Antiques and The Arts Weekly 7-19-24

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The Design Museum

• Q&A: Amy Kurtz Lansing

• Art Glass In The Spotlight For World Auction Gallery

• Books & Historic Ephemera See Success At Eldred’s

• Read All About It: Heritage’s White Glove Strutz Sale Breaks Multiple Records, Earns $5.65 Million

• Neue Auctions Welcomes Many New Bidders

• Thomaston Place's Early Summer Sale Is Splendid, Earns $1.2 Million

• First-Ever Salvador Dalí Exhibition At The MFA Boston Explores His Engagement With Art Of The Past

• Southern Estates & Collections And Tenenbaum Property— One, Two, Three Days Of Auctions At Everard

• Fine Art Flies To Top At Sloans & Kenyon

• Clarke’s Late June Auction Offers Solid Selection For Solid Results

• Fine Art & Antiquities Spark Roland NY’s Estate Sale






Amy Kurtz Lansing

In 2024, the world celebrates the sesquicentennial of the first independent exhibition of the French Impressionists, marking 150 years since the “Anonymous Society of Painters, Sculptors, and Engravers, etc.” opened in Paris on April 15, 1874. “Impressionism 150: From Paris to Connecticut & Beyond,” the Florence Griswold Museum’s new exhibition, on view through September 8, locates the role of Connecticut artists and settings in this narrative. Antiques and The Arts Weekly sat down with Amy Kurtz Lansing, curator at the museum, to get the inside scoop on all things “Impressionism 150.”

Was the 150th anniversary of Impressionism the sole rationale behind the exhibition or was there more behind its conception and execution?

Part of the museum’s core story or identity is that of the home of American Impressionism, based on the style practiced by artists who visited Florence Griswold’s Old Lyme boardinghouse after Impressionist Childe Hassam first painted locally in 1903. The anniversary was a natural milestone for us to commemorate, and at the same time, creating an exhibition about Impressionism’s beginnings and evolution allowed us to draw upon that core narrative in a more intentional way. Artists came to Old Lyme to paint Impressionist pictures, but we had the chance to ask why Impressionism appealed to them and what was behind American artists’ commitment to Impressionist techniques. We can see that Impressionism has enduring appeal and this show allows us to consider why. The exhibition topic also permits us to celebrate the permanent collection, which includes wonderful pieces by Childe Hassam, the largest public holdings of work by Willard Metcalf and spectacular new gifts to the collection, like Lawton Parker’s “La Paresse.” An exhibition like this enables us to share both audience favorites and recent acquisitions.

To give readers and potential exhibition visitors some essential background information, are there significant differences between French Impressionism and American Impressionism?

Rather than a single definition of Impressionism, I suggest we instead think in terms of “Impressionisms,” since a look back at the first French Impressionist exhibition in 1874 shows us that there was not one single approach practiced by the 31 artists in that show. But in broad terms, a major difference between the work of the French Impressionists and the American Impressionists is the persistence of form and drawing in American artists’ works. American artists went to France in the late Nineteenth Century to learn the academic techniques French Impressionists were busily rejecting in favor of loose brushwork and an attention to color and lighting that would capture the “instantaneous” feeling of looking at the world around you. American artists, with Lawton Parker as one example, continued in works like “La Paresse” to incorporate big, carefully modeled human figures. Robert Vonnoh paired reds and blues to create a highkey radiance and reflections in “Beside the River (Grez),” but did that over a structure of solidly drawn architecture. Artists like John Henry Twachtman, whose “Gloucester” is in the exhibition, embraced a level of abstraction akin to Monet’s, but even circa 1900 — decades after Impressionism’s debut — American critics expressed discomfort with the flatness and lack of perceived finish of “The

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Ledges, October in Old Lyme, Connecticut” by Childe Hassam (1859-1935), 1907, oil on canvas, 18 by 18 inches. Florence Griswold Museum, Gift of The Hartford Steam Boiler Inspection and Insurance Company. 2002.1.66.

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New England Estates Provide Material For Winter Associates Sale

PLAINVILLE, CONN. — On July 22, Winer Associates’ auction starts at 5:30 pm. From New England estates comes a selection of traditional and contemporary paintings and prints, jewelry, sterling silver flatware and hollowware; Mastercraft, Eldred Wheeler and antique furniture, along with Asian collectibles and art, Oriental rugs, bronze sculptures, clocks and unique Americana.

An Emile Gruppe (American, 1896-1978) oil, “Mending the Nets,” leads the pack of American paintings. Known for his impressionistic renderings of everyday scenes in Rockport and Gloucester, Mass., Gruppe was a prominent artist in the budding artist colony of Rockport. Other American artworks include a watercolor harbor scene by Jane Peterson (American, 1876-1965), large landscapes by Leo Blake (American, 1887-1976), a cloudy skies seascape with crashing waves by John Mackay, landscapes by Harry Russell Ballinger and Charles Gordon Harris, along with an etching by John H. Twachtman of a Newport harbor. An 1869 ship portrait by Luigi P. Renault rounds out the marine offerings. For those

with contemporary tastes, two oils by Nicola Simbari with bold brushwork and color, Roy Lichenstein’s comic-strip style triptych “Open Fire” featuring early lithographs based on his 1964 oil series, Frank Stella’s 1970 lithograph “Luis Miguel Dominguin” from the “Aluminum Series,” and a vivid abstract oil by Guy de Montlaur will be offered.

A stoneware leach jug inscribed “1718” on the shoulder is 19 inches high, the cylindrical body has 20 pierced rows of grid-like piercings. A similar pierced jug sold in 2014 had a handwritten note attached describing the piece as a leach jug, “used to obtain lye from ashes for making soap, rare as most were made of wood.” Another noteworthy and curious item to cross the block is a cast iron “dumb” stove in the form of George Washington, a mold in two parts, is 47 inches high.

“Dumb” stoves were an invention of the early Nineteenth Century, an ingenious design connecting the fire-less dumb stove on a higher floor to a functioning stove below, this made it possible to heat multiple rooms using only one fire-

box. An early painted cow weathervane, circa 1900 carousel horse by Friedrich Heyn, life-size swan decoy, carved folk art mermaid and three original oils by Linda Nelson Stocks are all colorful folk art additions to the sale.

Bernard Rohne, a Twentieth Century metal artist influenced by Abstract Expressionism and Geometric Abstraction, designed a series of furniture for Mastercraft. He used burl veneer and oxidized brass panels to create a unique line described by industry professionals as a Brutalist take on Hollywood Regency. Items to be sold include a long bureau, wall mirror, pair of small chests, king canopy bed and coffee table. A true Twentieth Century juxtaposition to the Mastercraft pieces are seven lots of Eldred Wheeler, highlighting time-honored designs in rich tiger maple and cherry, including a queen tester bed, pair of single-drawer stands, chest, tall chest, double-pedestal dining table and six dining chairs. Jewelry and accessories from a West Hartford, Connn., estate and others will include a Tiffany & Co. 14K gold cigarette case, a 14K charm neck-

Western North Carolina Glass From The Collection At Asheville Art Museum

ASHEVILLE, N.C. — Western North Carolina is important in the history of American glass art. “Western North Carolina Glass from the Collection” is on view to September 16 in the Judith S. Moore Gallery at the Asheville Art Museum.

Several artists of the Studio Glass Movement came to the region, including its founder Harvey K. Littleton. Begun in 1962 in Wisconsin, he was a student of Littleton’s that first came to the area in 1965 and set up a glass studio at the Penland School of Craft in Penland, N. C. By 1967, Mark Peiser was the first glass artist resident at the school and taught many notable artists, like Jak Brewer in 1968 and Richard Ritter, who came to study in 1971.

By 1977, Littleton retired from teaching and moved to nearby Spruce Pine, N.C., and set up a glass studio at his home. Since that time, glass artists like Ken

Carder, Rick and Valerie Beck, Shane Fero and Yaffa Sikorsky and Jeff Todd — to name only a few — have flocked to the area to reside, collaborate and teach, making it a significant place for experimentation and education in glass.

The next generation of artists like Hayden Wilson and Alex Bernstein continue to create here. The museum is dedicated to collecting American studio glass and within that umbrella, explores the work of artists connected to Western North Carolina. Exhibitions, including “Intersections of American Art,” explore glass art in the context of American Art of the Twentieth and Twenty-First Centuries. A variety of techniques and a willingness to push boundaries of the medium can be seen in this selection of works from the museum’s collection. This exhibition is organized

by the Asheville Art Museum. The museum is at 2 South Pack Square. For additional information, www.ashevilleart. org or 828-253-3227.

lace, platinum and diamond wristwatch, Georg Jensen sterling “Splash” bracelet and necklace and a 1904-08 bracelet set with lapis lazuli with birds; also a wide variety of 14K rings set with amethyst, pearl, diamond, sapphires, citrine, aquamarine, etc. The original 1911 receipt will accompany an antique Persian Serapi/ Goravan carpet, 11 feet 9 inches by 13 feet 6 inches, purchased from Paine Furniture Company of Boston; it is being sold to benefit the Chelsea Groton Foundation. An Edo/ Meiji pottery vase also has an interesting provenance, bearing an Avery Brundage Collection label. A selection of Asian items include oil paintings by Li Shuji, Wang Kun and Lei Zhuhua, sculpture, pottery, textiles, etc. Winter Associates’ auction catalog is available online at as of Friday, July 12. Winter Associates is in central Connecticut at 21 Cooke Street. Previews are Friday, July 19 from noon to 4 pm; Sunday, July 21, from 2 to 4 pm; and on Monday, July 22, from noon to 5 pm. Previewers are welcome at other times, call to schedule an appointment at 860-793-0288.







Emile Gruppe, “Mending the Nets,” oil on canvas ($2,5/4,000).
Bernhard Rohne for Mastercraft ($500-$1,000 and $150/300).
Stoneware “Leach” jug, 19 inches high, incised “1718” on shoulder ($400/600).

Art Glass In The Spotlight For World Auction Gallery

Auction Action In East Meadow, N.Y.

EAST MEADOW, N.Y. — World Auction Gallery conducted its Exceptional Premier Auction with 432 lots of fine and decorative art, furniture, Asian antiques, jewelry and collectibles on June 23. At the sale’s close, 91 percent of the lots changed hands. As such, World Auction Gallery owner, Ben Nejat, commented, “We are very happy with this auction. It was very successful.”

Coming out on top with great pre-auction interest was a rare

Murano glass chess set by Gianni Toso. Titled Jews vs. Catholics, the chess set depicted a battle between leaders of the two religions, each armed with corresponding ritualistic items. The 42 Venetian blown glass figures were paired with the original chessboard and were in very good condition. As referenced in the biography section of Toso’s website: “He started to push the limits of his craft, and in 1969 made a chess set, ‘Jews vs. Catholics,’ that

depicted the leaders of two opposing theologies, Catholic Franciscan Priests battling Hasidic Jews. It won him first prize in an exhibit of Murano’s master glassblowers, and shortly after, he was commissioned by Salvador Dali to make a series of 12 of the painter’s surrealistic flowers in glass.” Coming from a collection in Long Island, N.Y., the set was bid well past its $1,500 high estimate and sold to a private New Jersey collector for $13,000.

Several art glass vases made an impression on bidders, with one by Gabriel Argy-Rousseau and an example by Émile Gallé, both from private New York City collections, tying for the category’s top price. Made circa 1928, the Argy-Rousseau pâte de verre vase had raised yellow-orange dancing women figures with long, flowing spotted dresses. The Gallé Water Lilies vase, made with souffle glass circa 1904, had raised flowers in varying shades of green and white. Both vases were fully signed by their makers and were bid to $8,400, selling to private Florida collections. Two circa 1900 Art Nouveau

cameo glass vases by Gallé finished among the top lots, selling to Long Island, N.Y., collectors for $4,200. The first was an 18¾-inch-tall Landscape vase with layered shades of blue depicting a lake amid a tree-lined mountainous landscape with cloudy yellow detail around the rim ($3/5,000). Of similar form, the Geranium vase was detailed with red flowers over a yellow ground, which stood 17¾ inches tall ($2,5/3,500).

A circa 1900s Daum Nancy enameled cameo glass vase with a tree landscape was also from a New York City collector. On a clouded blue-green ground, the tall brown and orange trees extended with dark colors at the base and sparse foliage around the top.

Signed “Daum Nancy” with the Cross of Lorraine toward the bottom of the scene, the vase brought $4,800 and will be heading home with a collector based in Japan.

A Roy Lichtenstein lithograph, “Crying Girl,” sold to a New York City collector for $7,800. The unframed print was signed in pencil in the lower right margin. Despite

An Émile Gallé (French, 1846-1904) souffle glass Water Lilies vase, circa 1904, 10 inches high, made $8,400 ($6/8,000).

some minor browning to the edges of the lightweight offwhite paper, the vibrant image itself was in very good condition.

Ever popular Louis Vuitton steamer trunks were represented in this sale by a fully marked example from a Long Island, N.Y., collection. Made in the late Nineteenth or early Twentieth Century, this trunk had expected losses due to use but was in good condition with its original metal rollers intact. Measuring 39½ inches long by 20½ inches wide and 13 inches deep, the trunk had old Cunard Line travel stickers and was marked with the name “Beau Barry Ryan” on the inside. It was bought by a collector in England for $5,700.

“Young Shepard” by CharlesÉmile Jacque, an oil on canvas depicting a young boy, dressed in blue, standing beneath a large tree with a small flock of sheep. The work was signed to the lower left in addition to being signed and titled in French on the reverse. Housed in its original frame, the Nineteenth Century painting is joining a Long Island, N.Y., collection for $4,500.

Another French painting that generated interest was “Harlequin” by Paul Augustin Aïzpiri. The abstract oil portrait depicted a male figure in colorful dress against a vibrant blue background. Signed to the lower right, “Harlequin” was in its original frame and brought $4,305.

A Chinese carved jade bowl was bid past its $3,000 high estimate to achieve $4,550. The dark spinach-colored stone featured intricately carved dragons throughout and was paired with an original wooden display base. An impressive work, this bowl, with each side being nearly 2 inches thick, weighed 20 pounds and was more than a foot long. It was from a Park Avenue, New York, apartment and will be heading to a private Florida collection.

Prices include the buyer’s premium as reported by the auction house. For information, or 516-307-8180.

This Gabriel Argy-Rousseau

This Daum Nancy cameo glass and enamel scenic vase, circa 1900s, 17¼ inches high, made $4,800 ($4/6,000).
(French, 1885-1953) pâte de verre Dancing Women vase, circa 1928, 5¾ by 3-2/5 inches, achieved $8,400 ($4/6,000).
“Harlequin” by Paul Augustin Aïzpiri (French, 1919-2016), oil on canvas, 27 by 23½ inches in its original frame, made $4,305 ($3/5,000).
The sale’s top lot, a Murano glass “Jews vs. Catholics” chess set by Gianni Toso (Italian, b 1942), circa 1969, 26 by 26 inches boxed, was bid to $13,000 ($1/1,500).
“Young Shepard” by Charles-Émile Jacque (French, 1813-1894) , oil on canvas, 39¼ by 33¼ inches in original frame, exceeded its $1/2,000 estimate to earn $4,500.
Weighing 20 pounds, this Chinese carved spinach jade bowl with dragon figures, 13 inches long by 9½ inches wide by 6 inches high, came with its original wooden base and was bid to $4,550 ($2/3,000).
“Crying Girl” by Roy Lichtenstein (American, 1923-1997), color offset lithograph on off-white paper, 23¾ by 18 inches with full margins, crossed the block for $7,800 ($5/8,000).
Review by
Carly Timpson, Assistant Editor Photos Courtesy World Auction Gallery

AUGUST 8 – 10, 2024

New Hampshire Antiques Show

Melissa Alden

Baker & Co. Antiques

Bittner Antiques

Pam & Martha Boynton

Hollis Brodrick

Robert Burger Antiques

Cottage & Camp

DeWolfe and Wood

Early American Antiques

Matt Ehresman

J & G Enoksen

Christopher & Bernadette Evans

Brian J. Ferguson

Robert T. Foley Antiques

Tucker Frey Antiques

Oliver Garland

Pat & Rich Garthoeffner

Gemini Antiques, Ltd.

Scott Bassoff and Sandy Jacobs

Bob Jessen & Jim Hohnwald


Jewett-Berdan Antiques

Allan Katz Americana

Kelly Kinzle

William & Teresa Kurau

Nathan Liverant and Son, LLC

Thomas R. Longacre Antiques

John Hunt Marshall

Ian McKelvey Antiques

Judith & James Milne

Newsom & Berdan Antiques

Jeff & Holly Noordsy Art and Antiques

Old as Adam

Olde Hope Antiques, Inc.

Randi Ona Antiques

Hercules Pappachristos

Period To Mod

Pewter & Wood Antiques

Sharon Platt American Antiques

Nancy & Gene Pratt

Thomas M. Rawson Antiques

ursday & Friday 10am – 7pm

Saturday 10am – 4pm DoubleTree by Hilton

Resser-Thorner Americana

Jeffrey Roelof

Peter Sawyer Antiques

David A. Schorsch - Eileen M. Smiles

Spencer Marks, Ltd.

Jef & Terri Steingrebe

Stephen Douglas at Walpole

Steven F. Still Antiques

Paul D. Sullivan Antiques

David Thompson Antiques & Art

Jeffrey Tillou Antiques

Jonathan Trace

Village Braider, Inc.

Michael Whittemore Antiques

Withington & Co.

Douglas Wyant Antiques, LLC

Ziebarth’s Gallery

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Twachtman’s canvas.

American artists came to Impressionism later than their French contemporaries. The first exhibition of French Impressionist paintings in New York didn’t take place until more than a decade after the Paris debut. Because many American painters first embraced Impressionism while visiting rural French artist colonies, they tended to focus less on the urban subjects that drew the eye of their French counterparts registering Paris’ modernity, and more on rural landscape and quaint historic villages. I’d also say that there is a strong regional accent in American Impressionism as artists immersed themselves in the local landscapes of places like Old Lyme, Cos Cob, Gloucester or Monhegan. Impressionism spread across the United States as artists moved between or established new artist colonies.

Did Old Lyme Impressionists have their own style? What does this look like?

Flickering brushwork — evident in paintings like Childe Hassam’s “The Ledges, October in Old Lyme, Connecticut” and Willard Metcalf’s “Dogwood Blossoms,” influenced a number of Impressionists associated with Old Lyme. But more often, Old Lyme Impressionist works share subject matter rather than style. In the colony’s heyday, critics noted the frequent depictions of historic village architecture like the town’s First Congregational Church, seen in Everett Warner’s “The Village Church;” of mountain laurel flowers like those in Matilda Browne’s “Blossoming Flowers on River’s Edge;” and of colorful gardens like artist Will Howe Foote’s own garden in “Summer.”

Were there any surprises that came to light as you were preparing for this exhibition?

As we prepared this show, the museum was given a Willard Metcalf painting, “Spring Study à Grez,” that had not been seen in public for a century. It was a wonderful surprise to be contacted by the donor about the painting (still in its original frame), which the artist gave as a gift to the family of anthropologist Frank Hamilton Cushing. While we have a substantial collection of Metcalf’s work, nothing represented his time visiting the artist colony at Grez. The donation of “Spring Study à Grez” gave us the chance to compare and contrast it in the exhibition with a later painting Metcalf did in Giverny, and together the pictures show how he experimented with Impressionist brushwork and color. The museum is lucky enough to own Metcalf’s cabinet of natural history specimens as well, and the exhibition includes the cabinet with drawers open to show some of the bird eggs the artist collected in both Grez and Giverny.

“Barnyard” by John Henry Twachtman (1853-1902), circa 1896–97, oil on canvas, 30¼ by 25-1/8 inches. Florence Griswold Museum, Gift of The Hartford Steam Boiler Inspection and Insurance Company. 2002.1.142.

In the press release for “Impressionism 150,” it says that the exhibition “closes with a group of paintings that focus on race, gender and the environment to demonstrate the vast potential for understanding the picturesque works with fresh eyes.” Why do you believe it’s so important for us to view Impressionist works with these viewpoints in mind?

The first generation of Impressionists developed an artform that responded to the contemporary world in which they lived. It’s important to continue examining historical works from a wide array of perspectives so that we can fully understand not only the cultural moments in which they were created, but our own moment as well. When we consider the longer history of Native Americans and African Americans dwelling upon and being displaced from the land in the Hangroot community of Greenwich depicted in Twachtman’s “Barnyard,” for example, how might it shift our perception of the painting as an image of home and family? Another painting in the exhibition is by Mary Bradish Titcomb, who depicts her fellow women artists sitting on the porch at Boxwood Inn in Old Lyme. Women stayed there because they were not welcome in the clubby male atmosphere at the Griswold House. Titcomb’s gorgeous painting demonstrates the accomplishment of women Impressionists in Old Lyme, despite male artists’ claims that these painters, in their white dresses, were “blots on the landscape.” Titcomb’s signature was at one time folded under and the painting falsely identified as the work of a male Boston School artist, but now her contributions have been revealed — an ongoing project for those whose stories have been excluded from our histories. It’s important to keep the viewpoints of race, gender and the environment in mind because otherwise we are only telling part of the art’s story. We want audiences to feel that they can find historical information about the art that provides context for their own lives and experiences today.

“Spring Study à Grez” by Willard Metcalf (1858-1925), 1885, oil on canvas, 24 by 20 inches. Florence Griswold Museum, From the Family of Anne Earle (Babcock) Smullen, gift by Eleanor Tennyson Smullen. 2023.6.

Does the exhibition draw exclusively from works in its collection? If there are loans, which were, in your opinion, critical for the inclusion in this show?

This exhibition draws exclusively from the permanent collection. In fact, we could have done this show over again because the museum is lucky enough to have a depth of Impressionist paintings and works on paper to draw upon.

What was your criteria for including (or excluding) works?

I wanted to include works that would best tell the story of Americans’ slow embrace of Impressionism — pieces that showed how traditionally they were painting in the 1870s, and how that is gradually expanded by their exposure to Paris and to French art colonies. I was often hoping to include works an artist did in Europe and in America, to make that evolution evident. And I wanted to include work by both male and female artists, since their ability to embrace Impressionism’s avant-garde approach differed. I also wanted to reflect the fact that Impressionism is not a monolithic style, so works could be “impressionist” in different ways and to different degrees. And, of course, I was hoping to include our top pieces, many of which are visitor favorites, as well as to debut recent acquisitions, such as one of the first works on paper Childe Hassam made in Old Lyme.

Does the exhibition break new ground in terms of research or scholarship?

Every time you reexamine works in your permanent collection, you find additional information and develop new ideas through your research. I would highlight the added richness we have brought to the understanding of works from our collection as we interpret them as part of the larger history of Impressionism. How radical Impressionism was, but also how strongly traditional academic approaches persisted in both France and America have been important points in our exhibition and in the exhibition “Paris 1874: The Impressionist Moment,” at the Musée d’Orsay, traveling to the National Gallery of Art in Washington, DC, this fall.

—Kiersten Busch

A Vibrant Exhibition Showcasing

Bronx-Born Manny Vega’s Celebratory

NEW YORK CITY — As part of the Museum of the City of New York’s centennial celebration, “Byzantine Bembé: New York by Manny Vega,” highlights the captivating and colorful artistry of Bronx native Manny Vega, whose mosaics and murals grace the streets, subway stations, cultural hubs and business facades across East Harlem/El Barrio. Featuring object labels in both Spanish and English, “Byzantine Bembé” offers a mesmerizing journey through Vega’s distinctive visual narratives as they highlight community tales with themes ranging from African deities to urban mythologies, bridging personal and collective experiences.

Manny Vega skillfully blends the richness of diverse homelands in his works, whether mosaics, watercolors or drawings. These works delve deep into the heart of New York’s urban diasporas, exploring the depths of the human spirit and consciousness. His creative journey spans his ancestral homeland of Puerto Rico, his spiritual connection to Brazil and his enduring bond with El Barrio (East Harlem) — the museum’s very own neighborhood, where his public art-

works adorn numerous spaces. Rooted in a unique understanding of the diaspora experience, Vega’s worldview is a vivid, rhythmic, passionately spiritual and yet accessible journey.

In Vega’s own words, “My art is a finely honed visual language crafted over years of creative exploration and a personal odyssey through the diverse tapestry of New York City. The lives of my neighbors and the vibrant city itself are an everevolving theater, depicting our shared joys, sorrows, challenges and universal truths. This awe-inspiring reality fuels my artistic endeavors, expressed through drawings, paintings, murals and mosaics, creating my own modern-day Renaissance.”

“Byzantine Bembé” is organized into three interwoven sections: “Música” (Music), “Figuras” (Figures) and “Justicia” (Justice). These sections delve into the art forms driven by movement and music within Vega’s communities, offering vivid representations of the human figure and portraying Afro-centric spiritual practices that have historically grounded Black diasporas in the Americas. Each work, comple-

Women In Japanese Art Are ‘Defying Boundaries’ At New RISD Museum Exhibition

PROVIDENCE, R.I. — The RISD Museum presents “Defying Boundaries: Women in Japanese Art” on view through November 4.

Wai Yee Chiong, curator of Asian art at RISD Museum states, “This exhibition addresses often-overlooked histories and stories of women in Japanese art. Marginalized in modern and historical accounts that focused on men, these women were nevertheless very much present in Japanese visual culture.

From warriors and poets memorialized in prints to pioneering Japanese artists, these works offer glimpses of

those who broke boundaries and inspired generations of artists and illustrators.

Also portrayed in this exhibition are famous performers of female roles, or onnagata When women were banned from acting in the Kabuki theater in 1629, some male actors began specializing in women’s parts, redefining the concept of femininity in their time.

Female impersonators became arbiters of style and models of femininity, both onstage and offstage.”

The RISD Museum is at 20 North Main Street. For information, or 401-454-6500.

mented by photographs and images of Vega in action by his esteemed art colleagues and contemporaries, paints a vivid picture of Vega’s vision, his dedication to his community, and the pure joy and celebration of life and art. The show also includes a map pinpointing the locations of some of Vega’s most significant works in the streets of El Barrio, just a stone’s throw away from the museum. Additionally, visitors can enjoy an interactive display, allowing them to manipulate colored tiles with a magnetic stylus to create their very own mosaic.

Stephanie Wilchfort, director and president of the Museum of the City of New York, shares her excitement, “So many of us have encountered Manny’s art on the streets and spaces of our beloved East Harlem neighborhood. It’s a true delight to now bring his colorful and joyous creations inside the museum and welcome visitors from near and far to celebrate his talent and the infectious energy that infuses both his work and our El Barrio surroundings.”

