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Published by Colin Savage, 2020-02-12 04:40:27

ANTIQUES AND THE ARTS WEEKLY

Issue 2020 02 21

February 21, 2020 — Antiques and The Arts Weekly — 43

Jane Austen First Editions To Lead Books & Manuscripts

Helen Keller, photograph postcard signed and inscribed Abraham Lincoln, partly
discussing her private performance from Enrico Caruso, printed document signed,
1916 ($500/750). call for troops issued during
America’s first national
NEW YORK CITY — On Thurs- novel by Wilkie Collins is avail- draft just days before the
day, February 20, Swann Galler- able in the first edition, first NYC draft riots, 1863
ies will offer a sale of books and printing, complete copy ($15/25,000).
manuscripts with a presentation ($3/4,000). Jane Austen, Pride and Prejudice: A Novel, three volumes,
of autographs, Nineteenth and There are more than 20 first edition, London, 1813 ($20/30,000).
Twentieth Century literature, as inscribed first editions by Gra-
well as art, press and illustrated ham Greene being offered, includ- World Leaders & Historical Figures Will Shine
books. ing many association copies,
beginning with his first book, In A Swann Galleries Offering Of Autographs.
Nineteenth Century literature Babbling April, 1925, inscribed to
leads the sale with a rare offering his first mistress, Dorothy Glover several holograph pages, and an dent discusses his recent speech- signed catalog from the charity
of first editions of all six of Jane ($5/7,000. Also of note is Greene’s autograph letter signed to writer es, most notably his “Muckraker” auction ($5/7,500). Helen Keller
Austen’s major novels. The works personal file copy of The Base- Edmund Gosse ($6/9,000); a speech demonstrating the extent is represented by a signed and
come across the block in uncom- ment Room, 1935, signed and small archive of five items signed of his sympathy with radical inscribed photographic postcard
mon surviving period bindings inscribed with his annotations by Philip K. Dick to his psychia- reformers ($6/9,000). A group of Keller, with her hands on Enri-
with scarce half title pages. High- throughout ($4/6,000). Further trist Dr Harry Bryan ($3,5/5,000); photograph of Presidents Regan, co Caruso’s face. Dated May 22,
lights from the offering are Aus- literary works from the Twenti- an autograph letter signed by Ford, Carter and Nixon inside the 1916, Keller writes of Caruso’s
ten’s first published novel, Sense eth Century feature a limited edi- Mark Twain to his publisher White House prior to leaving for private performance for her in
and Sensibility, 1811 — the rar- tion copy of Virginia Woolf’s Kew James R. Osgood dated May 12, Anwar Sadat’s memorial is dated April of that year: “He poured his
est of the six with likely less than Gardens, 1927, signed by the 1882 ($1,5/2,500); and an auto- and signed by each, 1984-87 wonderful voice into my hand
1,000 first editions being printed author and Vanessa Bell graph letter signed by Virginia ($3/4,000). and my soul was filled with
($30/40,000); Pride & Prejudice, ($5/7,500). Equally impressive is Woolf to her brother-in-law, Clive music” ($500/750).
1813 ($20/30,000); and Emma, a group of William Faulkner first Bell, dated 1918 ($2/3,000). Remarkable figures from histo-
1816 — the only one of Austen’s editions, including a family pre- ry include signatures of all seven The sale will also contain a
novels to bear a dedication, to the sentation copy of Intruder in the The selection of autographs on members of Project Mercury — selection of art, press and illus-
Prince Regent ($15/20,000). Dust, 1948, inscribed by him to offer are led by a partly printed the project that put the first man trated books, including limited-
his first cousin Sallie Burns document signed by Abraham into orbit — in a first edition, first edition livres d’artiste, material
Additional works from the ($3,5/5,000). Sought-after titles Lincoln, in which the 16th US printing copy of We Seven, 1962 from the Sackner Archive of Con-
Nineteenth Century include The by Anne Frank, Joris-Karl Huys- president issues a call for troops ($5/7,000). A run of items signed crete & Visual Poetry and
Alif Laila, 1839-42, commonly mans, Henrik Ibsen, Friedrich during America’s first national by Diana, Princess of Wales, inscribed works by Latin Ameri-
known as The Arabian Nights’ Nietsche and Fernando Pessoa, draft just days before the NYC include a group of six autograph can artists.
Entertainments, here in the rare some of them signed, lend a Con- draft riots in 1863 ($15/25,000). letters signed dating from 1996 to
Calcutta II edition in Arabic, edit- tinental perspective. Further autographs from Ameri- 1997 to Harper’s Bazaar editor Exhibition opens on February
ed by W.H. Macnaghten. Printed Autographs from literary fig- can presidents include Theodore Elizabeth Tilberis, accepting invi- 15, noon to 5 pm; and February
in Calcutta at the Baptist Mis- ures abound with a complete gal- Roosevelt with an archive of nine tation to the Met Gala and antici- 17-19, 10 am to 6 pm.
sion Press, the subscriber’s copy ley proof of Sarojini Naidu’s book typed letters to US Steel co- pating Christie’s announcement
carries an estimate of $12/18,000. The Broken Wing, signed with founder Elbert Henry Gary dated of the charity auction of her Swann Auction Galleries is at
The Woman in White, London, from 1906-08, in which the presi- dresses ($6/9,000), as well as a 104 East 25th Street. For more
1860, the world’s first detective information, 212-254-4710 or
www.swanngalleries.com.

