ANTIQUES AND THE ARTS WEEKLY

February 7, 2020 — Antiques and The Arts Weekly — 47

Massachusetts tavern table, An American wall cupboard An oil on wooden board por- Chatting and calling bids, Richard “Jeff” Jeffers, principal
circa 1730-40, maple with with Shaker attribution and trait of George Edwards by auctioneer, faces a gallery with about 175-185 people, more
good splay leg over oval top, vibrant blue paint was a Nathaniel Lakeman wear- than 250 live online as well as phone and absentee bidders.
retaining an old surface and “good buy,” according to ing a coat with brass but- “Landscape With House” by Walter Emerson Baum (Penn-
a molded apron, all resting Jeff Jeffers when it sold at tons, seated in an arrow- sylvania, 1884-1956), oil on artist board, signed lower right,
on Queen Anne ball feet, $3,720. back chair (Mass., b 1756), described as autumn with old blue house, sold at $2,280.
was a good buy at $4,200. signed, “Eliza Gravner, Aged 12 was labeled on the back A well-done early copy after the 1851 original version in the
dated 1917, and sold at $3,840. years, Halvergate School.” The “George Edwards Painted Metropolitan Museum of Art, “Washington Crossing The Dela-
On day two, Baum’s autumn silk on linen alphabet in a pyr- by N. Lakeman, Salem, June ware,” after Emanuel Leutze (Germany/New York City/Wash-
landscape with a blue house, a amid with verse and birds went 1828, No. 1_8.” It sold above ington DC, 1816-1868), was unsigned and realized $4,800.
24-by-30-inch oil on artist board, to $2,750. estimate at $2,520.
sold at $2,280. $2,000, well above its $600/900
A tall case clock that had been estimate, which was set due to
A portrait of George Edwards sold by Garth’s 30 years ago a repair on the finial.
by Nathaniel Lakeman (Massa- (October 1990) to a private col-
chusetts, b 1756) sold for $2,520. lector/client, returned on Janu- The Washington, DC, sisters
The 20-by-16¾-inch oil on wood- ary 19. The early Nineteenth had a large assortment of band-
en board of a young man wear- Century Western Pennsylvania boxes and other folksy boxes,
ing a coat with brass buttons, Hepplewhite inlaid tall case bigger and with scarce images,
seated in an arrowback chair clock in cherry showed cutout which bidders found attractive.
was labeled on the back “George feet and a scrolled base with One mid-Nineteenth Century
Edwards Painted by N. Lake- curly walnut medallion and oval cardboard box had block
man, Salem, June 1828, No. cove molding. It sold at $3,375, printed wallpaper of white
1_8.” An additional exhibition just above its high estimate, squirrels on a blue ground. It
tag from the Mattatuck Histori- and Jeffers said, “I was pleased was lined with an 1831 news-
cal Society, Waterbury, Connect- — considering the current mar- paper mentioning Wilmington.
icut, read “Exhibition of Ameri- ket for unpainted [furniture] — Estimated at $600/900, the
can Primitives.” that it sold as strong as it did. 10¾-inch-high-by-18-inch-long
Inlaid and regional were the bandbox sold for $1,875.
Textile highlights spanned driving forces. It is going to
samplers and quilts with most another private collector.” “It is important for people to
selling above estimates. A feel they have a chance to win a
Friendship quilt from the Another favorite for collectors lot all the way to the gavel. We
Swank and Black families of are powder horns, especially need people to be engaged. One
Somerset, Penn., where they early and decorated. Garth’s man called about a painting,
were in the stoneware business offered one attributed to Timo- unsure if the color would go
together, dated 1891, had a thy Tansel (Indiana, 1810- well with his living room. So I
$400 to $800 estimate. The pat- 1852), with a scratch carved suggested he use an app on his
tern showed a house, tulips, date of 1821. It had a large phone and take a picture of the
geometric shapes and the engraved eagle with an Ameri- spot in his house and drop the
names Black, J.A. Ditmer, ini- can shield and banner and the painting into it — he did and he
tials and others were embroi- partial image of a hunter shoot- bought it over the phone.”
dered in the 62-by-70-inch quilt ing a deer. It sold just above
that sold for $3,240. estimate at $2,640. Garth’s February 22 auction
of Asian, continental, decora-
A late Nineteenth/early Twen- An American engraved horn tive and fine arts will include
tieth Century American Crazy with “James Smith, August 1, some “wonderful fine art and
quilt, pieced with animals and 1816,” had a thin-necked eagle silver,” Jeffers concluded.
birds of assorted fabric, and with shield, fish, trees, dogs, a
several are stuffed, also had a whale and whaling ship and Prices, with buyer’s premium,
modest, $900-$1,200 estimate was initialed “J.M.” It sold at as reported by the auction house.
but sold at $2,400. For further information, 740-
362-4771 or www.garths.com.
An English sampler, estimat-
ed at $400/800, in a square,
16¼ by 16¼ inches, and a
bird’s-eye maple frame, was

Connecticut pine one-piece apothe- A first half Nineteenth Century, This early Nineteenth Century New Selling at $4,200, a Hackensack, N.J.,
cary sold for $5,750. With its origi- poplar corner cupboard with its England pine cupboard in a door- cupboard, late Eighteenth or early
nal red painted surface and 36 dove- original red paint and 12 panes, was over-drawer-over-door arrange- Nineteenth Century, two-piece
tailed drawers, the first half of the one example that affirmed Jeffers’ ment, with its original painted yel- architectural corner cupboard with
Nineteenth Century piece, ex John observation that prices for furni- low surface, almost tripled its high arched door and double inset panel
Keith Russell (New York), had many ture are moving upward. With a estimate when it sold at $3,360. doors below, in pine, was grain
admirers and sold above estimate. blue painted interior and dovetailed painted over the original red.
cases, the 87½-inch-high cupboard
sold at $4,125.

