South Florida’s premier auction house, Fine Art Auctions Miami (FAAM), will hold its third annual Urban & Street Art Auction at SPACEBY3 in Wynwood over President’s Day Weekend (Feb. 12 – 16). FAAM will unveil works by Keith Haring, Shepard Fairey, Banksy, Faile, Phase2, and KAWS, among others. Works will be on display throughout the weekend and will end with a live auction on Monday, February 16.
Fine Art Auctions Miami
Last year’s Exhibit and Auction brought in over $1.3 million*, including the sale of Banksy’s controversial Kissing Coppers.
“Home to some of the world’s greatest street art, Wynwood is an inviting arena for both local and international street artists to express their creativity and add to the growing landscape of the area,” says FAAM Founder and Director Frederic Thut. “In our third year of the Urban & Street Art Exhibit and Auction, FAAM is excited to be a part of an important developing sector in the art world.”
FAAM’s Urban & Street Art Exhibit will be open to the public from Thursday, February 12 to Monday, February 16. On Monday, February 16, FAAM will end the exhibition with an auction sale comprised of 60 lots from some of the most important street artists. SPACEBY3 will be transformed into an urban environment comprised of streets and avenues showcasing local and international artists like London Police, Chris Brown, Kai and Abstrk.
At over 33,000 square feet, SPACEBY3’s versatile venue will house auction items in the main gallery space along with individual pop up shops throughout. With its iconic redbrick façade and 22‐foot high vaulted ceilings, SPACEBY3 is the ultimate blank canvas to showcase the artists.
As an established recording artist and now an aspiring street artist, Chris Brown, will work hand in hand with celebrated artist KAI on Thursday, February 12 and Friday, February 13.
Brown’s completed work will be auctioned on Monday, February 16 with 50 percent of the sales benefitting the Arts and Business Council. They will also work with international artist London Police and a group of local artists lead by Abstrk to create custom walls inside SPACEBY3 daily. These works will be included in the auction on the final day and will benefit both the Arts & Business Council of Miami and the Guntram von Hasburg Foundation. Various sponsors will host events and panel discussions throughout the weekend as well.
Important auction highlights include:
Banksy, London, New York, Bristol, Estimate $100,000 ‐ $120,000
Keith Haring, Untilted, Subway drawing, $100,000 ‐ $120,000
Exhibition Hours and Auction: Thursday, February 12 – Monday, February 16 – Open to the Public beginning at 12pm, daily Thursday, February 12 – 5:30 – 8pm: Arts and Business Council Panel Discussion: Art Meets Business Saturday, February 14 – 6 – 10pm: FAAM and Guntram von Habsburg Foundation Private Cocktail Hosted by Hublot and Rhum Clement, fashion show by Cot d’Or Monday, February 16 – Live Urban & Street Art Auction; Open to the Public at 5pm FAAM Urban & Street Art Auction will take place at: SPACEBY3 2105 N Miami Avenue Miami, FL 33127 www.SPACEBY3.com
Lillian Nassau LLC, world-renowned specialists in the work of Louis Comfort Tiffany and Tiffany Studios, celebrates its 70th anniversary this year.
Lillian Nassau in her gallery on Third Avenue, circa 1962 Lillian Nassau LLC
Lillian Nassau opened her antiques shop in 1945 in New York City on Third Avenue between 54th and 55th streets, specializing in 18th and 19th Century porcelain, glass and objets d’art. In the 1950’s she became increasingly interested in the decorative arts of the Art Nouveau period. Mrs. Nassau was the first to handle the works of Louis Comfort Tiffany and Tiffany Studios, including Tiffany Studios Lamps and Tiffany Favrile Glass and Favrile Pottery, and became the greatest champion in the revival that began in the mid-1950’s. She is widely credited with almost single-handedly reviving the interest in the work of Tiffany Studios.
Lillian Nassau was a willing lender to early museum exhibitions; her association with top curators paved the way for two early exhibitions of Art Nouveau and Tiffany, the first held at the Museum of Contemporary Crafts in 1958 and the second, the seminal show at the Museum of Modern Art in 1960.