‘Outsider Art: Collection Of Victor F. Keen’ At Intuit: Center For Intuitive & Outsider Art

CHICAGO — “Outsider Art: “The biographical narrative of educational deficit; being held terribly challenging and unfor- must stand on its own.”
The Collection of Victor F. Keen” every outsider artist is unique, back by racial discrimination,” tunate) variations in the indi- Intuit: The Center for Intui-
will have a seven-month exhibi- but most share one or more of says Keen. “I have found these vidual artists’ personal circum-
tion run at Intuit: The Center the following: no or only limited aspects of the outsider art world stances. But personal tive and Outsider Art is at 756
for Intuitive and Outsider Art art training; living with mental compelling, including the fasci- challenges and disadvantages North Milwaukee Avenue. For
in Chicago, where enthusiasts or physical infirmities; poverty; nating (though almost always for the artists aside, the art more information, 312-243-
have long promoted this art, 9088 or www.art.org.
sparked, in part, by artist Jean
Dubuffet’s 1951 speech at the
Arts Club of Chicago endorsing
the new genre.

On view through September 7,
“Outsider Art: The Collection of
Victor F. Keen” features high-
lights drawn from the collection
of the Philadelphia-based art
collector. This iconic exhibition
showcases one of the premier
collections of outsider art in the
United States, featuring more
than 40 of the genre’s most
famous artists, such as Martín
Ramírez, George Widener, Lee
Godie, Bill Traylor, James Cas-
tle and William Hawkins.

Notable about Keen’s collec-
tion is its depth and breadth:
American and European art-
ists; artists working at work-
shops such as Gugging; and liv-
ing artists, including Ken
Grimes and George Widener.

Keen began his collection of
Catalin radios and outsider art
in the 1970s. While he acknowl-
edges the shortcomings of the
term “outsider art,” he contin-
ues to favor art created by those
often placed in this realm: art-
ists making work, often from
found materials, created for
their own purposes and outside
of the commercial art world.

44 — Antiques and The Arts Weekly — February 21, 2020 Compiled by
Antiques andThe Arts Weekly
Notable Prices Recently Achieved At Various Auction Houses
Staff and Correspondents
Across The Block
All prices
include buyer’s premium.

Two Items Relating To Abraham Lincoln Orientalist-Style Urns Stand Tall At Canadian Artist’s Celebration Of Plein-Air
Bring Combined $250,000 Nadeau’s Auction Painting Rise At Clarke

WESTPORT, CONN. — An online-only auc- WINDSOR, CONN. — One notable lot sold in LARCHMONT, N.Y. — Aptly kicking off the
tion conducted January 16 by University Nadeau’s Auction Gallery’s auction on Febru- new year with wonderful objects bringing robust
Archives saw two items signed by Abraham ary 1 was a pair of monumental metal Orien- prices, Clarke’s January 19 auction was graced
Lincoln — a book ($175,000) and a carte de vis- talist-style urns with figures on large gilt ped- with a pair of double-sided oils on panel by Cana-
ite, or photo ($75,000) — combine for $250,000. estal bases, which brought $7,620. The urns, dian artist Henrietta Mabel May. May’s double-
Overall, the sale grossed nearly $900,000, as marked L. Hottot, stood 77 inches high. The sided painting, “Out Sketching on Sunday”
281 lots came up for bid. Other highlights sale offered American antiques, contemporary (shown) fetched $15,000, while a slightly smaller
included 55 of the 56 signers of the Declaration and decorative accessories from various double-sided painting, “Two Friends, Lauren-
of Independence (including Thomas Jefferson), estates. For information, 860-246-2444 or tians,” 1934, realized $5,500. May is one of Cana-
plus items signed by Albert Einstein, Winston www.nadeausauction.com da’s most important female artists, best known
Churchill, Franklin Delano Roosevelt, Jimi for her impressionistic landscapes highlighting
Hendrix, Ernest Hemingway, King Henry VIII French Neoclassical Figural Clock More the Canadian countryside. The two paintings
and many others. For information, 203-454- show May celebrating plein-air painting, as both
0111 or www.universityarchives.com. feature pairs of female artists sketching in the
country. The reverse of both paintings are land-
Than Triples High Estimate scapes. For information, For more information,
CHEVY CHASE, MD. — The February 2 estate 914-833-8336 or www.clarkeny.com.
catalog auction at
Sloans & Kenyon was Locati’s January Sale Realizes Strong
led by a George Results
Nakashima table that
sold for $44,813, a bit MAPLE GLEN, PENN. — Locati presented its
above its high esti- online sale January 6-20. With nearly 300 lots,
mate. More surprising, this sale featured estate jewelry, fine art, furni-
however, was a French ture, silver and more from various collections
Neoclassical bronze- and estates from Pennsylvania and New Jersey.
and-ormolu figural “Our January sale had a good selection of mate-
clock, approximately rial from local collections and estates,” said
45½ inches high, that Michael Locati, co-owner. “Some pieces of better
advanced from its quality did many times our estimates. This
$1,5/2,000 presale included two micromosaic plaques that sold for
Venetian Scene Sails At Roland estimate to claim a a total of $11,000 and an unusual Nineteenth
GLEN COVE, N.Y. — A Venetian oil on canvas final price of $7,170. In Century gold-and-horn box (shown) that real-
painting by Ludwig de Rubelli (Austrian, 1842- this timepiece, a Neo- ized $6,250.” A fine French Empire bed also sold
1905) was the top lot at Roland NY’s February 8 classical maiden for $2,500. For information, 215-619-2873 or
sale when it sold for $4,480. The well-rendered stands on a circular www.locatillc.com.
painting features the Grand Canal at Doge’s ormolu base atop a
Palace, complete with gondolas floating down square plinth, sup- Pair Of George III Sterling Silver-Gilt
the city’s rivers and people going about their porting a circular clock Mounted Cut Glass Claret Jugs Soar To
daily lives along the sidewalk. The painting case cast as a wreath
measures 16½ by 26½ inches is signed lower with cross-strap $16,250
right. For information, www.rolandantiques.com detailing. The clock NEW YORK CITY — Doyle’s auction on Febru-
or 212-260-2000. features a white enam- ary 5 presented a broad selection of elegant Eng-
el dial with black Roman numerals. For informa- lish and Continental furniture and decorative
tion, 301-634-2330 or www.sloansandkenyon.com. arts, including Georgian silver, porcelain, mirrors,
Kamelot’s Two Days Of Auction Led By clocks, chandeliers, tapestries and rugs. Digby
Mid Mod Lots And Oriental Rug Scott and Benjamin Smith produced some of the
PHILADELPHIA — Kamelot Auctions kicked finest silver in early Nineteenth Century London.
off its 2020 In the years 1802-07, they were principal suppli-
season with ers to Rundell, Bridge & Rundell, the official jew-
two sales. eler, gold and silversmiths to the Crown. The sale
An online- offered a pair of George III sterling silver-gilt
only Mid mounted cut glass claret jugs, dated 1806, which
Mod sale on soared past their estimate to $16,250. For infor-
January 30 mation, 212-427-4141 or www.doyle.com.
saw two lots
contend for
top honors
— a George Nelson for Herman Miller uphol-
stered sofa with two drawers in what appeared to
be original fab-
ric sold for
$3,600, as did a
pair of Italian
club chairs Bidders Fancy Ladies Bracelet Watch In
(shown) in the Kodner’s Valentine’s Jewelry Sale
manner of
Paolo Buffa, DANIA, BEACH, FLA. — A lady’s vintage Van
circa 1950. The Cleef & Arpels diamond and 18K white gold
firm’s estate Ludo Swan bracelet watch was purchased for
auction on Feb- someone’s Valentine at Kodner’s February 5
ruary 1 con- estate jewelry, coins and collectibles sale, going
tained English out at $20,570. With quartz movement and a
and Irish furniture, lighting and decorative arts. case measuring 15mm wide, the watch was
Here, an Agra Bakshaish rug sold for $7,475. For signed, numbered 144130 and stamped 750 with
information, 215-438-6990 or www.kamelotauc- Swiss hallmarks. Its bracelet was 7 inches long
tions.com. and 9/16 inches wide. For information, 954-925-
2550 or www.kodner.com.

