International flavor to Morton Kuehnert’s luxe Oct. 23 auction

Semi-precious stone-inlaid table. Est. $12,000-$18,000. Morton Kuehnert image.
Semi-precious stone-inlaid table. Est. $12,000-$18,000. Morton Kuehnert image.

Semi-precious stone-inlaid table. Est. $12,000-$18,000. Morton Kuehnert image.

HOUSTON – The embellishments that were so much a part of the lifestyles of the rich and famous of the past three centuries will be presented at auction Oct. 23rd at Morton Kuehnert Auctioneers & Appraisers. The sale begins at 11 a.m. Central time, and Internet live bidding will be provided by LiveAuctioneers.com.

More than 400 lots of exquisite clocks, chandeliers, torchieres, furniture, decorative art, sterling, rugs and contemporary jewelry will cross the auction block, including Asian art, which is in such high demand with collectors worldwide. One of the most interesting pieces in the sale is Lot 364, a Southeast Asian rock crystal gilt bronze and jewel-encrusted covered vessel, 7 inches by 4 inches in diameter, estimated at $2,500-$4,500. It is heavily encrusted with crisply cast gilt bronze mounts featuring nautilus shells and inset with 22 emeralds (old mine cut).

Lot 106, a beautifully painted Chinese four-panel screen measuring 145 inches by 97 inches, is estimated at $3,500-$4,500. Lot 129, a pair of gilded and decorated Japanese chargers from the Meiji Period (1868-1912), are estimated at $2,500-$3,500. Lot 134 is a pair of Canton Famille Rose octagonal bough pots from the late 19th Century. The estimate is $3,000-$6,000.

A fine array of clocks and garnitures will be offered. Lot 5, a Louis XVI three-piece bronze doré and rouge royale clock garniture, circa last half 19th century, is estimated at $12,000-$15,000. Lot 307, a charming late 19th century French bronze and enameled double drum carriage clock is up for auction at an estimate of $400-$600. It has enameled panels, one depicting two cherubs, one depicting a church and bridge by a mountain lake and one depicting two large haystacks.

Lot 11, an impressive late 19th century Continental painted and gilded bronze five-piece clock garniture, with works by clockmaker Japy Frères, is sure to be a showstopper. It is estimated at $3,500-$5,000. The beauty of the set is enhanced with the stunning blue background and metallic leaves. It includes a tall urn-form clock, two urn-form five-light candelabra, and two vases. All pieces having a gilt bronze foliate scroll base with four feet and all but the clock with a gilt bronze gadrooned domed top.

One of the centerpieces of the auction is Lot 160, a Raingo Frères bronze doré and patinated bronze figural mantel clock, circa 1850, featuring two ebony patinated seated figures—Justice and a maiden—and the entire clock lavishly decorated with scrolling acanthus leaves, floral and fruit and architectural elements. The auction estimate is $4,500-$6,000.

Lot 226, a 19th Century Larzet bronze doré and patinated bronze figural mantel clock, features a playful motif of a boy holding the horn of a goat on top of a rocky mound, resting on a white marble plinth and base. The name LARZET, 12 RUE DE LA CONCORDE, is stamped on the front and the inside back plate stamped LARZET A PARIS at the top. The auction estimate is $2,500-$3,500.

In the furniture section, a stunning octagonal semi-precious stone inlaid table with a white Carrara marble base is expected to be a top lot. The eight lobes are connected with serpentine sides and a stepped-ogee edge on a black agglomerate stone of turquoise, lapis lazuli and abalone flowers, on agate vines with malachite leaves and olives. The top is supported by a carved white Carrara marble base of three cherubs. The auction estimate for Lot 15 is $12,000-$18,000.

Sure to capture attention is Lot 1, a pair of elegant Louis XVI style giltwood mirrors with radiating leaves and bell flowers. The crest of the en chapeau cornice continues with bellflower garlands and foliate over the mirror plate, terminating with glorious scrolls of acanthus bellflowers. The bases of the mirrors are flanked by scrolls with draping bellflowers. Auction estimate is $8,000-$10,000.

Lot 150, an unusual and finely crafted early 19th century George III flame mahogany demilune sideboard will be another favorite. The mahogany top with ebony stringer and banded edge is supported by a body with two doors, three drawers and a half-moon tambour panel opening. Auction estimate is $4,000-$6,000.

Lot 187 is an early 19th century George III walnut slant-front secretary with walnut veneer and molded cornice, supported by two burled walnut mirrored locking doors with banded side panels and four adjustable shelves. Auction estimate is $5,000-$7,000. Below the door is a pair of pull-out candle stands above the slant-front desk with a green tooled leather writing surface, with four cubby holes, four drawers and a locking door.

Lot 294 is a graceful Italian white Carrara marble statue of a finely rendered maiden with a halo of flowers and doves perched on her hand and arm, all on a black marble base. Auction estimate is $6,000-$8,000.

A 76-piece set of 1895 “Chantilly” patterned Gorham Sterling flatware, Lot 388, manufactured in Providence, R.I., is a beautiful six-piece service for eight, and comes with a number of serving pieces. Auction estimate is $2,500-$3,500.

Lot 49, an Irish Donegal wool pile rug in excellent condition, circa 1950s, uniquely blends Renaissance and French Aubusson designs on a wool foundation. It measures 10ft. 5in. by 11 ft. and is estimated at $3,500-$4,000.

