ANTIQUES AND THE ARTS WEEKLY

May 17, 2019 — Antiques and The Arts Weekly — 41

Collection Of Sandra Clements,
One Of The First Female Auctioneers

In The Country

Jeff Garrett, owner and auctioneer, with the top lot of the
auction, a marble sculpture of Pharaoh’s daughter holding
the baby Moses in a basket, which sold at $35,840.

Circa 1870, Carrara marble
statue of Eve standing next
to a tree stump holding a
French Kingwood grand piano, Erard, Paris, 1903, in the finely sculpted flowing fab-
Louis XV-style, with gilt-bronze trim and animal claw sab- ric and in the other hand,
ots, in excellent condition, sold above estimate at $19,200. the intact apple at which
she is gazing intently. The
young woman playing a lyre bronze ring handles with lau- unsigned, 58-inch-high
with two children at her side; rel and berry wreaths and sculpture sold at $17,920
dated 1924, the 78-by-40-inch were of museum quality,
signed sculpture realized according to catalog notes. boulle collection.
$22,400. “While furniture is still not Rounding out the top lots
From the Clements collec- where it was,” Garrett said, was a silver-plated Christofle
tion was a charming Pierce “the Clements collection had Malmaison flatware set,
Francis Connelly (1841–1932) some pieces of decorated furni- including 148 pieces that sold
important white marble ture that did well.” For exam- at $9,600, and a surprise lot.
grouping of two Victorian ple, an antique French black “I guess this could be
women dressed in draped marble-topped boulle credenza described as a surprise,” Gar-
gowns and garland wreaths, with tortoise shell and cut- rett said, “but I thought it had
signed on the socle, P.F. Con- brass inlays and bronze trim, great potential.” Coming to
nelly Fecit Flor 1866. The sold at the top of its estimate the block with a $300-500
34-by-21-by-30-inch sculpture for $10,240. “It was museum estimate, a Parisian street
came to the block with a quality, like many items in the scene oil on panel was signed
$6/15,000 estimate but sold collection,” and the doors fea- “P. Ribera,” artist Pedro de Coming to the block with a $300-500 estimate, a Parisian
above estimate at $21,120; tured highly detailed symbolic Ribera (1867–1949) and street scene oil on panel was signed “P. Ribera,” artist Pedro
Connelly studied in Florence images — one of a cherub with stamped verso “Art Gallery de Ribera (1867–1949), and stamped verso “Art Gallery
under Hiram Powers but telescope and world globe, the Gerard.” In a giltwood frame, Gerard,” it sold at $6,400.
gained full recognition in Eng- other a cherub with scepter strong bidding — mostly Jeff Garrett takes a break. The Sevres vase behind him sold
land and exhibited at the and books. online — sent it to a final (one of a pair) at $13,440.
Philadelphia Centennial of An antique French bronze price of $6,400.
1876. console table, with a mala- “Our business model is to offer
Rounding out the top marble chite top, sold at $11,500. The two auctions a year on which we
lots was a striking, circa 1870, circa 1900, 32-by-71-by-32- do a full showcase and include
Carrara marble Continental inch table in the Louis XVI major collections. Our next auc-
statue of Eve standing next to style had fine acanthus, tion will be in November and
a tree stump, holding a finely rosette and laurel and berry will include the estate of Bo Pil-
sculpted flowing fabric over gilt-bronze appliques across grim,” Garrett said. Lonnie
the stump; in her other hand, the frieze, which was center Alfred “Bo” Pilgrim (1928–2017)
she holds an intact apple at by a detailed caryatid mask. was the co-founder of Pilgrim’s
which she is gazing intently. From the Clements collection, Pride, which, at one time, was
The unsigned, 58-inch-high it sold below its high estimate. one of the largest chicken pro-
sculpture sold at $17,920 after Another lot of fine French ducer in the United States. His
competing bids both inhouse furniture went above its estate in Pittsburgh, Texas, is
and online. $4/7,000 estimate to sell at listed as more than $1 billion.
The Clements collection was $10,880. The circa 1860 Prices, with buyer’s premi-
certainly more than marble French boulle writing desk, um, as reported by the auction
sculptures (many of which she signed in the interior drawer, house. For further information,
inherited from her father, “Phillips Of Bristol,” was from www.jgarrettauctioneers.com
Charles W. Clements Sr), a Sandra’s fine and extensive or 214-943-7801.
French Kingwood grand piano
in the Louis XV-style in excel-
lent condition sold above esti-
mate at $19,200. With gilt-
bronze trim and animal claw
sabots, the piano was by
Erard, Paris, 1903.
A pair of antique French
Sevres vases, with hand-
painted cherubs shown paint-
ing in the center of the blue
celeste field adorned with foli-
ate motif gold overlay, was
another featured lot. The pair
sold within estimate for
$13,440. The circa 1870
37-inch-high ovoid form vases Auctioneer Jeff Garrett works the large and lively crowd
were surmounted by fine dore during day one.

Historic Homes & Properties



42 — Antiques and The Arts Weekly — May 17, 2019 Compiled by Madelia Hickman Ring

The historic eucalyptus row, dating to the 1880s, as it appeared in 2013. Branch drop and Ray and Charles Eames standing on the steel frame of their
leaf litter are significant visitor and building risks. The CMP provides policies on manag- house, 1949. The honest expression of the steel components
ing the eucalyptus row. Leslie Schwartz photo, ©Eames Office. demonstrates the modernist enthusiasm for using prefabri-
cated parts and industrial technology for postwar domestic
architecture in the United States. Photo: ©Eames Office.

Getty Conservation Institute & Eames Foundation
Announce Eames House Conservation Plan
LOS ANGELES — The Getty Conser- Arts and Architecture magazine editor to create a long-term conservation strat- dena Architecture, Inc, the GCI and
vation Institute (GCI) and the Eames John Entenza. The Eameses designed egy. At the time, the GCI was beginning Eames Foundation assembled a multi-
Foundation have announced the comple- the house for themselves — they would to develop its Conserving Modern Archi- disciplinary team of conservators, scien-
tion of a comprehensive Conservation live there until their deaths — and tecture Initiative and determined that tists, architects and engineers to tackle
Management Plan (CMP) for the Eames introduced many novel ideas about the Eames House would make an excel- diverse conservation challenges. The
House, which was built by renowned materials, construction and industrial lent inaugural project. severely damaged square vinyl-asbestos
designers Charles and Ray Eames and design. tiles were removed from the living room
is a National Historic Landmark. The The Eames House CMP was a multi- and replaced with vinyl-composite tile
plan provides the framework for the Charles and Ray Eames were emblem- year effort spearheaded by the GCI’s flooring, adding a new moisture barrier
ongoing care, management, conserva- atic of a fresh Southern California Conserving Modern Architecture Initia- system to mitigate damage to the floor.
tion, display and interpretation of the design approach, but they quickly tive team and represents a milestone in The GCI investigated how the Eameses
site, including the house and studio, the became global influencers, leaving a the preservation and protection of the used color and paint in the house, care-
collection of objects in the home and the widespread legacy in the fields of archi- home. Based on an understanding of the fully examining the paint stratigraphy
landscape. The Eames Foundation’s tecture, filmmaking, furniture, graphics significance of the Eames House, both as (paint layers) to record the series of
adoption of the plan celebrates the 70th and exhibition and industrial design. a major work of architecture and as a painting campaigns over the life of the
anniversary of the home’s construction. From its earliest days, the Eames House representation of Charles and Ray house. Research revealed a first-genera-
has attracted worldwide attention as an Eameses’ lives as designers, the Conser- tion paint layer of warm gray created
Nestled into a coastal hill in the Pacific expression of their creativity and design vation Management Plan offers the with pigments possibly tinted by hand,
Palisades neighborhood of Los Angeles, principles. Eames Foundation a critical tool for supporting the foundation’s oral histo-
the Eames House stands as a glass and managing the house. ries of Ray Eames mixing the paint.
steel icon of modern architecture. The The Eames Foundation was founded in Conservators also studied the golden
1949 home and studio were designed by 2004 in order to preserve and protect Before beginning work on the CMP, the tallowwood paneling inside the home
husband-and-wife team Charles and the Eames House, as it faced several GCI assisted the Eames Foundation and recommended a treatment for the
Ray Eames as part of the influential conservation challenges. After consult- with targeted technical investigations to wood that preserved its patina and
Case Study House Program created by ing with a number of experts, the foun- facilitate problem-solving. Together added protection from ultraviolet light.
dation partnered with the GCI in 2012 with project architects Escher GuneWar-
The CMP takes a holistic view of the
View of the east facade of the residence, 2017. The Ray and Charles in the living room, 1958. During their site, recognizing that it is more than a
honest expression of structure and the creative use years in the house, they filled the room with objects, tex- great work of architecture. The Eames
of color, texture and varied materials are among tiles and artwork. These artifacts need to be conserved and House is also filled with Charles and
the attributes that demonstrate the aesthetic sig- managed through the development of a Collections Man- Ray’s belongings and sits in a signifi-
nificance of the building complex. Joshua White agement Plan. Julius Shulman photo, ©J. Paul Getty Trust. cant landscape, and these elements of
photo, ©Eames Office. Getty Research Institute, Los Angeles (2004.R.10). the site are interconnected, and all are
fundamental to its importance. The con-
tents of the house — artwork, objects
collected from foreign travel, flower
arrangements, colorful textiles, vintage
toys and Eames-designed furnishings —
are a window into their approach to life
and design. In addition, the landscaped
site itself is part of the sensory experi-
ence through the aroma of the surround-
ing eucalyptus trees, the play of light
and shadow on the glass walls, and
views to the Pacific Ocean. All of these
intangible qualities contribute to what
makes the place significant and all have
been addressed in the CMP’s conserva-
tion policies, ensuring that in preserving
the house, the spirit of place is not lost.