48 — Antiques and The Arts Weekly — February 7, 2020

Enthusiasm, Gate & Sales All Up In 2020—

Outsider Art Fair Continues To Grow
As Interest In Genre Builds
NEW YORK CITY — The Out- nian and more. little-known Rochester, Minn., version of the then-newly erect-
Boston dealer Stephen sider Art Fair returned to the Dealers to the show constantly artist, which sold to a Texas col- ed Empire State Building; and a
Score sizes up an Indian Metropolitan Pavilion for its lector. woolen and embroidered frog
Chief carved and painted 28th edition January 16-19, speak of the neverending inter- with old onyx eyes that Score
wood sculpture in his booth. bringing with it 65 dealers from est and conversations they have On his first time exhibiting at had bought from Don Walters
It was bought at a country ten countries and 35 cities. throughout the show, from the the show, Boston dealer Stephen 30 years ago that had since
auction just south of the opening Wednesday through the Score found it energizing. Score resided on his mantel.
Finger Lakes more than 50 This year’s show was on the closing Sunday. These conversa- had exhibited at the Winter
years ago. The back was hol- move. Returning visitors who tions prove impactful and Show the past two years and Works from Leon D’Francelay,
lowed out like a canoe, and had developed a comfort with insightful to not only the attend- was pleased to make the transi- Prophet Royal Robertson and
the previous owner was told the floor plan in years past ees, but also the dealers, who tion. On the major differences James “Son Ford” Thomas were
it had been made by a gen- found themselves on new paths are passionate students them- he felt between the two, Score on exhibit with Joshua Lowen-
tleman from that area in the to discovery this edition, as the selves. related he was no longer feeling fels Works of Art. D’Francelay
1930s-40s. show reshuffled its booths and as if his “balls were being was born in the Caribbean but
moved every dealer into a new Aarne Anton of American squeezed by show vetters whose became a naturalized US citizen
space. The show also distanced Primitive Gallery, New York artistic vision had died in 1978.” following World War II. In the
itself from Americana Week, City, exhibited a Navaho heal- His booth featured a selection of late 1950s, he became a guard
moving its tenure in New York ing wand in painted wood from one-off folk art objects that he at the Metropolitan Museum of
City to the preceding week away the mid-Twentieth Century. described as one-offs, “objects on Art and was there until his
from that schedule of events. It There were four of them origi- the leading edge of what might retirement in the 1980s. “He
did not deter attendance, which nally, each for a cardinal direc- be considered not just Folk, but was talking of religion and life,”
was up eight percent this year tion, and he sold two long ago. Outsider and beyond. Things Lowenfels said, motioning to
to 12,500 visitors. He brought the remaining two you could never imagine seeing “Magnetism,” an oil on canvas
to the fair and included them in front of you.” room scene with bright colors
Among the show’s special pro- because he felt they dealt with and geometric perspectives. Two
grams, one of the most-buzzed- healing and that this was an “I had heard of, but was totally magnets sit on a green low cof-
about special booths at the fair appropriate time to provide unprepared for, the throngs of fee table in the center of the
was the curated space “Relish- that. people, in waves, coming room, above them a rectangle
ing the Raw: Contemporary Art- through the show at all hours, featuring nails being forced into
ists Collecting Outsider Art.” Anton related that an attend- every day and night,” Score said. shapes by the magnets below.
The booth was curated by critic ee walked into his booth and “Most of them young people — “His paintings were often sym-
Paul Laster. In it was found a asked him not to sell the wands. looking, wanting to talk, to ask, bolic, and we’ve lost his writ-
Eugene von Bruenchenhein She was the president of the to touch, to learn, to buy. I ings, of which there were sup-
work in the collection of American Synesthesia Associa- remembered my old days of posedly many, so I can only read
Maurizio Catellan, a sculpture tion and she told Anton that looking at folk art when we all into it so much,” Lowenfels
by Curtis Cuffie in the collection from the moment she stepped seemed to be learning about it added. “His paintings are
of Kenny Schacter, an Esther into the building, she experi- at the same time. Exciting always staged; this one, I can’t
Hammerman from the collec- enced a strong vibration in her things, different things, that one help but wonder if the nails are
tion of Nicole Eisenman, and a feet that led her to his booth might find in an attic or barn, symbols of the crucifixion, and
Helen Rae work in the collection and the wand, where the vibra- not in galleries or Google. That the magnets are moving the
of KAWS. Other contemporary tion stopped. “She interpreted collective excitement had dimin- nails in a way that is forming
artists included Jenny Holzer, that to be the reason for the ished over the last few decades words. They float above, like
Chris Martin, Nicolas Party, vibration and advised us not to and shows once chock-full of that piece of parchment nailed
among others, who collected sell it,” Anton told us. “Her feel- dealers and collectors parsing to the cross. A lot of folk art has
works from Morton Bartless, ing was that it was important to folk art have changed or thinned religion in it, but he approached
Hawkins Bolden, Vakahn Arsla- us. It was not because it had a out.” Score had an industrious it so differently. There’s a grand-
native Navaho origin that she show, recounting a number of ness in the execution of it.”
Review and Photos by said this. She emphatically sales, which included a 6-foot
Antiques and The Arts Weekly thought it had importance to us abstract metal rod sculpture in New York City dealer Marion
and we should not sell it. an open pyramidal shape by an Harris found success in debut-
Greg Smith, Editor anonymous woman who eroded ing the work of Steven Hirsch, a
We removed the piece when metals for the Remington Arms court photographer for the New
she left and brought it home. I Co in Ilion, N.Y., in the 1950s; York Post who paints over his
learned from the experience and an 8½-by-11-inch oil and pencil own front page photographs.
don’t need to understand it to painting on Styrofoam tray by Marion said Hirsch’s work drew
believe what she said. We have Sister Gertrude Morgan, “Praise as much attention as the memo-
owned the healing wands for Him All Ye Little Children — ry maps of Joanathan Bessaci,
maybe 20 years. They have God is Love,” with the original whose detailed, layered
always been at the center of our $35 price tag on the back; a Michelin maps replicate ana-
house as works of art. The two James Grunbaum painting, tomical forms of the heart, brain
we have we will now keep.” “Man in Profile”; a carved and body with the arteries of
Anton was successful in dis- naughty pine and painted rou- the roads appearing similarly to
patching a number of other lette wheel with a nude, 52-inch those of the body. Marion said
works at the fair to new homes, diameter; a carved pine sculp- she sold three of six Bessaci
including the largest sculpture ture of a Baptism that Score pieces to a neurologist, a cardi-
in his booth, a carved wood God- said was carved by a blind ologist and a psychiatrist. “I
dess of Liberty with an inset sculptor in the 1930s; a carved think the fair was one of the
automobile headlamp in the
belly and skeleton face, from a

Two women admire the Henry Darger work that sold at
Andrew Edlin Gallery, New York City.

Contemporary works by artist Kevin Sampson were repre- Josh Lowenfels stands in his booth at the A 1950s table by an unknown maker is sup-
sented at Cavin-Morris Gallery, New York City. Seen here 2020 Outsider Art Fair. Behind him are two ported by four dancers. Above it is a crayon
are two mixed media and found object works, “Shogun” and paintings by Leon D’Francelay, a security and marker on paper work by Henry Spell-
“USS Enterprise.” guard at the Metropolitan Museum of Art er. Tops Gallery, Memphis, Tenn.
whose symbolist work was rescued from the
trash following his death in East Harlem, N.Y.