Lot 14 is a pair of Louis XVI-style patinated bronze and cloisonné five-light appliqués/sconces that will make a statement in any space. Auction estimate is $4,500-5,500.

The jewelry selection is breathtaking by anyone’s standards. Lot 60 is an 18K white gold emerald and diamond necklace, with 621 diamonds equaling 26.18 carats and highlighted by 13 natural emeralds. Auction estimate is $60,000-$90,000. Lot 63 is a gentleman’s Patek Philippe wristwatch for Tiffany & Co., estimated at $6,000-$11,000 and an entire collection of cufflinks includes a pair of 18K gold Buddha cufflinks, peanuts, saxophones, acorns and sports cars. There are designs featuring opals, gold and diamonds, carnelians and gold, chrysoprase, sterling silver and black mother-of-pearl by David Yurman. Additionally, there is a pair of white gold and black diamond tuxedo cufflinks and studs. The cufflinks will be sold by the pair.

Finally, a platinum diamond and sapphire ring, Lot 69, with a 2-carat marquise diamond and four marquise blue sapphires, is ready to grace the hand of an eager owner. Auction estimate is $5,000-$8,000.

Some interesting paintings will be offered on October 23, including Lot 36, Umberto Argyros’ oil on canvas The Mirror, estimated at $2,500-$3,500. Lot 48 is a whimsical oil on linen by artist Rebecca Campbell. Titled The Match, it is estimated at $4,000-$6,000. Lot 37 is Dimitrios Briskinis’ The Doll, an oil on canvas estimated at $2,500-$3,500. Lot 205, Raul Coronel’s Jeweled Brilliant Sun, is estimated $3,000-$4,000.

For additional information, call 713-827-7835 or e-mail inquiry@mortonkuehnert.com.

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

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View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.


ADDITIONAL LOTS OF NOTE


Louis XVI bronze dore clock garniture. Est. $12,000-$15,000. Morton Kuehnert image.
Louis XVI bronze dore clock garniture. Est. $12,000-$15,000. Morton Kuehnert image.
Rebecca Campbell, The Match. Est. $4,000-$6,000. Morton Kuehnert image.
Rebecca Campbell, The Match. Est. $4,000-$6,000. Morton Kuehnert image.
Patek Philippe wristwatch. Est. $6,000-$11,000. Morton Kuehnert image.
Patek Philippe wristwatch. Est. $6,000-$11,000. Morton Kuehnert image.
White Carrara marble statue. Est. $6,000-$8,000. Morton Kuehnert image.
White Carrara marble statue. Est. $6,000-$8,000. Morton Kuehnert image.
Southeast Asian jewel-encrusted vessel. Est. $2,500-$4,500. Morton Kuehnert image.
Southeast Asian jewel-encrusted vessel. Est. $2,500-$4,500. Morton Kuehnert image.

Chinese tray serves top dollar at Michaan’s Auctions

A large blue and white porcelain stem tray decorated in Ming Dynasty style dragons. Sold for $108,000. Image courtesy of Michaan’s Auctions.
A large blue and white porcelain stem tray decorated in Ming Dynasty style dragons. Sold for $108,000. Image courtesy of Michaan’s Auctions.

A large blue and white porcelain stem tray decorated in Ming Dynasty style dragons. Sold for $108,000. Image courtesy of Michaan’s Auctions.

ALAMEDA, Calif. – The Oct. 2 estate sale at Michaan’s Auctions proved to be record setting for the Asian Department, whose sales success continues to reach new heights. The department’s sales figures averaged approximately 330 percent above its cumulative low estimates, the best in its history of monthly estate sales.

Consultant Ling Shang attributes the impressive numbers to the “flourishing, active and enthusiastic Asian market,” which, along with the diligence and expertise of the department, has helped to make Asian items reign supreme.

Lot 295 provided the most astounding moment of the day, selling for 120 times its high estimate. Astronomical to say the least, the sale of the blue and white porcelain stem tray decorated in a Ming Dynasty style was a rare moment for any auction room floor, bringing gasps and applause from those in attendance. The heated battle began between multiple floor and phone bidders and eventually was narrowed down to one international and one domestic phone bidder who pushed the selling price to $108,000, a far cry from its estimate of $700-900.

Also worth noting from the Asian Department are two lots that went for 12 times their high estimates; lot 402, an ink on silk bannerman portrait selling for $36,000, and lot 412, a Chinese circular export stand, whose desirable blue and white porcelain inset helped it to sell for $6,000.

The Stamp and Coin Department is one of the newest departments to join Michaan’s ranks and is proving itself a force to be reckoned with. Lot 252, a People’s Republic of China set of paper money from the 1960s, was estimated at $600-800 and brought in $20,400, over 25 times its high estimate.

Nicely rounding out the sale was the Furniture and Decoration Department with a lot of two Middle Eastern swords selling for nine times its high estimate at $7,200 and a succession of jade bracelets from the Jewelry Department leaving their high estimates far behind, with the top-seller going for 12 times its high estimate at $3,600. A gorgeous Asscher diamond 14K white gold wedding ring set was also expected to do well and did not disappoint, selling for a respectable $12,000.