Current owner and Tiffany Studios expert Arlie Sulka in her gallery at 220 East 57th Street with a selection of Tiffany Studios lamps. Lillian Nassau LLC
In 1967 the gallery moved to its present location at 220 East 57th Street. Although Lillian Nassau was approaching the typical age of retirement, she was building momentum as the driving force behind the revival of the works by Tiffany and the decorative arts of the Art Nouveau and Art Deco periods. “Celebrity collectors and other leading pop culture personalities became clients and seized the opportunity to share in Lillian’s expertise while major museums throughout the United States and Europe steadily made significant acquisitions from the gallery,” says Arlie Sulka, who acquired the business in 2006 after having worked for both Mrs. Nassau and her son, Paul, since 1980. “Following Lillian Nassau’s lead, the gallery continues to dominate the field with its strength and scholarship in Tiffany Studios and Louis Comfort Tiffany.”
An important Tiffany Studios Dragonfly Table Lamp, featuring a rare “Arrowhead” mosaic base comprising Tiffany Studios Favrile Glass Mosaic and Bronze. Lillian Nassau LLC
With over 35 years of experience, Arlie Sulka is now considered one of the foremost experts on Louis Comfort Tiffany and Tiffany Studios, maintaining the gallery’s world-renowned status. Ms. Sulka has established enduring professional relationships with private clients and regularly advises leading museum curators from around the world.
The gallery continues to place important works by Louis Comfort Tiffany and Tiffany Studios in the permanent collections of major museums and institutions throughout the United States and Europe. The Corning Museum in Corning, New York recently acquired an extremely rare and early example of the Tiffany Studios Dragonfly and Water Flowers Lamp from the gallery; this particular example is believed to be one of the first “Dragonfly” models ever made by the firm, shown at Grafton Gallery in London in 1899. The Dragonfly Lamp has become one of the most iconic works by Tiffany Studios, marking the historical importance of the acquisition of this early model.
Under Ms. Sulka’s direction, the gallery has mounted a series of landmark exhibitions concentrating on the work of Louis Comfort Tiffany and Tiffany Studios. In conjunction with two of the exhibitions, Lillian Nassau LLC published two books, Tiffany Favrile Glass and the Quest of Beauty and Tiffany Favrile Pottery and the Quest of Beauty, written by eminent Tiffany scholar Dr. Martin Eidelberg. Upholding Lillian Nassau’s tradition, the gallery also continues to lend to major museum exhibitions pertaining to the work of Tiffany Studios, most recently lending several pieces to the Hudson River Museum, the Munson Williams Proctor Institute of Art, and the Museum of Biblical Art.
In 2009, the gallery added Mid-Century Modern and Studio Furniture to its inventory, integrating this style of furniture with iconic Tiffany Studios designs. “In the 1950’s, Lillian had strong working relationships with the major designers and tastemakers who would come to the gallery for her advice and expertise, and who ultimately placed key pieces by Tiffany Studios amongst their designs and commissions,” recalls Sulka. Among those designers was Ed Wormley, renowned Mid-Century Modern designer and dear friend of Mrs. Nassau, who incorporated lamps and Favrile Glass by Tiffany Studios in his interior design, and whose design innovation included embedding Favrile Glass Tiles into the surfaces of his furniture.
Sulka continues, “I decided that if pairing the genres worked then, why couldn’t the same aesthetic work in the 21st Century? After all, great things should go with great things, no matter the style. We believe that the right Tiffany Studios lamp can complement a live-edge table by George Nakashima, a work in hand-forged steel by Albert Paley or a carved piece by Wendell Castle.”
“If Lillian could see how the market for Tiffany Studios has evolved and how her gallery has continued to transform and thrive, I know she would be very proud. I am honored to continue the tradition.”
For seventy years Lillian Nassau LLC has been the first and foremost dealer in the work of Louis Comfort Tiffany and Tiffany Studios, including lamps, favrile glass and metalwork. The firm also deals in late 19th and early 20th century decorative arts and sculpture, and Mid-Century Modern and Studio furniture and design.
Several months ago, Paul Hustinx informed the Executive Committee of TEFAF, that during 2015, he wished to step down as Managing Director of TEFAF, a position which he has held for 17 years. In view of this and to support its future ambitions, the Executive Committee of TEFAF, the world’s leading fair for art, antiques and design, has appointed Patrick van Maris as its new Chief Executive Officer, with effect from 1 May 2015.
Vetting at TEFAF Maastricht in 2010 Photo: Loraine Bodewes
Paul Hustinx discussed his desire to step down with the Chairman of the Executive Committee, Willem van Roijen, last summer. “I felt that after 26 years, TEFAF needed a fresh pair of eyes and insight to take it forward”.
