Portrait of Astronaut Neil A. Armstrong (American, 1930-2012), commander of the Apollo 11 Lunar Landing Mission in his space suit, with his helmet on the table in front of him. Behind him is a photograph of the lunar surface. NASA Photo No. S69-31741, taken July 1, 1969.

In Memoriam: Neil Armstrong, 82, first man on the moon

Portrait of Astronaut Neil A. Armstrong (American, 1930-2012), commander of the Apollo 11 Lunar Landing Mission in his space suit, with his helmet on the table in front of him. Behind him is a photograph of the lunar surface. NASA Photo  No. S69-31741, taken July 1, 1969.

Portrait of Astronaut Neil A. Armstrong (American, 1930-2012), commander of the Apollo 11 Lunar Landing Mission in his space suit, with his helmet on the table in front of him. Behind him is a photograph of the lunar surface. NASA Photo No. S69-31741, taken July 1, 1969.

CINCINNATI (AP) — Neil Armstrong made “one giant leap for mankind” with a small step onto the moon.

He commanded the historic landing of the Apollo 11 spacecraft on the moon July 20, 1969, capping the most daring of the 20th century’s scientific expeditions and becoming the first man to walk on the moon.

His first words after the feat are etched in history books and the memories of the spellbound millions who heard them in a live broadcast.

“That’s one small step for man, one giant leap for mankind,” Armstrong said. He insisted later that he had said “a” before man, but said he, too, couldn’t hear it in the version that went to the world.

Armstrong, who had bypass surgery earlier this month, died Saturday at age 82 from what his family said were complications of heart procedures. His family didn’t say where he died; he had lived in suburban Cincinnati.

He was “a reluctant American hero who always believed he was just doing his job,” his family said in a statement.

The moonwalk marked America’s victory in the Cold War space race that began Oct. 4, 1957, with the launch of the Soviet Union’s Sputnik 1, a 184-pound satellite that sent shock waves around the world. The accomplishment fulfilled a commitment President John F. Kennedy made for the nation to put a man on the moon before the end of 1960s.

Armstrong and Buzz Aldrin spent nearly three hours walking on the lunar surface, collecting samples, conducting experiments and taking photographs.

“The sights were simply magnificent, beyond any visual experience that I had ever been exposed to,” Armstrong once said.

In those first few moments on the moon, Armstrong stopped in what he called “a tender moment” and left a patch to commemorate NASA astronauts and Soviet cosmonauts who had died in action.

Although he had been a Navy fighter pilot, a test pilot for NASA’s forerunner and an astronaut, the modest Armstrong never allowed himself to be caught up in the celebrity and glamour of the space program.

“I am, and ever will be, a white socks, pocket protector, nerdy engineer,” he said in 2000 in one of his rare public appearances. “And I take a substantial amount of pride in the accomplishments of my profession.”

Rice University historian Douglas Brinkley, who interviewed Armstrong for NASA’s oral history project, said Armstrong fit every requirement the space agency needed for the first man to walk on moon, especially because of his engineering skills and the way he handled celebrity by shunning it.

“I think his genius was in his reclusiveness,” said Brinkley. “He was the ultimate hero in an era of corruptible men.”

Fellow Ohioan and astronaut John Glenn, one of Armstrong’s closest friends, recalled Saturday how Armstrong was on low fuel when he finally brought the lunar module Eagle down on the Sea of Tranquility.

“That showed a dedication to what he was doing that was admirable,” Glenn said.

A man who kept away from cameras, Armstrong went public in 2010 with his concerns about President Barack Obama’s space policy that shifted attention away from a return to the moon and emphasized private companies developing spaceships. He testified before Congress, and in an email to The Associated Press, Armstrong said he had “substantial reservations.”

Along with more than two dozen Apollo-era veterans, he signed a letter calling the plan a “misguided proposal that forces NASA out of human space operations for the foreseeable future.”

Armstrong was among the greatest of American heroes, Obama said in a statement.

“When he and his fellow crew members lifted off aboard Apollo 11 in 1969, they carried with them the aspirations of an entire nation. They set out to show the world that the American spirit can see beyond what seems unimaginable — that with enough drive and ingenuity, anything is possible,” Obama said.

Obama’s Republican opponent Mitt Romney echoed those sentiments, calling Armstrong an American hero whose passion for space, science and discovery will inspire him for the rest of his life.

“With courage unmeasured and unbounded love for his country, he walked where man had never walked before. The moon will miss its first son of earth,” Romney said.

NASA Administrator Charles Bolden recalled Armstrong’s grace and humility.

“As long as there are history books, Neil Armstrong will be included in them, remembered for taking humankind’s first small step on a world beyond our own,” Bolden said in a statement.

Armstrong’s modesty and self-effacing manner never faded.

When he appeared in Dayton in 2003 to help celebrate the 100th anniversary of powered flight, he bounded onto a stage before a packed baseball stadium. But he spoke for only a few seconds, did not mention the moon, and quickly ducked out of the spotlight.

He later joined Glenn, by then a senator, to lay wreaths on the graves of Wilbur and Orville Wright. Glenn introduced Armstrong and noted that day was the 34th anniversary of his moonwalk.

“Thank you, John. Thirty-four years?” Armstrong quipped, as if he hadn’t given it a thought.