Complete results for the October estate auction as well as future auction information and bid submission is available on-line at www.michaans.com. For general information call Michaan’s Auctions at 510-740-0220 ext. 0 or e-mail frontdesk@michaans.com.

For a full listing of upcoming auctions or to view a complete catalog, visit www.michaans.com .

 

Click here to view the fully illustrated catalog for this sale, complete with prices realized.


ADDITIONAL LOTS OF NOTE


‘People's Republic of China 1960 3rd Print’ (88) Two Yuan. Sold for $20,400. Image courtesy of Michaan’s Auctions.

‘People’s Republic of China 1960 3rd Print’ (88) Two Yuan. Sold for $20,400. Image courtesy of Michaan’s Auctions.

 

Anonymous ‘Bannerman Portrait,’ ink and color on silk. Sold for $36,000. Image courtesy of Michaan’s Auctions.

Anonymous ‘Bannerman Portrait,’ ink and color on silk. Sold for $36,000. Image courtesy of Michaan’s Auctions.

 

Two Middle-Eastern swords with scabbards. Sold for $7,200. Image courtesy of Michaan’s Auctions.

Two Middle-Eastern swords with scabbards. Sold for $7,200. Image courtesy of Michaan’s Auctions.

 

Diamond, 14K white gold wedding set. Sold for $12,000. Image courtesy of Michaan’s Auctions.

Diamond, 14K white gold wedding set. Sold for $12,000. Image courtesy of Michaan’s Auctions.

 

 

Recent start-up Roland Auctions reports strongest results yet

A professional Camillo Mandelli di Calco violin from a Florida estate quickly made $15,600. Image courtesy of Roland Auctions.

A professional Camillo Mandelli di Calco violin from a Florida estate quickly made $15,600. Image courtesy of Roland Auctions.

A professional Camillo Mandelli di Calco violin from a Florida estate quickly made $15,600. Image courtesy of Roland Auctions.

NEW YORK – Bill and Rob Roland, founders of Roland Auctions in Greenwich Village, report numerous highlights from the auction house’s Sept. 17 Important Estates Auction. The sale featured strong collections of mid-century designer furniture, abstract paintings from the New York School, a rare musical instrument and fine 19th century ceramics, among other properties. Prices quoted include the buyer’s premium.

Bill Roland, auctioneer, noted that the gallery was packed. “It was gratifying,” he said, “to see all the chairs occupied and bidders lined up by the wall. As we come up to our first anniversary, it’s clear that our name and reputation are bringing in more and more buyers.”

Case in point was the day’s lead item, a 1929 violin by the Italian maker Camillo Mandelli di Calco. With a bidder in the room and another on the phone, the professional instrument from a Florida estate, quickly made $15,600.

The gallery’s collective exhale was followed by fast and furious bidding on a run of mid-century luxury brand furniture. The lead item in this category was a 1957 Dunbar chest of drawers designed by Edward Wormley and Otto Natzler. It commanded $6,600. It was followed by a Dunbar brass and cork top game table on a column base that made $4,800.

Collectors and decorators drove up the price of a pair of Joe D’Urso rolling tables for Knoll to $5,700. A single D’Urso rolling table, also Knoll, made $3,000. Meanwhile, a George Nakashima one-drawer nightstand also made $3,000 and its counterpart, a triangular walnut table by Nakashima, made $1,200.

If bargains are the dream of auction hunters, then the day held at least two. The first was Paul McCobb’s mahogany sideboard with six paneled drawers and fitted interior that fetched $1,200. The best deal, however, was Frank Lloyd Wright carved oak bench that found its market value at $1,020.

Nostalgia for the great era of steamships crept in when Jacques Adnet‘s club chair from the cruise ship France commanded $3,600. And the appeal of Art Deco held steady as a pair of German high-back chairs with curved arms, ball decorations and finial, found a buyer for $2,400.

Lighting had it bright moments a Guariche Equilibrium floor lamp climbed to $4,500. This was followed by Gino Sarfatti’s Trienale floor column at $2,280. Jacques Adnet’s black leather table lamp brought $2,160. A pair of Achille and Pier Giacomo Castiglioni Tolo torchieres hit $1,320.

Art, no matter what its form, had its way with the buyers as well. For instance, a Daniel Louradour six-panel Italian festival screen depicting dancers, harlequins, mimes and street performers found a new home at $3,900. A Silas Seandel bronze and enamel abstract sculpture made $2,040, which made it only slightly less desirable to 21st century collectors than a Pablo Picasso tapestry that made $2,200.

The New York School of abstract expressionism was represented by a collection of Seymour Franks oils-on-canvas. All with the provenance of the Knolder gallery, they brought $1,300 and $2,400.

Meanwhile, a Haitian surrealistic still life of a vase with candles haunted by the specter of a branch by J.E. Gourgue made $1,680.

Although it sometimes seem as if collectors’ history goes back no farther than 50 years, quality items from the 19th century maintained held strong. A Theodore Deck ceramic vase, for example, caused a ripple of excitement when it brought $2,280.

Coinciding with the Metropolitan Museum of Art’s new exhibition of African sculpture was a group of African carved wood items. The most outstanding of these was a headrest with the provenance of Galerie Flak, Paris, that commanded $1,140. At the low end, two Ivory Coast Senufo stools made $220. Either way, the Met’s new exhibition is bound to create renewed interest in African icons.

