigrated to the United States and became a US citizen in 1938.

sterling flatware set weighing approximately 144 troy ounces, found a new home for $5,760. All prices given include the buyer’s premium as stated by

the auction house. The next two-day auction is scheduled for November 2-3. For more information, 941-359-8700 or www.sarasotaestateauction.com.

The Winter Show Announces Exhibitors & Design Council Co-Chairs For The 2025 Edition

NEW YORK CITY — The Winter Show announced details and exhibitors for the 71st edition of the fair, which will return to the historic Park Avenue Armory from January 24 through February 2, 2025, with its opening night party benefit for East Side House to take place January 23. The show will feature more than 70 international dealers and showcase museum-quality works across a wide spectrum of fine and decorative arts, antiques, jewelry and design. The Winter Show will also host a dynamic mix of special events and programs in collaboration with internationally renowned institutions, cultural partners and leading figures from the worlds of art and design.

Established by East Side House Settlement in 1954, The Winter Show is a one-of-a-kind, iconic New York event that raises

critical funds to support the visionary community-based organization, which serves the Bronx and Northern Manhattan. For more than 70 years, The Winter Show has bolstered East Side House’s mission to care for the individuals, families and communities it serves by expanding opportunities through educational, job and supportive services. All proceeds from ticket sales and the show’s benefit events— including the opening night party on January 23, Young Collectors Night on January 30 and the Design Luncheon on January 24—fuel the life-changing programs of East Side House Settlement.

“The Winter Show and East Side House have stood together for decades to support and serve thousands of individuals in New York City,” said Daniel Diaz, executive director of East Side House Settlement. “In 2025, we are embarking on several transformative capital projects in the Bronx, including the borough’s first career and technical education charter high school and the opening of a pioneering community teaching kitchen. These initiatives are not just investments in infrastructure; they are investments in the future of our community. Thanks to the support from The Winter Show, we are building new foundations for generations of New Yorkers and continuing to provide innovative services that meet the emerging needs of thousands of families and individuals in the Bronx and Northern Manhattan.”

Helen Allen, executive director of The Winter Show, said, “For 71 years, The Winter Show has been a beacon of excellence and expertise in the arts, presenting museum-quality works that inspire and captivate. Our mission goes

beyond the walls of the Armory; we are deeply committed to raising awareness and funds for East Side House and supporting its vital work in empowering communities. The show is a celebration of our shared dedication to art, education and the transformative power they hold.”

New And Returning International Exhibitors

The Winter Show welcomes several new exhibitors this year, from both Europe and the United States. First-time exhibitors to the show include Zebregs&Röell (Amsterdam and Maastricht, Netherlands), presenting crosscultural fine and decorative works of art spanning from the 1500s to the 1800s; Kunsthandel Nikolaus Kolhammer (Vienna, Austra), dealing in modern and contemporary Viennese furniture and art; Alexandre Gallery (New York City), specialists in Twentieth Century American artists; and São Roque (Lisbon, Portugal), showcasing Portuguese art and antiques. These fresh voices will introduce new and exciting dialogues into The Winter Show’s 2025 presentation.

Returning exhibitors include Levy Galleries (New York City), experts in early American furniture and objects; Véronique Bamps (Monaco), showcasing European and American jewelry from the mid-Twentieth Century; Aronson Antiquairs of Amsterdam (Amsterdam, Netherlands), specializing in Seventeenth and Eighteenth Century delftware; A La Vieille Russie (New York City), authorities in antique European jewelry and Fabergé; and Bernard Goldberg Fine Arts (New York City), exhibiting early Twentieth Century American and European art and design.

Also returning this year is “FOCUS: Americana.” Curated by Alexandra Kirtley of the Philadelphia Museum of Art, this exhibition brings together top dealers to present a selection of early American fine art, folk art and a variety of antiques. The participating exhibitors are: David A. Schorsch and Eileen M. Smiles American Antiques (Woodbury, Conn.), Kelly Kinzle Antiques (New Oxford, Penn.), Nathan Liverant and Son (Colchester, Conn.), Olde Hope (New York City), Jeffrey Tillou Antiques (Litchfield, Conn.), Allan Katz Americana (Madison, Conn.) and Elle Shushan (Philadelphia)

Design Council Co-Chairs

Each year, in celebration of the design community, The Winter Show invites leading figures from the fields of interior design and architecture to helm the how as design co-chairs. The esteemed 2025 Design Council Co-Chairs are Christine Gachot, John Gachot, Elizabeth Graziolo and David Netto, with Wendy Goodman, design editor of New York Magazine, serving as Honorary Co-Chair. In addition to raising awareness of the vital work being done by East Side House, the Design Co-Chairs provide contemporary context and promote the appreciation and use of historic art and objects in contemporary architecture and design. To purchase tickets for the opening night party, 5-9 pm, on January 23, 2025, or other special events, call 718-292-7392 or visit www.thewintershow.org. Public hours are Friday, January 24–Sunday, February 2, 2025; opens daily at 12 pm; closing times vary; for detailed hours, visit www.thewintershow. org/tickets

A pair of extra-decorated prints of King George III and Queen Charlotte of Great Britain, 1761, fabric, watercolor, mica glitter, 22¾ by 18 inches. Exhibitor: Elle Shushan

Thomas Wilmer (1851–1938), “May (Welcome Sweet Springtime),” oil on canvas, 20 1/4 by 24 1/4 inches, signed lower right: TW Dewing. Exhibitor: Hirschl & Adler

A silver cigar cutter by Carl Fabergé, St Petersburg, circa 1908, Chief Workmaster: Henrik Wigström. Ninety-one zolotnik silver standard. Exhibitor: Wartski

Book of Hours (Use of Rouen) In Latin and French, illuminated manuscript on parchment, France, Rouen, circa 1480-90, 12 fullpage miniatures by the Master of Raoul du Fou, and full borders on every page by Jean Serpin (both active Rouen, circa 1480-1520. Exhibitor: Les Enluminures

Edward Beyer (1820-1865), “View of Cincinnati, 1853, oil on canvas 40½ by 60¼ inches. Exhibitor: Debra Force Fine Art

Stuart Davis, “Egg Beater,” 1923, oil on board, 37 by 22 inches. Exhibitor: Alexandre

Peruvian, Cuzco School, Eighteenth Century, “Virgin of Loreto,” oil on canvas, 41⅛ by 61⅞ inches. Exhibitor: Robert Simon

Wolfs Celebrates The Cleveland School

BEACHWOOD, OHIO — WOLFS presents the exhibition and sale of the collection of the late Albert Wasserman. The sight of this collection all put together in the gallery is bedazzling with more than 150 works, including oil paintings, watercolors, ceramic works, bronze and glass sculpture.

The Cleveland school is an umbrella under which the many artists of this region have flourished for more than a hundred years.

Certainly the two or three decades following the turn of the Twentieth Century marked a near zenith in production and virtuosity. Marsden Hartley, Abel Warshawsky, William Zorach, William Sommer and Charles Burchfield are already famous names from the period.

Arguments, however, can be made for the 1930s, 1940s and postwar decades as the greatest, but really the story keeps going. The Modernists and the regionalists make their marks while Schreckengost, Horace Potter and the Cleveland ceramicists catch fire. Carl Gaertner and his cronies create paintings that glorify the giant ladles at Republic Steel. Op Art is born right here in the late 1950s and 1960s

with Julian Stanczak and the boys blinding the crowds at MoMA. By the 1970s and 1980s, neoexpressionism frees itself from abstraction with artists like Ken Nevadomi, Chris Pekoc and Doug Utter breaking the ice. And the now very famous CIA alum Dana Schutz following in the 1990s and 2000s with brilliantly shocking canvases. The point is, there is, and has been, an incredible arts community centered in Cleveland, which we loosely and very proudly call the Cleveland School.

One of the great followers of the Cleveland School artists was the smart and sincere man who put his money where his heart was; the late, revered and one of a kind Albert Wasserman. Albert, certainly among the earliest collectors of Cleveland School art, assiduously amassed a diverse and sophisticated array of most everything that was bubbling through Cleveland’s creative community for decades.

“Celebrating the Cleveland School” opens Friday, October 4, 6 to 8 pm and is on view through November 30 at Wolfs (Tuesday-Saturday 11 am to 5 pm). The gallery is at 23645 Mercantile Road. For information, www.wolfsgallery.com or 216-721-6945.

Inaugural Connecticut River Valley Antiques & Historic Homes Show Set For Oct. 19-20

HIGGANUM, CONN. — The Haddam Historical Society and Goosefare Antiques & Promotions are hosting the inaugural Connecticut River Valley Antiques and Historic Homes Show on October 19 and 20 at the former Haddam Elementary School.

The show will feature 30 New England antiques dealers offering a wide variety of antiques and art that will include furniture, decorative and folk art, ceramics and much more. Visitors will be able to explore the stories, craftmanship and beauty of one-of-a-kind pieces and learn from knowledgeable dealers.

The Historic Homes Show will feature programming curated for the owners of antique homes with exhibits and presentations by experts, including a stonework craftsman, window restorationists, preservation architect and garden designer, who will share their know-how and experiences on working on local historic properties.

The keynote speaker for the weekend will be Lee McColgan, author of A House Restored, The Tragedies and Triumphs of Saving a New England Colonial at 1 pm on Sunday, October 20. McColgan has worked on Boston’s Old North Church, Louisa May Alcott’s Orchard

House and other buildings. His work has appeared in Architectural Digest, Boston Globe and the Wall Street Journal. He can be found on Instagram at helvehistorictrades.

Sunday will also feature a “roundtable” of historic homeowners, who will share their experiences of loving and living in an antique house. The panel will be led by Higganum’s own Rebecca Lineberry whose restoration efforts and love for antique homes have been featured in the The New York Times, ICRV radio and various internet media outlets. Lineberry has recently worked on a colonial period house in

Lyman Allyn Art Museum Presents Modern And Contemporary Art From The Collection Of Louise McCagg

NEW LONDON, CONN. — Lyman Allyn Art Museum presents “Louise McCagg: The Artist’s Eye,” on view through December 15. Presenting modern and contemporary art from the collection of artist Louise McCagg (American, 1936–2020), this exhibition celebrates friendship and collaboration.

It will showcase McCagg’s sculptures and works on paper in conversation with the work of notable artists such as Elaine de Kooning, Romare Bearden, Louise Bourgeois, Philip Guston, Sol LeWitt, Yoko Ono, Alice Neel and Cindy Sherman, among others.

A recent gift to the Lyman Allyn, the McCagg collection is eclectic and personal, reflecting Louise’s artistic interests and friendships and her family’s geographic reach. A Connecticut native, Louise McCagg cultivated artistic friendships in Connecticut, Michigan, Eastern Europe and New York City, where she was a member of the women-run A.I.R. Gallery collective in Brooklyn. In her own work, McCagg produced portrait face masks of friends and colleagues, playing with scale and materiality to configure various sculptural

“Untitled” by

installations, exploring relationships, identity and artistic community.

With over 40 dynamic sculptures, paintings and works on paper by both celebrated and lesser-known artists, “The Artist’s Eye” explores remarkable artworks compiled by a feminist and politically active artist and collector.

The Lyman Allyn Art Museum is at 625 Williams Street.

2011,

For information, 860-443-2545 or www.lymanallyn.org.

CATSKILL, N.Y. — The Thomas Cole National Historic Site’s “Native Prospects: Indigeneity and Landscape,” is on view at the historic site through October 27. Thomas Cole National Historic Site is at 218 Spring Street. For more information, 518-943-7465 or www.thomascole.org.

Mystic, Conn., which was filmed for Magnolia Network’s

In With the Old . Lineberry can be found on Instagram at my_1755_story.

Hours of the show are from 10 am to 5 pm on Saturday and from 11 am to 4 pm on Sunday.

Tickets are $10 per person and can be purchased at the door or in advance at www.haddamhistory.org.

Haddam Elementary School is at 272 Saybrook Road. For information, 800-641-6908 or by email at goosefare@gwi.net.

Richard Timperio,

acrylic on paper. Gift of the daughters of Louise H. McCagg, Alexandra O. McCagg and Dorothy B. McCagg, 2021.12.88.

Explore ‘Greenwich During The Revolutionary War’ With Local Historical Society

COS COB, CONN. — In anticipation of the upcoming 250th anniversary of the Declaration of Independence in 2026, Greenwich Historical Society presents a dynamic exhibition that takes a fresh look at the impact of the Revolutionary War on Greenwich and surrounding communities. “Greenwich During the Revolutionary War: A Frontier Town on the Front Line” explores the dangers and shifting loyalties for a border town and its citizens during the

war for independence.

The exhibition is on view in the Frank Family Foundation Special Exhibitions Gallery from October 16 through March 9.

After the Battles of Lexington and Concord, the Revolutionary War soon spread to Connecticut, particularly Fairfield County and Greenwich, the gateway to patriotic New England. With their safety and livelihood at risk, residents had to choose whether to support American independence, to remain loyal to King George III or to claim neutrality. This exhibition tells the story of the people of Greenwich who were living, working, fighting, fleeing and dying on the front line.

Documents and relics handed down through generations include meticulously preserved letters and diaries that provide a moving tribute to the trauma and hardships they endured for the cause of liberty and free-

Jar, Captain Abraham Mead, late Eighteenth Century, Greenwich Historical Society. Abraham Mead, of Greenwich, was one of Connecticut’s first stoneware potters. Mead was also a militia captain and a member of the Committee of Safety and Inspection.

dom. A bullet ridden jacket worn by Greenwich’s Obadiah Mead when he was shot and killed in 1779 is particularly touching.

“The Revolutionary War happened long ago, but the choices people made then, the courage they demonstrated, the fear and loss they struggled to overcome, mirror many life experiences today,” said exhibition curator Kathy CraughwellVarda. “My hope is that visitors will draw comparisons to their own lives and experiences, moments when they took a stand for what they believed in and realize we are not that different from the men and women who lived through the American Revolution.”

The experiences of David and Sarah Bush, for whom the Bush-Holley House is named, and their extended family are explored in the exhibition. David Bush never clearly supported the Patriots or the Loyalists, but he had brothers-in-law who clearly supported American independence by serving in the Connecticut Militia and at least one who was arrested as a suspected Loyalist. He and his siblings enslaved at least 70 men, women and children — and the experiences of five of these men and women during the Revolutionary War are told for the first time in this exhibition.

“Looking around Greenwich today, it’s hard to see traces of that community that fought for its survival and independence 250 years ago. This exhibition presents the type of storytelling I think we do best,” said Historical Society executive director Debra Mecky. “I believe visitors will be surprised and delighted to learn about the men and women, free and enslaved, that left their mark on Greenwich during the Revolutionary War.”

The exhibition is accompanied by a series of thematically related special events, lectures, family programs and guided gallery tours.

Greenwich Historical Society is at 47 Strickland Road. For information, 203-869-6899 or www.greenwichhistory.org.

Jacket, Obadiah Mead, circa 1775, Greenwich Historical Society. Obadiah Mead was wearing this jacket when he was shot and killed by the British in a raid.

“Untitled: Bush Grist Mill and Bush-Holley House” by George Edward Hall, 1884, Greenwich Historical Society. This painting from 1884 shows David Bush’s warehouse and home on the Mianus River.

“Sarah Scudder Isaacs Bush” by William Dunlap, 1815, Greenwich Historical Society. Sarah Scudder Isaacs Bush, wife of David Bush, was pregnant with their second child when the British raided Cos Cob, setting fires to the salt works across from their home. Her husband was arrested the next day as a suspected Loyalist since their home was left unscathed during the attack.

Mourning Ring, 1797, Greenwich Historical Society. Mourning ring made from the hair of David Bush, for his family following his death in 1797. During the American Revolution, Bush was suspected of being a Loyalist and was arrested and jailed.

“Genl. Putnam: The Iron Son of ‘76’,” circa 1845, N. Currier, Publisher. Greenwich Historical Society.

Silhouette of Titus Mead, May 15, 1778, Greenwich Historical Society. Titus Mead of Greenwich was a Patriot and member of the Committee of Safety and Inspection.

Fire Bucket, 1780, Greenwich Historical Society. Every colonial home had at least one fire bucket to use to help extinguish fires. However, during the burning of Norwalk and Fairfield, nothing could be done to put out the raging fires.

Decorative Arts Carve The Interest Of Neue Bidders

This 1901 oak dresser by Charles Rohlfs (American, 1853-1936), 6 feet tall by 6 feet wide by 23 inches deep, brought $39,975 ($8/12,000).

This Eighteenth Century Louis XV Chinese lacquer-mounted ebonized commode had a veined marble top and gilt bronze mounts, 33¾ inches high by 49 inches wide by 23 inches deep; it sold for $17,220 ($3/5,000).

This intricately carved oak bed by Charles Rohlfs (American, 1853-1936), 1901, 7 feet 7 inches high by 4 feet 11½ inches wide by 6 feet 9¾ inches long, was paired with a similarly carved two-tier step and earned the top price of the sale — $46,125 ($30/50,000).

BEACHWOOD, OHIO — Neue

Auctions’ September 7 Fine Art, Antiques & Jewelry auction was filled with 347 lots and included a selection of automotive posters, ceramics, glass and furniture, among fine art and jewelry. The sale realized $470,598, and Neue Auctions managing partner Cynthia Maciejewski commented, “We had 1,160 bidders on auction day; this includes both platforms, absentee and telephone. It was an interesting mix of dealers, collectors and big-name galleries.”

Early Twentieth Century carved oak furniture by Charles Rohlfs led the sale, with a canopy bed and a dresser, both exhibited in the 1901 Pan-American Exposition claiming the top two spots. The bed, measuring 7 feet 7 inches high by 4 feet 11½ inches wide by 6 feet 9¾ inches long, was paired with a 20¼-inch tall step. With its poppy-carved panels and harp-form pierced canopy, the impressive bed earned the salehigh price of $46,125. Maciejewski noted, “The oak bed is going to be restored, purchased by a collector. The bidding agent for the buyer could not reveal his client, but he is known to bid for the Hollywood elite.” The fumed oak three-drawer dresser more than doubled its estimated $12,000 to achieve $39,975. While the two pieces of furniture were not a

This 1980s closed form anagama fired stoneware piece by Toshiko Takaezu (American, 1922-2011) had clay beads inside and stood 7¼ inches high; it made $10,455 ($6/8,000).

matching set, the dresser was similarly carved with swirling motifs. The piece was topped with a mirror that was flanked by two carved panels which once supported now-missing shelves. The auction catalog noted that this dresser was from the designer’s Buffalo, N.Y., home and Maciejewski said it was sold to a collector in Pennsylvania. Both pieces were marked with Rohlfs’ “sign of the saw” cypher and dated “1901.”

Leading in the art category was a terracotta bust of a young woman. Made during the Eighteenth or Nineteenth Century, this French bust depicted a girl looking side-eyed with her hair

Auction Action In Beachwood, Ohio

Pablo Picasso’s (Spanish, 1881-1973) 1953 balusterform earthenware “Vase au Décor Pastel” had two loop handles, was numbered 22 of 200 and measured 12¼ inches high; it brought $10,455 ($8/12,000).

tied up by a bow. The figure was positioned atop a brèche d’alep marble socle. With a high estimate of just $800, the bust was bid well beyond that, ultimately selling to an online bidder for $19,680.

Also originating from France, a Louis XV ebonized commode brought $17,220 against a high estimate of $5,000. The commode

Decorative Arts Center Of Ohio

Re-Debuts Showcase On Barbara Shermund

LANCASTER, OHIO — “Tell Me a Story Where the Bad Girl Wins: The Life and Art of Barbara Shermund,” on view through December 29, showcases the work of Barbara Shermund, the trailblazing feminist cartoonist who, as one of the first women cartoonists for The New Yorker magazine, brought her outspoken women characters to life in a distinctive flowing style that helped shape the visual brand of The New Yorker. Mounted in 2020 but cut short by the COVID-19 pandemic, the

exhibit returns because of its popularity, visual appeal and relevance and with an exciting lineup of associated programs.

