Kaminski’s July 25-26 Estates Auction includes rare silver tankard

Silver tankard with ornate decoration, 10 inches tall, 43.9 troy oz. total weight. Estimate $5,000-$7,000. Image courtesy Kaminski Auctions.
Silver tankard with ornate decoration, 10 inches tall, 43.9 troy oz. total weight. Estimate $5,000-$7,000. Image courtesy Kaminski Auctions.
Silver tankard with ornate decoration, 10 inches tall, 43.9 troy oz. total weight. Estimate $5,000-$7,000. Image courtesy Kaminski Auctions.

BEVERLY, Mass. – Kaminski Auctions, one of Massachusetts’ premier antiques and fine art auction houses, has announced details of a two-day July Estates auction featuring antiques, fine art and collectibles from estates spanning Massachusetts to Kaminski’s second location in California. The auction takes place Saturday and Sunday, July 25-26 in Essex, Mass., with Internet live bidding provided by LiveAuctioneers.com.

Highlighting the auction is an ornate silver tankard (Est. $5,000-$7,000). The vessel’s unusual design features a number of dancing figures above an intricate floral pattern on the piece’s base. A conch-playing merman comprises the handle, while a bucking horse springs from the vessel’s cover. The piece weights a total of 43.9 troy oz. and measures 10 inches in height.

A bronze sculpture by Russian artist Pavel Troubetskoy (Est. $4,000-$6,000) is another featured lot in the sale. The artist was a member of Russia’s Troubetskoy princely family and was a student of Giuseppe Grandi. The sculpture, a bust of a young boy, is signed and dated 1915 with the foundry mark “Roman Bronze Works.” The artwork measures 12.5 inches in height.

Additional fine-art offerings include a painting by American artist William Henry Hilliard (Est. $4,000-$6,000). The subject of the painting, like the majority of Hilliard’s works, is a sweeping landscape. Hilliard studied in New York City, England, Scotland and in France with Emile Lambinet. He is best known for his New England landscapes, having lived in worked in Boston for much of his career.

Collectors of early American furniture will appreciate an 18th-century Federal cherry corner cupboard (Est. $3,000-$5,000). Standing just over seven feet in height, the cupboard retains its 12 original glass panels. Boasting a fine cherry finish, the elegant furnishing is accented at the top by crown molding and at the bottom by elegant scrollwork.

For additional information on any article in the sale, call 978-927-2223. View the fully illustrated catalog and sign up to bid absentee or live via the Internet through www.LiveAuctioneers.com.

About Kaminski Auctions:

Kaminski Auctions, headed by Frank Kaminski, specializes in appraising and auctioning fine art and antiques. As part of a complete estate service package, Kaminski provides expert appraisals, local and national advertising for all sales, competitive fees, itemized accounting of all transactions for heirs and representatives. In addition to full estate auctions, Kaminski accepts partial estate liquidations, as well as individual pieces and collections for consignment. The firm’s extensive clientele includes museums, historical societies, corporations, non-profit organizations and private individuals. In early 2007, Kaminski launched a second operation in California. For information, visit www.KaminskiAuctions.com.


ADDITIONAL LOTS OF NOTE


Pavel Troubetskoy (Russian, 1866-1938), bronze sculpture of a boy. Signed and dated 1915 with foundry mark "Roman Bronze Works," 12.5 inches tall by 11 inches wide. Estimate $4,000-$6,000. Image courtesy Kaminski Auctions.
Pavel Troubetskoy (Russian, 1866-1938), bronze sculpture of a boy. Signed and dated 1915 with foundry mark "Roman Bronze Works," 12.5 inches tall by 11 inches wide. Estimate $4,000-$6,000. Image courtesy Kaminski Auctions.
18th-century Federal cherry corner cupboard with 12 original glass panels. Stands 85 inches tall by 46 inches wide by 25 inches deep. Estimate $3,000-$5,000. Image courtesy Kaminski Auctions.
18th-century Federal cherry corner cupboard with 12 original glass panels. Stands 85 inches tall by 46 inches wide by 25 inches deep. Estimate $3,000-$5,000. Image courtesy Kaminski Auctions.

Rare Indian artifacts found on Connecticut property

LISBON, Conn. (AP) – Some young men were walking along a wooded bike path near the Quinebaug River when they found a black spearhead laying in the soil.

It looked like part of an American Indian weapon. So they asked Richard Rogers, who owns the land, if they could dig for more.

In two weekends, they found 80 spearheads in an area about the size of a small bedroom.

Rogers decided to see for himself. He and his son, now 22, walked through the woods, and brought a bucket of water to clean their discoveries. Near a stump by the river, Rogers picked up an oval stone a little larger than a silver dollar.

Something was carved in it, and he handed it to his son.

“He cleaned it up and said, ‘This is a face, Dad.'”

The stone was a rare pendant. They had stumbled upon an ancient American Indian encampment and part of a burial ground dated more than 3,000 years ago.

The state Office of Archaeology has excavated portions of the property and found hundreds of artifacts, from stone tools to evidence of a pit where cremated bodies were buried. Radiocarbon dating a method used to estimate the age of remains in an archaeological site places the time of two areas containing charcoal at 3,400 and 4,000 years ago.

Representatives of the Mohegan and Mashantucket Pequots tribes and the Native American Heritage Advisory Council have visited the site. The Archaeological Conservancy, a private, nonprofit organization that acquires and permanently preserves important archaeological sites across the United States, has looked at it. The conservancy publishes the quarterly magazine American Archaeology.