At another joint appearance, Glenn commented: “To this day, he’s the one person on earth I’m truly, truly envious of.”

Armstrong’s moonwalk capped a series of accomplishments that included piloting the X-15 rocket plane and making the first space docking during the Gemini 8 mission, which included a successful emergency splashdown.

In the years afterward, Armstrong retreated to the quiet of the classroom and his southwestern Ohio farm. In an Australian interview earlier this year, Armstrong acknowledged that “now and then I miss the excitement about being in the cockpit of an airplane and doing new things.”

Glenn, who went through jungle training in Panama with Armstrong as part of the astronaut program, described him as “exceptionally brilliant” with technical matters but “rather retiring, doesn’t like to be thrust into the limelight much.”

The 1969 landing met an audacious deadline that President Kennedy had set in May 1961, shortly after Alan Shepard became the first American in space with a 15-minute suborbital flight. (Soviet cosmonaut Yuri A. Gagarin had orbited the Earth and beaten the U.S. into space the previous month.)

“I believe this nation should commit itself to achieving the goal, before the decade is out, of landing a man on the moon and returning him safely to Earth,” Kennedy had said. “No single space project in this period will be more impressive to mankind, or more important to the long-range exploration of space; and none will be so difficult or expensive to accomplish.”

The end-of-decade goal was met with more than five months to spare. “Houston: Tranquility Base here,” Armstrong radioed after the spacecraft settled onto the moon. “The Eagle has landed.”

“Roger, Tranquility,” Apollo astronaut Charles Duke radioed back from Mission Control. “We copy you on the ground. You’ve got a bunch of guys about to turn blue. We’re breathing again. Thanks a lot.”

The third astronaut on the mission, Michael Collins, circled the moon in the mother ship Columbia 60 miles overhead while Armstrong and Aldrin went to the moon’s surface.

“He was the best, and I will miss him terribly,” Collins said through NASA.

In all, 12 American astronauts walked on the moon before the last moon mission in 1972.

For Americans, reaching the moon provided uplift and respite from the Vietnam War, from strife in the Middle East, from the startling news just a few days earlier that a young woman had drowned in a car driven off a wooden bridge on Chappaquiddick Island by Sen. Edward Kennedy. The landing occurred as organizers were gearing up for Woodstock, the legendary three-day rock festival on a farm in the Catskills of New York.

Armstrong was born Aug. 5, 1930, on a farm near Wapakoneta in western Ohio. He took his first airplane ride at age 6 and developed a fascination with aviation that prompted him to build model airplanes and conduct experiments in a homemade wind tunnel.

As a boy, he worked at a pharmacy and took flying lessons. He was licensed to fly at 16, before he got his driver’s license.

Armstrong enrolled in Purdue University to study aeronautical engineering but was called to duty with the U.S. Navy in 1949 and flew 78 combat missions in Korea.

After the war, Armstrong finished his degree from Purdue and later earned a master’s degree in aerospace engineering from the University of Southern California. He became a test pilot with what evolved into the National Aeronautics and Space Administration, flying more than 200 kinds of aircraft from gliders to jets.

Armstrong was accepted into NASA’s second astronaut class in 1962 — the first, including Glenn, was chosen in 1959. He commanded the Gemini 8 mission in 1966, bringing back the capsule back in an emergency landing in the Pacific Ocean when a wildly firing thruster kicked it out of orbit.

Aldrin said he and Armstrong were not prone to free exchanges of sentiment.

“But there was that moment on the moon, a brief moment, in which we sort of looked at each other and slapped each other on the shoulder … and said, ‘We made it. Good show,’ or something like that,” Aldrin said.

An estimated 600 million people — a fifth of the world’s population — watched and listened to the landing, the largest audience for any single event in history.

Parents huddled with their children in front of the family television, mesmerized by what they were witnessing. Farmers abandoned their nightly milking duties, and motorists pulled off the highway and checked into motels just to see the moonwalk.

Television-less campers in California ran to their cars to catch the word on the radio. Boy Scouts at a camp in Michigan watched on a generator-powered television supplied by a parent.

Afterward, people walked out of their homes and gazed at the moon, in awe of what they had just seen. Others peeked through telescopes in hopes of spotting the astronauts.

In Wapakoneta, media and souvenir frenzy was swirling around the home of Armstrong’s parents.

“You couldn’t see the house for the news media,” recalled John Zwez, former manager of the Neil Armstrong Air and Space Museum. “People were pulling grass out of their front yard.”

Armstrong, Aldrin and Collins were given ticker tape parades in New York, Chicago and Los Angeles and later made a 22-nation world tour. A homecoming in Wapakoneta drew 50,000 people to the city of 9,000.

In 1970, Armstrong was appointed deputy associate administrator for aeronautics at NASA but left the following year to teach aerospace engineering at the University of Cincinnati.

He remained there until 1979 and during that time bought a 310-acre farm near Lebanon, where he raised cattle and corn. He stayed out of public view, accepting few requests for interviews or speeches.

In 2000, when he agreed to announce the top 20 engineering achievements of the 20th Century as voted by the National Academy of Engineering, Armstrong mentioned one disappointment relating to his moonwalk.

“I can honestly say — and it’s a big surprise to me — that I have never had a dream about being on the moon,” he said.

From 1982 to 1992, Armstrong was chairman of Charlottesville, Va.-based Computing Technologies for Aviation Inc., a company that supplies computer information management systems for business aircraft.