February 7, 2020 — Antiques and The Arts Weekly — 49

Visitors from around the world gathered at the Metropolitan Pavilion January 16-19 to see Mark Wilson speaks with a woman about a group of 1930s
the 28th edition of the Outsider Art Fair. Mennonite ledger drawings from Lancaster County, Penn.
Wilsonville, East Hampton, N.Y.

best in years,” Marion told us. “I them, the majority of the body of tizing him because they were made frame. Elsewhere in the a fire with huts in the back-
was busy not just with sales, but work that we acquired.” The more aggressive than he booth was a painted tin cut-out ground, another with three ani-
with interesting and labor- works on display varied, some thought, laughing and teasing sculpture, “Chameleon,” by mals around a singular stripped
intensive conversations — there included people at work, with a him,” Powers said. Also sold was David Butler. It was hung above tree in a plain, and a third that
seemed to be many who were rifle slung over their shoulder or a folk art sewer tile head of a a powerful Midwest folk art- features the natural order with
new to Outsider Art and first- standing behind surveying woman, 5-1/8 inches high and work of a tin bucket decorated lions and rhinoceros fighting
time visitors to the show. It was equipment, while others depict- from the early Twentieth Cen- into a head with found materi- and chasing prey in a grain
a pleasure to engage with them, ed figures in front of their tury; and a wood folk art carv- als. “The show maintained a plain. “Cheias Nascimento da
describe the field and share homes and subjects of domestic ing of a bigfoot, 24 inches high high level of interest from the Rosita (The Floods – Birth of
their enthusiasm.” life. The gallery said he could and with hair all over his body. art buying community,” Ham- Rosita),” a 2014 painted wood
carve up to four figures a day. Powers said he made sales every mer told us. “We did rather well. carving by Mozambique artist
Lindsay Gallery, Columbus, Apart from the village, Lachance day, ranging from $500 to Not our best year, but right up “Dino” Camordino Mustafa
Ohio, found considerable inter- carved hundreds of other pieces $5,000. At the center of his there. Crowds were consistently Jetha, documents a story that
est in the carved wood sculp- that were meant for enjoyment booth was a 36-by-24-inch in good numbers, and enthusi- arose from the Cyclone Idai
tures of Quebec folk carver and display. painting by Emile Branchard astically supportive…being very floods that plagued that country
Cléophas Lachance, who upon titled “Dark Trees.” Branchard inquisitive.” in 2000. The sculpture features
retiring at 63, created an out- Brooklyn dealer Steven S. was exhibited in the 1938 Alfred three figures on a roof with their
door environment on his prop- Powers had sold tags early on in H. Barr Jr exhibition at MoMA, African, Haitian and Cuban belongings, and that next to a
erty called “Le Village Histo- the fair, including a 1994 minia- “Masters of Popular Painting.” artists were represented in the tree with a mother and infant in
rique du Nord,” or “The ture embroidered work by Ray booth of Indigo Arts Gallery, it, a helicopter flying above to
Historical Village of the North.” Materson, which featured the In addition to exhibiting his Philadelphia. Among them were rescue them. As the flood envel-
The environment featured more artist in the throes of a sexual mainstay artists Eugene Von works from late Kenyan artist oped their village, mother Amé-
than 40 homes, 300 carved citi- act with two women. Materson Bruenchenhein, Henry Darger Kamante Gatura, who in his lia Mabuiango sought refuge in
zens and more than 100 other described the image as an event and Lee Godie, Chicago-based youth in the 1920s worked for that tree with her 2-year-old
buildings. Lachance had worked from his youth, where he Carl Hammer Gallery featured Karen Blixen (aka Isak Dine- son, where she gave birth to her
as a foreman, developing skills skipped class in high school and an untitled painted wood and sen), the author of Out of Africa. child, Rosita. The story made
in carpentry and cabinetmaking wound up playing strip poker applied half-spool tower con- Gatura was a self-taught artist international headlines and is
over his career. The environ- with two girls. Materson is seen struction by Earnest F. Becker who captured life in Africa with largely credited with raising
ment took him 15 years to build lying flat on the floor with his that dated to 1898. It came with crayon and colored pencils, and $500 million in relief efforts.
before he died in 1989. In carv- arms outstretched like Jesus an original framed photo of the the gallery sold nearly all of the “The story has entered Mozam-
ing village life, Lachance was Christ in all but his briefs and a work at that time in an artist- works they brought from him: bique folklore,” gallery director
visualizing a vanishing way of concerned look on his face, the one featuring three men around
life. “People were really capti- women, with smiles on their
vated by the figures and the faces, pulling at him and
incredible story of his huge out- restraining him. “He thought it
door environment,” Duff Lind- was going to be the best day of
say told us. “We sold dozens of his life, but it ended up trauma-

The quilts of Gees Bend were on hand at One Mile Gallery, Crocheted metal garments “Relishing the Raw: Contemporary Artists Collecting Out-
Kingston, N.Y. by contemporary artist sider Art,” a special booth curated by critic Paul Laster.
A man takes a look through the booth at Hill Gallery, Bir- Donna Rosenthal were on Among the contemporary artists that loaned were Maurizio
mingham, Mich. hand at koelsch gallery, Cattelan, Kenny Schachter, Nicole Eisenman and KAWS.
Houston, Texas. Rosenthal New York City gallery Dutton featured work from artists
learned crocheting from who worked out of studios at Arts Project Australia in Mel-
watching her sister. Much of bourne. These artists included Alvaro Alvarez, Paul Hodg-
her work is presented with es, Lisa Reid, Miles Howard-Wilks, Anthony Romagnano
male and female sets, a and more. Ten percent of all sales went to the Wildlife Victo-
dress and a suit for example. ria Bushfire Emergency Appeal.
“It’s all about society,” she
told us. “What society does
to make us the people we
are, some people reject it or
accept it. With women, it’s
also speaking to how they
feel about themselves.” The
dress here, titled “Faith,”
was part of a set that includ-
ed other dresses, “Hope”
and “Joy,” that the artist
made following her dis-
placement after the Septem-
ber 11 attacks. She said, “I
was trying to use words on
there that I needed for
myself because it was such a
terrible experience.”

50 — Antiques and The Arts Weekly — February 7, 2020

An untitled painted wood and applied half- An attendee takes a look through the world of contempo-
spool tower construction by Earnest F. rary artist Gil Batle in “Sanctuary,” a 2018 ink on paper.
Becker dated to 1898 at Carl Hammer Gal- Batle served a succession of incarcerations in California
lery, Chicago. It came with an original peri- until he was finally released in 2008, when he moved to
od photograph in an artist-made frame. Marinduque, a small island in the Philippines.

Photographer Vivian Maier’s work was Outsider Art Fair
exhibited at Howard Greenberg Gallery,
New York City, a first-time exhibitor at the
fair. Maier was a nanny by profession and
she left most of her work on negatives,
which were discovered posthumously. Seen
here are works that she did develop during
her lifetime.