Andrew Stout, eastern regional director of the group, said the site has research potential and is eligible for the National Register of Historic Places.

“It’s a great property in that it is set aside from any major development,” he said. Stout researches sites on private property from Maine to North Carolina about 1,000 properties per year.

State Archaeologist Nicholas Bellantoni said the state has found many American Indian campsites, but few this large. The boundaries are unknown.

“We don’t have many that are intact,” he said. “Many have been disturbed by plowing. Many have had subdivisions been built on them, highways. Here is a parcel that has been untouched, and so the integrity of the place is really intact.”

He said the pendant is a rare find.

“There are very few, even in museum collections,” he said. “We don’t see it often. When I saw this, and all of the stone points they were getting here, I realized there is a lot here that could yield important activity in the past.”

The specific location of the dig is not being publicized because of potential unauthorized digging.

Rogers lives on 34 acres off the Quinebaug River.

When the water is low, the remains of a stone wall emerge. American Indians built fishing weirs in rivers, or stone walls in the shape of a V, to funnel fish. They would walk along the top of the weir where fish collected, then use spears or nets to catch them.

Rogers, who serves on the Board of Finance in Lisbon, installs and repairs power lines for Northeast Utilities. His grandmother gave him this land, and the property abuts fields. For as long as he can remember, every time his neighbors would plow, they’d find something.

But Rogers said he never thought much of it, until he discovered the stone with the face on it.

“Once we found that, I felt like we had something a little bit more there than just the regular Indian campground,” he said.

He called Jeffrey Bendremer, tribal archaeologist for the Mohegans. Rogers said he drove to the house the same afternoon.

The tribal council declined comment.

Rogers also brought the pieces to the University of Connecticut’s expo the same weekend. By Tuesday, he said, Bellantoni was on his property.

Bellantoni said it took a while to get a team to the property, but ultimately, he found about a dozen volunteers and students from UConn to work on the dig. The university offered an archaeological field school there in July 2007, organized by the Connecticut Museum of Natural History and Connecticut Archaeology Center.

They studied the land in 5-foot blocks. Archaeologists placed an imaginary checkerboard over the land, then dug in alternate squares, further dividing each square into 30-inch quarters.

“It’s a very slow and deliberate process that allows us to record and map every level that (every artifact) comes from,” Bellantoni said. “But that is the only way we can interpret the site.”

They used a global positioning system to set a position, then drove wooden pins in the ground to mark off where they’d been.

Rogers said they recorded every detail.

“They go in there with trowels and paint brushes and just scrape the surface,” Rogers said. “Every time they find something, they record how deep it was, where it was headed, where on the grid it was, which grid it was on. With these grids they can lay out exactly how big this village was and what was where. Everything is documented to a tee.”

During the dig, archaeologists found a black stain in the soil. They thought it was a hearth or small fireplace at first, but it grew larger as they dug deeper. They realized they had found a small deposit for cremated remains.

The burial is dated to more than 3,000 years ago, and was used as a ceremonial place by American Indians who cremated their dead.

During that time, along with their dead, American Indians sometimes put animals, nut products and stone tools in crematories. When the ceremony was over and the fire cold, they scooped the ashes out. Then they dug another hole nearby for the ashes and gifts, called a secondary pit.

Archaeologists have found one secondary pit on Rogers’ land and believe there are more, along with at least one large crematory.

Ed Sarabia, chairman of the Native American Heritage Advisory Council, visited the site last spring and returned to “smudge” it, a ceremony that includes burning sage to bless the land.

The stone face Rogers found was meant to stay with the burial forever, Sarabia said. But he said Rogers has been careful and respectful of the artifact and discovery.

“Our long-range goal is to do what we can to protect what is there,” Sarabia said.

Letters about digging at the property went back and forth between Bellantoni and members of the Mohegan tribe.

In November 2007, the Mohegan Council of Elders sent a letter reminding Bellantoni he’d been asked to “cease excavation activities at the burial site” until the tribe was consulted.

“We appreciate your attempt to gather the potentially affected tribes at the site; however, such a gathering is inappropriate when formal notice has not been provided to the Mohegan tribal leadership,” the tribe wrote.

Bellantoni replied in January 2008 that his goal was to preserve the site, and he welcomed the tribe’s input. In the same letter, he said the tribe also could make a donation to the Archaeological Conservancy to help purchase the land.

Stout said the conservancy didn’t receive a donation, but this rarely happens. The group raises money mostly through state and foundation grants, he said. “The numbers just didn’t work out,” he said.

The conservancy acquires property through donations, charitable sales or by buying land at the appraised value.

Rogers wanted to sell the land for open space preservation and was hoping the tribes would help purchase the site, but after nearly a year, it did not happen.

Bellantoni removed the burial feature found on the property and has left the rest relatively undisturbed.

As time goes on, Stout said archaeological sites are vulnerable to everything, from the natural environment to looting. He said the Rogers family is keeping a careful watch on it.

“Usually these places exist because families like that thought enough to take care of them,” he said.

Rogers advertised 24 acres for sale in February. He found no buyer.

“I want to see it preserved,” he said. But he said he won’t wait for years.

Once the archaeologists are done, Rogers said he’ll walk the property, dig it, and auction the artifacts off.