Policies of note within the CMP include
ensuring that conservation projects
retain, respect and maintain the authen-
ticity of the original elements of the
home; that it seeks the advice of conser-
vation specialists for all repairs to and
conservation of original building materi-
als; that it conserves interior finishes
and contents to demonstrate how the
Eameses approached living and working
in the space; to expand the Eames fami-
ly, friends and colleagues’ knowledge
about contents, collections, and house-
keeping practices; and to develop a land-
scape management plan for the site.

For information, www.eamesfounda-
tion.org.

May 17, 2019 — Antiques and The Arts Weekly — 43

Painting & Vintage Comic Books Expected To
Bring Millions At Heritage Chicago Auction

John Byrne and Terry Austin, X-Men #137 double splash
pages 2-3, original art (Marvel, 1980).

CHICAGO — Serious collectors absolute best Frazetta painting to Superman #1 (DC, 1939) CGC VG/FN 5.0 Frank Frazetta (1928–2010), “Egyptian Queen,”
have a rare opportunity to acquire ever be offered at auction.” cream to off-white pages, one of the 1969, oil on canvas, 20 by 26 inches, original
a collection centerpiece when one best unrestored copies of the issue that painting, possibly the artist’s most famous
of the most popular paintings by Superman No. 1 (DC, 1939) is number three on Overstreet’s “Top piece, a haunting image that legions of admir-
iconic artist Frank Frazetta CGC VG/FN 5.0 cream to off- 100 Golden Age Comics” list. ers have returned to time and time again.
(1928–2010) crosses the block in white pages is the finest unre-
Heritage Auctions’ comics and stored copy Heritage Auctions than 70 years. The issue, which the finest run of Captain Ameri- Comic Strip Charlie Brown,
comic art auction May 16–18. ever has offered of the issue that includes the first appearances of ca comics that Heritage Auctions Snoopy and Lucy Original Art
ranks No. 3 on Overstreet’s “Top both the Joker and the Cat (who ever has offered in a single sale. 12-30-62 (United Feature Syndi-
His “Egyptian Queen,” painting 100 Golden Age Comics” list. The later was known as Catwoman), Copies of this issue, which cate, 1962); Hal Foster Tarzan
original art (1969) is arguably demand for this issue is such that features a pin-up of Batman and includes the origin and first #307 Sunday Comic Strip Origi-
the most famous piece by Frazet- it is more difficult to find in this Robin on the back cover and appearance of both Captain nal Art dated 1-24-37 (United
ta, the legendary American fan- grade (or better) than older prized includes art by Bob Kane and America and Bucky Barnes, are Feature Syndicate, 1937); and
tasy and science fiction artist DC issues like Action Comics #1 Jerry Robinson. extremely scarce, and when they George Herriman Krazy Kat
whose paintings and illustrations and Detective Comics #27. Not do become available, demand Sunday Comic Strip Original Art
have been used in a multitude of surprisingly, more restored copies “Egyptian Queen” is 1 of 23 soars. Red Skull makes his first dated 3-3-18 (King Features Syn-
media, including comic books, of the 80-year-old issue have sur- works by Frazetta in the auction. appearance in the issue, which dicate, 1918) and his Krazy Kat
paperback book covers, posters vived than unrestored copies like Also offered will be his “Jaguar features Captain America knock- Sunday Comic Strip Original Art
and album covers. The image is the one offered here. The story God #2” cover painting original ing down Adolf Hitler on the dated 8-17-19 (King Features
so popular that it has inspired and art are from Superman co- art (Verotik,1995), one of two cover by Jack Kirby and Joe Syndicate, 1919).
other artists to try to create their creators Jerry Siegel and Joe paintings the artist did in 1995. Simon.
own versions as an homage to Shuster. The issue retells the ori- Incorporating many of the ele- Heritage Auctions’ Chicago gal-
Frazetta. gin of Superman and features the ments expected in a Frazetta The sale also features 90 lots of leries are at 215 West Ohio Street.
first pin-up of the Man of Steel on image, the Jaguar God protects comic strip original art, including For information, www.ha.com,
“In the late 1960s, Frank the back cover. his damsel in distress against a Charles Schulz Peanuts Sunday 877-437-4824 or 312-260-7200.
Frazetta completely reinvented horde of half-ape minions. This
and expanded the entire field of Ranked No. 5 on Overstreet’s oil on canvas is a great example
fantasy illustration, as his paint- “Top 100 Golden Age Comics” list from the era by Frazetta.
ings single-handedly sold hun- and a candidate to elevate to at
dreds of thousands of books and least a tie for the No. 4 spot is Captain America Comics #1
scores of wildly popular posters,” Batman #1 (DC, 1940) CGC FN- (Timely, 1941) CGC FN/VF 7.0
Heritage Auctions Vice President 5.5 cream to off-white pages. It is cream to off-white pages leads
Todd Hignite said. “Dating from a must-have issue for any serious
this peak period, his masterful collector. The Caped Crusader got
‘Egyptian Queen’ is indisputably his own title in this issue about a
one of the greatest and most year after he first appeared in
important paintings the artist Detective Comics #27, and the two
ever created… and it is by far the titles ran concurrently for more

Trustees Of Reservations ‘Home Sweet Home’
Annual Open House May 18

MASSACHUSETTS — The all have a story to tell. Eight properties will partici-
Trustees of Reservations Explore how each home was a pate: Castle Hill on Crane Estate,
announces their annual Home Ipswich; Fruitlands Museum,
Sweet Home, “Makers, Masters reflection of the taste and time of Harvard; Mission House, Stock-
and Craftsmen,” on Saturday, the owner, including their choice bridge; The Old Manse, Concord;
May 18, 10 am to 4 pm. This of architect, location, style and Naumkeag, Stockbridge; The
Home Sweet Home will celebrate building materials. Inside, we Folly at Field Farm, William-
the architects and craftspeople will take a closer look at some of stown; The Stevens-Coolidge
who designed and built our his- the intricate craftsmanship of Place, North Andover; and the
toric properties. From grand the furniture and decoration. William Cullen Bryant Home-
mansions to humble colonials to We’ll also look at the gardens stead, Cummington.
Midcentury Modern masterpiec- and see how the built environ-
es, historic houses of the trustees ment complements its natural For additional information,
setting. www.thetrustees.org.

