Boulder County, CO – Outwith the old… to make room for the new! Artemis Gallery LIVE is cleaning house this April with a fun specialty sale guaranteed to please collectors and dealers alike. Ancient/Ethnographic Spring Variety Auction, slated for Wednesday, April 16, 2014, offers a wide array of guaranteed ancient and ethnographic art from all over the world, all at unreserved prices.
“This is a great opportunity to really bulk up your collection, and maybe to nab a few pieces you typically wouldn’t spring for at auction. Almost every lot starts below $400, with many group lots perfect for collectors and dealers alike,” says Teresa Dodge, co-owner of Artemis Gallery Live.
The auction offers a peek into Prehistory with stunning Megalodon fossil teeth, dating between 28 million and 1.5 million years old (Lot 1-2), as well as stone and obsidian tools used by early humans (Lots 3-5). Lots of note include an especially fine Greek Istros coin, depicting a pair of male faces on the obverse and an eagle grasping a dolphin in its talons on the reverse (Lot 43), an alabaster alabastron which beautifully displays the elegance of Hellenistic Greece (Lot 46), and a striking Parthian terracotta amphora (Lot 81). Lovers of Pre-Columbian art will delight in this auction’s offerings, which include a sweet Chancay Olla with Monkeys (Lot 130), and an adorable Chancay penguin (Lot 128). An impressive Costa Rican Stone Metate with Birds (Lot 203) would make a magnificent addition to any collection.
Those bidders hoping to score a unique gift for Mother’s Day will not be disappointed. A range of ancient necklaces from a variety of cultures offer a unique and exciting alternative to traditional jewelry. Pre-Columbian amulets and beads carved from shell and stone showcase the artistry of the ancient people of Peru, Ecuador, Columbia, and surrounding regions (Lots 102, 117, 124, 139, 142). Fine Roman glass and carnelian beaded necklaces pique the imagination and carry the wearer back in time to that illustrious empire (Lots 228, 240, 241). Finally, Egyptian scarabs, faience beads, and amulets, vividly colored and wonderfully crafted, are sure to delight any history buff (Lots 257, 258, 259, 260, 268, 269, 303, 311).
The art of Asia is represented in part by a series of gorgeous Han Dynasty ceramics (Lot 64-69), as well as a lot of delicate Vietnamese pottery from the famous Hoi An Hoard (Lot 177). Ancient Inuit seal hunting tools, handsomely carved from walrus bone (Lot 148), colorful Mexican retables (Lots 165-174), a German WWI iron bayonet (Lot 163), and a series of impressive African art (Lots 155-162) round out an exciting exploration of time and place.
“We’re cleaning out our inventory to make room for new pieces, plus we invited many of our dealer colleagues to do the same, so this auction really has a little of everything,” says Dodge.
As with all of Artemis Gallery LIVE’s auctions, all items are legal to buy/sell under U.S. statute covering cultural patrimony per United States Code 2600, Chapter 14 – Convention on Cultural Property, and are guaranteed to be as described or your money back.
New York and Boston butt heads over more than sports teams: Try 18th-century walnut chairs whose origins are at the center of a controversy.
The chairs, unsigned pieces with shell carvings on their knees and backs, descended in wealthy New York families including the Apthorps and Van Cortlandts. Some scholars believe they were made in New York; others have asserted that Boston cabinetmakers produced them.
The dispute has inspired “Boston or New York: Revisiting the Apthorp Family and Related Sets of Queen Anne Chairs,” an exhibition of about 20 works that opens Jan. 20 at the Bernard & S. Dean Levy gallery in Manhattan.
“The field should be big enough for two interpretations,” Philip D. Zimmerman, a curator of the show, said in an interview. His own team questions the findings of Americana experts including Leigh Keno and Alan Miller, who, in scholarly journal articles about 15 years ago, attributed the chairs to Boston carvers.
Those articles in turn had disagreed with longstanding scholarship attributing the chairs to New York makers. The Keno and Miller camp points to 18th-century archival records that detail luxury goods made in Boston and shipped to New York. Mr. Zimmerman argues that the documents do not necessarily represent chairs as lavish as the pieces inherited by Apthorps and Van Cortlandts.