Dutch born Patrick van Maris (53) read history at the university in Amsterdam before starting his career at Sotheby’s Amsterdam in 1989 as general specialist in the valuation department. In the 1990’s, based in London and part of Sotheby’s European network he was responsible for the organisation of several important house sales in Europe, before returning to Holland in 1997, becoming Managing Director of Sotheby’s Amsterdam in 2003. In 2006 he returned to London and in 2008 became Managing Director of Sotheby’s Europe until 2012. Most recently he focused on global projects.
It was in this capacity that he worked with TEFAF to explore the possibility of establishing an art fair in Beijing. Over this period he gained a thorough understanding of TEFAF and its ambitions. “TEFAF’s excellent reputation and its emphasis on quality and excellence have captured me. I am delighted and grateful to have been chosen by TEFAF’s Executive Committee as the successor to Paul Hustinx and to be appointed the new CEO of this prestigious organisation. I am looking forward to working with the Board and the team in Helvoirt and to maintain TEFAF’s position as the world’s leading art fair.”
Patrick lives with his wife and children in Surrey, UK.
These changes will come into effect on May 2015. Paul Hustinx will commence his early retirement per 1 September 2015 but will remain connected to TEFAF as advisor.
Hirschl & Adler Modern is pleased to announce the opening of Harold Reddicliffe: Recent Paintings on September 11, 2014. Reddicliffe’s second solo show at Hirschl & Adler Modern will feature more than twenty still lifes in oil. In these new works, Reddicliffe continues his intense exploration of an eclectic collection of objects including glass bottles, kitchen gadgets, vintage film equipment, and model airplane engines, indulging us with a riot of bright color and rich confections of space and form.
Harold Reddicliffe (b. 1947) Ice Crusher, Coffee Pot, Waffle Iron, and Tea Kettle, 2012. Oil on canvas, 10 x 14 in. Hirschl & Adler Modern
Harold Reddicliffe (b. 1947) Ice Crusher, Coffee Pots, and Bottles, 2014 Oil on canvas mounted on panel, 11 x 14 in. Hirschl & Adler Modern
Reddicliffe’s objects are minimally staged and tightly placed within formally constructed compositions. Each object is painted with rigor and precision. Reddicliffe does notemploy photography in his work, but rather paints through long periods of observation inhis studio, studying the form of his objects and how they relate to one another. The result is a transformation; taken out of their utilitarian context the objects shed theirprimary identities and invite fresh interpretation. Reddicliffe likens this process torepeating the same word over and over; eventually the word loses its meaning andbecomes simply a sound. Similarly, through prolonged scrutiny Reddicliffe’s objects undergo a detachment of their own, proudly reasserting themselves as objects ofbeauty and fascination.
Opera Glasses and Film Canister experiments with a multitude of objects on a small scale. Reddicliffe carefully positions each form, placing the smallest at the front and thelarger layered behind. Easily identifiable are silver push pins, a red opera glasses case,and a canary yellow film canister. Other objects are more mysterious, peeking out from behind various forms we see a yellow propeller, electrical cords, and the accordion bellows of a vintage camera. The tight cluster of objects are warmly lit in a manner thatlends the composition a theatrical quality, as if the objects are actors upon a stage,presenting themselves before a captivated audience.
Harold Reddicliffe (b. 1947) Umbrellas from Florence, 2014. Oil on canvas mounted on panel, 16 x 12 in. Hirschl & Adler Modern
In Ice Crusher, Coffee Pots, and Bottles a collection of objects huddle together,competing for space, their curved forms edging over a small wooden table. Captured isa moment in time, where palpable surfaces and intricate details heightened by reflectionand shadow command intense observation. The overlapping colored glass vesselsdistort the opaque tin pots tucked behind them, while a lone cup, front and center,draws the viewer into the arrangement. Once there, the viewer cannot help beingtransfixed and mesmerized by the experience.
