Letters and documents recording individual experiences during the Gold Rush were featured as Cowan’s Auctions in Cincinnati offered selections from the collection of Eric C. Caren on Sept. 8.
Caren has been selling his collections across a series of auctions over the past few years. Katie Horstman, Cowan’s director of American History, praised the collector’s diverse interest, “He loves everything, whether it’s a six-figure copy of the Declaration of Independence or a $50 imprint.”
Caren wrote in his introduction that the collecting area of paper Americana is flourishing as high-end rare book collectors discover the market, explaining, “The reason is simple: even the rarest books can be found in multiples on the net on any day of the week. This material, by its ephemeral nature, is much rarer, and in my opinion, infinitely more fascinating.”
Gold Rush Stories
His Gold Rush-era lots included a notebook containing handwritten accounts of the California Gold rush, likely recorded during the late 19th or early 20th century by Charles E. Jerrett, a probable descendant of Daniel Jerrett, a grocer from Georgetown, California, and an original 49’er. The city was founded on Aug. 7, 1849, near the northern end of the “Mother Lode” and was a hub of activity for those seeking to earn riches in the Gold Rush.
The writings are organized as a series of stories, each focused on specific miners who may have been otherwise overlooked by history. The notebook’s opening states: “The history of the leading characters of the days of 49 have been written, and the names of Marshall and Sutter are known throughout the world. But of the rank and file of Miners, of these who made the real history of the state we have but little record. So I am going to give a brief record of the doings of such men as Poor Old Lousy Bill and Mountain Tim who underwent the dangers of the overland trail, or the longer water routes, and whose lives were spent sometimes in the unsuccessful attempt to draw a future from our rich-creased hills.”
The catalog entry adds that the author is a natural storyteller, using lively and engaging prose and that “The characters he presents are unique and seemingly as legendary as the Gold Rush itself.”
Among these characters is John Hogg, “a native of Tennessee who braved all the perils of a trip across the plains in 1849 to search for that elusive, metal, gold. … Strike it today, spend it tomorrow was his motto, and it was so interwoven with the fiber of the man, that it existed to the last.” Hogg and his partner discovered a large gold nugget valued at $1,470, and then spent it, having a good time for months until the money was spent on hotel and bar tabs. The fascinating document sold for $900.
A 20-page California Gold Rush pocket letter book with entries written by a son to his mother in December 1853, with the son expressing his concern over a lost love, reminds readers today that the Gold Rush was populated with people with lives beyond gold. Books such as this one, a Gregory’s Express Pocket Letter Book produced in San Francisco by Thompson & Hitchcock in 1851, were sold to miners as small, pocket-sized journals that they could fill out and send to loved ones back home — wherever home was. This one was expressly, “Designed to Facilitate Correspondence between the Cities and Towns and Mining Districts in California, and All Parts of United States.”
The book, accompanied by a transcription, sold for $720.
Peace Medal Photos
Two 19th century photographs showing Native Americans wearing Indian peace medals were offered. The more expensive of the two was a sixth plate daguerreotype, an early type of photograph that developed in the mid-19th century, depicting an American Indian elder wearing an Indian peace medal. Sixth plate daguerrotypes measure 2¾ by 3¼ inches, the most popular sized plate since it was easy to slip out of a pocket and hold in one’s hand. While the sitter has yet to be identified, he has a serious expression and wears an Anglo-style shirt and jacket, along with his sash and peace medal. The daguerreotype with light flesh-colored tinting, in its contemporary floral pressed paper case, sold for $3,000.
A cabinet card depicting Nautzili, Mescalero Apache chief, wearing a fringed jacket and leggings, flat-brimmed hat, epaulets, holding a Winchester rifle with an Indian peace medal around his neck, sold for $360. Though the identification of the sitter that is written on the negative — Meritazilla, Mescalera Apache Chief — is found in no Apache histories, Cowan’s believes that the image was likely taken by A. Frank Randall circa 1886. Albumen cabinet cards were popular in the last quarter of the 19th century as developments in printing made them affordable, and images of Native Americans were especially popular. Like in the daguerreotype, the exact type of Indian peace medal worn is unclear.
What to consider when choosing the right condition of a pre owned Classic Vintage Chanel Maxi Jumbo Flap Bag?