An 18th-century chair that belonged to a New York family.Credit…Bernard & S. Dean Levy Inc.
Each side also points to arcane details of furniture making, describing particular chair foot forms, seams and brackets as signs of quintessentially Bostonian or New York craftsmanship.
Mr. Miller, in an interview, described the Levy show as “a reactionary, outmoded, retrogressive idea that ignores evidence.” Mr. Keno was similarly skeptical but added, “Anytime that people can get excited and re-examine a group of 18th-century furniture, it’s a great thing.”
Descendants of original owners have weighed in, too.
“My family would never buy anything from Boston; maybe Newport, if we had to,” a Van Cortlandt relative told the Levy gallery owners, in support of the New York workshop theory. Crucial evidence was lost, however, in fires in the 1770s and 1830s that destroyed Manhattan homes and businesses.
“We just don’t know what’s gone from New York,” Frank Levy, an owner of the gallery, said during a preview.
The Levys are borrowing an Apthorp heirloom chair from the Metropolitan Museum of Art. The museum website lists it as originating in New York, but its gallery label has been marked, “Boston or New York.”
A few chairs in the Levy exhibition are for sale, priced from $18,500 to $250,000 each. From Jan. 22 to 25, Bonhams, Sotheby’s and Christie’s in New York will offer more walnut Queen Anne chairs attributed to craftsmen in different cities.
Gossamer webs of wire by Ruth Asawa, who died in August, have been fetching six- and seven-figure prices at auction.Credit…Los Angeles Modern Auctions
A LEGACY OF WIRE WORKS
The artist Ruth Asawa, who died in August, at 87, wove wire into gourdlike abstract sculptures. She lived to see her market boom.
In the past year, these dangling artworks have brought six- and seven-figure prices at auction houses including Christie’s, Sotheby’s and Bonhams in New York and Rago in Lambertville, N.J. Two more will come up for auction in the next few months, with estimates between $100,000 and $500,000 each, at Los Angeles Modern Auctions in Van Nuys, Calif., and Keno Auctions in New York.
Ms. Asawa’s archive has mostly gone to Stanford University. Her children are now sorting through possessions at her San Francisco home and deciding what to do with personal materials like her 1940s college love letters, her daughter Aiko Cuneo said in an interview.
Ms. Asawa and her husband, the architect Albert Lanier, who died in 2008, met just after World War II while studying at Black Mountain College near Asheville, N.C. Their mentors included Josef Albers, Buckminster Fuller and Merce Cunningham. Mr. Lanier was a judge’s son from a small town in Georgia; Ms. Asawa, the daughter of California farmers, had endured years at internment camps for Japanese-Americans.
She and Mr. Lanier raised six children, while Ms. Asawa slept little and sculpted at odd hours. Her guiding philosophy, Ms. Cuneo said, was that “every minute you were awake, you needed to be connected and doing something.”
Mary Emma Harris, a historian who specializes in Black Mountain College and has written about Ms. Asawa, has been finding institutional homes for related artifacts. College records have gone to the North Carolina state archives, and the Asheville Art Museum is collecting artworks by alumni and staff. On March 7, a typical Asawa lobed web sculpture will go on view at the Pace Gallery in Manhattan.
Anna Hyatt Huntington in the film “Sculpture in Stone.”Credit…Museum of Fine Arts, Boston, Anna Hyatt Huntington Papers; Special Collections Research Center, Syracuse University Libraries
SOLID, LASTING AND PUBLIC
During her lifetime, the sculptor Anna Hyatt Huntington financed installations of her animal statues in public places.
“Goddess, Heroine, Beast: Anna Hyatt Huntington’s New York Sculpture, 1902-1936,” a show that opens Jan. 22 at Columbia University’s Wallach Art Gallery, contains newly rediscovered 1930s film of her carving stone. The wall texts and catalog explain how she and her husband, the railroad magnate Archer M. Huntington, spent much of their fortunes to create museum displays.
