Furniture restorers still aiding Katrina’s victims

CENTRAL, La. (AP) – James McConnell, furniture restorer, estimates he’s down to about the last 25 percent of the 1,000 or so antiques that he and his family took in – inanimate but treasured victims of the storm – after Hurricane Katrina.

He figures the work of restoring those remaining pieces for their New Orleans owners will take about another two-and-a-half years.

“Then it will be complete,” said McConnell, whose father restored furniture as a hobby. James and his wife, Terry, have been in it as a business since 1977.

From the workshop behind their home in Central, they and other family members and staff have ridden a steep learning curve since their first post-Katrina call from a client whose home was flooded.

When they drove to New Orleans to pick up clients’ damaged furniture, Terry McConnell said, “These people are just running up the street. ‘Please take our stuff.'”

In the end, the couple had about 40 Katrina clients “all over New Orleans,” James McConnell said.

Although the McConnells began restoring antiques in 1987 when they were introduced to the skill by the late Ken McKay of McKay’s Interiors, the Katrina work was something different, James McConnell said.

“You’re not dealing with the normal ‘fix it and restore the finish,'” he said.
“It’s broken, swollen, in 50 pieces. The locks and hinges don’t work – and (there was) the water line. Every single thing had a water line,” McConnell said.

“It was beautiful from here up,” he said, gesturing upward from about waist-high, at his workshop recently.

“From here down, it was burnt and grayish,” he said, sweeping his hand toward the ground.

“A lot of this stuff, it became a contest: ‘You’re not going to beat me,'” he said.

It’s a feeling he’s learned is shared by others doing hurricane restoration work for such things as documents, artwork and more.

“It tested you to such a different level … it tested you to the limit,” McConnell said.

There was also a new dimension to the Katrina-related work.

The massive armoires, tables, dressers and bureaus, centuries old, were valuable in themselves, but they also represented value of a different kind.

The pieces were also full of personal papers, clothes – even a wedding dress, pictures, table linens, silverware, china and other of the seemingly mundane yet precious things that people treasure.

The owners, though, couldn’t retrieve their belongings. The water-soaked wood had swollen, and drawers and doors couldn’t be opened without damaging the furniture, McConnell said.

“We had to dissect the backs (of the pieces) and the backs of drawers to get the stuff out,” he said.

They’d take out the contents, let the items dry, then box and label them, to be returned to their owners, he said.

The staff was aware of the sensitive nature of the work.

“You almost feel like you’re violating their space,” McConnell said, so the unpacking work was done with great care.

Over the last four years, the majority of their New Orleans clients have become “good friends now,” like family, he said.

The McConnells, in addition to their sons Brent and Matt and Terry’s sister, Sherry Romanoski, who also work in the business, have heard families’ stories about the furniture they’ve worked on and incredible hurricane stories, as well.

A man in Pass Christian, Miss., called to ask if they could retrieve a table that appeared sound but was 10 feet up in a tree, McConnell said.

Someone else ultimately got it down. The massive fruitwood table, measuring about 4 feet by 10 feet, sits safely in the McConnells’ warehouse, waiting its turn to be restored.

The McConnells worked on pieces that were full of china when the storm struck, floated up and settled down again as the flood receded, with every bit of china intact.

Betty Newman, who now lives in Mandeville, lived on Slidell’s waterfront when the storm surge rushed into her house and out again, sweeping her furniture into the yard. Only her fence kept it out of a canal, Newman said.

The furniture “was outside, bleaching in the sun,” she said.

Newman said the McConnells have restored 10 large antiques she had inherited, including her father’s desk and her great-grandparents’ dining room table.

They’re now “just magnificent,” she said.

“I was very blessed,” Newman said.

Linda Kiefer, the first New Orleans client to call the McConnells after the storm, on the advice of her Baton Rouge interior decorator, said that in all the uproar following the storm, the McConnells “were the calmest people we met.”

Their restoration “was the closure of the whole storm, not only physically but emotionally,” Kiefer said.

In addition to a warehouse in Baton Rouge, the McConnells also rent a portion of a next-door neighbor’s large backyard warehouse.

There, on heavy-duty, three-level racks, sit chairs and tables, their elegant lines still mostly intact, despite the terrible damage.

Each piece was cleaned immediately after the McConnells received it.

Much is stored upside down, because the legs or bases can no longer support the pieces.

Terry usually handles the repairs, including molding or carving replacement parts.