Born in Houston in 1947, Harold Reddicliffe received his B.A. from Williams College,and his M.F.A. in 1973 from the Hoffberger School of Painting at the Maryland InstituteCollege of Art. Reddicliffe’s teaching includes positions at the Columbus College of Artand Design, Ohio from 1977-1984, and Boston University’s College of Fine Arts from1987-2011. He has been the recipient of two fellowships from the National Endowmentfor the Arts and a grant from the Artist’s Resource Trust. Reddicliffe’s work has beenincluded in solo and group exhibitions across the country and sought after by private collectors and public institutions. Harold Reddicliffe: Recent Paintings opens on Thursday, September 11 and runs through Saturday, October 11, 2014. Located in the landmark Crown Building at the world-famous corner of 57th Street and Fifth Avenue, Hirschl & Adler Modern is open Monday through Friday, from 9:30 am to 4:45 pm. and beginning Saturday, September20, Tuesday through Friday, from 9:30 am to 5:15 pm.
For additional information or images, contact Shelley Farmer, Director, or ChelseaLarson at 212-535-8810 (phone) / 212-772-7237 (fax), or by email [email protected] or [email protected]. Please visit our website at www.HirschlAndAdler.com for an online preview of the exhibition.
This September, the Neuberger Museum of Art of Purchase College will publish an impressive new tome, When Modern Was Contemporary: The Roy R. Neuberger Collection. The 276-page, fully illustrated, hardcover collection catalogue chronicles Roy R. Neuberger’s work as collector, donor, and arts advocate, providing new information on a remarkable moment in the history of the development of modern art in the United States. The book will be published in conjunction with the exhibition of the same name, now on view at the Neuberger Museum of Art, featuring many works that Mr. Neuberger purchased within a month to a year or two of their execution, reflecting his commitment to support living artists working in the United States, particularly during the formative stages of their careers.
Edward Hopper featured in “When Modern Was Contemporary: The Roy R. Neuberger Collection.”
Mr. Neuberger was not only at the forefront of acquiring works by soon-to-be-canonical artists—including Milton Avery, Alexander Calder, Helen Frankenthaler, Edward Hopper, Georgia O’Keeffe, Jackson Pollock, Mark Rothko, and Charles Sheeler—but also by Romare Bearden, Forrest Bess, Kenzo Okada, Hedda Sterne, Rufino Tamayo, and others who were less well-known or socially marginalized in their lifetimes and whose work has only been given the attention it deserves in relatively recent scholarship. The collection reflects the diversity of Mr. Neuberger’s discerning eye and his interest in artists and styles that extended beyond what was commercially popular during the era of their creation, but that have subsequently proved invaluable to our understanding of this period of art and history.
When Modern Was Contemporary includes an introduction by Dr. Tracy Fitzpatrick, the museum’s chief curator and associate professor of art history at Purchase College, SUNY, who also organized and edited the publication, as well as short essays by additional scholars and researchers on 50 of the most important works in the Roy R. Neuberger Collection.
“The Roy R. Neuberger Collection reveals the passionate interests of one of the twentieth century’s most important collectors of contemporary art,” writes Dr. Fitzpatrick. “Although I have worked with the Roy R. Neuberger Collection as a curator of modern art for many years, it was not until I began this project that I understood fully the importance of the objects in the collection in terms of the man who acquired them and donated them to the Neuberger Museum of Art. Mr. Neuberger was one of the 20th century’s most important collectors of contemporary art and this collection is one of the best of its kind.”
The Roy R. Neuberger Collection, the cornerstone of the Neuberger Museum’s permanent collection, was built mainly between the early 1940s and 1960, and was considered by many to be the most important private collections of contemporary American art in the world. The collection is strongest in materials that describe the evolution of modernism in the visual arts of North America.
The Neuberger Museum of Art opened its doors 40 years ago on the Purchase College campus as a cultural and intellectual center for modern, contemporary, and African art. It had been the dream of New York’s then-Governor Nelson A. Rockefeller to build a world-class art museum on the campus to enrich the life of the college and local community. Rockefeller turned to financier Roy R. Neuberger to donate part of his collection to establish the museum’s holdings. In 1969, Neuberger donated over 100 works from his extensive art collection, considered by many to have been the most important private collection of contemporary American art in the world, and became the Museum’s founding patron. Over the years, Neuberger continued to donate works from his collection to the Museum, now numbering over 800, forming the core of its 7,000-piece collection.
Copies of book may be obtained from the Museum Shop at the Neuberger Museum of Art for $60. For further information, call 914-251-6131.
The Los Angeles County Museum of Art (LACMA) announced the recipients of its 2014 Art + Technology grants on Wednesday. The awards include monetary and in-kind support for projects that explore artistic applications of emerging technologies.