The exhibition features more than 100 pieces of original cartoon art by Shermund published during the heyday of American magazines, the 1920-60s. Curated by Caitlin McGurk, curator of comics and cartoon art & associate professor at the Ohio State University’s Billy Ireland Cartoon Library and Museum, the artwork in the exhibition represents

the best of Shermund’s work in the Billy Ireland collection and outlines the most prominent themes running through Shermund’s cartoons — youth and age, relationships, travel, society, fashion and beauty and Modern Art. Also highlighted are selections of her advertising work, early art, men’s magazine cartoons and book illustrations.

The Decorative Arts Center of Ohio is at 145 East Main Street. For information, 740-681-1423 or www.decartsohio.org.

Surpassing its $500/800 estimate to achieve $19,680 was this French terracotta bust of a young woman, Eighteenth/Nineteenth Century, on a brèche d’alep plinth, 21 by 11 inches.

was illustrated with Chinese lacquer images of a pagoda, bridge and trees on the front and mountain scenes on the sides. Further accenting the piece were gilt bronze mounts and a veined marble surface that topped the two drawers. Maciejewski said that both of these French pieces will be heading to Paris, though to different buyers.

A 1953 Pablo Picasso earthenware vase titled “Vase au Décor Pastel,” or “Vase Decorated in Pastel,” had colorful face and sun illustrations with stripes and various other details. The baluster form piece, which was pictured in Alain Ramié’s Picasso: Catalogue of the Edited Ceramic Works, 1947-1971 (Paris: Madoura, 1988), had two round handles and was marked on the bottom “22/200” and stamped “Edition Picasso” and “Madoura Plein Feu.” It was won within its estimate range, selling to an Ohio dealer for $10,455. Earning the same price was a closed form stoneware piece by Toshiko Takaezu. With yellow, ochre and brown glaze, the anagama fired form had free-rattling clay beads inside. On the bottom, the circa 1980s ceramic was signed with the artist’s monogram, “TT.” According to Maciejewski, “The Takaezu sold to a New York City gallery. [It] came from a local collector and was purchased from a gallery in Hawaii almost 25 years ago.” Prices quoted include the buyer’s premium as quoted by the auction house. For information, www.neueauctions.com or 216245-6707.

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& Contemporary Leaded Lamps S traightening, gold plating, patination, wiring, etc Specializing in Tiffany Studios shades, bases, frames & desk pieces. Porcelain, Pottery

Review by Carly Timpson, Assistant Editor

Photos Courtesy Neue Auctions

INTERNATIONAL

Compiled By Antiques and The Arts Weekly Carly Timpson

City Of London Corporation & The Mayor Of London Pledge Additional £50 Million Towards New London Museum

LONDON — The London Museum (formerly known as Museum of London) has announced a new pledge of £50 million ($55 million) from its principal funders the City of London Corporation and the Mayor of London, Sadiq Khan. The contribution of £25 million ($27.6 million) each will go towards the creation of its new home — a sustainable and world-class development in the historic Smithfield markets. It will be supported by an additional £30 million ($33 million) in fundraising by the museum. The funding will help realize the overall budget of £437 million ($482 million) for the new museum.

Designed by Stanton Williams and Asif Khan, working with conservation architects Julian Harrap, the new London Museum is one of Europe’s largest cultural infrastructure projects and will preserve the historic Smithfield Market buildings for generations to come. The formerly derelict Victorian General Market, home to the museum’s permanent galleries, will open in 2026 showcasing more of its internationally important collection than ever before. The Poultry Market, set to house the museum’s worldclass learning center, temporary exhibition spaces and collection stores, will open in 2028. The new pledge will help the museum realize its full vision for the site, bringing the mayor’s overall contribution to £95 million ($105 million) and the City of London Corporation’s funding to £222 million ($245 million). The museum’s new fundraising commitment raises its overall target to £100 million ($110 million), with almost half of that (£45 million) having already been secured through private donations, sponsors and philanthropy. The museum will

ing museum that will be worthy of this great global capital.”

Mayor of London, Sadiq Khan said: “Culture is the DNA of our city, and I am proud that we’re such an integral part of the creation of the new London Museum at Smithfield. It is one of the biggest cultural projects in Europe and will be a brilliant addition to London’s worldleading cultural sector. It will attract Londoners and tourists from around the world, generate new jobs and reinforce our position as a global creative capital, as we continue to build a better and fairer London for everyone.”

explore green loan opportunities to achieve the remaining £20 million ($22 million) towards its £437 million ($482 million) target.

Substantial restoration efforts and early works in the General Market are already complete and work is underway to frame the internal spaces that will house the museum’s permanent galleries. In 2023, a threemeter-wide glass oculus was craned in to become the centerpiece of the General Market’s dome roof, and the four-yearlong restoration of the Poultry Market’s copper roof was successfully completed by hand by coppersmith Chris Johnson (83), an apprentice on the original 1960s build. Having gained vacant possession of the Poultry Market in September 2023, interior restorations are now underway, including work to connect the ground floor and

basement levels. The ground floor will house two state-ofthe-art temporary exhibition spaces, alongside a new learning center. At basement level, former cold stores will be transformed into a working collections store. A publicly accessible store and display space will offer visitors a unique opportunity to glimpse behind the scenes into the museum’s vast collection.

Director of London Museum, Sharon Ament said: “Thousands of Londoners are helping to shape this fantastic new museum which will not only explore our city’s rich history but the people and places that make it such a vibrant place to be. With the generous support of the GLA and the City of London Corporation, alongside our other funders and supporters, we are steaming ahead to deliver a transformative, world-lead-

Policy chairman of the City of London Corporation, Christopher Hayward said: “This additional funding marks a positive milestone for the new London Museum. I have always said we are committed to working with London Museum to explore other funding opportunities, so I am very pleased we are able to confirm this new tranche of funding. The new London Museum is a cultural and economic cornerstone of ‘Destination City.’ This infusion of funding reaffirms our commitment to the transformation of the historic market buildings that make up the site and showcases the City Corporation’s commitment to bringing to life a community-led space for Londoners and international visitors to tell and share their stories.”

The news follows a visit earlier this week by London Museum’s new Patron HRH The Duke of Gloucester. Formerly a practicing architect, The Duke was given a tour of the Smithfield site by director of New Museum Project and Estate, Alec Shaw and principal director at Stanton Williams, architect Paul Williams.

London Museum will play a

key role in the transformation of Smithfield, opening early and closing late to reflect London’s 24-hour character. The landmark site will become one of the city’s top visitor attractions at the heart of a dynamic new cultural quarter. Housed within historic market buildings, London Museum will welcome over two million people each year, of which half will be tourists. It will support economic growth, local businesses and employment, contributing an estimated £565 million ($624 million) in GVA (Gross Value Added) within 10 years of opening. Through its learning center, it will seek to engage every London schoolchild. Increased gallery space will enable visitors to enjoy more of its seven million-strong collection than ever before.

Sustainability is at the heart of the new museum, with both the construction and the continued operation of the building designed to be as environmentally friendly as possible. Seventy percent of the site’s existing fabric will be preserved and recycled whilst operational carbon will be reduced through the use of smart technologies that lower energy requirements and monitor and improve performance over time. An attenuation tank lying three meters beneath the basement floor will also store surface and rainwater to guard against flood risk and be reused for non-potable purposes such as flushing toilets.

Already more than 70,000 Londoners have been involved in the shaping and creation of the new museum — from the design of inclusive and welcoming public spaces, to collecting objects, and working with the museum team to create future displays. This number is set to rise to 100,000 by completion.

‘Asian Bronze’ At The Rijksmuseum Shows Heaven On Earth

AMSTERDAM — In the exhibition

“Asian Bronze: 4,000 Years of Beauty,” the Rijksmuseum brings together more than 75 bronze masterpieces, from prehistoric artefacts to contemporary artworks, from India, China, Indonesia, Japan, Thailand, Vietnam, Pakistan, Nepal and Korea. Most of these works are on display in the Netherlands for the first time and more than 15 of them have never been shown in Europe before. Statues of the Buddha, Shiva and Vishnu, among other images, impressively show how heaven was often depicted in bronze on earth. All the senses are stimulated by bronze mirrors, weapons, bells, wine vessels and incense burners, often spectacularly depicted in the shape of lions, elephants or mythical creatures. The exhibition runs through January 12.

“Never before has the Rijksmuseum collaborated with Asian countries on such a large scale. We are grateful that

we can show many unique masterpieces in Europe for the first time. The skill and creativity of the ancient artisans inspires deep admiration for their unparalleled artistic talent,” said Taco Dibbits, general director Rijksmuseum

The exhibition features works from six museums in various Asian countries. The National Museum in Bangkok, for example, has loaned six works, including “Buddha under Naga’s hood,” which is leaving Thailand for the first time since it was cast in the Twelfth or Thirteenth Century. Works will also come from the Museum of Contemporary Art in Bangkok. Other loans come from India (National Museum, New Delhi; Bihar Museum, Patna), Indonesia (Museum Sonobudoyo, Yogyakarta) and Pakistan (National Museum, Karachi).

In addition to the artworks from Asian museums, the exhibition features masterpieces from collections in Europe

and the United States. These exhibits include a wine vessel in the form of an elephant (China, Shang dynasty, Eighteenth to Eleventh Century BCE) from the Musée Guimet, Paris, and the figure of “Yashoda with the Infant Krishna” (India, Twelfth Century CE) from the Metropolitan Museum of Art, New York. The exhibition also presents several works from the Rijksmuseum’s own Asian collection, including “Shiva Nataraja” (India, Twelfth Century CE) and the recently acquired statue of “Guhyasamaya Aksobhya” (Tibet, Fifteenth Century CE), which will be on view for the first time.

Dutch designer Aldo Bakker (b 1971) designed the exhibition. He previously designed the exhibition “Small Wonders” in the Rijksmuseum. Irma Boom is responsible for the graphic design. The Rijksmuseum is at Museumstraat 1. For information, www.rijksmuseum. nl/en.

New Patron, The Duke of Gloucester tours the new London Museum Smithfield site with director of new museum project and estate, Alec Shaw and principal director at Stanton Williams, architect Paul Williams. Tuesday, September 3, 2024. PA Photo. The museum (formerly known as Museum of London) shut the doors to its Barbican site in 2022 and will open at its new home in London’s Smithfield markets in 2026. Photo: David Parry/PA Media Assignments.

The British Museum Explores The Silk Roads & The Epic Journeys Of The People, Objects & Ideas Which Shaped Cultures & Histories

LONDON — Camel caravans crossing desert dunes, merchants trading silks and spices at bazaars – these are the images that come to mind when we think of the Silk Roads. But the reality goes far beyond this.

A ground-breaking new exhibition at the British Museum, “Silk Roads,” will challenge and expand the modern popular concept of the Silk Road as a simple history of trade between East and West. In fact, rather than a single trade route, the Silk Roads were made up of overlapping networks linking communities across Asia, Africa and Europe, from Japan to Britain, Scandinavia to Madagascar.

Ambitious in its scope and vast in its geographical coverage, this major new show will be the first to look at how the epic journeys of people, objects and ideas along the Silk Roads shaped cultures and histories. The Silk Roads were in use for millennia, and the forthcoming exhibition will focus on a defining period in their history, from about 500-1000 CE. These centuries saw significant leaps in connectivity and the rise of universal religions that linked communities across continents.

Structured into five geographical zones that take visitors on their own Silk Roads journey, the exhibition showcases more than 300 objects — including generous loans by 29 lenders from national and international institutions. From Indian garnets found in Suffolk to Iranian glass

unearthed in Japan, they reveal the astonishing reach of these networks.

Many of the items will be on display in the UK for the very first time, including the oldest group of chess pieces ever found and a monumental six-meterlong wall painting from the Hall of the Ambassadors in Afrasiab (Samarkand), Uzbekistan. The painting evokes the cosmopolitanism of the Sogdians from Central Asia who were great traders during this period.

Other items on loan come via new partnerships with museums in both Uzbekistan and Tajikistan, demonstrating the importance of Central Asia in this continent-spanning tale.

“Silk Roads” will also be the first exhibition in the Museum’s history to have a multi-curatorial approach, featuring objects from across the institution.

Visitors will also meet figures whose stories are entwined with the Silk Roads, including Willibald, an ingenious balsam smuggler from England, and a legendary Chinese princess who shared the secrets of silk farming with her new kingdom. Covering deserts, mountains, rivers and seas, the Silk Roads tell a story of connection between cultures and continents, centuries before the development of the globalized world we know today.

Luk Yu-Ping, Basil Gray curator of Chinese paintings, prints and Central Asian collections said, “Our aim in this exhibition

Glass drinking horn, Italy, 550–600 CE. ©The Trustees of the British Museum. The Lombards, who had migrated to Italy from Pannonia (Central Europe) in 568 CE, assumed and adapted many aspects of Byzantine life, from political infrastructure to fashions and tableware. This elegant drinking-horn, found at Sutri in Italy, is a characteristically northern European form but crafted in cobalt-blue Mediterranean glass.

is to tell a richer, more complex story of the Silk Roads beyond trade between East and West, highlighting the interconnectedness of Asia, Africa and Europe during the period from 500 to 1000 CE. We are very excited about the incredible, first-time loans that will be featured alongside key British Museum objects. This has been a truly collaborative effort, very much in the spirit of the Silk Roads.”

Sue Brunning, curator of European Early Medieval and Sutton Hoo collections, said, “It’s tremendously exciting to expand the Silk Roads story into parts of the world that are not traditionally associated with its popular

image — including here in Britain. For instance, visitors will encounter a whalebone box made in the northeast of England, but carved with stories, histories and languages drawn from the wider world. It’s an astonishing piece that really encapsulates the transcontinental breadth of connectivity between 500 and 1000 CE.”

Elisabeth R. O’Connell, Byzantine World curator, commented, “This Silk Roads story comprises many journeys that span the distance from the Pacific to the Atlantic. From empires to individuals, we’ve aimed to show the range of networks that facilitated movement, both voluntary

Painting Owned By The First Prime Minister Of Great Britain At Risk

LONDON — A temporary export bar has been placed on “Le Rêve de L’Artiste,” a painting by influential Eighteenth Century French artist Jean-Antoine Watteau.

The work, valued at £6,075,000 ($8,004,542) plus VAT, is at risk of leaving the UK unless a domestic buyer can be found to save the work for the nation.

Watteau was one of the most original and influential French painters of his era. He was a leading figure in the development of the Rococo style and inventor of a type of painting known as the Fête Galante, often small cabinet pictures, exploring the psychology of love, usually within a landscape setting.

His popularity in Britain amongst his contemporaries is evidenced through “Le Rêve de L’Artiste” being bought in 1736 by the first Prime Minister of Great Britain, Sir Robert Walpole. The painting was hung in Lady Walpole’s dressing room in 10 Downing Street for the remaining years of his administration.

“Le Rêve de L’Artiste” is an

ambitious and complex picture featuring two dozen characters in a surreal, structured environment depicting some of the artist’s own dreams. The painting is unlike much of Watteau’s other work which largely presents natural landscapes as idyllic and untamed.

Arts Minister Sir Chris Bryant said, “This painting was once owned by our first Prime Minister, Sir Robert Walpole, and was hanging for several years in 10 Downing Street, so Watteau’s ‘Le Rêve de L’Artiste’ has a fascinating connection to British History, offering us insights into the tastes and development of art in Britain in the Eighteenth Century. It portrays the artist’s dream, but perhaps its surreal fantasia-inspired political dreams as well. Either way, it is an important and unusual work by a genius…I hope a UK buyer has the opportunity to purchase this work so it can continue to be studied and enjoyed by the public.”

The Minister’s decision follows the advice of the Reviewing Committee on the Export of

Works of Art and Objects of Cultural Interest (RCEWA). The RCEWA Committee found that the painting met the third Waverley criterion for its outstanding significance to the study of the collections in which this picture was included as well as the early and highly unusual depiction of dream imagery.

Committee member Mark Hallett said, “This beautiful, enigmatic painting showcases Watteau’s extraordinary originality and provides us with one of Western art’s earliest and most profound representations of the process of artistic creativity. It gives us a fascinating insight not only into Watteau’s thinking as a painter, but into wider Eighteenth Century concepts of inspiration and imagination. As such, ‘Le Rêve de L’Artiste’ has a special, almost unique status in the artist’s output. This is a work that cries out for further research, interpretation and appreciation, and that fully deserves being retained for the nation.”

The decision on the export license application for the painting will be deferred for a period

and involuntary. It is a huge privilege for us to bring the stories of diplomats and pilgrims, scholars and students, refugees and captives, traders and traded to our visitors.”

Nicholas Cullinan, director of the British Museum, commented, “The British Museum is world-renowned for its gripping, award-winning exhibitions which I’ve always admired. “Silk Roads” will be the first to open since I became director, and I was particularly impressed by the way that it challenges existing perspectives while also involving deep collaboration — with departments across the Museum working together to bring it to its ambitious, compelling fruition.”

The Huo Family Foundation said, “The Foundation is delighted to continue its partnership with the British Museum with the support of “Silk Roads.” Aligned with our commitment to fostering education, enriching communities and advancing the pursuit for knowledge, we are pleased to enable a show that highlights the rich and diverse history of the Silk Road. Through showcasing the depth of the Museum’s collections and strength of its curatorial team, we are proud to witness a celebration of cultural exchange and discovery.”

“Silk Roads” will run through February 23 in The Sainsbury Exhibitions Gallery at the British Museum, Great Russell Street. For information, www.britishmuseum.org.

Of Export

ending on November 29 inclusive. At the end of the first deferral period owners will have a consideration period of 15 Business Days to consider any offer(s) to purchase the painting at the rec-

ommended price of £6,075,000 ($8,004,542) plus VAT. The second deferral period will commence following the signing of an Option Agreement and will last for six months.

“Le Rêve de L’Artiste (The Dream of the Artist)” by JeanAntoine Watteau (French, 1684-1721), circa 1710, oil on canvas, approximately 37½ by 47½ inches. Courtesy UK Government’s Department for Culture, Media and Sport.

A Red Earthenware Pitcher Marked

‘Nathaniel Sellers Upper Hanover, Pa’

A

By Justin W. thomas

Located about 50 miles to the north of Philadelphia, Upper Hanover (Montgomery County, Penn.) became part of Hanover Township before 1741, along with Douglass, Pottsgrove, New Hanover Township and the Borough of Pottstown. In the same year, Upper Hanover separated from Hanover Township; at the time, its boundaries included the three villages of Palm, Kleinville and Hillegassville, in addition to the settlements which now constitute the boroughs of Pennsburg, Red Hill and East Greenville.

The region’s rich soil attracted German farmers, who settled in the area. It also had a good source of clay for red earthenware production, which attracted potters and led to increased industrial activity in the 1700s. There is no available documentation of Upper Hanover having utilitarian red earthenware production in the Nineteenth Century despite its ties to one of the state’s betterknown potters of the Eighteenth Century, George Hubener (1757-1828). Hubener was known for his sgraffito decorated red earthenware adorned with floral designs, which sometimes utilized peacocks and inscriptions made with wares

that he manufactured in Upper Hanover Township after 1780. The pottery he produced is considered to be some of the most accomplished red earthenware made anywhere in the United States in the Eighteenth or Nineteenth Century. Hubener’s work is displayed in and owned by a number of museums today, including the Philadelphia Museum of Art, the American Folk Art Museum in New York City and the Winterthur Museum in Delaware.