James McConnell and his sister-in-law, Romanoski, restore or refinish the wood.

The wood above the water line can be restored – cleaned and polished with a “ton of elbow grease,” McConnell said.

Below the water line, the wood is carefully refinished to match the original look.

“There’s no restoring the finish that was submerged,” he said.

New veneer, the thin wood on the exterior of many pieces, must be painstakingly reapplied.

The work is time-consuming, said McConnell, taking them three to five times longer than their regular work of cleaning the interiors and restoring the exteriors of pieces for commercial antiques dealers in the Baton Rouge and New Orleans areas.

Some hurricane-damaged furniture couldn’t be saved, either because it would have cost too much or repairs would have replaced so many parts “that the customer wouldn’t have what they started with,” McConnell said.

“It would no longer be an antique but a reproduction,” he said.

But, he said, “Every piece that we said, ‘Yes, we could fix it,’ we batted a thousand on.”

A common response from customers has been that it looks better than it did before the storm, he said.

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Information from: The Advocate, http://www.2theadvocate.com

Copyright 2009 Associated Press. This material may not be published, broadcast, rewritten, or redistributed.

AP-CS-05-20-09 2040EDT

Santa Monica Auctions to mark 25th year with May 31 Art sale

Roy Lichtenstein, Still Life with Pitcher and Flower, 1974. Estimate $14,000-$18,000. Image courtesy LiveAuctioneers.com/Santa Monica Auctions.
Roy Lichtenstein, Still Life with Pitcher and Flower, 1974. Estimate $14,000-$18,000. Image courtesy LiveAuctioneers.com/Santa Monica Auctions.
Roy Lichtenstein, Still Life with Pitcher and Flower, 1974. Estimate $14,000-$18,000. Image courtesy LiveAuctioneers.com/Santa Monica Auctions.

SANTA MONICA, Calif. (ACNI) – In a region the size of metro Los Angeles, with its population of approximately 14 million people, one would expect to find no shortage of established fine-art auction houses catering to its millionaire moguls and movie stars, but that’s not actually the case. The two big guns – Christie’s and Sotheby’s – no longer conduct fine art sales in SoCal, meaning the field has become all the more accessible for houses like Santa Monica Auctions, which, for the past quarter of a century, has occupied its own well-rooted proprietary niche within the local auction landscape.

The apparent reigning king of contemporary art auctions in LA is Santa Monica Auctions, which will celebrate a quarter-century of operation with a major Contemporary Art sale on May 31.

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Kamelot’s April 18 Architectural Antiques event was part auction, part garden party

Monumental Victorian-style cast-iron, wrought-iron and tubular-steel gazebo measuring 18 feet wide by 12 feet 1 inch by 17 feet 4 inches. Sold through LiveAuctioneers.com for $11,685 against an estimate of $4,000-$6,000. Image courtesy LiveAuctioneers Archive/Kamelot Auctions.
Monumental Victorian-style cast-iron, wrought-iron and tubular-steel gazebo measuring 18 feet wide by 12 feet 1 inch by 17 feet 4 inches. Sold through LiveAuctioneers.com for $11,685 against an estimate of $4,000-$6,000. Image courtesy LiveAuctioneers Archive/Kamelot Auctions.
Monumental Victorian-style cast-iron, wrought-iron and tubular-steel gazebo measuring 18 feet wide by 12 feet 1 inch by 17 feet 4 inches. Sold through LiveAuctioneers.com for $11,685 against an estimate of $4,000-$6,000. Image courtesy LiveAuctioneers Archive/Kamelot Auctions.

PHILADELPHIA – It has been said that when William Penn first created an urban plan for Philadelphia, he envisioned a city within a vast expanse of parkland, rife with private gardens. It seems only fitting, then, that one of the nation’s premier auctions of garden and architectural antiques should take place in the historic city.  

Every April, Kamelot Auctions hosts its popular specialty event on the heels of the acclaimed Philadelphia Flower Show. It’s a natural fit, since the Kamelot sale is a “neighborhood” source for antique planters, statuary, hand-wrought iron and carved stone accent pieces, and garden bronzes. Gardening enthusiasts can purchase their exotic specimens at the flower show, then match them with beautiful antique containers in Kamelot’s Architectural Antiques & Garden Auction.
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Andrew Wyeth’s final painting to be published for first time

ROCKLAND, Maine (AP) – The last painting created by Andrew Wyeth before his death in January of this year is being published for the first time, in a journal that focuses on coastal Maine where the artist spent much of life and found inspiration for many of his paintings.