A large display with hundreds of examples from A.W. Gimbi,
aka the Pennsylvania Peach Stone Carver, were found with
New York City dealer Marion Harris. Gimbi’s subjects
included arrowheads, jugs, pitchers, bows, shoes, brushes,
letters, books, baskets, fishing hooks and more.

Repurposed fabric flowers by artist Rose- Boston dealer Stephen Score stands beside
mary Olson were budding at Portrait Soci- the front door of a cupboard that was found
ety Gallery, Milwaukee, Wis. On the left is a sinking in the mud below a barn in Frank-
work by Norbert Kox, which sold quite fast. lin, N.H. An inscription on the right panel
reads “A tobacco user is to his fellow men
what the skunk is to the lower animals.”

Fair owner Andrew Edlin stands next to “Working at Home,”
a circa 2000 work by Thornton Dial that had just sold.
Andrew Edlin Gallery, New York City.

Two attendees look through more than 100 Husband and wife Aarne and Tina Anton, Works from the Philadelphia Wireman were arrayed at
variations of the cross drawn in black ink American Primitive Gallery, New York City, Fleisher/Ollman, Philadelphia. The Wireman is unknown,
on paper by Mrs George Dunham, circa stand around a folk art carving depicting and his entire output of works, approximately 1,200 of
1940-50. Dunham was a Midwestern wife of the Goddess of Liberty with an inset auto- them, were found abandoned on a sidewalk in 1982. The col-
a pastor. Steven S. Powers, Brooklyn, N.Y. mobile headlamp in the belly and skeleton lection was first exhibited at Fleisher/Ollman in 1985.
face, from a little-known Rochester, Minn.,
artist. It sold to a Texas collector.

February 7, 2020 — Antiques and The Arts Weekly — 51

New York City Gallery Ricco/Maresca exhibited the work of Renaldo Kuhler, whose estate the gallery began representing a year ago. Kuhler produced
about 1,500 works centered around his imagined country Rocaterrania.

Anthony Fowler told us. “I am tured a work by well-known York City. Kuhler worked for 30 that was making a Science Fic- talking more about the artist,
happy to see a continuing trend Green Bay artist Norbert Kox, years as a scientific illustrator tion movie.” Other storylines which follows a book, The Secret
that has been in the works for who passed away last year. for the North Carolina Museum elucidate the city’s government, World of Renaldo Kuhler (Blast
the last few years — an interna- “This was the last major work of Natural Sciences. His person- religion (Ojallaism), evolving Books, 2017), and a documenta-
tionalization of the fair, with the that seemed to be available,” al work, which he created over a language and alphabet, an orga- ry film, Rocaterrania (2009).
addition of more art and dealers gallery director Debra Brehmer period of 60 years, was kept nized labor service, a prison sys-
from beyond Europe and North said. “I had no idea if it would entirely private and centered tem, a university system and a The show plans to return in
America,” Fowler said. “Since support the price, but it turns around an imaginary country Rocaterranian Olympics. Mar- 2021. For more information,
most of the work I bring to the out there’s a lot of interest. We he envisioned named Rocaterra- esca released a recent podcast www.outsiderartfair.com or 212-
fair is from Africa, the African could have sold it four times. nia. The gallery began repre- 337-3338.
diaspora and Latin America, I It’s been thrilling to have it senting the artist’s estate a year
am pleased to see galleries from here because people are happy ago and launched a sold-out
Peru, Portugal and Japan and to see his work and he’s loved.” exhibition in May, 2019. The
more work from Africa, Austra- That work, “Adam and Eve,” 70 artist’s oeuvre approaches 1,500
lia, Cuba, Haiti, Brazil, Iran and by 50 inches, was priced at works centered on storylines
Mexico, to name a few. I saw $40,000 and came with seven within Rocaterrania. “I original-
more sculptural work and more pages of text that the artist ly looked at his work and others
work which might previously be wrote describing every individ- that included space and planets,
“ghettoized” in ethnographic ual symbol within the work. and I thought he was interested
shows, such as masks from Mex- in Science Fiction,” Frank Mar-
ico and Guatemala, and some Two works from artist Renal- esca told us. “But no, there was
exquisite Native American and do Kuhler were quick sales at a movie studio in Rocaterrania
African tribal work.” Ricco/Maresca Gallery, New

Works from Gees Bend quilt- Ceramics from contemporary Japanese artist Shinichi Gallery director Tim Hill stands with a few pieces of early
makers were on show with Sawada were on view at Jennifer Lauren Gallery, Manches- African American-made pottery. The glazed stoneware fig-
Kingston, N.Y., One Mile Gal- ter, U.K. ure on his right has an Alabama/Georgia origin and dates to
lery. This is the second time the A selection of works from Quebec folk wood carver Cléo- 1900. Other examples included face, temperance and rep-
gallery has shown quilts from phas Lachance were on view at Lindsay Gallery, Columbus, tile jugs. Hill Gallery, Birmingham, Mich.
the Alabama makers, and gal- Ohio. Lachance developed an environment in his yard American Folk Art Museum director Jason Busch looks at a
lery director Janet Hicks said called “Le Village Historique du Nord,” complete with more Henry Darger painting in the booth of Carl Hammer Gal-
the quilts are a popular brand than 40 homes, 300 carved citizens and more than 100 other lery, Chicago.
and people at the fair are famil- buildings.
iar with them. Among her offer- Contemporary artist David Airhart’s work was exhibited at “Cheias Nascimento da Rosita (The Floods – Birth of Rosi-
ings were those by Mattie Ross, Stewart Gallery, Boise, Idaho. ta),” a 2014 painted wood carving by Mozambique artist
Rachel Carey George and Mary “Dino” Camordino Mustafa Jetha, documents a story that
L. Bennett. made headlines throughout the world in the year 2000
when floods from Cyclone Idai ravaged Mozambique. The
Among his sales, fair owner scene tells the story of a mother who gave birth in a tree by
Andrew Edlin, who runs the herself as the flood raged on underneath.
Andrew Edlin Gallery, sold a
30-by-95-inch Henry Darger
work shortly after opening.
Edlin also exhibited architec-
tural works by French artist
Marcel Storr and drawings by
early Twentieth Century Penn-
sylvania naïve artist Pearl
Blauvelt. Shortly after opening,
Edlin sold “Working at Home,” a
circa 2000 work by Thornton
Dial that measures 36 by 48
inches.

It was a first time at the fair
for New York City gallery How-
ard Greenberg, which showed
off the work of photographer
Vivian Maier. Maier, who photo-
graphed city life in Chicago and
New York, was a nanny by pro-
fession and unknown as a pho-
tographer until her negatives
were posthumously discovered.
Greenberg’s exhibition aimed to
provide both sides of Maier, her
photographic observations and
personal life. Maier developed
and printed precious little of
her own work, and on display
was a selection of personal pho-
tos from Meier’s estate, photos
she did develop. The gallery
said they were able to sell a
number of these domestic
scenes, which included people
she knew along with images
that captured current events
and her travels.