According to the Landis Valley Village & Farm Museum’s award-winning two-part exhibit, titled, “Thrown, Fired and Glazed: The Redware Tradition From Pennsylvania and Beyond,” “George Hubener may have apprenticed with John George Sissholtz or Moravian potter John Ludwig Huebner who ran the Bethlehem Pottery (in Pennsylvania). Most of his surviving pieces are inscribed with dates from 1786 to 1793. The exact site of his pottery is unknown, but it is believed that he moved several times. The Upper Hanover Township tax records list Hubener as a potter taxed for one horse and two cows from 1787 to 1788. In 1790, he purchased 57¾ acres in Limerick Township, Montgomery County. He moved to Vincent Township,

Chester County in 1792, selling his Limerick Township property. He was still working as a potter at that time. In 1797, Hubener bought a 186-acre farm and mill in Chester County, at which time he was working as a miller instead of a potter.”

Interestingly, there is a Nineteenth Century molded houndhandle red earthenware pitcher, part of the collection of ceramic specialists Garrison and Diana Stradling of New York City, which is impressed on the base, “Nathaniel Sellers Upper Hanover, Pa.” The pitcher is decorated with what appears to be ancient motifs along with tulips and other decorative elements. There was no documented potter

by this name working in Upper Hanover during this period, although this name was known in the community in the 1800s.

Nineteenth Century molded earthenware hound handle pitchers were a popular style of production during the 1840s and 1850s, made by a number of pottery manufacturers in America, including potters located in Ohio, Vermont, New Jersey and Baltimore.

The maker of this pitcher, Nathaniel Sellers (1808-1867), was born on July 27, 1808, to Tobias (1781-1862) and Elizabeth (Faber) Sellers (1782-1852).

While listed as a doctor in the 1830 United States Federal Census, Tobias’ occupation had changed to druggist in the 1850 Census. The couple had seven children, six boys and one daughter; Nathaniel was the first-born. He was appointed as the postmaster of Upper Hanover on April 20, 1835, quite possibly the first of the small town.

Sellers was listed in the 1850 Federal Census with a misspelled last name of “Seller”; there was also an error in his age, where he was listed as being 38 years old instead of 42. Like many in the Nineteenth Century American Northeast, Sellers’ occupation was listed in the census as a farmer, many of whom supplemented their yearly income working part-time as a potter. Census records indicate that some of these potters (especially in western New York) often cited their full-time profession as being a farmer. This notion of

multiple job titles was certainly no different in Pennsylvania during this period.

In addition to being a farmer, Nathaniel Sellers was possibly a potter in Upper Hanover, perhaps in the 1840s and 1850s, although this aspect of his profession is not well-known today. This pitcher might be the only identifiable object associated with Sellers’ production, seeing that it is not known how he would have learned the potter’s trade otherwise.

However, in the 1860 Federal Census, Sellers’ age and the spelling of his last name were correct, and he was listed as a full-time potter living with his family in the Southeast Ward of Reading, Berks County, Penn., with an estate worth $200. He may have also been employed as the postmaster in Reading in 1860. But, like production in Upper Hanover, any pottery that Sellers may have produced in Reading is also largely unknown today. He may have intermittently operated his own business, although there was a lot of red earthenware production in Berks County in the 1800s, so he may have also been employed as a potter at a business owned by another tradesman.

Nevertheless, Sellers is another example of an American utilitarian potter whose production is largely unknown today. He may have made thousands of pieces of pottery in 1800s, which are now generically identified as “production in Pennsylvania” or another location.

An Eighteenth Century sgraffito decorated red earthenware plate made by George Hubener in Upper Hanover Township, Penn.; the plate is dated 1792. Courtesy American Folk Art Museum.

Nineteenth Century molded red earthenware hound handle pitcher stamped “Nathaniel Sellers / Upper Hanover / Pa.” on the base. Courtesy Garrison and Diana Stradling.

A photographic portrait of Nathaniel Sellers (1808-1867).

A view of the base of the hound handle pitcher, which is marked “Nathaniel Sellers / Upper Hanover / Pa.” Courtesy Garrison and Diana Stradling.

Three Eighteenth Century sgraffito decorated red earthenware plates made by George Hubener in Upper Hanover Township, Penn.; all date to the 1780s. Courtesy Philadelphia Museum of Art.

A 1789 sgraffito decorated red earthenware jar with a tin lid made by George Hubener in Upper Hanover Township, Penn. A similar jar sold in the 1920 Samuel W. Pennypacker sale at Freeman’s in Philadelphia. Courtesy Philadelphia Museum of Art.

New York City Jewelry And Watch Show Returns Oct. 24-27

NEW YORK CITY — The New York City Jewelry and Watch Show makes its return this fall to downtown Manhattan this October 24-27, transforming the Metropolitan Pavilion into a jewelry enthusiast haven. The Pavilion’s Hall is adorned with displays of jewelry, creating an atmosphere with strong transactional energy This year’s event promises to be a momentous occasion, featuring a collection of jewelry and timepieces from jewelers representing more than ten countries.

The annual event is set to bring together a cross-selection of classic antique collections, vintage pieces and unique handcrafted modern and contemporary jewelry designs. Attendees can anticipate an assortment of presentations featuring a selec-

tion of exhibitors. Recognizable returning exhibitors include Camila Dietz Bergeron, Fred Leighton, J.S. Fearnley, Paul Fisher, Roy Rover Antiques among many more presenting their newest acquisitions to the show’s audience. New exhibitors joining the show this year include Bluestone Trading Company Inc, Ashley Zhang Jewelry, Fecarotta Antichità and others.

Every year, the NYCJAW Show launches significant social media coverage content created by industry influencers who attend the event as well as exhibiting there. Participating dealers including Luxury Bazaar, Jewels by Grace, DeYoung Collection and Courtville, all of whom have significant followings contributing to the existing

show promotion of the October event. Roman Sharf of Luxury Bazaar reviewed the 2023 show on its YouTube channel. The video, labeling the event as a “win,” reporting more than $2 million in sales at the

show, reached more than 126,000 views.

These influential dealers, with significant social media followings bring fresh perspectives and innovative engagement online and in person that resonate with a younger and worldwide collector. Their presence at the show underscores the dynamic and evolving nature of the jewelry and watch industry, where traditional craftsmanship meets modern trends and digital influence.

“The New York City Jewelry and Watch Show serves as a platform for exhibitors to come together in person to buy, sell, trade and network,” said Scott

The Denver Art Museum Welcomes ‘Composing Color: Paintings By Alma Thomas’

DENVER — The Denver Art Museum (DAM) will welcome “Composing Color: Paintings by Alma Thomas” from the Smithsonian American Art Museum, a traveling exhibition that explores the life of the groundbreaking American artist and educator. “Composing Color” invites visitors to see the world through Thomas’s eyes, drawing on the exten-

sive holdings of her paintings at the Smithsonian American Art Museum (SAAM).

“Composing Color” highlights Thomas’s distinct abstract style, where color is symbolic and multisensory, evoking sound, motion, temperature and even scent. This exhibition is organized around the artist’s favorite themes of space, earth and music.

Her constant source of inspiration was nature, whether seen through her kitchen window or from outer space. Throughout politically charged times in American history and life, Thomas maintained her belief in the healing power of beauty and dedicated her life to its cultivation and expression through art. “Composing Color” will be on view at the

Carol Powers Halloween Collection Goes Up In Sterling Auctions

STERLING, MASS. — On October 1 at 6:30 pm, Sterling Auctions will offer the Halloween collection of the late Carol A. Powers. Powers collected over a period of about 25 years. Halloween was her favorite day of the year, and even in the early 1980s she would start decorating on October 1.

DAM from September 8 to January 12, 2025, in the Gallagher Family Gallery on level one of the museum’s Hamilton Building and will be included with general admission.

The Denver Art Museum is located at 100 W 14th Ave Parkway. For museum information, visit www.denverartmuseum.org or call 720-8655000.

Diament, president and chief executive officer of the Palm Beach Show Group. “The inclusion of new exhibitors alongside renowned jewelry experts highlights the comprehensive appeal of this event and creates an atmosphere where both established and newer generational jewelers can shine.”

The Metropolitan Pavilion is at 125 W 18th Street. For information, www.palmbeachshow.com or 561-822-5440.

Photos will be on Sterling Auctions’ Facebook page and at www.auctionzip.com. This will be a live auction, no internet. Phone and absentee bids are welcome. For information, 508-561-9170.

The collection consists of pumpkins, black cats, devils, noise makers, etc., made of mache, molded paper, composition, metal, cloth and plastic as well as postcard and German pieces from the early Twentieth Century.

Sept. 21 & 22, 2024 Sat. 10 am - 5 pm • Sun. 12 pm - 4 pm

Cultural Center of Cape Cod

307 Old Main Street, South Yarmouth, MA, Route 6 to exit 75 (old exit 8) then follow signs

Admission $7 ($6 with card or ad)

Identification Booth

Glass Prize Raffle

Sponsored by the Cape Cod Glass Club www.capecodglassclub.org

For more info: ehl77pg@gmail.com

Nationally prominent glass dealers offering antique and collectable American and European glassware from the 18th to 21st centuries.

“Tour Eiffel (Eiffel Tower)” by Diego Rivera, 1914, oil on canvas, 45¼ by 36¼ inches. Private collection ©2024 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York City. Photo: Mary-Anne Martin Fine Art, New York City.

“Claudine Resting” by Jules Pascin, 1913, oil on canvas, 31-7/8 by 23-5/8 inches. Art Institute of Chicago. Gift of Mr and Mrs Carter H. Harrison, 1936.11 ©Art Institute of Chicago, dist. GrandPalaisRmn/image Art Institute of Chicago.

Make Way For

Berthe Weill

BY LAURA PRESTON

NEW YORK CITY — Twentytwo years ago, the late curator Julie Saul was reading a copy of Making Modernism: Picasso and the Creation of the Market for Twentieth Century Art (University of California Press: Berkeley, 1995), Michael C. Fitzgerald’s study of Picasso and the dealers, collectors and critics who supported his career. The dealers in

Fitzgerald’s book were familiar to Saul, as they would be to any historian of the Twentieth Century Parisian avant-garde: Ambroise Vollard, Daniel-Henry Kahnweiler and Paul Rosenberg, among others. But another name caught Saul’s eye. Fitzgerald mentioned a dealer named Berthe Weill, whose tiny shop in Montmartre was crammed with antiques, prints and modern art. Despite Weill’s obscurity, her

“La Vierge attentive (The Attentive Virgin),” also known as “La Vierge à l’étoile (Virgin with a star)” by Louis Cattiaux, 1939, oil on canvas, 22 by 19-5/8 inches. Collection Guieu, Jouques, France ©Jean-Christophe Lohest.

“La Rue pavoisée (Street decked with flags)” by Raoul Dufy, 1906, oil on canvas, 31-7/8 by 25-5/8 inches. Centre Pompidou, National Museum of Modern Art / Industrial Design Center, Paris. Legacy of Madame Raoul Dufy, 1963, AM 4113 P ©Centre Pompidou, MNAM/CCI, dist. GrandPalaisRmn/Philippe Migeat.

influence was enormous. She was the first dealer to sell Picasso, an early champion of the Fauves and the first and only dealer to exhibit Amadeo Modigliani in his lifetime. How was it that such a key figure of modernity was now forgotten? Saul’s search for answers led her to the MoMA PS1 library, which held a copy of Weill’s self-published memoir Pan! Dans l’oeil (POW! Right in the Eye!). Weill’s words leapt off the page. Here was a woman of high ideals and unwavering resolve, full of intensity, humor and grit. “I started out with just 50 francs in hand and went into debt to pay the costs involved in opening a shop…” she wrote. “What was the worst that could happen? Not being able to hang on? I will hang on!!!”

Saul’s decades-long obsession with Weill culminates this month at New York University’s Grey Art Museum, which presents “Make Way for Berthe Weill: Art Dealer of the Parisian Avant-Garde.” The exhibition is co-curated by Lynn Gumpert, director of the Grey Art Museum; along with Anne Grace, curator of Modern Art of the Montreal Museum of Fine Arts; Sophie Eloy, collections administrator at the Musée de l’Orangerie in Paris; and Marianne Le Morvan, a scholar of Berthe Weill. Saul passed away in 2022, before the exhibition was realized. The exhibition will travel to Montreal in May 2025, and complete its tour at the Musée de l’Orangerie in October of 2025. The Grey’s iteration will present 20 works by artists in Weill’s circle. At first, the curatorial team was determined to only include works that had hung in Weill’s gal-

“Portrait de Berthe Weill (Portrait of Berthe Weill)” by Émilie Charmy, 1910–14, oil on canvas, 35-3/8 by 24 inches. Montreal Museum of Fine Arts. Purchase, Annie White Townsend Bequest, 113.2024 ©Alberto Ricci. Photo: MMFA, Julie Ciot.

lery, said Gumpert. But incomplete record-keeping and inconsistent titles made it difficult to verify certain works’ movements through the art market and complex international loan agreements made other works hard to secure. The team, instead, decided to show a mix of works. Some certainly hung in Weill’s gallery: an early Cubist rendition of the Eiffel Tower by Diego Rivera, for example, was made for the artist’s 1914 exhibition with Weill, his first solo show in Paris. Other works did not pass

through the shop on Rue Victor Massé, but are nevertheless indicative of Weill’s cultural milieu, the breadth of her tastes and her personal relationships. Among the represented artists are many familiar names: Picasso, Henri Matisse, Marc Chagall, Francis Picabia and Amedeo Modigliani. Perhaps more exciting are the less familiar ones: Émilie Charmy, Louis Cattiaux, Jules Pascin and Hermine David, among others. Each artist represents a node in the fascinating web of social and

professional connections that defined the Parisian avant-garde and had Weill at its center.

A wonderfully loose, buttery painting by Émilie Charmy depicts Weill at the peak of her career. She stands proudly, dressed in black from the neck down, with her hair pulled back, a pair of round spectacles balanced on her nose and her head cocked in an inquisitive expression. Weill was an outsider by many counts. She was Jewish in a climate of antisemitism and a woman in a man’s industry. She deliberately abbreviated her gallery name to “B. Weill Galerie” to obscure her gender. Her class background also set her apart. She was the daughter of a seamstress and a ragpicker, and left school in her early teens to enter the workforce. Finally, she was the only gallerist in Paris who committed herself entirely to the promotion of young and emerging artists. While other galleries presented new talent alongside old standbys, like the Impressionists, Weill was voracious for the new. Her business cards read “Place aux Jeunes,” or “make way for the young,” and she strung her cramped shop with clotheslines from which she hung canvases that

had not yet dried. She was so committed to helping artists in the early stages of their careers that she refused to lock them into exclusive contracts. Inevitably, her most successful artists would leave for more prominent galleries, but Weill never minded. Her deepest conviction was that artists needed resources and freedom to experiment. Weill’s staunch principles meant that she was always teetering on the brink of bankruptcy, but she always somehow managed to scrape by. “She was incredibly ballsy,” said Gumpert. There is no painter better equipped to capture the spirit of Weill than Charmy. Like Weill, Charmy was an outsider. She began exhibiting work at the same time as the Fauves but kept herself apart. “People mistook her reserve…for pride or disdain,” Weill writes of Charmy in her memoir. “If being proud means not shaping yourself to a pleasing, ready-made formula, if being proud means never deviating from your chosen line of conduct in art in order to fit your personality to fashion, then yes, she was very proud. And she had the kind of pride I greatly value.” Charmy and

Weill became fast friends. Charmy’s paintings are fresh, selfassured, and quietly radical. At one point, she depicted herself while pregnant — “a daring image,” said Gumpert. “I think her works are amazing. I’ve only seen a few.” Charmy is one of several women artists represented in the show. A painting by Suzanne Valadon, “Portrait of Mme Zamaron,” is another highlight. In this rich, robust portrait, Valadon depicts her subject in a chair with a luxurious textile bunched around her. Valadon’s style is linear, muscular and luminescent. She paints as if she were drawing, quickly describing the fabric’s pattern with fresh, lively strokes. The warm fabric and Madame Zamaron’s fingers and cheeks glow against the painting’s darker corners, causing the entire canvas to radiate heat, as if lit by firelight. Valadon was not only a painter, but a model who posed for Berthe Morisot, Pierre-Auguste Renoir and Henri Toulouse-Lautrec, among others. Her inclusion in the show reminds us that the artistic community of early Twentieth Century Paris was not made up of artists working in isolated studios, but a vast social network built on

“30 ans ou la Vie en rose (Thirty years or la Vie en rose)” by Raoul Dufy, 1931, oil on canvas, 38-5/8 by 50-3/8 inches. Musée d’Art Moderne de la ville de Paris. Donation of Mathilde Amos, 1955, 1924 ©2024 Artists Rights Society (ARS), New York City. Photo: CC0 Paris Musées / Musée d’Art Moderne de la Ville de Paris.

“Liseuse en robe violette (Reading woman in a violet dress)” by Henri Matisse, 1898, oil on canvas, 14-7/8 by 18-1/8 inches. Musée des Beaux-Arts, Reims, France. 949.1.40 ©2024 Succession H. Matisse / Artists Rights Society (ARS), New York City. Photo: Christian Devleeschauwer.

“La Femme au canapé (Woman on a sofa)” by Kees van Dongen, circa 1920, oil on canvas, 35-1/8 by 46 inches. Montreal Museum of Fine Arts. Gift of Dr Max Stern, 1978.21 ©2024 Artists Rights Society (ARS), New York City / ADAGP, Paris.

“Portrait of Madame Pascin (Hermine David)” by Jules Pascin, 1915–16, oil on canvas, 21 by 24 inches. Philadelphia Museum of Art. The Samuel S. White III and Vera White Collection, 1967-30-66. Courtesy Philadelphia Museum of Art.

“Fille rousse (Girl with red hair)” by Amedeo Modigliani, circa 1915, oil on canvas, 16 by 14-3/8 inches. Musée de l’Orangerie, Paris. Jean Walter and Paul Guillame Collection, 1960.46 ©Photo: Musée de l’Orangerie / Sophie Crépy.

“The Wretched” by Meta Vaux Warrick Fuller, 1901, bronze, 17 by 21 by 15 inches. Maryhill Museum of Art, Goldendale, Wash. Gift of Alma de Bretteville Spreckels, 1951.07.264.

“Portrait of Mme Zamaron”

“Paris-Montparnasse” by Hermine David, circa 1920s, drypoint, 6 by 4 inches. Private collection, Paris ©2024 Artists Rights Society (ARS), New York City / ADAGP, Paris. Photo: Caroline Coyner Photography.

“Paysage aux vaches (Landscape with cows)” by Robert Delaunay, 1906, oil on canvas, 19-5/8 by 24 inches. Musée d’Art Moderne de la Ville de Paris. Donation of HenryThomas, 1984, 2576. CC0 Paris Musées / Musée d’Art Moderne de la Ville de Paris.

collaboration and social currency. The exhibition also nods to the relationship between Hermine David and Jules Pascin, a married couple, both artists in Weill’s circle. Weill met Pascin in 1910 and exhibited his work in 23 shows across two decades. When Pascin married, Weill took on David as well. The show’s single work by David is a raucous drypoint depicting a dense, whirlwind scene of Montparnasse nightlife: jazz bands, cabaret dancers, gossiping couples, liquor and cigarettes. The energy of the image recalls a passage from Weill’s memoir, in which she describes a celebratory evening at David and Pascin’s apartment on Boulevard de Clichy: “People served themselves generously, hungrily, piggishly… It was turning into an orgy; time to leave.” One of two works by Pascin shows a different dimension of his wife. His “Portrait of Madame Pascin (Hermine David)” depicts David in a soft, dreamy reverie, her eyes closed and hands clasped at her cheek as she rests her elbow on a table.