Her stone jaguars crouch menacingly on pillars at the Bronx Zoo. On her equestrian bronze portrait of Joan of Arc poised for battle, on Riverside Drive at 93rd Street in Manhattan, the horse’s neck veins bulge, and its forelock bristles.
A curatorial team of Barnard College and Columbia staff and students, led by the art historian Anne Higonnet, discovered forgotten mementos of Mrs. Huntington’s work at the Hispanic Society of America, which Mr. Huntington founded. An aluminum casting that Mrs. Huntington made of her right hand, and her bronze plaques depicting knights, farm animals and Spanish rulers will be on exhibit, on loan from the society.
Her letter opener, in the form of a jaguar gnawing a bone, now belongs to the Conner Rosenkranz gallery in Manhattan. It is not for sale, but the gallery is offering Mrs. Huntington’s bronze portrait of her greyhound Speedy ($60,000) with a panting tongue and visible ribs.
In April, her portraits of two Great Danes will go on view at the Museum of Fine Arts, Boston. (The pair was purchased for $105,000 at a Skinner auction in Boston.) Last month, at Heritage Auctions in Dallas, an unidentified collector paid $315,000 for “The Torch Bearers,” a 15-foot-tall equestrian group that had been on the grounds of the Discovery Museum and Planetarium in Bridgeport, Conn. The new owner plans to reinstall it in the Lindale Park area of Houston.
On Feb. 27, the National Academy Museum, which occupies the former Huntington townhouse on Fifth Avenue at 89th Street, will put her newly restored sculpture of the goddess Diana on display. In a back stairwell are a hoist and chain originally used to move statues around her garret studio.
2012 Profile of George Glazer by the New York Social Diary
New York Social Diary “Profile of George Glazer” By Sian Ballen and Lesley Hauge Photographs by Jeff Hirsch July 2012
The New York Social Diary serves as a social, historical, and cultural chronicle of life in New York City. In July 2012 they visited George’s apartment as part of their ongoing “how they live” series. They found lots of globes and other intriguing antiques. The beautifully composed photos and entertaining interview where they talked about globes and collecting were on their web site:
“As you may or may not know, what I’m mainly known for is globes,” said George Glazer in what was possibly the best understatement we’ve heard as we stood in delighted silence taking in his Harry Potter living space filled with what is probably the world’s most extensive collection of American globes as well as a stuffed hornbill and much else besides. And he then he apologized for the dust, which we also loved but he didn’t seem to believe us and continued what had obviously been a massive clear out in honor of our visit. “Stop dusting,” we instructed him. A very serious and passionate collector, he was once a corporate lawyer and he was tremendous fun to talk to.
Material Culture is proud to announce its next special exhibition, “5 Vermont Artists: Sculpture and Assemblages” which will open on June 30, 2012, and run through July 30. These five talented artists are bound not only by geography, but by a shared communication with natural materials or found objects, and an ability to transform their media into the creation of new, compelling universes. A reception on June 30, from noon to five, will mark the commencement of the exhibition, with two of the artists, Larry Simons and Abby Rieser, present.
Artwork by Paul Bowen.