Sprawling and colorful fabric
floral works by Milwaukee art-
ist Rosemary Olson were on dis-
play with Portrait Society Gal-
lery, Milwaukee, Wis. The first
stanza from a poem written by
the artist reads, “Flowers from
above / Flowers created in love /
Flowers not seen before / Flow-
ers that express God’s love /
Flowers that you and I do not
know / Flowers that not one is
the same / Flowers for you and I
to name.” The gallery also fea-

52 — Antiques and The Arts Weekly — February 7, 2020

Greenwich Historical Society Honors
Nineteenth Amendment Centennial

COS COB, CONN. — Green- toric amendment that empow- They include Louisine Have- In this photograph, Dr Valeria Parker of Greenwich and
wich Historical Society has ered women in their fight for meyer, a noted New York art Helena Hill Weed of Norwalk stand at far left and right in
unveiled an exhibition that political and economic equality, collector who maintained an academic robes. Grace Gallatin Seton of Greenwich stands
showcases the role Greenwich while furthering the historical estate in Greenwich. Havemey- in the center. Members of the Connecticut Woman Suffrage
women played on the national society’s commitment to inform- er joined the movement on the Association, 1917, RG 101, State Archives, Connecticut State
stage in achieving the passage ing broad audiences on complex encouragement of friend and Library.
and ratification of the Nine- social issues that have affected famed impressionist Mary Cas-
teenth Amendment. Greenwich.” satt. She was the oldest of the address the equally important the atmosphere of activism that
suffragists who protested at the impact of the women and men defined the Progressive Era.
On view through September 6, The exhibition is curated by White House to be arrested. who opposed suffrage. The exhi- Original correspondence, vin-
“An Unfinished Revolution: The Kathleen Craughwell-Varda, bition also highlights the par- tage photographs and works of
Woman’s Suffrage Centennial” who has extensive knowledge of Valeria Hopkins Parker, a ticipation of working women, art from the Greenwich Histori-
features a wide variety of his- Connecticut history and the Greenwich physician and advo- women of color and middle- cal Society’s collections open a
toric objects from museums, contributions of women in the cate for awareness of women’s class families in the fight for further window into this tumul-
libraries, private collections state from settlement through health issues. The Greenwich equal suffrage. tuous period.
and descendants of suffragists the Twenty-First Century. Equal Franchise League was
to illustrate the long struggle founded in her home and she Featuring protest banners The Greenwich Historical
for the right to vote. Through The early history of the suf- was a founding member of the and historic clothing, sashes Society Museum galleries are
educational and interpretive frage movement is dominated Connecticut Woman Suffrage and heirlooms worn by promi- at 47 Strickland Avenue. For
programming, the historical by Susan B. Anthony and Eliza- Association. nent suffragists, visitors to the information, 203-869-6899 or
society will explore broader beth Cady Stanton; however, exhibition will be immersed in www.greenwichhistory.org.
social and civic issues that reso- several leaders who cam- Caroline Ruutz-Rees was the
nate today, such as voter regis- paigned for the passage of the founding headmistress of Rose-
tration, voter suppression and Nineteenth Amendment lived mary Hall in Greenwich. She
the Equal Rights Amendment. in Greenwich, either year-round was active in several statewide
or seasonally. They were often and national suffrage organiza-
“While we take the right to wives of New York and Connect- tions, and was responsible for
vote for granted today, the icut’s wealthy elite who had the founding the Junior Suffrage
debate over granting women time and financial means to Corps, which counted several
suffrage was a minefield that dedicate to the fight, with or Greenwich children among its
shook our community and the without the support of their members, including the twin
nation to the core,” says Maggie spouses and families. Their con- daughters of Elmer and Con-
Dimock, Greenwich Historical tributions, and those of other stant MacRae of Cos Cob.
Society curator of museum col- women in the region who broke
lections. “This exhibition will away from social convention to In addition to exploring the
serve as a platform for educat- stand up for a cause they stories of Greenwich’s preemi-
ing the community on this his- believed in, will be highlighted. nent suffragists, “An Unfin-
ished Revolution” will also

‘Vanity Fair: Hollywood Calling’:
The Stars, The Parties & The Powerbrokers
LOS ANGELES — On view a look at the Hollywood stars, Lady Gaga and Mark Ron-
February 8-July 26 at the the parties, and the powerbro- son, Vanity Fair, April 2019.
Annenberg Space for Photog- kers through the distinctive Justin Bishop photo
raphy, “Vanity Fair: Hollywood lens of Vanity Fair. Collier Schorr, Firooz Zahedi
Calling,” an exhibition curated and dozens more.
by Vanity Fair’s creative devel- With 130 photographs and
opment editor David Friend more than 50 photographers, The show will also display
and the magazine’s former “Hollywood Calling” will show- every Vanity Fair Hollywood
director of photography Susan case Vanity Fair’s vaunted Issue cover and portfolio, as
White, features photographic portraitists, including the well as photos from the annual
portraiture and multimedia magazine’s principal photog- Vanity Fair party on Oscar
installations that capture the rapher, Annie Leibovitz, as night. Finally, visitors to the
magic and glamour of the film well as Jonathan Becker, exhibit will get an exclusive
and television industry’s Harry Benson, Cass Bird, look at the documentary on
major players from the last Ethan James Green, Horst P. the making of the 2020 Holly-
four decades. The exhibition is Horst, Helmut Newton, wood Issue, which takes them
Michael O’Neill, Herb Ritts, behind-the-scenes to see how
established and up-and-com-
ing stars get picked for the and the editors, finishing up raphy is at 2000 Avenue of the
cover. It is a first-ever glimpse with a visit to the set to watch Stars. For more information,
at the process, seen through it all come together. www.annenbergphotospace.org
the eyes of the photographer or 213-403-3000.
Annenberg Space for Photog-

Woodstock Artists Association & Museum’s
February Exhibition

WOODSTOCK, N.Y. — A graduate of the Rhode Gallery highlights the work of
Hibernating artists emerge Island School of Design, five of WAAM’s Active Mem-
mid-winter from their studios Buzelli has art directed and bers. Each artist is offered a
to show us new work, reviving designed award-winning pub- wall on which to hang multi-
our winter weary souls, like lications since 1996. She has ple works, giving the commu-
the softest blanket of snow. received recognition from nity a chance to see a sample
“Fresh Snow: Recent Work” in many art and design organi- of their work. Participating
the Main Gallery of the Wood- zations, including the Society artists include Dot Chast (95
stock Artists Association & of Illustrators, the Society of years young!), Tracy Phillips,
Museum (WAAM) features Publication Designs, the Art Karen Whitman, Stewart
artwork made in the last five Directors Club of New York, Schuenemann and Julia San-
years and includes all genres Communication Arts, Print, tos Solomon.
and media. The exhibition is 3×3, L.A. Society of Illustra-
juried by SooJin Buzelli and tors, American Illustration, Woodstock Artists Association
will be on view through Spectrum and AltPic. & Museum is at 28 Tinker Street.
March 1. For information, 845-679-2940 or
February’s show in the Solo www.woodstockart.org.