“‘Byzantine Bembé’ highlights Vega’s master craftsmanship and storytelling


prowess,” says Monxo López, curator of community histories at the museum who organized the exhibition. “It also underscores MCNY’s unwavering commitment to its thriving neighborhood while charting the course for the next century.”

“Byzantine Bembé: New York by Manny Vega” is on view through December 8.

The Museum of the City of New York is at 1220 Fifth Avenue. For information, 212-5341672 or

A er 101 years on Lexington Avenue, The Old Print Shop has moved to a new location. 49 West 24th Street Second Floor New York, NY 10010

of Alexander Hamilton,
by J. Scoles, c.1805.
“Bomba Celestial” by Manny Vega, 2009-10. Collection of Bobbito García a.k.a. Kool Bob Love. Courtesy of Manny Vega.

“Old Age, Adolescence, Infancy (The Three Ages)” by Salvador Dalí (Spanish, 1904-1989), 1940, oil on canvas. Collection of The Dalí Museum, St Petersburg, Fla.; Gift of A. Reynolds & Eleanor Morse. Courtesy Museum of Fine Arts, Boston.

“The Disintegration of the Persistence of Memory” by Salvador Dalí (Spanish, 1904-1989), 195254, oil on canvas. Collection of The Dalí Museum, St Petersburg, Fla.; Gift of A. Reynolds & Eleanor Morse. Courtesy Museum of Fine Arts, Boston.

“Nature Morte Vivante (Still Life-Fast Moving)”

Photo ©Daniel Portnoy, 2023. Courtesy Museum of Fine Arts, Boston.

First-Ever Salvador Dalí Exhibition At The MFA Boston Explores His Engagement With Art Of The Past

“Oeufs sur le Plat sans le Plat” by Salvador Dalí (Spanish, 1904-1989), 1932, oil on canvas. Collection of The Dalí Museum, St Petersburg, Fla.; Gift of A. Reynolds & Eleanor Morse. ©2024 Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society. Photo © David Deranian, 2021. Courtesy Museum of Fine Arts, Boston.

“The Ecumencial Council” by Salvador Dalí (Spanish, 1904-1989), 1960, oil on canvas.

and David Deranian, 2021.

“Infanta Maria Theresa” by Diego Rodríguez de Silva y Velázquez (Spanish, 15991660), 1653, oil on canvas. Gift of Charlotte Nichols Greene in memory of her father and mother, Mr and Mrs Howard Nichols. Photograph ©Museum of Fine Arts, Boston.

“Shades of Night Descending” by Salvador Dalí (Spanish, 1904-1989), 1931, oil on canvas. Collection of The Dalí Museum, St Petersburg, Fla.; Gift of A. Reynolds & Eleanor Morse. ©2024 Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society. Courtesy Museum of Fine Arts, Boston.

BOSTON — The outlandish and iconoclastic artist Salvador Dalí (1904–1989) is famous for his bizarre imagery, eccentric behavior and unparalleled technical skill. The renowned Surrealist was also, however, deeply rooted in tradition. He revered his artistic predecessors — among them Dürer, Raphael, El Greco, Vermeer and above all Velázquez. On view through December 1, the first-ever exhibition of work by Dalí at the Museum of Fine Arts, Boston (MFA), examines this sustained engagement with European art of the past. “Dalí: Disruption and Devotion” presents nearly 30 paintings and works on paper on loan from the Salvador Dalí Museum in St Petersburg, Fla., as well as books and prints from a private collection, which are shown alongside works from the MFA’s European collection made by artists who inspired him. The unique juxtapositions, presented in both pairings and small thematic groupings, offer a new take on one of the most celebrated artists of the Twentieth Century.

Dalí spent his youth in the small Spanish town of Figueres, north of Barcelona, near the Catalan coast. His artistic talent was noticed early on, and at 18, he enrolled at Madrid’s San Fernando Royal Academy of Fine Arts. On a trip to Paris in 1929, Dalí connected with the Surrealist group through another Catalan artist, Joan Miró. In the words of the group’s leader, André Breton, Surrealism aimed to “resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality.” The unconscious mind was first explored in literature, but the movement soon expanded to the visual arts, with Dalí a highly visible member of the circle.

“The Surrealist movement, announced by André Breton in 1924, is 100 years old. The MFA’s exhibition, using superb loans from the Salvador Dalí Museum in St Petersburg, Florida, offers a timely opportunity to reconsider the most famous Surrealist in terms of the historical artists he deeply admired,” says Frederick Ilchman, chair and Mrs Russell W. Baker curator of paintings, art of Europe.

The MFA Boston is at 465 Huntington Avenue. For information, 617-267-9300 or

“Morphological Echo” by Salvador Dalí (Spanish, 1904-1989), 1936, oil on wood panel. Collection of The Dalí Museum, St Petersburg, Fla.; Gift of A. Reynolds & Eleanor Morse. ©2024 Salvador Dalí, Fundació Gala-Salvador Dalí,

by Salvador Dalí (Spanish, 1904-1989), 1956, oil on canvas. Collection of The Dalí Museum, St Petersburg, Fla.; Gift of A. Reynolds & Eleanor Morse. ©2024 Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society.
Collection of The Dalí Museum, St Petersburg, Fla.; Gift of A. Reynolds & Eleanor Morse. ©2024 Salvador Dalí, Fundació GalaSalvador Dalí, Artists Rights Society. Photo ©Doug Sperling
Courtesy Museum of Fine Arts, Boston.
Artists Rights Society. Courtesy Museum of Fine Arts, Boston.

Classic Cars Line Up For Clars’

Inaugural Automobilia Sale

OAKLAND, CALIF. — Clars Auction Gallery’s inaugural car and automobile auction on July 18 at 2 pm features a lineup that includes a 1963 Porsche 356 B 1600 coupe with 65,000 original miles, original invoice and comprehensive service records; a 1983 Mercedes-Benz 380 SL with 167,000 miles, both hardtop and soft top with extensive records; and a fully restored 1966 Dodge Charger with 383 engine and 87,000 miles.

The auction also offers a selection of automobilia for collectors, including 356 rare and original Porsche parts, signed Formula 1 helmets, car models, an early fuel pump, Ferrari and other dealer signage, and both vintage and newer lithographs.

Jewelry, furniture, fine art and Asian material will be offered on July 19 at 9:30 am, and bidders can explore a variety of collectibles at Clars’ July 20 auction at 9:30 am. Highlights include contemporary and vintage watches, gemstones and a range of European and modern furnishings. Notable pieces such as a Napoleon III gilt bronze boulle cabinet and iconic Eames chairs will be up for auction. Of particular inter-

est are eight tole hanging lanterns, originally refurbished by Caldwell & Co. for Marjorie Merriweather Post’s Mar-aLago and previously sold at Christie’s in 1995.

The Asian art department showcases a collection of Buddha figures, including a Burmese gilt lacquered wood figure and a standing Burmese wood figure.

Additionally, standout items include a Chinese cloisonné enamel dragon wash basin and various porcelain pieces.

A notable feature of this auction is the art and photography collection from the estate of Professor Raymond Lifchez of Berkeley, Calif. Professor Lifchez, who served more than 50 years as a professor emeritus of Architecture and City & Regional Planning at the University of California, Berkeley, was a pioneering advocate for accessible design education.

The collection includes works by renowned photographers such as Ruth Bernhard, Manuel Alvarez Bravo, Harry Callahan, Robert Capa and others, reflecting Lifchez’s profound impact on design and education.

The Warehouse sale on July 20 at 9:30 am is set to showcase

Nelson-Atkins Highlights Local Artists’ Views Of Kansas City

KANSAS CITY, MO. — Artists have long found inspiration here in this place many of us call our town, Kansas City. Chartered in 1850, it was first named the Town of Kansas after the Kaánze (Kaw) Nation, one of several Native American tribes on whose ancestral lands it was founded. Chronicling some of Kansas City’s iconic views and neighborhoods, the artists included in the exhibition “Our Town: Artists’ Views of Kansas City” imbued their work with history, a distinctive sense of place, and a personal point of view. Their photographs, paintings, prints, and

drawings not only reflect what caught their artistic eye, but also the ways our town has changed. While some of the art in this exhibition provides evidence of a Kansas City that is no longer, there are also glimpses of a Kansas City that never came to be. Journey through time, place and artistic imagination as you experience “Our Town: Artists’ Views of Kansas City,” which will be on view at the Nelson-Atkins Museum of Art through December 15. The Nelson-Atkins Museum of Art is at 4525 Oak Street. For information, 816-751-1278 or

an eclectic range of art, prints and photographs. Each month, Clars selects paintings, prints and sculptures in diverse styles from all over the world to offer with accessible estimates. The Warehouse boasts an accessibly priced collection that encompasses modern and antique furniture and décor, silver, porcelain, glass, fashion, collectible toys, books and Indigenous arts. The Asian art department presents a curated collection in the July Warehouse auction, spanning Japanese woodblock

prints, ceramics, folding screens and various decorative pieces.

Additionally, the selection includes decorative Chinese furniture, jade and hardstone carvings, and ceramics from various periods.

Previews: July 17, 1 to 5 pm; July 18-19, 9 am to 5 pm; and July 20, 9 am to end of auction. Clars Auction Gallery is at 5644 Telegraph Avenue. For information, 510-428-0100 or

A turquoise, seed pearl and 14K gold ring ($500/700).
Sally Mann (American, b 1951), “Listening to Madonna by the Tadpole Jar,” 1990 ($6/9,000).
1963 Porsche 356 B 1600 coupe ($70/100,000).

Notable Prices Recently Achieved At Various Auction Houses

Across The Block

Collection Of Miscellaneous Glass Drives Competition At Pook & Pook DOWNINGTOWN, PENN. — Pook & Pook’s June 26-27 decorative arts auction included furniture, collectibles, textiles, Native American and ethnographic artifacts and fine art. Leading the sale was an assorted collection of glass. This collection comprised three variform aquamarine bottles, a pair of conjoined bottles, a wicker-wrapped flask, a pair of 8-inch-high candlesticks and a 6¾-inch-high contemporary blown glass lily pad sugar bowl, probably Clevenger, with chicken finial. Together, the glassware shot past their estimated $100/200 to finish at $15,000. For information, or 610-269-4040.

Chippendale Chest Draws Bids At Americana Auctions

REHOBOTH, MASS. — On June 30, more than 500 lots were presented by Americana Auctions in its Excellent & Diverse Estates auction. Heading the sale with a $8,640 result that exceeded its $3/5,000 estimate was a circa 1780 Boston Chippendale four-drawer chest made of Santo Dominican mahogany. Featuring checkered inlay, its original ogee bracket feet, old but not original round brasses with stars and stripes and a later finish, the serpentine-front piece came to auction from an estate on Martha’s Vineyard, Mass. For information, 508771-1722 or

US Navy D-Day Flown Flag Flies

To Top Of Milestone Sale WILLOUGHBY, OHIO — Milestone Auctions proudly presented its Premier military auction on June 29 with a sale featuring more than 650 lots of military items from the Revolutionary War to modern war. Leading the day, appropriately, as the calendar moved toward July 4, was a World War II US Navy LCI-538 D-Day-flown 48-star flag, which flew to $73,800. The historically important flag was part of a grouping and was flown during the invasion of Normandy on June 6, 1944, during the first wave at Omaha Beach. The flag was souvenired by Motor Machinist’s Mate First Class Frank Ralph Maratea, who was aboard the ship during the invasion. The bunting of the flag says it’s an Ensign number 10 measuring 34 inches wide by 68 inches with fraying to the fly. For information, or 440-527-8060.

Incense Box Scorches Tremont Estimate SUDBURY, MASS. — Of the approximately 425 lots Tremont Auctions sold in its annual spring Asian arts and antiques sale on June 30, a porcelain incense box bearing a Yung Cheng mark (17221735) and cataloged as of the period earned a surprising $390,400. The 2¼-inch-diameter box, which was decorated with butterflies and flowers, had been estimated at just $500/700. A representative for the auction house reported that it sold to an international buyer. For information, 617-795-1678 or

Limited Edition LeBron James Rookie Trading Card Shoots Winning Basket At Lelands MATAWAN, N.J. — A 2003-04 LeBron James autographed Basketball Rookie Patch Parallel from the Upper Deck Exquisite Collection led Lelands Auctions’ 2024 Summer Classic Auction. Released on June 4, 2004, this card, numbered “#08/23” was part of a set of just 23 cards, paralleling James’ jersey number, making it a very rare collectible. There has only been one other example of this card graded by Beckett Grading Services (BGS) since July of 2020. This specific example was given an encapsulated BGS score of NM+ (Near Mint) 7.5, with an auto grade of 10. The auto was done in blue, on a white background beneath a two-color swatch. The card had additional BGS sub-grades of 9.5 for centering, 7.5 for edges, 7 for corners and 7.5 for surface. Purchased on eBay by the consignor in November 2004, for $3,000, the rare card skyrocketed past that price 20 years later to achieve $351,029. For more information, 732-290-8000 or

Civil War Sword Used By New York Battalion Cuts It In Andrews & Andrews Sale NORTHPORT, MAINE — A highlight from the June 22 Andrews & Andrews estate auction at the Blue Goose Center was a Civil War sword used by the 1st Battalion of the New York State Naval Militia having “SNY” cut into the basket. It sold for $5,060. For information, www.andrewsandandrews. com or 207-338-1386.

Stone Ridge Porcelain And Glass Wins For JMW

KINGSTON, N.Y. — An assorted lot of porcelain and glassware — two shelves worth — from a sixgeneration Stone Ridge, N.Y., farmhouse, sold for $2,250 to earn top-lot honors in JMW Auction Service’s June 28 396-lot sale. Including Asian porcelains, dish sets and glassware, the lot was described as a “great lot for online seller or dealer to sort out…a lot there” and carried an estimate of $400/600. For information, 845-389-1933 or www.

Hokusai’s Ryukyu Series Woodblocks Cap Heritage’s Nelkin Collection Auction DALLAS — The complete series of eight works titled “Eight Views of the Ryukyu Islands" (Ryukyu Hakkei), circa 1832, by Katsushika Hokusai, sold for $156,250 to lead Heritage’s Signature auction of Japanese woodblock prints from the Nelkin Collection, Part I on June 27. The series was created to commemorate the Ryukyu tribute mission’s arrival in Edo in November 1832. The Ryukyu Kingdom, founded in 1429, expanded its territory and enjoyed a unique cultural independence for 450 years. Considered a foreign country by many Japanese, Ryukyu and its mission's parades into the Japanese mainland were exhilarating events for locals. Hokusai did not visit the Ryukyu islands personally but instead based his prints on a collection of Ryukyu topographical illustrations created by Zhou Huang, a Chinese envoy who visited Ryukyu and Japan in 1756. For information, 214-528-3500 or

Oil On Board Sylvan Scene Makes Impression At SJD Auction AMENIA, N.Y. — SJD Auctions’ most notable lot in its July 2 auction will be heading to a buyer in Darien, Conn. It was a signed Impressionist oil on board painting by Zaza (Meuli) Milieu, (American, b 1892) depicting a sylvan scene of mother and daughter out for a twilight stroll. It sold for $488. For information, 845-489-7408.

Summer Auction In Ohio Offers Plethora Of Fabulous Finds

COLUMBUS, OHIO — On July 26 and 27, Amelia Jeffers’ Auctioneers & Appraisers will offer nearly 1,200 choice lots curated from roughly 18 collections and estates at the Summer Fabulous Finds Auction conducted in the firm’s Columbus warehouse. With mini “sessions” ranging from American and European art, antiques and decorative arts to couture and jewelry, the auction holds true to the title “Fabulous Finds” with many scarce and unusual objects. From a Galena, Ill., collection, a selection of folk art will cross the block, including a number of early American portraits and Nineteenth and Twentieth Century carved and painted figural objects. “The junior carousel animals are so special,” remarked auction house owner Amelia Jeffers. “The turkey is my absolute favorite. In that small size, I can imagine a floral arrangement in the seat opening that would make an incredible centerpiece at Thanksgiving — my absolute favorite holiday!”

Other junior carousel animals include a rabbit, a peacock, a pig and a horse which will sell along with several circus wagon carvings, a life-size lion carousel figure and a few reproduction figures from Jo Mead Originals. “Before I was at Garth’s, Tom Porter had worked with Jo Mead to sell a large collection of folk art figural carvings,” Jeffers explained. “They were very good examples and brought great prices for the time. Jo had molds made and then reproduced them for use in her design business. These are great options for collectors who can’t (or don’t want to) spend the money on an original cigar store trade figure or ship’s figurehead.”

Besides the folk art portraiture, the auction will include more than 200 works of art, including the remainder of the Carl Eriksson collection, which sold in March. Notable is a large portrait of an elephant by William Skilling, expected to sell for $3/5,000. A myriad of art genres are represented in the sale, including American scene painters like Ohio native Emerson Burkhart, American and Europe-

From a selection of junior carousel animals, this turkey would make a wonderful Thanksgiving centerpiece ($1/3,000).

Unusual patriotic country empire sideboard with eagles carved in relief at backsplashes ($600-$1,200).

an listed artists, including Thomas Corwin Lindsay, Charles Wilson Knapp, Oskar Kokoshka and William Coventry Wall. “I collect Nineteenth and Twentieth Century landscapes, but I am also a sucker for a great still life, and this auction has a few — with my favorites being the Alfred Montgomerys,” Jeffers said.

More than 150 pieces of furniture from a wide variety of categories, including period American and European antiques in woods like mahogany and tiger maple as well as good painted finishes, Midcentury Modern and contemporary designer pieces are in this sale. Jeffers said, “Estimates are reflective of the market, and should offer buyers plenty of opportunity to take advantage of the dip in furniture prices to take home some great things! It is a very good time to buy furniture — and as I always say, don’t worry about how you will get it — Columbus, Ohio, is a pretty affordable place from which to ship. There is a reason we are a huge distribution hub for most major retailers.” Highlights from the furniture offerings include a Chippendale secretary bookcase in mahogany, an unusual patriotic country empire sideboard with eagles carved in relief at backsplashes, a tiger maple flattop Queen Anne high chest, a diminutive Hepplewhite sideboard attributed to coastal New Hampshire, a painted New England wall cupboard in apple green over red, and plenty of other chests, beds, benches, blanket chests, sofas and chairs.

Rounding out the weekend is a selection of jewelry and couture. “The couture is from a single owner,” Jeffers explained. “She has been a longtime client of mine back when I was with Garth’s, and I had no idea of her designer clothing collection. She and her husband traveled the world and always made time to shop at the favorite retailers, including Hermes — their clear favorite — Gucci, Chanel and Valentino. She and I share a love of fashion…I actually teared up at the house. There are some really wonderful and unusual items.” Scarce within

Cartier Panthere cuff bracelet, one of a large selection of designer and estate jewelry options in the auction, is estimated at $8/12,000

the silk scarf and shawl category is a large Hermes “Faune et Flore du Texas” example that highlights the more than two dozen in the auction. Several coats and jackets (men’s and women’s) will sell, including trench coats, printed silk blazers, wool coats and men’s sports coats.

“The real highlight of her collection, though, is the jewelry,” said Jeffers. “She bought the best quality from some great brands.” The Cartier “Panthere” and Bulgari “Enigma” lines are well-represented, with several 18K examples set with diamonds and colored gemstones. Hoping to capitalize on the hot watch market, the auction does include a Rolex Presidential, an Hermes “Cape Cod” and a Bulgari bangle watch. Additions to the

several other collectors, including the late Audrey Caspari, whose Americana and folk art sold in May. “Audrey was a true collector — she bought what she liked, be it beautiful gold jewelry, Native American items or painted American furniture. It was eclectic, but always high cali-

ber,” recalled Jeffers. Interested bidders may view and bid on the auction at www., or by phone, absentee or in person (limited seating available, reservations are recommended).

Amelia Jeffers is at 3037 Silver Drive. For information, 740-362-4771.

Boca Raton Museum Of Art Shares The Power Of Photography With Works From The Doug McCraw Collection

BOCA RATON, FLA. — The Boca Raton Museum of Art presents “Myths, Secrets, Lies, and Truths: Photography from the Doug McCraw Collection” featuring five artists: Sheila Pree Bright, Liesa Cole, Karen Graffeo, Spider Martin and Hank Willis Thomas.

The exhibition of more than 100 works from the Doug McCraw Collection is an original presentation by the museum, and was curated by Kathleen Goncharov, the museum’s senior curator. The works explore themes of survival, exposure, concealment, exploitation, race and cultural-defining design. They include still photography and installations, capturing moments that transcend boundaries of insight, and reveal how fabricated myths can shape our perceptions and distort our beliefs.

McCraw is the co-founder of one of South Florida’s cultural gems: the FATVillage Arts District

which promotes creativity, artist residences, exhibitions, research and education. “‘Myths, Secrets, Lies and Truths’ presents five distinct voices that delve into and illuminate so many aspects of

life,” says Irvin Lippman, the executive director of the Boca Raton Museum of Art. “Our thanks to Doug McCraw who has built an extraordinary and stimulating collection that will facilitate insightful conversations.”

This exhibition explores the complexities of human existence through the interplay of myths, secrets, lies and truths through the lens of five brilliant artists from McCraw’s collection. The photographers capture moments that transcend the ordinary, reveal truths and explore how myths shape our perceptions, how secrets veil the truth and how lies distort our beliefs.

Hank Willis Thomas’ “Unbranded” is a series depicting years of advertisements created by white ad executives for the Black consumer market that are full of myth, disrespect, disinformation and, in some cases, outright racism.

Spider Martin’s iconic photo-

graphs from the 1965 Selma to Montgomery March documented protests by African Americans demanding the right to vote. Martin enlarged the three photos featured in the exhibition to express the drama of this critical historical moment. They are part of a series of enlarged photographs titled “Selma Is Now.”

Sheila Pree Bright presents works from her powerful “Young Americans” series in which she photographed her subjects posing with the American flag while recording what they say the flag means to them.

Liesa Cole’s photographs, projections and installation are about those who share secrets and those who keep them. Most people are uncomfortable sharing secrets unless they know they can trust someone to keep their confidence. In the exhibition, visitors will hear anonymous people telling secrets that can be funny, tragic, ridiculous, surprising or

‘Disrupt The View’: Arlene Shechet At The Harvard

CAMBRIDGE, MASS. — On view to July 6, 2025, at Harvard Art Museums, visitors can experience the museums’ historical collections through fresh eyes in a one-of-a kind installation by contemporary American sculptor Arlene Shechet. By presenting her recent work alongside historical German,

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Japanese and Chinese examples, sculptor Shechet encourages us to look anew at works of porcelain and other objects from the Harvard Art Museums. Decorative arts are typically displayed in museum galleries dedicated to the same culture and period, often in isolation from other media. In “Disrupt the View,” however, Shechet draws on her past collaborations with porcelain manufactory workers to speak to a larger history, recontextualizing these remarkable objects as both handmade and industrially manufactured, painterly and sculptural.

Invented by Chinese potters in the Tang dynasty (618–903 CE), porcelain later became one of the first global luxury products. It was at first available in Europe only to the wealthiest patrons, but by the late Seventeenth Century, millions of porcelain objects were being imported each year by the Dutch East India Company. European porcelain production was driven by courtly ambition in competition with Asian markets, and its artisans, who created these objects for lavish celebrations, were largely unknown. The story of porcelain, then, is one of labor, class and global trade. In 1710, the German porcelain manufactory Meissen was founded, and significant examples of its Eigh-

Dealers who would like to participate in August Antique Week can visit our website to contact one of our showfields.


raw and visceral.

Karen Graffeo’s “Cuba” series is part of an ongoing project expressing the beauty and inventiveness of a culture experiencing many challenges, hardships and poverty. She photographs moments of everyday life in Cuba with an eye to the vibrant designs, colors, patterns and textures that reflect the unique spirit and aesthetics of the island nation. In 2013 she was awarded a Fulbright Senior Scholar appointment in Romania and in 2014 she received a Tanne Foundation award for her humanitarian work.

On view through October 13, “Myths, Secrets, Lies, and Truths” is a thought-provoking and transformative exhibition that challenges and inspires us to seek deeper truths in our world.

The Boca Raton Museum of Art is at 501 Plaza Real. For information, 561-392-2500 or

Art Museums


teenth Century tableware and figurines are now in the BuschReisinger Museum collection. Many of these objects have rarely, if ever, been shown.

Among other objects, Shechet has created an unparalleled installation that includes two constellations of tableware that emphasize the unique material qualities of plates as sculptural design. Visible from the exterior of the museums, these arrangements, like the painted decoration on the individual plates, invite the outside in and — lit-

erally and metaphorically — disrupt the view.

Organized by Lynette Roth, Daimler curator of the BuschReisinger Museum; Jessica Ficken, assistant curator of the collection in the division of Modern and contemporary art; and Gabriella Szalay, former Renke B. and Pamela M. Thye curatorial fellow in the BuschReisinger Museum (2018-20). The museums are at 32 Quincy Street. For information, 617495-9400 or

Mythical Creatures Come To Philadelphia Museum

PHILADELPHIA — On view at the Philadelphia Museum of Art until June 1 is “Mythical Creatures: China and the World.” This exhibition will explore the theme of diversity by comparing mythical creatures from different cultures. While these fantastical animals may look different, they serve a similar purpose — to help humans make sense of the world.

On view will be classic Chi-

nese legendary mythical creatures — the dragon, phoenix and qilin — juxtaposed with collection highlights from Japan, Korea, South and Southeast Asia, as well as Persia and Western Europe, to show the diversity of mythical creatures throughout the world, as well as their similarities and differences. Elaborately embroidered costumes and silver headdresses created by Miao, Yi and other minority peoples decorated

with dragons, phoenixes and creatures relating to origin myths will be on display in another gallery. In a third space Chinese contemporary works of mythical creatures by artists Xu Bing and Ai Weiwei show how the past continues to inform art today.

The Philadelphia Museum of Art is at 2600 Benjamin Franklin Parkway. For information, or 215763-8100.

“Miss Anita” by Liesa Cole, 2019, archival ink sublimation on metal, 43 by 36 inches. Collection of Doug McCraw. ©Liesa Cole.
“Polymnia” (circa 1744-45), a Meissen porcelain figure from the collection of the Busch-Reisinger Museum, beside Arlene Shechet’s “Sexy Baby Eyes” (2012). ©Arlene Shechet; image courtesy of

Portrait Commissioned By Andalusia’s Owners

Acquired For Its Permanent Collection

BENSALEM, PENN. — An oil on canvas by Philadelphia artist Bass Otis (1784-1861), “Portrait of Miss Adèle Sigoigne” (1815), which has been on view at Andalusia Historic House, Gardens & Arboretum (Andalusia) in Bensalem since 2014 as a long-term loan from the Independence Seaport Museum (ISM) in Philadelphia, now joins its permanent collection in an act of collegial partnership. Adèle Sigoigne was a good friend of Jane Craig Biddle (1793-1856) who lived at Andalusia with her husband, Nicholas Biddle (1786-1844). ISM has deaccessioned the painting and transferred its ownership to Andalusia.