The Art + Technology Lab at LACMA.
LACMA’s Art + Technology Lab and its artist projects are made possible by Accenture, DAQRI, and NVIDIA, with additional support from Gensler, Google, and SpaceX. Professor Ken Goldberg and artist Dan Goods are participating as independent advisors. Additional support provided by the LACMA Director’s Circle. A grant from the Los Angeles County Productivity Investment Fund is supporting the public lab at the museum to house the initiative.
After issuing its first Request for Proposals in December 2013, the museum received over 450 submissions. The five projects selected hail from many artistic disciplines and backgrounds. They will merge their practice with emerging technologies in aerospace, astrophysics, augmented reality, robotics and more. Over the coming twelve months, LACMA’s Art + Technology Lab will host conversations with the artists and display works in progress, revealing the creative process as it happens.
Taeyoon Choi and E Roon Kang, based in New York and Seoul, Korea, will develop a project titled In Search of Personalized Time. They will create devices and methods to set one’s own time based on subjective perception and networked consensus. The team will also research the essence of presence and the present in relationship to contemporary technology by developing prototypes, a performance, and a workshop. Choi is co-founder of the School for Poetic Computation and directs the Making Lab, a community makerspace run by artists in South Korea. Kang operates an interdisciplinary design studio, Math Practice, and is a TED Fellow, and has been a research fellow at SENSEable City Laboratory at MIT.
John Craig Freeman will draw on crowd-sourcing, augmented reality, and EEG (electroencephalography) technology in a project titled Things We Have Lost. The project will allow participants to “conjure” virtual objects by imagining them into existence using brainwave technology and augmented reality. Freeman is a founding member of the collective Manifest.AR, whose work seeks to expand the notion of public space by exploring how digital networked technology is transforming our sense of place.
Annina Rüst will develop a project called A Piece of the Pie Chart, inspired by the cover of LACMA’s 1971 Report on the Technology Program at the Los Angeles County Museum of Art, which exclusively shows men. The project is an interactive robotic gallery installation exploring the worlds of art and technology. Rüst teaches at Syracuse University and creates electronic objects and software art.
Tavares Strachan will develop a project called Lift Off, conducting experiments using glass rockets powered by alternative, locally sourced fuels; the project will also involve students from local schools. Most recently, Strachan represented the Bahamas at the 2013 Venice Biennale and his work was featured at the 2013 Lyon Biennale. Recurring themes in Strachan’s work include invisibility, displacement, and the capacity of people and matter to withstand inhospitable environments.
Rachel Sussman will be supported in her pursuit of a project titled The Poetics of Space, facilitated by exposure to Art + Technology Lab advisors from Jet Propulsion Laboratory and SpaceX. The Poetics of Space will scrutinize astrophysical and astronomical data to investigate the capacity and limits of human modes of perception in relation to deep time and deep space. Sussman is a photographer, a writer, and a TED speaker whose recent book, The Oldest Living Things in the World, was published in 2014.
The projects receiving awards this year were selected based on various criteria, including the artistic merits of the project; potential benefit from exposure to data, technology and expertise from the Art + Technology Lab advisors; relevance to current issues in art, technology, and culture; and the opportunity for meaningful public engagement. Priority was given to open-ended projects suited to the Lab environment of experimentation and iteration.
LACMA plans to continue funding artist projects through the Art + Technology Lab for several years on a rolling cycle. The next open call for proposals will be issued in December 2014. Interested artists are encouraged to sign up for more information by emailing [email protected].
The Art + Technology Lab is the first of its kind in which a major museum provides funding, space, and in-kind support from leading technology companies to develop technology-based artist projects, continuing a legacy begun in 1967 with the Art and Technology Program at LACMA.
For more information, extended biographies and descriptions of each artist project, visit lacma.org/Lab.
The International Society of Appraisers (ISA) will feature a broad range of distinguished antiques and fine art speakers at its annual meeting April 25-28 at the InterContinental at the Plaza in Kansas City, MO.
ISA Annual Meeting will be in Kansas City, April 25-28, 2014.