Ok so you considering to buy your first Vintage Chanel Classig bag. Most likely you know what style, color and features it should have but the question is how to judge the condition if you don’t have experience in assessing pre owned Chanel Vintage bags?
Please read on as this article is for you! We are going to use our 10 years experience in assessing over 10,000 of preowned Chanel bags to give you a STEP BY STEP checklist to make sure you don’t forget anything important.
We will use the most popular Vintage Chanel Classic bag – Maxi Jumbo for this article. Of course all information can be applied to other bags as well with light alteration depending on the style.
1. Overall Shape
Very first thing you notice as soon as the bag comes out of box or a dust bag is its shape. Depending on the style the bag should have enough stiffness to sit nicely by itself without leaning into any direction (side,front, back).
Bottom should be flat and not bended from caring heavy items or simply from improper storage.
Sidewalls should be as well nicely aligned and provide support to the Flap.
Flap when closed should be perfectly reaching the CC twist lock and not be leaning to one side as if in need for support after all night party.
Some issues with the shape can be fixed with bag shaper but honestly what you get is most likely what you will have to stick with so don’t compromise if you don’t have to on this point!
2. Leather
Here you will need you to put the bag closer to you and inspect following areas step by step.
– Surface Scratches on the leather outside Usually think how the bag is carried and used and you will start noticing how the leather gets used in particular spots. Since this is a shoulder bag the back is touching the body and is exposed to more damage so look at it first and look for any scatches or dents that would indicate that there is a hidden issue. Some people cover light surface scratches with color but if you change the angle of light you can spot them. What you want to avoid are light cuts and anything that inticate damage to the surface.
– Abrasive marks If the previous owner was not carreful and or was using sharp items or had long nails you will find some surface scratches or light abrasive marks in various spots. I generally look at the front and back and then follow the edges all around. If you spot any they will be in the most bended areas of the flap or on the edges of the flap as well as on the inside of the flap from nails.
– Square puffiness Most classic bags as this Jumbo have squares that are created with the stitching techniques Chanel is using. Each square is nicely puffed when new but with use and improper storage they simply get worn and flatten. You can tell how the previous owner was looking after the bag just by looking at this aspect. However you should understand that most of the classics are not the youngest and have 20 years of use behind them 🙂 As far as I know there is no cure to this and what you get is what you will stick with. Usually I see the medium puffiness and occasionally perfection. However some people prefer the flat look as had been seen on some celebrities that keep theirs for long time and naturally get flatter. Lucky it is your personal preference !
3. Bottom Corners
This is again area that gets to show more damage than others due to its exposure to use the style and size of the bag it is likely to be affected by some degree.
Inspect every 4x bottom (front and back ) corner and look for some hidden agendas. Some corners get lightly scuffed which is usually fixable with color but others are deeper and are not reparable. As well along the corner edges are comonly seen cuts that previous owners do get to fix so be looking for them as well. Avoid anything that has only thin layer on the corner as it is just a question of time till it wears through and you end up with a hole in the bag. Make sure nothing was covered with a lot of color which you can notice by seeing a different shade in that area. Gently rub it and see if it wont reveal any deeper cuts, holes, pulled stitchings etc.
If corners are in good condition the rest is usually OK as well.
4. Edges
After you tick the Corners box it is time to move along the edges to assess them. Move slowly up from the bottom. Usually the end of edges where it comes under the flap have light scuffing so look there or and on the flap edges where the get used the most. Notice as well stitching and how the material comes together. If there is any cut or deep scuffing please question if you or your leather specialist will be able to help. Usually it is up to the specialist and the level of damage to see how much can be done.
5. Hardware
By hardware we mean all the shiny metalic parts. Chanel used Gold plating in the old days to make it look good but as well to withstand the time and use. Hardware usually reveals the true use and or age of the item.
Start with the CC turn lock – CC logo due to its size and location is exposed to been scratched and discolored. Be aware that this is hard to fix as the Gold plating would get rubbed of by polishing and it is not replaceable due to its age as Chanel does not carry replacement hardware for older Chanel models.
Lift the Flap and inspect the male part of the hardware that has a tiny nip that twists to secure the flap in locked position. Common issues with this part are discoloration on top of the nip and stiffness when locking or opening it from the aging of the spring mechanism inside so make sure you test it that it works smoothly into left and right or opening and closing.