“We are overjoyed to have Adèle’s portrait now part of our permanent collection,” said Andalusia’s executive director John Vick. “Every piece of art in the historic house has a unique story to tell about the property and the people who lived here or visited. Adèle was practically family to the Biddles, making this a fitting home for her portrait. We are grateful to our partners at Independence Seaport Museum for recognizing what the painting means to Andalusia and for making this momentous transfer possible.”

“Our staff and Board were unanimous in wanting to transfer this painting permanently to Andalusia,” said Peter S. Seibert, ISM’s president and chief executive officer. “Its history and asso-

ciations with the Biddle family are significant, and thus the painting is imminently relevant to their mission. For us, the transfer is a visible reminder of how two museums can come together to ensure that the history and heritage of our community is preserved in public trust for future generations.”

Although it is unclear how or when Jane and Adèle met, their lasting friendship is certain. Close in age and of similar social standing, the two women came from very different backgrounds, however. Jane was a Philadelphian by birth, the only daughter of John and Margaret Craig, the couple who first established Andalusia as a country estate in 1795. Adèle, by contrast, was French-born and had lived in Haiti. After the Haitian Revolution began in 1791, she moved to Philadelphia with her mother, Aimée Sigoigne, who started a school for young women at 128 Pine Street. Adèle was one of a few guests who attended Jane’s wedding to Nicholas Biddle, held at Andalusia on October 3, 1811. The Biddles’ three daughters would later attend Madame Sigoigne’s school, including Adèle who was named for her mother’s dear friend. (The name Adèle remained popular for several generations of Biddle descendants.)

Although the portrait is unsigned, its attribution is firm; it is nearly certain that the Bid-

dles commissioned Bass Otis to paint Adèle’s portrait as he also painted Jane’s portrait around 1815. (This painting is in the collection of the Second Bank of the United States Portrait Gallery in Philadelphia.) Both women are shown in fashionable, Empire-style dresses with luxurious fabrics draped over their shoulders: Jane’s is white and sheer, while Adèle’s is a vibrant red. Their hair is also similarly styled in an updo with ringlets framing their faces. Nicholas Biddle conveyed his appreciation of Adèle’s portrait to Otis in a letter, which remains with and will be transferred with the painting from ISM.

Since “Portrait of Miss Adèle Sigoigne” has been on loan at Andalusia, it has been on view in the historic house’s library, which was part of the 1830s addition designed by architect Thomas Walter. Now in Andalusia’s permanent collection, it will be moved to what is known as the Painted Floor Bedroom. This room is part of the original 1797 construction and could have been where Adèle stayed when she visited Jane around the time that the portrait was made.

The Biddles’ patronage of Bass Otis continued for many years. In 1827, Nicholas Biddle commissioned the artist to paint a copy of Jacques-Louis David’s famous scene “Napolean Crossing the Alps” (1801). The oil on canvas copy, which is also on

Clark Art Institute Presents Exhibition On Edgar Degas And His Experimentation With Various Mediums



Timed to coincide with the 150th anniversary of the First Impressionist Exhibition, held in Paris in 1874, the Clark Art Institute presents “Edgar Degas: MultiMedia Artist in the Age of Impressionism.” The exhibition highlights the innovative and experimental practices of Edgar Degas in the realm of works on paper. In his pastels, drawings, photographs and prints, Degas was relentless in exploring unusual media and processes. A range of works from the Clark’s permanent collection and other select loans from public and private collections offer a “behindthe-scenes” look at Degas’ innovative methods, materials and supports. The exhibition is on view in the Eugene V. Thaw Gallery for Works on Paper in the Clark’s Manton Research Center through October 6. Edgar Degas (1834-1917) worked throughout his career with an unusually wide array of media and processes. A close examination of his art-making reveals what one critic called Degas’ “restless searches for new procedures.” He emerges as one of the most technically innovative artists of his time through his experimentation with varied printmaking techniques, his distinctive treatment of pastel and his frequent combinations of multiple media.

“Entrance of the Masked Dancers” by Edgar Degas, circa 1879, pastel on gray wove paper. The Clark, 1955.559.

“By focusing on Degas’ inventive use of media and techniques, the exhibition demonstrates the rewards of thinking about his works through the lens of their making and materials, rather than just through its motifs,” says Michelle Foa, exhibition cocurator and associate professor of art history at Tulane University and Florence Gould Foundation Fellow at the Clark in spring 2024.

“This exhibition is a welcome opportunity to select from the Clark’s extensive Degas holdings and consider anew this artist’s

view at Andalusia, was owned by Napoleon’s brother Joseph Bonaparte, who knew the Biddles, lived near them in Philadelphia and owned a country estate (Point Breeze) near Andalusia. By the 1820s, however, the Biddles began to favor another Philadelphia artist, Thomas Sully, who painted the couple’s portraits in 1826, both of which ae on view at Andalusia. In 1829, the Biddles commissioned him to paint another portrait of Adèle Sigoigne, which is in the collection of The Huntington Library, Art Museum and Botanical Gardens in San Marino, Calif. Andalusia Historic House, Gardens & Arboretum is a nonprofit organization and a scenic 50-acre property overlooking the Delaware River in Bensalem. Established more than 225 years ago, the site is a natural paradise of preserved native woodlands and spectacular gardens, as well as a museum with a collection of paintings, sculptures, decorative art and rare books and manuscripts.

The mansion at Andalusia, built in 1797 and later expanded, is a National Historic Landmark and one of the finest examples of Greek Revival architecture in the United States. Opened to the public in 1980, thousands of visitors explore its stunning rooms each year during tours and events, discovering an unparalleled look into the nation’s past through the eyes of the influential Biddle family that lived there. For information,


SUNDAY, JULY 28, 2024 • 9am to 3pm

Featuring 50 Dealers of Fine Antiques, Collectibles, & Decorative Accessories at Morse High School 826 Shipbuilder Drive, Bath, ME

Catered & Air Conditioned ~ Admission: $5.00 ~ Under 25: Free



uniquely experimental approach to materials and techniques. As we mark the 150th anniversary of the first Impressionist exhibition, Degas’ artistic achievement gains particular salience, positioning him as both central to and distinct from the Impressionist group,” says Anne Leonard, exhibition co-curator and Manton curator of prints, drawings and photographs at the Clark.

The Clark Art Institute is at 225 South Street. For information, or 413458-2303.

Shipbuilder Drive, Bath, ME

THE DEERFIELD ANTIQUE SHOW Antiques Week in New Hampshire Monday ~ August 5, 2024 Deerfield Fairgrounds 4 Stage Road, Deerfield, NH

THE THANKSGIVING SUNDAY ANTIQUE SHOW A Holiday Tradition~ December 1, 2024


Portrait of Miss Adèle Sigoine by Bass Otis (17841861), 1815, oil on canvas, collection of
Andalusia Foundation.

Auction Action In Larchmont, N.Y.

Clarke’s Late June Auction Offers Solid Selection For Solid Results

LARCHMONT, N.Y. — Clarke Auction Gallery ended June with a 617-lot Design, Fine Art, Jewelry and

Antiques estate auction sourced from collections and estates throughout the tristate area. The June 30 event

This vintage limited edition Chanel Patchwork shopping bag or tote measured 11¼ by 15¾ by 8 inches and was made of black lambskin and multicolored tweed patches, with two woven gold-tone chain shoulder straps characteristic of the brand. Despite some minor use wear, it was in good condition and found a new home with a US buyer for $8,125 ($2,5/3,500).

passed only 60 lots from the podium, giving the auction a sell-through rate of more than 90 percent. Whitney Bria, Clarke’s auctioneer and appraiser of jewelry and sterling silver, said they were pleased with the sale, which attracted a lot of online bidders, with some new clients participating as well.

Temperatures on the East Coast had been hot in the days leading up to the sale and the cool atmosphere of a beach landscape by Leon Dabo (American, 1868-1960) may have provided some tempting visual refreshment to bidders, who disregarded a few condition issues and helped take it past its $8/12,000 estimate to

Earning $20,000 was this circa 1960s etched and painted bronze and pewter console table by Philip and Kelvin

in 1976 and measuring 52 by 37 inches, this acid-etched, patinated and enameled bronze and pewter mirror by Philip and Kelvin LaVerne reflected bidders’ interest and sold for $16,000 ($3/5,000).

$25,000. Consigned to auction from an estate in Purchase, N.Y., the unlined oil on canvas was titled “Pelleas and Melisande” and was the sale’s top lot. Bria confirmed it was staying in the United States. It's not every day a work by Sam Ntiro (Tanzania, 19231993) comes to market in the United States, so bidders took notice when the house offered his “At the Pool,” a 1956 composition in oil on canvas. According to the auction catalog, the artist was also an educator, diplomat and a venerated figure among his countrymen; he was the first East African artist to have solo exhibitions abroad. Ntiro’s first US gallery exhibition was at the Merton D. Simpson Gallery in New York City, where “At the Pool” was exhibited in 1960; additionally, it had provenance to a New Jersey estate. It sold to an international buyer bidding online for $13,750.

Louis Vuitton steamer trunks continue to have lasting appeal. This vintage example had several fitted interior compartments and measured 22½ by 36 by 22¼ inches. It outpaced its $3/5,000 estimate, earning $6,875.

Review by
Madelia Hickman Ring, Editor
Photos Courtesy Clarke Auction Gallery
“Pelleas and Melisande” by Leon Dabo was the top lot of the day, earning $25,000 from a buyer in the United States. It was an oil on canvas, signed and inscribed with artist’s device, 40 by 43¾ inches framed ($8/12,000).
LaVerne ($8/12,000).
Topping off at $13,750 was “Reflections in Glass” by Janet Fish, 1974, pastel, signed and dated, 42½ by 42¼ inches framed ($4/6,000).
Clarke Auction Gallery has recently hired Kenneth Imlej, a specialist for numismatics. The sale debuted the category with 23 lots, all of which sold. This set of five Singapore Tiger gold coins from 1986 had the highest price, making $4,500 ($3/5,000).
“Unloading the Boat” by Max Arthur Cohn, 1936, oil on canvas, signed and dated, 37½ by 45½ inches framed, sailed to $10,000 from a US buyer ($3/5,000).

This 18K yellow gold architectural ring by Barry Kieselstein-Cord, 1994, from a New Rochelle, N.Y., estate, led a varied selection of jewelry and sold to an American buyer for $11,875 ($6/9,000).

A Ridgefield, Conn., collection was selling Janet Fish’s (American, b 1938) “Reflections in Glass,” a 1974 pastel from her “Skowhegan Series.” It also sold for $13,750, more than doubling its high estimate.

Rounding out the top-three fine art results at $10,000 was “The Night Shift” by Guy Wiggins (American, 1883-1962), a 1943 oil on canvas scene that depicted the Pratt Read Company, a converted piano factory in Deep River, Conn., that Wiggins and other artists worked on an assembly line during World War II. Another genre scene of nearly identical vintage was Max Arthur Cohn’s (American, 1903-1998)

“Unloading the Boat” from 1936, which had been handled at one time by the Michael Rosenfeld Gallery in New York City. It also made $10,000.

The design category had several highlights, but none were higher than two pieces by father/son artist-furniture makers Philip (American, 1907-1987) and Kelvin LaVerne (American, b 1937), both of which came from an estate in Floral Park, Long Island. Selling first was a 74-inch-long console table, made in the 1960s of etched, patinated and polychromed bronze and pewter; it realized $20,000. Following it across the block was a circa 1976 acidetched, patinated and enameled bronze and pewter mirror; it sold for $15,000. Bria con-

Realizing $6,250, this pair of Sasson sterling silver urns were handsome with stag’s head handles and foliatedesigned decoration. The 18-inch-tall pair was acquired by a determined US buyer ($2/3,000).

firmed the two lots were not staying together as they were purchased by different American buyers.

The sale included design of a much earlier manufacturing date or inspiration. A pair of 18-inch-tall sterling silver urns by Sasson had 12-point stag handles and handsome engraved scrolling foliate decoration on their bodies that were marked “Sasson 925” on the undersides of their feet. Discovered in a Wilton, Conn., estate, the pair found a new home with an American buyer who bagged them for $6,250, more than double their high estimate. Bria, who was on the podium when the urns sold, noted that the buyer was so keen to get them that he jumped his bid from $4,200 to $5,000, saying “let’s get this over!”

Jewelry offerings were diverse and plentiful. A Barry Kieselstein-Cord 18K yellow gold and emerald-cut diamond, made in 1994, exceeded expectations with a result of $11,875.

For about half that — a withinestimate $5,750 — a lucky bidder won a Kantra platinum brooch that centered a 9.64carat tanzanite surround by 33 diamonds weighing approximately 8.37-carats. Bringing an above-estimate $5,000 was a Tiffany & Co, 14K gold, sapphire and diamond buckle-form bracelet.

Clarke has recently hired numismatist Kenneth Imlej

and the auction was his debut, with about two dozen lots of coins, consigned from a couple different sellers. Bria noted that all lots sold, either within or above estimate, to a handful of buyers. A 1986 set of five Singapore singold tiger coins from a New Rochelle, N.Y., estate led the group, bringing $4,500 against an estimate of $3/5,000.

The sale ended with about 40 lots of couture and accessories, the majority of which exceeded estimates, proving there was still money left to spend after nearly 600 lots. A dedicated US collector prevailed over competitors to win a limited edition Chanel Patchwork tote that had its original Chanel hang tag and Chanel authenticity card; it came from a Great Neck, N.Y., estate.

For collectors of Louis Vuit-

Tadashi Asoma’s (Japanese, 1923-2017) “Yellow Leaves,” 1995, oil on canvas, signed and dated, 53¼ by 66¼ inches framed, achieved $9,375 ($4/6,000).

ton accessories, the sale proffered three lots to pursue. A vintage monogrammed steamer trunk from a Long Island estate sailed to $6,875, while a monogram Eclipse case from a Montebello, N.Y., estate rose to $625. A Westchester, N.Y., estate was the source of the third and final Louis Vuitton lot, a group of five pieces that earned $375 and included a duffle bag, handbag, glasses case, coin purse and key case.

Clarke Auction Gallery will hold its Midsummer Estates auction on July 28 and its Summer Online & Unreserved Fine Art sale on August 30. Prices quoted include the buyer’s premium as reported by the auction house. For additional information, www.clarkeny. com or 914-833-8336.

West Hartford

Thurs & Fri: 10am To 6pm Saturday: 9am To 6pm Sunday: 10am To 4pm

Sam Joseph Ntiro’s “At the Pool,” 1956, oil on canvas, 37¼ by 49 inches framed, sold for $13,750 to an international buyer bidding online ($8/12,000).

Thomaston Place Early Summer Sale Is Splendid, Earns $1.2 Million

Auction Action In Thomaston, Maine



Between June 28-30, Kaja Veilleux and Thomaston Place Auction Galleries’ Summer Splendor auction sold more than 1,450 lots. Ten items each earned in excess of $10,000, with fine art and jewelry leading the way. The sale included more than 150 lots from the Deer Isle, Maine, estate of Dan Fogelberg, including his collection of Native American weavings, beadwork and pottery. Auctions at Thomaston Place always include a wide selection of jewelry and fine art and it was an impressionist painting by Soren Emil Carlsen that topped the sale, bringing $30,000. There were more than 30 pieces of midcentury studio pottery by Benedictine monk Brother Thomas Bezanson that had been unseen for more than 40 years as well as European and American furniture, Asian items, leaded glass shades, to name just a few of the offerings. The $30,000 “Beechwoods” by Soren Emil Carlsen (Danish/ American, 1853-1932) was a 44-by-39-inch pastel Impres-

sionist landscape of a grove of trees. Carlsen trained as an architect in Denmark and emigrated to the United States in 1872. After a few difficult years, he became accepted and successful, having works included in several exhibitions. Carlsen was a friend of William Merritt Chase (American, 1849-1916), whose portrait of a blue-eyed young woman brought $14,400.

“The Grand Tetons at Dawn” by Albert Bierstadt (German/ American, 1830-1902) also exceeded expectations, earning $10,800.

Bucking a recent trend, Veilleux did well with furniture. A Nineteenth Century Duncan Phyfe double pedestal mahogany dining table finished at $5,400. With the included two

This vase was part of a selection of 30 lots of midcentury studio pottery made circa 1965-70 by Benedictine monk Brother Thomas Bezanson while he was at the Benedictine Priory in Weston, Vt. The 15-inch-tall vase had a copper-red glaze and finished at $4,200.

leaves, it could open to nearly 6 feet in length. It, as well as some other furniture in the sale, were from the estate of Thomas Watson Jr, the former chairman of IBM. From the same collection, a mahogany four-day Scottish tall case clock, with an engraved brass dial inscribed, “Thos. Pringle, Dalkeith,” sold for $1,680. Pringle was active for only six years, from 1830 to 1836. A Federal period cherry bowfront fourdrawer chest, with tiger maple veneered front panels, sold for $3,300. Bidders also liked a Seventeenth Century 77-inch-long Spanish baroque trestle table with lyre-shape trestle supports that had a 1¼-inch thick twoboard top; it sold for $3,600. Thomaston Place sales usually include several pieces of Nineteenth Century brass-bound camphor-wood furniture and this sale was no exception. A two-part campaign chest with a drop-down front that revealed a fitted, leather covered desk real-

ized $1,680. In addition to smaller pieces, there was also a redpainted camphor-wood trunk on a custom-made base which sold for $960.

An effectively publicized selection of about 30 pieces of midcentury studio pottery by Benedictine monk Brother Thomas Bezanson (Canadian/American, 1929-2007) all came from the collection of the Benedictine Priory in Weston, Vt., and did quite well. The grouping was part of about 60 pieces left there by Brother Thomas, as he was known, who was a member of that community from 1959 to 1983, when he withdrew from the order. We reached out to Bernie Pucker, a noted scholar/dealer in Bezanson’s works, who shared additional information about the potter: In 1984, about a year after he left the order, Bezanson went to live in a Benedictine monastery in Erie, Penn. Although he was no longer a member of the order at that

Review & Onsite Photos by Rick Russack, Contributing Editor Catalog Photos Courtesy Thomaston Place Auction Galleries
“Beechwoods” by Soren Emil Carlsen (1853-1932) was the highest priced item in the sale, finishing at $30,000.
Earning $3,300 was this early Nineteenth Century Federal cherry bowfront fourdrawer chest with tiger maple veneered front panels.
This Germantown Navajo blanket earned $4,200. It had provenance to the Par Evans collection and was one of the 150 items from Dan Fogelberg’s home, each of which was accompanied by a certificate of authenticity.
Auctions at Thomaston Place often include vintage autos; one such in this sale was a 1958 Matchless G80 S motorcycle that was capable of going faster than 100 mph. With 47,452 miles, it was described as in “great” condition; bidders drove it to $2,400.
A large selection of fine jewelry included this 18K gold bracelet by Mario Buccellati. Set with three large purple oval cabochon amethysts, it rose to $16,800.
Kaja Veilleux with a large vase from the group of Brother Thomas pottery. There were so many phone lines in use when these pieces crossed the block that the gallery had to use additional staff on the phones.

and back, sold for $1,680.

Selling for $8,400 was this circa 1970s vase, which brought the highest price of the Brother Thomas pottery group.

time, he lived there for the remainder of his life and continued making pottery; about 150 pieces of his pottery are permanently on display in a dedicated gallery in Pennsylvania.

Chris Lawrence, the inventory manager for Thomaston Place who picked up the collection from the monastery, commented that Brother Thomas was well known to have been very selective in the works he kept. If he was not satisfied when a piece came out of the kiln, he destroyed it. The 31 pieces included in the Summer Splendor sale totaled more than $60,000. After the sale, Veilleux noted “we had so many bidders that we had to put extra people on the phone lines for the pottery. There were also two bidders on the floor, one of whom bought several pieces.” The collection included several oversized pieces and was led by an 18-inch-tall Meiping form (wide-shouldered with a small mouth) porcelain vase, in a circa 1970 Tenmoku glaze with wax resist, that was signed on the base with the artist’s cipher and “Benedictine Monks, Weston, Vermont.” It made $8,400. A canteen shaped vase, with the same glaze, also circa 1970, sold for $5,700. Another of the large pieces, an elliptical 17-inch-wide vase, with a bright copper red glaze, a difficult color to master, realized $3,900. A circa 1970 ovoid vase that stood more than 10 inches tall, with a coppergreen glaze, went out for $2,520. The remaining 30 or so pieces of Brother Thomas pottery that were in Weston will be included

This Eighteenth Century German ivory and gilt silver tankard realized $9,600. The body was carved in deep relief with putti and goats, as well as floral garlands and crowns. Set in silver repoussé mounts, its finial was in the form of a dancing putti.

in the August auction at Thomaston Place.

Dan Fogelberg, a soft-rock icon of the 80s and 90s, was perhaps best known for his 1981 hit, “Leader of The Band.” He died of prostate cancer in 2007, at the age of 56, at his Deer Isle home; about 150 lots from his personal collections were included in this sale. An artist as well as a singer/songwriter, Fogelberg’s collection featured numerous paintings as well as Native American items, which included several beaded items from Plains tribes, sepia photogravures by Edward Curtis (American, 1868-1952), textiles and pottery.

“Plains Warriors” by Curtis earned $3,000 and “Watching for the Signal – Apsaroke,” a heliogravure, brought $1,560. Earning $1,680 was a beaded Sioux child's vest, while a Sioux beaded and quilled pipe/tobacco bag brought $2,040> The bag brought only slightly less than the $2,160 realized by a hide sinew-sewn Sioux or Arapaho possible bag with tin cones and dyed horsehair. Two Arapaho parfleche painted and incised storage containers, sold together, realized $540. Textiles from the collection included a Germantown Navajo blanket that earned $4,200. The auction house printed certificates of authenticity for each of the items in the Fogel-

Duncan Phyfe mahogany dining table earned $5,400. With the included two leaves, it would extend to almost 6 feet in length.

Marked “Tiffany & Co., Broadway” this 18K gold goblet or chalice had raised leaf decoration applied to the cup and raised designs on three sides. The 6-inchtall cup retained its original case and was engraved “May 1886” and “1889;” bidders topped it off at $26,400, the second-highest price of the three-day event.

berg collection so that, in the future, the provenance would be known.

After the sale, Veilleux noted, “This sale went really well. The Dan Fogelberg collection appealed to a wide range of buyers and reflected his various interests. I didn’t know that he was also a painter himself until I talked to his widow. We’ve sold Brother Thomas several times over the years — that was the reason that we got this collection — but I’ve never before seen the amount of interest that there was in this offering. I’m not sure but we may have achieved the highest price for a piece of his work at auction. I’m glad we have another 30 pieces for our August sale. And I certainly can’t complain about the final result, which was over $1.2 million dollars.”

Thomaston Place Auction Galleries will host its Summer Grandeur auction August 23-25. Prices quoted include the buyer’s premium as reported by the auction house. For additional information, 207-354-8141 or

Dahlov Ipcar’s gouache of a jaguar was exhibited at the US Embassy in Bangkok, Thailand, from 1966 to 1969. It sold for $6,600.

This Revolutionary War-era leather wallet, with two pieces of paper currency dated 1775 and 1776, earned $12,000. The embossed leather wallet had belonged to Ezekial Bouker and was marked “American Liberties, Danvers, June ye 2, 1775” on the interior and “Salem” on the exterior.

This portrait of a blue-eyed young woman by William Merritt Chase brought $14,400.
From the Dan Fogelberg estate, this Sioux child’s vest, beaded front
There was a good-sized and active crowd in the gallery for each day of the sale.

Auction Action in Beachwood, Ohio

Neue Auctions Welcomes Many New Bidders



According to Cynthia Maciejewski, Neue Auctions manager and managing partner, the Beachwood house’s June 29 Oh, Lovely June! auction of 337 lots attracted a mix of private and trade bidders from 24 countries, including but not limited to Chile, Latvia, Estonia, Singa-

pore, Bahrain and Mexico. A particularly impressive statistic of the auction, which was about 80 percent sold by lot, was that 45 percent of the bidders were new to the company.

When Antiques and The Arts Weekly spoke with Maciejewski, she said they were still making post-auction sales but that the

“Soir de Novembre (November Evening) by Ivan Federovich Choultse, oil on canvas, 32 by 37½ inches framed, sold to a buyer in Latvia for $46,125, the highest price of the day ($15/25,000).

was the



total was “about $300,000 and counting!”

Heading the sale and nearly doubling its high estimate for a $46,125 result was “Soir de Nuvembre (November Evening),” a wintry landscape by Ivan Federovich Choultse (Russian/French, 1874-1913). The oil on canvas had provenance to Henry T. Bannon of Portsmouth, Ohio, and had descended in his family who lived in Elyria, Ohio. Also part of its provenance was Wunderly Galleries of Pittsburgh, Penn. Maciejewski confirmed that a buyer in Latvia had the winning bid.

The catalog noted that Bannon was a two-term US representative from Ohio, from 1905 to 1909. A lawyer in Portsmouth, Bannon was personal friends with both Theodore Roosevelt and William Howard Taft and had a deep interest in

Native Americans. Bannon’s descendants had one other lot in the sale: “Turkey Hunter” by Eanger Irving Couse (American, 1866-1936), which stalked a second-place finish. Painted around 1926, the painting had been exhibited at the Salmagundi Club the same year. “Turkey Hunter” will be included in the forthcoming catalog raisonné and featured Ben Lujan, one of Couse’s favorite models. The painting exceeded expectations, rising to $27,675.

The vibrantly colorful “Porch Still Life” by Joseph B. O’Sickey (American, 1918-2013), painted in oil on canvas in 2012, came from the estate of the artist and his wife, Algesa O’Sickey, and sold to benefit the Cleveland Sight Center.

The subcategory of contemporary ceramics was topped by three vessels by Claude Conover

Eanger Irving Couse’s “ Turkey Hunter,” oil on canvas board, signed, 13½ by 11½ inches framed, brought $27,675, the second-highest result of the auction ($15/25,000).