February 21, 2020 — Antiques and The Arts Weekly — 45

Theft Alert Issued For Stolen Navajo Weavings

SCOTTSDALE, ARIZ. — The ATADA, an associa- Anyone having any information regarding the cur-
tion of tribal arts dealers, auction houses, museums rent location of the items pictured here is asked to
and collectors, has issued an alert for nine Navajo contact Officer Mackie with the Scottsdale Police at
weavings that were reported stolen on January 21 480-312-5000, referencing police report number
from River Trading Post at 7033 East Main Street. 20-02243.

Colonial Williamsburg Exhibition Examines Early British Design

WILLIAMSBURG, VA. — tion, that these objects “should ate objects and have not been exceptional baroque chandelier the exhibition is a jewelry or
When the first curators at become second to no collection on public view for many years. and a pier table likely inspired dressing box with a long histo-
Colonial Williamsburg began of its kind in the country.” by William Kent, among other ry of ownership in England
to buy objects for the collection Nearly 50 years later, research This will change when “Brit- spectacular pieces. The exhibi- that was presented to Colonial
90 years ago, they acquired conducted by the next genera- ish Masterworks: Ninety Years tion will remain on view Williamsburg by Queen Eliza-
what they believed at the time tion of curators indicated that of Collecting at Colonial Wil- through December 2022. beth II in 1957 to mark the
to be appropriate for furnish- Virginia colonists preferred to liamsburg” goes on view at the 350th anniversary of the
ing the buildings being furnish their houses in the DeWitt Wallace Decorative The exhibition will be orga- Jamestown settlement.
restored in the historic town. “neat and plain” style rather Arts Museum, one of the Art nized chronologically, from ear- Colonial Williamsburg’s
These pieces of historical than the high-style English Museums of Colonial Williams- liest to latest. Among the high- DeWitt Wallace Decorative
importance and intrinsic beau- antiques that by then graced burg. Approximately 46 objects lights of British Masterworks Arts Museum is at 325 Francis
ty were assembled into what Historic Area interiors. As a ranging from portraits to furni- is a portrait of the Virgin Street East. For information,
we now refer to as the Colonial result, significant examples of ture to ornate decorative arts Queen, Elizabeth I (for whom 855-776-1765 or www.colonial-
Revival style. It was the vision British fine art and decorative include an extraordinary por- the colony of Virginia was williamsburg.com.
of philanthropist John D. Rock- arts were removed from the trait of Queen Elizabeth I, an named) that was painted in
efeller, Jr, who financed Colo- Historic Area buildings and ornately inlaid jewelry box pre- London between 1590 and 1600 — Services
nial Williamsburg’s restora- replaced with more appropri- sented to Colonial Williams- by an unknown artist.
burg by Queen Elizabeth II, an
Another featured object in