Finally, a collection of electric guitars led with a Fender Precision base that went for $1,560.

Highlights of the upcoming Roland First Anniversary Auction on Oct. 15 will soon be online at LiveAuctioneers.com. Items by Asprey, Marcel Breuer, Knoll, Thonet, Serge Poliakoff and Lichenstein will be featured.

For details please visit http://rolandantiques.com or call 212-260-2000.

 

Click here to view the fully illustrated catalog for this sale, complete with prices realized.


ADDITIONAL LOT OF NOTE


A pair of whimsical German Art Deco high-back chairs with curved arms, ball decorations and finial, found a buyer for $2,400. Image courtesy of Roland Auctions.

A pair of whimsical German Art Deco high-back chairs with curved arms, ball decorations and finial, found a buyer for $2,400. Image courtesy of Roland Auctions.

Brunk Auctions raises a toast to $264,000 libation cup

Symbols of longevity decorate the black wooden base of this 19th century reticulated rhinoceros horn libation cup. At $264,000, it was the top lot of the sale. Image courtesy of Brunk Auctions.

Symbols of longevity decorate the black wooden base of this 19th century reticulated rhinoceros horn libation cup. At $264,000, it was the top lot of the sale. Image courtesy of Brunk Auctions.

Symbols of longevity decorate the black wooden base of this 19th century reticulated rhinoceros horn libation cup. At $264,000, it was the top lot of the sale. Image courtesy of Brunk Auctions.

ASHEVILLE, N.C. –  In July, five rhinoceros-horn libation cups set a record for the television show, Antiques Roadshow at $1 million to $1.5 million. Reporting on the news, Roadshow writer Jane Viator said, “Between 2000 and 2008, the price of top-quality rhinoceros-horns at auctions increased by 300-400 percent and there’s little sign that the market is cooling off.”

That trend continued at Brunk Auctions the weekend of Sept. 24-25. A large reticulated 19th century carved Chinese rhinoceros-horn libation cup on a carved stand rose steadily from an opening bid of $50,000 to close at $264,000 (est. $60,000/$80,000). It was the highest price for any of the 1,200 lots in the sale. Selling prices contain a 20 percent buyer’s premium.

Carvings on the 18 3/4-inch horn were far more intricate and detailed than any of the Roadshow cups. “The ornate carving is in keeping with 19th century examples,” said Senior Specialist Andrew Brunk. “The 17th century examples, as on the Roadshow, are a different kind of rhino horn and more austere.” The cup in the September sale included The Eight Immortals on rocky ledges, trees, clouds, a dragon, a tiger and goats. The horn and its black openwork stand descended in the family of Ezekell Hubbell (1768-1834), a noted China trade merchant and ship owner. For many years the Hubbell family of Connecticut, was involved with trade in the West Indies and China.

Although horn libation cups date from the 14th century, most of the estimated 4,000 that survive today were crafted during the second half of the 19th century. The cups were popular among the Chinese and other groups who believed that if poison were added to a liquid, it would either bubble or be rendered harmless by the special properties of the horn.

An important 17th century British pamphlet and map also exceeded presale expectations. The earliest English expedition in the Cape Fear region of North Carolina was led by William Hilton in 1662. On his second voyage, Hilton produced a promotional pamphlet with the first printed map solely of the Carolinas. The pamphlet, printed in London and dated 1666, descended in the Murchison and Sprunt families of historic Orton Plantation in Wilmington, N.C. It is the first publication to name Cape Feare (later Fear). The 10-page Hilton pamphlet opened at $18,000 and sold to a phone bidder for $114,000 (est. $20,000/$30,000).

Also from Historic Orton Plantation was a figured walnut bottle-case with hinged top and open interior. Like the Hilton pamphlet, it descended in the Murchison and Sprunt families. One rail on the frame supporting the case is inscribed “Orton.” The circa 1800 Coastal North Carolina case on frame brought $36,000 (est. $8,000/$12,000).

Nothing in the sale exceeded expectations with more enthusiasm than a 15th century illuminated manuscript. The German document contained 89 parchment leaves filled with text, decorated letters and the face of Christ and other biblical scenes. It came from the same era as the Gutenberg Bible. Estimated at $1,000 to $2,000, bidding ricocheted from phones and absentees to on-site bidders. At one time, eight phones were active. A pleased and determined phone bidder captured the manuscript for $21,600.

Two carved wooden figures of firefighters, circa 1820, climbed the selling price ladder to the third rung from the top. The pair descended in the family of Ely Heazelden, a colorful man who combined firefighting with street fighting. In 1842 as the boss warrior of Engine Company 27 in lower Manhattan, Heazelden led his men in a brawl with their bitter rival, Engine Company 34. The battle is reminiscent of scenes from Martin Scorsese’s 2002 film Gangs of New York. Haezelden obtained the 23-inch firefighter figures that had been designed for display on Engine 27 during parades and balls. Each figure is leaning on a gilt fire horn and dressed in period attire. The pair sold for $90,000 (est. $60,000/$90,000).