He then became chairman of AIL Systems Inc., an electronic systems company in Deer Park, N.Y.

Armstrong married Carol Knight in 1999, and the couple lived in Indian Hill, a Cincinnati suburb. He had two adult sons from a previous marriage.

Armstrong’s is the second death in a month of one of NASA’s most visible, history-making astronauts. Sally Ride, the first American woman in space, died of pancreatic cancer on July 23 at age 61.

Just prior to the 50th anniversary of Glenn’s orbital flight this past February, Armstrong offered high praise to the elder astronaut. Noted Armstrong in an email: “I am hoping I will be ‘in his shoes’ and have as much success in longevity as he has demonstrated.” Glenn is 91.

At the Griffith Observatory in Los Angeles on Saturday, visitors held a minute of silence for Armstrong.

For anyone else who wanted to remember him, his family’s statement made a simple request:

“Honor his example of service, accomplishment and modesty, and the next time you walk outside on a clear night and see the moon smiling down at you, think of Neil Armstrong and give him a wink.”

___

Borenstein reported from Washington. Associated Press writer Steve Peoples in New Hampshire and AP Science Writers Alicia Chang in Los Angeles and Marcia Dunn in Cape Canaveral, Fla., contributed to this report.

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Copyright 2012 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


ADDITIONAL IMAGE OF NOTE


Portrait of Astronaut Neil A. Armstrong (American, 1930-2012), commander of the Apollo 11 Lunar Landing Mission in his space suit, with his helmet on the table in front of him. Behind him is a photograph of the lunar surface. NASA Photo  No. S69-31741, taken July 1, 1969.

Portrait of Astronaut Neil A. Armstrong (American, 1930-2012), commander of the Apollo 11 Lunar Landing Mission in his space suit, with his helmet on the table in front of him. Behind him is a photograph of the lunar surface. NASA Photo No. S69-31741, taken July 1, 1969.

Fine and rare Chinese zitan table, 62 1/4 inches wide x 25 3/4 inches deep. Estimate: $100,000-$150,000. Neal Auction Co. image.

Neal Auction to sell Gothic Revival collection Sept. 15-16

Fine and rare Chinese zitan table, 62 1/4 inches wide x 25 3/4 inches deep. Estimate: $100,000-$150,000. Neal Auction Co. image.

Fine and rare Chinese zitan table, 62 1/4 inches wide x 25 3/4 inches deep. Estimate: $100,000-$150,000. Neal Auction Co. image.

NEW ORLEANS – Neal Auction Co. will present property from the estate of Lee B. Anderson (1918-2010) within its Important Estates Auction Sept 15-16 – rescheduled from Sept. 8-9 because of Hurricane Isaac. LiveAuctoineers.com will provide Internet live bidding.

The Anderson Collection is a rich and densely layered treasure trove of 19th century furniture, paintings and decorative arts removed from Anderson’s historic 1855 Manhattan townhouse.

Neal Auction Co.’s two-day Important Estates Auction features two single-owner sequences of Anderson property, which begin each day’s auction – Saturday, Sept. 15, lots 1 through 222 and Sunday, Sept. 16, lots 781 through 998. Each sequence features important decorative objects and examples of American Gothic furniture, many of which were exhibited in the landmark 1976 exhibition, “The Gothic Revival Style in America, 1830-1870,” at the Museum of Fine Arts, Houston, as well as illustrated in Dubrow, American Furniture of the 19th Century; Calloway, Obsessions: Collectors and Their Passion; Sherrill, “Living with Antiques,” The Magazine Antiques, May, 1976; and Lebow, “A Gothic Tale,” House and Garden, May, 1987.

Called the American Gothic furniture éminence grise, Anderson was widely considered one of the foremost collectors of Gothic Revival in America. In 1976 seminal work on the subject, The Gothic Revival Style in America, 1830-1870, Katherine Howe and David Warren begin their acknowledgments: “Lee B. Anderson, who probably knows more about America’s Gothic Revival than anyone else, has shared both his knowledge and his collection with us.”

In her 1987 New York Times article “Evocative Gothic: Revival Amid the Gloom,” Patricia Leigh Brown writes that Anderson began his collection of Gothic furniture in the early 1970s, finding it “tranquil and restful” and being attracted to its “sculptural quality.” In obsession: collectors and their passions, Stephen Callaway describes Anderson as having “a great eye, even better judgment, and an amount of daring, buying works just before they became fashionable.”

Property from the Estate of Lee B. Anderson is being sold for the benefit of the Lee B. Anderson Memorial Trust.

Neal Auction Co. will also present lots 614 to 760, a fine selection of important Chinese furniture and decorative objects within its September Important Estates Auction. The collections offered include ceramics, porcelain, jade and glass acquired during the 1920s and descended in the New Orleans family of New York socialite Madelyn Cohn Cahn Conne Kiam Kreisler (1890-1975); a fine selection of ivory and coral carvings from a West Coast antiquarian; as well as rare and impressive examples of zitan and huanghuali furniture from the Aixinjueluo (Aisin Gioro) Collection.

Visit www.liveauctioneers.com to view lots from the Sept. 15 and 16 Important Estates Auction online.

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


Fine and rare Chinese zitan table, 62 1/4 inches wide x 25 3/4 inches deep. Estimate: $100,000-$150,000. Neal Auction Co. image.