Windsor Historical Society Talk Explores ‘Native Americans
In Connecticut Before Casinos,’ February 12

WINDSOR, CONN. — Many tive director of Connecticut these stories to life.
Connecticut residents know Humanities, where he will Previous to his posting at
that Native Americans lived explore “Native Americans in
here before the early Seven- Connecticut Before Casinos.” Connecticut Humanities, Man-
teenth Century, before the cini was the executive director
onset of European settlement. Mancini has explored account of the Mashantucket Pequot
Did they disappear after the books, military, customs and Museum and Research Center.
Pequot War of 1637 only to maritime records, town records,
reemerge in the 1980s with the land records, narratives and The Windsor Historical Soci-
building of Foxwoods Casino? literature, and more, in his ety is at 96 Palisado Avenue
Or were they always here? On search for Native Americans in (Route 159). In the event of
Thursday, February 12, at 7 Connecticut through the Eigh- snow, the program will be Feb-
pm, the Windsor Historical teenth and Nineteenth Centu- ruary 13 at 7 pm. The cost is $6
Society will offer a presenta- ries. Follow his journey through for adults, $5 for seniors, and $4
tion by Jason Mancini, execu- historical records and the for WHS members. For more
detective work he used to bring information, 860-688-3813 or
www.windsorhistoricalsociety.org.

February 7, 2020 — Antiques and The Arts Weekly — 53

Gibbes Museum Opens New British
Sporting Art Exhibition
CHARLESTON, S.C. — The wider art world and the paint- ish, 1814-1882); James Ward
Gibbes Museum of Art has ings presented in this exhibi- (British, 1769-1859); Sir “Cotherstone” by John Frederick Herring Sr (British, 1795-
announced a new special tion help us to meet that Alfred Munnings (British, 1865), 1843, oil on canvas; 13½ x 17½ inches; image courtesy
exhibition, “Charleston Col- goal.” 1878-1959); and many more. of Penkhus Collection.
lects: British Sporting Art is at 135 Meeting Street. For 2706 or www.gibbesmuseum.
from the Penkhus Collection.” The Penkhus’s journey col- To coincide with the opening more information, 843-722- org.
This exhibition is the second lecting fine art started in of the exhibition, the Gibbes
in the Charleston Collects 1986 when they purchased a will bring together experts to
series and will be on display portrait of the famous Eng- discuss British Sporting Art
until June 28. lish racing horse Cotherstone and the Penkhus Collection.
by John Frederick Herring Sr Guided tours of the collection
“The Charleston Collects (British, 1795-1865). Their led by experts, scholars and
Series aims to highlight Low- passion for British sporting artists will be available to
country residents’ fine art col- art and culture blossomed, visitors of the museum,
lections, and we are grateful leading them to build a collec- including a members tour and
to Dr Stephen and Mrs Mar- tion of animal and sporting reception featuring Turner
tha Penkhus for giving us the paintings. The works provide Reuter Jr, owner of Red Fox
opportunity to showcase their glimpses into the English Fine Art in Middleburg, Va.,
personal collection at the countryside, its occupants at noon on February 12. There
Gibbes,” says Angela Mack, and their activities from 1800 will also be an artist talk with
executive director of the to present day. The collection Sporting Arts painter Joseph
Gibbes Museum of Art. “We includes paintings by notable Sulkowski on Monday, May 4,
strive to make connections English painters, including at 1 pm.
between Charleston and the Herring Sr; Harry Hall (Brit-
The Gibbes Museum of Art

Japanese Works From Two Seminal
Collections Open Feb. 11 At Asia Society

NEW YORK CITY — With A richly illustrated catalog Anglia, on Tuesday, March 31,
nearly 70 masterpieces of cal- co-published by Asia Society at 6:30 pm; and a lecture with
ligraphy, painting, sculpture, Museum and Officina Libraria Melissa McCormick, Professor
ceramics, lacquers and tex- accompanies the exhibition. of Japanese Art and Culture,
tiles drawn from two of Ameri- Scholar Melinda Takeuchi of Harvard University, on Friday,
ca’s great Japanese art collec- Stanford University notes in April 24, at 6:30 pm.
tions, “The Art of her introduction to the cata-
Impermanence: Japanese log, “Although cultures have For tickets and information,
Works from the John C. Weber decried the impending end of www.asiasociety.org/NY or
Collection and Mr and Mrs civilization through the ages... 212-517-2742.
impermanence takes on a par-
John D. Rockefeller 3rd Col- ticular urgency — and partic- c
lection” examines Japan’s ular irony — in today’s world.”
unique and nuanced referenc-
es to transience. A series of related programs
On view from February 11 to has been organized to coincide
April 26, there will be an with the exhibition. Beyond
opening reception and lecture the opening evening lecture,
with the exhibition curator, there will be a lecture with
Adriana Proser, John H. Fos- Sinéead Vilbar, Curator of
ter Senior Curator of Tradi- Japanese Art, Cleveland
tional Asian Art, on February Museum, on Wednesday,
11 at 6:30 pm, at the Asia March 11, at 6:30 pm; a lec-
Society Museum, 75 Park Ave- ture with Simon Kaner, Direc-
nue. tor for the Centre for Japanese c
Impermanence is a pervasive Studies, University of East
subject in Japanese thought
and art. Objects in the exhibi-
tion span from the Jomon
period (circa 15,000-300 BCE)
to the Twentieth Century.
Katsushika Hokuun (active From images that depict the
circa 1800-1844), “Courtesan cycle of the four seasons and
Promenading under Cherry red Negoro lacquer worn so it
Blossoms,” Japan, Edo peri- reveals the black lacquer
od, 1804-18, hanging scroll, beneath, to the gentle sadness
ink and color on silk, 35-1/8 evoked in the words of wist-
by 13¼ inches. John C. fully written poems, this exhi-
Weber Collection. Photogra- bition demonstrates that
phy by John Bigelow Taylor, much of Japan’s greatest art
courtesy of John C. Weber alludes directly or indirectly
Collection. to the transient nature of life.