Three Continental lots deserve special attention. Of the five French art glass vases in the sale, none did better than a Gallé cameo glass with polar bears on ice floes. In shades of blue and white, the marked vase opened at $18,000 and reached land at $45,600 (est. $20,000/$30,000). A monumental 19th century French bronze urn with markings for the Barbedienne foundry (active 1838-1891) sold for $30,000 (est. $25,000/$35,000). A Continental gilt silver stein with engraved shell, acanthus and scroll decorations and ivory cupids surrounding applied enamel panels brought $40,800 (est. $12,000/$18,000).

Hammer price for the two-day sale came to $2,027,200.

For more information about Brunk Auctions, call 828-254-6846. Visit www.brunkauctions.com for results of past auctions and information on upcoming sales.

Click here to view the fully illustrated catalog for this sale, complete with prices realized.


ADDITIONAL LOTS OF NOTE


Four pages in the catalog were devoted to the history and description of these 23-inch-tall wooden firefighters. Possibly designed to decorate the engine of Company 27 in lower Manhattan, the pair descended in the family of firefighter Ely Heazelden and sold for $90,000. Image courtesy of Brunk Auctions.

Four pages in the catalog were devoted to the history and description of these 23-inch-tall wooden firefighters. Possibly designed to decorate the engine of Company 27 in lower Manhattan, the pair descended in the family of firefighter Ely Heazelden and sold for $90,000. Image courtesy of Brunk Auctions.

 

This early 19th century cellaret, 38 1/4 x 18 x 15 inches,” came from the Historic Orton Plantation in Wilmington, N.C. In figured walnut on its original tapered-leg stand, it sold for $36,000. Image courtesy of Brunk Auctions.

This early 19th century cellaret, 38 1/4 x 18 x 15 inches,” came from the Historic Orton Plantation in Wilmington, N.C. In figured walnut on its original tapered-leg stand, it sold for $36,000. Image courtesy of Brunk Auctions.

 

This important and rare pamphlet from 1666 includes the first written map of the Carolinas and is the first document to mention Cape Feare (later Fear). From the Orton Plantation collection, it was the sale’s second highest lot at $114,000. Image courtesy of Brunk Auctions.

This important and rare pamphlet from 1666 includes the first written map of the Carolinas and is the first document to mention Cape Feare (later Fear). From the Orton Plantation collection, it was the sale’s second highest lot at $114,000. Image courtesy of Brunk Auctions.

 

Eighty-nine pages from this 15th century German illuminated manuscript were sewn together to form a codex. Black ink was used for the text with red and blue ink for titles and headings. It sold for $21,600 on a $1,000/$2,000 estimate. Image courtesy of Brunk Auctions.

Eighty-nine pages from this 15th century German illuminated manuscript were sewn together to form a codex. Black ink was used for the text with red and blue ink for titles and headings. It sold for $21,600 on a $1,000/$2,000 estimate. Image courtesy of Brunk Auctions.

 

The mark for ‘Gallé’ is on the side of this blue and white 14 1/4-inch polar bear vase. The important vase sold for $45,600. Image courtesy of Brunk Auctions.

The mark for ‘Gallé’ is on the side of this blue and white 14 1/4-inch polar bear vase. The important vase sold for $45,600. Image courtesy of Brunk Auctions.

 

Trophies of music and cupids frolicking in waves decorate the sides of this French gilt bronze urn in the style of Louis XVI. The 29 1/2-inch-tall urn opened at $20,000 and sold for $30,000. Image courtesy of Brunk Auctions.

Trophies of music and cupids frolicking in waves decorate the sides of this French gilt bronze urn in the style of Louis XVI. The 29 1/2-inch-tall urn opened at $20,000 and sold for $30,000. Image courtesy of Brunk Auctions.

 

A soldier with spear forms part of the handle on this Continental gilt silver stein, which measures 30 x 14 x 12 1/2 inches. Enamel panels were applied to the base and sides. No maker’s marks or monograms were found on the $40,800 stein. Image courtesy of Brunk Auctions.

A soldier with spear forms part of the handle on this Continental gilt silver stein, which measures 30 x 14 x 12 1/2 inches. Enamel panels were applied to the base and sides. No maker’s marks or monograms were found on the $40,800 stein. Image courtesy of Brunk Auctions.

 

Modern masterpieces to tour France in tent show

CHAUMONT, France, (AFP) – Fourteen modern masterpieces sat in a field, hours from the nearest big city: Paris’ Pompidou Centre hits the road Thursday with a nomad museum project aimed at taking art out to the people.

President Nicolas Sarkozy was to cut the ribbon on the traveling tent structure dubbed Pompidou Mobile, as it opens for three months in Chaumont, its first stop, on the Marne River three hours west of Paris.

Billed as a world first, the free-access show is part of a broader outreach strategy by the Pompidou Centre, one of the world’s top modern art museums, following the launch last year of a satellite in eastern Metz.

“It seemed vital to build our ability to take art to people who never set foot in a museum,” Pompidou Centre chairman Alain Seban told AFP, citing figures that suggest one in two French people have never visited a museum.

Three steel and alumimium modules covered in a brightly colored tent made of break-in proof fabric, the whole structure is about the size of a football field.

Safe behind protective casing, works by modern art masters Pablo Picasso, Fernand Leger, George Braque, Henri Matisse and Alexander Calder headline the first traveling collection, built around the theme of color.

“We went for a lightweight, collapsible structure that was as simple as undaunting as possible,” Seban said. “When it pulls into a town for three months, it should feel like a circus or funfair arriving.”