The catalog described this 14-inch-long 18K French gold link chain necklace as “gorgeous” and in “like new condition.” Bidders agreed with the assessment and took the 80-gram piece to $4,305 ($2,5/3,500).

(American, 1907-1994), all with an applied slip over a multi-patterned surface. Offered consecutively towards the front of the sale were “Chaac” ($7,995), “Tamnes” ($9,225) and “Kokom” ($4,797). The auction house did not disclose if these were purchased by the same buyer or not.

Though the jewelry category was small, a few lots provided a lot of bling and earned prices high enough to place high among the sale. An 18K yellow gold brooch with granulated decoration by John Paul Miller (American, 1918-2013) was the most notable of these, bringing $20,910 and quadrupling its high estimate. The catalog noted that Miller was one of the leading goldsmiths in the United States who was a pioneer in the use of granulation, a technique he taught himself in the 1940s.

Israeli silversmith Dan Givon

Rather than bronze, gold was the color of the third-place winner, this 18K brooch by noted goldsmith, John Paul Miller. It measured 1-13/16 by 2-1/16 inches, weighed approximately 45 grams and sold for $20,910 ($3/5,000).


et Grande Tete Sculptee,” Pablo Picasso’s etching, plate 61 from the 1939 Vollard Suite, was on a sheet of Montval laid paper measuring 17½ by 13¼ inches. The house thought it would bring $3/5,000 and it sold for $3,936.
Israeli silversmith Dan Givon for this kiddush cup fountain, 10½ inches tall overall. From an edition of 72, it brought $4,551 ($1/2,000).
“Porch Still Life” by Joseph B. O’Sickey, 2012, oil on canvas, signed and dated, 32 by 36 inches, raised $5,412 for the Cleveland Sight Center ($1,5/2,500).
Review by Madelia Hickman Ring, Editor Photos Courtesy Neue Auction

(b 1955) made a sterling silver kiddush cup fountain that featured a spherical base enclosing six conical kiddush cups that featured an openwork Star of David. Wine would be poured into the large cup through the top of the sphere, filling the small kiddush cups inside.

Numbered 6 of 72 and standing 10½ inches high, bidders topped the piece off at $4,551.

Modern Old Master Pablo Picasso (Spanish, 1881-1973) is perennially popular with bidders and the sale gave collectors two opportunities to add to their collection. Bringing $3,936 to sell at the midpoint of its $3/5,000 estimate was a “Modele et Grande Tete Sculptee” etching from the Vollard Suite, 1939. It was described as in very good condition with some light toning. Following it across the block to a $3,444 result was a 1953 Madoura Plein Feu “Picador” white earthenware plate dated 1953.

The Pittsburgh, Penn., estate of Paul G. Benedum Jr was the source for a delightful Triana ceramic tile top and wrought iron base made by Manuel Garcia Montalvan in Seville, Spain, circa 1910-20. It achieved $2,706, more than triple its high estimate.

Neue Auctions’ next sale is scheduled to take place on September 7 and will include Picasso ceramics, furniture by Charles Rohlfs, a vintage poster collection and original works by Joan Miró, Peter Max and Richard Lindner.

Prices quoted include the buyer’s premium as reported by the auction house. For information, or 216245-6707.

“Tamnes” by Claude Conover measured 19 inches tall, 14 inches wide and 9 inches deep and was signed and titled on the bottom. It sold for $9,225 ($6/9,000).

The second-highest price achieved for a ceramic vessel by Claude Conover was “Chaac,” measuring 18 inches high and topping off at $7,995 ($6/9,000).

This extensive group of Chinese export Canton ware had been assembled over many years and had some age-consistent condition issues, including chips and cracks. Estimated for just $150/300, the condition of the handsome collection did not discourage many bidders, who took it to $2,091.

MFAH Presents ‘Meiji Modern: Fifty Years Of New Japan’

HOUSTON, TEXAS — Japan’s Meiji era (1868-1912) was a period of unprecedented cultural and technological transition. Over these remarkable decades, the country experienced radical social and political shifts, which propelled the historically inwardfacing society into a new modern, global era. This summer, the Museum of Fine Arts, Houston, presents a fresh look at the art of this transformative era with the landmark exhibition “Meiji Modern: Fifty Years of New Japan,” on view through September 16. Following more than two centuries of near-total isolation, the archipelago of Japan was thrown into chaos with the arrival of American Commodore Perry in 1853; following a series of international trade agreements, the feudal fiefdoms of Japan were transformed into a modern nation-state, with the emperor “restored” to the throne. Through more than 150 extraordinary objects borrowed from more than 70 public and private collections, the exhibition reveals the profound cross-cultural impact of the country’s developing relationships with the wider world. Paintings, prints, photo-

graphs, sculpture and examples of enamel, lacquer, embroidery and textiles all evidence a blending of cultures and techniques and the innovative interchange of old and new. Uniquely, the exhibition features a diverse selection of both export wares and items made for display in Japan, reflecting the diversity of tastes and aesthetic discourse in the Meiji period. The exhibition also features several recently discovered masterpieces of Japanese art, many of which have never been shown publicly. “Meiji Modern: Fifty Years of New Japan” has been organized by the Japanese Art Society of America. The exhibition is co-curated by Bradley Bailey, the Ting Tsung and Wei Fong Chao curator of Asian art, Museum of Fine Arts, Houston; and Chelsea Foxwell, associate professor of art history, University of Chicago. The exhibition is accompanied by a fully illustrated scholarly catalog with essays and entries, published by Yale University Press.

The Museum of Fine Art, Houston, is at 1001 Bissonnet Street. For information, 713639-7300 or

Dating to circa 1860 and carved with the initials “RA,” this carved sperm whale measured 6 inches long and swam to $3,813 ($1/1,500).

Hand-painted floral and scrolled-leaf designed tiles on a black-painted, scrolled wrought iron base of this Spanish garden table, circa 1910-20, were among its desirable features. It found a new home for $2,706 ($500/800).

William Charles Anthony Frerichs, n.a. 1829-1905

The Hague School  Size 23¾ x 21¼  Museums

North Carolina Museum of Art

Newark Museum  Columbia Museum of Art  Asheville Art Museum

Samuel Darskey Museum of Art  Georgia Museum of Art Vose Galleries  National Academy

Alphaeus Cole, n.a. 1876-1998  14×18

Portrait of Anna Higgins Cole  Previous thought to be Florence Griswold Alphaeus Cole and Eugene Higgins, n.a. Were Old Lyme School friends.  when Higgins died, Cole married  Higgins’ widow and painted her.

Brian McCarthy  P,O. Box 84, Waterford, CT 06385 860-514-6702

Read All About It: Heritage’s White Glove Strutz Sale Breaks Multiple Records, Earns $5.65 Million

Auction Action In Dallas

It was a record-setting sale for this first edition, first printing presentation copy of The Great Gatsby (New York: Charles Scribner’s Sons, 1925) by F. Scott Fitzgerald, the first of its kind to surpass $400,000 at auction, crossing the block for $425,000. This octavo copy was inscribed by Fitzgerald to D.L. Shelton and came with its original pictorial dust jacket and a custom quarter Morocco slipcase.

This first edition copy of John Milton’s Aeropagitica: A Speech of Mr John Milton For the Liberty of Unlicenc’d Printing, To the Parliament of England (London, 1644), owned by the Duke of Sussex, exchanged hands for $93,750. This quarto edition with gilted edges was bound in early Nineteenth Century blind-paneled calfskin and had a gilt-lettered spine with compartments decorated in blind. It came in a quarter Moroccan slipcase. This was only the third first edition copy of Aeropagitica sold at auction, following the Mrs Philip D. Sang copy in 1986 and the Robert S. Pirie copy in 2015.

Rounding out the top three lots of the sale was Strutz’s copy of The Hobbit; or, There and Back Again (London: George Allen & Unwin Ltd., 1937) by J.R.R. Tolkien, which quickly became the most expensive copy of the novel sold at auction to date, going out for $300,000. This octavo copy contained an inscription on the front flyleaf from Tolkien to his friends, Charles and Dorothy Moore, and came with a jacket comprised of drawings done by the author.

This first edition RabinowitzStockhausen copy of Jane Austen’s Emma: A Novel In Three Volumes. By the Author of “Pride and Prejudice,” &c. &c. (London: Printed for John Murray, 1816), sold for $112,500. The duodecimo set of three volumes were bound in their original gray boards with printed spine labels and were housed in a quarter Morocco drop-back folding case. Each volume also contained half-titles.

These first edition, first impressions of The Lord of the Rings trilogy, comprising The Fellowship of the Ring, The Two Towers and The Return of the King (London: George Allen & Unwin Ltd., 1954-1955), reached $75,000. All three volumes were octavos and were bound in publisher’s red cloth with giltstamped spines. They had inserted maps and in-text illustrations by both Tolkien and his son, Christopher Tolkien. The volumes were housed in a custom quarter Morocco folding case.

This first edition presentation copy of The Life of Samuel Johnson (London: Henry Baldwin for Charles Dilley, 1791) by James Boswell, marked as “outstanding” by the auction catalogu, sold for $75,000. It was inscribed “To Dr Charles Burney / from his old friend / and obliged humble servant / the Authour” at the foot of page eight in volume one. The two quarto volumes had an engraved portrait frontispiece of Johnson by James Heath, after Sir Joshua Reynolds, and contained two engraved plates of facsimiles by H. Shepherd. It was bound in early Nineteenth Century drab brown boards and quarter plum cloth with leather labels and was housed in a half Morocco folding case.

Leading the sale was the Kern-Kettaneh first edition copy of Mary Shelley’s Frankenstein: or, The Modern Prometheus (London: Lackington, Hughes, Harding, Mavor & Jones, 1818), which earned $843,750. One of only four sets sold at auction with the original mottled pink boards, and the only set in private hands, they have provenance to Mrs G. Adams, English lawyer and Liberal Party politician Charles George Milnes Gaskell, American musical theater and popular music composer Jerome Kern, Danish-American actor Jean Hersholt and Francis Kettaneh, founder and partner in F.A. Kettaneh of Beirut, Lebanon.

Earning $68,750 was this first edition, presumed first issue of John Milton’s Paradise lost. A Poem Written in Ten Books (London: Printed [by Samuel Simons] and are to be sold by Peter Parker…Robert Boulter…and Matthias Walker, 1667). This quarto volume was bound in full brown Morocco gilt and had paneled sides with center, corner and other ornaments. The book was also decorated with spinal and edge gilding by Riviere and was housed in a cloth folding case.

Review by Kiersten Busch, Assistant Editor Photos courtesy Heritage Auctions

Finishing at $112,500 was this presumed first edition of Christopher Marlowe’s The Famous Tragedy of the Rich Jew of Malta (London: J[ohn]. B[eale]. for Nicholas Vavasour, 1633). This quarto edition was bound in late Nineteenth Century Moroccan gilt and had a title page with woodcut ornament and woodcut initials and headpieces. It was one of three presumed first editions sold at auction.

DALLAS — Heritage Auctions held part one of the William A. Strutz Library Rare Books Signature Auction on June 27, which realized $5,655,439, setting a few new records for the firm along the way. “We were very pleased. This auction set a record for any book auction held at Heritage thus far,” said Francis Wahlgren, Heritage’s international director of rare books and manuscripts. “I wanted to see Heritage’s book market expand from our traditional sci-fi and fantasy offerings, which we specialize in, and with this auction we were finally able to expand into a much more rarified field. I was also happy that we introduced our regular collectors to new material. I saw a lot of friends and old clients participating, which was wonderful to see. There were also many people participating for the first time. There was something in there for everyone.”

There were 730 bidders who participated in this first sale worldwide, and all 226 lots were sold, making it a white glove sale for the firm. “The participation was very global, with a lot of European, mainly UK bidders, and many from the United States as well,” added Wahlgren. “The three biggest lots sold to private American bidders, but our biggest buyer was a UK trade dealer.”

The day was led by the only privately owned copy of Mary Shelley’s Frankenstein: or, The Modern Prometheus, in its original uncut pink boards, one of three known in existence. The other two reside in the Pforzheimer and Berg Collections at the New York Public Library. The duodecimo (12mo) first edition tomes, three in total, were watermarked “1816” and housed together in a full Morocco slipcase. Each volume contained half-

Finishing at $81,250, and one of only four recorded copies, was this White-Houghton-Strutz copy of Isaac Watts’ Divine Songs Attempted in Easy Language for the Use of Children (London: Printed for M. Lawrence, 1715). The duodecimo copy was engraved with a portrait frontispiece by George Vertue after Isaac Whood and was bound in contemporary English gilt-paneled black Morocco. Its spine was sectioned in five compartments with four raised bands. It came in a full Moroccan pull-off case.

titles and advertisements, as issued, and had printed spine labels. The provenance of the tomes began with Mrs G. Adams — her ownership inscription was located on the front pastedowns of volumes one and three and were dated August 20, 1818 — and ran through various other owners until they were purchased by Strutz in 1975 from George R. Minkoff Rare Boks, Inc., Great Barrington, Mass. The three volumes immediately skyrocketed from their asking price of $300,000 to reach $843,750.

One of the records set during the auction related to Strutz’s first edition, first printing presentation copy of F. Scott Fitzgerald’s The Great Gatsby; the first copy to have broken the $400,000 barrier at auction, crossing the block for $425,000. This octavo copy was inscribed “For D.L. Shelton / from his Sincerely / F Scott Fitzgerald / Feb 1927” and was housed in a first state dust jacket: the well-known depiction of Francis Cugat’s “Celestial Eyes” hovering over an illuminated cityscape. With extensive provenance beginning with D.L. Shelton, Strutz acquired the copy from Seven Gables Bookshop, New York City, in 1972.

Strutz’s first edition presentation copy of J.R.R. Tolkien’s The Hobbit; or, There and Back Again became the most expensive copy ever sold at auction, crossing the block for $300,000. It was inscribed to Tolkien’s friends, Charles and Dorothy Moore, on the flyleaf: “Charles & Dorothy Moore / from. / J.R.R.T / with love / September 1937.” The lot included the original pictorial dust jacket,

The only known first edition, first printing association copy of Henry David Thoreau’s Walden; or Life in the Woods (Boston: Ticknor and Fields, 1854) with an inscription to Harrison Gray Otis Blake, Thoreau’s friend and literary executor, went for a record-setting price of $275,000. The octavo volume contained eight-page publisher’s advertisements at the end, dated April 1854, and was bound in its original brown cloth.

designed after a drawing done by Tolkien, and a full Morocco slipcase made by R. Patron, Hollywood, Calif., which the auction catalog described as “imaginative.” The octavo book had a frontispiece and eight text illustrations by the author, as well as advertisement leaf at the end. A complete set of first editions of Tolkien’s The Lord of the Rings trilogy also sold for $75,000.

Of the 2,000 first edition copies of Henry David Thoreau’s Walden; or Life in the Woods, Strutz’s copy was the only one with an inscription dedicated to the author’s literary executor and close friend, Harrison Gray Otis Blake. The inscription, written on the front free endpaper, read, “H.G.O Blake / from / H.D.T.” The octavo book was in its original brown cloth and stamped in blind, with a gilt-lettered spine. It came in a quarter Morocco slipcase. The sale of presentation copies of Walden is incredibly rare, as the auction catalog noted, “According to auction online records, only one other presentation copy has appeared (twice) at auction since the present copy, sold in 1979 (prior to that a copy had sold in 1951).” This copy had provenance to Stephen H. Wakeman, an avid book collector and the head of John Wakeman & Co., Beans and Peas, New York City; Henry Andrews Ingraham and John Howell Books, San Francisco, whom Strutz purchased the copy from in 1980. Because of this lot’s rarity, competitive bidding pushed it to a recordsetting price of $275,000.

Both earning $112,500 were a presumed first edition of Christopher Marlowe’s The Famous Tragedy of the Rich Jew of Malta and the Rabinowitz-Stockhausen first edition copy, in original

This first edition duodecimo presentation copy of Ralph Waldo Emerson’s Nature (Boston: James Munroe, 1836) was inscribed “Mr Thomas Carlyle, from his friend R.W. Emerson” on the front free endpaper. This copy was bound in its original embossed seafoam blue cloth, with gilt lettering on the upper cover. It came in a green half Morocco slipcase. The friendship between Carlyle, a Scottish essayist, historian and philosopher, and Emerson was referred to as “one of the greatest Anglo-American literary associations” by the auction catalog. It went home to its new owner for $78,125.

boards, of Jane Austen’s Emma: A Novel In Three Volumes. By the Author of “Pride and Prejudice,” &c. &c.

The Famous Tragedy of the Rich Jew of Malta had a title page with woodcut ornament, as well as woodcut initials and headpieces. The quarto volume was bound in late Nineteenth Century Morocco gilt by F. Bedford. Only two presumed first editions of the play have been sold at auction in the last 40 years: the Martin copy in 1990 and 2015, and another copy at Swann Galleries in 2020. This copy, listed as “outstanding” in the auction catalog, had provenance to W. St Clair Baddeley and Thomas Baring.

The duodecimo uncut three-volume set of Jane Austen’s Emma were bound in their original gray boards and had printed spine labels. They came in a quarter Morocco drop-back folding case. The volumes had provenance to Hannah D. Rabinowitz, a prominent collector of rare books and fine art, and William E. Stockhausen, a lawyer and rare book collector. Strutz purchased the volumes through C.A. Stonehill, Inc., in 1974.

Heritage’s next sale, the Platinum Historical Sale, will take place on July 25, and will offer the best of the firm’s historical department, including lots from the Neil Armstrong collection. Part two of the Strutz collection will take place towards the latter end of November and will offer a deeper dive into different literary categories, offering more than two times the amount of part one’s sale.

Prices quoted include the buyer’s premium as reported by the auction house. For further information, 214-528-3500 or

Fine Art Flies To Top At Sloans & Kenyon

Auction Action In Chevy Chase, Md.

“Argo” by Jacob Kainen (1909-2001), 1991, oil on canvas, 50 by 60 inches framed, signed lower right, led the sale at $12,200 ($5/7,000).

Earning $8,255, the second-best price of the sale, was Edward Willis Redfield’s (American, 1869-1965) “Early Spring,” oil on canvas, 26 by 32 inches framed, signed lower right ($1/2,000).

Closing out the top three best-selling lots of the auction was “Cabeza de Niño Mexicano (Head of a Mexican Boy)” by Gustavo Montoya (Mexican, 1905-2003). It crossed the block for $6,985 ($7/9,000).

CHEVY CHASE, MD. — On June 27, Sloans & Kenyon conducted its June Estate Catalog auction. The sale comprised of a large single-owner collection offering myriad antiquities, ethnographica and artisan items, as well as paintings, sculpture, jewelry and furniture, among others. Leading the sale was “Argo,” an oil on canvas painting by American painter and printmaker Jacob Kainen. “Argo” was completed in 1991 and was signed on the lower righthand corner. The painting had two gallery labels on the back; one from the Smithsonian’s National Museum of American Art, which was undated, and one from the Phillips Academy in Andover, Mass., for the artist’s retrospective, which spanned from January 21 to March 27, 1994. It found a new

“Tattooed Woman” by Sergei Isupov (Russian/American, b 1963), hand-painted figural vase, settled at $5,398 ($500-700).

home for $12,200, more than doubling its low estimate. Other paintings were also very popular with bidders. “Early Spring,” an oil on canvas by Edward Willis Redfield realized $8,255, more than four times its estimate of $1/2,000. Redfield was an American Impressionist landscape painter who was a member of the art colony in New Hope, Penn., and the landscape typified his oeuvre.

Gustavo Montoya (Mexican, 1905-2003), a late adherent to the Mexican School for Painting, who was most often associated with Mexican muralism, was represented in the sale by “Cabeza de Niño Mexicano (Head of a Mexican Boy).” It had provenance to a Washington, DC, collector who acquired the piece from Galeria, Arte de Coleccionistas (Art Collector’s

Gallery) in Mexico City, Mexico, in 1991. The painting crossed the block for $6,985 “Tattooed Woman,” a handpainted figural ceramic vase by Sergei Isupov sat pretty for $5,398, flying past its $500/700 estimate by nearly eight times. The 15-inch-high vase was also signed by the artist. Originally born in Stavropol, Russia, Isupov, a contemporary ceramist who comes from a family full of artists, now alternately resides in Cummington, Mass., and Estonia, where he has studios. In nearly 30 years, Isupov has done 27 solo exhibitions in the US and Europe, as well as countless group exhibitions. Prices quoted include the buyer’s premium as reported by the auction house. For information, or 301-634-2330.

The Met Presents Exhibition Of Newly Acquired Works

NEW YORK CITY — The Metropolitan Museum of Art presents the exhibition “Mary Sully: Native Modern,” which is on view through January 12. Mary Sully (1896-1963) — born Susan Mabel Deloria on the Standing Rock Reservation in South Dakota — was a littleknown, reclusive Yankton Dakota artist who, between the 1920s and 1940s, produced highly distinctive work informed by her Native American and settler ancestry. The exhibition is part of “The American Wing at 100,” a series of gallery reinstallations and exhibitions marking the wing’s 2024 centennial anniversary.

“This compelling exhibition celebrates how Mary Sully’s cultural sensibilities influenced her unconventional body of work,” says Max Hollein, the Met’s Marina Kellen French director and chief executive officer. “Sully translated her

life and experiences into a unique graphic language, culminating in an intensely creative perspective from which to consider Indigenous cul-

tures and imagery.”

This first solo exhibition of Sully’s groundbreaking production highlights recent Met acquisitions and loans from

the Mary Sully Foundation, works that complicate traditional notions of Native American and modern art. Working without patronage, in near obscurity, and largely self-taught, Sully produced approximately 200 intricately designed and vividly colored drawings in colored pencil, graphite and ink on paper that captured meaningful aspects of her Dakota community, mixed with visual elements observed from other Native nations and the aesthetics of urban life. Euro-American celebrities from popular culture, politics, and religion inspired some of her most striking works, which she called “personality prints” — abstract portraits arranged as vertical triptychs.

Featuring 25 rarely seen Sully compositions — primarily, her “personality prints” — as well as archival family

material and other Native American items from the Met collection, the exhibition offers a fresh and complex lens through which to consider American art and life in the early Twentieth Century. Sylvia Yount, Lawrence A. Fleischman curator in charge of the American Wing, said: “We’re thrilled to present ‘Mary Sully: Native Modern’ as a special feature of the department’s 100th anniversary in 2024. Born of particular Native and Euro-America cultural entanglements, Sully’s work is highly relevant and resonant for the American Wing, the Met’s historic department of a broadly defined American art by diverse makers, with a deepening concentration of work by women and artists of color.”

The Metropolitan Museum of Art is at 1000 Fifth Avenue. For information, 212-535-7710 or

Review by Kiersten Busch, Assistant Editor Photos courtesy Sloans & Kenyon
“Alice” (detail) by Mary Sully (Dakota, 1896-1963), circa 1920s-40s. The Metropolitan Museum of Art, New York City, Purchase, Morris K. Jesup Fund and funds from various donors, 2023.

Historic Firearm Was Stolen From Valley Forge, Penn., In 1968—

FBI Helps Return Missing Musket To Museum Of The American Revolution

PHILADELPHIA — The FBI helped return a Revolutionary War-era musket to the Museum of the American Revolution in Philadelphia on July 1 — more than 50 years after it was stolen from Valley Forge, Pennsylvania.

The .78-caliber firearm was stolen during an October 24, 1968, heist.

Its recovery — and subsequent repatriation — were the result of teamwork between the FBI and our partners at the US Attorney’s Office for the Eastern District of Pennsylvania, the Montgomery County District Attorney’s Office, the Upper Merion Township Police Department (UMTPD), and the museum.

“Investigating art and cultural property crime requires determination, perseverance and collaboration, as these cases often cross jurisdictions and may span decades,” said FBI Philadelphia special agent in charge Wayne A. Jacobs. “We appreciate the assistance from our partners here today, and we thank members of the public who provide tips that are integral to these cases so that we can do our best to investigate, recover and return to the public domain important artifacts such

as this historic firearm that help document our American history.”

The investigative team originally shared the details of the complex art crime case for an April 10 story published on

UMTPD detective Brendan Dougherty shared a link to the story with historical firearms expert and professional appraiser Joel Bohy, who’d worked with the local police department on a past case. Minutes later, Bohy text messaged Dougherty saying he’d spotted the musket.

Bohy said the musket had caught his eye at an event because of its rarity.

“There’s only two others known,” he explained, adding that he’d photographed it at the event and thought about it afterwards.

Bohy shared the photo with Dougherty to confirm his hunch and met with FBI Philadelphia Special Agent Jake Archer from the Bureau’s Art Crime Team the next day. From that tip, investigators traced the musket to an antique firearms collector in Maryland.

After meeting with investigators, the collector — who didn’t know the musket was stolen and wasn't connected to the heist —

willingly turned over the musket to the FBI Art Crime Team.

The firearm was formally given to the Museum of the American Revolution during a ceremony at the Philadelphia institution.

Museum president and chief executive officer Dr R. Scott Stephenson said his team is eager to learn more about the musket and how it might further the public’s understanding of firearms from the time period.

“Whatever its story, we relish the opportunity and the responsibility of making pieces of history like this once again available to the public,” he said.

Meanwhile, the case team’s hunt for additional Revolutionary War-era relics looted from the Philadelphia area and beyond continues. Read our original story below to learn more about the other artifacts and visit www. to share any information about their whereabouts.

You can also share a tip with the case team by contacting the Upper Merion Township Police Department, the Montgomery County District Attorney’s Office, or the US Attorney’s Office for the Eastern District of Pennsylvania.

Getty Acquires Rediscovered Masterpiece Of The Flemish Renaissance

LOS ANGELES — The J. Paul Getty Museum acquired at auction in London on July 2 “Madonna of the Cherries” by Quentin Metsys. Long believed to have been lost, the Sixteenth Century painting’s recent rediscovery offers Getty an opportunity to acquire one of the most significant paintings of the Flemish Renaissance to appear on the market in decades. The painting is on view in the Getty Center’s North Pavilion.

“The tender beauty and accessibility of Metsys’ representation of the familial bond between the Virgin Mary and Christ Child represents a major innovation in early Netherlandish painting that greatly heightens the emotional impact of the image,” says Timothy Potts, Maria HummerTuttle and Robert Tuttle director of the Getty Museum. “Painted at the height of his career, and preserved today in excellent condition, ‘Madonna of the Cherries’ is among Metsys’ most appealing and influential compositions.

Acknowledged as a masterpiece in its day, the painting became especially famous in the Seventeenth Century, after which its whereabouts were lost. I have no doubt that its spiritual and artistic resonance will make it one of the most beloved works in our collection.”