“It’s like having a diamond mine in your own backyard,” he said. “I’ve offered it to the Indians, and the way I see it, if they’re not interested in preserving their heritage, why should I?”

He’s spoken to the Old Barn Auction in West Findlay, Ohio, about his findings. The auction house, which has operated since 1955, holds more than 40 auctions a year and includes items such as historic Indian artifacts, Civil War military items, toys, trains and antique furniture, according to its Web site.

Bellantoni said archaeologists are a long way from publishing findings about the site, and have not finished lab work yet.

They’ve stopped digging in the main part of the fishing encampment, and have gone through perhaps an acre on the grid, he said.

“I think what we’ve found is enough to tell us that, yes, the site was as important as we thought it was,” he said.

“Each archaeological site is unique in and of itself, and contributes to a body of data. It provides us with a body of information about what happened here thousands of years ago. And, as a result, every one is important. And every one is like an endangered species.”

___

Information from: Norwich Bulletin,
http://www.norwichbulletin.com

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

AP-ES-07-12-09 1218EDT

Famous names mark Kimball Sterling’s Outsider Art auction, July 18

It's a Barker. Because a poodle is an unusual form for carver Linville Barker, this big dog has a $2,000-$3,0000 estimate. Image courtesy Kimball M. Sterling Inc.
It's a Barker. Because a poodle is an unusual form for carver Linville Barker, this big dog has a $2,000-$3,0000 estimate. Image courtesy Kimball M. Sterling Inc.
It’s a Barker. Because a poodle is an unusual form for carver Linville Barker, this big dog has a $2,000-$3,0000 estimate. Image courtesy Kimball M. Sterling Inc.

JOHNSON CITY, Tenn. – An early carved and painted artwork by Josephus Farmer (1894-1989) is one of the highlights of Kimball Sterling’s auction July 18 of outsider and folk art and canes. LiveAuctioneers.com will provide Internet live bidding.

Out of Egypt depicts the Baby Jesus and Mary riding a donkey led by Joseph. The carved and painted panel measures 24 1/2 inches long by 11 inches high.

“It’s a premier piece,” said auctioneer Kimball Sterling, who believes it is an early work by the Tennessee-born Pentecostal minister.

When Farmer retired from the ministry in the 1960s he began carving scenes in low relief and painting them. Carving was a skill Farmer learned as a black child growing up in the rural South.

Sterling estimates the carved relief painting will sell for $600-$1,200.

“Ninety percent of the folk are and outsider art in the auction is a 20-year collection from the Midwest,” said Sterling, who is cautiously optimistic the high quality of the nearly 500 lots will outweigh the weak economy.

Another anticipated highlight is a 13-inch-long carved poodle by Linville Barker, signed and dated 1990. Because it is considered a rare form, the estimate is $2,000-$3,000. A 16-inch long Barker pig in the auction has a $2,000-$2,500 estimate, while a 9-inch-long piglet has a $1,000-$1,200 estimate.

“He’s from Kentucky. His pieces are very stylized and well done,” said Sterling.

The auction will begin Saturday at 10 a.m. A second session consisting of more than 100 antique walking canes will begin at 4 p.m. Included will be several canes known as system sticks.

“They’re canes that do something. One is designed to measure the height of a horse in hands rather than inches,” said Sterling.

The outsider and folk art auction will start with approximately 50 pottery face jugs.

“They’re contemporary but by known artists,” said Sterling.

Of course, there’s more to Southern folk pottery than face jugs. One of the best examples is a 6 1/2-inch swirled wedding jug by North Carolina’s Burlon “B.B.” Craig (1914-2002), which has a conservative estimate of $150-$300.

The auction will be held at Kimball M. Sterling Inc., 125 W. Market St. in Johnson City. For details phone 423-928-1471.

View the fully illustrated catalogs and sign up to bid absentee or live via the Internet during the sale at www.LiveAuctioneers.com.


ADDITIONAL LOTS OF NOTE


Josephus Farmer's ‘Out of Egypt' is relief carved and polychrome painted wood. Image courtesy Kimball M. Sterling Inc.
Josephus Farmer’s ‘Out of Egypt’ is relief carved and polychrome painted wood. Image courtesy Kimball M. Sterling Inc.
Blind potter Roger Hicks signed this blue face jug, which is 9 inch high by 7 inches wide. It has a $200-$300 estimate. Image courtesy Kimball M. Sterling Inc.
Blind potter Roger Hicks signed this blue face jug, which is 9 inch high by 7 inches wide. It has a $200-$300 estimate. Image courtesy Kimball M. Sterling Inc.
Herbert Singleton's ‘Baker' stands 17 inches tall, 7 inches wide and 7 inches deep. The Carved and polychrome head has a $600-$1,000 estimate. Image courtesy Kimball M. Sterling Inc.
Herbert Singleton’s ‘Baker’ stands 17 inches tall, 7 inches wide and 7 inches deep. The Carved and polychrome head has a $600-$1,000 estimate. Image courtesy Kimball M. Sterling Inc.
The owner of this cane always went walking with his dog. The late Victorian cane features a carved ivory handle with glass eyes. Image courtesy Kimball M. Sterling Inc.
The owner of this cane always went walking with his dog. The late Victorian cane features a carved ivory handle with glass eyes. Image courtesy Kimball M. Sterling Inc.
Mose Toliver used paint and mud on board for his early ‘Bird,' which measures 9 by 12 inches. Image courtesy Kimball M. Sterling Inc.
Mose Toliver used paint and mud on board for his early ‘Bird,’ which measures 9 by 12 inches. Image courtesy Kimball M. Sterling Inc.