Another part that gets overlooked is the back plate of the CC logo. Look at the inside of the flap where you will find the plate that is connected to the front CC by 2 screws. Make sure they are there as they are very difficult to replace as Chanel has its own sizing. The plate should be clean and even though it is inside not visible to most people should be in relatively not scratched, aged or discolored state.
On top of the flap are round rings that are assuring smooth travel for the leather intertwined chain strap. Those rings consist out of two parts bottom and top that are screwed into each other. Some customers consider it to be a problem but it has been designed this way so you can remove it and clean it or gain access to the leather underneath. if loose it is an easy fix so dont panic. Inspect for any discoloration or other issues as scratches or else.
6. Chain
Chain consist usually out of leather and metal chain that is gold plated.
Common issues:Discoloration of the chain in various spots or overall. Scuffed leather in various spots or overall. Cuts to the leather, Leather ends loose stitching needs to be repaired as it is loose.
Run with your hand and eyes through the entire length of the chain. The most hidden area is the one that lives under the flap and is moving most through the rings that has hidden agenda but depending on the owner and how she looked after the bag there could be some other spots as well.
If the chain is discolored there is not much that can be done. if the leather part has light scuffs usually coloring it helps. As well the ends not being tightly attached by the original string it is a DIY solution but any professional leather specialist should be able to solve it as well.
7. Inside Leather
As soon as you open the flap look at the leather around the stitched CC logo for any surface scratches. Common issue is to find scratches from nails as previous owner was putting hand in and out. Some bags even if outside is great have this issue.
Zipper and pull for side pocket. Inspect the functionality of it and if it is running smoothly and has a CC pendant moving smoothly and free of any scratches or aging signs. As well if the supporting ring has not been tampered with.
Inside Red leather condition. Look at all edges of all pockets and leather around the zipper as those are usually cut or have some scuffing done to them from placing items in the compartments.
Check as well all bottom corners for any dirt, marks, water stains or deformation as many items could have been carried inside and spilled or left forgotten.
Hologram – very important point for reselling any bag is the condition of the hologram ( Serial number) . In this bag it is in a compromising location and often gets damaged and removed partially or all together. Your best choice is to get a hologram where you can read the numbers clearly and compare with a card if one comes with it. Please note that the serial number can not be replaced and or fixed. If Chanel replaces the inside leather lining it removes the hologram and it wont be replaced only service sticker with date of repair is included from Chanel Service.
8. Smell
This is a tough one and very much depending on personal preference. Sometimes very hard for us sellers to predict as we all have diferent sense sensitivity when it comes to smell. However beware of Mold or cigarette smell that can be hard to reverse.
We do a sniff test by putting our nose inside the bag and inhale deeply to see if there is anything to point out. If the smell is strong mold there is a chance of bacteria living in it and can be cured with cleaning and anti smell products as dryer sheets.
9. Accessories
If you are lucky enough to get a card, booklet, dust bag and box please take time to look through them as well as they usually add value to your purchase and are hard to replace as they are not sold separately.
Card – common issues – white coating on the numbers comes off partialy, Card gets scratched and broken from bending or improper storage.
Dust Bag – common issues – CC logo comes off, Stretched and with holes or cuts, Dirty or other type of stains, Smell
Box – common issues – tipped ends, broken edges, dirty or moldy marks and smell inside
10. Price
So how much should you pay for a Chanel Maxi Jumbo bag and in what condition? Well this is very much a question of supply and demand. We have been in business for over 10 years and I remember when you could get one for around $800USD in excellent condition. Since then the price have been constantly increasing with some short-lived falls. Lately the price has settled btw $2000 -$3000USD depending on the platform you are choosing for purchasing. Be smart and try to get the best for your money but from experience don’t be afraid to pay a little more for a good one if you can afford it.
Personal comments:
I would like to mention as well how the pricing works on most platforms so you know what you are paying for. You need to know that most platforms (eBay, Tradesy, 1stdibs) are charging btw 12-20% on transaction and processing fees so if you are buying a $3000USD bag the fees to the site are btw $400 – $600 which is a lot. Now if seller is offering free postage add another $100. What the seller will be getting is in many cases is much less than what the fees are so it is very hard to put up a fair price that benefits all and even harder to discount in many cases. There is no magic tree where these type of bags grow and only few chosen have access to on contrary we all have to work hard to find those bags and it is getting harder so please work with us but don’t hesitate to reach out with any fair question you might have.