From Chaumont, the show will head to Cambrai in the north, Boulogne-sur-Mer on the Channel coast, with stops also planned in southwestern Aquitaine, the port of Le Havre and Aubagne near the Mediterranean city of Marseille.

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Saddam’s bronze buttock up for auction in Britain

The statue of Saddam Hussein being toppled in Baghdad after the U.S. Invasion of Iraq. Image courtesy of Wikimedia Commons.
The statue of Saddam Hussein being toppled in Baghdad after the U.S. Invasion of Iraq. Image courtesy of Wikimedia Commons.
The statue of Saddam Hussein being toppled in Baghdad after the U.S. Invasion of Iraq. Image courtesy of Wikimedia Commons.

LONDON (AFP) – A bronze buttock from the statue of late Iraqi dictator Saddam Hussein toppled in Baghdad after the U.S.-led invasion in 2003 is to be auctioned in Britain, an auction house said Tuesday.

A former soldier from Britain’s elite SAS regiment retrieved the two-foot-wide piece of history and took it back to Britain shortly after U.S. marines dragged the statue down on live television.

Nigel “Spud” Ely, now 52, was working with media covering the fall of Baghdad at the time. He said the marines gave him permission to remove the buttock using a hammer and a crowbar.

“The U.S. Marines had erected a cordon of tanks to guard the square. But I wanted a piece of the statue—and when I mentioned to the marines that I was an old soldier and with the press they told me, ‘No problem, buddy—help yourself,'” Ely said.

“I only wanted a piece big enough to put in my pocket, but I ended up with a chunk about two foot square. I thought, ‘What the hell am I going to do with this?’

“I threw it in the back of my truck and forgot about it until we tried to re-enter Kuwait, where the Kuwaiti army arrested us and searched us for plunder.”

The ex-serviceman was allowed to keep it after saying it was armor for a truck, but had to pay more than $600 excess baggage charge to fly his unique souvenir back to Britain.

Ely recently set up his own company to promote “war relic art,” but has handed the sale of the memento over to Hanson’s Auctioneers, based in Derby, central England.

Auctioneer Charles Hanson called the bronze body part a “piece of modern history” and said he expects it to be sold for at least £10,000 ($15,775) when it goes under the hammer on Oct. 27.

“It should appeal to military and art collectors alike, not to mention anyone who has an interest in the major events that have helped shape the world we live in,” he said.

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Vermonters’ love for covered bridges rekindled by storm

The Bartonsville covered bridge, built in 1870 by Sanford Granger, was a lattice truss style bridge with a 151-foot span across the Williams River. Image courtesy of Wikimedia Commons.
The Bartonsville covered bridge, built in 1870 by Sanford Granger, was a lattice truss style bridge with a 151-foot span across the Williams River. Image courtesy of Wikimedia Commons.
The Bartonsville covered bridge, built in 1870 by Sanford Granger, was a lattice truss style bridge with a 151-foot span across the Williams River. Image courtesy of Wikimedia Commons.

BARTONSVILLE, Vt. (AP) – By the time Susan Hammond came downstairs at 9 a.m. the rain was falling hard. Standing on the back deck with Sunday coffee in hand, she looked down the hill and through the trees to where the usually lazy Williams River powered over rocks, loud enough to compete with the din of Tropical Storm Irene’s downpour.

Inside, Hammond pulled up a chair to her computer to check the water level at a gauge just downriver: 4 1/2 feet, nearly doubled from the night before, but well below flood stage. For peace of mind, though, Hammond reached for an umbrella and headed down the road to pay her hamlet’s 141-year-old covered bridge a call.

Even by Vermont standards, Bartonsville’s bridge was out of the ordinary, a 159-foot expanse of brown boards weathered to a distinguished gray, with rectangular windows revealing a thick skeleton of crisscross latticework. Standing under umbrellas just beyond the bridge’s portal, Hammond and her neighbors traded talk of the storm, before she headed back to the house.

Around 11, she checked the river gauge again: 8 feet. Flood stage. When she went down to check on the bridge, just a few feet separated its boards from the water. And the distance between the two was narrowing fast.

Now, the river had Hammond’s full attention.

What did it have in store for her bridge? To drivers speeding by on Highway 103, the bridge might seem like a relic, quaint but outdated. But to Hammond, a seventh-generation Vermonter who’d returned after years living in New York and overseas, the bridge meant home. She’d passed summer afternoons swimming in its shadows, taken her first driving lesson through its portal.

The river, though, was anything but sentimental.

Just after noon, it topped 9 feet.

An hour later, 10.

At 3:30, the Williams roared past 15 feet, hurling trees and propane tanks at the bridge, ravaging the earth around its supports. The ancient trusses moaned, straining against the torrent.

Hammond called her older brother, Prentice, warning him the bridge might not make it.

Four minutes later, Prentice’s phone rang again, the anxiety in his sister’s voice turned to a wail.

“It’s gone! It’s gone!” Susan Hammond cried.

“I can’t believe it’s gone!”

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Covered bridges are survivors. But in the midst of a historic deluge, Vermonters feared the old wooden spans might not make it.