Chicago museum displays important Columbian Exposition memento

The first Ferris wheel was among the many innovations to make their debut at the 1893 World's Columbian Exposition. Public domain image from New York Times Photo Archive. Courtesy Wikimedia Commons.
The first Ferris wheel was among the many innovations to make their debut at the 1893 World's Columbian Exposition. Public domain image from New York Times Photo Archive. Courtesy Wikimedia Commons.
The first Ferris wheel was among the many innovations to make their debut at the 1893 World’s Columbian Exposition. Public domain image from New York Times Photo Archive. Courtesy Wikimedia Commons.

CHICAGO (AP & ACNI) – After a year-long search, the Art Institute of Chicago is displaying an artifact that played a key role in the 1893 World’s Columbian Exposition (also known as The Chicago World’s Fair).

The Daniel Burnham Loving Cup is a large silver chalice featuring three arms that represent architecture, painting and sculpture. The manufacturer gave it to Daniel Burnham, the exhibition’s architect, during a New York ceremony commemorating the event. Dignitaries drank wine from the cup in a symbolic gesture.

The World’s Columbian Exposition celebrated the 400th anniversary of Christopher Columbus’ arrival in the New World. Chicago beat out New York City, Washington, D.C., and St. Louis, Mo., for the honor of hosting the fair.

The exposition covered more than 600 acres and included nearly 200 new buildings in an atmospheric setting dotted by canals and lagoons. Forty-six nations participated in the fair, including Haiti, which selected Frederick Douglass to be its delegate. More than 27 million people (equivalent to about half the U.S. population in 1893) attended the exposition during its six-month run.

Countless new inventions and food products were introduced at the World’s Columbian Exposition, among them: the Ferris wheel, Cracker Jack, Aunt Jemima pancake mix, Juicy Fruit Gum, Quaker Oats, the first U.S. Mint commemorative coins, and phosphorescent lighting – the precursor to fluorescent lights.

The Art Institute of Chicago spent a year trying to find the World’s Columbian Exposition Daniel Burnham Loving Cup and eventually found in the Chicago History Museum. The Loving Cup is currently on display as part of the Art Institute’s “A Case For Wine: From King Tut to Today” exhibit, which opened on Saturday, July 11.

___

Information from: the Chicago Sun-Times, www.suntimes.com

Catherine Saunders-Watson, Auction Central News International, contributed to this report.

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

AP-CS-07-12-09 1337EDT

After 75 years, London’s Grosvenor House antiques fair is discontinued

Grosvenor House Art & Antiques Fair has always been known for its uncompromising quality. At this year's event, Mallett, the distinguished antiques firm on New Bond Street, London, showed this circa-1730 red lacquer cabinet on a circa-1820 stand. Image courtesy Mallett and Grosvenor House Art & Antiques Fair.
Grosvenor House Art & Antiques Fair has always been known for its uncompromising quality. At this year's event, Mallett, the distinguished antiques firm on New Bond Street, London, showed this circa-1730 red lacquer cabinet on a circa-1820 stand. Image courtesy Mallett and Grosvenor House Art & Antiques Fair.
Grosvenor House Art & Antiques Fair has always been known for its uncompromising quality. At this year’s event, Mallett, the distinguished antiques firm on New Bond Street, London, showed this circa-1730 red lacquer cabinet on a circa-1820 stand. Image courtesy Mallett and Grosvenor House Art & Antiques Fair.

LONDON – The venerable Grosvenor House Art & Antiques Fair, which has symbolized the highest standards of excellence in fine art and antiques for 75 years, has ceased operations. The 2010 edition of the fair, which had been slated for June 10-16, will not take place.

Held annually at the elegant five-star Grosvenor House hotel on Park Lane in London, the Grosvenor House fair has consistently attracted the crème de la crème of antiques dealers since its launch in September of 1934, and has enjoyed the patronage of Her Royal Highness Princess Alexandra.

Grosvenor House management made the announcement of the fair’s dissolution through a media release, stating: “It is with great regret that The Grosvenor House Art & Antiques Fair and Grosvenor House announce that The Grosvenor House Art & Antiques Fair will no longer be continued.’

“For 75 years the hotel and the art and antiques trade have enjoyed a happy and productive relationship, but it has been decided in consultation with the British Antique Dealers’ Association and The Grosvenor House Art & Antiques Fair Executive Committee that the Fair is no longer financially viable. The closure of this much-loved fair, however, presents an opportunity for the trade to mount a new event commensurate with maintaining London as the centre of the art market.”

Simon Phillips, chairman of the fair, remarked that the 2009 edition, held last month, had been a great success, stating, “It is a great disappointment to me that The Grosvenor House Art & Antiques Fair has come to an end. I quite understand that it no longer makes financial sense to continue the fair. It has been a very long and happy partnership, but most great events have a lifespan and a diamond anniversary is a fitting point on which to end on a positive note.”

Ironically, the annual event debuted during the Great Depression with the intention of giving the antiques trade an economic boost. It was an instant success with both collectors and the smart set, and ran for a full three weeks. Echoing the past, the 2009 75th-anniversary event took place in the worst recession of recent times, but, promoters said, sales throughout the event confirmed the strength of the art market even in times of economic downturn.