The painting depicts the Virgin and Child in loving embrace while seated on a regal throne. Christ, portrayed as a robust nude infant, wraps both arms around his mother’s neck and kisses her. The Virgin firmly presses him to her breast and delicately flourishes a stem of cherries between the pinched fin-

“Madonna of the Cherries” by Quentin Metsys, circa 1529, oil on panel, 29-5/8 by 24¾ inches. Image: Christie’s.

gers of her right hand. Through the large arched window at left, a Romanesque palace beside a lake is visible.

“This painting represents Metsys’ distinct personal style derived from his absorption of Netherlandish visual traditions and keen appreciation of significant Italian artistic developments,” says Anne Woollett, curator of paintings at the Getty Museum. “The impressive sophistication of the subject and extremely high quality of its execution support the conclusion that this panel is the famous ‘Madonna of the Cherries’ by Quentin Metsys.”

The first recorded owner of “Madonna of the Cherries” was prominent early Seventeenth Century art collector Cornelis van der Geest who, according to contemporary accounts, resisted efforts by the Archdukes to obtain the painting from him. All traces

of the painting were lost following its sale to an anonymous buyer in 1668. It resurfaced at auction in Paris in 1920 but was no longer recognizable due to several additions, such as a thick layer of discolored varnish and overpainting, including a green curtain painted over the background landscape. It reappeared once again in 2015 at a Christie’s auction, still marred by the later additions, and labeled as a studio version. After a subsequent conservation treatment, which revealed its exceptional quality and condition, scholars recognized it as the prime version of Metsys’ masterpiece.

Quentin Metsys was the foremost painter in Antwerp during the early Sixteenth Century. He was known for his compelling portraits, sophisticated use of color and representations of emotion and expression. Drawing on the example of Fifteenth Century predecessors and Italian influences, his work marked a turning point in the history of Netherlandish art. As Antwerp established itself as a center for artistic innovation, Metsys introduced to the region new types of portraiture and secular painting. In the Seventeenth Century, he was esteemed as the “father” of the Antwerp school of painting by collectors and leading artists of the time, notably Peter Paul Rubens. This is the second painting by Metsys to enter the Getty Museum collection, following the 2018 acquisition of “Christ as the Man of Sorrows.”

The J. Paul Getty Museum is at 1200 Getty Center Drive. For information, 310-440-7300 or

From left to right, FBI Philadelphia special agent in charge
Wayne A. Jacobs, special agent Jake Archer of the FBI Art Crime Team and assistant special agent in charge Jamie Milligan pose with a Revolutionary War-era musket that was returned to the Museum of the American Revolution in Philadelphia on July 1, 2024.



Out Of The Ordinary Sale July 30—

Princess Diana Letters, Live Aid Photos, Crippen Crime Ephemera Headline


More than a dozen letters and cards from Diana, Princess of Wales, to her family’s former housekeeper come to auction in Essex this summer. Sworders’ July 30 Out of the Ordinary sale includes a trove of correspondence between the princess and the lady she knew simply as “Collie.” Violet Collison had been the head housekeeper to John Spencer, Viscount Althorp, and his wife, Frances Ruth Roche, at Park House on the Sandringham Estate. While in service, she welcomed the births of four Spencer children — Sarah, Jane, Diana (later Diana Princess of Wales) and Charles — and later, after the Spencer’s marriage broke down, followed Frances to London in 1967. Working for Frances and Peter Shand Kydd until her retirement in 1973. Collie remained close to Frances and the Spencer children until she died in 2013, at the age of 89.

As can be seen from the variety and nature of this collection of cards and letters, Collie remained in Diana’s thoughts throughout her life, before and during her marriage to Charles, Prince of Wales, the birth of their two children, Princes William and Harry, and beyond.

Invited to the Royal Wedding on July 29, 1981, she also received a ticket for Diana’s funeral on September 6, 1997. Most of the letters to Collie are thankyou notes for Christmas and birthday presents given to Diana and Princes Harry and William as children, each offing a line or two regarding his life at the time.

A double-sided letter, written on Buckingham Palace notepaper to Collie thanking her for a birthday present, is dated July 8, 1981, only three weeks before the Royal Wedding. In it, Lady Diana Spencer observed, “everyone frantically busy here doing last minute decorations...the bride-to-be has remained

quite calm!” In its original envelope addressed in Diana’s hand, it is expected to bring £800-1,200.

Writing as the Princess of Wales from Kensington Palace on September 25, 1984, Diana thanked her former housekeeper for a gift to Prince Harry. She notes that “William adores his little brother and spends the entire time pouring an endless supply of hugs and kisses over Harry.” Offered together with a

Christmas card from the same year, it also has a guide price of £800-1,200.

Iconic images captured by acclaimed photographer David Bailey at Live Aid in 1985 also go under the hammer. The 13 images, signed by the artists they depict, were those chosen at the time for a benefit auction. Printed in editions of just three each, they were sold at auction later that year as part of a charity event at Sotheby’s.

Bailey was backstage when “the global jukebox” sprang into life at Wembley Stadium on July 13, 1985. The benefit concert, the brainchild of Bob Geldof, was organized at breakneck speed to raise funds for the relief of famine in Ethiopia. The event was held simultaneously at Wembley Stadium in London and John F. Kennedy Stadium in Philadelphia, while a television broadcast was watched across 150 nations by an estimated 40 percent of the global population.

Backstage, the cream of British rock and pop music from Paul McCartney to Bono, hung out together.

Highlights in the sale depict The Who (signed on reverse by Roger Daltrey, Pete Townshend, John Entwistle and Kenny Jones), George Michael and Elton John (signed by both), Bob Geldof and Paula Yates (signed by both). George Michael on his own (signed) and the four members of Queen (again signed on reverse by Freddie Mercury, Brian May, Roger Taylor and John Deacon).

The large-scale photographs are to be offered some 39 years since the event itself. They carry estimates of between £1/1,500 (for Geldof and Yates) to £4/5,000 for George Michael.

Sale curator Mark Wilkinson comments: “For people of my generation, Live Aid was unforgettable, the most impressive live concert they had ever experienced. These striking black and white images, taken by David Bailey, give great

insight to life behind the scenes. It is also poignant that a number of these artists are no longer with us today”.

In this sale where “anything goes,” a rare document signed by the infamous Coldwater, Michigan medical Hawley Harvey Crippen (1862-1910) has an estimate of £2/3,000.

More than a century after the headless body of Cora Henrietta Crippen was found buried in a cellar, the case of Dr Crippen — the first criminal to be captured with the aid of wireless telegraphy — continues to exert a macabre fascination. This letter comes by descent from John Rowland Hopwood, who acted as Ethel Clara Le Neve’s solicitor.

Handwritten from Pentonville prison on November 17, 1910, less than a week before his execution for the murder of his wife, Dr Crippen explains his decision to name his mistress Ethel Clara Le Neve as his sole executrix in his will. “It should be known how perfectly I trust her in every way, that she has given me the only real happiness I have ever known, that I love her above all else in this life and that for nearly four years she has been united with me in heart, soul and body as my wife.”

Sworders’ Stansted Moutfitchet salesroom is at GE South & Sons, Ltd, Cambridge Road. For information, www.

Lenbachhaus Restitutes Silver Sculpture From Former Collection Of Dr Max Meirowsky

MUNICH — On June 26, The Städtische Galerie im Lenbachhaus und Kunstbau Munich (Lenbachhaus Munich) restituted the Georg Wrba statue “Diana on a Doe,” returning it to the Geneva-based Bona Terra Foundation, which administers the inheritance of industrialist Dr Max Meirowsky (1866-1949).

Proactive research on the part of Lenbachhaus found that the work had been confiscated in 1938 in an act of Nazi persecution. The Bavarian capital city of Munich has a clear stance in this regard: “The injustices perpetrated by the Nazi regime must not be allowed to occur again. Accordingly, public offices expressly work to restitute cultural assets to their former owners or to the owners’ legal heirs.” The restitution of the statue is based on the principles of the Washington Declaration of 1998 regarding works of art confiscated under National Socialism. The decision by the Munich Department of Arts and

Culture to restitute the work was made on May 2, 2024.

The silver statue “Diana on a Doe” is counted among the early works of the Munich artist Georg Wrba (1872-1939). A bronze cast-

ing of the figure is said to have been presented for the first time in 1899 as part of the Munich Secession exhibition. There are several versions of the statue in bronze and silver, produced by various different casting houses. Nevertheless, documents clearly show that the object in question is the silver statue from the collection of Dr Max Meirowsky. Meirowsky, a Cologne entrepreneur, patron of the arts and passionate art collector, owned a company providing insulation materials to meet growing demand from the automobile and electrical industries. He used his fortune to build an art collection that included works by Renoir, Gauguin and van Gogh. He commissioned the Munich artist Georg Wrba in the course of the expansion of his Cologne-Lindenthal villa, built in 1910. Meirowsky had resigned from his position as director of the Cologne-based company “Meirowsky & Co AG” in the mid-

1920s and moved to Berlin. His company in Berlin closed down in 1927, the company premises was confiscated and sold off in 1938.

His collection suffered a similar fate: after Meirowsky had offered individual works for sale to German museums beginning in 1936, he began selling entire blocks of artworks in 1937. In November 1938, the Berlin auction house Hans W. Lange sold 140 objects from Meirowsky’s collection. Today, a total of more than 300 works from his collection are still considered missing.

Meirowsky urgently needed the returns from the sales in order to pay what were referred to as the Reich Flight Tax and the Jewish Capital Tax. Lenbachhaus purchased two objects at the Berlin auction: the silver statue by Georg Wrba and a painting by Philipp Röth, which could already be restituted in 2012.

Immediately after the auction, Meirowsky emigrated to Switzerland via the Netherlands. He

died stateless in Geneva in 1949. His will dated June 3, 1948, mandated the founding of the Bona Terra Foundation, dedicated to work on behalf of the trades and agriculture in Israel. In 1954, the foundation was brought to life with the support of Paul Guggenheim, executor of Meirowsky’s will.

Anton Biebl, director of the Munich Department of Arts and Culture, said, “The current upsurge in right-wing populism feeds on abandonment of the culture of remembrance and on disregard for the historical obligations upon us. Returning cultural assets confiscated under the aegis of National Socialist persecution is a central aspect of responsibility in commemorating those persecuted and murdered under National Socialism. I am therefore particularly pleased that the city of Munich can today return the silver statue ‘Diana on a Doe’ by Georg Wrba to the heirs of Dr Max Meirowsky.”

Compiled By Antiques and The Arts Weekly
Madelia Hickman Ring & Carly Timpson
Georg Wrba’s “Diana on a Doe.”

More Than 140 Works Focusing On The Wives Of Henry VIII On View At The National Portrait Gallery

LONDON — On view at London’s National Portrait Gallery through September 8, “Six Lives: The Stories of Henry VIII’s Queens” is the first major exhibition to place its focus on the women who married the infamous Tudor king.

Reuniting items that would have last been seen together when in possession of the queens themselves, “Six Lives” includes items that have never been on public display, and a Sixteenth Century portrait once thought lost.

Exploring agency, influence and cultural impact both in life and afterlife, the exhibition steps back through time — from contemporary portraits by Hiroshi Sugimoto and costume from SIX the Musical; to Sixteenth Century portraits by Hans Holbein the Younger shown alongside magnificent tapestry, textiles, books and jewels.

Sixteenth Century paintings by Hans Holbein the Younger and contemporary photography by Hiroshi Sugimoto meet in the National Portrait Gallery’s first exhibition of historic portraiture since reopening, presenting a study of the lives and afterlives of the six women who married Henry VIII. “Six Lives: The Stories of Henry VIII’s Queens” examines the representation of Katherine of Aragon, Anne Boleyn, Jane Seymour, Anne of Cleves, Katherine Howard and

Katherine Parr, both in their own time and in the centuries since they lived.

Presenting the queens in chronological order, “Six Lives” is the first major exhibition of its kind to place the narrative focus on these extraordinary women, rather than their infamous husband. From historic paintings, miniatures, drawings and the queens’ personal possessions — including their own letters and books — to contemporary photography, costume and film, the exhibition draws upon a wealth of factual and fictional material to place the spotlight on six women who helped to shape a fascinating period of English history.

With many portraits and objects reunited for the first time in centuries, visitors to “Six Lives” can expect to learn more about the family networks that brought each queen to court, their relationships with the king, their patronage and interests, as well as the ways in which they used portraiture to communicate their politics, religious beliefs, values, identity and status.

Important loans from private collections include a recently conserved historic painted panel of Katherine Parr, attributed to “Master John,” and a portrait of Anne of Cleves by Edgar Degas.

The three-quarter-length portrait of Katherine Parr was long believed to have been lost —

destroyed by a fire in 1949 — and is being publicly displayed for the first time since its conservation and sale at auction last year, while the portrait by Degas offers an unusual encounter with the Sixteenth Century queen through the eyes of the renowned French Impressionist painter.

The stories of the queens have been constructed and revised many times, both in their lifetimes and throughout history — from their mottos and heraldic

emblems to their presentation on stage, in film and in books. Their stories have been a frequent source of fascination, repeatedly inspiring writers and artists of all kinds to attempt to uncover the “truth” of their lives: their characters, their appearances and their relationships. Quoting from portraits made throughout the Sixteenth Century, few performances of the character of Anne Boleyn are undertaken without her distinctive pearl necklace with a “B”

pendant. Similarly, Holbein’s meticulous rendering of Anne of Cleves’ clothes provides ample information from which to present an instantly recognizable figure on stage or screen.

“Henry VIII was the star around which the country and Tudor court orbited. In his nearly 38-year reign, the six women who married him were protagonists in an almost implausible melodrama. Often reduced to the rhyme ‘Divorced, Beheaded, Died / Divorced, Beheaded, Survived,’ this exhibition seeks to restore the queens’ individuality and agency in both historic and contemporary storytelling, bringing them out of Henry’s shadow and their homogenous grouping. By encountering the court culture in which they performed their roles as queens, the images of their families and peers, the works that they commissioned, the objects they owned and even the letters and notes that they wrote, we cannot fail to glimpse them as individuals. In this exhibition, the faint surviving traces of each queen are displayed alongside the portraits that have helped to turn them into icons,” shared Dr Charlotte Bolland, senior curator of research and Sixteenth Century collections, National Portrait Gallery.

The National Portrait Gallery is on St Martin’s Place. For information,

Metropolitan Museum Restitutes 14 Sculptures To Kingdom Of Cambodia

NEW YORK CITY & PHNOM PENH, CAMBODIA — The Metropolitan Museum of Art has announced that it is physically returning to the care of Cambodia 14 sculptures that the Museum deaccessioned last year. The repatriation follows the launch of the Met’s Cultural Property Initiative, which includes undertaking a focused review of works in the collection as well as the hiring of Lucian Simmons in a newly created head of provenance position and additional provenance researchers. The 14 works, along with two sculptures already returned to the Kingdom of Thailand, were deaccessioned in December 2023 in connection with the Southern District of New York’s investigation of dealer Douglas Latchford. The museum is continuing to review its collection of Khmer art and remains in constructive dialogue with Cambodia.

“The Met is committed to the responsible collecting of art and the shared stewardship of the world’s cultural heritage,” said Max Hollein, the Met’s Marina Kellen French director and chief executive officer. “We have

made significant investments in accelerating the proactive and collaborative research of our collection, and we are dedicated to acting promptly when new information arises — as demonstrated by this group of sculptures. This is a milestone moment in our ongoing work, and we are honored to collaborate with Cambodia on this return. The Met greatly values our open dialogue with Cambodia, and we will continue to actively engage with colleagues there to arrive at constructive resolutions that further ongoing efforts and advance the world's understanding and appreciation of Khmer art and culture.”

The works of art being transferred were made between the Ninth and Fourteenth Centuries in the Angkorian period and reflect the Hindu and Buddhist religious systems prevailing at that time. A number of the sculptures — including the bronze masterpiece The Bodhisattva Avalokiteshvara Seated in Royal Ease (late Tenthearly Eleventh Century), and the monumental stone Head of Buddha (Seventh Century) —

A late Tenth-early Eleventh Century bronze sculpture of the Bodhisattva Avalokiteshvara is prepared for repatriation to the Kingdom of Cambodia. Photo courtesy the Metropolitan Museum of Art.

remained on view in the museum’s galleries for Southeast Asian art, presented as the repatriated heritage of Cambodia, while arrangements were being made for their return.

At the time that the Thai and Cambodian works were deac-

cessioned, Phnombootra Chandrajoti, director-general of Thailand’s fine arts department commented, “We are very pleased that the Met has reached out to us and proactively proposed the return of these two objects to Thailand. This

act serves as a model for ethical collecting practices and strengthens the bonds of cultural respect and collaboration between Thailand and the Met. We view this return as a significant milestone in our ongoing efforts to repatriate cultural treasures, and we hope it inspires further partnerships as we work together to foster the exchange of knowledge and to ensure the return of cultural artifacts where appropriate to their countries of origin. In Thailand, the committee for repatriation, chaired by the Cultural Minister, is actively engaged in research initiatives to identify and track down additional objects that may have been illegally removed from the country in the past, further paving the way for a future where cultural heritage is preserved and valued in its rightful place.”

Additionally, the Cambodian Ministry of Culture and Fine Arts said, “We appreciate this first step in the right direction. We look forward to further returns and acknowledgments of the truth regarding our lost national treasures.”

Hiroshi Sugimoto’s 1999 portraits of the six wives. Collection of Odawara Art Foundation ©Hiroshi Sugimoto.

Fine Art & Antiquities Spark Roland NY’s Estate Sale

“Evening,” a Fauvist landscape by Armenian artist Minas Avetisyan was an oil on canvas painting dated 1973, unframed, signed and dated right, inscribed and dated verso. Together with a certificate of authenticity from Gayane and Arman Avetisyan, it attained $10,625.

Auction Action In Glen Cove, N.Y.

GLEN COVE, N.Y. — Roland

Auctions NY’s June 29 sale was typically large and featured an extensive collection of antiquities from a New

Estimated just $800-$1,200, this ancient Egyptian bronze sculpture of Thoth, the patron of scribes, possibly late to Ptolemaic period, posted a final price of $40,625.

York City collection as well as lots of fine art, decorative arts, Twentieth Century modern, antique and vintage furniture and more.

Estimated just $800-$1,200, an ancient Egyptian bronze Thoth sculpture, possibly late to mid Ptolemaic period (30530 BCE), overwrote the expectation to post a final price of $40,625. Modeled as a pharaoh with headdress centered with a lunar disc, the figure had animal-head motifs to the shoulders and phallus. Overall, it stood 10¼ inches high. Among the ancient Egyptians’ many gods, Thoth, the patron of scribes, was believed to have invented writing and hieroglyphics, and having created languages for both humans and gods.

It was a marriage of antiquities and paintings that sparked the sale’s $415,000 total, although there was much more in this estate collections sale. The sell-through rate was 85 percent and regis-

This carved marble torso of Venus Pudica, done in the ancient Roman manner, took $9,375.

tered bidders numbered about 250, Hsia Yan’s (Taiwanese/Chinese, b 1932) painting, a modern abstract interior scene with seated figures, was titled “Les Chevaliers de Table Ronde” (Knights of the Round Table) and revealed Francis Bacon’s influence on the artist in the 1960s. Signed lower left, titled verso and dated 1965, Paris, the 28-by-28-inch work (less frame) sold for $13,750.

A set of six large oils on canvas crossed the block, fetching $11,250. The artist was Ushio Shinohara (Japanese, b 1932), who favored abstract studies in many colors, shapes and figures. Signed and dated 1982 lower right, each panel measured 49 by 95 inches. Two works by Armenian artist Minas Avetisyan (19281975) were among the top sellers, the highest price, $10,625, attained for “Evening,” a Fauvist landscape. The oil on canvas painting was dated 1973, unframed, signed and dated right, inscribed and dated verso, together with a certificate of authenticity from Gayane and Arman Avetisyan. Returning to antiquities, a carved marble torso of Venus Pudica, a sculpture rendered in the ancient Roman manner, took $9,375. The figure was modeled as the torso of the Capitoline Venus and raised on an ebonized plinth base. A furniture highlight was a Danish Modern desk by Peter Lovig Nielsen for Dansk. It sold for $3,750.

And a colorful Picasso Madoura ceramic plate, a glazed oval ceramic piece with a fish in the center, brought $28,125. Its back side bore the impression “Madoura Plein Feu, Empreint Originale de Picasso” and it measured 13 by 10 inches. Prices given include the buyer’s premium as stated by the auction house. For information, or 212-260-2000.

Minas Avetisyan, oil on canvas painting of a colorful landscape with trees was bid to $8,960.
A colorful Picasso Madoura ceramic plate, glazed oval ceramic piece with a fish in the center, brought $28,125. Its back side bore the impression “Madoura Plein Feu, Empreint Originale de Picasso” and it measured 13 by 10 inches.
Hsia Yan’s painting, a Modern abstract interior scene with seated figures, was titled “Les Chevaliers de Table Ronde” (Knights of the Round Table). Signed lower left, titled verso and dated 1965, Paris, the 28-by28-inch work (less frame) sold for $13,750.
Review by W.A. Demers, Senior Editor Photos Courtesy Roland NY
A set of six large oils on canvas by Japanese artist Ushio Shinohara crossed the block, fetching $11,250. Shinohara favored abstract studies in many colors. This example was signed and dated 1982 lower right. Each panel measured 49 by 95 inches (less frame).
A furniture highlight was a Danish Modern desk by Peter Lovig Nielsen for Dansk. It sold for $3,750.

BEVERLY, MASS. — Kaminski’s estates auction on Saturday and Sunday, July 20-21, starting at 11 am, features the complete contents of a grand Boston brownstone in the heart of the South End. This lifetime collection will be sold online, and items may be picked up onsite at 168 West Canton Street. Additions from other Palm Beach and Miami, Fla., estates include a selection of Louis Vuitton, Gucci and estate jewelry. Preview hours at 168 Canton Street is by appointment Monday through Friday, July 15-19 by calling 508-328-5967 or 561779-8511. Transportation of items is available to Kaminski’s Beverly gallery.

Fine art from the West Canton Street residence includes two large contemporary paintings by Boston artist Diana Nicosia, including an oil on canvas titled “Poppies in Tuscany,” measuring 70 by 70 inches, and “Blood Moon,” measuring 69 by 85 inches. Nicosia attended Mass College of Art, Colby Sawyer College and Wheaton College. Upon completion of advanced work in a private atelier comprising the Boston School of Realism, she moved to Italy to paint for more than 20 years.

There is also a portrait by the American artist John Lavalle, the great‐grandson of Juan Lavalle, one of the founders of the Argentine Republic. John Lavelle attended St Paul’s School in New Hampshire before going on to Harvard. The portrait of Dame Judith Anderson is an oil on canvas, signed and dated 1929. Art enthusiasts will also appreciate the colorful depiction of a French town by Claude Venard (French, 1913-1999) displaying his distinctive style.

Noteworthy pencil on paper studies includes one from the Filipino artist Fernando Cueto Amorsolo (1892-1972), a nude study, pencil on paper, signed and dated 1926, and a nude study by Joseph Henry Sharp (American, 1859-1953), from the collection of Matthew A.

Daly (1860-1937), a friend of J.H. Sharp. Furniture highlights from the 168 Canton residence include a Nineteenth Century inlaid round-top gueridon with lioncarved splayed legs, carved waterleaf mounts, paw feet and bronze ring stretcher, thought to be Russian. There is an Eighteenth Century Italian ebonized commode with conforming black marble top, embellished with a satinwood line. An early Nineteenth Century burl walnut secretaire abattant has an ogee document drawer pediment over an inlaid mirrored architectural interior with two banks of cross band inlaid drawers. Additionally, there is a Nineteenth Century French marble gallery top gueridon having three swan legs terminating in leaf and paw carved feet, and an antique French set of six iron chairs having ram’s head arms.

In the decorative arts, standout pieces such as a Nineteenth Century French Empire bronze swan-form chandelier and a Meiji period Japanese bronze tiger add exotic flair to the auction’s offerings. There is also a Nineteenth Century French five-branch cut crystal chandelier with teardrop and beaded swags throughout.

The auction boasts an array of remarkable lots, each a testament to craftsmanship and historical significance. Among them is a rare vintage covered silverplated meat carving cart, evoking an elegant, bygone era. A highlight is the 1917 Mason and Hamlin ebonized case baby grand piano, No. A140319. Another standout piece is an Eighteenth Century English black japanned case bonnet top tall clock, bearing the signature of Fab. Robins London, its intricate design a nod to England’s rich horological tradition. Additionally, a pair of Eighteenth Century Italian arched pediment doors, transformed into an armoire with fanciful figural decorated panels and marked with “F.M.” escutcheons, add a touch of continental flair and historical

charm. Finally, the auction features a pair of Nineteenth Century verdigris patinated classical torchieres, standing tall at 74 inches high by 22 inches wide.

Adding a touch of historical gravitas, the auction features several presidential commissions, including those signed by Andrew Johnson, Theodore Roosevelt, Franklin Pierce and Andrew Jackson. These documents, framed and preserved, offer a glimpse into American political history, and make for impressive additions to any collection of historical memorabilia.

The infusion of items from Palm Beach and Miami estates

injects a bit of fashion and luxury into the auction. A selection of coveted Louis Vuitton pieces, including the limited edition “Fetish” locket bracelet clutch by Marc Jacobs and the Horizon 55 travel bag, along with three pairs of Louis Vuitton earrings, promises to entice fashion enthusiasts seeking timeless elegance.

Other fashion brands include a Gucci “Ophidia” black suede handbag, a Dior saddle cloth handbag and a Bottega Veneta green leather crossbody shoulder bag.

For those unable to attend in person, online bidding through our platform KaminskiLIVE offers a convenient alternative, ensuring that collectors worldwide can participate in acquiring these exceptional items.

Preview of the items not from the 168 Canton residence will be conducted at the Kaminski

Among three pairs of Louis Vuitton earrings, an example of the fine estate jewelry offered in this sale.
Diana Nicosia, “Blood Moon,” oil on canvas.
John Lavalle, “Portrait of Dame Judith Anderson.”

One, Two, Three Days Of Auctions At Everard

Southern Estates & Collections And Tenenbaum Property

Auction Action in Savannah, Ga.

SAVANNAH, GA. — Fine and decorative art objects from Southern residences and collections were offered during Everard’s June 25-27 spring auction, which was highlighted by property from the Savannah estate of Lorlee and Arnold Tenenbaum. The Tenenbaum selection was auctioned during the June 27 session, together with other consignments. Everard president Amanda Everard said the sale totaled $654,494 with 80 percent sold. There were 7,016 registrants between four online platforms.