Paul Bowen is known for his earthy, muscular works of found wood and metal. Born in 1951 in Wales, he entered art school there in 1968 and graduated four years later with a degree in Art and Design, working, as he says, “in the space between painting and sculpture.” His further studies brought him to the Maryland Institute, where his love for abstract expressionism deepened in his work with Grace Hartigan, Ed Dugmore and Sal Scarpitta and his exploration of the New York art scene. It was his move back to the U.K., however, to take a post in the department of sculpture at Sheffield Polytechnic, that pushed him fully into the world of sculpture. He received the Welsh Arts Council Award to Artists, and his, by now, truly impressive list of exhibitions had been started with showings in Wales, Scotland and Italy. The work that might now be considered his signature, though, resulted from several fellowships from the Fine Arts Work Center in Provincetown, Massachusetts. Scouring the beaches of Cape Cod, he found wood, both natural and post-consumer, that he joined together to create pieces that are sometimes imposing, sometimes aerially light. An exhibition in New York in 1983 soon led to frequent showings in the United States, and by this time, Bowen says, the influences of his work “were clearly less my Welsh background and more waterfront structures, boats, the Cape Cod light…and particularly the marine mirages, called ‘the looming,’ often seen here in the winter.” Circles and curves tend to dominate straight lines in Bowen’s abstract work, drawing the power of the worn wood into their encompassing, sometimes massive, forms. Rougher forms often inhabit the circle, or sticks may spill from a barrel, as seen at right, in a gesture evocative of both water or sea life. The silhouette of a fishing boat called a “dragger” recurs in another interplay between abstract and figurative form. In addition to countless exhibitions, Bowen’s work appears in the permanent collections of the Guggenheim in New York, the Museum of Fine Arts in Boston, the Fogg Art Museum in Cambridge, MA, the Association of the Museum of Contemporary Art in Ghent, Belgium, and a dozen other esteemed art museums in the United States and Britain.
Flag by Larry Simons.
Larry Simons, who lives in a house he designed and built himself on forty-two acres near Brattleboro, Vermont, also specializes in assemblages of found wood and metal objects. The wood Simons uses is both natural, such as driftwood, or pre-rendered from its previous life as part of a building, tool, piece of furniture, or other consumer object. He created his first sculptures in 1965, from the leather scraps from a sandal shop where he worked on Cape Cod. In his work since, he describes himself as a “recycler by nature,” saying, “virtually everything I use in my art has had a previous life – bobbins, chair spindles, tool handles, toys, croquet sets and wooden patterns from steel mills,” for example. Moved by weathered buildings, Simons’ work takes on the rusticity he loves, and the compositions, whether symmetrical or irregular, showcase the lines of objects evocative of the past. The metal that appears in his pieces is frequently rusted, as he appreciates the hue of rust in conjunction with that of wood, and it serves further to endow his objects with a sense of age. He prefers to work with the colors of objects he finds, rather than repainting or recoloring anything, so his creation of an assemblage such as the flag, at left, require tracking down pieces of the necessary red, white, or blue. Much of Simons’ work, like the flag, lines up or stripes the different pieces of wood, creating a tension between the rigidity of the vertical or the horizontal, and the irregularity of the found objects.
Sculpture by Abigail Rieser
Abigail Rieser masterfully uncovers the beauty of found objects in her assemblages. The objects she sources are extremely diverse, though a theme of time-worn surfaces occurs throughout. Her assemblages also vary widely in shape, texture, and emotionality; round balls of different shapes and sizes play against straight lines, grids and spirals; wheels with solar spikes are part of sharp machines; some frames seem like traps for their abstract subjects, while clear figures such as birds, horses, or a man on a tractor happily inhabit the structures of others. Rieser trained in metalwork, sculpture and two-dimensional design beginning in her teens at the Putney School; afterwards, she enrolled in a course at Penland School of Crafts to continue her work in metal and jewelry design. From 1978 to 1982 she attended the Rhode Island School of design, focusing on metalwork and surface design on textiles. Her fascination with all of these varying textures, and her true craftsmanship in fusing them into single pieces, gives her sculpture’s forms a compelling and dynamic physics.
“Pocketed Investments,” by B.Z. Reily.
B.Z. Reily, another artist working with found material, describes her sources as “weathered and worn objects, antique wood, metal scraps, Raku clay, bits and pieces from the natural world, and remains from our consumer culture.” Her past work has often regrouped her various discovered objects into figures and recognizable forms, rather than the chiefly abstract work of artists such as Simons or Bowen. Reily’s works, from faces which she titles “Masks,” to animals such as flies made of metal scraps, to figures reminiscent of human forms, take on a spirit that is greater than the sum, or even juxtaposition, of its parts. More recently, she has turned to the task of creating “Quilts,” though rather than piecing together fabric, she applies this traditional quilting practice to metal, wood, clay, or objects like old board games or baseball gloves. One of these quilts, “Pocketed Investments,” for example, consists of a base made of blue jean fragments, overlaid with items that Reily found by asking friends and relatives to turn out the contents of their pockets. Foreign coins, guitar picks, matchbooks and keys dance in rows on the map of denim, a background reminiscent of their origin. The entire pieces arrest the viewer with their similarity to stitched or woven quilts, and upon further examination, one is rewarded by recognition of the unexpected but familiar objects that make up the whole.