The 2009 fair started well, with record visitor figures on preview day, Wednesday, June 10. Despite the Tube strike, which undoubtedly affected visitor figures at the beginning of the fair, the overall visitor numbers showed an increase of 2% at 19,537 visitors. Traditional categories of antiques, like English furniture and silver, were reportedly very much in demand.

Insiders believe the J.W. Marriott hotel group, which owns Grosvenor House, scuttled the tradition-rich antiques fair because of its 22-day time requirement from setup to knockdown. Compared to the revenue that might be generated by consecutive individual events held at the venue during a similar timeframe, the fair’s profits could not compete.

Frank Gehry: Exceptional furniture enhanced

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BY KARLA KLEIN ALBERTSON
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Frank Gehry designed the Easy Edges series of corrugated cardboard furniture before he achieved worldwide recognition for his architecture. This curving rocking chair from 1972 sold for $11,250. Image courtesy Wright.

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Frank Gehry: a household name in architecture.

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Executed in tempered aluminum by Emeco, Gehry's Tuyomyo bench for two (2009) resembles his metal-sheathed architectural works. Image courtesy Sotheby's New York.
Executed in tempered aluminum by Emeco, Gehry’s Tuyomyo bench for two (2009) resembles his metal-sheathed architectural works. Image courtesy Sotheby’s New York.

Best known for his successful and sometimes controversial architectural projects with sinuous metal facades, Gehry’s most iconic works are the Guggenheim Museum in Bilbao, Spain (1997) and the Walt Disney Concert Hall in Los Angeles (2003).

Before architecture, however, Gehry experimented with furniture design, a practice he continues when new ideas beg to be realized. Architects think in terms of materials, and he brings this sensibility to his furniture. His most recent piece, illustrated here, is a bench for two in tempered aluminum called Tuyomyo, which embodies all the grace of his architecture on a smaller scale.

Frank Gehry's delicate bird in a shadow box, circa 1983, is made of Formica. Image courtesy Wright.
Frank Gehry’s delicate bird in a shadow box, circa 1983, is made of Formica. Image courtesy Wright.

Gehry furniture was featured in US Design 1975-2000, a 2002-2004 exhibition which traveled from Denver to Miami, New York City and Memphis. The show was organized by R. Craig Miller, for many years curator of Architecture, Design and Graphics at the Denver Art Museum. He wrote in his catalog essay, “Gehry’s design approach is distinctive in two ways. Like some of the designers who celebrate the everyday, he consciously blurs the conventional lines between the fine and applied arts. … Like an artist, Gehry works with a hands-on method; his designs are fundamentally about a highly intuitive response to a material – whether cardboard or plastic laminate – that is transformed into a sculptural object and most often produced in limited numbers in a studio.”

Gehry was born in Canada in 1929 but moved to California in 1947, became a U.S. citizen, and graduated from the University of Southern California School of Architecture in 1954. Although only of a handful of early buildings had been completed, he was the winner of the prestigious Pritzker Prize for architecture in 1989. The foundation’s announcement notably stated: “In addition to his building designs, he has become widely known for his cardboard furniture concepts and for designing museum exhibitions.”

This 7 1/4-inch-high cube of brushed aluminum is the first in an edition of 100 produced for the Knoll Design Symposium in 1999. Image courtesy Wright.
This 7 1/4-inch-high cube of brushed aluminum is the first in an edition of 100 produced for the Knoll Design Symposium in 1999. Image courtesy Wright.

While paper products might seem unrelated to traditional construction materials, many designers experimented with reinforced cardboard furniture in the 1960s. Easily assembled and relatively lightweight, it fitted a peripatetic generation on the move from pad to pad. Gehry’s first 1969-1973 series, which he called Easy Edges, is formed with curving switchbacks of corrugated cardboard.

Miller noted: “Although constructed of cardboard rather than wood, the collection shows a clear extension of a Modernist aesthetic running from Thonet through Aalto: it relies on meticulously crafted laminated materials; it emphasizes its light structural frame; and it was intended to be an inexpensive product that could be produced in volume. However, the overnight success of this series overwhelmed Gehry, who was still struggling to establish his identity as an architect; and it was only some seven years later that he began to experiment with cardboard again, in the Experimental Edges furniture series of 1979-1982.”

“It is not the cardboard alone, though, but the extraordinary intuitive interplay between mass, material, construction and texture that marks Experimental Edges as perhaps Gehry’s most accomplished and original furniture design to date,” continued the curator. “The series also reflected his new status as a rising star and a darling of the media. While the Easy Edges series was mass-produced, modestly priced and retailed in department stores. Experimental Edges was handmade and sold through galleries as expensive, limited-edition art furniture.”

The aesthetic qualities outlined by Miller have made the cardboard designs favorites with collectors. Because of their mass production, Easy Edges constructions – chairs, lounges, stools, and tables – often turn up at auction for reasonable prices. Wright in Chicago has sold a rocking chair for $9,000 and a lounge chair for $1,900. A pair of cardboard “Wiggle Chairs” brought $1,300 at Treadway in Cincinnati, and the firm sold a dining table from the series for $1,700.
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Sinuous fish forms have long inspired Gehry. Fish lamps from the 1980s have entered distinguished public and private collections. Image courtesy Sotheby's New York.
Sinuous fish forms have long inspired Gehry. Fish lamps from the 1980s have entered distinguished public and private collections. Image courtesy Sotheby’s New York.