Chanel Maxi Jumbo Bag price from 2010
Conclusion
Getting a vintage pre owned bag can be a rewarding experience and it is all about learning so don’t post pone it and get right on it. Luckily the system is benefiting the buyer and you have many choices these days that had been not available in the past. However the older classics are not getting any younger and the pristine conditions collectors items are always in demand.
Congratulations you have made it to the end! If you still have some questions or are not sure if you are doing the right thing please let us know we will be happy to help.
I hope you find this post helpful and if yes please dont hesitate to share and or let us know.
Paul Evans Cityscape Coffee Table for Directional from ModeModerne, asking bid $850 Bidsquare
“Make it simple, but significant,” Don Draper said in Mad Men at his now-iconic digs at Sterling Cooper Draper Pryce. Step into Bidsquare’s swanky office of an auction with that inspiration.
Danish Lounge Chair in Teak and Mohair from JenMod, asking bid $200 Bidsquare
Don’t forget about adding a pop of pattern to those floors! Orley Shabahang deals only in heirloom quality contemporary and antique carpets, featuring a hand-picked collection for Bidsquare’s themed auction.
Maze Carpet from Orley Shabahang, asking bid $3,750 Bidsquare
Put your shades on from Marlene Wetherell as you soak in the burnt orange, golds and earth tones as the years approach the ‘70s.
Bid now on the curated collection of retro chic vintage furniture, decorative arts and fashion. For purchases made for themed auctions, there is no buyer’s premium. Additional information and the full digital catalog for the sale is online now at www.bidsquare.com.
For Dealers and Galleries If you are a dealer or gallery and are interested in participating in the next themed auction, please contact Bidsquare here.
About Bidsquare Bidsquare is a curated platform where collectors can discover, bid and buy authenticated fine art and antiques from over 130 trusted and vetted auction houses and galleries. Bidsquare is the destination for individuals and collectors seeking exceptional, one-of-a-kind pieces, with new, unique property added every day. Visit http://www.bidsquare.com to view sales.
The Kimbell Art Museum in Fort Worth, Texas, announced last week the gift of a masterpiece of modern sculpture, a carved limestone Head (c. 1913), by the Italian artist Amedeo Modigliani (1884–1920). This important work was given in honor of Ted and Lucile Weiner by their daughter Gwendolyn Weiner. It is one of about 27 surviving sculptures by the artist, and among his finest. Head is on view in the Kimbell’s permanent collection galleries.
Amedeo Modigliani, Italian (1884–1920) Head, c. 1913. Limestone, 20 5/8 x 9 3/4 x 14 3/4 in. Collection of Kimbell Art Museum Given in honor of Ted and Lucile Weiner by their daughter Gwendolyn, 2017
“This is one of the most significant gifts the Kimbell has ever received,” said Eric M. Lee, director of the Kimbell Art Museum. “I will be forever grateful to Gwen Weiner for her extraordinary generosity, which will enrich the visitor experience at the Kimbell Art Museum for generations to come.”
The Kimbell has great works of modern painting in its collection by artists such as Picasso, Matisse and Mondrian, but until now it has had no work in any medium by Modigliani. Remarkably, Head is the first work of modern sculpture to take its place within the galleries designed by Louis I. Kahn for the Kimbell Art Museum.
Although renowned today for his more numerous paintings, Modigliani considered himself foremost a sculptor. Having left his hometown of Livorno in 1906 to join the Parisian avant-garde and stimulated by the example of Constantin Brancusi, who became his neighbor when he moved to a studio in the community of Montparnasse in 1909, Modigliani championed direct carving in stone, seeking to revitalize sculpture by returning to its ancient methods.
