George II chairs

Sometimes a smaller auction house gets a great scoop and at the beginning of 2018 it may be Doyle Auctions, New York. In their sale 18LVO1 January 17th 2018, Doyle is auctioning items from the collection of Noel and Harriette Levine, fittingly, the sale is titled: 'The Noel and Harriette Levine Collection.' The sale includes a number of outstanding examples of English furniture, but of particular interest are a pair of walnut George II library chairs, originally from Wimpole Hall in Cambridgeshire, England. Wimpole Hall was built in 1640-1650 and the history of the hall includes commissions for Henry Flitcroft to make alterations and some years later, Sir Johan Soane was commissioned to design one of the drawing rooms.

The pair of chairs from Wimpole, are walnut, with exquisite carved paw feet and scrolling acanthus leaf carving on the arms and knees. The quality of this pair of chairs is evident when compared to another chair from the same period and collection.

The pair are estimated at $250,000-$350,000, given the provenance of the chairs, you would expect that the chairs would achieve a substantial price. In fact the chairs sold for just under $163,000 (including buyers premium). This result could be attributed to any number of factors, but it does indicate that for the collector or dealer with the economic means, there are some 'bargains' to be had in the English furniture market. It will be interesting to see if Brexit over the next couple of years further impacts English furniture prices.

Wimpole Estate, Cambridgeshire, England https://www.nationaltrust.org.uk/wimpole-estate

Pair of walnut George II chairs from the Levine collection. Offered by Doyle Auctions, New York, January 17th 2018, lot 322. Estimate $250,000-$350,000. -Update- Sold $162,500 (including buyers premium)

Mahogany George II chair from the Levine collection. Offered by Doyle Auctions, January 17th 2018, lot 128, Estimate $15,000-$25,000. -Update- Unsold

Outsider Art Fair 2018

The Outsider Art Fair 2018 is a strong indicator that the categories of ‘outsider’ and 'mainstream art’ are becoming less distinct. This year the dynamic show, had positive representation from both European and American galleries. The crowds were busy buying and the quantity and quality of the art on display was high. The term ‘Outsider’ is clunky, but is a broad church that encompasses art made by artists who are considered or consider themselves, outside the world of mainstream art. This broad church allows artists to express themselves in a variety of media and methods, using whatever materials are at hand, from cardboard to wood pallets, yarn or found materials. Visually the show is always stimulating and the crowd includes collectors as well as art students.

Galerie Pol Lemétais, France. (Top Left) David Puttick (Third, Top Right) Cuban Art (Bottom Left) Donald Mitchell (Bottom center) Martin Ramírez (Bottom Right)

Americana Week 2018

As Americana weeks begins in January, it is always difficult to decide which auction to follow, or Show to attend. The Winter Antiques show is always a delight, with a juried selection of the best in American antiques on display. As a furniture scholar, it’s a great opportunity to see some of the best furniture and antiques on the market. This year there is strong representation from European galleries, perhaps indicating the dominance of the American collector. Below I highlight some pieces that caught my eye, including pieces from the Virginia Museum of Fine Art display.

Hawaiian calabash bowls. George 1 Irish teapot. Philadelphia Sofa. Alissandro Pianon Bird. Side Chair (possibly Baltimore). George II mahogany double settee.

René Lalique

René Lalique is a name synonymous with the Art Nouveau and Art Deco movements as a talented designer who produced works in jewelry and glass. Born in 1860 in Aÿ-en-Champagne in France, Lalique trained as a jeweler, both in France and England. In 1887, he set up his workshop in Paris, producing innovative jewelry pieces inspired by Antiquity and Japonisme. Only some three years later, Lalique opened his third Paris workshop and began to experiment with designs in glass and enamel. Success at the 1900 Paris Exposition Universelle and led to patronage of the actress Sarah Bernhardt and many wealthy clients. In 1907 he entered a partnership with François Coty producing designs for the perfumer. Success with glassmaking led Lalique to found a dedicated glassworks in Alsace in the 1920s. More acclaim followed at the 1925 Exposition internationale des arts décoratifs et industriels modernes with his innovative juxtaposition of frosted and clear glass, use of enameling and stained glass. Two of his most famous commissions are decorating the Côte D’Azur Pullman Express train in 1929 and in 1935. glass on the Normandie luxury liner. Lalique died in 1945, but his business survives to this day continuing the tradition of craftsmanship.