Litchfield Historical Society’s Quiz Challenge February 21

LITCHFIELD, CONN. — On ture to sports to pop culture. Each round will have a theme of the night will be the winners.
Friday, February 21, from 6 to Sign up as a team — six people, and all the questions in that The cost is $50 per team.
8:30 pm, the Litchfield Histori- maximum — and enjoy cock- round will relate to that topic. At The Litchfield Historical Soci-
cal Society invites you to put tails and snacks inspired by the end of the round, each team
your brain to the test. No need history as you compete for the will submit their answers and ety is at 7 South Street. For
to be a history expert to win prize. the scores will be tallied. information or to register your
this classic quiz-style game Between rounds, bonus chal- team, www.litchfieldhistorical-
night: Litchfield-inspired cate- “The Great Litchfield Chal- lenges will be held. The team soceity.org, email registration@
gories will range from litera- lenge: Quiz Edition” will encom- with the highest score at the end litchfieldhistoricalsociety.org or
pass five rounds of questions. call 860-567-4501.

Connecticut Landmarks Hosts Eve Kahn Book Talk March 15

HARTFORD, CONN. — At a woman navigating the male- viewing during the talk. A book tion and to register 860-247-
the Isham-Terry House on dominated art world in the late signing will follow. 8996 ext 11, isham.terry@
Sunday, March 15, from 2 to 4 Nineteenth Century. Kahn’s ctlandmarks.org or https://
pm, Eve M. Kahn will discuss book reproduces Williams’ Admission is $20, $15 for CTL w w w. e v e n t b r i t e . c o m / e / b o o k -
her book, Forever Seeing New unpublished artworks and members, and includes a tour talk-signing-with-eve-m-kahn-
Beauties: The Forgotten Impres- offers a vivid portrayal of an of the Isham-Terry House and tickets-91299097057.
sionist Mary Rogers Williams. adventurer, defying her era’s light refreshments. Patron
Kahn will discuss the life and expectations. admission is $50, $45 for CTL
art of the talented, but mostly members, and includes a tour,
forgotten, Connecticut artist Williams’ portrait, “The Con- light refreshments, and a hard-
Mary Rogers Williams who, noisseur,” one of two she paint- cover copy of Kahn’s book, For-
through letters and journals, ed of her friend and Connecti- ever Seeing New Beauties. Reg-
gives us a rare understanding cut Landmarks (CTL) founding istration is recommended.
of the thoughts and feelings of member, George Dudley Sey-
mour, will be on display for The Isham-Terry House is at
211 High Street. For informa-

Southampton History Museum March 7 Lecture:
‘Captain’s Row, Main Street’

SOUTHAMPTON, N.Y. — In the extraordinary concentra- This is one of many special
1893, Southampton’s esteemed tion of sea captains who may events created for THAWfest in
historian William S. Pelletreau have sailed out of Sag Harbor March, organized by the Hamp-
wrote that it was “safe to but made Southampton their tons Arts Network, which is
address almost any middle- home. composed of 19 cultural organi-
aged man one might meet as zations on the South Fork of
‘Captain,’ for the chances were On Saturday, March 7, at 1 Long Island. For more informa-
that he was one.” Certainly, pm, the Rogers Mansion will tion go to https://www.hamp-
Main Street must have teamed host Taylor, curator at the tonsartsnetwork.org.
with salty whalemen for whom Southampton History Muse-
the main thoroughfare was not um, who will give a PowerPoint The Southampton History
just a convivial strip but the lecture using research and Museum and Rogers Mansion
place they called home. Zacha- photographs from the muse- are at 17 Meeting House Lane.
ry Taylor has been looking into um’s archive. Admission is free RSVP to 631-283-2494 or
but RSVP is suggested. www.southamptonhistory.org.

46 — Antiques and The Arts Weekly — February 21, 2020

Auction Action In Knoxville, Tenn.