A 1961 oil on canvas work by Rodolfo Nieto (Mexican/ French Rodi, 1936-1985), titled “No. 114,” was offered on Day 2 with an estimate of $10/15,000. The one-owner painting with copy of the original bill of sale from Galerie de France, Paris, 1965, hit $16,250. Nieto was a noted Mexican painter of the Oaxacan school. He was well received by his contemporaries in Paris, where he was exposed to the work of Edvard Munch and experimented in printmaking. He apprenticed under Diego Rivera and worked alongside his friend and artistic influence Rufino Tamayo. Nieto grew to be regarded as a Twentieth Cen-

collector working for the US

The top lot in the sale was this 1961 oil on canvas work by Rodolfo Nieto titled “No. 114.” Offered on Day 2 with an estimate of $10/15,000, the one-owner painting hit $16,250.

tury Mexican master.

A tender Victorian genre scene depicting a boy and his dalmatian in front of a fireplace charmed bidders and drew $22,500. The painting came from a private Charleston, S.C., collection. Presented in a giltwood frame, it measured 48-3/8 by 48-3/8 inches.

From a private Ponte Vedra, Fla., collection came a mixed media on Masonite board of a

“Still Life with Melon and Artichoke,” by Michael Triegel ( German, b 1968). Signed and dated 1998 lower left, initialed “T” lower right, the painting, which brought $10,000, bore a Worthington Gallery, Chicago, label on verso titling the work. In a silvered wood frame, it measured 18½ by 22½ inches. A circa 1898 oil on paper work by Maxfield Parrish (American, 1870-1966), “Por-

Everard employee Dixon Morgan providing scale for “Tree Shields” by John Geldersma (Louisiana, b 1942), painted wood, signed and titled on the back, left the gallery at $15,360.
Bidders were charmed by this tender Victorian genre scene depicting a boy and his dalmatian in front of a fireplace and pushed it to $22,500.
This pair of Nineteenth Century continental rococo giltwood mirrors, each with a rectangular mirror plate surmounted by a C-scroll carved crest and apron, achieved a final price of $6,080.
“Still Life with Melon and Artichoke” by Michael Triegel came from a private Ponte Vedra, Fla., collection and finished at $10,000. The mixed media on Masonite board was signed and dated 1998 lower left, initialed “T” lower right.
This set of Tiffany Bamboo pattern sterling flatware, 84 pieces total, stemmed from a private collection from Saint Simons Island, Ga., and found a buyer at $10,000.
government in occupied Japan in the 1950s purchased this antique Chinese scroll painting depicting a house, boats and figures in a mountain landscape. Property from a Tennessee private collection, it went out at $5,625.

trait of Henry Barnhurst in Uniform,” depicts the subject in a Spanish-American War uniform. It realized $8,960. Barnhurst is known to have been friends with Parrish and is the great-grandfather of the artwork’s South Carolina consignor in Hilton Head Island. Catalog notes further relate that, according to the consignor this portrait is of her greatgrandfather, Henry Gregory Barnhurst (1875/77-1933) in his Spanish-American War uniform. Barnhurst was a friend of Parrish in Pennsylvania where Barnhurst was a sergeant in the Pennsylvania National Guard where he served 1898-1899. A copy of a photo of him as a boy and a copy of his Veteran’s Compensation Application filled out by his widow listing his service dates were included in the lot.

The sale was a Southern estates and collections, hence, a work by William Aiken Walker (1839-1921) was sure to be featured. His “Possum Hunter,” an oil on board depicting a man standing in a field of cotton holding a possum by the tail earned $5,938. Property from a private Charleston, S.C., collection, the painting was inscribed

with title and measurements on verso, with John Hanna Galleries Detroit label on frame, in a giltwood frame. Frame size was 18-1/8 by 12 inches.

Walker was well known for his documentation of Black Americans’ lives in the postReconstruction South. He was born and raised in South Carolina, and briefly served in the Confederate Army until he sustained an injury. Catalog notes state that he spent the latter half of the war as a draftsman creating maps and drawings of Charleston’s defenses. At war’s end, he moved to Baltimore and it was there that he made small paintings of the Old South for the tourist trade. This painting was 12-1/8 inches high by 6 inches wide.

Sculpture was also featured in the sale. A Corten steel sculpture, “Upright $2,” 197578, by Abstract Expressionist sculptor James Rosati (19121988) was bid to $11,250. Property of Richard Hanna & Byron (Steve) Dunham, Chicago, and Savannah, the edition 1/3 was signed and dated, on a marble base. Provenance noted that it was purchased from Atlanta Art Gallery on

April 6, 1995, for $8,000. Catalog notes inform that Rosati was a professional violinist before turning to sculpture in 1934. He was a member of the Eighth Street Club and exhibited alongside friends and fellow artists, including Willem de Kooning, Franz Kline, David Smith and Phillip Pavia. He is best known for his stainless steel sculpture, “Ideogram,” which stood between the Twin Towers in New York City.

A jewelry highlight was a Buccellati 18K gold and sapphire cuff bracelet, property of a Savannah, Ga., private collector that sold for $12,800. The 18K gold cuff was set with five cabochon blue sapphires with raised white gold star designs. One end of the cuff was marked “Italy, Buccellati, 96,” and the other end was marked “750.”

Decorative arts included a pair of Nineteenth Century continental rococo giltwood mirrors, each with a rectangular mirror plate surmounted by a C-scroll carved crest and apron. Each measuring 57 inches high by 40 inches wide, the pair went out at $6,080. Fetching $6,400 was a Meissen porcelain portrait plate,

after Carl von Bodenhausen (German, 1852-1931). It featured a center with a handpainted portrait surrounded by a blue and gilt pierced rim, with blue Meissen mark and “C. von Bodenhausen” on the underside. It had a 9¼-inch diameter.

Notable furniture results were obtained by a pair of Chinese yoke back huanghuali side chairs, Qing dynasty, Seventeenth Century from a collection of an international executive on Hilton Head Island. Topping out at $7,040, the chairs featured a serpentine rectangular splat flanked by curved rounded stiles above a rectangular seat inset with rattan. Molded square legs were joined by box stretchers.

Prices given include the buyer’s premium as stated by the auction house. For information, 912-231-1376 or www.

A circa 1898 oil on paper work by Maxfield Parrish (American, 1870-1966), “Portrait of Henry Barnhurst in Uniform,” depicting the subject in a Spanish-American War uniform, realized $8,960. Barnhurst is known to have been friends with Parrish and is the greatgrandfather of the artwork’s South Carolina consignor in Hilton Head Island.

Best known for his stainless steel sculpture, “Ideogram,” which stood between the Twin Towers in New York City, Abstract Expressionist sculptor James Rosati’s Corten steel sculpture, “Upright $2,” 1975-78, was bid to $11,250.

A Buccellati 18K gold and sapphire cuff bracelet, property of a Savannah, Ga., private collector, sold for $12,800.
A Meissen porcelain portrait plate, after Carl von Bodenhausen featured a center with a hand-painted portrait surrounded by a blue and gilt pierced rim. With a 9 ¼-inch diameter, it gaveled at $6,400.
Ivan Bailey, best known for the “Phoenix Rising” sculpture in John Howell Park in Atlanta, made this wrought iron sculpture with bird. Signed on the underside of base and dated 2009, it sold for $6,250.
This pair of Chinese yoke back huanghuali side chairs, Qing dynasty, Seventeenth Century from a collection of an international executive on Hilton Head Island, found favor at $7,040.
From a Saint Simons Island collection was this pair of Tiffany sterling silver palm tree candlesticks, both marked “Sterling, Tiffany & Co, Made in Italy, 925” on bases. Each 13 inches high, the pair attained $8,320.
William Aiken Walker’s “Possum Hunter,” an oil on board depicting a man standing in a field of cotton holding a possum by the tail, earned $5,938.
Review by W.A. Demers, Senior Editor Photos Courtesy Everard Auctions & Appraisals

The Design Museum


B y K arla K. a l B ertson LONDON — Barbie is a woman — a toy, of course — that everyone thinks they know. Perhaps they had (or still have) a childhood plaything from the 1970s, or gave a specific one at Christmas per a granddaughter’s request. And, since last year’s film version of her “real life,” directed by Greta Gerwig, she has taken on a vivid storyline that propelled her adventures with Ken and friends to the highest grossing film of the year. But 2024 is her 65th Anni versary and — if you lined up a procession of Barbies of the past wearing their period fashions – you would see a myriad of changes in her body, hair, and clothing that reveal Barbie’s history as a story of design evolution. It is in this spirit the Design Museum in London is running “Barbie: The Exhibition” until February 23, 2025. In the lead up to the open ing, Tim Marlow, director and chief executive officer of the Design Museum said: “Design has been at the heart of Bar bie’s story ever since her creation 65 years ago. And as we’ve seen recently, her impact has also evolved with each new generation. Visitors to our timely exhibi tion will come face-to-face with some of the most impor tant and recognizable itera tions of Barbie from across the past six-and-a-half decades, and we hope it will be a joyful, fascinating, inspiring, illumi nating and even perhaps nos talgic experience for genera tions of Barbie fans.”

What’s in the show? The museum was able to draw on the Mattel archives in California so the galleries will display 250 objects, including 180 dolls. There will be houses, vehicles, friends and designer fashions. Pride of place will be the “No. 1” Barbie, the ultimate collectible from 1959, along with a showing of her first television commercial. Also included is the first Dream House, a modernist design from 1962, and her first car, also from that year. “Day to

named the grown-up figured plaything after her daughter Barbara, has been staggering. Not only clothing shifts but changes in her hair, face, body dimensions and articulation. The original sidelong gaze, for example, became a wide-eyed straight forward glance. And that impossibly narrow waist became — a bit — more realistic.

Antiques and The Arts Weekly asked exhibition curator Danielle Thom what was the

inspiration for the show? Was it the film?

“The planning of the exhibition actually predated the release of the movie. It was coincidental, fortuitous timing. The rationale behind this exhibition — and the reason for us doing it here specifically at the Design Museum — is because this is the anniversary: 65 years of Barbie.

“What we wanted to do is look at why Barbie — both as a doll and a brand has such longevity

1979 Dream House. ©Mattel,
Barbie Fashionista #27 Sweetheart Stripes. ©Mattel, Inc.
The 1959 Barbie No. 1 ©Mattel, Inc.
A 1985 Day to Night Barbie. ©Mattel, Inc.

“Most toys have a life of a few years or a decade, if they're lucky. Barbie persists, and the answer to why that is the case is rooted in design. The fact that the doll and her world — the dream house, the fashions, the cars — are all rooted in the design of our own world.”

To investigate, Thom went to the Mattel archives in California in 2023. “That was a very valuable visit because it allowed me to look — not only at a number of historic and hard-to-find Barbie dolls — but also at a lot of the design materials: the sketches, the notebooks, the dress patterns across the decades that went into the making of Barbie. And I was lucky enough to receive a tour of the Mattel design facility and meet the present day designers who work bringing the doll to life in her modern incarnation. That was a really important and insightful visit for understanding how the doll that we see in a box on a shelf actually comes into being, from an idea into a finished product.”

The Design

an aspirational version of what people wear, but it bears a relationship to the clothes young women might be wearing out and about.”

Turning to the subject of changes wrought on Barbie over the years, she noted, “One of the things I think is particularly interesting relates to Barbie’s hair.

In the first decades, you could buy a Barbie doll in a variety of hair colors — blonde, light brown, dark brown, Titian red, various shades. Then, there is a shift in the 1970s that the light skinned Barbie would always be blond, and now the pendulum has swung back the other way, and there is a much greater variation in appearances.

“From the mid-70s to the late 1990s, Barbie’s aesthetic becomes very pink, very romantic, opulent almost, oriented toward ball gowns and princess dresses — just divorced from fashion reality. For a while it's very fantasy driven, while more recently hair and clothing styles are more rooted in what people actually wear. Obviously, it's

Barbie has acquired outfits for playing every sport and performing every job, from surgeon to astronaut. And through the decades there have been great strides in diversity and multiculturalism. The curator pointed out: “The first black doll to bear the name of Barbie was released in 1980 — and she was a watershed for the brand and the idea of what Barbie could be and could stand for. We address that in the exhibition.”

When the main doll settled on one hair and skin color, the Barbie family has been expanded to include people from every background and even disabilities. A quick search online will reveal the extent of the offerings.

As moviegoers surely noted, there have always been friends around Barbie. “The various characters — the friends, the family — they kind of cycle in and out over the years,” explained the curator. “Midge, Barbie's very first friend — introduced in the

1960s, was out of circulation for a while, then she’s reintroduced in the early 1980s. Some have a very brief shelf life like the Christie character — it’s interesting to see how that cast of characters shifts over time.”

Thom said in conclusion, “I anticipate that there will be a broad variety of visitors to the show. There will, of course, be people who will come because they love Barbie and have never visited the Design Museum before. I hope they will come away having an enjoyable and nostalgic experience but also understanding the importance of design as a discipline

on how Barbie came into being.

“We will also have visitors coming who are interested in design but perhaps have little prior knowledge of Barbie. For people on that side of the equation, I hope they will come away realizing that while Barbie was a toy aimed at women and children through which they were able to control their own miniature world, that does not prevent Barbie from being taken seriously as a design object.

“I had a lot of fun putting this exhibition together, getting to — I won't say ‘play’ with the dolls, but handle them in a professional man-

ner. Regardless of the reason somebody may visit this exhibition, whether they have prior knowledge of Barbie or not, I hope they come away feeling pleasantly surprised by what they’ve learned.” While waiting to book that flight to London this summer, take a look at the “Barbie” episode on the delightful Netflix series The Toys that Made Us , which also charts the story of her design and designers. The Design Museum, in a striking building at 224-238 Kensington High Street, has a kitchen and café and can be accessed easily. For more information,

The 1992 Totally Hair Barbie. Petra Rajnicova for the Design Museum.
1980 Black Barbie. ©Mattel, Inc.
1992 Totally Hair Barbie. ©Mattel, Inc.
1959 Barbie No. 1 ©Mattel, Inc.
1962 Barbie Country Camper. ©Mattel, Inc.
A 1962 Barbie Dream House. ©Mattel, Inc.

Books & Historic Ephemera See Success At Eldred’s

Auction Action In East Dennis, Mass.

A set of eight Eighteenth to early Twentieth Century texts on New England states ran up to $832 ($100/300).

A copy of William Johnson’s (1771-1834) August 3, 1826, “Eulogy on Thomas Jefferson,” printed by C.C. Sebring (Charleston, S.C.) in 1826, 8½ by 5¼ inches, made $1,088 ($150/250).

A collection of three Eighteenth Century Continental papers from Rhode Island, Massachusetts and New Jersey measured 11 by 9 inches as framed together and realized $768 ($200/400).

A front page of The Massachusetts Sun Or, Thomas’s Boston Journal from March 10, 1774, measured 22 by 16 inches framed and brought $1,152 ($150/250).

Review by

Photos Courtesy Eldred’s

This US $5 Liberty Gold Half Eagle coin dated 1900, 1 inch, made $1,024 ($400/600). Cheryl Stewart commented, “The coin sold to an old-fashioned absentee bid here with us — a rarity!”

The highest-achieving lot was this Nineteenth Century photographic trade album for Fire Extinguisher Manufacturing Co., Chicago, cloth covered album containing 129 albumen or early silver bromide photographs and two blueprints, album: 15½ inches wide by 11½ inches high by 2½ inches thick; it sold to a trade buyer for $5,120 ($4/6,000).


Books and historic ephemera were the categorical stars of Eldred’s June 26 auction. Cheryl Stewart, Eldred’s head of marketing, shared that “Much of the sale was sourced from two private consignors who have been selling with Eldred’s for many years. Overall, we were pleased with the results of today’s sale and pleasantly surprised at the hammer price of a few of the items.” With 126 lots offered, the sale realized just under $43,000 and had a 79 percent sell-through rate with “82 registered absentee, phone and bidders, plus several hundred others participating on LiveAuctioneers and Invaluable.”

Rising to the top of the auction, a photographic trade

This framed map detailing the “Plan of the town of Boston with the attack on Bunkers-Hill in the peninsula of Charlestown the 17th of June 1775” was from James Murray’s An Impartial History of Present War in America (1778). Measuring 16½ by 9½ inches framed, the toned map sold to a trade buyer for $1,664 ($300/500).

album for the Chicago-based Fire Extinguisher Manufacturing Company. Selling to a trade buyer after rising to $5,120, the album, which documented “firefighting equipment used during the waning days of the horsedrawn firetruck era,” included 129 photographs and two equipment blueprints. Stewart said, “The pictures were really crisp and pretty interesting, even if you aren’t interested in fire memorabilia — some of them were taken on the street, showing firefighters climbing ladders up to windows or putting out house fires.” The original clothcovered album was titled in gilt lettering and affixed with an engraved silver plaque with the name of the company’s superintendent: “E.F. Steck, Sup’t.” The auction catalog notes that the 13¾-by-11-inch photographs, probably contact prints, were most likely taken by an 11 by 14 view camera.

Five volumes of early Journals of Congress, dated from 1777 to 1787, were sold to a private collector, just over their high estimate of $1,500, for $2,304. The texts included: Volume III, containing the proceedings from January 1, 1777 to January 1, 1778 (New York: John Patterson); Volume V, containing the proceedings from January 1, 1779 to January 1, 1780 (Philadelphia: David C. Claypoole, 1782); Volume VII, for the year 1781 (New York: John Patterson, 1787); Volume VIII, containing the proceedings from the first Monday in November 1782 to the first Monday in November 1783 (Philadelphia: David C. Claypoole, 1783); and Resolutions, Acts and Orders of Congress, 1780. Other books that did well included a collection of 32 navigation and mathematics books and a set of eight relating to New England. The earliest book from the navigation and mathematics set was the 1750 Navigatio Britannica: or a Complete System of Navigation by J. Bar-

This 1793 document appointing Samuel Noyes to the rank of ensign was signed by Samuel Adams and was filled by his secretary John Avery. With a University Archives authentication certificate, the document was bid to $2,176 ($2/3,000).

row (London: W. and J. Mount and T. Page). The most recent was The Sea, Books and Manuscripts (Philadelphia: The Rosenbach Company, 1938). Other notable titles included The Merchant’s and Shipmaster’s Assistant by Joseph Blunt (New York: Edmund M. Blunt, 1822), and the second edition of A New and Complete System of Arithmetic by Nicholas Pike (Worcester: 1797). Together, the 32 books sold for $896.

The New England text collection, which sold for $832, included two volumes of The History of Vermont by Samuel Williams (1809), two volumes of Winthrop’s History of New England by James Savage, Vermont: The American Guide Series (1937) and three volumes of History of New Hampshire by Belknap (1784, 1791 and 1792).

Stewart shared, “We’ve held several historic and political memorabilia auctions over the past 10 years and have found early American documents and imprints — dated before 1825 — usually perform the best. They are scarce, which makes them desirable and valuable, but they are also very challenging to estimate because you can almost never find comps on which to base presale estimates.”

As such, a partially printed military appointment document

“By his honor Samuel Adams, Esq., Lieutenant-Governor and Commander in Chief of the Commonwealth of Massachusetts” was filled in by the hand of John Avery, Adams’ secretary. The 1793 document was signed to the upper left “Saml Adams” and was paired with a certificate of authenticity for the signature from University Archives, Wilton, Conn. The certificate was appointing Samuel Noyes to the rank of ensign “in the First Regiment of the Second Brigade / Second Division of the Militia of this Commonwealth.” The authentic signed document sold, within its estimate range, for $2,176.

Once belonging to Andrew L. Hill and “purportedly descended in the family of the consignor,” per Stewart, an Eighteenth Century Masonic apron soared past its $400 high estimate and sold to the trade for $1,920. Despite its tattered state, Stewart shared her assumption that “the early date helped bidders overlook the stained and worn condition of the apron silk.” According to The Grand Lodge

A collection of 32 books, mostly relating to navigation and mathematics, ranging from the late Eighteenth Century to second quarter of the Twentieth Century, crossed the block for $896 ($400/600).

This Eighteenth Century Masonic apron that belonged to Andrew L. Hill (b 1755) was 10 by 16 inches and sold to the trade for $1,920 ($200/400).

Five volumes of early journals of Congress, dating from 1777 to 1783, 8¼ by 5 inches each, exceeded their estimates to bring $2,304 ($1/1,500).

of Ohio, “An apron, also commonly called the ‘badge of a Mason,’ is the first gift a new Brother receives, and serves to remind us of our connection to the craft and of our fraternity’s symbolic association with the working stonemasons of old.”

This apron, with its light blue trim and symbolic images, was likely representative of Hill’s status in the organization, given the fact that “as a member completes the remaining two degrees, some jurisdictions add decorations of light blue and silver to the apron.”

A framed map with the inscription “Plan of the town of Boston with the attack on Bunkers-Hill in the peninsula of Charlestown the 17th of June 1775,” was from James Murray’s An Impartial History of Present War in America (Newcastle Upon Tyne, 1778). In this text, Murray wrote of the lead up to that battle: “The critical situation of Boston, the capital of the province; was an object of much consideration, nor was it easy to determine in what man-

ner to provide for the safety of the inhabitants, and to prevent the town becoming a thorn of uneasiness to the province, if matters should come to the last extremity…Force was the only expedient that could be pursued with a probability of success; but they were not yet determined to proceed to that extremity.” The map showed several key details, including historic fires that damaged Boston, the 12 wards of the city and critical reference points, including “Town Hall,” “Kings Chapel” and “Governors House.” Most notably, the peninsula of Charlestown — where Bunker Hill is located — was heavily detailed with images of “American Forces” and “English Forces” in battle just north of billowing smoke and text that read “Charlestown in Flames.” Additionally, several ships, including “the Ferry to Charles Town” were also aflame. Consigned by a private collector, it was sold to the trade for $1,664 on a $300/500 estimate.

The front page of the March

An early map of coastal Maine, published by Des Barres, 1776, 32 by 45 inches framed, was bid to $1,152 ($300/500).

10, 1774, edition of the newspaper, Massachusetts Sun Or, Thomas’s Boston Journal, sold for $1,152 on a $150/250 estimate. Stewart remarked that the framed sheet was generally in good condition for its age, came from a private consignor and sold to the trade.

One of the sale’s most hotly contested items was “Eulogy on Thomas Jefferson” by William Johnson (Charleston: C.C. Sebring, 1826). Stewart thinks that “early Charleston imprints are pretty rare and probably pretty desirable,” which led to this copy being bid to $1,088. Signed “R. Southworth” in ink on the top of the title page and first page, it was from a private consignor and sold to a private buyer.

In closing, Stewart commented, “We find these types of sales take a while to build — both getting in the appropriate number of consignments and the

time-consuming research often required in cataloging the material — so we don’t have them seasonally scheduled like we do for many of our auctions in other collecting categories, but we enjoy handling this type of material and look forward to continuing to develop this department. There’s something really humbling and awe-inspiring about holding a piece of history in your hands.”

Prices quoted include the buyer’s premium as reported by the auction house. Eldred’s next auction, American Art & The Summer Sale, will be July 24-26. For information, www. or 508-385-3116.


HCleveland Museum Announces $25M Gift From Kelvin & Eleanor Smith Foundation


eritage Auctions announced that Laura Paterson has joined its photographs department as consignment director. She is based at Heritage’s New York City Park Avenue location. From her longtime base in New York, Paterson brings three decades of experience in photography sales. After 20 years at Christie’s, she was appointed director of the photography departments of Bonhams and Hindman Auctions. Paterson’s strong interest is in Western photography — she’s particularly well-known for her extensive knowledge of the work of Edward S. Curtis and Ansel Adams. Paterson, who is British-American, holds a degree in art history from Edinburgh University.

The High Museum of Art is announcing promotions for two of its curators. Katherine Jentleson, who has served as the Merrie and Dan Boone curator of folk and self-taught art since 2015, will continue in

that role and now also serve as senior curator of American art, overseeing the American art program. Michael Rooks, who joined the High in 2010, is now the Wieland Family senior curator of modern and contemporary art. To support the growth of their respective departments, Jentleson and Rooks will expand their staff with new curatorial hires.

BOHIO — The Cleveland Museum of Art (CMA) announced a challenge gift of $25 million from CMA board chair Ellen Stirn Mavec through the Kelvin and Eleanor Smith Foundation. Mavec’s Chair’s Challenge was developed to inspire continued philanthropic momentum for the museum and establish funding for key initiatives in its strategic plan, “For the Benefit of All the People.”

There are four components to the support the museum has received from the Kelvin and Eleanor Smith Foundation. These include $15 million in funding for the CMA’s exhibitions program and $2.5 million for the museum’s landscape master plan. Those two elements represent the final chapters of the $25 million gift. In addition, the foundation has contributed $5 million to permanently fund the position of curator of decorative arts and support the curator’s work and $2.5 million toward the renovation of the museum’s north lobby, both of which were announced earlier this year.

The CMA’s internationally recognized exhibition program is instrumental in drawing new audiences, advancing scholarship in the history of art, engaging the public and telling stories that the museum’s permanent collection cannot do alone. Special exhibitions in Cleveland often draw on the breadth and depth of the CMA’s permanent collection and complement them with works on loan from other institutions and private collections. The caliber of the museum’s exhibitions makes the CMA one of the most respected museums in the world.

lection; as well as contemporary sculpture on the museum’s north lawn.

The Fine Arts Garden transformed the outdoor space once known as Wade Park into a garden for all the public to enjoy. While the CMA’s grounds have expanded with the Nord Family Greenway, East Bell Commons and the Smith Family Gateway, some of the earlier elements of the Fine Arts Garden and museum grounds require repairs, updates and maintenance. The support of the Kelvin and Eleanor Smith Foundation provides momentum for all those initiatives.

Collection in London, has been designated Ellen S. and Bruce V. Mavec curator of decorative arts.

The remaining chapter of the Chair’s Challenge includes $2.5 million for updates to the Horace Kelley Art Foundation North Lobby and the Susan M. Kaesgen Education Gallery and Lobby. The renovations create opportunities for students and other visitors to engage with the museum’s Education Art Collection, enable the CMA to develop student- and communitycurated exhibitions and provide updated accommodations for the entry of large groups. All this will help the CMA to realize an important ambition articulated in its strategic plan: to welcome 100,000 pre-K through grade-12 students annually.

onhams announced the appointment of Robin Starr as general manager of Bonhams Skinner. In her new role, Starr is responsible for overseeing the overall performance and operations of Skinner across its two salerooms in Marlborough and Boston, Mass. Starr has been an integral part of Skinner since 1987, demonstrating exceptional dedication and expertise throughout her tenure. Most recently, she served as vice president and director, American and European works of art. Under her leadership, this department has flourished into a highperforming and cohesive team servicing a broad collecting community throughout New England and beyond.