René Lalique, Pendant, ca.1901, Paris, France. Gold, enamel, opal, pearl, diamonds. The Metropolitan Museum, New York

René Lalique, Vase, ca. 1930, Paris, France. Clear glass, nymphs from Greek mythology. The Metropolitan Museum, New York

René Lalique, Perfume bottle, modern, designed 1920, Trois Hirondelles (three swallows). Lalique.com (France)

Militaria

Militaria.

                  One area of the secondary market seeing higher values is Militaria. This is an expanding area for collectors interested in both in history and the human story behind the objects. Items found at auction can include anything from an early cannon ball to weapons, call-up rosters to personal diaries, uniforms to early tintypes. Objects from important battles carry the highest premium on the secondary market. For instance in 2009 Bonhams London sold a Union Jack flag, flown at the Battle of Trafalgar for £384,000 (over $500,000 in 2009 exchange rates). Provenance is key here, with numerous fakes on the market, especially in popular collecting areas such as the American Civil War. Sometimes it is hard to divorce the human story from the object, monetary value being a meager recompense for loss of life.
 

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19th century cannon balls for sale at a Militaria auction 2017.

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A letter home to mom and pop from training camp. ca.1944. Militaria auction 2017.

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Civil War tin types 1861-1865. Militaria auction 2017.

Taxidermy

Taxidermy.

Love it or hate it, taxidermy appears regularly at auctions and shows and is collected by a diverse group. 19th century society was fascinated with taxidermy, displaying myriad combinations of mammals and insects behind glass and under clear glass domes. The English taxidermist Walter Potter (1835-1918) grew to great fame creating large displays of dead animals posed in scenes from nursery rhymes, literature or mimicking human activities. Potter was an avid, self taught taxidermist, collecting animal freaks of nature and displaying his taxidermy work in his museum. Queen Victoria is reported to have collected his work and adored the scenes Potter created with kittens. Potter’s museum continued after his death and changed ownership in the late 1970s. In 2003, Bonhams London was hired to sell the collection. Damien Hirst reportedly making an unsuccessful bid to buy the whole collection before the sale.          

Today taxidermy is enjoying something of a renaissance, with heads and Victorian taxidermy used as decorative motifs in upscale boutiques and coffee shops. Collectors though, need to be aware of the CITES (Convention on International Trade in Endangered Species of Wild Fauna and Flora) regulations relating to the purchase or disposal of taxidermy or other types of objects with animal parts. Luckily, for those that do not want to collect dead animals or insects, there are modern alternatives available, often called faux taxidermy, including those made with resin or even 3-D printing techniques.

(Above) Taxidermy for sale at a 2017 auction in the North Eastern United States.

Walter Potter. Scene from a 'Kittens Wedding' taxidermy display. Late 19th century. 

Photo by Joanna Ebenstein.

The XL Templeton Faux Deer Head Wall Décor by White Faux Taxidermy. Offered by Wayfair on their website.

Animal Motifs in the Decorative Arts

Animal Motifs in the Decorative Arts

One constant in the decorative arts is the use of animals as decorative motifs. A blog space cannot summarize centuries worth of decorative arts, but animal motifs appear in all decorative art forms, from ceramics to furniture, across continents and different cultures. Animal motifs are painted, carved, sculpted, molded, applied and used as feet, supports, spouts, arms, handles; the list goes on. Certain motifs are used to denote political power, think the Napoleonic bee, the British Royal Lion, the Dragon in China. Sometimes the motifs allude to mythical powers or exoticism, status and more often than not, the animal motif is used simply because the maker wanted to add a decorative element. Learning about the decorative arts includes recognizing when certain motifs were popular and animal motifs are no different. Once you look for the animal motif in the decorative arts, you realize it is all around. Below are some examples and favorites.

      

Teapot and cover, ca. 1760-1825,England. Red ware with black glaze. Norfolk Museum Collection, Norfolk, U.K.

Washstand, attributed to Charles Percier (French, 1764-1838). France. Yew wood and gilt mounts. The Metropolitan Museum of Art, New York.