Other highlights include a bronze sculpture by Meta Vaux Warrick, an African American artist from

“Le Chemineau ou Vieux Tolédan (The Vagabond or Old Tolédan)” by Pablo Picasso, 1901, pen and Indian ink enhanced with watercolor and pencil on wove paper mounted on paper board. 8¼ by 5-3/8 inches. Musée des Beaux-Arts, Reims, France. 949.1.108 ©2024 Estate of Pablo Picasso / Artists Rights Society (ARS), New York City. Photo: Christian Devleeschauwer.

Philadelphia, who studied with Auguste Rodin. Warrick was a poet, artist, set designer and suffragette who made bold sculptural depictions of racial injustice, including a work that depicts the lynching of Mary Turner. Warrick was shunned by the American circles but embraced in Paris. The bronze on view at the Grey, “The Wretched,” is a composition of sinewy bodies in a harrowing throng reminiscent of a Last Judgement scene. Weill showed the work in a 1901 exhibition at her gallery. It is the only early work of Warrick’s to survive; the rest were lost in a studio fire.

As one surveys the works in “Make Way for Berthe Weill,” one can’t help but be scandalized that such a vivacious, self-assured and beloved gallerist at the center of the Parisian avant-garde could be so easily forgotten. Gumpert has theories on her exclusion from mainstream art historical narrative. In 1908, the prominent gallerist Ambroise Vollard criticized the tastes of Count Isaac de Camondo, who had recently made a stir by bequeathing his collection of Impressionist and Post-Impressionist paintings to the Louvre.

Weill rallied to Camondo’s defense by printing a pamphlet critiquing Vollard. Vollard, as retribution, eliminated Weill from his memoir entirely. “In my mind, that’s when the re-writing of history begins,” said Gumpert. Gumpert hopes the exhibition will be an important step in setting the art historical record straight. The show will be of particular interest to art history students in search of new research areas. Many of the artists, like Charmy, are understudied and ripe for scholarly appraisals. In 2022, the University of Chicago Press published an English edition of POW! Right in the Eye, edited by Gumpert and translated by William Rodarmor (“Weill’s prose rhythm is closer to Machine Gun Kelly than Marcel Proust,” writes Rodarmor in his delightful introduction). The book’s appendices include a micro-biographies on the nearly 500 artists, collectors, socialites and bon vivants that Weill name-drops in the memoir, a veritable roadmap for any student looking for a new archival rabbit hole.

The last decades of Weill’s life are hazy. In 1941, with anti-Semitism on the rise, Weill was forced to close her shop but managed to escape deportation. Several of her artists, like Sophie Blum-Lazarus and Otto Freundlich, were deported to camps and executed. By the end of the war, Weill was frail and destitute. As a testament to her beloved status in the art world, a group of artists and gallerists held an art auction for her benefit, raising the equivalent of $130,000, enough to sustain her until her death in 1951. Her admirers were many. They called her “Mère Weill,” or “Mother Weill,” an affectionate play on words — in French, “Mère Weill” sounds no different than merveille, or “marvel.”

“Make Way For Berthe Weill” will be on view October 1-March 1. The Grey Art Museum, at New York University, is at 18 Cooper Square. For information, 212-998-6780 or www.greyartmuseum.nyu.edu.

by Suzanne Valadon, 1922, oil on canvas, 32-1/8 by 25-7/8 inches. Museum of Modern Art, New York City. Gift of Mr and Mrs Maxime L. Hermanos, 1964, 581.1964 ©Digital image, The Museum of Modern Art, New York/Scala, Florence.

“Piana Corsica” by Émilie Charmy, 1906, oil on canvas mounted on board, 21-1/8 by 25-3/8 inches. Galerie Bernard Bouche, Paris ©Alberto Ricci.

Paintings, Prints, Furniture & More At Winter Associates On September 30

PLAINVILLE, CONN. — On September 30, starting at 5:30 pm, Winter Associates will present items from estates and households throughout Connecticut and Rhode Island. The auction will include a mix of Nineteenth and Twentieth Century paintings and prints, American antique and reproduction furniture, including Nathan Margolis, Wallace Nutting etc.; a two-owner collection, one of Historical Blue Staffordshire and one of antique firearms; also Americana stoneware, treenware, early glass, bronzes, daguerreotypes, etc., iron garden furniture, coins, etc.

From a Vernon, Conn., estate comes a Nathan Margolis highboy custom made for Robert Butler of Hartford in the 1930s after an Eighteenth Century Eliphalet Chapin original that Butler once owned and later donated to the Wadsworth Atheneum in 1964. The original piece is an important part of the American furniture collection and is illustrated in the catalog Connecticut Furniture, Seventeenth and Eighteenth Centuries , also illustrated in Kugelman’s Connecticut Valley Furniture , and MacMillan’s Furniture Treasury . The finely crafted copy to be auctioned off boasts Chapin’s unusual carved cartouche finial true to the original as well as a custom made Margolis alternative to accommodate a lessened ceiling height. Margolis’ original sketch of the replacement finial and an impressive collection of provenance is available to the successful bidder. Other Margolis pieces in the sale include a four-drawer chest, a chest on chest and a pair of Queen Anne-form candlestands. Period furniture includes an Eighteenth Century slant lid desk and a similar rosewood diminutive desk version, a sewing table, corner cabinet, an early Nineteenth Century girandole mirror, etc.

Two Charles Ethan Porter oils will cross the block, the larger “Snipsic Lake, Rockville, Conn., (aka Shenipsit Lake)” depicts a view from the artist’s hometown and is from the same estate as the highboy above. From another home a smaller f loral still life, a frequent subject done in the manner the artist is known for. Porter, the first African American to attend the Academy of Design in New York City and later studied in Paris, continued to paint and teach in the Hartford area until his death in 1923. Another Connecticut artist’s work is Aaron Draper Shattuck, also an alumnus of the Academy of Design, painted regularly at his farm in Granby, Conn., as well as nearby Farmington and Simsbury. Seascapes, like the one to cross the block in the upcoming auction, are less common and often depict the

stormy strength of the sea. Other notable artists in the sale include Carleton Wiggins, Clark Voorhees, Robert Owen, Betram Bruestle and Wayne Morrell, as well as works by Georges Robin, Edward Seago and Paul Saling.

The Historical Blue Staffordshire collection from a Vernon, Conn., estate is extensive and sure to excite collectors of early Nineteenth Century British transferware. Ironically many pieces were created celebrating American victories and heroes to recover the market lost during the Revolutionary War and again in the War of 1812, and “after their dual defeat, the British desire for commerce won out over national pride,” and English potters appealed to American patriotism to sell their wares. Still consistently popular with Americans, patterns to be sold include “America & Independence,” “The Landing of Lafayette,” “Layfayette at Franklin’s Tomb,” “Lafayette at Washington’s Tomb,” “Washington Standing by His Own Tomb,” “Landing of the Father’s at Plymouth” and others, with many being larger pieces such as platters, teapots, sugar dishes and tureens, etc. An example of this genre’s popularity is a recent exhibit by the Connecticut State House and Connecticut Museum of Culture and History, “General Lafayette: The Hero,” which displayed historical Staffordshire and more.

Other attention-getting objects to be sold include an early Nineteenth Century American copper weathervane of a jockey on a running horse, 30 inches long, with separately cast head and uniquely rendered body and reins. Also, there’s a singleowner collection of antique firearms and weapons, a pair of monumental hardstone bonsai trees in cloisonné pots measuring 55 inches in height, cast iron pair of urns, garden benches and chairs, a coin collection, sterling silver hollowware, flatware and jew-

elry along with many gold wearables, glazed stoneware, five Villareal bronze dancers along with a number of classical figures, etc.

Previews are Friday, September 27, from 12 to 4 pm; Sunday, September 29, from 2 to 4 pm; and on Monday, September 30, from 12 to 5 pm. Previewers are welcome at other times by appointment.

This sale will be live at the firm’s gallery. Winter Associates’ auction catalog is available online at the firm’s website as of Friday, September 20.

Winter Associates is at 21 Cooke Street. For information, www.AuctionsAppraisers.com or 860-793-0288.

Historical Blue Staffordshire, “America & Independence,” part of a more than 70-piece collection being offered ($200/400).

Charles Ethan Porter (American, 1847-1923), “Snipsic Lake, Rockville, Conn., (aka Shenipsit Lake),” oil on canvas, 11½ by 14½ inches (one of two Porter oils) ($3/5,000).

Margolis after Chapin highboy (Wallace Nutting illustration #370 ($1,5/2,500).

Transitions

PGardiner Museum Gets Funding From Canada Toward Transformation Project

ace Gallery announced the appointment of Evelyn Lin as president of Greater China. With a long and distinguished career at Christie’s and Sotheby’s, Lin will spearhead sales, business development and artist engagement in the region, starting October 1. Her leadership marks a pivotal moment for Pace as it strengthens its influence in Asia. Based in Hong Kong, she will oversee the gallery’s teams in both Hong Kong and Beijing. Lin joins Pace following the recent departure of Leng Lin, former president of Pace in Asia, after 16 years with the gallery.

The Cleveland Museum of Art (CMA) announced the appointment of Andria Derstine as Virginia N. and Randall J. Barbato deputy director and chief curator. As chief curator, Derstine will oversee the work of approximately 20 curators and work closely with the director, curators and museum leadership team to strengthen the CMA’s permanent collection and expand its nationally recognized program of exhibitions and related programs. In addition, she will supervise the conservation department, department of collections management and the Ingalls Library and museum archives, as well as the department of performing arts, music and film.

TTORONTO CANADA — The Gardiner Museum announced the support of the government of Canada for its largest capital project in 20 years — a fullscale transformation of the museum’s ground floor based on the principles of access, connectivity and Indigeneity.

The government of Canada’s contribution of $705,260 ($518,325 USD) issued through the department of Canadian Heritage’s Canada Cultural Spaces Fund, supports the reimagining of the Gardiner’s permanent collection galleries, including the addition of a gallery of Indigenous ceramics, as well as the establishment of a Community Learning Centre, a new programming and events space that will bring better visibility to the museum’s education initiatives. An open hub for looking, learning and connecting, the Community Learning Centre will host public programs and offer new display opportunities for the collection and community projects.

“The Gardiner Museum is grateful to the government of Canada for this vital support as we embark on the next phase of the museum’s evolution, bringing our physical space in line with our

mission of building community with clay. This investment recognizes the Gardiner’s unique and important role as a site for artistic engagement and hands-on learning, both within our city and beyond,” said Gabrielle Peacock, executive director and chief executive officer at the Gardiner Museum.

The Gardiner’s transformation project, first announced in September 2023, will allow the museum to highlight the cross-cultural history of ceramics and showcase the ways in which contemporary artists are using the medium in new and exciting ways.

The project also advances the Gar-

diner’s commitment to reconciliation through the establishment of a permanent gallery space for Indigenous ceramics, developed by Franchesca Hebert-Spence, curator of Indigenous ceramics at the Gardiner Museum, and designed by Chris Cornelius of studio:indigenous, in consultation with the Gardiner’s Indigenous Advisory Circle: Mary Anne Barkhouse, Kent Monkman, Andre Morrisseau, Duke Redbird and Tekaronhiáhkhwa/ Santee Smith.

Construction on the project began in July and is anticipated to be completed by October 2025.

Art Bridges Launches Next Phase Of Cincinnati Art Museum Cohort

CINCINNATI, OHIO — Art Bridges Foundation is launching the next chapter of the Cincinnati Art Museum (CAM) cohort, marking the debut of three original exhibitions across university museums. After a period of collaborative research and development, these exhibitions will showcase a blend of artworks from CAM’s permanent collection alongside pieces from the hosting museums.

The first exhibition, “Portraying Identity,” opened at the Denison Museum at Denison University in Granville, Ohio, on August 29, and will remain on view through November.

he Smithsonian’s Hirshhorn Museum and Sculpture Garden announced the appointment of José Roca as the inaugural Estrellita B. Brodsky curator at large of Latin American and Latin diasporic art. Roca will support Hirshhorn leadership in assessing and expanding acquisitions of Latin American and Latin American diasporic holdings, initiating exhibitions and research and broadening the field of support for the National Museum of Modern and Contemporary Art. Roca will be responsible for engaging Twentieth and Twenty-First Century art from Mexico, the Caribbean, Central America and South America within the context of the Hirshhorn collection, which is grounded in visual art and culture from 1860 to the present. He will bolster the museum’s Latin American and Latin American diasporic holdings by proposing future acquisitions and curating exhibitions.

After building a career that spanned five decades and included the creation of a new museum, Racine Art Museum (RAM) announced that RAM executive director and curator of collections Bruce W. Pepich will retire at the end of 2024. Pepich plans to remain throughout 2025 as consultant for permanent collection projects before retiring fully — ensuring the integrity of the largest collection of contemporary craft in North America during the transition of leadership. Pepich was hired in a programming position at the Charles A. Wustum Museum of Fine Arts, the original of RAM’s two campuses, in 1974. He became executive director in 1981 and led the museum through a series of strategic initiatives that achieved regional and then national attention for the institution. In those 43 years, the museum transformed into one of the nation’s leading centers for contemporary craft, as Pepich personally grew the permanent collection from 326 pieces to more than 11,000 works.

Following this, the Kennedy Museum of Art at Ohio University will launch “Pairings: CAM Paintings & KMA Prints” on January 17, 2025, while the Art Museum of West Virginia University will present “Radiant Pages: The Art of the Book” beginning January 24, 2025.

Each exhibition will feature dynamic and free programming, including learning opportunities, educational materials and community engagement initiatives. Students will play a pivotal role, contributing to interpretive elements, public programming, outreach efforts and marketing.

The CAM cohort, which also includes the Southern Ohio Museum and Cultural Center and the University of Kentucky Art Museum, reflects Art Bridges’ commitment to fostering multiyear partnerships among museums of varying sizes and locations. These partnerships are key to the foundation’s mission to get American art out of storage and on view in communities nationwide.

“The Cincinnati Art Museum is pleased to partner with Art Bridges and five art museums across three states to advance our collections and exhibitions together,” said Cameron Kitchin, Louis and Louise Dieterle Nippert director at CAM.

Visitors observe works from Cincinnati Art Museum’s permanent collection. Image courtesy of Cincinnati Art Museum

“It is exciting to see the heartland of America link together through the Ohio River to understand institutional capacity and relationship building.”

The Cohort Program provides communities with engaging presentations of American art through the deep collaboration and robust collection sharing of all its members. Projects are determined by each cohort and therefore take on many forms; however, they are all united in their spirit and approach with museum partners innovating new ways of working together to share American art that transcends geographic and institutional boundaries. To learn more about the Art Bridges Cohort Program, visit www.artbridgesfoundation.org/cohort.

Fenimore Art Museum Completes $33.8M Acquisition & Installation Of 27 Artworks For Its American Art Collection

COOPERSTOWN, N.Y. — Fenimore Art Museum announced that its acquisition and installation of 27 major works of American art valued at $33.8 million is now complete. The final two pieces, both pastels, were recently installed. “Campanile at Lido” (1879) by James McNeill Whistler and “Still Life with Fruit, Vase and Cup” (1910) by Max Weber are on view through December 29 as part of the exhibition “American Masterworks.”

Acquisition of these works was generously funded by the Eugene V. and Clare E. Thaw Charitable Trust.

Over the past nine months, 25 oil paintings and two pastels were added to Fenimore’s collection of American art. The grouping includes works by Albert Bierstadt, Theodore Earl Butler, Mary Cassatt, William Merritt Chase, Frederic Edwin Church, Samual Colman, Frederick Carl Frieseke, William Glackens, Childe Hassam, Martin Johnson Heade,

Robert Henri, George Inness, David Johnson, Eastman Johnson, Joshua Johnson, Ernest Lawson, Thomas Moran, Georgia O’Keeffe, Maurice Prendergast, John Singer Sargent, Joan Sloan, Max Weber and James McNeill Whistler. The acquisitions highlight the museum’s effort to expand its already significant collection. This group broadens the scope to include major works created from the 1850s to about 1930, allowing the museum to tell the story of American art and culture as it evolved after the Civil War.

“With the inclusion of these new acquisitions, Fenimore now showcases a comprehensive collection of American Art, representing a group of artists who are considered masters,” said Dr Paul S. D’Ambrosio, Fenimore Art Museum president and chief executive officer.

“The new works build upon the early and mid Nineteenth Century works left to the museum by our original benefac-

tor Stephen C. Clark. Likewise, we continue the legacy of the generous gift of the Eugene and Clare Thaw Collection of American Indian Art given to us in 1995 by the Thaws and housed in a new wing funded by Clark’s granddaughter, Jane Forbes Clark.”

All new acquisitions are currently on view in the museum’s exhibition “American Masterworks.”

In 2025, Fenimore Art Museum will present the exhibition “Mary Cassatt / Berthe Morisot: Allies in Impressionism” (May 24-September 1) featuring one of the museum’s new acquisitions, the painting “Madame de Fleury and Her Child” (circa 1890-91) by Cassatt. The exhibition explores the relationship of Cassatt and Berthe Morisot, and how the two navigated the male-dominated Impressionist circle in Paris.

For more information on “American Masterworks,” visit FenimoreArt.org.

Architectural rendering by Montgomery Sisam Architects.

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December

California Museum Celebrates Yang Collaboration

MONTEREY, CALIF. — With its mission to celebrate the diversity of California art past, present and future, the Monterey Museum of Art’s (MMA) fall 2024 exhibition season presents “Imagining China: The Art of Belle Yang and Joseph Yang,” on view until November 24. The first cultural institution to exhibit Belle Yang and her father Joseph Yang’s work in a creative conversation, the museum today also announces that Ms Yang has promised a significant number of her own works, as well as her father’s works to MMA’s permanent collection (currently on long term loan); and has pledged substantial support to create an endowment for catalogue production. Belle Yang shares, “Joseph Yang was my mentor throughout his life, and even now from the afterlife. For both of us, creativity is the reason we are on this Earth, and I feel a lightening of a load to know that our art will remain together as a legacy to inspire others.”

Imagining China presents a visual journey of what it means to be “100 percent Chinese and 100 percent American” as Belle has described herself. Belle Yang’s many artistic inf luences include growing up as a first-genera-

Auction Previews

tion American, studying pre-med locally at the University of California, Santa Cruz, before finishing at ArtCenter College of Design in Southern California, becoming a successful graphic novelist, and finally, studying classical Chinese painting in China. Curated by Oaklandbased artist and scholar, Lydia Nakashima Degarrod, “Imagining China” uncovers how Belle and her father Joseph, also an accomplished artist, found solace, resilience, and ultimately joy and deep satisfaction in creating art together.

MMA executive director Corey Madden notes, “Belle’s generous pledge to MMA will help us continue being responsible stewards of remarkable California art. It will help support the museum’s capacity to study and share stories of the diversity of California artists with the wider public. In addition, MMA is grateful to Lila and James Thorsen for their generous support of this exhibition as well as Steve Hauk for his gift in support of the catalogue of ‘Imagining China.’”

The Monterey Museum of Art is at 559 Pacific Street. For information, 831-372-5477 or www.montereyart.org.

26, Sept eldreds.com

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City,

Belle Yang (b 1960), Untitled (Granddaddy Hill), 1997, gouache and pencil on paper, 22 by 28 inches. Courtesy of the Yang Collection. ©Belle Yang.

Bonhams Announces New

NYC Headquarters At Steinway Hall

NEW YORK CITY — Bonhams, the global auction house, has announced the relocation of its New York City headquarters from 580 Madison Avenue to the legendary Steinway Hall at 111 West 57th Street, with plans to inaugurate the new location by late 2025. The new address is home to the historic landmarked Steinway Hall, designed in 1925 by New York architects Warren & Wetmore, and 111 West 57th Street, the monumental new tower by SHoP Architects that stands as the second tallest residential building in the Western Hemisphere. Bonhams’ new US flagship will feature a soaring 80-foot glass atrium, four levels of galleries and two spacious auction rooms, increasing square footage by 30 percent. The move reasserts Bonhams’ global expansion strategy and dedication to the United States.