The Seattle Art Museum (SAM) announced that Scott Stulen has been chosen as the museum’s new Illsley Ball Nordstrom director and chief executive officer. With a unique background as an artist, Stulen is known for his transformative approach to museum practice, a deep commitment to inclusivity and a focus on art as a means to increase civic engagement. He will officially begin his new role at SAM on August 26. In his role at SAM — comprising the downtown Seattle Art Museum, the Seattle Asian Art Museum in Volunteer Park and the Olympic Sculpture Park on the Seattle waterfront — Stulen will oversee the institution’s wide-ranging artistic and educational programs and staff of more than 300 people.

The $2.5 million portion of the Kelvin and Eleanor Smith Foundation’s gift for the CMA landscape master plan supports the ongoing development of the museum’s historic grounds and adjacent Fine Arts Garden. Since its dedication in 1928, the CMA’s Fine Arts Garden has become a place for the exhibition of sculpture, including Chester A. Beach’s “Fountain of the Waters”; Auguste Rodin’s “The Thinker”; a bronze sculpture in the CMA’s col-

The foundation’s leadership gift also includes $5 million to fund the position of curator of decorative arts and support the curator’s work in such essential areas as exhibitions, research, scholarship and outreach. This contribution — announced earlier in 2024 as part of a series of gifts supporting key curatorial, conservator and administrative positions — is the first of its kind, combining funding for the curatorial position with financial support for the curator’s efforts.

The CMA’s decorative arts collection is internationally renowned, both for its quality and its diversity. Ada de Wit, who joined the museum in August 2023 from the Wallace

The Chair’s Challenge for the lobby renovation was met with support from numerous other donors, including Jon and Jane Outcalt, James and Susan Ratner, the Sauerland Foundation. In total, the Chair’s Challenge for the lobby renovation has inspired full funding for the project, allowing the museum to complete the project free of debt.

The Cleveland Museum of Art is in the University Circle neighborhood. For information, 888-262-0033 or

Artists & Mothers $25,000 Grant Assists New York City Artists With Childcare

NEW YORK CITY — New York’s nonprofit Artists & Mothers has announced an eponymous $25,000 grant in support of New York Citybased artists identifying as mothers. The funds are meant to cover the cost of nine months of childcare and are awarded to emerging or midcareer artists parenting a child under the age of three.

“It has become increasingly prohibitive for artists to balance the demands of raising children, both financially and logistically, while maintaining the space needed to think creatively and remaining committed to their practices. With little to no public options for childcare before the age of three, too often mothers are expected to pause their careers in order to fulfill their obligations as caretakers,” wrote the organization on its site. “Artists & Mothers recognizes the compromises artists are faced with in the early years of parenthood and seek to provide support at a crucial time in a mother’s personal and professional development.”

New York–born artist Carissa Rodriguez has been named the grant’s inaugural recipient. A founding member of the collaborative Reena Spaulings Fine Art, of

Carissa Rodriguez. Photo: Artists & Mothers.

which she was a core member from 2004 to 2015, Rodriguez is known for work exploring the social and physical conditions amid which art is made and consumed. “I am grateful to Artists & Mothers for recognizing that social reproduction — or more simply put, the care work that holds us together as families and communities — is a vital part of what makes art possible,” Rodriguez said in a statement. “By addressing the crisis of care that so many of us are experiencing, Artists & Mothers stepped in to provide much-needed support that the professional sphere has long overlooked.”

Artists & Mothers was cofounded by arts consultant Julia Trotta and artist and filmmaker Maria de Victoria. The nonprofit’s board includes gallerist Bridget Donahue, artists Camille Henrot and Maia Ruth Lee, and arts professionals Elizabeth Karp-Evans and Sarah Goulet.

Calendar Of Advertising & Editorial Deadlines

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August 2024

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Aug. 30 Labor Day • Sept 2

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Blue Velvet Ralph Lauren Sofa Sits At Top For Old Kinderhook

VALATIE, N.Y. — Old Kinderhook Auction Company conducted its two-day Bored on the 4th of July auction on July 2 and 3. Day one offered American art, fine frames and myriad

ephemera, while day two was a mix of gold, electric lighting, outdoor furniture and outsider art, among others. Leading both days was a Ralph Lauren blue velvet sofa sold on day

two, which sat pretty for $5,625, more than nine times its high estimate. It had a matching loveseat, which sold for $3,250, the fourth highest price on the second day. The sofa — which measured 33 inches high, 94 inches wide and 44 inches long — was a three-seat piece on casters, accompanied by four pillows and listed as in “overall good condition.” The highest selling lot from day one was Gilles Gorriti’s (French, 19392019) oil on canvas “St Tropez,” which sailed in at $5,000. More highlights of the two-day sale will be featured in an upcoming issue.

Alex Cassie, Antiques Dealer & Historian, 73

Amelia Jeffers

Plethora Of Fabulous Finds 11


Classic Cars, Art, Photography, Jewelry 9

Kaminski Auctions

Contents Of Grand Boston Brownstone 27


Out Of The Ordinary Ephemera & Photos 24

Winter Associates

Paintings, Prints, Jewelry, furniture, etc 3

Every Tues Coventry, CT Weston’s 56 Every Thurs Golden Gavel............54

Thru 30-31,Jul Hakes 3C Thru 22,July Estate Sales of Vermont 50 Thru 31, Antique American Clocks 48 11-21, William Smith 54 12, July Jewett City, CT Leone’s Auction 2 13, July Thos Cornell Galleries 2 15-17, July Michaan’s 55 17, July Bruneau & Co 45 18, July Eldred’s 54 18, July New England Auctions 4C 18-20, Clars 43 19, July Michaan’s 55 20, July Galleries 56 20, July Public Sale Auction 42

11-13, July...............Brimfield, MA 7 11-27, July..............Providence, RI 27

14, July Milford, NH 3

20, July Dover, NH 13

20, July Dover, NH 33

20, July Westmoreland, NH 9

20-21, July...............Rockport, ME 38

Submitted by Gary Hume BOSTON — Historian, antiquarian, classicist, historian of Nineteenth Century Boston, antiques dealer, real estate investor, night club owner and all-around bon vivant succumbed to a longterm illness on June 8, 2024. A graduate of Brandeis University and a life-long resident of Boston and Maine, Alex possessed an effervescent intellect, an infectious charm and the inerrant eye of a connoisseur. Alex had many friends in the antique world and was an avid dealer and participant in Brimfield (Mass.) each season. He was much loved, admired and will be sorely missed...

20, July

Schmidt’s Antiques 52 20-21, Auctions 49 21, July

Burchard Galleries.......53 21, July

Butterscotch Auction 2 21, July

Butterscotch Auction 46 21, July SJ Auctioneers 54 22, July Winter Associates 47 22, July Pig Auctions 44 23, July SJD Auctions 56 24, July Kodner 42 24, July County Auctions 2 24, July South Bay Auctions 56 24-25, Santa Fe Art Auction 2C 26, July Jewett City, CT Leone’s Auction 2 26-27, Amelia Jeffers 51 27, July La Belle Epoque 55 27, July




23-24, Aug Litchfield County Auctions 2 8, Sept Tremont Auctions 56 25, Sept County Auctions 2 13, Nov County Auctions 2

27-28, July.............Middletown, RI 15

27-28, July ...............Chantilly, VA 23 28, July Bath, ME 13 28, July Milford, NH 3 4, Aug Lawrenceburg, IN 11 4, Aug Milford, NH 3 5, Aug Deerfield, NH 13

8-10, Aug Manchester, NH 5

8-11, Aug Atlanta, GA 9 8-11, Aug Atlanta, GA 11 12-18, Aug Bouckville, NY 12 24, Aug Westmoreland, NH 9 31, Aug-1, Sept......Stormville, NY 2 1, Sept Lawrenceburg, IN 11 3, Sept Brimfield, MA 2 5-7, Sept Brimfield, MA 7 14, Sept Westmoreland, NH 9 21-22, Sept Chantilly, VA 23

8, Oct Lawrenceburg, IN 11 12-13, Oct Stormville, NY 2 2, Nov Stormville, NY 2 2-3, Nov Chantilly, VA 23 30, Nov-1, Dec.......Columbus, OH 9 30, Nov-1, Dec.......Columbus, OH 11

Submitted by tHe Family

Neil Montgomery Orkney, Antiques Dealer, 72


Neil Montgomery Orkney passed away at his home in St Petersburg, on June 17, 2024. He was born May 23, 1952, in New London, Conn., to James and Ethel Marian Merritt

“Mimi” Orkney, growing up on Circle Avenue in Groton, Conn. He graduated from Fitch High School and attended the University of Connecticut at Storrs, where he was a Fine Arts major, studying to be a symphony double bass player.

Neil’s true passion took him elsewhere, however. Even in college, he was buying and selling antiques. He had been arranging room settings in his parents’ basement since he was a teen. In 1972, Orkney and Yost was established with his business partner and soon-to-be wife, Carolyn. They operated the business in Franklin, Conn., from 1979 to 1985. In 1985, they opened their antiques shop on Water Street in Stonington Borough, Conn.

Neil learned his craft from the greats, chief among his mentors, Zelenskyy and Phil Liverant of Colchester, Conn. What he didn’t learn from others, he researched. His library on antiques, textiles (especially Persian rugs), paintings, jewelry and artifacts from all over the world was extensive. His knowledge across so many types of material was encyclopedic, unusual in the day of specialization. Neil’s success came from his ability to light the imagination of clients, teaching all about each piece and how it was part of families back in time.

In the late 1990s, Neil’s interests expanded from American antiques to those from Europe. For several years, he made annual trips to France to find treasures to ship back to Stonington. In 1997, he became sole proprietor of the business and,

in 2007, he relinquished involvement with the Stonington shop. Already a resident of Florida, he established Orkney & Company and exhibited at shows throughout Florida, Georgia and North Carolina and in antique galleries in St Petersburg and Orlando. He loved Treasure Island, Fla., where he made his home starting in the early 2000s. Neil loved to travel and took many cruises in the Caribbean, where he enjoyed scuba diving. He traveled extensively with his second wife, Julie, throughout Europe. He practiced tai chi and studied herbal medicine. He was an exquisite chef, studied at Johnson and Wales, and invented his own recipes. At the age of 60, Neil took up ballroom dancing, competing in the Fred Astaire International Competition in Las Vegas, where he won several awards.

Due to declining health, he closed his business in 2023, less than a year before he passed away. Neil was predeceased by his parents and is survived by brothers Glenn (Anne) and Gary (Sandra “Sally” Sharp) Orkney and sister Hope (Peter) Walencewicz. In addition, he leaves behind his first and second wives, Carolyn Yost and Julie Olson; his niece, Heather Orkney Swann; nephews Gareth, Christopher, Eric (Lara) Orkney, and countless friends. Neil called himself a feminist and helped many women during times of need. Donations in his name can be made to a local women’s shelter.

Julie Olson shared a few memories of Neil:

In the early days in Franklin, money was tight and his well went dry. He happened upon a painting and pin of a New London (Conn.) sea captain, circa 1840. When he went to sell it to another dealer and was asked, “What do you need to get for it?” to which he replied “$5,000” —

Gottlieb Collection Kicks Off Trio Of Sales For Lark Mason

the exact amount he needed to dig the new well. Though he’d paid much less for it, it later sold for much more in New York.

When Neil did shows, he was often asked to dinner by the other dealers. Neil was fundamentally an introvert. He turned them down, not because he didn’t like them, but because, after a day of talking with clients, he’d “run out of spit” and needed solitude.

While in Istanbul, Neil went to a multistory rug store near the Blue Mosque. Talking with a junior associate, he couldn’t resist asking him about a par-

ticular rug. When the man failed in his explanation and Neil taught him its origin based on the knots and composition, Neil was quickly whisked to the top floor to meet the owner. After hospitality over Turkish coffee, the owner shared that he’d done a show in Boston the previous year. Neil said, “You didn’t do well, did you? You see, in Boston they already have the rugs and just want to see how much theirs are worth. Try the International Antiques and Jewelry Show in Palm Beach,” which the dealer did the next year to much success.

(East Meadow, N.Y.) Art Glass In The Spotlight For World Auction Gallery

(Larchmont, N.Y.) Clarke’s Late June Auction Offers Solid Selection For

(Thomaston, Maine) Thomaston Place Early Summer Sale Is Splendid,

(Beachwood, Ohio) Neue Auctions

(Dallas) Heritage’s White Glove Strutz Sale Breaks Multiple Records, Earns

(Chevy Chase, Md.) Fine

(Glen Cove, N.Y.)

(Savannah, Ga.)

(East Dennis, Mass.) Books &

(Copake, N.Y.)

(Dania Beach, Fla.)

(New York City) A

Work In NYC 7 (Providence, R.I.) Women In Japanese Art Are “Defying Boundaries” At New RISD Museum Exhibition 7 (Boston) Salvador Dalí Exhibition At MFA Boston Explores His Engagement With Art Of The Past 8 (Kansas City, Mo.) Nelson-Atkins

(Boca Raton, Fla.)

(Cambridge, Mass.)

(New York City)

Eighteenth Century Chinese Robe Reveals Its Value In Kodner Sale

DANIA BEACH, FLA. – An Eighteenth Century Chinese midnight-blue silk embroidered robe revealed its value in Kodner Galleries’ July 1 estate jewelry, silver, art and collections sale, ignoring its $600/800 to sew up a final price of $3,780, including internet buyer’s premium. Decorated with crane and butterfly medallions, floral patterns with scrolling sea and a rainbow bottom, the robe was 53½ inches long. Ignored, too, were some condition issues; the shoulder tops and neck were torn and shredded, some button holes were gone and the robe’s interior silk was stained. A follow-on review will discuss additional sale highlights.

Etruscan Artifacts In The Bowdoin Collection

Black-figure “Eye Cup” or Kylix, Greek (Attica), from Caere (Cerveteri), Etruria, circa 530-520 BCE, clay. Gift of Edward Perry Warren, Esq., Honorary Degree, 1926. 1913.7.


On view at the Bowdoin College Museum of Art through February 9 is “Etruscan Gifts: Artifacts from Early Italy in the Bowdoin Collection.” The exhibition draws from artworks at the museum and explores the origins of Etruscan civilization, contacts with the Phoenicians, Greeks and contemporary cultures in ancient Italy, and their wider legacy.

What we know of the Etruscans comes from ancient writers, who often were rivals and adversaries, and from the archaeological record. These sources document a culture that emerged in central Italy at the end of the second millennium BCE that was entirely distinct from its neighbors.

At their zenith in the sixth century BCE, the Etruscans controlled much of the Italian peninsula from the Po River valley in the north to the Bay of Naples in the south. Importantly, this included the nascent city of Rome. Here, the Etruscans helped create the urban fabric of the city and established many religious and political institutions that survive to this day.

The exhibition is made possible with generous support from the Stevens L. Frost Endowment Fund for the Bowdoin College Museum of Art.

The Bowdoin College Museum of Art is at 9400 College Station. For information, 207725-3275 or www.bowdoin. edu/art-museum.

Vintage Wall Art Proudly Prevails At Copake Estate Auction

COPAKE, N.Y. — Peacocks — loaded with symbology since ancient times from beauty to protection, thanks to their feathers’ iridescent “eyes,” to power, strength and confidence — were the subject of Louis J. Rhead’s (1858-1926) poster advertising Le Journal de la Beaute, an early weekly, large-format French fashion/beauty magazine. The 34-by-62-inch poster, shown here with Copake Auctions’ co-owner Mike Fallon, was offered at the firm’s July 6 estate sale with an $800-$1,200 estimate but did much better, unfurling to a $4,200 finish, including buyer’s premium, and going to a gentleman bidding in the gallery. Rhead was an English-born American illustrator of the Golden Age who gained an international reputation. A follow-on review of this sale will feature more highlights.

Dzubas Abstract Soars At Case


“High Pass,” a magna acrylic on canvas painting by Friedel Dzubas (American, 19151994) was the star of Case Antiques Auctions & Appraisals’ two-day Summer Fine Art & Antiques auctions, July 6-7. Exhibited at M. Knoedler & Co in New York City in 1997 and with provenance to the Nashville, Tenn., estate of Richard J. Eskind, the colorful composition carried an estimate of $78/82,000 but interest and competition from phone, online and absentee bidders took it to $158,600 from a phone bidder. It was the top lot of nearly 1,100 lots, of which nearly 98 percent found buyers. Prices quoted include the buyer’s premium as reported by the auction house. A more extensive auction review will appear in an upcoming issue

‘Truth Told Slant: Contemporary Photography’ On View At The High

ATLANTA, GA. – Running to August 11, “Truth Told Slant: Contemporary Photography” at the High Museum examines a recent shift in how photographers have taken on the challenge of making meaningful images of the world around them. Rather than using the traditional documentary approach of dispassionate observation, they work in a stylistically expressive manner akin to literary nonfiction, weaving between observational and narrative modes while embracing their own subjectivity.

The title of this exhibition, which is inspired by an Emily Dickinson poem, accentuates the sidelong and deeply personal approach these artists use to make sense of the current social and political landscape. The five artists gathered here — Jill Frank, Rose Marie Cromwell, Zora J Murff, Kristine Potter and Tommy Kha — consider issues that documentary photographers have grappled with for decades and that remain pertinent today. They explore topics of American life, such as race and inequality; identity and sexual orientation; immigration and globalization; youth and coming of age; climate change and environmental justice; and the pervasiveness of violence, to reveal deeper truths and reframe prevailing narratives in a manner that is

more felt than didactic.
The High Museum of Art is at 280 Peachtree Road NE, For information, 404-733-4400 or
“Knoxville Girl,” 2016, Kristine Potter (American, b 1977), gelatin silver print, High Museum of Art, Atlanta, purchase with funds from Wanda Hopkins, 2022.52


Historic Homes & Properties

16 Recipients In 15 Towns Receive Funding—

The 1772 Foundation Awards Grants To Connecticut Historic Preservation Organizations

MACON, GA. – The 1772 Foundation, partnering for a 14th year with Preservation Connecticut, awarded historic preservation one-for-one matching grants totaling $134,000 to 16 private nonprofit organizations maintaining historic sites in Connecticut. The grants ranged in amounts from $2,500 to the grant maximum of $10,000, which eight organizations received.

Grants were provided for exterior work: painting; surface restoration; fire detection/security systems; repairs to/restoration of chimneys, porches, roofs, and windows; repairs to foundations and sills; and masonry repointing. Preservation Connecticut staff with an in-depth knowledge of Connecticut’s heritage organizations reviewed applications, made site visits to evaluate the projects and will manage the grants.

Ethiel Garlington, executive director of The 1772 Foundation, recalled, “Our founder, Stewart Barney Kean, fell in love with historic preservation through the act of restoration. He appreciated the materials and workmanship of historic buildings. More importantly, he recognized the value of maintenance, repairs and upgrades to ensure historic places survive for the next stewards. These grants exemplify his spirit and love of historic preservation.”

Grant recipients were Amity & Woodbridge Historical Society (Thomas Darling House, Woodbridge); Avery-Copp House Museum (Carriage House, Gro-

ton); The Center for Woodstock History (Dean Memorial Building, Woodstock); Connecticut Landmarks (Phelps-Hatheway House, Suffield); Darien Historical Society (Bates Scofield House, Darien); the Farmington Historical Society (Gridley-Case Cottages, Farmington); the Haddam Historical Society (Thankful Arnold House, Haddam); the Mather Homestead Foundation (Darien); Music Mountain (Gordon Hall, Falls Village); Norfolk Foundation (Royal Arcanum Building, Norfolk); the Rockfall Foundation (Captain Benjamin Williams House, Middletown); Seabury

of the

Wethersfield); Wilton Historical Society (Lambert House, Wilton); and Windham Preservation Inc. (Windham Inn, Windham). Grants were also awarded in each of the other five New England states and in Georgia.

Margaret Waldock, president of The 1772 Foundation, commenting on the importance of the matching grants, said, “These bricks and mortar grants across New England and Georgia prove that small investments can have transformational results. Our statewide partners continue to demonstrate the power of historic preservation in communities in seven states. We are in awe of their work and the work of the grantees saving these fascinating places.”

The 1772 Foundation was named in honor of its first restoration project, Liberty Hall in Union, N.J., which was built in 1772 and is the ancestral home of the Livingston and Kean families. The late Stewart B. Kean was the original benefactor of The 1772 Foundation. The 1772 Foundation works to ensure the safe passage of historic assets to future generations. For more information,

Pennsylvania Historical & Museum Commission Awards 44 Keystone Historic Preservation Grants

pHotos CouRtesy pHmC HARRISBURG, PENN. — The Pennsylvania Historical & Museum Commission (PHMC) has awarded $2.18 million in Keystone Historic Preservation Grants to help historical and heritage organizations, museums and local governments in 22 counties. The commission awarded 44 grants selected from 113

applications. Grant amounts ranged from $5,000 to $25,000 for project grants and $5,000 to $100,000 for construction projects. All grants require a 50/50 cash match and were awarded through a competitive selection process.

“We’re thrilled to announce this year’s grantees for this critical funding that supports preservation work across the Commonwealth,” said PHMC executive director Andrea Lowery. “Projects range from restorations of a World War I memorial in Munhall Borough (Allegheny County) and the Slate Hill Cemetery in Lower Makefield Township (Bucks County) to masonry restoration at Presque Isle Light Station (Erie County) and structural stabilization of the original 1850 farmhouse and barn at Quiet Valley Living Historical Farm in Stroudsburg (Monroe County). From bank barns to penitentiaries and Eighteenth Century Quaker meetinghouses to Twentieth Century synagogues, the preservation of these resources is key to ensuring the legacy of Pennsylvania’s rich history.”

Keystone Historic Preservation Grants provide funding to support projects that identify, preserve, promote and protect historic and archaeological resources in Pennsylvania for both the benefit of the public and the revitalization of communities. Funding also supports municipal planning initiatives that focus on historic resources or may be used to meet building or community specific planning goals. The

Congregation Rodeph Shalom, Philadelphia.

program also supports construction activities at resources listed or eligible for listing in the National Register of Historic Places.

These grants receive funding from the Keystone Recreation, Park & Conservation Fund. This fund is supported annually from a portion of the state realty transfer tax revenue.

The Pennsylvania Historical & Museum Commission is the official history agency of the Commonwealth of Pennsylvania. For more information, and the full list of grant recipients,

Compiled by madelia HiCkman Ring
Society for the Preservation of the Glebe House, Inc. (Woodbury); Society
Founders of Norwich (Joseph Carpenter Silversmith Shop, Norwich); Webb Deane Stevens Museum (Joseph Webb House,
Phelps Hatheway House, Suffield, Conn. Photo courtesy Connecticut Landmarks.
Bates Scofield House, Darien, Conn. Museum of Darien photo.
Royal Arcanum Building, Norfolk, Conn. Photo courtesy of Historic Buildings of Connecticut.
Lambert House, Wilton, Conn. Photo courtesy Wilton Historical Society.

San Antonio Museum Of Art Announces New Acquisitions


The San Antonio Museum of Art (SAMA) announces its most recent acquisitions. The group includes contemporary works by Lynn Aldrich, E.V. Day, Matthew Angelo Harrison and Carlos Rosales-Silva; paintings by Cleve Gray and Thomas Sully; a significant group of textiles and silver jewelry made by the Miao people of China; and “The Sanno Festival at Hie Shrine,” an eight-fold screen from lateSixteenth-to-early-Seventeenth Century Japan. The acquisitions also include a collection of 43 photographs by nine artists produced circa 1860–2019. The major gift from Roger Hartl, MD, further enhances SAMA’s significant photography collection, expanding the Museum’s holdings of major Twentieth

“The Sanno Festival at Hie Shrine,” Japanese, late Sixteenth to early Seventeenth Century, ink, color, mica, cut gold leaf and gold leaf on paper. Overall: 54½ by 158 inches. San Antonio Museum of Art, gift of Leighton and Rosemarie Longhi in honor of Emily Sano, 2024.6.

Century photographers Larry Colwell, Leonard Freed, Nathan Lerner, Bill Owens and George Rodger and adding important

representation of color photography and contemporary photographers, including Matthew Pillsbury and Abelardo Morrell.

“The acquisitions announced represent SAMA’s thoughtful work strengthening existing areas of our encyclopedic collec-

Morris Museum Presents ‘Maureen Chatfield: Journey and Destination’

MORRISTOWN, N.J. —The Morris Museum presents an exhibition of New Jerseybased artist Maureen Chatfield. “Maureen Chatfield: Journey and Destination” features large-scale works that she renders using broad brush strokes and vibrant colors in a unique blend of Abstract Expressionism and Bay Area Figurative painting. The exhibition will be on view through August 18.

In this exhibition, works drawn from Chatfield’s extensive oeuvre investigate journeys remembered and destinations experienced. Oversized oil on canvas paintings dating from 1999 to 2002 are from the artist’s self-titled “Out of My Mind” series, in which visual narratives explore humorous and emotional memories of family outings and travel adventures. These reflections on relationships and universal experiences are exhibited alongside color-

ful landscapes from her “Abstract” series that capture moments of discovery and delight in vistas that are both intimate and

CATSKILL, N.Y. — The Thomas Cole National Historic Site has announced a new exhibition titled “Alan Michelson: Prophetstown” — a solo exhibition of work by the acclaimed artist Alan Michelson (Mohawk member of Six Nations of the Grand River) — which will open on Saturday, July 20, as part of Upstate Art Weekend, and run through December 1, at the Thomas Cole National Historic Site.

“Alan Michelson: Prophetstown” is a siteresponsive solo exhibition presented throughout Thomas Cole’s Nineteenth Century home and grounds. Addressing, from an Indigenous perspective, history, landscape, ecology and their many intersections, the exhibition includes a room-size installation of “Prophetstown” (2012) as well as other video and mixed media works installed in conversation with the historic house, collections and landscape.

Titled after the community on the Wabash founded in 1808 by Tecumseh and his brother Tenskwatawa (aka the “Prophet”), “Prophetstown” is both an homage to their movement to unite the tribes against settler encroachment, and a critical engagement with American culture and history. Featuring paper models overlaid with texts or other treatments, “Prophetstown” mixes fictional references — the log cabin in Thomas Cole’s 1847 painting “Home in the Woods,” for example—– with historical ones like a facsimile of the illicit 1809 Treaty of Fort Wayne.