Mark Fenwick rounds out the group of five, whose fantastical wood sculptures are carved rather than ‘assembled,’ and he is as likely to chop his lumber down himself than collect fallen branches. As a child in Portsmouth, New Hampshire, he enjoyed splitting firewood, and when he moved to an artist commune with friends in his teenage years, he spent most of his time outdoors felling trees for use on their farm. This collection of artists and writers near Brattleboro, Vermont, also staged magnificent productions for the community each summer as the Monteverdi Players, and here Fenwick was able to apply his skill at wood-carving, an art he began as a child with pieces from the wood pile. Like the gigantic creations which formed stage sets or pieces for these plays, much of Fenwick’s work is life-sized or larger, drawing the viewer into immediate relation to the figures, human or animal, or strange woodland faces that emerge from inanimate forms. Some of his work is abstract, and from some, clear figures emerge, but all of them are suffused with mystery, fusing a recognizable element such as a foot or a bird to more abstract shapes. Some, like a man in a flying boat or a bull with a man’s body and a fish’s tail, seem like the subjects of myth; some have religious resonance, such as an abstract Buddha bearing a feather; other collections of human figures or structures seem the stuff of dreams. Fenwick is currently at work restoring an inventive home he built—called “The Castle” by the local community—in his earlier days at the artists’ commune. Years of exploration led him away, but he has returned to this inhabitable sculpture in Vermont, populating it with his sculptures.
Photo of globes from George Glazer Gallery appearing in Conde Nast Traveler
Conde Nast Traveler “11 Artsy Maps We Would Hang in Our Dream Apartment ” by Kevin Mulvihill January 15, 2012
Two globes from the George Glazer Gallery made it onto a list of “11 vintage, recycled, and painted maps perfect for decorating your home,” accompanied by the photo shown here:
Prefer your map art in the shape of a sphere? Globe lovers should check out the **George Glazer Gallery <http://www.georgeglazer.com/> **in NYC. The shop features antique globes spanning the decades, all the way back to the 18th century. Pictured here are two eight-inch Terrestrial and Celestial Table Globes by Rand McNally & Company, circa 1930.
Monday, November 7th, 2011 — Julien’s Auctions, the world’s premiere entertainment and celebrity auction house will once again make history when the doors open for a star studded auction that includes items from the worlds of Rock ‘n Roll, Sports, the Royal family and political memorabilia on Thursday, December 1, 2011 through Sunday, December 4, 2011 at the Julien’s Auctions gallery in Beverly Hills.
Julien’s will highlight the rock ‘n roll portion of the auction event with a very rare offering of items from the Fame Monster herself, Lady Gaga. The award winning multi-platinum music icon’s unmatched style can be seen on stage, in print, on billboards and at Julien’s gallery. Her famous structured dress worn for the cover of Madame Figaro magazine in May 2011 will be offered for auction. The now famous costume designed by and is estimated to sell for $10,000 – $20,000. Additionally the prop gun used in Lady Gaga’s music video for “Born This Way,” will also be offered with an estimate of $6,000-$8,000.
When you hear the words rock royalty, any collector knows it must mean The Beatles, The Rolling Stones or U2 amongst others. Included are stage worn outfits from the Beatles that have been on display at the Rock ‘n Roll Hall of Fame and Museum. These include John Lennon’s stage worn collarless suit by D.A. Millings; George Harrison’s AHard Days Night D.A. Millings suit and Paul McCartney’s D.A. Millings jacket from Help! Ringo Starr’s jacket worn on stage at Harrison’s Concert for Bangladesh and on the television program George Martin’s With A Little Help From My Friends will also be offered.