Hans-Kristian Hoejsgaard, Bonhams’ executive chairman, said, “This is a meaningful milestone for Bonhams and our global network of auction houses. It demonstrates our

unwavering commitment to the US market. The Steinway Hall symbolizes Bonhams’ commitment to heritage –and the way in which we’re embracing the future.”

Lilly Chan, managing director of Bonhams US, added: “This key move reflects Bonhams’ significant growth in the US market driven by our coastto-coast presence, and complemented by our recent acquisition of Bonhams Skinner in New England. We look forward to welcoming everyone to our new space, which will offer a full auction calendar, exciting programming, and a forum to explore the finest art and collectibles. We are delighted to be part of the history of this important landmark.”

Bonhams New York will now occupy both the historic Steinway Hall and its formal reception hall, in addition to the newly developed atrium by SHoP architects during the creation of 111 West 57th Street. Steinway Hall, originally constructed in 1925 for Steinway & Sons piano company, joined the burgeoning cultural and classical music

Christie’s To Acquire Gooding & Company

NEW YORK CITY — Christie’s has announced that it has entered into an agreement to acquire Gooding & Co., a leading international auction house in the collector car market.

Founded in 2003 by the husband and wife team of David Gooding and Dawn Ahrens, Gooding & Co., has earned global recognition as a leader in the classic car auction industry. The company is known for its commitment to presenting high-quality consignments with exceptional integrity and transparency. Gooding & Co., takes pride in offering vehicles from some of the most prestigious collections, as well as treasured family heirlooms and exciting new discoveries.

This acquisition marks a significant milestone for Chris-

tie’s, establishing its position in the rapidly expanding classic and collector car market and further solidifying its leadership in the broader luxury sector. Christie’s and Gooding & Co., are an ideal match, sharing values of specialist expertise, integrity and exceptional client service in the sale of exquisite objects. This combination will provide Gooding & Co., with an enhanced global platform to support its future growth and brand development. Gooding & Co., remains committed to providing uninterrupted customer service of the highest level to its devoted clients, continuing with its existing calendar of prestige events, auctions and more.

The transaction is expected to close prior to the end of 2024. For information, www.christies.com.

Heritage Achieves $2.04 Million For ‘Fantastic Four’ Comic

DALLAS — Thursday’s first session of Heritage Auctions’ September 12-15 Comics & Comic Art Signature Auction got off to a fantastic record-setting start. Among the four-day event’s centerpieces was one of only two copies of 1961’s Fantastic Four No. 1 awarded a Near Mint+ 9.6 grade by Certified Guaranty Company (CGC). In more than two decades as one of the world’s premier comic book auction houses, Heritage has never offered so highly graded — and coveted — a copy of the first Fantastic Four as this one. Collectors responded appropriately.

It opened live bidding Thursday afternoon at $1.05 million. But it didn’t take long for the book to soar to its final price of $2,040,000, a new record for this historic kickoff to the Marvel Universe. It’s also now the second-most-valuable Silver Age comic behind only the CGC Near Mint+ 9.6 copy of Amazing Fantasy No. 15 that realized $3.6 million in September 2021. For more information, www.ha.com or 214-528-3500.

center following the opening of Carnegie Hall in 1891. As a landmarked site, the classical limestone facade has been carefully restored, still bearing the Steinway name, in addition to preserving the interior reception hall with its original ornate sculptural detailing and ceiling mosaics. Enhancing the historic address is the striking modern addition of an 80-foot glass atrium, set to serve as the grand entrance and main lobby for Bonhams. The new saleroom interior will be designed by world-renowned architects Gensler, known for iconic New York projects, including The Museum of Modern Art, the Ford Foundation Center for Social Justice, Saks Fifth Avenue flagship, and the Brooklyn Public Library. With purpose-built galleries and offices, the space will total 42,000 square feet. A grand staircase will lead to the four gallery levels featuring two large state-of-the-art auction rooms, and multiple client reception areas. The new building will be completed with workspaces for all its US employees, including multiple meeting rooms, as well as professional photography studios and centralized warehousing with a dedicated loading bay. Bonhams New York will remain at 580 Madison Avenue until late 2025, where its New York saleroom has been located since 2008. For information, www.bonhams.com.

(Pine Bush, N.Y.) Coins, Marine Art & Silver Headline

(Willoughby, Ohio) Schucos & Pre-WWII

(Thomaston, Maine) At Thomaston

(Sudbury,

(Sarasota,

George II Mantel Mirror & Side Chairs

Decorate For Doyle

NEW YORK CITY — Doyle Auctions had a homey start to their fall season on September 11, with “A Prominent Pennsylvania Collection,” a 222-lot sale featuring the property of a Montgom-

ery County, Penn., lady. Popular offerings came from categories including fine art, Asian works of art and furniture and decorative arts, to name a few. Two lots, both furniture pieces from the George II period, earned $280,800, the highest price of the sale. The first was a George II giltwood over-mantel mirror (pictured) which contained an early Nineteenth Century Dutch painting depicting a group of figures on a riverbank in its upper half. The 58-inch-high piece had a mid-Eighteenth Century giltwood frame and three divided mirror plates on its lower half. The second lot to earn $280,800 was a pair of George II walnut side chairs with needlework upholstery that were manufactured circa 1740 and had provenance to Kentshire Galleries (New York City). The auction catalog noted that the 40-inch-high chairs had “very nice patina on the walnut carving.” Despite some repaired needlework and fading in some areas, the pair skyrocketed over their $12/18,000 estimate. More highlights from this auction will be covered in an upcoming issue.

Miniature Sheraton Sideboard Stands Tall For Amelia

COLUMBUS, OHIO — Amelia Jeffers’ twoday Great Estates auction was conducted September 13-14 and featured just shy of 1,000 lots, with a focus on Americana and American history. Leading the sale, rising from a large selection of early American and country furniture, was a miniature late Sheraton sideboard. Made in America in the second quarter of the Nineteenth Century, the mahogany and pine sideboard had brass and cut glass pulls as well as a shallow hinged top. Standing at 24 inches high and 26½ inches wide, the small cupboard went out at $5,000 including buyer’s premium ($1/2,000). More comprehensive coverage of the auction will run in a later issue.

Jeffers

Knife Trio Slices Estimate To Head Morphy Militaria Auction

DENVER, PENN. — It took 21 bids to achieve the high-water mark of $123,000 but a trio of knives made by Ron Lake that

had been embellished by Barry Lee Hands was one of the stars of Morphy Auctions’ Firearms & Militaria auction September

10-12. The lot — housed in a custom walnut display case with red lining — was comprised of a “Big Bear” knife with gilt pearl inlays, gold borders, multi-colored gold overlays and multicolored diamonds, a folding knife with etched and frosted leaf decoration, and a small knife with gilt pearl inlaid handle and multi-colored gold overlays. It came from the collection of Frank Brownell and carried a pre-sale estimate of $30/50,000. It was one of two lots to achieve $123,000 in a sale that grossed more than $7 million. More highlights from this auction will be featured in an upcoming issue.

Henner’s Weeping Woman Wins Favor In Ahlers & Ogletree September Estates Auction

ATLANTA, GA. — On September 12, Ahlers & Ogletree auctioned 388 lots from the estate of Gregory Crawford and, on September 13, the firm wrapped up their September Estates sales with 330 additional lots from various other collections. Jean-Jacques Henner’s (French, 1829-1905) mid Nineteenth Century painting of a nude redheaded woman titled either “The Distraught Woman” or “Weeping Magdalene” became the top lot after a phone buyer paid $27,900,

including buyer’s premium, for the oil on canvas work ($2/4,00). Signed “JJ Henner” to the upper right and housed in a 23½-by-20¼-inch frame, the work had an old paper label reading “ai signe Henner et provenant de la collection de Mr Anglade de Paris (signed Henner and coming from the collection of Mr Anglade of Paris)” and other later labels from Christie’s and MCN International. Further review of the sales will be in a forthcoming issue.

Famed Standardbred Horse Portrait Leads

Flying Pig Auction

WESTMORELAND, N.H. — Hambletonian, born in 1849, was an ancestor or foundation sire of most American Standardbreds, or “trotters,” as they are often called. A folk portrait of the “Father of the American Trotter” sold for $6,250, the highest price in Flying Pig Auction’s September 9 sale. The auction was varied, with a signed Stickley Mission oak chest selling for $4,375 and an Eighteenth Century carved walnut pipe

rack that made $1,500. Flying Pig’s auctions always include an assortment of early painted wooden ware, country furniture and accessories. For this sale, they also had a single-owner collection of early, carved French furniture, a large collection of Masonic and other fraternal memorabilia, a collection of blue Staffordshire and more. Prices quoted include the buyer’s premium; a full report will follow.

CAAM Presents ‘World Without End: The George Washington Carver Project’

LOS ANGELES — The California African American Museum (CAAM) announces “World Without End: The George Washington Carver Project, which is on view through March 2, as part of the Southern California-wide Getty initiative PST ART: Art & Science Collide. Featuring 30 artists and artist collectives and four archives, this mixed-media exhibition and accompanying catalogue examine the impact of George Washington Carver on contemporary art and science.

George Washington Carver was a pioneer of plant-based engineering and one of the nation’s earliest proponents of sustainable agriculture. In the early 1900s, he built his Jesup Wagon, a moveable school to share soil and plant samples, equipment and other agricultural knowledge with Black farmers. Carver’s thenradical ideas — including organic fertilizers, crop rotation and plant-based medicines, bioplastics and construction materials — are now recognized as the forerunners of modern farming techniques and conservation. A trained and practicing artist, Carver used natural materials such as peanut and clay-derived dyes and paints in his many weavings and still-life paintings. “World Without End” explores how contemporary artists and scientists working today engage

“Pioneer of Possibility” by Hana Ward, 2023, oil on canvas, 72 by 58 inches. Courtesy of the artist and Ochi Projects.

with Carver’s ideas and interests. Alongside contemporary artworks, including newly created works by five artists, the exhibition features rarely seen archival material, including Carver’s paintings, drawings, laboratory equipment and notebooks. Both the exhibition and its catalog, which includes previously unpublished material documenting Carver’s life and work at Tuskegee University, reframe and center Carver’s lasting impact on art and science.

The California African American Museum is at 600 State Drive, Exposition Park. For information, 213-7447432 or www.caamuseum.org.

Empire State Rare Book & Print Fair Hosts Second Annual NYC Installment, September 27-29

NEW YORK CITY –- The Empire State Rare Book and Print Fair, featuring more than 30 exhibitors from across the United States, will take over the historic Great Hall in Shepard Hall at City College of New York from September 27-29. The second annual installment will take over the 14,000-square-foot Late Gothic Revival structure and showcase tens of thousands of rare books, prints, works on paper, historic documents and ephemera from around the globe.

The “Promise of Liberty” exhibition will debut at the fair and introduce museum-worthy, never seen in public items such as the Emancipation Proclamation signed by Abraham Lincoln, the first public printing of the Declaration of Interdependence ($2 million), George Washington’s “Justice & the Public Good” letter ($550,000) and his first Thanksgiving Proclamation, a

letter from Albert Einstein alerting President Franklin Roosevelt to the possibility of the creation of an atomic bomb, Jesse Owens’ 1936 Olympic medal, and more. Other exceptional items being offered include a book on jazz from the library of Rolling Stones drummer Charlie Watts presented to him as a birthday gift by Mick Jagger ($15,800), a letter from Frederick Douglass on his return voyage as a free man ($450,000), a signed copy of Martin Luther King’s Stride Toward Freedom ($200,000) and a first edition of Breakfast at Tiffany’s signed by Truman Capote ($10,500), the first printing of the iconic children’s Anne of Green Gables in one of five surviving jackets from 1909 or earlier ($40,000) and a rare first edition of one of Charles Dickens’ most popular novels, Great Expectations (1861) ($25,000).

The weekend will include a

variety of hosted events and entertainment. Highlights include Q&A sessions and book signings with the “real life Carrie Bradshaw” Candace Bushnell, author of Sex and the City, and designer India Hicks, who, among other things, has authored five successful design books, been a network host and modeled for Ralph Lauren.

Additional speakers include award-winning children and young adult author Lois Lowry, Beatles expert and author Kenneth Womack, critically acclaimed novelist and journalist Stona Fitch, and renowned fashion illustrator Richard Haines, whose clients include Prada, Tiffany & Company, Bobbi Brown and more, who will be in conversation with DJ and Isaac Likes creator Isaac Hindlin-Miller.

The second annual edition of the fair kicks off on Friday, September 27, with a preview

party featuring wine, canapes and a preview of the exhibitors’ treasures. On Saturday evening, following her Q&A and book signing, there will be an intimate VIP champagne and

Fairfield University Art Museum Presents ‘Sacred Space’

FAIRFIELD, CONN. — The Fairfield University Art Museum (FUAM) announced the opening of its latest exhibition, “Sacred Space: A Brandywine Workshop and Archive Print Exhibition,” on view September 20 through December 21, in the museum’s Walsh Gallery in the Quick Center for the Arts.

National

“Sacred Space,” organized by guest curator Juanita Sunday, draws on the rich history of the Brandywine Workshop and Archives, founded in Philadelphia in 1972 by artist Allan Edmunds. As of 2023, FUAM is home to a Brandywine “satellite collection” — the only such collection in Connecticut, and one of only 18 in the

United States, including the Harvard Art Museums and the Library of Congress in Washington D.C. This exhibition features works from FUAM’s own collection as well as loans from Brandywine itself.

“Sacred Space” encourages a deep exploration of spiritual connection, inviting viewers to reflect

caviar reception with India Hicks at nearby Imperial Fine Books.

Shepard Hall is at 160 Convent Avenue. For information, www.finefairs.com.

Exhibition

on the ancestral wisdom and memory passed down through generations. The exhibition serves as a portal into the interconnected realms of spirituality, time, space, memory and culture. The artists pay homage to their forebears, drawing upon cultural traditions, rituals and sacred practices to honor and preserve, as well as

Gallery Of Art Acquires Works From Estate Of Maria & Conrad Janis

WASHINGTON, DC, — The National Gallery of Art has acquired 12 works of art by four artists donated by the estate of Maria and Conrad Janis, son of esteemed gallerist Sidney Janis. These works support our goal of expanding narratives of Twentieth and Twenty-First Century American art by identifying artistic traditions within the United States beyond those associated with canonical modernism. Included in the gift are three paintings by Morris Hirshfield, one painting by Anna Mary Robertson “Grandma” Moses, two tapestries by Kiki Smith, and six prints by George Segal. The works by Hirshfield and Moses, two self-taught artists working in or from folk traditions, join others in our collection, including those by James Castle, Thornton Dial, William Edmondson, Horace Pippin, Nellie Mae Rowe, Henry Speller, and Joseph Yoakum. The works by Smith and Segal, two highly original, unclassifiable artists, show their creative range outside of sculpture, their principal medium.

“This generous gift pushes our collection in exciting new directions, in particular by enhancing our growing representation of self-taught artists,” said Harry Cooper, Bunny Mellon curator of Modern Art. “We are indebted to the donors for thinking of the National Gallery, and also to Arne Glimcher of Pace Gallery, who helped direct the works here as executor of the estate.”

Teaching himself to paint in 1937, Hirshfield (1872-1946) came to the attention of Sidney

Janis, who included the artist in the 1939 exhibition, “Contemporary Unknown American Painters” for the Museum of Modern Art’s “members’ room,” as well as in the book, They Taught Themselves: American Primitive Painters of the Twentieth Century, published in 1942. That same year, Hirshfield participated in one of the first surrealist exhibitions in America, First Papers of Surrealism. The surrealists appreciated the eroticism of Hirshfield’s figures, and the critic Clement Greenberg referred to the painter as one of America’s best. One year later (in 1943) Hirshfield was the subject of a comprehensive retrospective at the Museum of Modern Art.

An American self-taught artist who began painting in earnest at the age of 78, Grandma Moses is best known for scenes of rural life that conjure up a premodern era in terms of both subject and technique. “Grandma Going to the Big City” (1943) is an impressive example of her ability to capture narrative detail, character, clothing, and architecture with a meticulous technique and lively, dynamic sense of composition.

In 1939, Sidney Janis included three of her paintings in “Contemporary Unknown American Painters,” alongside Hirshfield’s work. During the 1950s, Moses gained popularity. Her autobiography, My Life’s History, was published in 1952 and she was featured on a 1953 cover of Time magazine. She was also the subject of an Oscar-nominated documentary and several television programs. After her death, her

Morris Hirshfield, “TailorMade Girl,” 1939, oil on canvas, 44-3/8 by 28¾ inches. National Gallery of Art, Gift of Maria and Conrad Janis, 2023.160.1.

work was exhibited in several large traveling exhibitions in the US and abroad, including at the National Gallery in 1979: “Grandma Moses: Anna Mary Robertson Moses (1860–1961),” curated by Otto Kallir, the dealer who represented the artist’s estate.

Born in Nuremberg, Germany, in 1954, Kiki Smith is an American artist whose unique style draws on mythology, folklore, fairytales, feminism and religious iconography. Part of an ongoing series of thematically linked, dreamlike visions of the natural

world, “Fortune” (2014) and “Congregation” (2014) were inspired by the large “Apocalypse Tapestry,” commissioned around 1373 by Louis I, Duke of Anjou, and depicting a narrative from the Book of Revelation. Associated with the four seasons, Smith’s tapestries bring this traditional medium into the present by calling attention to environmental degradation and species vulnerability. For Smith, the tapestry technique results in objects whose complex, tactile surfaces place them halfway between printmaking and sculpture. While rooted in the medieval era, they are simultaneously informed by the digital sophistication of the contemporary world.

Best known for white life-size plaster casts of single figures and groupings, George Segal (19242000) was also a painter and printmaker. Associated with the pop art movement, Segal’s work relies on both the figure and the commonplace object to capture a specific emotion, memory, or moment in time. Segal was represented exclusively by Sidney Janis from 1965 to 1999. With this gift, the National Gallery acquires three lithographs from Segal’s “Partial Nude on White” series (1978), depicting fragmented parts of the human figure or scenes from daily life, and three screenprints portraying the female figure.

The National Gallery of Art is on Constitution Avenue NW between Third and Ninth Streets. For more information, 202-737-4215 or www.nga.gov.

question, the invaluable heritage that shapes our identities.

The Fairfield University Art Museum is located at 200 Barlow Road. For information, www.fairfield.edu/museum/sacred-space/ or 203-254-4046.

Bodnar Goes To War Armed With Miniatures

MONMOUTH JUNCTION, N.J.

— Toy soldiers, historic war playsets, miniatures, bird’s-eye views of battles carried out by armies of plastic, lead and cast iron combatants and weapons filled an August 29 auction at Bodnar’s Auction Sales. The more than 300 lots crossing the block that day were thanks to a single-owner private collection of miniatures depicting war spanning two millennia that owner Joe Bodnar was able to acquire. These included Roman and Egyptian wars, the two World Wars, US wars and other historic and fictional conflicts. Makers included Barzso, Schleich, Papo, Elite Command, Starlux, Marx, Britains, Revell

Auction Action In Monmouth Junction, N.J. & Online

and a host of others.

“I remember playing with original sets like these that my father had as a kid,” said Bodnar. “He previewed the sale and told me that if he was a kid again and had money, he would buy the whole sale! He is 78 years old. He remembered as a kid my grandmother buying him toy soldiers at the 5 and Dime in New Brunswick, N.J.