Lightner Museum Selected For Collections Assessment
For Preservation Program

ST AUGUSTINE, FLA. — The tremendous strides over the The Lightner Museum is at 75
Lightner Museum announces decades in managing its volumi- King Street. For additional
that it is one of 79 institutions in nous and diverse holdings of information, 904-824-2874 or
the United States selected to par- Nineteenth Century art and www.lightnermuseum.org.
ticipate in the Collections Assess- material culture. In developing
ment for Preservation (CAP) pro- our strategic plan and eventual
gram. accreditation, we realize that
there is always room for improve-
CAP helps museums improve ment. CAP will provide us anoth-
the care of their collections by pro- er set of eyes to enable us to reach
viding support for a conservation this important chapter in our
assessment of the museum’s col- future,” said museum director,
lections and buildings. The muse- Robert Harper.
um will work with a team of pres-
ervation professionals to identify The CAP program is adminis-
preventive conservation priori- tered by FAIC through a coopera-
ties. The final assessment report tive agreement with the Institute
will help the museum prioritize of Museum and Library Services,
its collections care efforts in the a federal grant-making agency
coming years. that supports museums and
libraries.
“Lightner Museum has made

44 — Antiques and The Arts Weekly — May 17, 2019

Mackey Family Decoys Take Flight At Guyette & Deeter

Auction Action In St Charles, Ill.

This look down swan by John Williams from the Mackey
collection finished at $194,700.

This pair of mergansers by John Dawson sold for $230,100.

ST CHARLES, ILL. — Guy- price of an incredible $14,034 robin snipe by Obediah Verity
ette & Deeter conducted its — the highest average lot went for $112,100.
34th annual spring decoy and price Guyette & Deeter has The sale’s top lot was Daw-
sporting art auction on April seen from a single collection. son’s rare rigmate pair of
25–26 at the Pheasant Run In total, the Mackey items sold American mergansers, which
Resort in conjunction with the 29 percent over the high esti- had been carved the in the
North American Vintage Decoy mate and 49 percent over their first quarter of the Twentieth
and Sporting Collectibles average estimate. Century. The 18-inch hollow
Show. The auction grossed birds trounced their
nearly $3 million, with five Of the top five lots in the $80/120,000 estimate. With a
lots selling for more than sale, four came from the Mack- Mackey collection stamp on
$100,000 and 48 lots selling ey family. An important pair of the underside, the pair had an
for more than $10,000. The mergansers by John Dawson exhibition history that includ-
sale featured the final group- sold well over estimate at ed the 1966 IBM Gallery of Art
ing of decoys from the William $230,100, an early gull by and Sciences in New York City
J. Mackey Jr family holdings. Harry V. Shourds sold nearly and the 1967 St Paul Arts Cen-
The Mackey family had 94 lots double its estimate at ter, St Paul, Minn.
The rare pair of mallards by Charles Perdew, Henry, Ill., in the sale for a total of $212,400, a famous swan by The hollow carved herring
circa 1924, settled at $35,400. $1,319,265, for an average lot John Williams of Virginia for gull by Shourds, the Tucker-
$194,700 and a rare feeding

Exhibiting original paint by Edna Perdew, this rare preen-
ing mallard hen by Bert Graves, Peoria, Ill., brought $29,500.

This rare preening greater yellowlegs from
Virginia was bid to $55,460.

Oscar Peterson of Cadillac, Mich., carved Auction Sees 94 Mackey Lots
this relief plaque depicting cock and hen Total $1.3 Million
ringneck pheasants in a tree grazing on
goose berries in the first quarter of the
Twentieth Century. It made $29,500.

The Ward Brothers of Crisfield, Md., were well-represented
in this sale. This 1936 mallard hen, head turned approxi-
mately 30 degrees, was bid to $30,680.

A hollow carved wood duck by Tom Chambers realized Rare ruddy turnstone by William Bowman, A rare feeding robin snipe by Obediah Veri-
$135,700. Lawrence, N.Y., last quarter of the Nine- ty reached $112,100.
teenth Century, changed hands for $29,500.

May 17, 2019 — Antiques and The Arts Weekly — 45

An Elmer Crowell carving, a rare sander- “Canvasback flight” by David Maass sold for $25,370, set-
ling with shoe button eyes, carved in the ting a new world record for this artist.
last quarter of the Nineteenth Century,
cinched $33,040. Only 6¼ inches long, the Fetching $34,220 was this hollow carved eski-
bird exhibited good feather paint detail. mo curlew, Folger family, Nantucket, Mass.,
third quarter of the Nineteenth Century.

ton, N.J., carver, came with the collected them. He liked noth- auction for $8,850, and a rare One of only two gulls known by Harry V. Shourds brought
same provenance and exhibi- ing more than spending time six-layer brick model duck call $212,400.
tion history. With carved bill, with the carvers and baymen by William Clifford went for A final price of $30,680 was achieved for this snowy egret
eyes and extended wingtips, he met. He would bring back $8,378. from North Carolina. Carved in the last quarter of the Nine-
the decoy was used as both a loads of decoys and tales of the teenth Century, it was approximately 19 inches long, made
stick up and a floater. Shourds men that created them . . .Now A continual influx of new from a single branch or root.
was arguably New Jersey’s fin- this final group of Mackey’s buyers at all price levels is
est carver. He carved decoys incredible collection will be having an impact on this decoy
commercially for a variety of entrusted to present and market. New buyer participa-
species, but his herring gulls future generations.” tion in this sale was strong,
are the rarest of all his work. with 34 new buyers participat-
Also making the top five list ing and representing nearly
Williams’ look down swan was a wood duck drake by Tom ten percent of the auction
was the catalog’s cover lot. Chambers from the Chua Col- total. This auction revealed
Carved in the last quarter of lection, selling for $135,700, the demand for the more
the Nineteenth Century, its one of only two known by this expensive items. Guyette &
appeal shone through its old maker. Deeter’s guaranteed condition
paint, cracks and light hits by reports, along with a trusted
shot. The Virginia carver’s The sale featured decoys and reputation for giving sound
swans have brought high pric- sporting art from the collec- collecting advice, have worked
es in the past, including tions of longtime decoy collec- to create a comfortable envi-
$348,500 in 2018 and $131,500 tors Jim Cook, Jonathan and ronment for their clients. Guy-
in 2011. Bill Mackey was one Virginia Chua, Paul Tudor ette & Deeter’s goal is to pro-
of the first to recognize the Jones II, Don Kirson, Doug vide advice that will encourage
outstanding qualities of Wil- and Ellen Miller, David Meyer, buyers to continue collecting
liams’ carvings, and the swans Dick Stephenson, Bill Staplin, into the future.
became a focal point in his col- Jim Karsnitz and Ron Swan-
lection. The look down swan son. Bid calling was done by Jim
had remained a treasured pos- Julia and Dudley Brown.
session of the family and was Sporting art and duck calls
offered at Guyette & Deeter have always been a specialty Prices given include the buy-
for the first time since Mack- of Guyette & Deeter. A new er’s premium, as stated by the
ey’s death in 1972. world record was set for a auction house.
painting by David Maass,
The group of Mackey decoys titled “Canvasback Flight,” Guyette & Deeter’s next auc-
that were offered in this sale which sold for $25,370. Lynn tion will be conducted on July
comprised some of the most Bogue Hunt’s paintings were 22–23 at the Sheraton Harbor-
well-known decoys from Wil- popular among bidders — the side Hotel in Portsmouth, N.H.
liam J. Mackey Jr’s original ringneck pheasants painting Consignments of decoys, deco-
collection. The firm’s catalog sold for $16,520, and “On the rative carvings and flat art for
states, “Mackey knew that Bear River Marshes” brought the sale will be accepted until
someday decoys would be valu- $15,340. Among the calls, a June 1 or until full.
able, but that is not why he rare crow call carved by
Charles Perdew sold at the For additional information,
w w w. g u y e t t e a n d d e e t e r. c o m ,
410-745-0485 or 440-610-1768.