William Edmondson ‘Preacher’
Commands $540,000 At Case

Second-Highest Auction Price Paid For Groundbreaking Artist’s Work

KNOXVILLE, TENN. — A inspired by people in his Nash- Gilbert Gaul of a black woman vintage platinum setting, also A William Edmondson (1874-
William Edmondson limestone ville community, and who in sewing stitched up $14,400, GIA-certified, earned $28,800 1951) limestone sculpture
sculpture depicting a preacher 1937 became the first African while a collection of mid-Twen- apiece. Emeralds brought the depicting a preacher with
with Bible raised in his left American artist to have a solo tieth Century Clementine green in more ways than one: a Bible raised in his left hand
hand captivated the crowd at exhibit at the Museum of Mod- Hunter paintings sold between 5.4-carat emerald in diamond was chased by eight phone
the winter Case Antiques Auc- ern Art. The “Preacher” is also $2,048 and $8,400, depending and 18k setting rocketed past bidders on its way to a final
tion on January 25-26 at the believed to be the most expen- on size and complexity of com- its $2/2,500 estimate to $23,040, price of $540,000. It was the
company’s main gallery in sive piece of sculpture ever auc- position; the highest-selling and a platinum bracelet with 7 second-highest auction
Knoxville. The packed room of tioned in Tennessee. The con- painting depicted vignettes carats worth of emeralds and 8 price ever paid for a sculp-
live attendees — and an even signors are private Southern from Uncle Tom’s Cabin. carats in diamonds wrapped up ture by Edmondson.
larger audience online — collectors who acquired the $19,200. A 13-carat total weight
watched intently as eight phone sculpture more than 30 years There were audible gasps in diamond tennis bracelet served in both watercolor and oil
bidders battled their way to ago from the family of Myron the saleroom as a small glass up $14,400, while a 6-carat ranged from $840 to $2,160
$540,000. It was the second- King, a Nashville art dealer and bottle of colored sand, painstak- total weight bangle bracelet depending on the medium and
highest auction price ever paid one of Edmondson’s early ingly arranged in a patriotic made $7,680, and a 2.13-carat size. A Walt Disney signed ani-
for a sculpture by Edmondson patrons; the new owner is an eagle and banner design on one mine cut diamond solitaire ring mation cel from the 1942 movie
(1874-1951), a self-taught artist individual who also wished to side and wreath with date (VS1, K) hit $10,200 Bambi, with hand-painted
whose subjects were often remain anonymous. Company “1889” on the other, climbed to background, was the star of a
A Southern museum beat president John Case said the $66,000. The rare bottle was Examples of furniture fared single-owner collection of Dis-
out eight other phone bid- bidding pool represented nearly made by deaf artisan Andrew well, led by a Chippendale cor- ney animation art at $4,352,
ders to win this rare Eigh- every region of the United Clemens (1857-1894) using nat- ner cupboard from Tennessee’s and a cel depicting Briar Rose
teenth Century mezzotint States and that at least one urally colored sand from the earliest known cabinetmaker, with birds landed at $3,840.
engraving by John Faber of international suitor was among Pictured Rocks area in his home Moses Crawford of Knox Coun-
Native American Creek the bidders, reflecting a grow- state of Iowa. Even with a ty (1743-1819). The early A Civil War guidon that
leader Tomochaci Mico, ing recognition of Edmondson’s chipped stopper, this lot attract- glazed-door piece had a scallop- descended in the family of Cpl.
king of the Yamacraw, and contribution to the field of ed a full bank of phone bidders. carved cornice and distinctive Marcellus Messer of the 19th
his young nephew for Twentieth Century sculpture. fish tail spur returns at the Ohio Infantry flew to the top of
$22,800. A pair of oval China Trade skirt. Bidders were able to over- the historical category at
The 1,060-lot auction also set paintings attributed to Nam- look the disclosed restorations, $20,480. An Abraham Lincoln-
a world auction record for Ten- cheong (Chinese, active 1840- including a likely midsection signed document appointing
nessee artist Carroll Cloar, with 1870) of trade ships at the reconfiguration that kept the Green Clay of Kentucky to a
a private collector paying Whampoa Anchorage sailed to estimate at a conservative diplomatic post in Russia in
$66,000 for a 1986 acrylic on $7,680, while a Nineteenth $3/3,400; it ultimately soared to 1861, countersigned by William
canvas pointillist painting Century John G. Brown portrait $21,760. A rare Nineteenth Seward, rose to $9,600. A pair of
titled “The Landlady.” A South- of a young girl brought $6,144. Century hunt board-form East flintlock pistols with a history
ern museum beat out eight A portrait of US Vice President Tennessee beaten biscuit table of having been captured by
other phone bidders to win a and South Carolina Senator made a lot of dough at $13,200, then-General Andrew Jackson
rare Eighteenth Century mez- John C. Calhoun, believed to and a circa 1820 Luman Watson from Robert Ambrister and
zotint engraving by John Faber have been painted shortly after tall case clock with case attrib- Alexander Arbuthnot, accused
of Native American Creek lead- his 1850 death by artist Thom- uted to Elijah Warner of Ken- of helping the Seminoles during
er Tomochaci Mico, king of the as B. Welch, competed to $3,840, tucky struck $6,600. the First Seminole War, shot to
Yamacraw, and his young neph- and a self-portrait by modern $7,800.
ew for $22,800. Demand was day Rembrandt follower David Southern pottery is a staple at
heightened because the print Leffel brought $5,888. Case. This sale featured several Standouts in the silver catego-
was after an original portrait by examples from North Carolina ry included a tea caddy with
William Verelst, which is now This auction sparkled with an potter Daniel Seagle, whose mixed metal, Japanese decora-
lost. A small, sensitive late array of diamonds from the work rarely appears on the tion retailed by Liberty of Lon-
Nineteenth Century portrait by estate of Dr Sara Park Pendle- market. A large 8-gallon Seagle don, sold together with a Chi-
ton of Kentucky and Dr and jug with unusual double han- nese metal-mounted teapot, at
Mrs Joseph Lavecchia of Chat- dles competed to $9,000, while $4,864, and a Chinese Export
tanooga, which attracted a an even larger 10-gallon jar silver three-piece tea service,
large crowd of jewelry buyers. with lug handles came in at $2,432. Three Nineteenth Cen-
Brightest of the bling was a $6,600, and a 2-gallon jug with tury coin silver mint julep cups
4.18-carat diamond solitaire outstanding alkaline glaze from a Tennessee plantation
pendant (VVS2, E) at $78,000 more than doubled its estimate owned by distant relatives of
and a 4.85-carat round diamond at $3,240. A face jug attributed George Washington sold for
ring (SI1, F) at $66,000. Both to H.F. Reinhart of North Caro- $3,456; all had engraved crests
diamonds were GIA-certified lina found a new home at similar to those on silver at
and came from the Pendleton $5,040, and a stoneware face Mount Vernon but bore marks
estate. A 5.7-carat diamond jug with blue painted surface, indicating they were made or
ring from the Lavecchia estate attributed to James Otto Brown sold in Tennessee or Kentucky.
and a 5.2-carat old European (Georgia/South Carolina, 1899-
brilliant cut diamond ring in 1980) sold for $2,760. A Lewis Ceramic and glass highlights
Miles Edgefield pottery jar, included a 69-piece service of
Top of the historical category was a Civil War guidon that signed and dated 1857, brought Herend porcelain for $4,096
descended in the family of Cpl. Marcellus Messer of the $6,144. and a Meissen centerpiece with
19th Ohio Infantry. It flew to $20,480. figural courting couple, $2,520.
There was strong interest in A Tiffany “Aladdin” lamp with
regional landscapes from the Damascene shade glowed at
late Nineteenth to mid-Twenti- $3,360 despite a crack to the
eth Centuries. Two 9-by-19-inch glass, and a 23-piece set of St
landscapes by Harvey Joiner of Louis Thistle Pattern crystal
Kentucky competed to $5,632 stemware made $3,200.
and $5,376, while three Indiana
landscapes by William McKen- This was the company’s first
dree Snyder ranged from $2,640 two-day auction, and company
to $5,120, and an Indiana president John Case said the
autumn landscape by Carl format was so successful that
Krafft earned $2,160. the summer auction will also be
a two-day event. The date has
Four mid-Twentieth Century been set for July 11 and 12, and
Paris scenes by Lucien Delarue the company is currently
accepting consignments for that
A world auction record was set for Tennessee artist Carroll Phone bidders were on this This 4.18-carat diamond sol- sale.
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FIREARMS & MILITARIA AUCTION