Along with the other highly anticipated Beatles memorabilia will be an original caricature of Lennon and Yoko Ono drawn by Lennon himself from his bed during the infamous “Bed In” to promote world peace in 1969. Lennon had gifted this caricature to Norman Seaman. Also offered will be a complete set of Bag One Lithos. The original drawings were given to Yoko Ono as a wedding present and deemed obscene by Scotland Yard. (The Bed In Drawing est. $50,000-70,000; Bag One Lithos $1,000-2,000).
The Irish Falcon Gretsch guitar in “evergreen”, from U2’s Bono’s personal collection with a scratch guard that read “The Goal is Soul” and signed by the legendary lead singer of the world’s most famous rock band of our time will come to the auction block. Bono also signed the guitar. The very rare offering is estimated to bring $80,000-$100,000.
Other Rock ‘n Roll highlights will include Mick Jagger’s stage worn fashions from the early 1980’s European tour. These include two pairs of stage worn pants designed by Anthony Price and other Rolling Stones memorabilia. Cyndi Lauper’s “Girls Just Want To Have Fun” video worn dress (est. $2,000-$3,000), three Cher gowns designed by Bob Mackie (est. $2,000-$4,000 each), a Kurt Cobain stage worn lab coat from Nirvana’s 1991 appearance at the Abend in Wien concert festival in Rotterdam (est. $2,000-$4,000), Gene Simmons’ stage played custom Axe guitar accented with stage blood, signed case , handwritten lyrics and original painted image (est. guitar-$8,000-$10,000; est. lyrics-$500-$700) are only a few of the many pieces of music collectibles that will star in the four day special event.
In addition to the music memorabilia portion of the four day auction, Julien’s will also offer collectible pieces from Hollywood legends, Sports and Politics. Sports memorabilia highlights include items from “The Greatest” of them all … the one and only Muhammad Ali. A portion of all Ali related items proceeds will benefit the Muhammad Ali Museum and The Muhammad Ali Parkinson’s Foundation.
You can “Float Like A Butterfly and Sting Like a Bee” and be known as “The Greatest” so it is not surprising that Muhammad Ali won the 1977 Victor Award for his performance in the 1976 fight against Ken Norton. This trophy up for auction comes from the collection of Veronica Porche, Ali’s former wife (est. $8,000-$10,000). Other Muhammad Ali highlights include a number of personal and signed items belonging to Ali himself. Among those is his 1980 training robe with stitched letters across the back which read “Muhammad Ali” (est. $7,000-$8,000).
The sports memorabilia portion of the four day auction event will be a championship in itself. Highlights include a 1920 Dempsey gifted jeweled pocket watch to friend, senator and fight time-keeper, Bill “Cyclone” Lyons. The inscription on the 14k gold watch reads, “To a true friend my pal Sen. Bill Lyons, from WM. Harrison “Jack” Dempsey, Heavyweight Champion of the World, Christmas 1920.” This lot is accompanied by a vintage photograph of Dempsey presenting the watch to Lyons. (est. $10,000-$12,000).
Other sports highlights will include the John Wooden Award presented to basketball’s great Michael Jordan in 1984 when he was named college basketball player of the year (est. $6,000-$8,000); suits worn by, Dale Earnhardt Sr. and Dale Earnhardt Jr., during the 1998 NASCAR Thunder Special Motegi 500, at Twin Ring Motegi, in Motegi Japan. This was the first race that both father and son raced on the same team. Main sponsor “Coca-Cola” logo embroidered on the front and on the left shoulder is the 50th Anniversary NASCAR patch on both suits (each est. $8,000-$10,000); an iconic Masters Green jacket signed by Tiger Woods, Arnold Palmer and Jack Nicklaus with photograph (est. $1,000-$1,200); personal items including furniture from the home of The Yankee Clipper, Joe DiMaggio and ephemera from his world famous restaurant that opened in 1937, a Yankees stadium locker attributed to baseball’s great Lou Gehrig and an original stadium turnstile (est. locker – $12,500-$15,000). The turnstile manufactured by Perey of New York was salvaged during the mid-1970s renovation of Yankee Stadium (est. $5,000-$6,000). And a 1986 American League Rookie of the Year award for one-time Yankee Jose Conseco which was commemorated with a Herff Jones 14K ring with full-cut diamond and inscribed “Jose Canseco, Oakland Athletics 33.” Also inscribed on the ring, “1986/ 117 RBI/ 33 HR/ All Star” (est. $1,500-$2,500).