Delaware Art Museum Purchases Work By Hank Willis Thomas & Chakaia Booker

WILMINGTON, DEL. — The Delaware Art Muse- about diversity, mobility and hope. women. Recent exhibitions on British Pre-Raphael-
um recently purchased art by women artists and As well as adding to the contemporary collections, ite artists Marie Spartali Stillman and Barbara
artists of color. This spring, the museum purchased Bodichon have benefitted from key purchases in
a series of prints by Hank Willis Thomas, an 1871 the museum continued the strategic expansion of years past. In 2018, the museum added collections
oil painting by Robert Duncanson and a 1940 poster its collection of modern art by African American art- of work by American illustrators Laura Coombs
by Robert Pious. ists with purchases of work by Loïs Mailou Jones, Hills and Rose O’Neill via purchase and gift.
Hughie Lee-Smith, William Majors and James A.
These three recent purchases reflect the museum’s Porter. The Delaware Art Museum is at 2301 Kentmere
continued effort to collect more art by women art- Parkway. For information, www.delart.org or 302-
ists and artists of color. In 2018, the museum pur- In addition to these works by artists of color, the 571-9590.
chased 24 works of art, of which one-third were cre- museum has focused on acquiring more art by
ated by women and one-third were created by
African American artists. In total, 74 percent of “One Way,” 2008, by Chakaia Booker (b “How to Live through a Police Riot [Black Survival Guide, or
acquisition funds spent in 2018 went toward acquir- 1953), recycled tires and stainless How to Live Through a Police Riot],” 2018, by Hank Willis
ing works by women artists and artists of color. steel, 102 by 48 by 66 inches. Delaware Thomas (b 1976), screen print on retroreflective vinyl with
Art Museum, F.V. du Pont Acquisition aluminum backing, 62 by 48 inches. Delaware Art Museum,
Hank Willis Thomas’ “Black Survival Guide, or Fund, 2018. ©Chakaia Booker F.V. du Pont Acquisition Fund, 2019. Commissioned by the
How to Live Through a Police Riot” (2018) is the Delaware Art Museum. Photograph of Wilmington Riots and
museum’s first major purchase of 2019. Commis- National Guard Occupation by Frank Fahey, 1968. Courtesy
sioned by the museum and on view during the sum- of The News Journal. Text from Northeast Conservation
mer of 2018, the work is a series of 13 retroreflec- Association, “Black Survival Guide, or How to Live Through
tive screen prints based on photographs from The a Police Riot,” circa 1960s. Daniels Collection, courtesy of the
News Journal and a booklet in the collection of the Delaware Historical Society. ©Hank Willis Thomas.
Delaware Historical Society. The work became a cat-
alyst for dialogue during the city-wide reflection on
the 1968 occupation of Wilmington by the National
Guard.

In October 2018, the Delaware Art Museum
acquired Chakaia Booker’s “One Way” (2008) for its
contemporary collection. The large-scale sculpture
was installed in the museum’s Copeland Sculpture
Garden to align with the mid-October opening of
the juried craft exhibition. Made of recycled tires
and stainless steel, “One Way” is the first artwork
by an African American artist added to the muse-
um’s sculpture garden. Booker is best-known for
sculptures made of discarded materials — most
often recycled tires. Her art explores race, globaliza-
tion, feminism and ecology. The interconnecting cir-
cles in “One Way” depict movement and perpetual
cycles, and the sculpture conveys her concerns

46 — Antiques and The Arts Weekly — May 17, 2019

Fine & Decorative Arts—

Strong Prices & A Few Surprises
At JSE & Associates Auction

Auction In Mount Crawford, Va.

Kirk eight-piece sterling tea service, including tray, went A Stickley china cabinet was bid to $8,775.
out at $12,870.
Webb Chin Lung vase sold for $28,080.
MOUNT CRAWFORD, VA — day format consisted of 1,361
The Jeffrey S. Evans & Asso- lots of high-quality material worthy results from the Fri- and coffee service with match- The firm is currently accept-
ciates April 26–27 fine and and generated record levels of day session included an ing tray at $12,870; a rare ing consignments for this auc-
decorative arts auction was a participation for the firm, a Andrew Jackson / Franklin French Louis XVI Niderviller tion to be conducted in Octo-
highly successful event and solid indication of vigor in Pierce White House engraved porcelain annular clock at ber.
produced robust prices in this segment of the market- spoon / celery glass at $7,020, $12,870; and — the most
multiple categories. The two- place. Bidding was intense a Tiffany Favrile paperweight watched lot of the weekend — Prices give include the buy-
Also fetching $12,870 was throughout each day, with vase at $7,020 and a threaded a Stickley Brothers Arts & er’s premium, as stated by the
this French Louis XVI por- more than 5,000 registered opalescent glass miniature Crafts Mission oak china cab- auction house. For more infor-
celain clock. bidders from more than 60 lamp at $4,680. inet / closet at $8,775 to a mation, www.jeffreysevans.com
countries participating in California bidder on the or 540-434-3939.
house and online. Session II consisted of the phone. A surprise result was turned
firm’s usual diverse selection in by this Caucasian rug
Session I started the week- of fine and decorative arts After the auction, company that rose to $17,550.
end off smoothly, with most and produced strong results president and auctioneer Jef-
offerings meeting or exceed- and a few surprises, with frey S. Evans commented,
ing expectations. The 439-lot numerous categories demon- “This sale generated robust
session featured a selection of strating signs of continued interest across the board,
miniature lighting from the vigor. Featuring a broad range from bidders near and far.
collection of Barbara and Moe of timepieces, silver, jewelry, Levels of online participation
Tourison of Concord, Mass.; fine art and ceramics, Satur- in this auction continue to
American and European glass day’s 922-lot session produced expand dramatically for us —
from the estate collection of consistently strong prices a real indication that there is
Eugene and Charlene Sussel across a number of collecting increased market demand for
of Rockville, Md.; and an categories. Saturday’s top lot a diverse range of art and
assortment of paperweights — and the weekend’s biggest antiques. The overall excite-
from private collections. The surprise — was an antique ment and strong sales results
grouping offered in the Friday Caucasian scatter rug at reflect the freshness and high
session sparked significant $17,550. Deaccessioned by quality of the merchandise
interest and produced strong Mount Vernon, the early offered.” Evans added, “We
results overall. Top lot of the weaving went to a New York already have several strong
day was a rare Thomas Webb buyer on the phone after items in house for the next
Chin Lung / Applied Pads art heated bidding. Other note- fine and decorative arts auc-
glass vase, which garnered worthy results from the Sat- tion, so the fall 2019 sale
$28,080 from a private collec- urday session include an should be another great
tor in Arizona. Other note- eight-piece Kirk sterling tea event!”

Delaware’s Loper School Artists At Historic Odessa Foundation Gallery

ODESSA, DEL. — The His- to painting light, line, color for the first time. Loper is the color. However, their paintings relevant material to enhance
toric Odessa Foundation will and space in a modernist son of Delaware artist and reveal distinct differences in their perception and fit their
showcase the artistic achieve- method. educator Edward L. Loper Sr, their pursuit of this goal. Bau- individual styles. The material
ments of two distinguished founder of the eponymous man employs intense color, exists both in their world and
Delaware artists in the exhib- On June 8 at 2 pm the com- school, and Bauman was one of sharp contrasts and active in the traditions, and it is this
it, “The Keepers of Color: munity is invited to a meet Loper Senior’s most devoted lines in her paintings. Her sub- imaginative synthesis of the
Paintings by Marilyn Bauman and greet with the artists dur- students. jects range from portraits, to two aspects of the expressive
and Edward Loper Jr,” which ing the Artists’ Reception at still life, to landscapes. process that inspires both of
continues at the foundation’s the Visitor’s Center Gallery. This next generation of art- them to make pictures
Visitor’s Center Gallery Light refreshments will be ists paints pictures revealing Loper Jr’s paintings are often
through July 28. The exhibit served. their individual interests in an orchestration of Fauve-like The Historic Odessa Founda-
celebrates the traditions of the everyday visual experiences. color units organized into tion’s Visitor’s Center Gallery
Loper School of Art in Wilm- Marilyn Bauman and Edward Both artists credit Edward L. luminous color masses and is at 201 Main Street. For more
ington, Del., and its approach L. Loper Jr exhibit their art- Loper Sr for sparking their compelling spatial intricacies. information, 302-378-4119 or
work from their private collec- perception of the power of Each artist chooses and adapts www.historicodessa.org.
tions, some on public display

Somerson’s Kalo Shop
Necklace Hangs High

For Toomey & Co

OAK PARK, ILL. — The Paul &
Terry Somerson Collection was the
first single-owner sale dedicated
exclusively to Arts & Crafts silver and
jewelry, and it sparkled for Toomey &
Co on May 5. Leading the sale of
about 500 lots was a Kalo Shop pen-
dant necklace of 14K yellow gold, blis-
ter pearl and dog tooth pearl, selling
to a phone bidder for $20,000 against
an estimate of $5/7,000. Prices include
buyer’s premium, as reported by the
auction house. See a future issue for
extended sale recap.