Paw Foot (detail), Sofa, New York, ca. 1830, America. Lefferts Historic House, Brooklyn, New York.

Piano Stool, ca. 1825, New York. America. Lefferts Historic House, Brooklyn, New York

Miniature Chests

Miniature Chests

Miniature chests appear regularly at antique shows and auctions. For many years these chests were described as ‘salesman samples,’ the thinking being that a cabinetmaker would make a sample for a prospective customer to show off their skill. Current thinking now believes that these miniature chests were created for direct sale to customers. Theories about possible uses for these miniature chests vary, from storing jewelry, gloves or hair ornaments among some ideas. 

Below are three examples showing the wide range of miniature chest styles. The first chest is in the collection of Lefferts historic house, Brooklyn, New York and dates from 1840-1860.The chest is probably from New York and has sustained losses during its lifetime. Bernard & S. Dean Levy, New York offers two fine examples of miniature chests. The bird’s eye maple chest is attributed to the workshop of John and Thomas Seymour of Boston, Massachusetts and dates to around 1800. This attribution is based on the use of blue paper in the drawers and numbering system. The other example is a curly maple chest from Pennsylvania, also dating from 1800. 

As can be seen from these three examples, miniature chests were produced by skilled craftsmen in a wide variety of styles throughout the 19th century.

George E. Ohr

George E. Ohr (1857-1918)

George E. Ohr (1857-1918) of Biloxi, Mississippi, started his own pottery in Biloxi in 1883. For two years prior to opening his own pottery, he hopped trains in 16 states to visit local potters. He styled himself as the ‘mad potter of Biloxi’ and is thought to have produced thousands of objects in his lifetime. Working with local clay on a potter’s wheel, his 'mud babies', as he called them, Ohr produced both glazed and unglazed objects, characterized by very thin walls and twisted, undulating shapes made by pinching, twisting and flattening. In 1894 a fire destroyed the pottery works. Undeterred, Ohr started making pottery again and some collectors and dealers detect less constraint in these later works. 
    Continuing to intrigue and gain popularity among museums and collectors, in 2004, The Ohr-O’Keefe Museum of Art opened in Biloxi, Mississippi. The museum has an important collection of Ohr pottery encompassing the many styles and glazes in his work. Hurricane Katrina destroyed some of the site and in 2011 the town of Biloxi added its financial support to the museum. Much of the collection can by viewed online.
    

Vase, ca. 1893-1909, glazed earthenware. Cooper Hewitt Museum.

Pitcher ca. 1895-1900, earthenware and Vase ca. 1900, unglazed earthenware. Cooper-Hewitt Museum

Photograph of George E. Ohr (1857-1918) undated.

Contemporary Glass

Contemporary Glass

Contemporary glass is ‘having a moment’ as more and more shows, fairs and galleries display contemporary glass to a new audience. Two artists that challenge us to think about the perceived limitations of glass as a medium are Jeff Zimmerman and Thaddeus Wolfe.

Jeff Zimmerman (b.1968) is an artist who uses advanced glass making techniques to create objects that are both solid and liquid, static and mobile. His objects and site specific commissions reflect the tension between sculptural and recognizable glass forms.

Thaddeus Wolfe (b. 1979) created Stacked Grid for the 2016 Rakow Commission at The Corning Museum of Glass. As an artist, Wolfe’s uses multiple layers of mold blown glass, color and shaping to create unique works of glass.

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Jeff Zimmerman "Serpentine" candlesticks. Designed 2009, Made 2010. Corning Museum of Glass collection.

Jeff Zimmerman, 2015. Wall mounted sculpture of eighteen mirrorized glass orbs. R & Company, New York.

Thaddeus Wolfe, 'Stacked Grid' 2016 Rakow Commission, Corning Museum of Glass.

Thaddeus Wolfe, 2014. Thaddeus Wolfe website, Brooklyn Glass, New York.