“In 30 years of conducting auctions, I have sold maybe three or four sets by Barzso, and this sale featured more than 30 sets new in the box,” Bodnar continued. Most of them sold to a French collector and are being shipped to France.

“We had more than 500 regis-

Twenty-three miniature Spanish conquistadores faced off with 26 Aztecs in this Conquistadors & Aztecs playset by Barzso Playsets, which sold for $840, one of two top selling lots. The playscape included pyramids with temples, both medium and large, a sacrificial altar and many accessories. There was some water damage to the box while all the pieces had their original bags.

Evoking the atmospherics of the 1847 Battle of Churubusco, a key fight during the Mexican-American War, The Battle of Churubusco Playset by Barzso, which also sold for $840, followed the Mexican army’s encounter with the US Army in the small pueblo town of Churubusco. After several hours of heavy fighting, the US forces won. Included in the set were 26 American infantry figures, 26 Mexican army figures, as well as principal figures Robert E. Lee, Generalissimo Antonio Lopez de Santa Anna and their horses.

Wilderness.

tered bidders over the four platforms, which I was very happy to see for such a specialized collection commonly geared at an older demographic who are usually not happy with bidding online. The sale had 100 percent sell-through, grossing more than $30,000.”

Like most Bodnar auctions, lots started at $10 and were presented to be sold with no reserves to the highest bidder. The format was a live broadcast sale, with auctioneers and callers describing all lots as they came to the podium, a similitude to experiencing an auction in person.

The top lot in the sale was a Conquistadors & Aztecs playset by Barzso Playsets, which sold for

$840. The set included 23 Conquistadors and 26 Aztecs — four with broken weapons. Montezuma faced down Hernán Cortés in a playscape that included pyramids with temples, both medium and large, a sacrificial altar with accessories, as well as a sacrificial preparation room, six Aztec treasures, a cart, a Spanish cannon and other Conquistador camp and Aztec temple accessories. The set’s box had some water damage, but all the pieces had their original bags.

The Battle of Churubusco playset by Barzso also sold for $840. Included in the set were 26 American infantry figures, 26 Mexican army figures, five pieces of corral fence and a gate and a marketplace stall, along with various accessories. Principal figures included Robert E. Lee, Generalissimo Antonio Lopez de Santa Anna and their horses

Of course, fictional warriors had their day, too. The Tales of Robin

The Tales of Robin Hood Playset by Barzso, which realized $810, included Robin Hood, Friar Tuck, Little John and 48 of Robin’s men, who faced off with the Sheriff of Nottingham and 48 of his men in a playscape that included a manor house, low stone walls and an ox cart with ox, among other pieces.

Hood Playset by Barzso, which realized $810, included Robin Hood, Friar Tuck, Little John and the Sheriff of Nottingham, along with 16 of Robin Hood’s men in green and 32 men in brown. For scenery, there was a manor house, six low stone walls and a cart with ox. Robin Hood’s men faced off with 48 of the sheriff’s men. For Scottish author, Robert Louis Stevenson’s fans, there was also a Treasure Island giant size playset by Barzso, complete with competing pirates, a boat, cannons and crew. As for the pirate cannon crew, only half were there — five pirates, one cannon and accessories. The set brought $690. According to the Museum of the American Revolution’s website, French and Native American warriors from Fort Duquesne on July 9, 1755, deftly defeated British General, Edward Braddock’s forces and mortally wounded the British general at the Battle of the Monongahela. The Barzso playset modeled after this battle came stocked with 12 British Grenadiers, 13 French militia, 12 French Native Americans, five Native Americans, George Washington on horseback, General Braddock and horse, plus a myriad of accessories — including landscape pieces. This set went out at $720.

There were two other notable playsets in the sale. The first was Barzso’s The Battle of Lexington Green playset containing British grenadiers, Minutemen, a twostory house, saltbox-style house, belfry and more, which found a buyer at $660. The second, also by Barzso and achieving the same price, recreated Davy Crockett in the Wilderness, pitting pioneers against the woodland Native Americans. All the figures in this set were painted.

All prices given include the buyer’s premium as stated by the auction house. For further information, 732-631-3347 or www.bodnarsauction.com.

George Washington’s horse was just one of the many figures in a Barzso playset dealing with the defeat and mortal wounding of British General Edward Braddock by French and Native American warriors from Fort Duquesne on July 9, 1755, at the Battle of the Monongahela. Stocked with British grenadiers, French militia, Native Americans, George Washington on horseback and General Braddock and horse, this set went out at $720.

Fetching $690 was this Treasure Island giant size playset by Barzso Playsets complete with competing pirates, boat, cannons and crews.

Finding a buyer at $660 was Barzso’s Davy Crockett in the

In Barzso’s The Battle of Lexington Green, colonial revolt against British policy turns into a fight for political independence as British Grenadiers and Minutemen face off in the two-acre triangular green. The set crossed the block at $660.

Review by W.A. Demers, Senior Editor Photos Courtesy Bodnar Auction Sales

Club News

Transferware Collectors Club

ONLINE — The next virtual meeting of the Transferware Collectors Club (TCC) will be held on Sunday, October 27. We will update members on TCC activities and finances, elect board members, be entertained by a lecture and hopefully enjoy a video house tour.

For information, www.transferwarecollectorsclub.org.

Greenwich Decorative Arts Society

Box for Rouge and Patches, British (London), circa 1750-55, agate, gold and animal hair, 1 by 2-1/8 by 1-5/8 inches. The Metropolitan Museum of Art:, Bequest of Kate Read Blacque, in memory of her husband, Valentine Alexander Blacque, 1937 (38.50.6a-c).

GREENWICH, CONN. — On Monday, October 21, at The Bruce Museum, 1 pm to 2 pm, the Greenwich Decorative Arts Society presents “How to Read European Decorative Arts,” a lecture by Danielle Kisluk Grosheide, the Henry R. Kravis curator, department of sculpture and decorative art at the Metropolitan Museum of Art, New York City.

Based on the publication with the same name, the speaker will discuss a number of artworks currently on display at the Met spanning three centuries of creativity. Providing a peek into daily lives across Europe, the featured pieces include furniture, tableware, useful items, articles of personal adornment as well as objects meant for display. Each work, either a masterpiece by a renowned maker or a less familiar article by a talented amateur, has its own fascinating story to tell.

Afternoon tea will be served after the lecture. The Bruce Museum is at 1 Museum Drive.

Guests are welcome but space is limited. Admission for non-members of the Greenwich Decorative Arts Society is $30 and can be paid online. For reservations and information, greenwichdecorativearts@gmail.com or www.greenwichdecorativearts.com.

Connecticut Ceramics Circle

ONLINE — On Monday, October 14, 2 to 3 pm, the Connecticut Ceramics Circle presents “Chinoiserie: The Art of the Exotic in the Royal Collection,” a lecture by Nicola Turner Inman, curator of decorative arts for the Royal Collection Trust, London.

Concentrating on the decorative arts, and in particular on the Oriental porcelain in the Royal Collection, Nicola Turner Inman will take us on a historical journey through Chinoiserie pieces in the Collection, looking at what the term means and in what different styles it took form. She will focus on royal patrons across the centuries, their collecting preferences and passions and what national and international forces — such as political and diplomatic events — drew them to collect such objects at the time and helped them shape today’s Collection. She also will discuss how the importation of these Asian objects into Europe not only influenced Western art but also encouraged technological developments in the decorative arts and how royal

Chinese export porcelain reticulated octagonal Basket, circa 1770-90, painted in famille-rose enamels and gilding with a Chinese fenced garden, 9 inches wide (RCIN 58478).

Photo Credit: Royal Collection Trust / ©His Majesty King Charles III 2024.

patronage has had a resounding effect and a lasting impact.

Nicola Turner Inman is a curator of decorative arts for the Royal Collection Trust. After studying Art History at the University of St Andrews, she began

her career with an internship at the Royal Collection Trust. She then joined Christie’s in London, where she spent time working in the print department and completed a postgraduate diploma at Christie’s Education. Her next position was with Gurr Johns, a leading client advisory and art valuation firm, and she subsequently returned to the Royal Collection Trust in 2013. In the past five years, as part of her role, she has been involved in the Reservicing Programme of Buckingham Palace, a 10-year phased program of works to improve the essential services in the Palace and make it fit for purpose for the next 50 years. Her involvement also has included project-managing the loan by Her Late Majesty Queen Elizabeth II to the Royal Pavilion in Brighton.

The lecture will be held remotely on Zoom and will be open free of charge, but guests must register in advance to receive a link. Register at: www.cceramicsc.org.

Art Glass Forum | New York ONLINE — A new exhibition, “Sand, Ash, Heat: Glass at the New Orleans Museum of Art,” documents the New Orleans Museum of Art’s (NOMA) comprehensive holdings of innovative glass objects dating back 4,000 years. On October 8, NOMA curator Mel Buchanan will give a Zoom lecture on discoveries about the collection for the Art Glass Forum | New York.

The exhibition, drawn entirely from NOMA’s exceptional permanent collection, spans from ancient amulets and jewelry to Renaissance and Enlightenment-era vessels and newly commissioned large-scale sculpture. Buchanan will delve into the collection’s mid Twentieth Century origins, with thousands of glass pieces donated by railroad executive Melvin P. Billups in memory of his wife Clarice, a New Orleans native. Buchanan will also explore the exhibition’s varied perspectives on how glass is connected to histories of scientific discovery, foodways, global cultural exchange and artistic innovation.

Artisans whose works are on view include Gilded Age and Art Deco tastemakers like Louis Comfort Tiffany, René Lalique and Maurice Marinot; Tulane University hot shop founder Gene Koss; and contemporary stars like Lynda Benglis, Fred Wilson, Sharif Bey and Deborah Czeresko (a winner of Netflix’s Blown Away). The show (with a lavishly illustrated catalog from Scala) is on view in NOMA’s Ella West Freeman Galleries through February

Silvermine Celebrates Its 74th ‘A•ONE’ Exhibition

“Domestic: Queen” by Sharif Bey (American, b 1974), 2024. Glass, earthenware and metal. New Orleans Museum of Art, Museum purchase, William McDonald Boles and Eva Carol Boles Fund, 2023.24. ©Sharif Bey.

10, and it extends outdoors with sitespecific installations by standouts such as Maya Lin.

Since 2013, Mel Buchanan has served as NOMA’s RosaMary curator of decorative arts and design, and she previously worked at the Milwaukee Art Museum and The RISD Museum in Providence, R.I. A graduate of Yale University and the Winterthur Program in American Material Culture at the University of Delaware, she is a 2023 presidential appointee to the Committee for the Preservation of the White House and serves on the national boards of The Decorative Arts Trust and the American Ceramic Circle.

The Art Glass Forum, a nonprofit founded in 2000, supports scholarship about glass, from ancient shards to contemporary experiments. The October 8 online event, 6:30 to 7:30 pm, is free of charge to AGF members (all dues and contributions are tax deductible). AGF members automatically receive the lecture link within 24 hours of the event; no registration or RSVPs are necessary. Non-members can purchase tickets ($10) through Eventbrite (Zoom link will be included in Eventbrite registration confirmation email). For details, artglassforumny.org and artglassforumny@gmail.com.

‘Intersecting Realms: Nature, Human Impact, & The Interior Landscape’

NEW CANAAN, CONN. —

The 74th “A•ONE” at Silvermine Galleries celebrates a wide spectrum of forms and ideas as well as innovation in composition and materials. This year’s exhibition addresses a common thread running through the majority of these works — a reconnection to the natural world. “A•ONE,” which began in 1949, is Silvermine’s signature exhibition, known equally for compelling works of art and for the luminaries who have served as jurors. The exhibition runs through October 24. Natural elements serve as a foundation for many of the works in the exhibition, but in the words of juror Lisa Carlson, “these works challenge

conventional representations of nature, encouraging viewers to reflect on their personal relationship with the environment and consider the impact of human actions on the world around them.” Many of the works also delve into “interior landscapes of the mind.” Both figurative and abstract works evoke the fluidity and complexity of nature and human experience.

Marita Setas Ferro’s soft, intricate textile sculpture is based on marine life. Her bold and harmonious sense of form and color invite the viewer to linger. The use of pattern finds fresh expression in the works of Brigid Kennedy and Paul Landesman and in the sculp-

tures of Donna Namnoun and Tini Pinto. Metals and their reactive processes bring seagreen verdigris and the warm earth tones of oxidation to Bonnie Ralston’s prints. Marc Kemeny’s abstract works in watercolor, gouache, and graphite bring colorful geometric and organic elements into expert compositions that dazzle and uplift.

Lisa Carlson, senior director of the Jane Lombard Gallery in New York City, served as this year’s juror. She has worked in both public and private arts institutions in New York, London, and Los Angeles. Carlson earned a BA in Art History and Theory at U.C. Santa Cruz and went on to

earn her master’s degree in Art History from the University of Wisconsin, Madison. Upon moving to New York, Carlson worked at the Whitney Museum of American Art, Sotheby’s, and sothebys.com. In London, she joined Gagosian Gallery. In Los Angeles, Carlson curated an ambitious 30th Anniversary publication project, Living the Archives: LACE in Print at Los Angeles Contemporary Exhibitions. Over her 12-year tenure at Jane Lombard Gallery, Carlson has developed the gallery programming, growing the roster with international and local artists of both emerging and mid-career status. She continues to advance the gallery’s

mission as an incubator for the ideas and motivations of artists, from geo-political awareness to formal innovation. Throughout its history, “A•ONE” has featured the work of many prominent artists including Louise Nevelson, Elaine de Kooning, and Milton Avery, and jurors have included major critics, curators, and directors from influential art institutions. “A•ONE” was established in 1949 as the “New England Exhibition.” Known recently as “Art of the Northeast,” it now draws artists from all over the US and the world. The Silvermine Arts Center is at 1037 Silvermine Road. For further information, www.silvermineart.org or 203-966-9700.

EDITED BY CARLY TIMPSON

Gerard Collection Of Chinese Export Silver At Chiswick Auctions

LONDON — The Gerard collection of Chinese export silver comes for sale at Chiswick Auctions on October 9. The collection, inspired by the birthday gift of a tea caddy 20 years ago, represents an excellent cross-section of the forms, patterns, retailers and makers of silver in the late Qing and early Republic period. It will be dispersed in more than 120 lots with estimates ranging from £100 to £5,000.

Chinese silversmithing in the western manner has a long history, concurrent with much European silversmithing. The distinctive “China Trade” era wares began in the late Eighteenth Century as near copies of pieces made in London, but by the mid-Nineteenth Century had developed to become a medium truly of its own. Most pieces combine typical European forms with Chinese decoration.

Chinese export silver has been widely collected since the late Twentieth Century. However, the market has been fueled by a new buying audience from the Far East and by recent scholarship. It is only in recent decades that the markings on these pieces have been properly studied. Previously the focus had been on the Arabic numerals, often 90 or 85, that allude to the purity of the silver and the prominent retailer’s marks in Latin characters.

Large Canton, Shanghai and Hong Kong distributors operated, such as Wang Hing, the name that appears on numerous items made from circa 1860-1930, were once erroneously credited as manufacturers. However, it is now understood

Give

A late Nineteenth/ early Twentieth Century Chinese export silver epergne centerpiece, Shanghai, circa 1900, marked Kun He, retailed by Wo Shing.

that it is the artisan’s marks stamped in Chinese characters that denote the actual silversmithing workshop responsible for producing the piece. As scholars slowly but surely build up a picture of these workshops and their output, understanding these marks has become the focus of collecting of “China Trade” silver. There are many good examples in the Gerard collection that are cataloged by Chiswick Auctions specialist John Rogers according to the latest research on the topic.

A baluster-form ewer with the

Liberty & Give Me Stamps —

A late Nineteenth/ early Twentieth Century Chinese export silver ewer, Canton, circa 1900, marked Ye Bo, retailed by Wang Hing.

mark WH for Wang Hing also carries the Chinese characters for Ye Bo. A prominent workshop in Canton that appears to have almost exclusively supplied Wang Hing and the Shanghai retailer Luen Wo, it is noted for finely worked figural or scenic tableau. This ewer, estimated at £2,5/3,500, is chased and embossed decoration to the body with storks fishing for eels with the handle and finial modeled as a prunus branch.

A similar ewer by this workshop formed part of the influential exhibition “Chinese Export Silver: The Chan Collection”

A late Nineteenth Century Chinese export silver standing cup, Canton, dated 1886, marked Quan Ji, retailed by Wang Hing.

shown at the Asian Civilizations Museum in Singapore in 2005. Chiswick Auctions has sold significant pieces of Chinese export silver in its past sales that are referenced in the cataloging. A Cantonese campana form standing cup (£2/3,000) has the mark Quan Ji (the workshop of Quan), the maker of a mug dated 1891 for the Shanghai Rowing Club sold in March 2024 for £2,750. This cup, decorated with a figural battle scene, was also used as a trophy by one of the many sporting clubs set up by British expats in the Far East with the presentation inscription reading

“Moor 17 October 1886.”

A Republic period bowl with cast and applied decoration of peacocks amid peonies and flowering prunus is marked for Tai Chang Long. Another of the Cantonese makers, the workshop appears to have made a specialty of this idiosyncratic wavy edged form that copies the English spittoon or the Portuguese cuspidor. It is unlikely they were intended as vessels for excess saliva, simply an example of how a European form took on new life in the hands of a Chinese silversmith. It has an estimate of £1,5/2,500.

Other uncommon forms in the Gerard collection include a Qing epergne or centerpiece with dragon’s head feet marked for the Shanghai maker Kun He and retailer Wo Shing (£2/3,000) and a Republic period inkstand marked Qiao Sheng Yuan and LW for the Shanghai retailer Luen Wo (£800-£1,200).

Kun He operated in Shanghai between 1880-1925 producing well-made holloware often using cast and applied decoration. A similar epergne by the maker formed part of the Chinese Export Silver exhibition conducted by London dealer John Sparks in 1990.

The mark Qiao Sheng Yuan (the skillful work of Sheng Yuan) is noted especially on inkstands. This example, embossed and pierced with dragons, figural scenes and flowering prunus, bears comparison to another by the maker offered by the auction house in 2023.

Chiswick Auctions is at Barley Mow Centre, Chiswick. For information, +44 20 8992 4442 or www.chiswickauctions.co.uk.

US Postal Service Commemorates 250th Anniversary

Of First Continental Congress With New Forever Stamp

PHILADELPHIA — Two-hundred and fifty years ago, the foundation of American independence was laid when the First Continental Congress met at Carpenters’ Hall to determine how to safeguard the Colonies’ rights against British rule. The US Postal Service (USPS) honors the anniversary of that first gathering and the delegates who bravely planted the seeds of democracy with a new Forever stamp, First Continental Congress, 1774, debuting at the place where it all began.

“So much of our nation’s history is tied to this great city, and today, we mark another important chapter with the 250th anniversary of the First Continental Congress,” said Roman Martinez IV, USPS board of Governors chairman and dedicating official for the stamp.

“Here, where the footholds of freedom were established, we dedicate this stamp with a spirit of gratitude for the freedoms that we still enjoy today.”

“As we celebrate the 250th anniversary of the Hall and the First Continental Congress, and

the 300th anniversary of the Carpenters’ Company of Philadelphia, it is a great honor to do so with another historic and honored institution, the United States Postal Service,” said Constad. “We are thrilled that we can commemorate such a salient moment in our history with this stamp release, and it’s a privilege to do so.”