May 17, 2019 — Antiques and The Arts Weekly — 47

Maison Jansen vanity table & stool ($6/8,000).

Robert Kulicke oil on canvas still life paintings ($2/4,000 each).

Collection Of Actor Ron Rifkin
Part II, At Showplace May 19

NEW YORK CITY — On May amassed an impressive collection Alexandre Loge Coronet sconces ($2/4,000).
19, Auctions at Showplace will of Midcentury Modern furniture,
present the second of two auc- paintings, photographs, art pot- An 18K Limoges enamel por- black and white photographs by in their affinity for vibrant art
tions featuring items from the tery and glass and other decora- trait pendant brooch Sally Gall capture striking land- pottery and glass. This auction
collection of stage and screen tive arts. ($/1,500). scapes, while a collection of Terry will feature pieces by Tiffany and
actor Ron Rifkin. A native New auction are two still life oil on Owens Mathews bronze sculp- Durand; large selections of
Yorker, Rifkin, has garnered Examples of Midcentury Mod- board paintings by American art- tures depict animals from the Weller Coppertone and Greora
acclaim for his work on and off ern design include a Maison Jan- ist and frame maker Robert African continent. vessels; Japanese Kyoto Awaji
Broadway, including a 1998 sen vanity table and stool; three Kulicke (1924–2007), a Salvador vases; Ruskin lusterware; and
Tony Award for his performance Alexandre Loge Coronet plaster Dali “Tarot, Dante’s Inferno” lith- Highlights in silver include a Southern folk art pottery, includ-
as Herr Schultz in the musical sconces; a pair of Finn Juhl teak ograph, Bob Kane’s “Luncheon Labors of Cupid flatware service ing whimsical face jugs. Further
revival of Cabaret. His numer- open armchairs; a George Nelson on the Balcony” oil on canvas and for 12 with a selection of serving decorative arts comprise an
ous movie credits include JFK, for Herman Miller three-piece four Erté serigraphs with his sig- pieces, along with a Whiting Lily assortment of shagreen accesso-
The Substance of Fire and, most bedroom suite; an Eames for nature Art Deco aesthetic. Six of the Valley 90-piece flatware ries, including compacts, boxes
recently, the 2018 hit remake of Herman Miller Time Life execu- service. Illuminating the sale are and spectacle cases and a collec-
A Star is Born. On television, tive chair; a pair of T.H. Robsjohn modern lighting fixtures, includ- tion of vintage French perfume
he is best-known for his recur- for Widdicomb blonde end tables; ing a Venetian Murano swirl bottles.
ring role as Arvin Sloane oppo- six Harvey Probber hexagonal glass egg-form lamp, a pair of
site Jennifer Garner on the terrazzo top tables; and three Koch & Lowy Saucer table lamps, Previews at Showplace
ABC series Alias and as Saul pieces of Edward Wormley for a Noguchi Akari large paper Antiques + Design Center, 40
Holden on the series Brothers Dunbar furniture, including a globe shade and a pair of Walter West 25th Street between 5th
and Sisters. walnut Long John bench, an von Nessen swing arm floor and 6th Avenues, are currently in
upholstered club chair and lamps. progress through May 19th. For
Off-screen, Rifkin has been rec- upholstered bench. A Perret & information, 212-633-6063 or
ognized for his refined taste in Vibert Japonaiserie late Nine- The Rifkins incorporated vivid www.nyshowplace.com.
art and design. He and his wife, teenth Century two-piece cabinet colors into their interiors, as seen
Iva, were profiled by New York and a French provincial manner
Times Magazine in a 1997 article cherry farmhouse dining table
regarding their downtown loft. are two highlights of traditional
Described by the Times as “invet- furnishings.
erate collectors” the Rifkins
Among artwork included in the

Steep Price For Le Pho’s
‘Le The’ At Shannon’s
MILFORD, CONN. — Shan- including premium, against a
non’s spring fine art auction $40/60,000 estimate. The other
attracted an international audi- painting, “Harmonie Jaune”
ence with top lots by American, (Harmony in Yellow), depicting a
European and Asian artists on woman arranging flowers in an
May 2. Auctioneer Peter Coccolu- interplay of colors and form, took
to called bids on nearly 250 lots $72,000, above its high estimate.
comprising well-known artists of Asian art again dominated with
paintings, drawings, prints and a contemporary sculpture by Tai-
sculpture. Offered among these wanese artist Li Chen (b 1963).
were two particular highlights in “Harmonize without Compro-
Asian — two paintings by mise,” depicting a Buddha stand-
French/Vietnamese Impression- ing on a silver cloud — a classic
ist Le Pho (1907–2001). “Le Thé” motif in Asian art — made con-
(Tea Time), an oil on canvas, temporary with the addition of
signed lower right “Le Pho,” 32 silver headphones, proved Chen’s
by 39½ inches and depicting two appeal on the international mar-
women at the table enjoying each ket by also realizing $72,000.
other’s company, was the highest Watch for a full report on this
selling lot, achieving $100,000, sale in an upcoming issue.

Date goes here.

48 — Antiques and The Arts Weekly — May 17, 2019

Estate Of Clarke Hess, Historian & Collector Of Plain People’s Art

Rare Lancaster County Folk Art &
Frakturs Inspire Bidders At Horst Auction

Auction Action In Ephrata, Penn.

EPHRATA, PENN. — Brent and collector with a one-track offered at auction, and many
Horst of Horst Auctioneers focus on the history of South- local organizations will directly
said, “We did have a great sale eastern Pennsylvania. He had benefit from some of the pro-
this past weekend [April 26 a deep and abiding apprecia- ceeds of the auction of the Hess
and 27]. The auction was for tion for the Plain people, Estate.
the Estate of Clarke Hess of because many in his family had
Lititz, a well-known local histo- also once been Plain, Horst Hess authored the book, Men-
rian and collector of Southeast- said. nonite Arts; he was on the
ern Pennsylvania decorative board of directors of the Lan-
arts. The auction was well- Hess restored the family caster Mennonite Historical
attended and items, particular- homestead near Lititz and Society and donated an impor-
ly fraktur and folk art, sold turned it into a historic house tant collection of objects to that
especially well.” museum; he left instructions organization, although the vast
that the homestead and its col- majority of his collection was
Clarke Hess was a historian lection should eventually be included in the Horst Auction.

Thought to be stitched by Clarke Hess’s great-great-grand-
mother, this Lancaster County Sampler Quilt, initialed HW
and dated 1860, sold at $30,000, making it the top lot of the
auction.

Carved wood horse by Peter Brubacher of In remarkable condition, an Ephrata Clois- Hess curated several museum quilt, initialed HW and dated
Clay Twp., Lancaster County, Penn., fin- ter fraktur memorial for Brother Obed was exhibits on Mennonite antiques 1860, that sold after much com-
ished at $26,500. one of the top lots, selling at $29,500. and was an active member of petition at $30,000. In Hess’s
A religious writing fraktur made by Hans the American Folk Art Society. catalog notes, he states that
Jacob Brubacher sold at $15,500. Review by Anne Kugielsky He received various awards for this quilt, which Gene Rappa-
Fraktur Vorschrift, made circa 1790 by Photos Courtesy Horst Auctioneers his contributions to historical port at Renningers said he
Christian Alsdorff, sold at $15,500. research, including a lifetime- thought was the greatest quilt
Frakturs were popular items in the auc- Sulphur-inlaid walnut schrank, dated 1769 honor award as Fellow of Lan- to come out of Lancaster Coun-
tion, and this fraktur bookplate, made by and made by Peter and Ada Swarr of Lan- caster History. ty, was made by Hess’s great-
Johann Adam Eyer for Johannes Denlinger caster, Penn., sold at $21,000. great-grandmother, Fanny S.
of Strassburg Twp., Lancaster Co., Penna., So, it is no surprise that the Bucher (1841–1909), thus the
sold at $10,500. Colorful and graphic, this fraktur depicting auction was well-attended by FSB sewn in script on a piece of
the Prodigal Son by Frederich Krebs real- collectors and others who fabric attached to the back.
ized $22,500. appreciate the folk arts of the
Plain people and that many Frakturs were among the top
lots sold extremely well. lots led by an Ephrata Cloister
Fraktur Memorial for Brother
A good example is the top lot, Obed, which realized $29,500.
a Lancaster County sampler Another fraktur, this one
Sulphur-inlaid walnut tall depicting the Prodigal Son by
case clock, dated 1785 and Frederich Krebs, brought
made by John George Hoff of $22,500; two frakturs brought
Lancaster, realized $16,000. $15,500 each: one with reli-
gious writing made by Hans
Jacob Brubacher and a fraktur
Vorschrift (a model for writing
exercises often drawn by
schoolteachers), made circa
1790 by Christian Alsdorff.