Michael & Juliet Rubenstein Gift
Of Modern & Contemporary Works
At Met Breuer

NEW YORK CITY — In 1954, Dorothea Rockburne.
at the age of 17, the architect The gift is part of the Met’s 2020
Michael A. Rubenstein bought
his first work of art — a painting Collections Initiative celebrating
by the American artist John Har- the museum’s 150th anniversary.
tell (1902–1995) — and it marked
the beginning of a lifelong pas- The exhibition will feature
sion for collecting. Today the col- drawings, paintings and water-
lection spans two centuries and colors by European and Ameri-
consists mostly of drawings and can modern and contemporary
watercolors, of which 160 are artists — both widely and lesser
promised gifts to the Met from known — including Pierre Bon-
Michael and his late wife, Juliet nard (1867-1947), Eve Aschheim
van Vliet Rubenstein. (b 1958), Philip Guston (1913-
1980), Franz Kline (1910-1962)
On view at the Met Breuer and Anne Ryan (1889-1954).
through March 29, “From Géri- The works on view, all acquired
cault to Rockburne: Selections over the 65-year period from
from the Michael and Juliet 1954 to 2019, represent Ruben-
Rubenstein Gift” will highlight stein’s wide-ranging taste, as
some 50 works, ranging from a they vary in style and subject
drawing by the French artist matter, ranging from the
Théodore Géricault from about abstract, geometric and linear to
1818 — the earliest work in the lyrical and figural.
the show — to a 2019 mixed-
media work on paper by The Met Breuer is at 945 Madi-
Rubenstein’s friend and artist son Avenue. For more informa-
tion, www.metmuseum.org or
212-923-3700.

54 — Antiques and The Arts Weekly — February 7, 2020

Seattle Art Museum Exhibits Haida Manga In ‘Carpe Fin’

SEATTLE, WASH. — The frontlet and the mural are
Seattle Art Museum (SAM) linked by Haida stories about a
presents “Michael Nicoll Yah- man named Carpenter. The
gulaanas: Carpe Fin,” a new installation also includes the
installation featuring work by artist’s drawings and sketches
the Vancouver-based Haida for Carpe Fin, two of his scroll
artist. The centerpiece is ink drawings on indigo paper,
“Carpe Fin,” a 6-by-19–foot and a video in which the artist
watercolor mural that is a describes his process. Finally, a
major commission for SAM’s Chilkat robe (naaxein) hangs
collection. Yahgulaanas alongside the wood pattern
describes its style as “Haida board used as a guide for its
manga,” blending several artis- making, which demonstrates
tic and cultural traditions, Yahgulanaas’ reference to the
including Haida formline art, ancient Haida formline design
Japanese manga, Pop art and system.
graphic novels. The exhibition
is on view to November 1. “With Carpe Fin, Yahgulana-
Created with watercolor and as has created a truly contem-
ink on handmade mulberry porary, hybrid work of art with
paper from Japan, “Carpe Fin” a timely message,” says Barba-
bursts with figures, landscapes, ra Brotherton, curator of
and action scenes inspired by a “Carpe Fin,” 2018, Michael Nicoll Yahgulanaas (Haida, b 1954), watercolor and ink on hand- Native American art. “It’s an
traditional Haida oral story: a made Japanese paper, 6½ by 19¾ feet, Seattle Art Museum, Ancient and Native American exciting synergy between many
sea mammal hunter goes in Art Acquisition Fund, McRae Foundation and Karen Jones, 2018.30, ©Michael Nicoll Yah- art traditions, particularly
pursuit of food to feed his gulanaas. classic Haida design and free-
starving community and is flowing comic book style. We
taken underwater to the realm rupture of the values that Fin” has also been published as tion is a Nineteenth Century are honored to bring this
of a powerful spirit. Yahgula- honor human-nature interde- a book; a copy is available to carved wood and abalone head- important commission to the
naas refreshes the story for pendence. explore in the installation, and dress frontlet from SAM’s col- museum’s walls.”
contemporary audiences with copies are also for sale in the lection made by Yahgulanaas’s
attention to issues of environ- Yahgulanaas is the author of SAM shop. relative, Albert Edward Eden- The Seattle Art Museum is at
mental degradation and the eight books, including Red: A shaw. The imagery on the 1300 First Avenue. For more
Haida Manga (2009). “Carpe Also, on view in the installa- information, 206-654-3100 or
www.seattleartmuseum.org.

EXCITING NEW 2012 Moody Center Features
PRE-BRIMFIELD EVENTS! Contemporary African Art

HOUSTON, TEXAS — The invites viewers to reexamine
Milford new exhibition at the Moody both past and present. As the
Antiques Show Center for the Arts at Rice rich resources of the African
University, “Radical Revision- continent continue to be of
ists: Contemporary African great interest to powers
Artists Confronting Past and around the globe, the selected
Present,” features artists from works speak to the ways in
Over 100 Dealers in Africa and the Diaspora who which outside intervention
Quality Antiques and Collectibles! problematize Eurocentric during the colonial past and

Hampshire Hills Sports and Fitness Club tropes of race, representation postcolonial present have
and the colonial past. The deeply affected both its people
50 Emerson Rd. (Intersection of Rtes. 101 & 13) exhibition will be on view and natural resources.
Milford, New Hampshire

Four Great Buying Opportunities! through May 16. The exhibition is co-curated
Sundays 10am to 2pm In support of Rice’s newly by independent scholar Rachel
formed Center for African and Kabukala, Alison Weaver, the
May 6 Pre-Brimfield Week African American Studies Suzanne Deal Booth executive
July 8 Pre-Brimfield Week (CAAS) and scheduled to be director of the Moody Center,
August 5 Antiques Week in NH on view during Houston’s and associate curator Frauke
September 2 Pre-Brimfield Week FotoFest Biennial 2020, the V. Josenhans.

10 AM to 11 AM – Admission: $5 exhibition will showcase a Kabukala says, “Radical
11 AM to 2 PM – Free Admission diverse body of work address- Revisionists invites us to
ing themes of the colonial past Omar Victor Diop, “Jean- acknowledge and investigate
No Sales Tax • All Indoors • Free Parking • Café and post-colonial present. Baptiste Belley,” 2014, Dias- our shared colonial past
Featured artists include pora Series, ©Omar Victor through the work of influen-
Jack Donigian, Manager 781-329-1192 Sammy Baloji, Serge Attuk- Diop, Courtesy Galerie tial artists who are address-
wei Clottey, Njideka Akunyili MAGNIN-A, Paris. ing the violent erasure of mar-
www.milfordantiqueshow.com the exhibition is interdisci-
plinary in its framework, with
Our 36th Year of Quality Antiques Shows an emphasis on each artist’s
unique perspective. Featuring
Crosby, Omar Victor Diop, photography, mixed media, a ginalized histories and
Adama Delphine Fawundu, virtual reality installation reinterpreting familiar
Zanele Muholi, Robin Rhode, and sculpture, the show revis- themes through contempo-
Yinka Shonibare CBE, Mary its received narratives and rary, Afrocentric lenses.”
Sibande and Pascale Mar- The Moody Center for the
thine Tayou. Arts at Rice University is at
In keeping with the Moody’s 6100 Main Street. For infor-
mission to foster critical con- mation, www.moody.rice.edu
versation through the arts, or 713-348-2787.