Working in other materials besides cardboard, Gehry has continued to invent designs that can be produced in quantity through furniture companies. Notable was the 1989 collection of bentwood furniture in curving laminated maple manufactured by Knoll. The group included the Cross Check Arm Chair, Face Off Cafe Table, Hat Trick Chair, High Sticking Chair and Power Play Chair and Ottoman.

Treadway Gallery sold two examples of the Cross Check for $800 each.

Once again for Knoll, Gehry created the 1999 FOG – the architect’s initials – stacking chair of cast aluminum covered in leather as well as a table with aluminum column, both intended for commercial use. A set of eight FOG chairs sold at Treadway in late 2007 for $2,700.

Frank Gehry’s works have entered the permanent collections of museums as well as private collections. For example, the Philadelphia Museum of Art owns Easy Edges examples, bentwood pieces by Knoll, and cubes of plastic resin designed in 2004. The furniture was on display in the exhibition Frank Gehry: Design Process and the Lewis House, which ran from November 2008 to April 2009.

While mass-produced Gehry pieces are affordable, unique commissions sell for far more. One of the most beautiful is the 1986 monumental illuminated conference table in six sections – pine and plastic laminate – originally created for an advertising firm in Venice, Calif. The table brought $169,000 at a December 2007 Phillips de Pury sale in New York.

The Snake lamp by Frank Gehry (1989) was produced in an edition of 60 at New City Editions. The
The Snake lamp by Frank Gehry (1989) was produced in an edition of 60 at New City Editions. The “skin” is made of paper. Image courtesy Wright.

In addition, the architect created the aforementioned aluminum Tuyomyo bench, sold to benefit the Hereditary Disease Foundation research fund established in 2008 in honor of his late daughter, Leslie Gehry Brenner. The bench was executed in aluminum at Emeco in Hanover, Pa., a firm best known for the iconic Navy Chair, much admired by Gehry.

Emeco President Gregg Buchbinder says, “I know it wasn’t his intention to make it look like architecture – it just sort of happened that way. You can sit on it. It turned out the design ends up being for two people.”

He explains how the tempering process strengthens the metal without sacrificing portability: “The bench is amazingly light – it’s aluminum. It looks likes a very heavy sculptural piece but two people can easily pick the bench up. It weighs around 125 pounds. Where the ends of the bench cantilever out, it’s very strong so you can sit on it – it will no longer bend.”

James Zemaitis, head of 20th Century Design at Sotheby’s in New York, says, “When I first saw it, I said, this is like the Bilbao of furniture. … This is a unique work, a prototype for a long-range vision that Gehry and Emeco have about working with aluminum. It also has deep personal significance to Gehry in terms of his late daughter and raising money for the foundation.”

In addition to chairs and tables, Zemaitis points out, “In the late 1980s, he did a series of lamps that were done in limited editions – the Fish series. They were originally based on a Los Angeles restaurant interior that he did. Those Fish lamps are very valuable and have been where the auction records for Gehry furniture have been set up to this point.”

“The lamps are sculpture first and foremost,” he continues, and for that reason turn up in contemporary art sales. Sotheby’s set a world record for Gehry at auction when they sold a Fish lamp for $180,000 in November 2006. The architect also designed coiled and slithering snake lamps in the 1980s.
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karlakleinalbertsonAbout Karla Klein Albertson

Karla Klein Albertson focuses on the decorative arts, from excavated antiquities to contemporary pop-culture icons. She currently writes the Ceramics Collector column and exhibition features for Auction Central News, covers shows and auctions for the Maine Antique Digest, and authors the Antiques column in The Philadelphia Inquirer. She holds a master’s degree in classical archaeology from Bryn Mawr College.
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Making Navajo pottery a way of life for Rose Williams

Navajo pottery has seen a revival over the past 50 years. Pieces like these are available at galleries, shows, auctions and trading posts. Image courtesy Cowan’s Auctions and Live Auctioneers Archive.
Navajo pottery has seen a revival over the past 50 years. Pieces like these are available at galleries, shows, auctions and trading posts. Image courtesy Cowan’s Auctions and LiveAuctioneers Archive.
Navajo pottery has seen a revival over the past 50 years. Pieces like these are available at galleries, shows, auctions and trading posts. Image courtesy Cowan’s Auctions and LiveAuctioneers Archive.

SANTA FE, N.M. (AP) – Rose Williams can’t understand why her family keeps telling her to slow down, take a break, get the rest her 94-year-old body has earned. So every morning, the Navajo matriarch gets up and goes about the business of melding earth, fire and water into beautifully burnished, collectible pots.

“It’s neither work nor play for her. That’s just what she knows,” explained her great-nephew, Ron Martinez, who accompanied her on a recent visit to the Wheelwright Museum of the American Indian.

Williams sat at a table in the museum’s Case Trading Post, next to a plastic bag full of clay dug from a seam near her home in the Shonto area of the Navajo reservation in far northeastern Arizona. Her tools were assembled in front of her: a dried corn cob, an old plastic pill bottle – perfect for smoothing the inside of a pot – and small rocks, for polishing.

“Sometimes you’ll find her outside looking for pebbles. She always finds one in this parking lot,” Martinez said.