Most of the lots from the Hess
collection had extensive
research attached, so buyers
were assured the history and
attributions were accurate,
something extremely difficult
with folk art and furniture.

Many furniture highlights
were included in the top lots,
such as a Sulphur-inlaid wal-
nut schrank, dated 1769 and
made by Peter and Ada Swarr
of Lancaster that sold for
$21,000; a Sulphur-inlaid wal-
nut tall case clock, dated 1785
and made by John George Hoff
of Lancaster, crossed the block
at $16,000; and another tall
case clock, this a Samuel
Stauffer in a Chippendale case
made in Manheim, Lancaster
County, sold at $10,000.

Rounding out the top lots
were a carved wood horse by
Peter Brubacher of Clay Town-
ship, Lancaster County, Penn.,
with a dark coat, light-colored
legs and a blaze that sold at
$26,500; and another fraktur,
this a bookplate make by
Johann Adam Eyer for
Johannes Denlinger of Strass-
burg Township, Lancaster Co,
Penn., going to $10,500.

Prices, with buyer’s premium,
as reported by the auction
house. For further information,
www.horstauction.com or 717-
738-3080.

May 17, 2019 — Antiques and The Arts Weekly — 49

On May 11, Bruce Museum
Opens ‘Summer With The Averys’

GREENWICH, CONN. — On Milton Avery (American, 1885–1965), “Swimmers and Sun-
May 11, the Bruce Museum will bathers,” 1945, oil on canvas, 28 by 48¼ inches. The Metro-
open “Summer with the Averys politan Museum of Art, gift of Mr and Mrs Roy R. Neuberg-
[Milton | Sally | March].” Fea- er, 1951. ©2019 The Milton Avery Trust / Artists Rights
turing landscapes, seascapes, Society (ARS), New York. Image copyright ©The Metropoli-
beach scenes and figural com- tan Museum of Art. Image source: Art Resource, NY.
positions — as well as rarely
seen travel sketchbooks — the Sally Michel (American, 1902–2003),”Swimming Lesson,”
exhibition takes an innovative 1987, watercolor on paper, 18 by 24 inches. The Milton and
approach to the superb work Sally Avery Arts Foundation, New York. ©2019 The Milton
produced by the Avery family. Avery Trust / Artists Rights Society (ARS), New York.
Along with canonical paintings
by Milton Avery, the show offers —Paul Mutino photo
a unique opportunity to become
acquainted with the remark- for their first and only time from the representational to March Avery (American, b 1932), “The Dead Sea,” 2009,
able art created by Avery’s wife (although Sally and March the nearly abstract. watercolor and gouache on paper, 22 by 30 inches. Collec-
Sally and their daughter March. would subsequently work tion of the artist. —Paul Mutino photo
abroad on many occasions). The exhibition is organized by
In the summer of 1924, while Kenneth E. Silver, professor of authority. The exhibition closes Museum Drive. For informa-
painting in the fishing port and As it was for many artists art history at New York Univer- on September 1. tion, www.brucemuseum.org or
artist’s colony of Gloucester, before and since, summertime sity and Bruce Museum adjunct 203-413-6735.
Mass., Avery met young artist was a moment of heightened curator of art, assisted by The Bruce Museum is at 1
Sally Michel, whom he would creativity for the Averys. Escap- Stephanie Guyet, Bruce Muse-
marry less than two years later. ing from their hectic lives in um Zvi Grunberg fellow, 2018–
They would return to Glouces- New York, the three artists 19, and will be accompanied by
ter and elsewhere in New Eng- were inspired by these bucolic an audio guide and a scholarly
land for summertime visits dur- and sometimes unfamiliar set- catalog, featuring full-color
ing the following decade, tings. The art they produced — illustrations of all the works in
sometimes with close friends including oil paintings, water- the show. Educational program-
Adolph Gottlieb, Mark Rothko colors, drawings and prints ming will include a talk on May
and Barnett Newman. — was filled with the splendor 30 with the exhibition curators
of natural phenomena and the and Barbara Haskell, a curator
After March Avery’s birth in sociability of family, friends and at the Whitney Museum of
1932, the three Averys ventured acquaintances; the work ranges American Art and Milton Avery
forth over the years as far south
as Mexico (including six weeks
at San Miguel de Allende); west
to Laguna Beach, Calif.; and
north to Canada’s Gaspé Penin-
sula. In addition to working
vacations in Provincetown,
Mass., and Woodstock, N.Y., the
Averys were artists-in-resi-
dence at the MacDowell Colony
in New Hampshire and Yaddo
in upstate New York. In the
summer of 1952, the Avery fam-
ily traveled together to Europe

Santa Fe Art Auction Posts Record
Online Sales Of American Indian Art

Auction Action Online

SANTA FE, N.M. — Santa Fe Chalee to Oscar Howe and Fetching $6,250 was Keno- PO Bo x 2 90 ; Wh i te P l a in s , N . Y. 1 0 6 0 5
Art Auction’s April 20 exclusive Charles Lovato. juak Ashevak’s (Inuit, 1927–
sale of American Indian art from 2013) “Woman with Ani-
the Patricia Janis Broder collec- Broder (1935–2002) was an avid mals,” mixed media on mat
tion was a success, boasting a 93 horsewoman who stabled her board, 21¼ by 29¼ inches.
percent sell-through rate and horses in the hills of New Jersey, she traveled and explored, she
auction records for many of the but became a passionate aficio- became familiar with local art-
featured artists. The auction was nado of the West, and most par- ists, their histories, beliefs and
watched online simultaneously ticularly the art and culture of ceremonies, as well as museums,
on three bidding platforms by the indigenous people of the gallery professionals and collec-
hundreds of bidders worldwide. region. Her first book was Bronz- tors. She also accumulated and
The top lot was Vincent Mirabel es of the American West (Harry N. collected the artworks that held
(Chiu Tah), “Ceremonial Sunset Abrams, Inc, NY, 1974), which her under their spell. Some West-
Dance,” for a record $12,500, fol- won the prestigious Herbert ern “moderns” — Doel Reed, John
lowed by Alfonso Roybal (Awa Adams Memorial Medal for “Ser- Sloan, Kenneth Adams, among
Tsireh) at $10,000 and a Gilbert vice to American Sculpture” and them — found their way into her
Atencio (Wah Peen) for $8,750. Best Art Book by the National home, but the great preponder-
Academy of Western Art. Over ance of her collection is in the
In addition to examples of the next 25 years she constantly work of the multitude of pueblo
Twentieth Century Pueblo, Hopi toured and revisited the West, and indigenous artists she
and Navajo art, it was interesting writing eight more art books. As learned about, sought out,
to note that a significant group of Gilbert Atencio (Wah Peen) befriended and championed in
Inuit and First Nations artwork (San Ildefonso, 1930–1995), her writings. Her last book, Earth
sold in its entirety. One of the top “Blue Corn Maiden,” 1967, Songs, Moon Dreams: Paintings
five lots of the sale was the female gouache on paper, 19 by by American Indian Women (St
Inuit artist Kenojuak Ashevak’s 12-5/8 inches, sold for $8,750. Martin’s Press, NY, 1999) was a
“Woman With Animals” selling radical early focus on the contri-
for $6,250. The top five were butions of Native American
rounded out by “Kachinas of the women from tribes across the
Bean Ceremony” by Milland United States, Alaska and Cana-
Lomakema (Dawakema), also da, and many of the artworks
selling for $6,250. from this and her other books will
be showcased by the Santa Fe Art
Significant examples of each Auction. In 1984 Broder was
member of the late Twentieth awarded the National Academy
Century artist Hopid group that of Western Art Trustees Gold
included Dawakema, much cele- Medal for Outstanding Contribu-
brated by Pat Broder for their tion to the West through her
synthesis of tradition and innova- books and lectures.
tion, are scheduled to appear in
Santa Fe Art Auction’s signature Prices given include the buyer’s
annual live auction on November premium as stated by the auction
9. Other important highlights house. For additional informa-
from her collection that will cross tion, www.santafeartauction.com
the block at the November 9 or 505-954-5771.
event include classics ranging
from Julian Martinez and Pop

50 — Antiques and The Arts Weekly — May 17, 2019

Firearms Sale Surpasses $8 Million—

Morphy’s Fires Shot Heard ‘Round The Auction World

Auction Action In Denver, Penn.