Contemporary Princeton Sculpture Installation
Examines History, Slavery & American Identity

PRINCETON, N.J. — Artist who helped create American Haskell curator of modern and
Hugh Hayden explores history, cuisine; in the “study,” a claw- contemporary art.
slavery and the creation of the machine arcade game filled
America we know today with cotton bolls references Hayden (b 1983, Dallas,
through a series of site-respon- the quintessential act of slave Texas) received his Bachelor of
sive installations at Art@Bain- labor; in the “dining room,” an Architecture from Cornell Uni-
bridge, the Princeton Univer- oak table covered in large- versity and Master of Fine
sity Art Museum’s gallery scale thorns evokes the unat- Arts from Columbia Universi-
space in downtown Princeton tainability of the American ty. He has completed residen-
featuring the work of emerging Dream. Together, these spaces cies at the Abrons Art Center
contemporary artists. Chal- craft a narrative — part fic- and Glenfiddich, and his work
lenging issues of home, craft tion, part history —that evokes has been featured in several
and the politics of materials, themes of cuisine, leisure and exhibitions in the United
Hayden reimagines the domes- education and explores the States and in Europe.
tic spaces of Bainbridge House, intersections of these themes
which dates to 1766, through with slavery’s complex legacy. Art@Bainbridge is in Bain-
meticulously constructed sur- bridge House at 158 Nassau
realistic sculptures. Hayden sources much of his Street. For more information,
lumber from sources imbued www.artmuseum.princeton.edu.
Titled “Creation Myths” and with meaning, including mes-
on view through June 7, the quite he hand-harvested on NEW YORK CITY — The AKC
installation responds to the the United States-Mexico bor- (American Kennel Club) Muse-
history of Bainbridge House by der and Christmas trees sal- um of the Dog is showing “Mush!
creating distinct but intercon- vaged from Park Avenue trash A Tribute to Sled Dogs from Arc-
nected domestic spaces. In the bins. tic Exploration to the Iditarod”
“kitchen,” iron skillets fused until March 29 at its 101 Park
with casts of African masks The installation is curated by Avenue, fifth floor galleries. For
consider the enslaved cooks Alex Bacon, curatorial associ- more information, www.museu-
ate, with Mitra Abbaspour, mofthedog.org or 212-696-8360.

February 7, 2020 — Antiques and The Arts Weekly — 55

Auction Action In Sarasota, Fla.

L. Foujita’s “Young Girl with Roses” Andy Warhol’s naive and fresh origi- M.F. Husain’s “Acrobat” oil on can- Henri-Jean Martin’s “Girl in Park”
watercolor fetched $67,650. nal drawing of “Sam the Cat” went vas was found in a local estate and oil on canvas was bid to $29,500.
home with its thrilled new owner earned $76,000.
for $10,150.

Fast-Paced Holiday Sale Ushers In
Amero Auctions’ 2020 Season

An oil on canvas by J. Martin-Ferrieres, “Snow on the An Orientalist painting by E. Goerner sold
Seine,” brought $30,750. for $13,900.

SARASOTA, FLA. — Amero Salvador Dali promotional watercolor for
Auctions began 2020 with a holi- the March of Dimes Show 1954 fetched
day auction on January 5. Buy- $18,450.
ers and sellers celebrated equal- An 18K gold Van Cleef & Arpels colorful
ly during a fast-paced auction gem-studded rabbit brooch leapt to $4,305.
with 550 lots crossing the block
to both a local and an interna- little portrait that tugged at all This neoclassical marble covered urn made
tional audience. The sale cat lovers’ heart strings, which $9,225.
achieved $826,000. went home with its thrilled new
owner for $10,150 — no cat food Gold presentation pocket watch with prove-
This is newcomer Amero’s 10th required. nance of the 1870 racing schooner Meteor with
auction in under two years. Soon dedication to Robert Fish achieved $4,130.
to be going into its third year, the European furniture and a rep-
business said it has quickly resentation of bronze and mar- for $8,280. a standout piece being an 18K house.
established itself as a distin- ble sculpture from modern to Jewelry from the collection of gold Van Cleef & Arpels colorful Amero Auctions’ next general
guished and reputable force in ancient performed well, includ- gem-studded rabbit brooch for
the auction community. ing a rare pair of ormolu and film star Silvia Miles (Midnight $4,305. More jewelry from this sale is set for Sunday, March 8,
hardstone cabinets for $16,200 Cowboy), a member of the War- local 50-year private collection of featuring original art by Roy
Most of the pieces presented in and a neoclassical marble cov- hol entourage, was both fine and jewelry and couture will be fea- Lichtenstein, Hale Woodruff,
this sale were local estate finds, ered urn at $9,225. A surprise to fun with Warhol’s gold superstar tured in Amero’s specialty jewel- three new-to-the-market Keith
collections and private consign- the audience was a pair of spe- pin to become a conversation ry sale on Saturday, March 7. Harings and items from a Rock-
ments. cialty Anglo-Indian pierce carved piece for its new owner at $3,998. efeller descendant.
parlor chairs that climbed quick- Prices given include the buyer’s
Art highlights included M.F. ly in a fierce bidding battle to Couture jewelry from a private premium stated by the auction For information, 941-330-1577
Husain’s “Acrobat,” oil on canvas $16,900. collection was also featured, with or www.ameroauctions.com.
that was found in a local estate
earning $76,000. L. Foujita’s There were many curiosities
“Young Girl with Roses,” a water- contained in the lively auction,
color, fetched $67,650, while among them a gold presentation
Henri-Jean Martin’s “Girl in pocket watch with provenance of
Park” oil on canvas was bid to the 1870 racing schooner Meteor
$29,500. An oil on canvas by J. with dedication to Robert Fish
Martin-Ferrieres, “Snow on the for $4,130. A rare USS Ronald
Seine,” brought $30,750. All Reagan china service for 12 sold
three pieces, from a single promi-
nent Florida estate, found inter-
net and international new
homes. A small Salvador Dali
promotional watercolor for the
March of Dimes Show 1954
fetched $18,450, and an Orien-
talist painting by E. Goerner
sold for $13,900.

A coveted piece that charmed
the crowd was Andy Warhol’s
naive and fresh original drawing
of “Sam the Cat, “ an irresistible

56 — Antiques and The Arts Weekly — February 7, 2020

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February 7, 2020 — Antiques and The Arts Weekly — 63

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