The Exhibition of Icons & Idols presented by Julien’s Auctions, Beverly Hills is designed by Rush Jenkins and Klaus Baer, of WRJ Design Associates, who have designed exhibits for The Collection of Michael Jackson, The Estate of Johnny Cash, The Collection of Cher, The Collection of Barbra Streisand and more recently The Estate of Tony Curtis and The Collection of Bette Midler. The Exhibition of Icons & Idols is free to the public and is open from 10:00 a.m. to 5:00 p.m. on Monday – Saturday from Monday, November 21st – Friday, December 2nd, 2011.
FOR IMMEDIATE RELEASE: Los Angeles, California – Julien’s Auctions has assembled a world class selection of Marilyn Monroe’s personal and professional property to be auctioned June 26th & 27th at the Planet Hollywood Resort and Casino Las Vegas. Auction highlights of Monroe’s personal and career property includes: a collection of items from the Estate of Dr. Ralph Greenson, X-Rays of Marilyn Monroe’s chest from Cedars of Lebanon Hospital from her doctors visit on November 10th, 1954, the chair used by Marilyn in her final photo shoot, David Conover negatives and copyrights to Marilyn Monroe photographs, Previously unreleased photographs of Monroe on her honeymoon with Joe DiMaggio including their visit to troops in Korea, as well as Marilyn’s personal bottle of Chanel No. 5.
Dr. Ralph Greenson was Monroe’s analyst from approximately 1960 until the time of her death. Among the items offered for sale from his estate are the therapy couch used in his Beverly Hills home office where Marilyn Monroe would lie during her appointments with Dr. Greenson; personal Pucci clothing gifted to Dr. Greenson’s daughter as well as handwritten correspondence between the two.
On July 7, 1962 Marilyn Monroe was photographed by Allan Grant at her Brentwood home. The photos were to accompany an interview with Life Magazine. Grant chose a chair for Marilyn to pose on and moved it in front of a window in Marilyn’s new home. The photos are now legend as the last photo session of Marilyn Monroe. The chair bears the mark of that day, as Monroe posed for the photo by sitting on the back of the chair and punctured the upholstery as she rested her high heel on the cushion.
Monroe’s early career was helped by a young photo-journalist named David Conover, who found Monroe working at the Radio Plane Company in Van Nuys, California during World War II. Conover, an Army photographer, decided to use Monroe as his model for photographs that would appear in YANK magazine. Eight negatives taken by Conover early in Monroe’s career as a model, are offered with their copyright registration.
Another highlight of this sale is a bottle of Chanel personally owned by Marilyn Monroe. Perhaps no other product is so closely aligned with Marilyn Monroe than Chanel No. 5. When Monroe was asked in 1953 what she wore to bed at night she replied, “Five drops of Channel No. 5”, linking two icons forever. Marilyn’s endorsement of the perfume popularized the fragrance in the United States.
G.I.’s in Korea remember a visit from the newly married Marilyn DiMaggio who performed and entertained the troops. Photographs saved in former servicemen’s scrapbooks for over fifty years have surfaced showing a candid Monroe at the Hawaiian airport and in the field dressed for travel in war torn Korea.
Highlights will tour to Ponte 16 in Macau, China from April 30th – May 9th prior to the full exhibition at Planet Hollywood Resort and Casino from June 14th to June 26th For more information and to register to bid visit our Registration page.