Williams’ bent fingers grabbed a handful of the clay and deftly worked it, rolling it between her palms into a long coil, then slowly pinching the coil into place atop a bowl-shaped chunk of clay she had just fashioned to serve as the pot’s foundation. Rows of coils smoothed by the corn cob would form the pot, which would then be fired in an open pit and swabbed with warm, melted pitch from pinon trees.

Williams didn’t know quite what shape this vessel would take.

“I’m going to take my time making this pot, and I’m not sure what it’s going to be,” she said in Navajo, with Martinez interpreting.

Williams’ pots range in size from about 6 inches or so – the traditional size in which to boil herbs for ceremonies – to one that is nearly 2 feet tall, took two months to make and is for sale at the Case Trading Post for $1,800.

It’s a drum jar, which would be filled with water and have deer skin stretched over the top to form the drumming surface for ceremonies.

Navajo women have been making pottery for hundreds of years for use at home and in ceremonies, although production fell off once trading posts made metal and plastic cookware available. Traders rejected the traditional dark brown Navajo pottery as “mud pots,” according to the late Susan Peterson of Scottsdale, Ariz., a ceramics artist who wrote Pottery by American Indian Women: The Legacy of Generations. The book was the exhibition catalog for a 1997 show Peterson curated at the National Museum of Women in the Arts, in Washington, D.C.

Navajo blankets and jewelry were more profitable in the tourist market, she wrote. But then museum curators began to take notice of traditional Navajo potters, and Williams was the first to break into museum markets and fairs, in the 1950s, according to Peterson.

Close to 40 when her husband died, Williams turned to selling pottery – an art she had learned as a girl from her grandmother – to help feed her family. She bore 15 children, of whom 10 survive. Three of her four daughters are full-time potters, and many other Navajo potters have been taught or influenced by her.

Williams also has a small flock of sheep, a tradition some of her neighbors have abandoned.

“What essentially is Navajo is to keep working … and to have a flock of sheep,” Martinez said.

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

AP-WS-07-11-09 1250EDT

Kovels – Antiques & Collecting: Week of July 13, 2009

Stickley Brothers called this a "settle&quot in the company's catalog. The 82-inch-long seat was made with copper and mother-of-pearl inlay. Treadway Gallery in Cincinnati sold it for $5,512 in March.
Stickley Brothers called this a "settle&quot in the company's catalog. The 82-inch-long seat was made with copper and mother-of-pearl inlay. Treadway Gallery in Cincinnati sold it for $5,512 in March.
Stickley Brothers called this a "settle&quot in the company’s catalog. The 82-inch-long seat was made with copper and mother-of-pearl inlay. Treadway Gallery in Cincinnati sold it for $5,512 in March.

What’s the difference between a settle, settee and sofa? All three evolved from the “bench,” a furniture form with a flat wooden plank seat long enough to hold two or more people. A settle was in use by the 12th century. It was a bench with add-ons. One type had a low back and arms; another had a high back, often with wings instead of arms. The high-back settle of the late 18th and early 19th centuries sometimes had drawers under the seat or a lift-up seat over a storage box. Arts and Crafts cabinetmakers of the 19th century made heavy oak settles with slat backs and open arms. According to an old English furniture dictionary, settees first came into use in the late 17th century. At first the settee had a back that made it look like a double chair, but it soon came with an upholstered back and arms. By the late 18th century, it was difficult to distinguish a sofa from a settee – they looked alike. Today most average collectors call a long seating piece either a bench or a sofa, but auction catalogs like to be more precise and use all the terms.

Q: I have an unopened box of Gold Dust Washing Powder in good condition. Can you tell me the history of this company and the value of the box?

A: Gold Dust Washing Powder was made by N.K. Fairbanks Co. of Chicago. The company was a successor to Fairbank, Peck & Co., founded in 1864. The name changed to N.K. Fairbanks Co. in 1875. Fairbanks made cleaning products. Gold Dust Washing Powder, its most popular product, was distributed by Lever Brothers. It was made from about 1897 until the late 1930s. The Gold Dust Twins, black children named Goldie and Dustie, were first pictured on Gold Dust boxes in 1902. The twins were drawn by E.W. Kemble, who worked for the Chicago Daily Graphic newspaper. The drawings supposedly were based on two young boys named Tim Moore and Romeo Washburn, who were part of a 1900 vaudeville act called Cora Mitchell and Her Gold Dust Twins. The value of your box is about $75.

Q: I have a miniature portrait of an ancestor who lived during the early 1800s. It’s in an oval frame, probably gold, that’s about 1-by-1 1/2 inches. There’s a loop at the top so it can be hung. The picture shows a man with an elaborate ruffled ascot, a dark jacket and long sideburns, all in the style of the early 1800s. I am worried about cleaning it. Any suggestions?

A: Early portrait miniatures were painted in watercolors on a thin piece of ivory, in oils on wood or even in enamels on copper. The miniatures were often worn as mourning jewelry; the back of the frame might hold a lock of hair. Do not let water or even a damp cloth get near the portrait. A watercolor can be destroyed if it becomes wet. Just polish the metal frame and the glass with a dry cloth.

Q: I have a pair of 100-year-old candlesticks that were my grandmother’s. They are 7 inches high by 4 1/2 inches wide at the base and are marked with the name “Cordey.” Can you tell me anything about Cordey and what my candlesticks are worth?