On a hillside above West Arlington’s postcard-perfect village green, Jim Henderson and two of his teenage sons got into the car and drove down to the banks of the Battenkill. They reached the river to find its wooden crossing—perhaps the state’s most photographed covered bridge, leading to the white farmhouse that illustrator Norman Rockwell once called home—stretched across a foaming torrent. Henderson placed his hands around the red boards on the upstream side of the portal, “hugging it for strength,” and felt the old bridge shudder.

In the hollow of the Green River, Joan Seymour stared out the window of her bed and breakfast at the fast rising waters. The village’s bridge, built in 1870, and a dam just upstream made of interlocking timbers had drawn her to this house. Now, as the river lapped at her backyard, she and her neighbors watched with worry, wondering if there was a way to divert the flow and protect their local treasure.

The thought of venturing out in a storm to check on an old bridge might seem strange to folks in some places. But this is Vermont.

For a little state, Vermont maintains an outsized sense of identity. Tourists flock here every autumn for their fill of red-gold valleys and maple syrup. Vermont is picturesque old barns and white-steepled churches. It’s Ben & Jerry’s ice cream, Burton snowboards and Phish concerts.

But if you had to choose one symbol that sums up the state’s essence, it might well be the covered bridge. Until Irene hit on Aug. 28, Vermont still had 101 of them.

That’s not the most—much bigger Pennsylvania has that honor. But in Vermont, the covered bridge is an icon. Undoubtedly, that’s partly because they’re tourist magnets, pit stops of nostalgia and romance. But for many, they also embody the Vermontness that’s hard to capture in a snapshot: a reverence for history and the rural landscape. A prized sense of community, where people slow down and watch out for their neighbors.

Covered bridges are testaments to durability and perseverance and a rejection of modern cookie-cutter blandness. In a state that’s been embraced over the last few decades by transplants and drawn together by highways, the covered bridge has served as a portal back to long-ago values.

Then Irene came along and reminded Vermonters maybe those values aren’t so old-fashioned after all.

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Once upon a time, the hamlet Jeremiah Barton founded along the Williams River bustled with the activity from two paper mills. But they’re long gone and today lower Bartonsville isn’t so much a town as a clutch of houses, about 30 in all, strung along pavement that gives way to dirt. It doesn’t have a post office or a store, a school or church. The one landmark that announced your arrival was the single-lane covered bridge with gently curved portals, one of Vermont’s longest.

It was more, though, then just a structure.

The bridge was how you walked across the river to Marvie Campbell’s pay-by-the-honor-system farmstand for Mason jars of peach jam and just-picked zucchini. It’s where the tourist train once stopped every summer for pictures and where you’d frequently find Paul Petraska standing hip-high in weeds and poison ivy that grew up around the abutments, a self-appointed volunteer caretaker of the bridge’s landscape. It provided shelter when neighbors gathered one night in 1983, lanterns lighting the latticework, for a potluck supper to celebrate the bridge’s reopening after it was closed for a year-long overhaul.

“It sounds corny and quaint, but it’s true,” Susan Hammond says. “For me, literally, it brought me home.”

Still, Vermonters have only come to prize their covered bridges relatively recently. A century ago, the state had 500 of them. But a legendary 1927 flood claimed about 200. Neglect, the replacement of old roads and bridges with concrete highways capable of handling trucks, and even arson claimed many others.

“They were throwing bridges away like garbage for a long time, until the ’60s or ’70s, when people started to think they were valuable,” says Jan Lewandoski of Greensboro Bend, Vt., who makes a living restoring and rebuilding historic wooden spans.

Now, towns cling to their remaining bridges. In the winter of 1999, when ice pulled one of the five covered spans in Tunbridge into the river, residents labored desperately to pull it to shore and save it. When they’d salvaged all they could, they set the rest afire to keep the wreckage from breaking up and taking out another covered bridge downstream.

People “were actually weeping when the bridge was moving and had to be destroyed,” says Euclid Farnham, the town historian. So a year later, the town rebuilt it—good as old.

Thousands of people came out to see a team of oxen pull the bridge across the river and into place. When the roadwork was finished, a 102-year-old woman cut the ribbon while a band paraded through the portal.

At the Vermont Covered Bridge Museum—opened in 2003 inside a replica covered bridge in Bennington—visitors arrive from Tennessee, California, Japan.

“You have people who have seen every (covered) bridge still standing in the U.S., the ones that are standing in Europe, who collect all the postcards of them, who make this their summer vacation and they’re traveling through two states and seeing all the bridges,” says Jana Lillie, director of operations for the museum and the Bennington Center for the Arts, which it adjoins. “The bridge fans are diehard, true blue bridge fans. I equate it with Elvis fans, almost.”

But it’s not just tourists who embrace the bridges.

Ray Hitchcock moved back to Vermont after a career with Minnesota’s Department of Natural Resources to care for his ailing parents. Soon after, wife Adrienne mentioned a meeting of the Vermont Covered Bridge Society at the local library. Caring for Ray’s parents limited their time, but in between they took short jaunts in search of bridges—Ray on a Harley-Davidson, Adrienne on a Kawasaki. They built their own covered span across the creek below their house. Ray joined the society’s network of bridge watchers, monitoring the health of the old wooden bridges in Bartonsville, Grafton and nearby towns.