Fine and rare Chinese zitan table, 62 1/4 inches wide x 25 3/4 inches deep. Estimate: $100,000-$150,000. Neal Auction Co. image.

Fine American painted and parcel gilt rosewood grand action harp, circa 1850, R. & L. Lewis, New York. Estimate: $4,000-$6,000. Neal Auction Co. image.

Fine American painted and parcel gilt rosewood grand action harp, circa 1850, R. & L. Lewis, New York. Estimate: $4,000-$6,000. Neal Auction Co. image.

Extraordinary American cast-iron bird house of Clifton House on Roslyn Harbor, circa 1868, ‘Miller Iron Co., Prov. R.I., PAT’d Apr. 14. 1868.’ Estimate: $2,500-$3,500. Neal Auction Co. image.

Extraordinary American cast-iron bird house of Clifton House on Roslyn Harbor, circa 1868, ‘Miller Iron Co., Prov. R.I., PAT’d Apr. 14. 1868.’ Estimate: $2,500-$3,500. Neal Auction Co. image.

  Chinese coral figural group, 9 1/2 inches high. Estimate: $5,000-$7,000. Neal Auction Co. image.

Chinese coral figural group, 9 1/2 inches high. Estimate: $5,000-$7,000. Neal Auction Co. image.

Gorham Circa ’70 sterling silver tea and coffee service designed by Donald Colflesh, circa 1958, Estimate: $20,000-$30,000. Neal Auction Co. image.

Gorham Circa ’70 sterling silver tea and coffee service designed by Donald Colflesh, circa 1958, Estimate: $20,000-$30,000. Neal Auction Co. image.

Hermann Herzog (American/German, 1832-1932), ‘Voringfoss,’ oil on canvas, signed, 22 x 31 inches. Estimate: $10,000-$15,000. Neal Auction Co. image.

Hermann Herzog (American/German, 1832-1932), ‘Voringfoss,’ oil on canvas, signed, 22 x 31 inches. Estimate: $10,000-$15,000. Neal Auction Co. image.

Attributed to Alonzo Chappel (American, 1828-1887), ‘Molly Pitcher at the Battle on Monmouth,’ oil on canvas, sight 32 1/2 x 48 inches. Estimate: $8,000-$12,000. Neal Auction Co. image.

Attributed to Alonzo Chappel (American, 1828-1887), ‘Molly Pitcher at the Battle on Monmouth,’ oil on canvas, sight 32 1/2 x 48 inches. Estimate: $8,000-$12,000. Neal Auction Co. image.

Henri De Lattre (French, 1801-1867, act. America, 1850-1855), ‘Prized Thoroughbreds and Cattle,’ 1854, signed, 31 1/4 x 48 3/8 inches. Estimate: $25,000-$35,000. Neal Auction Co. image.

Henri De Lattre (French, 1801-1867, act. America, 1850-1855), ‘Prized Thoroughbreds and Cattle,’ 1854, signed, 31 1/4 x 48 3/8 inches. Estimate: $25,000-$35,000. Neal Auction Co. image.

Stollwerck and Chiclets vending machine designed to dispense both chocolate candy and chewing gum; porcelain with wood back, $28,200. Morphy Auctions image.

Antique vending machine hits the sweet spot at Morphy’s, Aug. 10-11

Stollwerck and Chiclets vending machine designed to dispense both chocolate candy and chewing gum; porcelain with wood back, $28,200. Morphy Auctions image.

Stollwerck and Chiclets vending machine designed to dispense both chocolate candy and chewing gum; porcelain with wood back, $28,200. Morphy Auctions image.

DENVER, Pa. – An all-original antique vending machine that dispensed both Stollwerck Chocolate and Chiclets chewing gum topped the 1,100-lot lineup at Morphy Auctions’ Aug. 10-11 sale of antique advertising and mechanical music. Adorned with beautiful porcelain panels on its front and sides, the near-mint machine handily surpassed its $10,000-$15,000 estimate to serve up a winning bid of $28,000. In all, the auction achieved $756,000 inclusive of 20% buyer’s premium. Online bidding was facilitated by LiveAuctioneers.com.

Soda pop advertising made a strong statement in the sale’s top 10, with a scarce 1920s Coca-Cola bottle-shape lamp earning an above-estimate $12,000. The red, white and green 20¼-inch-tall lamp was a line-for-line scale model of a Coke bottle, complete with metal cap and the trademark and registration notice below the flowing-script logo.

Two figural metal school crossing signs promoting soft drinks were among the top 10 lots. A rare 1955 sign depicting a policeman holding a “Slow – School Zone” paddle served as an eye-catching advertisement for 7UP. Estimated at $4,000-$6,000, it was bid to $9,000. Similarly estimated and also realizing $9,000 was a rare Pepsi-Cola patrol boy school crossing sign with a base designed as a Pepsi bottle cap.

A selection of antique occupational shaving mugs was offered, with one lot, in particular, producing an unexpectedly fine result. In near-mint condition, a mug with an image of a man pushing a street cleaner’s cart with shovel inspired collectors to bypass the $600-$900 estimate and chase the rarity to an astonishing $11,400.

“This is a category that grows stronger with every collection we bring to market,” said Morphy Auctions CEO Dan Morphy. “There are a lot of new collectors coming into the occupational shaving mug hobby.”