Michael Findlay, Director of Acquavella Galleries, will deliver the keynote address on the value of fine and decorative arts by relating accounts from his book, The Value of Art. Acquavella Galleries recently set a new world record for the highest price paid for art purchased at auction. Additional topics cover antique and fine art connoisseurship, expert witness preparation, title and ownership defects and how they impact value, brand marketing, museum services, IRS and tax related valuation issues, and artifact conservation.
“This conference is the perfect launching pad for any dealer or gallerist who has ever considered becoming a professional appraiser,” said ISA President Cindy Charleston-Rosenberg. “The conference program covers an extensive range of topics with the opportunity for attendees to network with top professionals in the appraisal industry.”
The ISA conference program and associated events have been developed with business growth and market development in mind. The numerous educational programs include general sessions which are applicable across valuation disciplines, and more specific break-out sessions for antiques, residential contents and fine art for dealers and appraisers. Beyond the educational programs the conference schedule includes new member functions, exhibitor displays, museum tours and plenty of networking opportunities from luncheons to smaller social events. Over the years, the ISA annual conference has gained a reputation of not only having the best program and speakers within the profession, but for emphasizing the importance of networking opportunities to grow and advance appraisal practices and dealer/gallerist business development opportunities. In these difficult economic times it is imperative to be current with market trends, professionally involved and to expand existing business networks.
“Our speakers for this conference are dazzling,” said Judith Martin, ISA Conference Chair. “Kansas City is a festive setting with a fantastic venue at the legendary Intercontinental Kansas City at the Plaza, fine local dining, antique shops and galleries, museums, and accessible transportation with reasonable rates.”
Read about Alvar Aalto’s versatile and popular piece of furniture, the Stool 60.
The simple and stackable Stool 60 celebrated its 80th anniversary in production in 2013, a true testament to its straightforward yet pleasing design. Created by the designer and architect Alvar Aalto (Finnish, 1898–1976) in the early 1930s, the Stool 60 was an experiment in Functionalism and the International Style, design movements that emphasized a minimalist, utilitarian, and efficient aesthetic. The three-legged stool was constructed out of bent wood, varying from the popular tubular steel used by many of Aalto’s contemporaries. The result was a durable and practical stool that would go on to sell millions of copies over its 80-year production.
The stools have been produced by Artek, a firm Aalto co-founded in Finland along with his wife, Aino Aalto (Finnish, 1894–1949), Maire Gullichsen (Finnish, 1907–1990), and Nils-Gustav Hahl. To mark this anniversary, Artek presented special editions of the Stool 60, including a series by the German art director and artist Mike Meiré. Meiré’s edition does not alter the classic form, but plays with its appearance, painting the surface in colors reminiscent of those used in Aalto’s building, the Paimio Sanatorium (1928–1933), in Finland. Whether stacked away in the corner or in use as an impromptu table, the simplicity and versatility of Aalto’s product have given his design an eternal presence in the design world.
Alvar Aalto, Hocker 60(set of 7), 1932–1933, plywood, lacquer, sold at Quittenbaum Kunstauktionen München, Munich, Germany
(BRISTOL, Conn.) – An online-only auction totaling more than 500 lots in a wide array of categories will be held in the annual Fall Extravaganza Estates Auction on Sunday, Nov. 17, by Tim’s, Inc. Auctions. Many auction items may be viewed online, at www.timsauctions.com. Phone and absentee bids will also be accepted. The auction will start promptly at 12 noon (EST).
This stunning Bvlgari 18kt gold and diamond bracelet with an ancient coin at the center will be auctioned Nov. 17th. Tim’s, Inc., Auctions
“This auction will appeal to a lot of people for a lot of reasons, that’s how diverse the merchandise mix is,” said Tim Chapulis of Tim’s Inc., Auctions, “and it couldn’t come at a better time. Holiday season is right around the corner, and so much of what’s being offered would be perfect for gift-giving. Homeowners, collectors and retailers alike will discover a trove of opportunities, a truly great selection.”
Offered will be marvelous pieces of Victorian carved and marble-top furniture (to include 17 marble-top tables), hundreds of silver and gold coins (some to be sold in multiple lots), a single-owner collection of sporting items dubbed “The Rustic Collection”, fine estate jewelry, fine art (with ornate gold gilt frames), 25 antique estate carpets, great antique clocks and more.
Lots expected to draw special attention will include a one-owner 1990 IROC-Z Chevrolet Camaro with 9,315 original miles on the odometer; a Bvlgari 18kt gold and diamond bracelet with ancient coin; two Japanese World War II swords from the lifetime collection of Daniel Pagano, one long and one short; and a monumental Victorian breakfront attributed to John Jelliff.