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“Capitello” designed by Studio65, manufactured by Gufram©, design 1971, “Pensione Atlantic” summer architectural model by Franco Raggi, 1981.
made circa 1972-78. Polyurethane foam and Guflac®. The Museum of Fine Plastic, paper and steel. The Museum of Fine Arts, Houston, the Dennis
Arts, Houston, the Dennis Freedman Collection, gift of Dennis Freedman. Freedman Collection, gift of Dennis Freedman. ©1981 Franco Raggi.
Photo by Kent Pell.
R adical:©1971Studio65.PhotobyBradBridgers.
Italian Design

1965–1985

“UP7” chair, designed by Gaetano Pesce, manufactured by C&B Italia,
design 1969, made 1969-73. Polyurethane foam. The Museum of Fine
Arts, Houston, the Dennis Freedman Collection, gift of Dennis Freed-
man. ©1969 Gaetano Pesce. Photo by Kent Pell.

( continued from page 1C ) together 70 pieces of furniture, ing environments for living.” Strauss notes that nearly
This was intentional, you see. I had sprung the trap. The lighting design, architectural models, every Radical architect or designer cites the first exhibi-
design was challenging me — and I was provoked. paintings and objects from the collection of tion of American Pop Art in Italy at the 1964 Venice Bien-
In his catalog essay, writer Germano Celant, who is Dennis Freedman. nale as a watershed moment. The designers would also
credited with coining the term “Radical” in an earlier find inspiration in aspects of Arte Povera, Minimalism
1972 essay, reflects, “There was a need for openness in Prior to 2010, Freedman was the creative director of W and Conceptual Art.
design and consumption, for perspectives that were not magazine, when he left to occupy the same title at Bar-
determined by the market, but contrary to it, and nour- neys New York. He now spends his time consulting for “Surprisingly to many,” Strauss writes, “their plans did
ished by at least the ‘appearance’ of provocation and scan- design galleries and fashion brands. not involve the traditional building of structures. Rather,
dal.” their projects most often took the form of drawings and
At some point thereafter, the when unknown, I came to “Dennis’ collection of Italian Radical design is one of the photomontages, theoretical environments and object
adore that chair, and most other designs that came into finest and most comprehensive in the U.S.,” Strauss said. designs.” While furniture, lighting and object designs
being from this talented, young group of idealists and “He really sought to represent all of the major themes from this nascent period exist, and are indeed the visual
reformists. and players in that movement. He searched for proto- candy of the MFAH’s exhibition, it is important to cor-
Italian Radical design is one of the most original design types and conceptual objects in addition to those that rectly characterize the movement’s output: the focus here
aesthetics of the Twentieth Century. Perusing the current were perhaps more widely known. As a collector, he has was in theoretical conversations and non-material prod-
seasonal retail design catalogs, I sometimes find myself left no stone unturned and his passion and enthusiasm ucts. It is first and foremost an incubator of architecture
reenacting Jake Gyllenhaal’s art critic character Morf for the material, combined with the deep knowledge he and the ideas for a new way of living.
Vandewalt in Velvet Buzzsaw, looking at some new set of has developed over a few decades of collecting, has result-
legs, unable to suppress the word “derivative” as I offer ed in an extraordinary body of work.” Architect, artist and critic Gianni Pettena explains how
my unsolicited condolences to the designer who dreamt it the tangential practice of design tied it all together when
up first, wondering if the royalties have been properly The exhibition’s accompanying catalog is notable in that he said, “design’s smaller scale was a daily exercise to
channeled. There is no need to do that with this group of it provides testimony. Strauss conducted interviews with practice the language of architecture.”
Italians — these architects and designers embarked on a some of the key figures of the movement, including Fran-
world of pure imagination unlike any before them. co and Nanà Audrito, Lapo Binazzi, Andrea Branzi, Ales- Creating a captivating exhibition of concepts on paper
“Radical: Italian Design 1965–1985,” a new exhibition sandro Guerriero, Ugo La Pietra, Alessandro Mendini might be considered radical in itself, so Strauss instead
curated by Cindi Strauss at the Museum of Fine Arts, and Franco Raggi, excerpts of which are found within the worked through the movement with objects as they dem-
Houston, shines a scholarly light on this movement in a text. The aforementioned essay by Germano Celant is a onstrated regionalism between various collectives of