Wyeth’s Goodbye will be featured in the 25th anniversary edition of the Island Journal, which goes into circulation this weekend.

The egg tempera painting depicts an island scene. Look closely, however, and you’ll see a sloop sailing off the canvas.

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Ceramics Collector: Cabat’s ‘feelies’

Bright as flowers in a meadow, many of Cabat's glaze colors are unique to her pottery. Vivid lapis and lavender alternates with subtle shades of cream. Courtesy Bruce Block.
Bright as flowers in a meadow, many of Cabat's glaze colors are unique to her pottery. Vivid lapis and lavender alternates with subtle shades of cream. Courtesy Bruce Block.
Bright as flowers in a meadow, many of Cabat’s glaze colors are unique to her pottery. Vivid lapis and lavender alternates with subtle shades of cream. Courtesy Bruce Block.

While some modern studio pottery is intellectual or even angst-ridden, the work of Rose Cabat (b. 1914) expresses pure joy in its design and decoration. The rounded thin-walled vases, thrown on the wheel, are covered with vivid glazes that mimic the best hues from the natural world.

“Her vases are all about the uniqueness of the shape and the glaze,” said Don Treadway of Treadway Gallery in Cincinnati. “They’re aptly called ‘feelies’ because they are so inviting to actually touch. They transcend normal pottery collectors and appeal to people who just collect objects.”

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Italy recovers lost Byzantine frescos from Greece

ROME (AP) – Italian cultural authorities have recovered two precious Byzantine-era frescos ripped from a church in southern Italy by looters 27 years ago that ended up at the home of a shipping heiress on a remote Greek island.

Earlier this week the Carabinieri art squad showed off the delicate frescos and other artifacts recovered by Italy as part of its crackdown on illicit antiquities trafficking. In all, police say they recovered more than euro3 million ($4.1 million) worth of stolen statues, busts, and ancient pots.

Police say the frescos were discovered as part of investigations into Marion True, a former curator of the J. Paul Getty Museum in Los Angeles. True is on trial in Rome with art dealer Robert Hecht, accused of knowingly acquiring dozens of allegedly looted ancient artifacts. Both deny wrongdoing.

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Swiss exhibition weighs impact of van Gogh’s landscapes

'Daubigny’s Garden,' Vincent van Gogh, 1890, Courtesy Kunstmuseum Basel.
'Daubigny’s Garden,' Vincent van Gogh, 1890, Courtesy Kunstmuseum Basel.
‘Daubigny’s Garden,’ Vincent van Gogh, 1890, Courtesy Kunstmuseum Basel.

BASEL, Switzerland, (AP) – Vincent van Gogh preferred painting portraits and figures, but it was his landscapes that sparked a revolution in art.

Seventy landscapes, among them key works never seen by wide audiences, are presented in an ambitious show at Basel’s distinguished Kunstmuseum. It is billed as “Europe’s art event of the year.”

The exhibition Vincent van Gogh Between Earth and Heaven focuses for the first time exclusively on his landscapes, the most frequent motif in his work. Organizers expect more than half a million visitors before the exhibition ends Sept. 27.

Lenders include museums in the United States, Japan, Israel and seven European countries as well as several private collectors. Kunstmuseum director Bernhard Mendes Buergi, who is also one of the curators, said it was “quite extraordinary that they were permitted to travel to Basel.”

The combined insurance value of the works is given at more than $2 billion. Premiums and the cost of mounting the exhibition are certain to be correspondingly high.

Buergi said the project would not have been possible without its sponsor, UBS, the largest Swiss bank. UBS has since become a top victim of the financial crisis and is getting substantial survival subsidies from the government.

The show covers all phases of van Gogh’s landscape art. The pieces mirror the continuous shifts in his mental state, alternating between moments of hope and fits of self-doubt and despair that eventually drove him to suicide at 37.

“Van Gogh was an artist who shaped himself by destroying himself,” Gottfried Boehm, a prominent Swiss art historian, writes in the exhibition catalog, citing excessive drinking combined with equally excessive zeal to reach van Gogh’s “artistic goal of maximizing the evocative power of color.”