The Friday session was highlighted by music machines and other coin ops. A visually appealing Rol-A-Top 10-cent twin jackpot machine adorned with repousse cherries on its front panel led the offering. An older restoration, it sold within estimate for $6,000.

The auction also included more than 80 apothecary antiques from a Philadelphia pharmacy that closed many years ago. An extremely rare 15-inch “teardrop” apothecary jar with Greek key motif, described in the auction catalog as being in mint condition, easily surpassed its $2,500-$4,000 estimate to sell for $5,700.

There was no shortage of bidders for the many advertising signs in the sale, which ran the gamut of household and tobacco products; alcoholic beverages and sporting goods. An early 20th-century reverse-on-glass sign promoting I.W. Harper Whiskey retained its original wood frame with a metal tag that said “The Kind Your Grandfather Used.” It hit the midpoint of its estimate at $9,000. A celluloid-over-cardboard sign of a pretty lady applying Murine eye drops to her eyes commanded six times its high estimate – $3,600.

To contact Morphy Auctions, call 717-335-3435 or e-mail serena@morphyauctions.com.

View the fully illustrated catalog for Morphy’s Aug. 10-11 auction, complete with prices realized, at www.LiveAuctioneers.com.

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


ADDITIONAL LOTS OF NOTE


Stollwerck and Chiclets vending machine designed to dispense both chocolate candy and chewing gum; porcelain with wood back, $28,200. Morphy Auctions image.

Stollwerck and Chiclets vending machine designed to dispense both chocolate candy and chewing gum; porcelain with wood back, $28,200. Morphy Auctions image.

Antique occupational shaving mug with image of street cleaner, $11,400. Morphy Auctions image.

Antique occupational shaving mug with image of street cleaner, $11,400. Morphy Auctions image.

‘Teardrop’ Greek key apothecary jar, 15 inches with original lid, $5,700. Morphy Auctions image.

‘Teardrop’ Greek key apothecary jar, 15 inches with original lid, $5,700. Morphy Auctions image.

Celluloid-over-cardboard sign advertising Murine eye-care products, $3,600. Morphy Auctions image.

Celluloid-over-cardboard sign advertising Murine eye-care products, $3,600. Morphy Auctions image.

Rol-A-Top cherry-front 10-cent coin-op jackpot machine, $6,000. Morphy Auctions image.

Rol-A-Top cherry-front 10-cent coin-op jackpot machine, $6,000. Morphy Auctions image.

School zone sign advertising 7UP soft drink, $9,000. Morphy Auctions image.

School zone sign advertising 7UP soft drink, $9,000. Morphy Auctions image.

Pepsi-Cola patrol boy school crossing sign, $9,000. Morphy Auctions image.

Pepsi-Cola patrol boy school crossing sign, $9,000. Morphy Auctions image.

1920s Coca-Cola bottle-shape lamp, 20¼ inches tall, $12,000. Morphy Auctions image.

1920s Coca-Cola bottle-shape lamp, 20¼ inches tall, $12,000. Morphy Auctions image.

Early 20th century reverse-on-glass sign advertising I.W. Harper Whiskey, $9,000. Morphy Auctions image.

Early 20th century reverse-on-glass sign advertising I.W. Harper Whiskey, $9,000. Morphy Auctions image.

Image courtesy of Woodbury Auction.

New England estates enrich Woodbury auction Sept. 16

Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

WOODBURY, Conn. – On Sunday, Sept.16, over 500 lots of fine and decorative arts from estates and consignors from Connecticut, New York, New Jersey, and Massachusetts will cross the block at Woodbury Auction. The sale is being held at 11 a.m. EDT. LiveAuctioneers.com will provide Internet live bidding.

Among the highlights of the auction is an original sterling silver brooch by Alexander Calder, whose workshop was in Roxbury, Conn. The brooch, never before offered for sale, was given by the artist in the 1960s to Winifred McCulloch, noted New York scholar and educator, and was bequeathed by McCulloch to the consignor. According to Thomas Schwenke, owner/auctioneer, the item – fashioned in the form of Winifred McCulloch’s initials – was consigned after the firm’s successful marketing of two original Calder sterling silver jewelry pieces in the June 17 annual Spring Fine Estates Auction.

Several bronzes are on offer in the sale, including two notable works from a Connecticut private collection, one attributed to Elie Nadelman (Poland 1882-1946), a bronze draped female figure, semi-nude with arms raised, 22 1/2 inches high, set on an oval base inscribed “JNO Williams Inc. – Bronze Foundry, N.Y.” and an abstract mythological bronze Leda and the Swan,” 11 1/2 inches high, by Rubin Nakian (American 1897-1986), on a rectangular base, inscribed “RBW Inc.,” foundry mark for Roman Bronze Works Inc., New York.

Among the rarest lots in the sale is a framed toile fabric section from original English yard goods in red and white, titled The Apotheosis of Franklin showing Gen. George Washington driving a leopard-drawn chariot with an allegorical figure of America holding a plaque inscribed “American Independence 1776.”

Local Woodbury history buffs will find delight in William Cothren’s personal bound collection of Civil War era sheet music, comprising 102 pieces of music for piano and voice, including an extremely scarce copy of the Stephen Foster’s work Maggie by My Side together with other patriotic songs of the era, many with pictorial covers and signed, overall 300 pages, together with a hand written index.