When the British Parliament passed the Tea Act on May 10, 1773, it formalized a monopoly on tea sales in the Colonies, compelling Colonists to pay the widely disputed Townshend Revenue Tax and symbolically established acceptance of Parliament’s right to tax them. This led to the Boston Tea Party on Dec. 16, 1773, when Colonists protested by boarding three East India Company ships and dumping the tea overboard, provoking the Crown. In response to that defiance, British Parliament passed the Coercive Acts, aiming to bring the rebellious, but still generally loyal, subjects to heel, and by extension, subdue the Colonies. The new laws included the Boston Port Act, which closed Boston Harbor to all export and most import traffic. Boston sent out a plea for help, calling for an intercolonial meeting to address the growing crisis.

On September 5, 1774, the First Continental Congress convened at Carpenters’ Hall in Philadelphia with 56 delegates from 12 colonies. Among those gathered were future presidents George

Washington and John Adams. The meeting would serve two purposes; to protect commerce and trade, and to safeguard Colonial rights.

On October 14, 1774, the delegates approved the Declaration and Resolves of the First Continental Congress, laying out specific objections to the Coercive Acts and proclaiming that all Colonists in America were “entitled to life, liberty and property.”

The fledgling lawmakers also issued the Articles of Association, which bound every colony, except Georgia, which had abstained, to a boycott of trade with Britain if the Acts were not rescinded.

Before the First Continental Congress ended on October 26, 1774, the delegates drafted a petition to King George III, laying out specific grievances and pleading with him to intervene with Parliament on behalf of the Colonies.

“We ask but for peace, liberty and safety,” it read. The petition was presented by Benjamin Franklin and rejected by the king, who mistakenly believed that the American Colonies would never unite in opposition to British rule.

By the time the Second Continental Congress met on May 10, 1775, the Colonists had won their first victory in the Revolutionary War, defending Lexington and Concord from the British. The Continental Congress served as the provisional central government until 1781, authoring the Declaration of Independence in 1776, the 1777 Articles of Confederation and ultimately overseeing the issuance of currency, the creation of a postal system and the naming of the new nation as the United States of America.

The stamp art reflects the US flag, featuring a thin red stripe decorated with 12 white stars on the left side, representing the number of Colonies involved in the Congress. A prominent vertical blue band, bordered by narrow white stripes, occupies the rest of the stamp, with an excerpt from the petition sent to King George III on October 25, 1774. Antonio Alcalá served as art director, designer and typographer.

News of the stamp is being shared with the hashtag #FirstContinentalCongressStamp.

Historic Homes & Properties

Compiled by madelia HiCkman Ring

Nineteen Distinctive Places In Michigan Listed In The National Register Of Historic Places

LANSING, Mich. — The Michigan Economic Development Corporation has announced that 19 historic Michigan properties were recently given special recognition through their listing in the National Register of Historic Places. Administered in Michigan by the State Historic Preservation Office (SHPO), the National Register of Historic Places is the United States federal government’s official list of districts, sites, buildings, structures and objects deemed worthy of preservation for their historical significance.

“The SHPO has the distinct honor to be able to work with so many communities and individuals across the state to help elevate Michigan sites to the National Register of Historic Places,” said State Historic Preservation officer Ryan Schumaker. “These 19 historic properties listed help to tell a more complete history at the local, state and national levels. Listing in the National Register not only provides a way to celebrate this important history, it also provides opportunities for economic investment in these properties and communities.”

More than 96,000 properties across the country, including nearly 2,000 in Michigan, have been listed in the National Register since the program began in the 1960s. The National Register is a program of the National Park Service and is administered by the states.

Each place listed in the National Register is referred to as a “property,” whether it is a single building, site, or structure or a historic district composed of hundreds of individual buildings. In 2023, fifteen individual properties and four historic districts totaling more than 146 contributing historic resources in Michigan were listed in the National Register.

To be considered for listing in the National Register, a property must generally be at least 50 years old and must also be significant when evaluated in relationship to major historical events or trends in the history of their community, the state, or the nation. A property must also possess historic integrity — the ability to convey its significance.

The following Michigan properties recently listed in the National Register were:

The Herman and Hattie Besser House (Alpena), Eden Springs Park (Benton Harbor), Clark Equipment Company Complex (Buchanan), Frances Harper Inn (Detroit), Samuel D. Holcomb School (Detroit), Immaculata High School and Convent (Detroit), Pittsburgh Plate Glass Company (Detroit), Saint Matthew Parrish (Detroit), Vaugh’s Book Store (Detroit), Clipper Belt Lacer Company complex (Grand Rapids), Irving and Olive Crane Kendall Dean House (Grand Rapids), Slight Furniture Company Building (Grand Rapids), Cadieux School (Grosse Pointe), Grace Ingersoll McGraw House (Grosse Pointe), Anaem Omot (Lake and Holmes Township), Barnes Avenue School (Lansing),

Groves Farm (Northfield Township), John Grace School (Southfield) and the First Congregational Church (Wyandotte).

“Each of these historic places is significant on its own, but what is all the more impressive is the story they tell together. Through these historic places — and so many others in our state — we can expand our understanding of where we call home as well as the stories, struggles and accomplishments of those who came before us,” said SHPO National Register coordinator Todd Walsh. “In the pages of each nomination, the people and places of our past come alive. I encourage everyone to learn more about their community, our state and our shared history through the National Register program.”

Places of Learning Become Places of Living

From urban neighborhoods to small towns, the local school was often a community anchor. As educational methods changed, schools changed and grew, too. But what happens to an old school when a newer facility is built elsewhere? Communities often struggle with how to best reuse these typically solid, well-constructed buildings. New neighborhood needs can often bring about a new use, such as conversion into apartments, senior housing, or a community center

The adaptive reuse of school properties positively contributes to neighborhood character, well-being and investment. Five former schools joined the National Register in Michigan, including properties in Detroit, Grosse Pointe, Lansing and Southfield. National Register listing recognizes the buildings’ historic and often architectural significance to their local communities and serves as a gateway for a redevelopment project to make use of historic preservation tax credits, an important financial incentive tool to help make adaptive reuse projects happen. Historic preservation tax credits allow a building to take on a new use while retaining the characterdefining features that are memorable to generations of students.

Combining Recreation and Industry in Berrien County

In southwest Michigan’s Berrien County, Eden Springs Park was once the ultimate recreation destination. Located in Benton

Harbor on the grounds of the House of David religious colony, the enterprising colony began charging an admission fee for the public to visit its gardens and building recreational opportunities to expand this revenue source. For much of the Twentieth Century the park offered amusements such as miniature train rides, musical and talent shows, a bowling alley, a penny arcade, a zoo with an aviary, home baseball and basketball teams, rental cabins and extensive botanical gardens. After closing permanently in 1973 and falling into extreme disrepair, a volunteer group has reopened the miniature railroad for train rides and begun to make other repairs to remaining buildings in the park. The group is working to restore some of the multi-sensory magic that visitors experienced on the site one hundred years ago.

“Eden Springs Park is an area with a unique history,” said Eden Springs Park Board member Debbie Boyersmith. “The property itself has a rich history of Native Americans who knew the spring water was always flowing and healthy to drink. Most people now remember visits to the park for train rides, music, dancing, ice cream and other entertainment. The park changed and evolved over the years, and operated regularly until the early 1970s. The park then sat dormant and became overgrown and deteriorated until 2009, when it was purchased, and is now in the process of being restored, including the vintage miniature steam-driven train rides. The park is run by volunteers, and visitors are encouraged to visit and learn more of its history. I hope being on the National Register will enable the preservationist group to obtain the means to continue and accelerate restoration.”

Across the county, for generations, the Clark Equipment Company put the small city of Buchanan on the map. From 1906 through the 1980s, the company produced axles, transmissions and small industrial vehicles such as forklifts and Tructractors. After Clark vacated Buchanan, demolition and neglect followed. The 11-building historic district today points to the industrial history of the property while enabling new and creative uses, including an event space, small business/maker spaces and municipal offices.

Recognizing Michigan’s Artistic Excellence in Churches

The National Register may recognize more than strictly history and architecture — properties significant as representatives of manmade expressions of culture or technology may also be listed. Distinctive finishes, materials and works of art may give significance to a particular property. Although not typically eligible for the National Register, sacred places such as churches, synagogues and mosques may be eligible for historic designation if they possess architecture or artworks that exhibit important stylistic trends or materials In metro Detroit, two churches were

added to the register for their artistic significance. Detroit’s St Matthew Parish, on the far east side, was completed in 1955 in a blend of traditional Romanesque Revival architecture with the mid-century modern movement of the period, emphasizing both vertical and horizontal shapes. In contrast to these simple shapes on the exterior, the interior of the church was decorated by Sicilian-born Andrew R. Maglia. Although based in Detroit for much of his professional career, little is known about the complete scope of Maglia’s works. His work at St Matthew included design and creation of the large stained glass windows, and the 1,300 square foot mosaic within the apse dome. Maglia was known for his experimentation with different mosaic materials, many of which have been lost through demolition elsewhere.

In Wyandotte, First Congregational Church also has historic significance in part due to its interior decorative treatment, which makes prominent use of richly carved wood and highly decorative stenciling treatments. The interior decoration of the 1903-built church was undertaken by the William Wright Company, the same company that stenciled and painted the nine acres of interior surfaces within Michigan’s State Capitol nearly 20 years before. Despite this and other prestigious commissions, no comprehensive catalog exists of the Wright Company’s designs. Research for the Wyandotte church included a study of sketchbooks held in the collection of the Michigan State Capitol. The First Congregational Church’s meticulous hand-painted and stenciled surfaces attest to the skill of the company’s talented craftsmen.

“As a historic designation program of the government, the National Register does not recognize any particular doctrine, but it does celebrate the significance of artists and designers whose work enhances sacred places,” said SHPO Project coordinator Nathan Nietering. “Works of art are emblematic of American culture. You can’t help but look up and be impressed with these church interiors, which are a testament to their original designers, enduring for everyone to enjoy long after their creators have passed on.”

Focused on the historic preservation of culturally or archaeologically significant sites throughout the state, Michigan’s State Historic Preservation Office strives to provide technical assistance to local communities and property owners in their efforts to identify, evaluate, designate, interpret and protect Michigan’s historic above- and below-ground resources. SHPO also administers an incentives program that includes state and federal tax credits and passthrough grants available to certified local governments. For information about the National Register of Historic Places program in Michigan, www.michigan.gov.

The Herman and Hattie Besser House, Alpena, Mich.

Frances Harper Inn, Detroit, Mich.

Immaculata High School and Convent, Detroit, Mich.

Irving and Olive Crane Kendall Dean House, Grand Rapids, Mich.

First Congregational Church, Wyandotte, Mich.

Fontaine’s

Fine & Decorative Arts

September 28 & 29, 2024

Tiffany Studios “Flowering Bouquet” Chandelier

Tiffany Studios “Laburnum” Table Lamp

Tiffany Studios “Nasturtium” Table Lamp

Tiffany Studios “Nautilus” Desk Lamp

Tiffany Studios “Dragonfly” Trivet

Tiffany Studios “Dragonfly” Lamp Screen

Tiffany Glass & Decorating Co. “Nautilus” Desk Lamp

Louis C. Tiffany Pair Of Lanterns For The Cornelius Vanderbilt II Mansion

Tiffany Studios “Peony Border” Lamp

Set of Four Tiffany Studios “Vine Border & Turtle-Back” Ceiling Lights

Tiffany Studios “Spider” Table Lamp

Tiffany Studios “Tulip” Table Lamp

Tiffany Studios “Pansy” Table Lamp

Tiffany Studios “Curtain Border” Lamp

Tiffany Studios Pair of Blown Glass Candlesticks

Tiffany Studios “Jeweled” Tripod Candlesticks

– Period – in Mahogany, 1830’s 3 shelf stand w/drawer, 3 Antique English Windsor chairs –applewood & other pieces of furniture

MISC: large Blue & White platter, hand painted china, Capa de Monté boat shaped bowl/ w/cherubs, Cambridge glass includes pr dolphins, metal holder w/6 glasses, Rose bowl, etc., Vaseline square ink well w/bird finial, Fenton glass, table lamp, etc., cutglass, decanters, vases, Limoge, Lenox, art glass, porcelain covered tureen painted – in form of a duck & other glass & china, large pinwheel quilt, Barbara Ann Bossley’s sampler – made in year of our Lord 1849 w/letters, numbers, needlework, Yankee Stadium World Heavy Weight Championship – Joe Lewis/Max Schmeling – Wed June 22, 1938, Sign – Arrow-Collar-Shirt-w/ man & woman, Sign – arrow “Center Rising Sun” 1340 miles to Panama City, Sign Physician, collection of Rolling pins, unusual tramp art sewing box, bed warmers, Kitchenware, tin hat box, National Biscuit box, New Style White Cedar Cylinder – 3 GLS Wine press, large wood tool carriers, train engine – made of wood, Antique dome top trunk – decorated inside & out, Antique cradle, mirrors, kids push sled, door stop, snail, bookends, metal items, 1930’s oriental lamps, Crocks – P. Cross – Hartford, Seymour &? Hartford #3, #2 with blue leaves, SL Rerutress Co w/blue, MC? Hartford #4, many more – Jugs – To Good Hartford #2 Risley – Norwich, E. Fray & Co. E. Hartford, G. Benton – Hartford, Armstrong & Wentworth – Hartford – more, Pictures, Prints, 11 trays of high-end costume jewelry, pins, bracelets, etc., pair Cement dogs – 3’, rabbit & pig.

THIS IS A FULL AUCTION

ESTATE SALE SEPT. 21

506 MAIN ST, PORTLAND • 8AM – 2PM

NEW YEARS CONTRACTS ARE OUT

Contact us if you need one

LIVE AUCTION

September 30th at 5:30PM

Paintings & Prints; American Antique, Margolis, Nutting, etc. furniture; 19th C. Historical Staffordshire, Stoneware, 20th C. Pottery and Porcelain; Antique Firearms; Asian; Silver; Jewelry; Bronze Sculptures; Garden Iron; Daguerreotypes; Coins; Stamps, etc. View catalog online as of September 20th at www.AuctionsAppraisers.com

Previews: Friday, Sept. 27th, 12-4 pm, Sunday, Sept. 29th, 2-4 pm, Monday, Sept. 30th, 12-5pm or

PAINTINGS: Oils: Charles Ethan Porter (2), Aaron Draper Shattuck, Edward Seago (2), Carleton Wiggins, Linda Nelson Stocks (2), Georges Charles Robin, Clark Voorhees, Paul Saling, Robert Owen, Wayne Morrell, George Thomson, Bertram Georg Bruestle, William Chadwick, Reginald Barber and others. Watercolors: Dwight Huntington; Charles Curtis Allen, Levon West, etc. PRINTS & DRAWINGS: James Abbott McNeill Whistler “Adam & Eve” etching; “Bonal Gentiane-Quina” c.1935 advertising poster 62” h.; David Alfaro Siqueiros litho; Felix Darley ink; Gene Kloss “Taos” etching; Gustave Adolph Hoffman etchings (4), etc. FURNITURE: Nathan Margolis (4) highboy after Chapin, four drawer chest, chest on chest and pair of candlestands; Wallace Nutting Windsor chair; 18th C./19th C.: Diminutive slant lid desk, full-size slant lid desk, corner cabinet, footstool, Q.A. side chair, needlepoint fire screen, candlestands, butterfly table, etc.; girandole mirror, sewing table, comb-back Windsor chairs (2), work table, candlestands, etc. DECORATIVE ARTS: 19th C. ‘Jockey on Running Horse’ molded copper weathervane, 30” l.; Maritime dioramas (4); Friedrich Heyn wood carousel horse, c. 1900; folk-art carvings and whirligig; 1831 American sampler; desk accessories; inlaid & other decorative wood boxes (12), etc. CERAMICS: 19th C. Historical Blue Staffordshire 70+ pieces by Clews, Woods, Adams, etc., patterns include “America & Independence”, “The Landing of Lafayette”, ”Layfayette at Franklin’s Tomb”, “Lafayette at Washington’s Tomb”, “Washington Standing by His Own Tomb, Niagra series and others; American cobalt-decorated stoneware and redware (7) jugs and crocks, largest: 17” h.; pair of trompe l’oeil Partridge pate tureens Pilivuyt & Cie; Ginori “Bianco White” (98 pcs); Pottery by Karen Karnes (4); Rosenthal & Royal Worchester animal figures (20+), etc. ANTIQUE WEAPONS: (20+ pcs) c. 1850 Officers sword, Middletown single shot pistol, Rampart flintlock pistol, Snaphauce musket, Lotts/ London flintlock pocket pistol c. 1750, percussion rifles and buggy gun, etc. ASIAN: Pair of Monumental Chinese hardstone bonsai trees 55” h., oil paintings by Zhou Shaobo, Yan Jian, Xiaoqian (Carrie) Liu, etc., Chinese Export porcelain: jardinière, garden seat, lamps, tableware, etc., paintings on silk, Persian illuminated hand-painted manuscripts, etc. SILVER: Flatware: Continental stlg set (99 pcs), Reed & Barton “Francis I” (53 pcs), Towle “Fontana (60+ pcs); along with Tiffany & Gorham bowls, Mappin & Webb footed tray, Kirk repousse platter, numerous hollowware, serving pieces, small boxes, souvenir spoons and flatware, etc. JEWELRY: Mikimoto 20” l. pearl necklace; Tiffany 36” l. Atlas stlg necklace, 18K Tiffany Eternal Circle pendant necklace; Tiffany 18K ginkgo brooch; 14K set 41ct blue topaz ring; 14K set 12ct citrine ring; Margot Van Voorhies for Taxco necklaces (2); numerous gold and silver rings, necklaces, bangles, cameos, etc. BRONZE SCULPTURES: Victor Villareal (5) large ballerina figures, largest: 35” h., Neoclassical themed figures (13) by Franz Iffland and after Tina Nicolet, Giambologna, Jean-Baptiste Carpeaux; carved alabaster bust of monk, 20” h. CAST IRON GARDEN: Pair 30” h. Classical urns; benches (2), settee, chairs (3), and occasional table with grape motif; pedestal; iron strap plant stand. COINS: (30 lots) including: Liberty gold coins (2), 2500+ silver quarters, 250 sets Canadian mint sets, 150+ Morgan & peace dollars, etc. MISCELLEANOUS: Le Coultre “Atmos” mantel clock; 50+ Daguerreotypes; Civil War era photographs; 1500+ Postcards; early glass bottles (4) by Carter’s, Drakes, Imperial c. 1830; Pairpoint prism globe lamp; Wavecrest jar; American Brillant cut servingware; Vintage wearables & accessories; Oriental carpets (9) many room size, etc.

19th C. American, copper, etc., 30” l.

3 of 5 Villareal bronze dancers

Liverpool 9” h.; 18th C. diminutive rosewood

Chinese hardstone 55” h.

D. Huntington, wc, 20” h.

A. D. Shattuck, oil, 9 ½” h.

Whistler “Adam & Eve” etch.

Gene Kloss “Taos Valley” etch.

C. E. Porter oils: “Snipsic Lake, Rockville CT”, 11 ½” h., still life: 8” h.

C. Wiggins, oil, 11” h.

20+ Antique Weapons

Continental stlg

4 Maritime dioramas

C. Voorhees, oil, 5 ¼” h.

French, 13” h.

70+ Historical Staffordshire

Margolis highboy after E. Chapin c. 1930, Butler provenance 19th C. Americana

c. 1800 American

P. Saling oil; 18th C. cherry

Wallace Nutting; Margolis chest

Boston c. 1730; 18th English screen

Cast iron urns, 30” h., and ornate furniture

19th C. girandole; sideboard 36” w.