Scavenging limestone from construction sites including the Paris subway, he created a series of elegantly stylized, mostly elongated heads, with slender necks and geometric features such as almond-shaped eyes and small round or smiling mouths. Modigliani’s distinctive aesthetic—born from the tension between figuration and abstraction—was inspired by a range of works that he admired in Paris, including African, Egyptian, ancient Greek and Cambodian statuary. Modigliani’s powerful—even mystical—sculptures invoke deities or timeless beings. Seven of the heads were displayed as a “decorative ensemble” in the 1912 Salon d’Automne in a room with Cubist paintings. Paul Guillaume, his dealer, later wrote that the artist envisioned his heads as “columns of tenderness” in a “temple of beauty.”
The Weiner Head is distinguished from others by its complex balance of brutality and refinement, as the delicate head emerges from the roughly hewn mass of the stone block. The lively and varied surface celebrates the process of its creation: blunt gouges and sensual striations of the sculptor’s chisels mark the tapered neck and head, countered by the sharp incisions of the hair and more refined finish of the oval face and cheeks. Its expressive sophistication reveals a sculptor at the height of his talents.
The chronology of Modigliani’s heads, in fact, is difficult to establish. A photograph showing the artist with uncharacteristically short hair standing next to the still unfinished Weiner Head suggests a date of about 1913, shortly after his return from a visit to Italy, where friends remarked on his shaven head following a stay in a hospital. Around 1914, ill health and poverty forced Modigliani to abandon sculpture and return to painting portraits and nude figures. He died at age 35 of tubercular meningitis.
The sculpture is even more meaningful to the Kimbell because it comes from the Weiner Collection. Oilman Ted Weiner, with his wife Lucile and their daughter Gwendolyn, acquired important modern artworks, particularly sculpture, in the 1950s and 1960s. This major pioneering private collection was displayed in their home and garden in Fort Worth. The Weiners purchased the Modigliani Head from the Knoedler Gallery in 1963.
With the Weiner gift, the Kimbell becomes the only museum in the western states to have a Modigliani sculpture in its collection.
200 globally renowned galleries from 28 countries will gather in Cologne, Germany, from April 26-29, showing works by around 2,000 artists
The 51st ART COLOGNE promises to be the best yet, presenting 200 of the most important galleries of the international art world, including renowned new participants like Gagosian, David Kordansky, Daniel Templon and WHITE CUBE.
The range of offerings extends from Modern and Postwar Art to Contemporary Art in the sector GALLERIES.
The NEUMARKT section, composed of two areas, will celebrate its premiere in the coming year, presenting a new focus on young galleries and on selected curated projects between galleries in the NEUMARKT COLLABORATIONS section.
Stand: Werble, Halle 11.3
ART COLOGNE 2017 gathers together the most relevant galleries from the international and German art scenes including 39 newcomers. Particularly worthy of mention in the contemporary section are Hauser & Wirth, David Zwirner, Sprüth Magers, Thaddaeus Ropac, Hans Mayer, OMR, Pearl Lam, Max Hetzler, Karsten Greve, Daniel Buchholz as well as high quality newcomers like Gagosian, David Kordansky, Daniel Templon and White Cube amongst others.
New exhibitors participating in the Modern and Postwar section include Le Minotaure (Paris), Thole Rotermund (Hamburg), Derda Berlin (Berlin) and Zlotowski (Paris), who join long term exhibitors Thomas (Munich), von Vertes (Zurich) as well as Ben Brown Fine Arts (Hong Kong, London).
Stand: Klaus Benden, Halle 11.1
Numerous young French galleries are participating in the NEUMARKT section for the first time, including Samy Abraham (Paris), Antoine Levi (Paris) and Joseph Tang (Paris) along with other leading cutting edge galleries such as ESSEX STREET (New York), LambdaLambdaLambda (Pristina), Project Native Informant (London), Deborah Schamoni (Munich), The Journal Gallery (New York), Teminkova & Kasela (Taalin), Max Mayer (Dusseldorf) and Jan Kaps (Cologne).
BOULDER, CO – With a timeline that starts in Ancient Egypt and progresses to the Pre-Columbian cultures of the Americas, Artemis Gallery’s April 12 auction is a fascinating retrospective on how the world evolved to what it is today.
Each of Artemis Gallery’s auctions reflects a deep respect for ancient civilizations of all geographic regions. That’s why the template for all of the company’s sales is so intentionally multicultural. The 215 lots selected for the upcoming auction include Classical Egyptian, Greek and Roman antiquities, as well as Anatolian, Asian and Central American art. A bonus category consists of ancient through European Renaissance coins.