Somber tones dominate the paintings of his early years. Even the first one on view at Basel, Flower Beds in Holland, dated April 1883, radiates a dusky atmosphere despite blue skies. Visitors get a similar impression from a picture van Gogh did the next year of the tower church where his father, a Calvinist pastor, gave the Sunday sermons.

His brother Theo, an art dealer in Paris who financially supported the artist throughout his life, talked him into dropping such a darkening approach if he wanted to become a respected modern artist.

In 1880, van Gogh joined his brother in Paris, where Theo put him in touch with Claude Monet and other successful impressionists. The two years he stayed in the French capital brought a profound change in his work, a brightened palette and a different technique. Particularly striking to viewers is a multicolored picture of a Fourteenth of July Celebration reflecting a radically bold brushwork.

In exchange for regular financial support, Theo received all landscapes. Vincent repeatedly made plain that he liked painting figures more than landscapes, but Theo presumably thought the latter would sell better.

Van Gogh’s bias vanished after he ended his stay in Paris early in 1888 and moved to Arles, in the South of France, where a bright spring sun soon intensified the color in his paintings. On view are spectacular samples of that new approach, among them a series of wheat field and harvest pictures.

A sudden change in his mental state, which had never been stable since his youth, resulted in a 1888 Christmas Eve crisis in which he cut off part of his earlobe. A self-portrait showing him with the bandaged head is reproduced in the exhibition catalog.

Attesting to his relapse into depression is the last of 20 Arles pictures, Landscape Under Stormy Sky, with ominously threatening clouds. He painted it in May 1889 only a few days before committing himself into an asylum at Saint-Remy, where farmers called him a “crazy redhead.”

The transfer marked what many consider the peak of his career. Outstanding among the works he did there are the swirling Cypresses, on loan from the Metropolitan Museum. He did the painting from the window of his room where he was confined for several months.

After a new relapse, his brother talked him into leaving Saint-Remy and seeking the treatment of a homeopath, Dr. Paul Gachet, in the village of Auvers north of Paris. It was there that van Gogh’s output reached an unprecedented feverish pace – 75 paintings within 70 days. Ten of them, all landscapes, are on view, the last depicting swirling wheat stacks, painted just days before van Gogh shot himself in the chest. He died two days later on July 29, 1890.

Copyright 2009 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-CS-05-19-09 1409EDT


ADDITIONAL IMAGES OF NOTE


'Harvest in Provence,' Vincent van Gogh, 1888,  The Israel Museum, Jerusalem.
‘Harvest in Provence,’ Vincent van Gogh, 1888, The Israel Museum, Jerusalem.
'Cypresses,' Vincent van Gogh, 1889, The Mtropolitan Museum of Art, Rogers Fund.
‘Cypresses,’ Vincent van Gogh, 1889, The Mtropolitan Museum of Art, Rogers Fund.
'The Olive Trees,' Vincent van Gogh, 1889, The Museum of Modern Art, New York.
‘The Olive Trees,’ Vincent van Gogh, 1889, The Museum of Modern Art, New York.

Auctioneer Dwight Stevens issues stolen-furniture alert

ABERDEEN, Miss. – Dwight Stevens, owner of Stevens Auction Co., has asked the public’s help in tracking down several pieces of stolen furniture that have been missing for approximately two months, now.

The articles in question were en route to Stevens’ gallery to be consigned to auction. Along the way, on March 21, 2009 in Birmingham, Ala., the furniture was stolen. Continue reading

19th-century elegance is the keynote in Grand View’s May 23 sale

Circa-1870 American Renaissance Revival carved-walnut breakfront bookcase. Estimate $10,000-$15,000. Courtesy LiveAuctioneers.com and Grand View Antiques & Auctions.

Circa-1870 American Renaissance Revival carved-walnut breakfront bookcase. Estimate $10,000-$15,000. Courtesy LiveAuctioneers.com and Grand View Antiques & Auctions.
Circa-1870 American Renaissance Revival carved-walnut breakfront bookcase. Estimate $10,000-$15,000. Courtesy LiveAuctioneers.com and Grand View Antiques & Auctions.
ROANOKE, Ala. – On May 23, Grand View Antiques & Auction will host a sale of period and Victorian furniture and objets d’art from several fine Southeastern estates. Internet live bidding will be provided by LiveAuctioneers.com.

The Spring Auction inventory includes items of the Chippendale, Federal, Empire, Rococo & Renaissance Revival styles. There are several desirable bedroom suites, as well as bookcases, chairs, parlor furniture and lighting.