Early Moravian flintlock rifle attributed to Andreas Albrecht (1718–1802), detailed in ten-
page section of important book on Moravian gunmaking brought $78,000.

Unfired Colt Model 1855 British military revolving carbine made $34,800.

Rare pair of 1924 .410-gauge miniature Westley Richards
Hummingbird guns, hand-detachable lock actions with
gold-inlaid 28-inch barrels, plaque on case engraved “23
Conduit St. London Gun Makers By Appointment to HM
The King” was bid to $135,350.

Springfield Trumpeteer Model 1783, .45-.55 caliber trapdoor carbine, forensically con-
firmed as a match to one of only ten cartridges found on the Custer battlefield (1876 Battle
of Little Big Horn), soldier identified as John Martin of Company H, reached $98,400.

DENVER, PENN. — An auc- The high-condition 8mm Bren select-fire machine gun with Historic Hotchkiss revolving cannon No. 1198 used in Span-
tion of rare and historically nine magazines, original primary and spare barrel in origi- ish-American War, accompanied by five reloaded rounds of
important sporting and collec- nal gunner’s bag, other accessories, sold for $55,350. 37mm ammunition and former museum provenance, real-
tor firearms took in more than ized $132,000.
$8 million on April 24–25 at Following closely behind was on the left side of the forestock,
Morphy’s southeastern Penn- a Hotchkiss revolving cannon and the “H” — presumably for with a British connection fin- mate range at $105,000.
sylvania gallery. Two stellar No. 1198, used in the Spanish- “Company H” — carved on the ished with distinction on auc- “Our team went above and
entries — a pair of British American War and with correct left side of the buttstock. The tion day. A Holland and Hol-
gold-inlaid miniature guns Spanish army markings. The historically significant firearm land Royal Deluxe rifle made beyond all expectations in pro-
and a Spanish-American War armament came with former went to a new owner for in 1954, with original case and ducing this auction,” Dan Mor-
cannon — battled for top lot museum provenance and five $98,400. accessories, sold for $61,500; phy said, after the final lot had
status, finishing only a few reloaded rounds of 37mm while an unfired Colt Model sold. “From the incomparable
thousand dollars apart, at ammunition. The survivor sold An early Moravian flintlock 1855 British military revolving gun descriptions and photogra-
$135,300 and $132,000, for $132,000 against an esti- rifle attributed to Andreas carbine, estimated $12/18,000, phy to the catalog design and
respectively. mate of $40/50,000. Albrecht (1718–1802), was the commanded $34,800. sale execution, there wasn’t a
very gun detailed in both a weak link in the entire process.
The auction turnout, both One of the most heavily pre- ten-page section of an authori- A rare modern gun, a Boss & As the final results show,
live and via remote methods, viewed guns in the sale was tative book on Moravian gun- Co Best 28-gauge side-by-side everything came together per-
was “tremendous — one of our the Springfield Trumpeteer making by Robert Lienemann/ sporting shotgun was original- fectly, and the bonus is that we
best ever in terms of registered .45-.55 caliber trapdoor car- Kentucky Rifle Foundation ly delivered to Abercrombie now have many new, highly
bidders, and with the highest bine that was forensically con- and the 1980 book Rifles of and Fitch in 1968. Prior to the motivated customers — some
percentage of new bidders and firmed as a match to one of Colonial America Volume I by auction, Morphy’s firearms of them new collectors — who
buyers we’ve ever seen,” said only ten cartridges found on George Shumway. Its distinc- division expert Tony Wilcox can’t wait for our next firearms
Dan Morphy, president of Mor- the Custer battlefield (1876 tive carving and other features had predicted collectors and event.”
phy Auctions. “On top of that, Battle of Little Big Horn). The were deemed closely compara- investors would be “all over”
there were more than 50 soldier who carried the gun ble to those seen in a signed the gun, as in his opinion it Prices given include the buy-
unique bidders who spent more that fired the cartridge, known Albrecht rifle made by the gun- would likely be “many years er’s premium, as stated by the
than $50,000 each.” as specimen “707,” was identi- smith after his move to Lititz, before another one of its quali- auction house.
fied by the Custer Battlefield Penn. The rare gun sold within ty was available to purchase.”
Estimated $110/160,000, a Firearms Identification Project its estimate range for $78,000. It landed well within its esti- For additional information,
rare pair of 1924 Westley Rich- as John Martin. This corre- www.morphyauctions.com or
ards .410-gauge side-by-side sponds with the name “J. MAr- In addition to the aforemen- 877-968-8880.
Best Droplock miniature Hum- TIN,” which is crudely carved tioned pair of Hummingbird
mingbird guns boasted ten- guns, several other firearms
out-of-ten for eye appeal with
their multicolored gold inlay
and lavishly engraved images
of hummingbirds. The plaque
inside their original fitted case,
engraved “23 Conduit St. Lon-
don Gun Makers By Appoint-
ment to HM The King,” added
the final note of quality that
lured bidders from both sides
of the Atlantic. The guns con-
cluded their energetic bidding
run at $135,300.

Fetching $61,500 was this Holland and Holland Royal Deluxe rifle, British, made Rare Boss & Co Best 28-gauge sporting shotgun delivered to Aber-
in 1954, with accessories in oak and leather case. crombie and Fitch in 1968 achieved $105,000.

May 17, 2019 — Antiques and The Arts Weekly — 51

www.fairfieldauction.com

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@hayloftauctions

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TREMONT AUCTIONS,



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“Adam Naming the Animals,” unknown maker, Bestiary with illustrations depicting an anguis Bestiary with illustrations depicting a parander and
about 1250–60. Pen-and-ink drawings tinted with and a dragon, English, about 1255–65. Parch- a yale, English, about 1200–10. Parchment, 8-11/16 by
body color and translucent washes on parch- ment, leaf 11 by 6½ inches. Collection of The 6-5/16 inches. Collection of The British Library.
ment, leaf 8¼ by 6-3/16 inches. Collection of The British Library.
J. Paul Getty Museum.