manner not seen in the United States since the 1972 exhi- must-read. Strauss also conducts a Q&A with Freedman architects and designers, new materials employed by
bition at the Museum of Modern Art titled “Italy: The at the outset of the catalog where he describes his collect- visionary manufacturers, and the development of this
New Domestic Landscape.” Strauss’ exhibition pulls ing journey, which began in 1998 with a Studio65 Capi- new language.
tello chair. That journey continued on through small gal-
“Superarchittura” exhibition, entrance, Archizo- leries and international auction houses to the present The Radical movement found followers throughout
om and Superstudio, Galleria Jolly 2, Pistoia, day. Italy, but it was in its main cities of Florence, Milan and
1966. Turin that organization was cemented.
In the mid-1960s, Italy is undergoing a rapid expansion
in industry and consumerism. The effects of World War II In Florence, Radical collectives bloomed from the Archi-
are beginning to shake off, production is increasing and tecture Students League at the University of Florence,
students are flocking to schools where, surprisingly, archi- birthing Archizoom, Superstudio, Gruppo 9999, UFO and
tecture becomes the country’s most popular university Zziggurat.
major. Steeped and surrounded by historic, traditional
architecture, students are taught reverently of the Inter- Collectives and the conversations occurring therein
national Style and the progress that had been at hand for were paramount to the development of Radical design.
the past few decades, though labeling it as progress The catalog quotes Branzi, a member of Archizoom, say-
turned out controversial. ing, “We had the idea of a homogenous group, in which
what held us together was not specialization, but rather
“This is a group of young architects who are challenging participation in a vision of architecture that was adequate
long-held ideas about design in response to the changing for pop culture’s consumerism.”
nature of cities during their era,” Strauss says. “They are
very focused on objects as communication devices — as Like Detroit’s relationship with Ford, Fiat was the
ideas — and they are interested in what’s happening industrial center of Turin, where people became con-
around them in other disciplines, like painting and sculp- cerned with worker’s rights and standards of living. It
ture, and bringing in new materials to investigate what’s was here that Franco Audrito founded the collective Stu-
possible. There is everything from deep meaning to dio65 while another, Gruppo Strum, became embroiled in
humor, irony and problem solving in these works. Across the political debate.
the board, the pieces are very thoughtful in their concept
of design, their questioning of functionality, their chal- Milan turned into the center of communications with
lenging of the viewer to make sense of them.” the home offices of visual and performing arts publica-
tions Casabella, Domus, Modo and In, edited mainly by
In short, the students had issues with the status-quo Mendini, Raggi and La Pietra.
and their protests spread to universities throughout the
country. In his first letters to readers in Casabella, Mendini
wrote, “we think that the work of a review must be aimed
Rejection of modernism and established hierarchies at the service for man, a humble service, which now seeks
ensued as the young Radicals dedicated themselves to
“developing a new language of expression…and rethink-

February 21, 2020 — Antiques and The Arts Weekly — 13C

“Celidonia Armchair,” designed by Ales-
sandro Mendini, for Studio Alchimia,
manufactured by Zabro/Zanotta, designed
1978, made 1984-87. Wood, cotton and
paint. The Dennis Freedman Collection.
©1978 Estate of Alessandro Mendini.
Photo by Brad Bridgers.

“San Picasso” Chair by Ugo Marano, 1978. Wood. “Paramount” table lamp, designed by Lapo
The Museum of Fine Arts, Houston, the Dennis Binazzi, UFO, designed 1969, made circa 1972-
Freedman Collection, Museum purchase funded by 73. Ceramic, silk, metal and bulbs. The Muse-
the Caroline Wiess Law Accessions Endowment um of Fine Arts, Houston, the Dennis Freed-
Fund. Photo by Kent Pell. man Collection, Museum purchase funded by
“Pratone®,” designed by Giorgio Ceretti, Pietro Der- the Caroline Wiess Law Accessions Endow-
ossi, and Riccardo Rosso, manufactured by Gufram©, ment Fund. ©1969 Lapo Binazzi (UFO). Photo
design 1971, made 1986. Polyurethane foam and by Kent Pell.
Guflac®. The Museum of Fine Arts, Houston, the
Dennis Freedman Collection, gift of Dennis Freed-
man. ©Gufram. Photo by Kent Pell.

“Cielo, Mare, Terra Buffet” by Fabio De Sanctis Exhibition At The Museum
and Ugo Sterpini, Officina Undici, 1964. Walnut, Of Fine Arts, Houston,
metal, and two Fiat doors of the 600 prima series. Explores Two Decades
The Museum of Fine Arts, Houston, the Dennis Of Explosive Design
Freedman Collection. Museum purchase funded
by the Caroline Wiess Law Accessions Endow-
ment Fund. Photo by Kent Pell.