All auction items, without exception, are guaranteed to be as described and legal to buy and resell under the United States statute covering cultural patrimony (Code 1600, Chapter 14). Artemis Gallery is known internationally for handling only authentic objects of very fine quality. Co-founders Teresa and Bob Dodge are experts in their field and often are called upon by fellow market leaders to provide their unique expertise in authenticating and evaluating objects. “We pride ourselves in the painstaking research we conduct before selling any piece of cultural art. Our customers know they can trust us implicitly, and they bid with total confidence.”
The earliest period represented in the April 12 auction is that of the Ancient Egyptians, an extraordinarily advanced people whose art and customs continue to mystify historians. Lot 3A, a heavy cast-bronze oxyrhynchus or Medjed elephant fish, dates to 712-30 BCE. Fish were sacred to the goddesses of Egyptian mythology and played a role in the important story of the rebirth and immortality of the god Osiris. The figure to be auctioned would have been an expensive production, perhaps intended for display in a temple. Estimate: $3,000-$4,500. Lot 5C is an interesting flattened pilgrim flask with a bright turquoise faience glaze and twin looped handles. Made in Egypt circa 664-525 BCE, it is expected to sell for $1,000-$1,500.
Lot 9A, a particularly graphic Greek Attic black-figure amphora with images of Dionysos (God of Wine), nymphs and satyrs stands 9.75 inches high and dates to around 510 BCE. The graceful vessel has an echinus mouth and tripartite handle, and is supported by a torus foot. From a private East Coast collection, the visually appealing piece is a top auction highlight, estimated at $20,000-$25,000.
With each passing auction hosted by Artemis Gallery, there is an increase in the number of collectors pursuing Ancient Roman glass. The April 12 selection features some truly exceptional examples. Lot 29 is a gorgeous cranberry-red, free-blown glass flask, 6.25 inches high and crafted in the 1st-3rd century CE. Its silvery iridescence renders a mirror-like quality to its surface. Estimate: $2,500-$3,500. There are also two unguentaria: Lot 32, a yellow glass candlestick form, $600-$900; and Lot 33, an iridescent blue-green glass double-tube design, $1,200-$1,800.
Nine lots contain relics and art from northern Anatolia (Turkey). Lot 40D, a remarkable cast-bronze anthropomorphic idol, is composed of bulbous, bead-like body segments, with distinctive rudimentary eyes, an open mouth and ears. Created in the mid to late 3rd millennium BCE, this votive idol is entered with a $2,500-$3,500 estimate.
A special treat is the selection of ancient coins, including Romano-Egyptian, Greek, Lycian, Syrian and several other types. Among those with provenance from the Matrisciano collection are: Lot 126, a Venetian gold ducat coin, circa 1414-1423 CE, with images of Christ and St. Mark, $500-$600; and Lot 23A, a Lycian League, Masikytes Mint silver hemidrachm, $500-$700. The latter coin, struck circa 30-27 BCE, shows the laureate head of Apollo on the obverse and a lyre on reverse. “Lycia minted its own coinage despite being ruled by several groups prior to the conquest of Alexander,” Teresa Dodge noted. “The Lycians are credited with having been the first to use coin portraits, that we know of, which makes the coin in our auction especially desirable.”
The Asian art category covers a broad spectrum, including the Chinese Han, Tang and Ming dynasties, among others. There has been strong pre-sale interest in Lot 66A, a Ming Dynasty (1368-1644 CE) cast-iron eagle-claw mace. The handle is decorated with a lion’s head from whose mouth the rest of the weapon emerges. The mace terminates in the detailed talon of an eagle, complete with cast feathers and claws. The intimidating figural weapon is estimated at $2,400-$3,600.
Many cultures are represented in the Pre-Columbian selection, with highlights including Lot 69, a Valdivian limestone plank figure of an owl, $3,000-$5,000; Lot 99, a Veracruz ceramic priestess in prayerful stance, $8,000-$12,000; and Lot 110, a monumental Tolima pottery effigy funerary urn with lid, $3,000-$4,000.
As auction preparations continue, many exciting new consignments are being added to the online catalog, including outstanding examples of tribal art, Russian icons, and Spanish Colonial santos. Like all other items chosen for inclusion in the auction, their authenticity and legality are unconditionally guaranteed.