The Book Of Beasts
THE BESTIARY IN THE MEDIEVAL WORLD
( continued from page 1C ) lions and griffins, along with other beasts: both real and imaginary. The widespread
The bestiary is an illuminated manuscript, with text often in Latin, usually created influence of these books on medieval and later life, art and culture, will, for the first
by monks living in monasteries. It often describes what was believed at the time to be time, be explored in a major museum exhibition and accompanied by a major catalog.
an accurate description of the animal, bird, fish, etc., interpreting each through the
lens of Christian belief to include moral or Christian themes. Scholars point out that While most were produced with Latin texts, other cultures produced their own ver-
the importance of the bestiary is not whether the images are accurate, but that they sions in Hebrew, French, Arabic and Mughal, all of which will be on display. The earli-
are intended to teach viewers that all creatures are God’s creations. The medieval bes- est example in the show dates to about 1130 and was borrowed from the Bodleian
tiary had its origins in a Christian Greek text of around the Second Century called the Library at Oxford.
Physiologus or “Naturalist” after the role of its anonymous author.
Many of these manuscripts that have survived from the medieval period are the most Medieval bestiaries contained anywhere from a few dozen to more than 100 descrip-
lavishly illustrated volumes in European book history. In the bestiary, animals are tions of animals, each with an iconic image. Although the essential elements of the text
presented not merely as zoological specimens, but as lessons for moral behavior. They and imagery associated with the beasts remained consistent across time and cultures,
were made for, and could only be afforded by, wealthy nobility or royal families, the bestiary was not a standardized work. The aim of the stories and illuminations
although the images were often used in churches and seen by worshipers of varying were not to impart factual information or visual accuracy, but rather to convey the
backgrounds. wonder, variety and hidden meaning found in the natural world.
The Getty’s exhibition will be an unprecedented gathering of bestiaries — there will
be about one-third of the known examples dating back to the Middle Ages, including The most common bestiary animals, including the lion, unicorn, elephant, pelican,
three important examples from its own collection. These books brought to life unicorns, phoenix and dragon, eventually moved from the pages of bestiaries to a wide variety of
other types of objects. Long past the bestiary’s primary period of production in the
Thirteenth Century, these images were found on ivories, tapestries, metalwork, jewel-
ry, sculpture and objects of personal adornment. Illustrated were birds and fish as well
a wide variety of animals of the jungle. Liturgical books, marginal images in devotional
manuscripts, late medieval encyclopedias and all manner of secular books drew on the
visual language of the bestiary. Medieval maps located the bestiary’s exotic animals in
distant lands such as India and Ethiopia.

Many of the illuminated manuscripts were based on biblical stories, several of which
have carried on to present day. They also included writings and illustrations of daily
life, and these are less well-known. According to Timothy Potts, director of the Getty,
“They are primary sources of information, widely disseminated and read; the bestiar-
ies were illustrated collections of real, imaginary and hybrid beasts, many of exotic
origin and sometimes entirely fantastic. They give visual form to the creatures believed
to inhabit the known world and the distant realms beyond. Both for their artistic
inventiveness and for the insights they provide into the medieval imagination, these
works are one of the most engaging aspects of medieval art.” A section of the exhibition
will also include modern and contemporary works that trace their origins to the besti-

Three Panels from a Casket with Scenes from Courtly Romances, 1300–50
or later. Ivory, 3-7/8 by 10-3/16 by 3/8 inches. Collection of The Cleveland
Museum of Art.
Pelican, Central European, 1500–1600. Painted wood (linden wood and
willow wood), 11-5/8 by 10-5/8 by 10¼ inches. Collection of the Swiss
National Museum, Zurich.

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“Gillyflower, Insect, Germander, Almond, Bestiary, English, about 1225–50. Parchment, leaf “Trococite; A Headless Man with Eyes on His Shoul-
and Frog,” by Joris Hoefnagel (1542–1600) 11-5/8 by 7½ inches. Collection of The Bodleian ders; A Headless Man with a Face on His Chest; A
and Georg Bocskay (died 1575), 1561–62, illu- Libraries, University of Oxford. Man with a Large Under Lip,” unknown maker,
mination added 1591-96. Watercolors, gold 1277 or after. Tempera colors, pen and ink, gold
and silver paint and ink on parchment, leaf leaf, and gold paint on parchment, 9-3/16 by 6-7/16
6-9/16 by 4-7/8 inches. Collection of The J. inches. Collection of The J. Paul Getty Museum.
Paul Getty Museum.

ary tradition. and was resurrected three days later. Others replicated virtues or vices common to the
Elizabeth Morrison, senior curator of manuscripts at the Getty, thinks, “The besti- human condition, such as the dragon, famed for killing elephants by using its tail to
suffocate them — just as the faithful can become suffocated by sin.
ary’s images can be seen as the medieval equivalent of contemporary memes. They
served as memorable and engaging snapshots of particular animals that ‘went viral’ in The second portion of the exhibition, “The Bestiary,” presents the development of the
medieval culture. The bestiary, in fact, still impacts how we talk about and character- bestiary’s textual and visual tradition, highlighting a series of animals and their relat-
ize animals today. The very first line of many medieval bestiaries introduces the lion as ed stories. Although the essential elements of the text and imagery associated with the
the ‘king of the beasts,’ an idea we take for granted today even if most people don’t beasts remained consistent across manuscripts, the bestiary was not a standardized
know its origin. I really got interested in doing this show after we did a small one in book. The third section, “Beyond the Bestiary,” takes a look at different incarnations of
2007 from our own collection.” the bestiary’s animals. The bestiary’s stories and images were so popular that medi-
eval artists readily adapted them to a variety of works of art. The fourth section, “Bes-
The exhibition is organized into five sections. The first section focuses on perhaps the tiary and the Natural World,” encompasses the use of bestiary material in natural
best-known and beloved of the medieval beasts, the unicorn: a white horse with a sin- history texts, encyclopedias and maps. The medieval bestiary, while never intended as
gle horn. The text and images convey the message that the unicorn is a pure but fierce a scientific work, was borrowed from liberally, much of its lore eventually incorporated
creature that can only be captured by a maiden placed in the forest alone, allowing into the nascent field of natural history. The final section, “The Legacy of the Bestiary”
hidden hunters to come forth and slay their prize for its valuable horn. It is often explores the medieval bestiary’s artistic impact in more recent times on works by mod-
shown bleeding from the hunters’ wounds. The bestiary interprets this scene as a sym- ern and contemporary artists such as Pablo Picasso, Alexander Calder, Damien Hirst
bol for Christ, who was born to a virgin, making possible his eventual death and cruci- and others.
fixion. The unicorn became one of the most popular animals in art of the period, largely
due to its powerful Christian message, and exemplifies how the bestiary’s texts and “Book of Beasts: The Bestiary in the Medieval World” is curated by Elizabeth Morri-
images played a vital role in establishing animal stories and their Christian connota- son with Larisa Grollemond, assistant curator of manuscripts at the Getty Museum. In
tions in the minds of widespread audiences. conjunction with the exhibition, Getty Publications will release a catalog of the same
title edited by Morrison with Grollemond. It has 270 color illustrations and contribu-
Morrison, speaking of unicorns that appear in all early medieval bestiaries, says, tions by 26 leading scholars in the field and an extensive bibliography. This volume
“This fabled beast has held the imagination of generations captive for over 2,000 years, explores, in depth, the bestiary and its influence on medieval art and culture as well as
although many today would dismiss the legendary animal as no more than evidence of on modern and contemporary artists.
past gullibility, more appropriate to children’s toys and fantasy posters than to the
annals of natural history. Yet for those living in the Middle Ages, without the access to The J. Paul Getty Museum collects Greek and Roman antiquities, European paint-
travel and instant information that we take for granted, who were they to doubt the ings, drawings, manuscripts, sculpture and decorative arts to 1900 as well as photo-
existence of the unicorn when it was attested to by authorities, including the Bible, graphs from around the world to the present day. The Museum’s mission is to display
Aristotle and even Marco Polo, who claimed to have seen one with his own eyes?” and interpret its collections and present important loan exhibitions and publications
for the enjoyment and education of visitors locally and internationally. This is sup-
The distinctions based on scientific criteria that we make today were irrelevant in ported by an active program of research, conservation, and public programs that seek
the Middle Ages. Questioning an animal’s status as “real” or “imaginary” was not part to deepen knowledge of and connection to works of art. More than six other exhibitions
of the thought process of medieval bestiary readers. The bestiary was designed to are running concurrently with this one.
impart a largely symbolic worldview based on Christian truths. Some animals were
seen as reflections of Christ in the natural world, such as the lion, who would breathe The J. Paul Getty Museum is at 1200 Getty Center Drive. For additional information,
on its dead cubs after three days to bring them to life just as Christ died on the cross www.getty.edu or 310-440-7300.

At The J. Paul Getty Museum

Allegorical “Millefleurs” tapestry with animals, Belgian, about
1530–45. Wool, silk, tapestry weave, 11 feet, 6-7/8 inches by 13 Parade Saddle, German or Tyrolean, about 1450. Bone, polychromy, wood, leather, iron
feet, 1¾ inches. Collection of the Minneapolis Institute of Art. alloy, 16½ by 17 by 21-9/16 inches. Collection of The Metropolitan Museum of Art.

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