Jewelry That Speaks to You and Speaks For You: A Few Words from Sarah Churgin on the Elegance & Eloquence of a Beautiful Brooch
Since ancient times, brooches have been symbols of political and religious power – though largely on the breasts of men. By the Middle Ages, they were in use by women as symbols of wealth, devotion, affiliation. Georgian and Victorian jewelry spoke in the language of (more) sentiment or mourning. Each flower, bird and gemstone was assigned a specific meaning. The colors green, violet and white symbolized a woman’s support for suffrage or displayed her interests.
In our time, Secretary of State Madeleine Albright starting using brooches as a means of communication after she was referred to by the state-controlled Iraqi press as “an unparalleled serpent”. She acquired a coiled serpent brooch and wore it to her next meeting with Saddam Hussein. Thereafter, her expressive collection of brooches grew to include hundreds of examples. A snail or crab might indicate impatience with a slow moving discussion; a hot air balloon, optimism.
Fashion forecasts indicate a return to the structured profiles of the 1940s and 1980s in women’s clothing. With this and Mme. Albright in mind, we present a selection of brooches from Rago Auctions December 6, 2010 sale of jewelry. Come to the preview, visit the sale online and see what speaks to you.
· Madeleine Albright’s brooch collection is on display at the museum of Arts and Design in New York City through January 31, 2010.
· Also recommended “Read My Pins, Stories from a Diplomat’s Jewel Box,” a beautifully illustrated book on Mme. Albright’s collection from Harper Collins.
· Remember to remove your treasured brooch from a jacket or coat before handing it to coat-check.
· A small piece of 1/8” gauge foam from a sheet used for commercial packing will lend stability and support behind light or knit fabrics and put friction on the pin stem, preventing loss. (Available at Rago Auctions with our compliments.)
Jeffrey Bilhuber and George Glazer at Doyle New York
Doyle New York Well-Appointed Room auction preview
Doyle New York, The Well-Appointed Room Auction Reception and Book Signing with Jeffrey Bilhuber January 2010
Doyle New York Well-Appointed Room auction preview
Doyle New York held an auction titled “Old Master Paintings and Drawings and Important English and Continental Furniture and Decorations” on January 27, 2010. The Well-Appointed Room section of the auction comprised almost 200 lots of furniture and decorations from Jonathan Burden, LLC, and John J. Gredler Works of Art, and globes and other articles from George Glazer Gallery. As Doyle put it, “Through the vision of acclaimed interior designer Jeffrey Bilhuber, these renowned tastemakers created their own version of today’s Well-Appointed Room.”
Jeffrey Bilhuber booksigning at Doyle New York
During the pre-sale exhibition of The Well-Appointed Room, Doyle New York hosted a cocktail reception for over 200 guests honoring Mr. Bilhuber. He signed copies of his lavishly illustrated book, Defining Luxury: The Qualities of Life at Home, published by Rizzoli. Presenting his projects from coast to coast, the book is filled with charming anecdotes and observations by the designer, whom Hamish Bowles has likened to a 21st-century Billy Baldwin.
Doyle New York Well-Appointed Room auction preview
The Well-Appointed Room featured a Regency mahogany terrestrial globe on stand by W. & T.M. Bardin, London, circa 1807, which sold to a buyer from New York for $25,000. A pair of Regency Boulle inlaid gilt-bronze mounted rosewood side cabinets, first quarter of the 19th century, sold to a buyer from New York for $21,250, and a bidder from the Mid-West was the successful buyer of a Regency gilt-wood center table, possibly English, second quarter of the 18th century, for $18,750.
Out Magazine Gift Guide Holiday 2009 The Definitive Encyclopedia of this Season’s Best Gifts
Out Magazine “The Definitive Encyclopedia of this Season’s Best Gifts” Holiday 2009
The 2009 holiday gift guide for Out Magazine suggested a Weber Costello 1950s black ocean globe with chrome airplane base from the George Glazer Gallery as a gift for “the Adventurer” along with the designer clothing worn by the model posed beside it.
A collectible relic of the world with black oceans and chrome airplane base from the George Glazer Gallery; 2. A memento mori of forgotten and disappeared boundaries; 3. A call to arms and exploration. www.georgeglazer.com