to defend itself, without much success, against designer- avant-garde design. They were published in art and design output, working to produce the body of work that
style, designer-records, the designer-mafia, the designer design magazines that didn’t have big readership. There consumers are familiar with today — those of Studio
profession à outrance, and the design-academy, in favour wasn’t this huge kind of reception that we think about Alchimia and the Memphis Group.
of the man who intends to re-emerge as the subject — not today. There were some exhibition opportunities abroad
as the object — in every phase of the battle over the form in Germany, France, London and the United States, but Alchimia was founded by Alessandro and Adriana Guer-
of the environment.” we can’t measure the kind of success it had in the way we riero and Bruno and Giorgio Gregori, and worked with
would measure it today, through sales and things of that Binazzi, Branzi, Trix and Robert Haussmann, Michele De
A succession of exhibitions platformed the course of this nature.” Lucchi, Mendini, Paola Navone and Ettore Sottsass.
movement, starting in the aforementioned 1964 Venice Major designs came out of this collective, including Men-
Biennale where Italy was introduced to Pop Art. The fol- Strauss related that the experience of going through dini’s “Proust” armchair.
lowing year, Milan’s Salone del Mobile would begin to Freedman’s collection provided her multiple instances of
showcase works from these designers and architects. In seeing designs for the first time. “The Ricardo Dalisi wood Sottsass split with the group in 1980 and would form
1966, Galleria Jolly 2 in Pistoia organized the “Superar- chair stopped me in my tracks, a lot of his work was more Memphis the following year. His collaborators spanned
chitettura” exhibition, the first dedicated demonstration ephemeral, and I had seen images, but since most of them even further internationally, to include Branzi, Michael
of the movement, which brought together designs by col- were one-offs, I had never seen one of Dalisi’s designs in Graves, Arata Isozaki, De Lucchi, Nathalie Du Pasquier
lectives Archizoom and Superstudio. “The show was a person until I met Dennis,” she said. and George Sowden. Sottsass said, “It’s an optimistic
marvel,” Strauss writes, “with brightly colored scenic approach. After all the years of discussion, we started
designs on the basement walls and ceilings and ‘a series of The exhibition provides a wealth of similar examples. thinking we could rebuild something all over again, using
violently colored objects that could be used as lamps, arm- “There’s an armchair and table by Urano Palma from his industrial materials as much as possible and handcrafts
chairs, and sofas…’” ‘Diapositive’ series and the ‘San Picasso Chair’ by Ugo as little as possible. There are no quotations from the past
Marano — those are one-offs. There are prototypes, too, in these works.”
In walks Sergio Cammilli, who established the like the 1969 ‘Prototype Table and Chair, Model Nos
design manufacturer Poltronova. Cammilli would go 230/1/2/’ by Fabio Lenci. There are objects where only a That same year, in 1981, 17 years since first exhibiting
on to produce items in that exhibition including the handful were made, like the ‘Archangeli Metropolitani the work of Italy’s Radicals, Salone del Mobile presented a
“Superonda” and “Sofo” seating as well as the “Passi- Floor Lamp’ by Ugo La Pietra or the Fabio De Sanctis and series of work by Memphis that launched the brand into
flora Lamp.” Ugo Sterpini ‘Cielo, Mare, Terra Buffet’ cabinet. There are contemporary acclaim.
two Mendini chairs in the show, one is one of four and the
Other Italian manufacturers that picked up the move- other is one of six. Even with the pieces that were put into Revisiting the movement in the exhibition catalog’s
ment’s designs at various times included most notably production, they were not made in large numbers and essay, Germano Celant writes, “Imaginative design
Gufram, and also Zanotta, Gavina, Cassina, C&B Italia, they were not necessarily commercially successful. But became the focus of attention, and as objects escaped the
Artemide, Stilnovo, Forme e Superfici, New Lamp Italia, that was not the designer’s goal, to create commercially functional annihilation of reductivist imagery, designs
Solka B and Sormani. successful wares.” began to take on decidedly spectacular aesthetics. Colors
and materials exploded optically and tactilely. Practical
“One of the things that’s important to understand is A major feat for the movement came in 1972 when the concerns were abandoned in favor of an extravagant,
that it wasn’t an exhibition like we think of today,” Museum of Modern Art launched the exhibition “Italy: whimsical creativity unconcerned with harmony and
Strauss said. “It was a total environment, so you saw The New Domestic Landscape.” The exhibition was split function.”
architectural elements on the wall, you did have some between “objects” and “environments,” with the Radicals
furniture that was made, but it was mostly conceptual. largely participating in the latter. Expect to be surprised.
There was a design for the ‘Passiflora Lamp’ that we “It’s really hard to see this material in America, most
have included in our show — they weren’t able to realize When the show came to an end, the collectives found American museums don’t collect it. American audiences
it as a lamp so it was a painted cardboard cutout in the themselves in a precarious position: they had reached the really are not familiar with this important design move-
exhibition at that time.” masses, their ideas, even if not adoptable, went main- ment, and that’s what we hope this show will do,” Strauss
stream. Strauss writes, “[the] mounting of an exhibition said.
The exhibition was small by all standards, and a change at an established institution such as the MoMA was, for The exhibition runs February 14 through April 26
of venue saw it relocated out of Florence due to massive many, a sign that the Radical period had ended. Indeed and will travel to the Yale School of Architecture in
flooding in the month prior. It went unseen by most, and there is great debate as to when the movement ended or fall 2021. The accompanying 234-page full-color cata-
those who did see it were people involved in the circle of whether it ever existed at all.” log is published by Yale University Press and is
the Radicals. Otherwise, it didn’t make headlines. available at www.yalebooks.yale.edu. The Museum of
The period that followed, from the 1970s into the 1980s, Fine Arts Houston is at 1001 Bissonnet Street. For
In fact, contemporary reception to the Radicals was nil. sprouted two new commercial collectives that focused on more information, www.mfah.org or 713-639-7300.
“There was no reception,” Strauss said. “This is very

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