The blue 1990 IROC-Z Chevrolet Camaro was pampered from the day the owner bought it new until his recent passing. The many upgrades include alloy aluminum rims that cost $1,000 each, B.F. Goodrich 20-inch tires, an Alpine sound system and numerous improvements to the 5.7-litre V-8 engine, to include Edlebrock headers and an after-market power chip upgrade.
The Bvlgari gold and diamond bracelet with ancient coin at the center (Sicily Syracuse, circa 310-304 B.C.) was appraised in 2005 at $11,500. The certificate from that appraisal will be included with the lot. This bracelet is no longer being made by Bvlgari, a name synonymous with fine jewelry pieces worldwide.
The long and short Japanese swords from World War II are expected to draw interest from serious collectors of militaria. The long sword should generate more excitement because it has a signature on the handle, by the maker, in Japanese. Both swords come from Mr. Pagano’s “Rustic Collection” of mostly sporting items. Pagano, 67, is a sporting enthusiast from Katonah, N.Y. His collection also features vintage and antique watches, to include one by Bueche Girod.
The centerpiece of “The Rustic Collection” might very well be a fishing pole reported to have been made for baseball great Babe Ruth, with a brass tag that reads “B. Ruth.” So the story goes, the legendary Bambino took ill and couldn’t accept the pole and it eventually found its way into Pagano’s collection. Mr. Pagano took his fishing very seriously; as the owner of a highly successful construction company in New York City, he indulged his hobby by purchasing a pair of fishing boats for $350,000 apiece, then invested another $150,000 outfitting them to his liking.
“The Rustic Collection” will also feature antique flintlock pistols, hunting knives, some fabulous mounts, duck decoys, prize trophies, a crossbow, a Western saddle, a bearskin rug, a bear-mounted head and carved bear-themed benches. “People need to understand the importance of Mr. Pagano’s collections being released to the public,” Tim Chapulis said. “These are very fine items.”
The furniture piece attributed to the master New York wood craftsman John Jelliff is a gorgeous triple three-door burl walnut Victorian breakfront (or collector’s cabinet or bookcase) with a bust of Jenny Lind at the top, in 10 pieces. The piece is impressive, measuring 107 inches tall to the crest. It’s all original, with original keys, adjustable shelves, finials, wood and glass.
The furniture selection will also feature an extraordinary marble-top parlor table attributed to Thomas Brooks in walnut, with 20-inch-tall carved griffins adorning a base ending in huge claw feet; many other marble-top tables; two Hitchcock dining room sets; and a huge marble-top hall tree, 9 ½ feet tall by 56 inches wide, that came from a prominent railroad station.
Another exceptional piece of furniture is a heavily and beautifully carved oak marble-top sideboard attributed to R. J. Horner, purchased by the family some years ago for $7,000. The marble top is fully an inch thick and the piece has a crest flanked by two winged griffins and a large mirror in the middle (also with griffins on each side).
The hundreds of gold and silver coins set to cross the block will include a pair of U.S. gold $20 Liberty gold coins (one from 1898, one from 1899 and one from 1903); over 100 U.S. silver dollars; more than 300 U.S. silver dimes (to be sold as a single lot); and as many as 300 or more Mexican silver pesos from a single collection that will be sold as one huge numismatic lot.
The fine selection of antique clocks and timepieces will include a rare Silas Hoadley pillar and splat clock (similar to a pillar and scroll clock only with a wood splat top), all original, with original woodworks, made circa 1810-1830; and a stunning Willard weight-driven banjo clock with a horse on the lower glass and beautiful finial on the top, in excellent condition.
There is also an antique musical instrument in the auction: a viola da gamba, which is larger that a violin but smaller than a cello. The instrument, believed to be quite rare and valuable, is fully labeled on the inside by its German manufacturer and is made of wood, possibly maple. At the top is a fully carved lion’s head, adding an ornate touch to a fine piece.
Internet bidding will be facilitated by LiveAuctioneers.com and Auctionzip.com (now with Artfact.com). All can be accessed by logging on to www.timsauctions.com. “I encourage everyone to go online and bid on these fabulous items,” Chapulis said, adding with a chuckle, “Where else can a guy buy Babe Ruth’s fishing pole for himself, a Bvlgari 18kt gold bracelet for his wife and drive them both home in a like-new 1990 IROC-Z Chevrolet Camaro? Nowhere!”