A: The candlesticks are not as old as you think. Cordey China Co. was founded in 1942 by Boleslaw Cybis. Cybis was born in Lithuania in 1895, studied art in St. Petersburg and worked in Turkey and Poland before coming to the United States in 1939 to paint a mural at the New York World’s Fair. He stayed here after the fair because World War II broke out in Europe, and he and his wife opened a studio in the Steinway Mansion in Astoria (Queens), N.Y. In 1942 they moved to Trenton, N.J., known as the “Staffordshire of America,” and opened Cordey China Co. The company made giftware – figurines, lamps, vases, boxes, ashtrays, plaques and candlesticks – with boldly applied flowers, ruffles and scrolls. Most pieces were marked and numbered. A pair of Cordey candlesticks like yours sells for $150 to $300. Cybis began making porcelains under his own name in 1950. He died in 1957. Cordey China Co. was acquired by the Lightron Corp. in 1969 and operated as the Schiller Cordey Co., which made only lamps. But Cybis porcelains are still made in Trenton today.

Q: I bought a $5 box lot at a Florida flea market and found a large silver serving fork in the box. It’s marked “EPNS Sheffield England.” It’s unusual looking, though, because its four evenly spaced prongs span out widely. Can you figure out what it was used for and how old it is?

A: Your fork is not a piece of “old Sheffield,” which dates from the 18th century. The letters EPNS stand for “electroplated nickel silver” and indicate that the fork is silver-plated and dates from the Victorian era or later. A fork like yours with three or four prongs may be a “lettuce fork,” designed to serve tossed leafy salads. Lettuce forks are not common these days, but they can be used to serve not only green salads but also molded salads, cooked spinach, fish patties, fritters, squash and other dishes.

Tip: To remove the musty smell from old furniture drawers, fill a small plastic container with white vinegar, seal the container with a lid, then punch a few holes in the lid. Leave the container in the closed drawer overnight or longer to absorb odors.

Terry Kovel answers as many questions as possible through the column. By sending a letter with a question, you give full permission for use in the column or any other Kovel forum. Names, addresses or e-mail addresses will not be published. We cannot guarantee the return of any photograph, but if a stamped envelope is included, we will try. The volume of mail makes personal answers or appraisals impossible. Write to Kovels, Auction Central News, King Features Syndicate, 300 W. 57th St., New York, NY 10019.

Need more information about collectibles? Find it at Kovels.com, our Web site for collectors. Check prices there, too. More than 700,000 are listed, and viewing them is free. You can also sign up to read our weekly “Kovels Komments.” It includes the latest news, tips and questions and is delivered by e-mail, free, if you register. Kovels.com offers extra collector’s information and lists of publications, clubs, appraisers, auction houses, people who sell parts or repair antiques and much more. You can subscribe to “Kovels on Antiques and Collectibles,” our monthly newsletter filled with prices, facts and color photos. Kovels.com adds to the information in our newspaper column and helps you find useful sources needed by collectors.

CURRENT PRICES

Current prices are recorded from antiques shows, flea markets, sales and auctions throughout the United States. Prices vary in different locations because of local economic conditions.

  • Peerless ice-cream scooper, cherry-red Bakelite handle, 1940s, 8 inches, $35.
  • Rockefeller Center snow globe, clear glass on glossy black ceramic base, 3-D white building, clear liquid, gold decal, “Rockefeller Center, Radio City, New York,” 1945, 3 inches, $45.
  • Fels Naptha Soap cloth doll, “Anty Drudge,” stuffed, red-and-white dress, black apron, glasses, holding bar of soap, 6 1/2 inches, $50.
  • Cowboy-boot ring, Popsicle premium, plastic, gold-colored band, red-and-white boot, top has magnifier and compass that swing to one side, 1951, $65.
  • Giant Cootie game set, No. 1000, main body pieces have slots on top so can be used as banks, Schaper Mfg. Co., 1949, 12 x 20 inches, $115.
  • Sonny & Cher fan-club button, celluloid, red heart around black-and-white photo of couple, 1965, 2 3/16 inches, $120.
  • Casper the Ghost salt-and-pepper set, white glazed ceramic, black eye accents, blue accent base with name, U.S.A. incised on back, 1950s, 6 inches, $175.
  • Jacquard coverlet, blue-and-white wool, cotton, central floral medallion with pineapples, cherries, cornucopia and floral border, signed “Maria Demott 1840,” 77 x 93 inches, $645.
  • Fruit jar, “The Ohio,” No. 3-1876, aqua, made by the Ohio Fruit Jar Co., Upper Sandusky, patented March 14, 1876, 8 inches, quart, $1,625.
  • English press, two parts, oak and pine, top section with flush cupboard, doors with two inset raised and shaped panels, three drawers, dovetailed foot, 1880s, 49 x 54 inches, $1,730.

Buy American! “Kovels’ American Antiques, 1750-1900” by Ralph and Terry Kovel is the book that introduces you to the collected antiques from past centuries. Learn about American antiques, from art pottery and old advertising signs to rare silver. Written to help you recognize and evaluate the valuable items of Grandma’s day. Hundreds of color photographs, marks, makers, dates, factory histories and more. Chapters on pottery, glass, furniture, silver, advertising collectibles, prints, jewelry, pewter, tools and ephemera. An easy-to-use book with current information. Available at your bookstore; online at Kovels.com; by phone at 800-571-1555; or send $24.95 plus $4.95 postage to Kovels, Box 22900, Beachwood, OH 44122.

© 2009 by Cowles Syndicate Inc.