Also on offer is a signed limited 10th Anniversary edition of Atlas Shrugged, numbered 1,000 of only 2,000 copies, signed by Ayn Rand on the limitation page, published by New York: Random House, 1967, in original blue cloth and original slipcase.

Nantucket interest is represented by a Jose Formosa Reyes Nantucket lightship basket purse, the lid with ivory whale on an ebony plaque.

Fine sterling silver lots to be sold include a Schofield Co. boxed sterling silver partial flatware service in the Elizabeth Tudor – Hammered pattern, comprising 97 pieces total, 108.85 ounces weighable silver; a Schofield Co. round footed bowl in the Balto-Rose pattern, 16.54 troy ounces; a Tiffany & Co. sterling silver fruit serving bowl with foliate edge in the Clover pattern, engraved “New England Pony Club – Perpetual Challenge Trophy – High Score Pony Award,” weighing 25.38 troy ounces; and several fine pieces of Mexican sterling silver hollowware.

Other noteworthy lots include a large group of British campaign furniture and a collection of vintage leather automobile cases and picnic cases from the Adolph estate. Adolph was a co-owner of British Country Antiques in Woodbury for many years, and was a noted Bentley motorcar enthusiast. The sale also features numerous lots of Bentley memorabilia, catalogs, books, tools and automobile parts and paraphernalia from the extensive Adolph collection.

Among the many fine pieces of period furniture in the sale are an 18th century paint decorated Scandinavian dome top secretary with applied molded decoration in original untouched condition, previously in storage for many years, and a vigorously figured tiger maple miniature American chest.

The sale also features fine antique porcelain, including a Meissen porcelain monkey figure, a pair of Meissen covered vegetable dishes, a pair of reticulated Paris porcelain pots, a pair of Rosenthal “paper bag” vases, and several Staffordshire figures. Asian porcelains include a pair of large enameled urns on stands, a rare Asian pierced porcelain lantern, a large early Chinese porcelain vase, and several Imari porcelain chargers.

The sale will be broadcast live through LiveAuctioneers. For details call Woodbury Auction at 203-266-0323.

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


Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

Image courtesy of Woodbury Auction.

Antoine-Louis Barye (French, 1796-1875), bronze ‘Lion au serpent (Salon de 1833),’ 15 1/2 x 20 1/2 x 11 inches. Estimate: $10,000-$15,000. Skinner Inc. image.

Skinner Inc. to devote entire day to fine art sale Sept. 7

Antoine-Louis Barye (French, 1796-1875), bronze ‘Lion au serpent (Salon de 1833),’ 15 1/2 x 20 1/2 x 11 inches. Estimate: $10,000-$15,000. Skinner Inc. image.

Antoine-Louis Barye (French, 1796-1875), bronze ‘Lion au serpent (Salon de 1833),’ 15 1/2 x 20 1/2 x 11 inches. Estimate: $10,000-$15,000. Skinner Inc. image.

BOSTON – Skinner Inc. will auction prints, photographs, paintings and sculpture on Friday, Sept. 7, in two sessions at its Boston gallery. The prints and photography portion of the sale will begin at noon EDT, the painting and sculpture portion will begin at 4 p.m. LiveAuctioneers.com will provide Internet live bidding.

The Skinner Fine Prints department offers a broad array of fine prints, photography and multiples spanning the 17th to 21st centuries. The September sale will feature an excellent assortment of works and is highlighted by Spanish artist Joan Miró’s La Fronde (lot 147, estimated between $20,000 and $30,000). Works by Roy Lichtenstein are also well represented. Highlights include Pyramids (lot 124, $7,000 to $9,000), commissioned for the Print Collectors of the Friends of Art, Kansas City, Mo. – a group associated with the Nelson-Atkins Museum of Art, Kansas City, Shipboard Girl from 1965 (lot 122, $7,000 to $9,000), and the quintessential Lichtenstein cartoon pop-art piece titled . . . Huh? (lot 125, $7,000 to $9,000).

Ansel Adams’s photograph Dawn, Autumn, Great Smoky Mountains National Park, Tennessee from 1948 (lot 211, $8,000 to $12,000) is one of an impressive group of works by the artist to be featured. Others include Zabriskie Point, Death Valley National Monument from 1942 (lot 210, $4,000 to $6,000), and Dead Tree, Sunset Crater National Monument, Arizona from 1947 (lot 213, $3,000 to $5,000). Adams is recognized for his magnificent use of burning and dodging techniques to create the rich look of his iconic landscapes.

Four works by Henri Cartier-Bresson will be offered, including Abruzzo, Aquila from 1951 (lot 221, $8,000 to $10,000) and Bougival, Yvelines, France from 1956 (lot 222, $7,000 to $9,000). Cartier-Bresson sought the spontaneous and unscripted moments in life, and did so without any sort of manipulation of his images. He refused to use filters and rarely even cropped his compositions once he had taken the picture.

An interesting collection of surreal images by Jerry Uelsmann acquired from a private estate will be offered. The two untitled works include one depicting a double-spired stump (lot 252, $1,000 to $1,500) and another of a “floating tree” (lot 250, $1,000 to $1,500).