Important furnishings attributed to R.J. Horner of New York City are among the leading entries in Grand View’s 232-lot offering. They include a circa-1880 American oak bench with carved leaf-and-griffin motif, estimated at $6,000-$8,000; and a set of eight heavily carved oak dining chairs from the same period, estimate: $7,000-$9,000.
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Jewish artist depicts childhood in prewar Poland

'Boy with Herring,' 1992 is from the artist's collection. Image courtesy of Barbara Kirshenblatt-Gimblet. Copyright 2009 Mayer Kirshenblatt.
'Boy with Herring,' 1992 is from the artist's collection. Image courtesy of Barbara Kirshenblatt-Gimblet. Copyright 2009 Mayer Kirshenblatt.
‘Boy with Herring,’ 1992 is from the artist’s collection. Image courtesy of Barbara Kirshenblatt-Gimblet. Copyright 2009 Mayer Kirshenblatt.

NEW YORK (AP) – Call him the Polish-Jewish Grandma Moses.

Like the renowned American folk artist who launched her career in her 70s, Mayer Kirshenblatt didn’t start painting until he was 73. Since then, the 92-year-old Toronto resident has painted hundreds of canvases that evoke the vanished world of Jewish life in small-town Poland before the Holocaust.

More than 80 paintings and drawings by the self-taught artist can be seen at The Jewish Museum in an exhibition that is striking for its vivid detail, innocent charm and folkloric quality.

Kirshenblatt was born in Opatow, Poland, in 1916 and emigrated to Canada when he was 17. Nearly all the paintings in this exhibit are devoted to the daily rhythms of life in his boyhood town of 10,000 people, about two-thirds of whom were Jewish.

An unusual triptych offers a panorama of the town, from the war memorial and town well on the left side to the synagogue and cathedral spires in the center to the medieval gate of the once-walled city on the right.

Other paintings capture the hustle and bustle of market day, including one of the town’s well-dressed kleptomaniac slipping a fish down the front of her dress near a fishmonger’s table. Kirshenblatt explains in the audio guide that the woman’s wealthy husband would tell merchants to leave her alone and if she stole from them, to come by his office to collect from him.

Other scenes tenderly evoke domestic life in Kirshenblatt’s family’s two-room house, with its charming stenciled walls and spotlessly clean floor boards. All the action took place in the kitchen, where the young Mayer slept on a cot and relieved himself at night in the household chamber pot. Kirshenblatt’s memories would not be complete without a record of the many rituals in the Jewish calendar year, including prayer services, holiday celebrations, weddings and funerals.

Even though his paintings ache with nostalgia for a simpler way of life, Kirshenblatt decided as a teenager to emigrate in 1934 to Canada. “I always considered myself a Pole,” he says, “but the Polish government considered me a Jew.” By leaving, of course, he was spared the fate of so many of his relatives who perished in the Holocaust.

Mayer Kirshenblatt painted 'the Krakow Wedding' about 1994. The acrylic on canvas is from the collection of Barbara Kirshenblatt-Gimblett and Max Gimblett, New York. Image courtesy of Barbara Kirshenblatt-Gimblet. Copyright 2009 Mayer Kirshenblatt.
Mayer Kirshenblatt painted ‘the Krakow Wedding’ about 1994. The acrylic on canvas is from the collection of Barbara Kirshenblatt-Gimblett and Max Gimblett, New York. Image courtesy of Barbara Kirshenblatt-Gimblet. Copyright 2009 Mayer Kirshenblatt.

In Canada, Kirshenblatt painted houses and eventually opened a wallpaper and paint store. In his 60s, suffering from depression, he was urged by his family to paint his childhood memories. They bought him brushes and an easel, even signing him up for art classes at the local community center.

It took about 10 years, but eventually, he took the plunge, making a pencil drawing, then a watercolor, then an acrylic painting on canvas board of the kitchen where he had slept as a youngster and taken baths with his three brothers in a big washtub. That was in 1990, and he is still painting, trying to create a comprehensive record of the “big world out there before the Holocaust.”

They Called Me Mayer July: Painted Memories of a Jewish Childhood in Poland Before the Holocaust runs through Oct. 1, then travels to Amsterdam in late 2009 and Warsaw in 2011.

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On The Net:

Jewish Museum: http://www.thejewishmuseum.org/

Copyright 2009 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-ES-05-19-09 0915EDT