“Thomas Cole and followers responded to the beauty of Turtle Island (North America) with beautiful paintings that at the same time hid the ugliness of colonization and its brutal effects, not only on the Indigenous landscape, but on all of the life it supported, human and other-than human,” says Alan Michelson. “As a maker of

“Family Outing” by Maureen Chatfield, 1999, oil on canvas, 48 by 48 inches. On loan courtesy of the artist. Image used with permission.

expansive. Intuition and spontaneity drive Maureen Chatfield’s artistic process, breaking free of convention as experiments in balance and harmony.

Chatfield studied at the Art Students League, New York City, the Pennsylvania Academy of the Fine Arts, Philadelphia, the Fashion Institute of Technology and Hunter College, New York City. Chatfield is represented by Cavalier Galleries and George Bilis Gallery. She currently teaches landscape painting at the Hunterdon Art Museum in Clinton, N.J.

The Morris Museum is at 6 Normandy Heights Road. For information, 973-9713700 or

Antiques of all kinds. Will buy for cash or will sell on consignment –no lot too large or too small.

19 inches (length) by 17¼ inches (width) by 31 inches (height). Courtesy the artist.

site-specific work that connects history to landscape, having my work exhibited at the site where Cole created his is extraordinary.”

“For nearly three decades, Alan Michelson has been bringing repressed histories to light, centering the important themes of land and place,” says Elizabeth B. Jacks, executive director of the Thomas Cole National Historic Site. “We are excited and honored to share this extraordinary artist’s work here at Thomas Cole’s home.”

An opening celebration with the artist will be held at the Thomas Cole Site on Saturday, July 20, from 4 to 6 pm in conjunction with Upstate Art Weekend.

The Thomas Cole National Historic

518-943-7465 or

tion, focusing in particular on our contemporary and photographic holdings, while also providing new opportunities to engage our audiences with narratives across time, culture and geography,” said Emily Ballew Neff, PhD, The Kelso director at SAMA. “We look forward to presenting these works in our galleries in the future.”

The San Antonio Museum of Art is at 200 West Jones Avenue. For information, 210-9788100 or

large 3 tier painting, other art, very tall stainless candles, beautiful clothing and accessories, Sharpe flatscreen TVs, portable generator, firewood, Janus & Cie outdoor furniture, tons more.

DIRECTIONS: Hutch S to Exit 12, right on Mamk Rd.,Right on Canterbury Rd., right on Leatherstocking Lane.

“Prophetstown: Cherokee Phoenix Print Shop” by Alan Michelson, 2012, handmade paper, archival ink, archival board and balsa wood,

Designer Fashion & Couture

Sunday, July 28th at 10 am

Previews: Wednesday 24th - Saturday 27th  10am-3pm & Sunday 28th  8-10am or in advance by appointment.

Tremont Auctions is pleased to present a single owner collection of fine couture, jewelry and accessories including handbags, shoes, clothing and scarves from labels including:

Chanel, Louis Vuitton, Versace, Rene Caovilla, Gucci, Jimmy Choo, Prada, Givency, Manolo Blahnik, Christian Louboutin, Bottega Veneta, Valentino Garvani, Ferragamo, Bulgari, Tod’s, Dolce & Gabbana, Yves St Laurent, Max Mara, Tahari, Ralph Lauren, Ungaro, etc. Most items are unworn with many original boxes, labels and price tags.

Catalog online. Bid at our website, in person at the gallery, or at liveauctioneers nvaluable i

615 Boston Post Road, Sudbury, MA 01776

Tel. 617 795 1678

Massachusetts Auctioneers License #648



INTERNET, PHONE & ABSENTEE BIDDING AVAILABLE MONDAY JULY 22ND AT 4:00PM NOTE EARLIER STARTING TIME! LIVE PREVIEW: JULY 12TH - JULY 21ST from 10am-5pm 867 Route 12 • Westmoreland, NH 03467 603-543-7490 • 413-537-4855 • Email:

Flying Pig Auctions is pleased to present the Estate of Elizabeth “Betty” Rybak of Harwinton, CT in our next online auction! Betty was a lover of collecting antiques and decorating the historic home she & her late husband, Frank, restored. Each room AND a large barn were filled with antique furniture & accessories. Cupboards, blanket chests (the most we have ever seen in one home), tavern tables, chair tables, early chairs, shelves, candlestands, etc… STACKS of treen plates & bowls; Large piles of antique textiles incl linsey Woolsey, wool coverlets & homespuns, hooked rugs, Oriental rugs, & more textiles; Antique iron & tin cookware, fireplace related, etc; LIGHTING & more lighting incl early wooden, iron, tin, etc; Boxes, Buckets, baskets, etc in various sizes & paint; Redware, Yellowware & Stoneware; Pewter; Early sets of china; Early rag dolls & teddy bears; 4 shaved brooms plus other brooms; Mirrors; Frakturs; Portraits & more artwork incl miniature silhouette portraits; I can’t even begin to list all the categories because there are so many! Almost 500 lots in this sale so take note of the EARLY START TIME of 4:00pm! Don’t miss this exciting sale! FULL CATALOG AVAILABLE ON LIVE AUCTIONEERS ON JULY 12TH!

Visit us at Flying Pig Antiques in Westmoreland, NH during shop hours for LIVE PREVIEW: JULY 12TH - JULY 21ST from 10am-5pm This will be an INTERNET ONLY AUCTION featured on 25% buyer’s premium

Fine Jewelry Gurhan Suite Roberto Coin
A selection of fine footwear Chanel, Louis Vuitton and Rene Caovilla
Various Chanel handbags
Louis Vuitton bags and handbags
Loro Piana Ostrich Bottega Veneta Barry Kieselstein-Cord

(French, 1885-1962)




MacMONNIES (American, 1863–1937) Pan


Impressionist-Style Park SceneOil Painting
Jean DUFY Place de la Concorde - Painting


July 22nd at 5:30PM

Paintings; Prints; Jewelry; Silver; Furniture 18th- 20th C. including Eldred Wheeler, Mastercraft & Antique; Asian; Oriental Rugs; Sculpture; Ceramics & Glass; Americana; Clocks; Vintage Textiles, etc.

View catalog online as of July 12th at


Friday, July 19th, 12-4 pm

Sunday, July 21st, 2-4 pm

Monday, July 22nd, 12-5pm or by appointment.

PAINTINGS: Emile Albert Gruppe, Nicola Simbari (2), Luigi P Renault, Linda Nelson Stocks (3), Guy de Montlaur, Robert Emmet Owen, Jane Peterson, William Lester Stevens, Leo B. Blake (2), John R. Mackay, Lillian Burk Meeser, Larry Preston, George L. Nelson, Harry Ballinger, Continental & American miniature portraits (13), etc. PRINTS: Lithographs: Frank Stella, Roy Lichtenstein (3), Georges Braque (2), Joan Miro, Itzchak Tarkay, Alfredo Zalce, Richard Sargent, etc.; Etchings: John H. Twachtman, James Abbott McNeil Whistler, Circa 1800 etchings after Giovanni Benedetto Castiglione (2), Kerr Eby (4), Theo White, Joseph Hecht, etc. JEWELRY: Tiffany & Co. 14K gold cigarette case, 14K charm necklace, platinum & diamond wristwatch, Georg Jensen sterling “Silver Splash” bracelet and necklace & 1904-08 bracelet set with lapis lazuli with birds; 14K rings set with amethyst, pearl, diamond, sapphire cluster, citrine, aquamarine; 14K bracelets, cufflinks, stickpins, antique cameos, etc. SILVER: Flatware: Reed & Barton “Francis I” (74 pcs), S. Kirk & Sons “Old Maryland Engraved” (32 pcs), Carl Poul Petersen (10 pcs), Gorham “Cottage” (12 pcs), etc., other makers Tiffany & Co., Taxco, Christofle, T.M. Mattison, Gorham, Dominick & Haff, Whiting, Reed & Barton, Fisher, Webster, etc. FURNITURE: Eldred Wheeler Tiger maple extendable tilt-top dining table and dining chairs (6), Eldred Wheeler cherry queen tester bed, chest, tall chest, and pair single-drawer stands; Mastercraft by Bernhard Rohne inc. king canopy bed, bureau, wall mirror, pair small chests, armoire and coffee table; 18th C. carved lift top chest; 19th C. pair pew benches, tavern table, work table and painted blanket chests (2); 18th C. inlaid continental side chairs, Art Nouveau Pyrograph desk & chair, Hitchcock chest, 20th C. Renaissance style library table; 20th C. Tiger maple lowboy; Kittinger handkerchief table, etc. AMERICANA: George Washington cast iron “Dumb” stove, Friedrich Heyn carousel horse, Mermaid figurehead form carving, early cow weathervane, stoneware leach jug inscribed 1718, life-size swan decoy, early rocking horse, Hubley doorstops (7), treenware, lusterware, early barrel, etc. ASIAN: Edo/ Meiji pottery vase bearing an Avery Brundage Collection label, oil paintings by Li Shuji, Wang Kun and Lei Zhuhua, carved hardstone pendant, Japanese jardinere 17 ¼” diam., metal and hardstone sculptures inc. (6) Buddha, and carved black-skin Tianhuang type stone, framed embroideries, carved wood wall panels, silver filigree and enamel boxes & figures (4), porcelain, small trunk, etc. ORIENTAL RUGS: Antique Persian Serapi/ Goravan 11’ 9” x 13’ 6” carpet; Antique Caucasian runners (2), Semi-antique Kerman, SW Persian and Caucasian Karabagh & other rugs. SCULPTURE: Paolo Soleri bronze, Javier M. & Victor Villareal bronze ballerinas (5), Hivo Van Teal lucite; terracotta bust, etc. CERAMICS: 12 Royal Doulton Tiffany plates, 12 Royal Vienna type, Ambrosius Lamm for Dresden teacup, softpaste fruit cooler, 65+ pc Haviland dinner service, Staffordshire & Volkstedt figures, Wedgwood Yale 47pcs, Delftware (7), Pilivite & Cie rabbit tureen, slipware loaf dish, Van Briggle Pottery, etc. GLASS: Lalique “Biches” (2), Galle cameo 6 3/8” h.; Steuben 6” h. bird figure, collection of cranberry opalescent cruets & other glassware (40+); cut crystal glassware (2 sets) and serving pieces, etc. CLOCKS: Welch perpetual calendar c. 1860, NY Time Recorder clock c. 1918, Scottish & Continental tall case clocks. MISCELLANEOUS: Vintage purses & accessories, Taos drums (3), coins & Franklin Mint, McKinley-Hobart political mechanical jugate bug pin, Steve Balkin photography featuring Andy Warhol, Robert Indiana, Terry Thomas, etc.

Wang Kun, oil, 51” h.
Lalique “Biches” pair, 6 ¾” h.
Bernhard Rohne for Mastercraft, 6 lots
E. Wheeler cherry stands, tall chest (other chest & tester bed, not pictured)
Japanese pottery, 7” h., Avery Brundage Collection label
12 R. Doulton for T & Co
Li Shuji, oil, 25” h.
Soleri, 25” h.
Guy de Montlaur, oil, 14” h.
Nicola Simbari, 1 of 2 oils
Washington “Dumb” stove, cast iron, 47” h.
Friedrich Heyn, c. 1900, 43” h.
Eldred Wheeler tiger maple dining table & chairs
“1718” Leach jug
14K set with pearls
14K Tiffany case G. Jensen stlg “Splash”, etc.
Frank Stella, ed. 59/75, 16” h.
Roy Lichtenstein 1966 triptych lithos, 24” h.
14K Amethyst & Citrine Platinum, 14K, Diamonds
1 of 5 Villareal bronze dancers
Reed & Barton “Francis I” stlg, 74 pcs
Linda N. Stocks, “Boo”, oil, 16” h., 1 of 3
Antique Goravan, 19’ x 13’
Robert Emmet Owen, oil, 19” h.
Early weathervane, 17” h.
Emile Gruppe, oil, 24” h.
Luigi Renault, 1869, oil, 22” h.

168 West Canton Street, Boston, Massachusetts July 20th and 21st, starting at 11am.

Our July Estates auction features the complete contents of 168 West Canton Street, Boston, MA, a grand brownstone in the heart of the South End. is lifetime collection will be sold online, and items may be picked up on-site. Additions from other Palm Beach and Miami estates includes a selection of Louis Vuitton, Gucci and ne jewelry.

Preview hours at 168 Canton Street, Boston, MA are by appointment Monday through Friday, July 15-19 by calling 508-328-5967 or 561-779-8511.  Transportation of your items is available to our Beverly, MA gallery.

Early 19thC Burl Walnut Secretaire a Abattant
#669 Diana Nicosia, Poppies in Tuscany, Oil on Canvas
Pair of 18thC Italian Arched Pediment Doors

July 11 to Wed. July 24

Antiques, Household, Mid Century Modern, Quality Lighting, Furniture, Old Tools, Vehicles & More

Set of 8 Signed Eero Saarinen Knoll Tulip Chairs, Brass Chelsea Ships Clock, Mel Silverman,Johnny Friedlander, Carol Summers Signed and Numbered Prints, Antique 12” Globe, Maps, Antique Iron Strong Box, Art Pottery, Weems & Plath Brass Ships Clock and Barometer, Ekornes Leather Stressless Chsir, lorna Meaden Pottery, Vtg Mushroom Glass Table Lamp, English Pine Corner Cupboard, Early Pine Cupboard, Cookbook Collection, Cast Iron, (4) Mies van der Rohe Dining chairs, Mark Finn Bronze Snake Sculpture, Rizzatto Design Lighting, Lines, Solimene Italy Plates. The Bridge Co Copper Cookware, AO Blown Glass Vase, Steuben, Tapio Wirkkala, Alvar Aalto Crystal, Lisa Larsen Lion Figure, Wood Sculptures, Lubomir Tomaszewski Stone Bronze Sculpture, Holtkoter Luechten Floor Lamp, Mek-Elek Industrial Lamp, Luceplan Berenice Lamp, Hummel Collection, Noritake China set, Silverplate, Braided Rug, Blanket Boxes and trunks, Quilts, Maple Bedroom Furniture, Pompanoosuc Mills Walnut Coronith Nightstand, Pair Pottery Barn Microfiber SW Chairs, Old Tools, Christmas Decorations, Handmade French Abusson Rug, Sm Utility Trailer, 2007 Hyundai Santa Fe, Northport Troller Aluminum Boat and Trailer, Fritz Monsanto Haitian Artist Oil Painting, Vintage English Leather Gladstone Bag, Collection of Alexander Girard Figures, Rare Large Map of Paris 1959 6’ x 5’ PLAN DE PARIS A VOL

D’OISEAU OURCI OURCE, and More! Estate Sales of Vermont 63 Creek Farm Road, Suite 4, Colchester, VT 05446 • 802-238-9574



Antiques, Art, Oriental Rugs, Ephemera, EarlyPhotography Books, Local Memorabilia, Guitars, Glass & China, Loads of Smalls &More at The Langdell Homestead Barn ~ 697 Isaac Frye Highway Wilton, N. H. (Isaac Frye Highway is North off Route 101 opposite Brookside Gas Station)

Saturday, July 27th 10AM

We are pleased to be offering 400+ items including many rare and unique objects of interest from multiple New Hampshire estates. These wonderful consignments include paintings by famed artists Stanley Woodward, Chauncey F. Ryder, Charles Edward Dixon, Ross Turner and John Constable; rare collection of over 70 Civil War letters and drawings by Master’s Mate Walter H. Davis of Boston who was assigned to the gunboat Kineo; Simon Willard banjo clock; Holy Bible printed in 1795 by Mark and Charles Kerr, Edinburgh; The Boston Chronicles 1768 Volume I printed by Mein and Fleeming; Edo period bronze vase and other Asian figurines; jewelry; furnishings and Much More! This will be a fun-filled auction with something for everyone! For additional information, please see our ad and photos at ID# 26648

Simon Willard Banjo Clock 29”
Vienna Porcelain Plates
Two Miniatures on Ivory
Early American Theorem
Sample of Guitars
Stanley Woodward, Red Barn, Wilton NH
Ross Turner watercolor
Sample of Gold, Silver & Costume Jewelry
H. Capt and Patek, Philippe & Co. Movements
Grisard Vase
Garwin Falls, Wilton NH
Sample of Furniture
Edo Period Vase, Quan Yin & More
John Constable watercolor
Coin Collection
70+ Civil War Letters & Sketches
Chauncey F. Ryder, small o/b
Charles Edward Dixon watercolor
The Boston Chronicles 1768
Busch “Custer’s Last Fight”

Summer Fabulous Finds Auction @ e Warehouse

Featuring 18th century New England furniture, Fine Art including works by Chuang Che, Tunis Ponsen, Tom McClure, Miguel Florido, Rafael Coronel and others, Gold and Silver jewelry, collection of African and Native American items, Sterling Silver including a Ti any Silver kettle, Louis Vuitton steamer trunk, Midcentury Modern furniture by Niels Moller and Norman Cherner, antique Clocks and more.



5138 West Michigan Avenue Ypsilanti, Michigan (734) 434-2660

“Excellence in Acquisition”

2528 30th Avenue North, St. Petersburg, FL • 727-821-1167

Presents Vintage Estate Antiques, Fine Art & Jewelry Auction Sunday July 21, 2024 @ 12 Noon • LIVE AUCTION, Online, Phone and Absentee Bidding

Our Spectacular 500+ Lot Sunday July 21st Estate Antiques, Fine Art, & Jewelry Auction features Rare Antiques, Stunning Fine Art, and Exquisite Jewelry from the partial contents of a Mega Million Dollar Naples, FL Waterfront Mansion and The lifelong collection of 18th and 19th Century Furnishings and Artworks of author Charles and Sylvie Lightfoot, Hoteliers who have lived in over 20 different countries, most recently in Santa Barbara CA next door to the Actress Jane Russell and then FL. PARTIAL LISTING: Late 18th, early 19th C Carved Parlor Mirror and Marble Top Console; Palatial Severs Style Urns & Pedestals; Cherub Garden Statuary; Ornate 18th C Mirror w/ winged Human Figures; Large 19th C French Tremeau Mirror; Levy & Worms French Clock; EN Welch Calendar Clock; Metal Mounted French Marble Top Furniture; French Curios; 6 Pc French Carved Parlor Suite, Rams Head terminals; Massive Carved Oak Desk; Medieval Carved Oak Hall Tree; Oscar Bach Style Console & Mirror; Formal Mahogany Furnishings including an Alfonso Marina Breakfront Bookcase, Sofas and Inlaid Tables, Bar Stools & more; Kittinger Sideboard; Hancock & Moore, Hooker, Lexington, Theodore Alexander Leather Furnishings (Mega Million Dollar Mansion) Theodore Alexander Furnishings; Lexington Leather; Rare Asian Heavy Exquisite Carved Kamagong Wood Parlor Suite; Asian Bronze Buddhas; Hand Wrought Iron Wishing Well; Large Wrought Iron Parrot Cage; Waterford & Baccarat Crystal abound; Loetz, Lalique, Steuben Art Glass; Massive Lladro Collection Inc Jazz Band; Massive Swarovski Collection; Tiffin Westchester Glass; Wedgwood Ascot Dinner Service; Jim Keefer Carved Ducks; Collectors Guitars; Unusual Chandeliers; Japanese Porcelains; Early Satsuma; Canton China; Huge Carved Egg Collection; Limoges Pat Sur Pat; Chinese Carved and Painted Porcelain Plaques; Chinese Round Carved Curio; Palatial Bronze Shiva Nataraj Sculpture; Leaded Glass Windows; Northwest Carvings; Many Estate Oriental Rugs; Large Bronze Basso Style Nude Mermaid Fountain; Western Lobby Posters; Comic Books; MID-CENTURY MODERN: Arlene Erdrich Painted Chairs; Renzo Rutilli Sideboard: 4 Pc. Modern Italian Arper Catifa Dining Chairs; Arnie Jacobson – A. Michelsen Stainless Service; Solingen Gold Flatware; Jean Luce, Shawn Messenger, Salvatore Polizzi Art Glass Vases; 4 Danish Gangso Mobler Bar Stools; Milo Baughman Table & Chairs, Curtis Jere Items; Mink, Raccoon, Silver Fox Furs; Kitty O’Dea, The Irish Sex Kitten, Exotic Dancer Rhinestone Costume; SILVER: .800 German Peacock Decanters; Nathan & Hayes English Sterling Tea Service; Large (heavy) Mexican Silver Trays; Gorham “Etruscan” Sterling; Towle “El Grandee”; JEWELRY: Vast Assortment of Estate Gold Diamond & Gemstone Jewelry to include a stunning 5.68 CTW Diamond Ladies Bracelet & more!

100+ paintings, drawings, prints, sculpture, & ESTATE FRESH ARTWORKS in this sale featuring: Paris France Train Station Art; Andrew Wyeth Limited Edition 10 Calotypes #263, Neil ADAMSON; John James AUDUBON; Hans BELLMER; Sandor BERNATH; Clyde BUTCHER; Orville CARROLL; Dean CORNWELL; Edward CUCUEL; Salvador DALI; Asher EIN DOR; Gary ERBE; Adrien Etienne GAUDEZ; Frank HAWKINS; Henry Coba IDSERDA-VAN DER LEE; Rudolph INGERLE; Harry KERNOFF; Atsushi KIKUCHI; William KING; Walter KRAWIEC; Kurt LARISCH; John Brooke MAGINNIS; Carolann MANCUSO; Amedee Julien MARCEL-CLEMENT; John MCIVOR; Lloyd MCNEILL; Carl MOHNER; Barry NELSON; Katsuyuki NISHIJIMA; Emile PICAULT; Man RAY; Emmanuel ROMANO; G.H. ROTHE; Craig RUBADOUX; Rolf SCARLETT; Emanuel SCHARY; Karen SCHREMMER; Ben STAHL; Catherine STOCKWELL; Wouterous VERSCHUUR I; Grazina VITARTAITE; Jim WIDDOWS; G.W. WHITAKER; Robert WOOD; Andrew WYETH; Hiroshi YOSHIDA; Luis PERSSOL; and more.

Lots are being updated daily, check back online for more photos, descriptions, etc.

Live Auction & Online, Live Preview (with Social Distancing, masks

Preview: July 19, 1-6pm; July 20, 1-5pm; July 21, 10am - all day • Watch for upcoming Gallery Tour Videos •

1478) Levy and Worms Mantle Clock Lightfoot Collection
1003) Limoges Portrait of Famietta by Riffaterre

— Over 1000 lots each week — Please visit to view photos or visit and search our Auctionzip Auctioneer ID#: 2791 Email with questions:

Always accepting quality consignments for our auctions. Call to discuss. We offer a full auction service and will sell anything of value for you.


Thursday, July 11th at 5:00pm AUCTION CLOSES: Sunday, July 21st at 6:00pm

Join us for Preview Friday, July 19th from 10:00am to 4:00pm

Over 450 lots of 20th Century Design, Artwork, Sculpture, Jewelry, Modern Furniture, and much more!

Auction to include: Cartier, Tiffany & Co., Domminck & Haft, Jose Hess, Emile Delaire, Gorham, Movito, Reed & Barton, Watson, Wallace, Wm B Kerr, Sackermann Hessenberg & Co, Italian Vetreria Murano, Arte, American Flyer, Lionel, Nintendo, Tootsie Toy, Buddy L, Matchbox Lesney, Steuben, Brio

lots to be offered in our Friday, July 19th Gallery Auction.

(American/Californian, 1859-1939)


July Gallery Auction

Friday, July 19th at 10 am


Sunday, July 14th, 10 am - 5 pm

Thursday, July 18th, 10 am - 5 pm

Friday, July 19th, 9am - end of auction

July Annex Auction

Monday, July 15th; 9 am

Tuesday, July 16th; 9 am

Wednesday, July 17th; 9 am


Sunday, July 14th, 10 am - 5 pm

Monday, July 15th, 9 am - 5 pm

Tuesday, July 16th, 9 am - 5 pm

Wednesday, July 17th, 9 am - end of auction

To view a catalog or to download Michaan’s app to bid online visit

Chinese Ming Style Bronze Seated Buddha.
Sapphire, 18k Yellow Gold Bracelet.
Louis XVI Style Marble Top Commode, After Riesener.
Rolex GMT Master Ref. No. 16753.
Clodion Pair of Figural Candelabra.
Siebe Gorman & Co Diving Suit.
Chinese Carved Jade Rhyton Vase.



& Day of Sale 12 Noon-Sale Time (SALE IS LIVE & ONLINE AT WWW.LIVEAUCTIONEERS.COM) 179 Temple Hill Road New Windsor, NY 12553

PAINTINGS & ORIGINAL ARTWORK. Jane Peterson; Attr. to Diego Rivera; Peter Max; Patty Nelson Sullivan; Keith Haring; Robert Angeloch; Hans Hoffman; Tomasz Rut; Philip Edward Masey; L.S. Lowry; A.C. Boyd; Ken Buma; SIGNIFICANT WORKS ON PAPER: Gainsborough original engraving; Thomas Moran etching, sgd.; Andy Warhol; Joan Miro; Salvadore Dali; Jesus Fuertes; Victor Spahn; W. Dendy Sadler; Steve Szynal; Mihail Chemiakin; Alfred Gockel (2); Hubert Wilm; Jeff Leddy; Emile Bellet; Csaba Marcus; Linda Le Kniff (2); Jim Davis; Karl Schmidt Rotloff woodblock. BRONZES: Several Vienna bronzes; by or in the manner of D. H. Chiparus; Moignez; Milo; A. Bouzaine; Michel Pellier; MCM and modernist. Outdoor statuary of note. FURNITURE: Hoosier cabinet; unusual large bird cage “building” on custom table; superb oval Oriental table with six seats; Condor oak two door ice box; Deacon’s bench; mirrored hall tree, Fine mirrors and wall sconces. Leaded and other slag glass lamps incl. a pr. of Wisteria boudoir lamps. ORIENTAL incl. a must-see carved wall panel; bronzes; ornate lamps; 18th C. woodblock prints; champlevé bronze vases TAINO COLL. Continuing the sale of noted collection. MORE: Loads of copper of all kinds. Fireplace accessories. Deldare; Limoges French miniatures; sterling; many clocks; sports; Gilhousen & Edward Curtis nitrate photos and photogravures; advertising signs; Naval ship model, HMS Victory; folk art; beer steins; Victorian New England silverplate incl. tipplers, pickle castor etc. This estate was just loaded. Something for everyone in this very diverse auction.


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