Fine paintings in the sale range from old masters to contemporary artists. The cover lot, Nude (Giverny) by Frederick Carl Frieseke (lot 614, $60,000 to $80,000), was painted during the artist’s first years in Giverny and demonstrates the influence of Impressionism, and, specifically, Renoir and Monet. Frieseke was a key figure of the Giverny Group, a cadre of American artists working in France in the early 20th century.

Willem Claesz Heda’s Still Life with Tazza, Peeled Lemon, and Roemer (lot 300, $30,000 to $50,000) is a fine example of the Dutch master’s skill at introducing a hint of disorder into the otherwise characteristically serene still life. Heda is known for keenly observed compositions rendered in delicate gray and silver tones, set against gray-green backgrounds. His works brilliantly capture the depth of textures and surfaces.

A number of beautiful American still lifes, including fine examples from the Fall River School, will also be featured. Highlights include William Mason Brown’s Fruit Still Life En Plein Air (lot 438, $40,000 to $60,000), Robert Spear Dunning’s Tabletop Still Life with Fruit (lot 439, $30,000 to $50,000) and Still Life with Apples, Pears, Peaches, Plum, Orange and Grapes by Bryant Chapin (lot 440, $6,000 to $8,000).

The sale features a strong set of marine paintings from an important Cincinnati collection. Highlights include Queen of the Seas by William Bradford (lot 416, $120,000 to $180,000), USS Pennsylvania by Thomas Birch (lot 415, $20,000 to $30,000), and New Bedford Harbor at Sunset by Charles Henry Gifford (lot 414, $15,000 to $20,000).

Walasse Ting’s Milky Way (lot 712, $30,000 to $40,000) leads offerings of contemporary works. Ting was committed to Abstract Expressionism well beyond its heyday; however, his interpretation is uniquely lighthearted. Ting’s work makes use of Day-Glo colors and luscious subject matter. His joyful, life-affirming approach presents a more innocent view of the world than those of his close friends Karel Appel and Pierre Alechinsky. Ting’s world is filled with simple pleasures and natural themes: a summer rainstorm, a field of flowers or constellations in the sky.

A notable pencil drawing by the visionary outsider artist Martin Ramirez, Untitled, depicts a deer (lot 718, $120,000 to $140,000). After living as a poor farmer in Mexico, Ramirez immigrated to California where he worked on railroads and mines. Institutionalized and diagnosed as manic-depressive, Ramirez was a self-taught artist who often drew pictures to send to his family back in Mexico.

Sculpture offerings are highlighted by an impressive grouping by Frenchman Antoine-Louis Barye. One example, Lion au serpent (lot 357, $10,000 to $15,000) demonstrates Barye’s abilities as a keen observer of animals and is illustrative of his mastery of detail.

Other noteworthy sculptures include Harriet Whitney Frishmuth’s bronze Play Days (lot 612, $12,000 to $18,000) and Paul Howard Manship’s Young Minerva (lot 613, $30,000 to $50,000). In 1911, Manship was immersed in three years of study at the American Academy in Rome, having been awarded the American Prix de Rome in 1909. He returned to New York in the fall of 1912. In February 1913 the American Academy in Rome presented an exhibition of works by Manship and two other Fellows at the Architectural League in New York, where Manship showed 10 pieces done in Rome, including Young Minerva, to critical acclaim.

For details call 508-970-3240

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


Antoine-Louis Barye (French, 1796-1875), bronze ‘Lion au serpent (Salon de 1833),’ 15 1/2 x 20 1/2 x 11 inches. Estimate: $10,000-$15,000. Skinner Inc. image.

Antoine-Louis Barye (French, 1796-1875), bronze ‘Lion au serpent (Salon de 1833),’ 15 1/2 x 20 1/2 x 11 inches. Estimate: $10,000-$15,000. Skinner Inc. image.

Joan Miró (Spanish, 1893-1983), ‘La Fronde,’ 1969, color etching with aquatint and carborundum on paper, sheet size 41 3/4 x 27 1/2 inches. Estimate: $20,000-$30,000. Skinner Inc. image.

Joan Miró (Spanish, 1893-1983), ‘La Fronde,’ 1969, color etching with aquatint and carborundum on paper, sheet size 41 3/4 x 27 1/2 inches. Estimate: $20,000-$30,000. Skinner Inc. image.

Ansel Adams (American, 1902-1984), ‘Dawn, Autumn, Great Smoky Mountains National Park, Tennessee,’ 1948, probably a later printing, signed ‘Ansel Adams’ in pencil on the mount image/sheet size 19 1/8 x 13 5/8 inches. Estimate: $8,000-$12,000. Skinner Inc. image.

Ansel Adams (American, 1902-1984), ‘Dawn, Autumn, Great Smoky Mountains National Park, Tennessee,’ 1948, probably a later printing, signed ‘Ansel Adams’ in pencil on the mount image/sheet size 19 1/8 x 13 5/8 inches. Estimate: $8,000-$12,000. Skinner Inc. image.

Frederick Carl Frieseke (American, 1874-1939), ‘Nude’ (Giverny), circa 1906, signed ‘F.C. Frieseke,’ oil on canvas, 24 x 19 3/4 inches. Estimate: $60,000-$80,000. Skinner Inc. image.

Frederick Carl Frieseke (American, 1874-1939), ‘Nude’ (Giverny), circa 1906, signed ‘F.C. Frieseke,’ oil on canvas, 24 x 19 3/4 inches. Estimate: $60,000-$80,000. Skinner Inc. image.