Both of Hitchcock’s parents died. Then, two years ago, Ray was diagnosed with Lou Gehrig’s disease, which attacks the nerves of the brain and spinal cord. By then, the couple had reached more than 70 bridges—and decided to visit the rest in a van that could accommodate his motorized wheelchair. They won’t stop until they’ve seen them all.

“I’ve learned I have a strong tie to my home state and a strong tie to people from bygone eras—and now I feel connected to them,” Ray says.

“And I think you’ve learned about endurance, too,” his wife says. “I think you have a lot in common with those bridges.”

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Irene arrived in Vermont already downgraded to a tropical storm. But it dumped so much rain so quickly on the already saturated mountainscape that the state’s web of shallow streams and rivers was quickly overwhelmed.

The floods damaged or destroyed more than 700 homes and wiped out segments of nearly 2,000 local roads. It cut off some Vermont towns from the surrounding countryside and left others severely damaged.

In the scheme of things, some might question the idea of mourning an old wooden bridge. Indeed, that’s exactly what happened when Susan Hammond posted a video on YouTube of the Bartonsville bridge being sucked into the Williams River; more than a few people chastised her for being emotional and told her to just get over it.

Bartonsville was one of two Vermont covered bridges destroyed by the storm. But 13 others or their abutments were damaged. The Bowers Bridge in Brownsville, built in 1919, was swept away, but washed up nearly intact on the riverbank 150 yards downstream. The bridge on the Upper Cox Brook in Northfield Falls—one of three bridges within less than a half mile—was impaled by a tree, but the town reopened it to traffic less than a week later.

The future of others is less certain. When a tree struck the bridge in West Arlington, it left the downstream side of the span bowed outward and it remains closed. The Taftsville covered bridge, closed because of damage to its center stone pier, could reopen by the summer of 2013.

In Bartonsville, on a sawhorse set across the road just shy of where it now plunges into the river, someone posted a cardboard sign: “I Miss My Bridge. 1870 – 8/28/11.”

But almost immediately, the talk along the river was of how to bring it back.

Petraska and others began combing the banks, salvaging planks and beams. He and Ernie Palmiter—a retired Florida postal worker who bought a house at the foot of the Worrall Bridge just downstream after years of sketching and dreaming of covered bridges—threw chains around part of a portal and other timbers and lashed the other end to a tree to keep them from floating away. When the electricity came back on and the roads reopened, Ray Hitchcock was back out to check on the surviving spans, reporting the findings to fellow bridge lovers.

Hammond spoke up at a meeting of the Rockingham town select board, which has set up a link on its website to collection donations for rebuilding. Hammond drew up a survey of her fellow residents, making clear their desire for a single-lane, wooden covered bridge as near as possible to the one they’d lost.

A local artist, Charlie Hunter, offered to paint and print posters of the bridge to help raise funds. In the first 24 hours, he sold 20 at $99 each, even though the poster wasn’t done yet. Jim Cobb offered the proceeds from sales of his photo of the bridge, shrouded in morning fog.

So far, the town has received about $10,000 in donations and the wooden structure was insured for $1 million. But the bill may run well beyond that. One of the abutments—not covered by insurance—was destroyed and could cost $200,000 to replace, said Tim Cullenen, municipal manager for the town of Rockingham, which includes Bartonsville.

Overhauling the bridge in the early 1980s cost roughly $1 million. This time, the state and the Federal Emergency Management Agency will likely pay large parts of the cost of a new bridge, but the town will have to cover the gap. Cullenen says “one of the hard decisions that the town is going to have to make is what they’re going to come back with”—an exact replica of the old bridge, or one with two lanes that can handle heavy loads like fire trucks. A bridge built for the modern age.

Hammond and the others reject that idea, saying they don’t need a modernized bridge when the one they had was perfect. In fact, the way they talk about it, you almost wonder if the old bridge—now torn and twisted, its remnants scattered across fields and buried in underbrush—is truly gone.

A few weeks after Irene, Hammond stands under an umbrella, gazing out into the void over the river, before a sign warning “Bridge Closed.”

“We’re optimistic in Vermont,” she half-jokes. “It’s just closed. It’ll be open again.”

Neighbors Paul Hendrickson and Margaret Ambrose join her in the rain, explaining they needed to walk down every once in a while just to remind themselves of what used to be.

Hammond, wearing a tired smile, gently scolds them.

“It’s still present tense here,” she says. “You have to understand. There is no ‘was.’”

Copyright 2011 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

AP-WF-10-10-11 1814GMT

230-year-old Maine inn on online auction block

BUCKSPORT, Maine (AP) – A 230-year-old landmark in the Maine town of Bucksport that has hosted presidents, arctic explorers and other famous figures is on an online auction block.

The Jed Prouty Inn has sat unused for nearly a decade.

The 17-bedroom former hotel has anchored Bucksport’s Main Street since about 1780. The last business in the wood frame building closed nearly eight years ago.

The financial firm that owns it is hoping a buyer will emerge during an online auction that is being held through Thursday.

The Bangor Daily News (http://bit.ly/nNmjVA ) says the building underwent extensive renovations in the 1990s. It has a complete commercial kitchen, but it still needs at least $250,000 in upgrades.

Bidding on the property began at $30,000.

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Information from: Bangor Daily News, http://www.bangordailynews.com

Copyright 2011 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

AP-WF-10-11-11 1127GMT