Two stolen paintings were released from a hold on Janaury 19 by the court in Naples. The works were recovered in October last year during a large-scale investigation on behalf of the Italian Public Prosecutions Department, conducted by a specialised Guardia di Finanza team. The court’s decision clears the way for the two paintings from the collection of the Van Gogh Museum to return to Amsterdam.
Detail of Van Gogh’s Congregation leaving the Reformed Church in Nuenen from 1884/85.
Van Gogh’s Seascape at Scheveningen (1882) and Congregation leaving the Reformed Church in Nuenen (1884/85) were stolen from the Van Gogh Museum in 2002. The two works appear to be in reasonably good shape after their 14-year travels, although both are missing their frames and show a few signs of damage. [Both works were found in the village of Castellammare di Stabia, near Naples, as part of a larger investigation into the Amato Pagano clan, an international drug smuggling group affiliated with the Camorra, the region’s notorious mafia family.]
Van Gogh’s ‘Seascape at Scheveningen,’ from 1882. Van Gogh Museum
The museum is busy preparing for the return of the canvases. It is not yet known when the paintings will be on display once more at the Van Gogh Museum, which will depend on the timing of the formal handover.
Museum Director Axel Rüger:
‘We have just heard that the judge has ordered the release of the two recovered Van Goghs. It’s great news: we can now focus fully on preparing for the paintings to come home. The two canvases will be formally handed over in the near future. A precise date hasn’t been fixed yet, but it’s expected to happen quickly.
On behalf of all my colleagues, I’d like to thank everyone who has worked so intensively and with such commitment to make this possible. We’re especially grateful to the Italian authorities for achieving something we almost thought would never happen. We can’t wait to place the two lost works back in our museum’s collection.’
Jet Bussemaker, Dutch Minister of Education, Culture and Science:
‘It is excellent news that the paintings will shortly be returning to the Netherlands. Everyone, both young and old, should soon be able to enjoy these works again at the Van Gogh Museum. My compliments to all the parties who have worked so hard to make this happen.’
Copley Fine Art Auctions will hold its Winter Sale on February 17 at the American Theater located in the Design District of Upper King Street in Charleston, South Carolina. The sale will take place on Friday, February 17 in conjunction with the Southeastern Wildlife Exposition. Bidding on over 450 lots will begin at 11 am, with preview times running from 8:30 am until 10:30 am.
Frank W. Benson (1862-1951), The Log Jam, 1915, etching, 9 ⅞ by 7 ⅞ inches, Estimate: $6,000-$9,000 Copley Fine Art Auctions, www.copleypreview.com
A wide selection of prints from the Ernest and Carolyn Kramer Collection will be on offer. After close to fifty years of collecting and thirty-five years in business, the Kramers have decided to retire, and they would like to give collectors the opportunity to acquire fine examples of sporting art by Frank W. Benson, as well as works by many other important twentieth century printmakers. Twenty-two rare and collectible Benson etchings, such as The Log Jam ($6/9,000) and The Retriever ($4/6,000) will be available, alongside five Aiden Lassell Ripley prints and additional works by important American printmakers Anders Zorn, Raphael Soyer, and others. Other artists in the sale include Minna Citron, Luigi Kasimir, Louis Lozowick, A. Lassell Ripley, and Harry Wickey.
Ernest and Carolyn Kramer’s interest in art was sparked by the rich artistic heritage of Gloucester, Massachusetts, Carolyn’s hometown. Gloucester and nearby Rockport have attracted important world-class artists since the turn of the century, such as Fitz Hugh Lane, Winslow Homer, Childe Hassam, Frank Duveneck, Emile Gruppe and Aldro Hibbard.
Anders Leonard Zorn (Swedish/American, 1860-1920), Augustus Saint Gaudens II, 1897, etching, 5 ½ by 7 ⅞ inches, Estimate: $3,000-$5,000 Copley Fine Art Auctions, www.copleypreview.com
In 1968 the Kramers began collecting etchings by Frank W. Benson, “The Dean of American Sporting Art”, and this became the catalyst for their collection and the business, Ernest S. Kramer Fine Arts & Prints, Inc., established in 1982. The gallery was a direct outgrowth of years of collecting Gloucester, Rockport, and Cape Ann paintings, as well as nineteenth and early twentieth century American and European fine prints.