Winning bidders will be asked to make a suggested $10 donation to St. Jude Children’s Research Hospital, in memory of Peter W. Chapulis, Tim’s late father (although anyone can donate). “The outpour of support for this effort has been tremendous,” Tim said. “Many people have given more than we asked. To date we’ve raised $56,885 for this very worthwhile charity.”
Tim’s, Inc. Auctions is celebrating 34 years in business (1979-2013). The firm is always accepting quality consignments for future sales, especially lifetime personal collectors built over the years by baby boomers and seniors. To consign an item, an estate or collection, you may call Tim Chapulis at (860) 459-0964, or you can send Mr. Chapulis an e-mail at [email protected].
For more information about Tim’s, Inc. Auctions and the upcoming Nov. 17 Fall Extravaganza Estates Auction, please log on to www.timsauctions.com. Updates are posted frequently.
Tim’s, Inc., Auctions is a full-service auction company basedin Bristol, Conn., with a second location in Litchfield, Conn. Their website is www.timsauctions.com.
A highly important pair of George III gilt-metal mounted coromandel lacquer veneered and japanned commodes attributed to Pierre Langlois will be exhibted by Kentshire at the International Fine Art and Antiques Dealers Show, October 25th-31st. The pair is of serpentine form, with variously decorated lacquer panels depicting oriental scenes of ladies and children within a courtyard of large pavilions, flowering plants, and rockwork, with ormolu mounts.
One of a pair of the Ragley Hall commodes Kentshire
The Ragley Hall commodes were commissioned by the Earl of Hertford during the decoration of Ragley in the late 1750s and early 1760s. The commodes are in the French style as practiced by such émigrés as Pierre Langlois, and popularized by contemporary English and French pattern books. Coromandel lacquer is one of the rarest forms of decoration to be found on English furniture dating from the mid 18th century, surely because of the difficulties in applying its brittle form to the subtle curves of the French inspired rococo.
This pair of commodes belongs to a small group of similarly coromandel-lacquered commodes, including one from the collection of Sir Anthony Compton-Thornhill, Bt. A slightly smaller single commode from Ragley sold at Christieʼs in 1921. The mounts on all of these commodes are closely related to those found on a series of both marquetry and black and gold lacquer commodes which have been attributed to Pierre Langlois. Langlois (fl. 1759-81) was one of the most prolific and well known émigré French cabinet-makers working in London in the latter part of the 18th century. Langloisʼ elaborate gilt-metal mounts were almost certainly supplied by his fellow émigré Dominique Jean who shared his premises at 39 Tottenham Court Road until 1781.
The name ʻCoromandelʼ is taken from an area of European trading posts on the Indian coastal district, though the lacquered product was actually Chinese. Its main use was for screens, commonly decorated with terrace and riverside scenes, fantastic mythological beasts and birds amidst exotic flowers and trees. The screens were made from vertical panels of softwood which were thoroughly smoothed. After many layers of lacquer had been applied, the final stage was to carve out the detailed designs and add coloring with oil or lacquer pigments.
Circa 1765 31″h, 55″w, 24″d. 78.7 cm, 137.1 cm, 61cm. Provenance: Commissioned by Francis Seymour Conway, 1st Marquess of Hertford (1719-94), for Ragley Hall, Warwickshire Thence by descent to the Trustees of the 5 Marquess of Hertford, offered Christie’s London, June 30, 1921, lot 26.
Frank Partridge Ltd. Captain the Hon. Francis Cecil Brownlow (d.1932) Thence by descent to his son Lt. Col. John Desmond Cavendish Brownlow, 5th Baron Lurgan (d. 1991). Thence by decent and sold anonymously, Christieʼs London July 4, 1996, lot 300. Literature: P. Macquoid and R. Edwards, ‘The Dictionary of English Furniture’, London, rev. ed. 1954, vol. II, p.115, fig. 13 L. Wood, ‘The Lady Lever Art Gallery, Catalogue of Commodes,’ London, 1994, p.77, note 4. Sotheby’s New York, January 23, 1993, Lot 255. A similar coromandel-lacquered commode from the collection of Sir Anthony Compton-Thornhill, Bt.
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