Americana Week 2017

Americana Week

Late January is always the most exciting time of the year for American furniture scholars, with a glut of shows and auctions to attend. During Americana week, the auction houses typically offer an array of high quality furniture to the market. Attending the auction previews allows us to see and handle pieces that we may not see again, as they disappear into private collections or to museums.
    Of interest this year is Sotheby’s New York, Sale 9607, Important Americana including Property from the Collection of Joan Oestreich Kend, January 20, 2017-January 21, 2017. Included in the sale is lot. 4231, a rare, Newport, Rhode Island ca. 1765, mahogany, carved and figured, scalloped-top tea table, with open ball and talon feet. The quality of workmanship is exquisite, though the carving on the knees differs from that usually seen with the Goddard and Townsend shops; but is no less skillfully executed. At some point in the table’s history, a drawer was added, probably in the last half of the 18th century. The tea table is offered to the market with provenance of descent through the Brown family of Rhode Island; owned by Nicholas Brown (1729-1791) a wealthy merchant. Sotheby’s states in the detailed provenance of the table, in somewhat understated terms that: ‘Newport furniture of this quality made by the Goddard and Townsend craftsmen and offering a direct descent from the original owners sells on the marketplace for record prices.’ The tea table estimate is $800,000-$1, 200,000.

Post sale note : At the sale the table reached $912,500 (hammer price with Buyer's premium).

Sotheby's Sale 9607, Newport, Rhode Island card table.

Sotheby's Sale 9607, card table, detail of knee carving.

Card table ball and talon foot detail.

Blue and White ceramics

Blue and White Ceramics

A regular visitor to Auctions and Antiques shows cannot fail to notice the vast quantity of blue and white ceramics available. The prevalence of these ceramics reflects the impact of global trade during the 19th century. The Portuguese are credited with bringing the first blue and white ceramics from China to Europe through trade. The porcelain figure below is a depiction of a European, note the drinking glass.                     

By the early 18th century Chinese ceramics were being imported into Europe. The Dutch East India Company imported porcelains into Holland and the local manufacturers of Delft were quick to imitate these wares. Wealthy Dutch merchants began to collect Chinese blue and white ceramics, both serving as decorative objects and evidence of status. The flower pyramid, attributed to De Metaale Pot, Delft, Netherlands is tin-glazed earthenware and in the collection of the Rijksmuseum.                                                                                        

English ceramic firms in Staffordshire were quick to see the commercial opportunities in blue and white transfer decorated ceramics for the increasingly wealthy middle class at home and abroad. The American market was an important and profitable market for Staffordshire blue and white ceramics.Today there are numerous collectors clubs and societies for blue and white ware in America and worldwide, indicating the continued interest in these ceramics.

Figure, 1680-1700, Jingdezhen, China, Porcelain, Victoria & Albert Museum, London.

Flower pyramid, 1692-1700, Delft, Netherlands, Tin-glazed earthenware, Rijksmuseum, Netherlands.

Plate of lead-glazed earthenware, transfer-printed in underglaze blue. ca.1820-1830, Staffordshire, England. Victoria & Albert Museum. London.

Rare François Linke commode sells at Christie’s for over $500,000.

François Linke Commode

At the October 10th Christie’s sale (12187) in New York, a rare 1903 François Linke commode, with mounts designed by Léon Messagé sold for over $500,000. The case is Kingwood, Satiné and ebony, with inlaid marquetry and ormolu mounts. The piece is marked index number '559, Bis,' signed and the locks stamped. This is the second version of commode no.559, the original was shown with no.553 at the Paris Exposition Universelle in 1900. Research unearthed a rare drawing of the trellis marquetry with color staining of the foliage elements.
    While much is made of the death of ‘brown furniture,’ in the market, rare pieces such as these with impeccable provenance and research can still fetch high prices in the market. The sale also indicates the market’s desire for high style French furniture.

Historic Deerfield Antique Show

Historic Deerfield Antique Show

The ADA/Historic Deerfield Antique Show was held this past Columbus weekend October 8th and 9th. The vetted show is a must see for collectors of American and European decorative arts and folk art. The show is held in the scenic grounds of Deerfield Academy in Deerfield Massachusetts and entry to the show includes free entrance to Historic Deerfield village.
    The atmosphere at the show is relaxed and genial, with dealers happy to talk at length about objects on display in their booths. The show always offers a wide range of antiques with price points to match every budget and collecting category. There were strong showings this year of glass, rugs, furniture and ceramics with traditional folk portraits mixed in with one-off folk art objects. Noticeable this year was how much prices have softened in the decorative arts sector of the market. While high value items were in evidence at the show, the majority of the objects were priced to move.