Gold & other

Back Benches, 2-Period Tilt Top Tables, Vict Tall 2-Door 3-Drawer Walnut Slant Lid Desk, 3 Vict Marble Top Tables, Early NY Leg Cherry Dropleaf Table, Birdseye Maple 5-Drawer Tall Dresser w/Mirror Top, Oak 4-Drawer & 2-Drawer Stack on Bookcases, Mission Oak Slant Lid Desk, Vict Oak Commode, Painted Vict Marble Top Dresser, Early Rockers, Ornate Fosters Maple #116 Parlor Stove, Early Horton Wooden Washing Machine, Early 6-Board Blanket Box, Marble Top 1-Door Cabinet and more COLLECTIBLES: Variety of Artwork to include 4 Early Oil on Canvas Hudson River Painting (Newburgh area), 8’Wide 1896 US Map, Misc Size of 5 Oriental Rug 8.5’ x14.5’ & smaller, Primitives, Anvil, 2pr 1700s Andirons, 1700 Iron Fireplace Toaster, Early Lanterns, Adv Tins, 3 Early Burl Bowls, Decorated Stoneware Jug, Stoneware Jugs, 1700s Candle Chandelier, Duck Decoys, Costume Jewelry, Zither, Ukulele, Small Oak Tabletop Showcase, Early Majolica Water Pitchers,  SIGNS – 1960s Pepsi Thermometer, 1950s Airforce Base 2’ x 2’,

Huge Late Summer Sale!

DATE CHANGED TO: SUNDAY, SEPT 29, 2024 at 11am

Initial Pictures can be viewed at auctionzip.com, Auctioneer ID#22549

Register for Online Bidding at liveauctioneers.com/state-line-auctions

Estate of Franklin Feldman - artist. MCM furnishings and decorations, MCM artwork galore!

Sterling silver flatware, jewelry, farm tables, collection of 200 steins in generous lots, 30 Oriental carpets, lanterns, more lanterns, artist easels, teak chaise loungers, inlaid French bureau plat. Iron fencing, pair of marble top French commodes (antique), two leather sofas, antique and modern cupboards. Collection of 30+ mesh deco ladies bags (nice), Huge Cub Scout everything collection, Franklin Mint library collection, author signed. Womb Chair and ottoman by Knoll, many good MCM pieces, large service Villeroy & Boch china, blue and white Blue Willow Set. More Joseph Hajec cool stuff. A very large sale, please come to preview 1 week before!

Appraisers And Liquidators

Lee Jackson Lifetime 50+ Year Collection 315 Main Street, Landisville, PA Bid now through Monday, September 30, 2024, 6pm www.witmanauctioneers.com

1961-1962-1967 Corvettes, Harley Davidson Motorcycles, 2008 Crated Chevrolet ZL1 Anniversary Edition 427 Motor  (#015 Of 427 Ever Made w/ Original Tag, Authenticity Package, & Black Leather Jacket – Never Out Of Crate), 8’ x 24’ Enclosed Hallmark Car Hauler Trailer w/ Electric Hoist & Winch, Corvette & GM Parts & Accessories, Mechanics Tools & Shop Equipment,  Forward Two Post Lift, Ingersol Rand T30 Upright Air Compressor, Tokheim Fire Chief Gas Pump, Racing & Auto Memorabilia, Signage & Neon Signs, Franklin Mint Promo Cars, & More!

For photos, full listing, & terms, see our website, www.witmanauctioneers.com

Witman Auctioneers, Inc.

AY000155-L • Luke R. & Clarke N. Witman (717)-665-5735 • (717)-665-1300

FALL GALLERY AUCTION

Sunday, September 29 | Stamford, CT | 1:00 PM EST

View the Catalog at ACES.NET | Preview by Appointment Online, Phone, & Absentee Bidding Available gallery@aces.net | (475) 500-7118

AUTOMOBILE AUCTION

Saturday, Sept 21st • 10am sale 9am Inspection

Onsite: 411 Westminster Road, Canterbury, CT

Two Peerless auto 1926 and 1929. 1926 was restored many years ago. 1929 a parts car. Also a huge selection of Peerless parts.

This auction includes important fine art from the Swyer Family Collection, the lifelong Collection of Theo Lovell & the Albany home of Fred Dicker. Included will be works by Jervis McEntee, Walter Launt Palmer, Emile Gruppe, Francis Silva, Jennes Cortez, Chas. W. Eaton, Anthony Thieme, Julie Hart Beers, Britcher, W.R.Tyler, Forrest Moses, F.J. Waugh, Jane Peterson, W.C. Van Zandt, William Wendt, Will Low, etc. Ceramic collection, Oriental carpets, Sterling Silver, Period Furniture, Clocks & Accessories. Paint Decorated Tall Case , So. Shaftsbury, Vermont Walter Launt Palmer (1 of 4)

sgnd Silver Rooster and Hen, 15”

Splendid September Estates Auction!

Sunday Sept 22, 2024 at 11am

In-person sale in Rehoboth & Online via Liveauctioneers.com & Invaluable.com Featuring a Chatham nautical collection!

PREVIEW: Live in Rehoboth: Sept. 19-21 (Thurs/Fri/Sat.) from 10-4pm & Sunday from 9-11am Telephone & Absentee bids welcome! Private appts too!

ARTWORK: Marine art – A. Jacobsen 1900, C.H. Gifford 1889 – Fairhaven seaside village, John Sloane (attr), S.A. Mulholland, RS Gifford (attr), Clement Drew, Graham Flight – New Bedford harbor, Carl Evers, W.M. Post, Michael Keane, Edmund D. Lewis (2), Chinese Export harbor scene & portrait of A.G. Keying; Homer Ramsdell steamer, NYC harbor oil, Joe Hunt (2). Also: Herman D. Murphy; W.P. Phelps; J.B. Reid; J.A.S Monks; Roger Dennis; A. Lerren; Chris Jorgensen; Taro Yamamoto (3 abstract); Z. Steynovitz (2); JJ Pauplis (6); 1889 Burke Ale painted tin adv. sign w/baseball players; H.G. Laskey; British officer attr. Norman Macbeth; Cindy Brown; K. Fitzgerald - mermaids POSTERS, PRINTS & MAPS: 20+ Russian propaganda & pre-war posters incl. Kokorekin, V. Deni, D. Moor, K. Rotov, etc. 1920’s French travel posters, 4 by Roger Broders – Simplon Orient Express, Rome Express, Les Calanches de Piana & La Chaine du Mont-Blanc. Also: Touraine Chateau de Chambord by Tauzin; Le Lac Majeur by J. Lacaze; Metz by Thiry. Plus: Joan Miro original print “Beat” 1968; Jamie Wyeth 1979 litho of JFK in boat #45/300; S. Dali print “Miserable Flat” 1967; Ormsby engraving after Trumbull of Dec. of Independence; Donnelly copy of Dec. of Ind.; JJ Audubon “Californian Partridge”; ANTIQUE MAPS: Walling 1856 large map of Nantucket; 2 Peru maps 1719 & 1751; “New Map of S. America” by B. Cole for Duke of Gloucester; “De Vaste Kust van Chicora Tussen Florida & Virginie” 1706; Hand drawn “Europe” & “Africa” maps

SILVER & JEWELRY: 8 flatware sets – Avalon & Prelude by Inter’l, Grand Baroque by Wallace, French Renaissance & Francis Ist by R&B, etc; Set 18 goblets, 103 ozt; Antique Tibetan silver amulets; 47 ozt Gucci modernist vase; 5 early French beakers by LJ Berger, S-R Rion, etc; Pr. Asprey bottle coasters; 100+ coin silver spoons; 1798 Georgian teapot; Russian 84 enamel cup w/genre; 2 large Judaic menorahs; F. Chiappe box - St. George & dragon; Many lots of holloware & flatware; Atocha 8 reale coin; Armadillo box attr. Los Castillos. JEWELRY: Several lots 10-18K jewelry with gems - rings, necklaces, bracelets, earrings, etc; Ruby & diamond tennis bracelet ($7600 appraisal); Prs. of diamond earrings; Vict. gold & costume jewelry; Navajo squash blossom necklace; Cartier silver & Bucherer 18k gold lady’s watches; Wrist & pocket watches – Breitling & IWC Schaffhausen chrono’s

NAUTICAL & SCRIMSHAW: Large, fine cased ship models on stands: Nantucket Lightship, USS Constitution, USS Essex; Iberia schooner by R. Matteson; 30” Vict. schooner model ; Antique floor binnacles & ship telegraph; 5 ft ship wheel on brass pedestal sgd. C. Dubbelman; (6) large scrimshaw whale’s teeth; Many sailor-made whalebone items incl. mini 8” hand saw w/sterling blade, 6 marbles, fids, crimper, etc; 2 scrimshaw cribbage boards; Eagle carved coconut rum cup w/names; Warren Shepard eagle plaque; Scarce tiled yacht stove; Scrimshaw bone globe; Whalebone dominoes; 9 old wood fish decoys & Black Hole Pulaski NY fish sign; Bone carved sphere w/Greek poet Anacreon; Bronze naval cannon; Harpoon cannon; Sculler ship’s line-throwing cannon; 2 seashell valentines; 3 Beckenhaupt plaques – whale, shark, porpoise; Edson yacht wheel pub table; Oberwerk long-range observation binoculars on tripod; 3 Telescopes on tripods; USCG bronze bell on stand; 6 Nantucket baskets incl. purse w/whale sgd. R. Reyes ASIAN ITEMS & PORCELAIN: Chinese includes: Pr. superb 24” Famille Rose temple jars, 17” chartreuse vase, Pr. 14” cache pots, Qianlong Export items, 17” signed planter, Canton & Rose Medallion, Chinese jade archer ring & bracelet, 12 ft. painted silk screen, silk robe & table cover with embroidered flags & eagle; 27” Japanese Imari vase; Cloisonne vases; Meiji Shibiyama ivory inlaid vase; Tibetan Thangkas & silver amulets

MILITARIA & CANES: Antique Colt 44 pistol; 2 silver inlaid Yemen Jambiya daggers; Antique Cannons –bronze naval, harpoon cannon, & iron rope-throw; Civil War swords – Ames M1852 naval officer, naval cutlass M1860, & saber M1812; C.W. era wool frock coat from Co. E of Minn. & rare Cavalry boots; War 1812 S.C. flintlock musket by E. Stillman; WWII flags - UK & New Zealand Air Force & French Resistance; WWII uniform & photos for Sergeant Wm. E. Halliday; WWII rangefinder; Air warfare prints w/pilot signatures; WWII photos by A. Lanza; German M1916 helmet & field gear; CANES: Antique Captain’s whale bone & Indian head signed Remington 1862; Figural & animal; Gadget canes – umbrella, flask, horse Measure, & seat cane FURNITURE & CLOCKS / LAMPS: 2 antique tall clocks – Timothy Chandler NH & John Holt, Rochdale; Rare Seth Thomas bronze Montauk mantle clock; Chelsea ship’s clock/barometer set; 14” Chelsea 1900 ship’s wheel clock; Howard Miller Focal Point 9 tube wall clock (retail $12K); Tiffany Studios 424 bronze desk lamp; FURN: Tiger maple stands; Period furniture incl. English Chipp game table, No. Shore card table & bachelor chest; 2 king size beds – Leonard’s 4 post & rococco carved; Drexel block front chest; 6 ft inlaid Heppl. Sideboard; Handcrafted tall chair signed Circa MISC. & RUGS: Oberwerk long-range observation binoculars on tripod 65-25-40 WYJ; Selsi E.

Rosewood Folding Dining Table

Watercolor

Louis XV Provincial Walnut Commode

Marie Yvonne Laur (Yo Laur) - Playful Cats

THREE DAY ANTIQUE AUCTION

CERAMICS – POTTERY – STAFFORDSHIRE

Located at the Strawser Auction Facility – 106 E. Dutch Street • Wolcottville, Indiana

THURS, FRI & SAT, OCTOBER 10 TO 12

THURSDAY, OCTOBER 10

@ 3PM EST

Ceramics – Po�ery

Lenox China Collec�on of Richard E. Morin author of Lenox Collec�bles (1993) to include 300+ pieces mostly silver overlay including chocolate sets, tea sets, vases, figures and more, one of the finest Lenox collec�ons; R.S. Prussia; Nippon; Minton porcelain; molded jugs; porcelain figures – Charles Vyse; Royal Doulton, Royal Worcester, Lladro, Royal Albert, Beswick and more; 50+ fine porcelain oyster plates from a Maryland collec�on to include Haviland, Limoges, UPW and more; 50+ pieces of Moorcro� po�ery; Roseville; VanBriggle; Hull Po�ery; MCM dinnerware; Quimper; Buffalo Po�ery Deldare; Cloisonne and much more.

SATURDAY, OCTOBER 12 @ 9AM EST

The Leberfeld Majolica Collec�on with Select Addi�ons

The Leberfeld Majolica Collec�on is one of the finest we have offered to include many rare and unusual pieces including a Minton Victoria wine cooler; Minton Lychee tete-a-tete; Minton monkey garden seat; Minton garden seats and jardinieres; Minton and George Jones teapots; majolica plate collec�on; Minton lobster tureen; large selec�on of Wedgwood majolica pieces; Copeland tri-corner eagle vase and many other fine pieces together with some selec�on consignments to include a Minton elephant candelabra table center; 2 George Jones jardinieres and pedestals; Hugo Lonitz pieces and much more.

FRIDAY, OCTOBER 11

@ 3PM EST

Staffordshire Collec�on of Elinor Penna Lusterware – Historical China

100’s of Staffordshire figures including dogs, horses, elephants, lions, rabbits, and many other animals, naval, military, literary, crime, theater and more; Sunderland pink luster; copper luster; molded jugs; 100 ceramic money banks; Clarice Cliff Staffordshire Tonquin; Copeland Spode; Woods Ware; Ridgway; Flow Blue; transferware and much more.

ANTIQUE AUCTION

FRIDAY, SEPTEMBER 27 AT 6 PM

Fine Art: Paintings: Frank Weston Benson, John Joseph Enneking, Edmond Darch Lewis (5), Arthur V. Deihl, H.R. Burdick (4), Arthur Dodd, Emil Schoedel, Dexter B. Hawes (4), William S. Barrett, Georges Jean Marie Haquette, Bill Rossoll, Gunderson, Paul Doering, W.F. Collum, W. Baker, J.Rudman, R.V. Sowden, Angell, Helen H. Juchnicki, Laura Wilson Luce, Donald Werden, Deborah Cowan, F. Benson, Clarence E. Braley, After Fitz Henry Lane, Dorothy Palmer, Attr. Charles Henry Caseall, B. Ashbee, Sam Thal, Prints: Edward Borin, William Holl, Barry Moser, Richard Earlom, John Taylor Arms, Charles H. Woodbury, Marion Nedham Knapp, Lee Stroneck, 5 by Nona Hatay, Frederick O’Hara, Mapp, Lucy Garnot, Itzchak Tarkay, Urushibara Mokuchu, Saito Kiyoshi, Samuel Chamberlain, Ohara Koson, Binotto, Mervin Jules, A.B. Frost, Sculpture: Bronze of Virgile, stone head signed B. Karikavi, 3 Sterett-Gittings Kelsey bronzes, and more.

Sporting Art:  A large group of hunting and fishing prints and sculpture including Trout’s Unlimited and Ducks Unlimited items. Prints: A. Lassell Ripley, Chet Reneson, Sam Timm, Joseph Orr, Jerry W. Thrasher, Art Lamay, David Lanier, Lars Larsen, Hank Walker, Adriano Manocchia (4), Owen J. Gromme, George Browne, David Ruimveld (4), Bruce S. Garrabrandt, Jim Brown, K. Kunzer, Michael Coleman, Roland Joinsson,

Gary Moss, Adele Earnshaw, Racket Shreve, Tom Lowell Jr., Deborah Morin Styckieurg, Brian Jarvi, Michael Dumas, Victor Hohne, Douglas Van Howd, Arthur Nevin, Don Easterwood, Michael A. Klafke, Joseph R. Tomelleri, Roy Thompsen, Roland Clark, E. Snyder, Spencer and Sabra Field, Decoys: 50+decoys and bird carvings including Paul Moyer III, Bill Brady, Peter Peltz, Alston Burr, Stan Sparre, White and others, Other: Bronze stag by Charles Paillet, Diver Duck Collection by John Gewerth, Zeitz target litho, waterfowl cloisonne pin collection, cast resin wildlife and figural sculpture by Dan Smith, Sam Nottleman and others, bronze wildlife statutes and more.

Furniture: Early: Queen Anne and Chippendale highboys, Sheraton Birdseye maple chest and another, pie cupboard, Queen Anne 7-drawer chest on replacement frame, painted dressing table, ladderback armchair, highchairs, curly maple blanket chest, children’s chairs, candlestands, blanket chests, English blanket chest, double school desk, Victorian, Modern, & Custom: Lowboy by Ernest E. Schaible, tea table by D.R.Dimes, Nantucket Windsor armchair by Warren Chair Works, 2 Brewster armchairs, Queen Anne dining table, tavern table and joint stool, stands, large blanket chest 1907, highboy, pedestal display cabinets, cast iron hall tree, Mount Lebanon Shaker stool, and more.

Glass and China: Zellique glass vase, Randi Solon vase, Majolica, 3 San Polo Otello Rosa ceramic plaques, and more.

Clocks: Chelsea ship’s clocks, advertising wall clock, copies of world clock, bracket clock, skeleton, sundial, bracket clocks, banjo clock, some by Franz Hermie, carriage clocks, and more.

Accessories: 4 pond yachts (1 an award winner circa 1920, 70” tall), power boat model, English sampler with ship by Janet Blair, 2 stick barometers, Egyptian motif tapestry, tin advertising sign for ADA Olive Oil, Chippendale mirror, game board, Jack Daniels store display, slag panel and leaded lamps, locomotive and horse and sulky weathervanes, Chelsea ship’s clocks, small bronze canons, 2 cellos (Karl Knilling & Frich Hausner), bible box, beadwork crocodile, baskets, foot warmers, boxes, powder horns, black powder pistols, wood grinding bowl, ship’s wheel, pipe tongs, wood powder flasks, carved wood eagle, Eldred Wheeler curly maple mirror, Shaker sewing box, bird cage, spear points, carved wood pipe, Juan Paulino Martinez vase, wood masks, and more. Oriental Rugs: Antique and modern scatter sizes.

PREVIEW: THURS. 8am - 4pm & FRI 8am - 6pm

UPCOMING AUCTIONS

Sept. 24 SPORTING ART + WEAPONS

Cape Cod I 9:30 a.m. I online, phone + absentee bidding on exhibit Sept. 23 + by appointment

Sept. 26 PRINTS, MULTIPLES + WORKS ON PAPER

Cape Cod I 9:30 a.m. I online, phone + absentee bidding on exhibit Sept. 25 + by appointment

Sept. 27 JAPANESE PRINTS AND THE WORKS OF PAUL JACOULET

Hanover I 9:30 a.m. I online, phone + absentee bidding on exhibit Sept. 26 + by appointment

Oct. 10 NETSUKE

Oct. 16 FALL FLING: Art + Antiques

Oct. 24 ART 101: Paintings for New Collectors

Oct. 30 COLLECTIBLES

Nov. 7-8 FINE + DECORATIVE ART

Nov. 13 MODERN ART + DESIGN

Nov. 20-22 THE FALL SALE

Dec. 5 HOLIDAY SALE

Dec. 6 SMALL WORKS

F.M. Spiegle I SEPT. 24

Arthur Wesley Dow woodcut I SEPT. 26

O. Winston Link gelatin silver print I SEPT. 26

Albrecht Durer Etching I SEPT. 26

Marty Collins Canada Goose Decoy I SEPT. 24

Kawase Hasui I SEPT. 27

(upper left) Kaoru Kawano I SEPT. 27 (upper right) Massachusetts Willet Decoy I SEPT. 24

Winchester Model 21 Shotgun I SEPT. 24

Paul Jacoulet I SEPT. 27