Online bidding on over 450 items will be available through Bidsquare and Copley Live. A full-color catalog will be available. The auction will take place at the American Theater in Charleston, South Carolina. Bidding will commence at 11 am on Friday, February 17, with a preview from 8:30 am to 10:30 am. For more information, a full schedule of events, or to order a catalog, please send an email to [email protected], call 617.536.0030, or visit copleyart.com.
Frank W. Benson, The Retriever, 1916, etching, 7 ⅞ by 9 inches, Estimate: $4,000-$6,000 Copley Fine Art Auctions, www.copleypreview.com
Copley Fine Art Auctions 65 Sharp Street Hingham, Massachusetts
About Copley Fine Art Auctions
Copley Fine Art Auction experts provide a host of services for collectors: Appraisals, including trusts and estates; auction, gallery, and private sales; collections management; custom framing and restoration. Whether you’re a new or seasoned collector, we are happy to discuss options for the formation, development, or sale of a collection encompassing our specialties. We work with private collectors, museums, and corporations nationwide, and have helped form many leading collections. In addition, we offer advice regarding personal property for trusts, estates, and private clients to aid fiduciaries, executors, advisors, and collectors.
This dynamic auction brings to the block more than 450 lots of American paintings, drawings, prints, folk art, bird decoys, and antique fly rods. Featuring works from the collections of Richard and Lynn Gove, Ernest and Carolyn Kramer, Blair Ledingham, Grant Nelson, and the estate of Joyce and Larry Huffman.
Selected artwork includes Trappers on the Lake by Frank E. Schoonover (1877-1972), four watercolors and over thirty etchings by Frank W. Benson (1862-1951), two major oil paintings by Edmund H. Osthaus (1858-1928), an important swan decoy by Charles Birch (1867-1956), and several exceptional carvings by the Ward Brothers, including a pair of life-size flying mallards ($40,000-50,000).
The November 17 sale includes a 6.64-carat fancy vivid yellow diamond, a 1.06-carat fancy pink diamond ring and a 24.55-carat unheated Burmese ruby
NEW YORK, NY–(Marketwired – November 14, 2016) – When estate jewelry auctioneer Joseph DuMouchelle holds its last auction of the year on November 17, it will include a dazzling array of hues in colored diamonds and other colored gems. Among the top lots in the holiday sale are a 6.64-carat fancy vivid yellow diamond in an oval cut, a 1.06-carat fancy pink diamond ring accented with pink diamonds, a 24.55-carat unheated Burmese ruby ring and a 3.42-carat unheated Kashmir sapphire Art Deco ring.
“The colored diamonds and stones in this sale are stunning not only for their fancy hues, they are also natural,” says president and auctioneer Joseph DuMouchelle. “We are committed to selling high-quality, non-heated, natural gems, which have proven time and again to retain their values.”
Joseph DuMouchelle will be previewing the sale Tuesday, November 15th and Wednesday, November 16th in New York from 11 am to 5 pm at the Lotte New York Palace Hotel.
About Joseph DuMouchelle
Joseph DuMouchelle is an estate jewelry and art auction house that specializes in the sales of important gemstones and signed jewelry, either through auction or private sale. With more than 20 years of experience and a 90-year-old family legacy of expertise in art, antiques and auction, Joseph DuMouchelle has become a preeminent force in the estate jewelry industry. The company’s locations in New York City; Birmingham, Michigan; and Palm Beach, FL, as well as frequent travel to clients around the world has helped the auction house to uncover and find rare and important goods. Joseph DuMouchelle, G.G., President,�?? has been in the auction industry for more than 30 years and is a third generation auctioneer. He is a Graduate Gemologist, G.I.A., and has A.S.A. and I.S.A. training and education. Mr. DuMouchelle is an industry expert in the evaluation and appraisal of jewelry, gems, fine art, antiques and personal property and as an auctioneer, Mr. DuMouchelle has been personally involved in the sale of hundreds of millions of dollars of personal property. He lectures to many international, national and local professional groups and organizations each year and is considered one of the leaders in his industry. He donates his expertise and hundreds of hours as an auctioneer for numerous charitable organizations.