Willem Claesz Heda (Dutch, 1594-circa 1680), ‘Still Life with Tazza, Peeled Lemon and Roemer,’ 1630, unsigned, oil on cradled panel. Estimate: $30,000-$50,000. Skinner Inc. image.

Willem Claesz Heda (Dutch, 1594-circa 1680), ‘Still Life with Tazza, Peeled Lemon and Roemer,’ 1630, unsigned, oil on cradled panel. Estimate: $30,000-$50,000. Skinner Inc. image.

Harriet Whitney Frishmuth (American, 1880-1980), ‘Play Days,’ 1925, signed, dated, and foundry stamped, 22 3/8 x 7 x 8 1/8 inches. Estimate: $12,000-$18,000. Skinner Inc. image.

Harriet Whitney Frishmuth (American, 1880-1980), ‘Play Days,’ 1925, signed, dated, and foundry stamped, 22 3/8 x 7 x 8 1/8 inches. Estimate: $12,000-$18,000. Skinner Inc. image.

The great kiva in the ruins of Chetro Ketl, Chaco Canyon, in northwest New Mexico. Image courtesy of Wikimedia Commons.

Archaeology students hope to find Anasazi kiva in N.M.

The great kiva in the ruins of Chetro Ketl, Chaco Canyon, in northwest New Mexico. Image courtesy of Wikimedia Commons.

The great kiva in the ruins of Chetro Ketl, Chaco Canyon, in northwest New Mexico. Image courtesy of Wikimedia Commons.

FARMINGTON, N.M. (AP) – Researchers speculate that one of the largest Anasazi ruins in the area still lies buried by the banks of the San Juan River on Tommy Bolack’s B-Square Ranch.

San Juan College offers students and community members the opportunity to participate in the active archaeological dig, uncovered each summer from the rocks and dust where the bluffs come to a point along the riverbank.

It is unremarkable to the untrained eye, but for program director Linda Wheelbarger, her students and Bolack, it offers an opportunity to change the way we think about San Juan County’s past.

The Totah Archaeological Project 2012 Field School completed excavation July 13 on the Point site, one of the only active Chacoan great kiva sites.

The six-week field school session, which is led by Wheelbarger, contributes to research on Chacoan Anasazi culture in the northwestern New Mexico area.

“It’s very exciting, working on this great kiva,” Wheelbarger said. “Most of these sites were excavated in the ’20s and ’30s, like the great kiva excavated in 1921 by Earl Morris at Aztec (Ruins National Monument).”

The dig unearthed more than 30 beads and a ring made of a coal-type material.

“I think that this (kiva) is a Chaco outlier, but I think that it was made by people that lived here rather than by people that came up from Chaco Canyon,” she said.

Although this find might seem meager to most people, Wheelbarger speculates that the great kiva at the Point site was the centerpiece of a large settlement mirroring the ruins found at Chaco Canyon, and that many large sites may still lie buried where the San Juan River passes the bluffs.

“It was very interesting, having lived in this area all my life, but I didn’t know how rich it was,” intern Jacob Schirer said. “When I was little, I’d go to (Bolack’s) museum, but I didn’t know there were ruins out at the bluffs. There aren’t very many kivas in active excavation at this time, so it’s exciting to be able to say that I’m participating in one.”

Schirer said he’s been interested in archaeology from a young age, and that the most exciting part of being in the lab is piecing together fragments of vessels found at the Point site.

“The one I’m looking at now is corrugated, and it’s fun to see it come together into what it used to be,” he said. “It’s definitely an experience I won’t forget.”

This year’s dig attracted 11 students and five interns this summer, three of whom are local.

“I try and do a complete field school experience,” Wheelbarger said. “Most jobs are in (archeological) surveying, so I have my students do a lot of surveying. I take them on a lot of trips, to Mesa Verde, Chaco Canyon, Aztec Ruins and Salmon Ruins. We do a firing and make pots. We are expecting some wonderful artifacts on (his) ranch. Unfortunately those bluffs are made of very unconsolidated sandstone. It covers up the site during the winter.”

The Totah Archaeological Project arose out of Bolack’s discovery of his first Anasazi black-on-white bowl in an irrigation furrow in an onion field in 1959.

He first attempted to begin research and field school possibilities on the B-Square Ranch in 1972, and he engaged in a dig until 1974 when funding ran out.

Bolack, in 1998, partnered with San Juan College and the Totah Archaeological Project was established a year later.

“They’re trying to restore (the kiva),” Bolack said. “According to the measurements, it might be bigger than the one in Aztec. We’re trying to dig it all the way. I’m hopeful that we may find something interesting out there. There’s quite a settlement there, underneath all that alluvial field. Who knows, there might be another Earl Morris (find).”

___

Information from: The Daily Times, http://www.daily-times.com

Copyright 2012 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-08-22-12 0805GMT


ADDITIONAL IMAGE OF NOTE


The great kiva in the ruins of Chetro Ketl, Chaco Canyon, in northwest New Mexico. Image courtesy of Wikimedia Commons.

The great kiva in the ruins of Chetro Ketl, Chaco Canyon, in northwest New Mexico. Image courtesy of Wikimedia Commons.

The Christopher Columbus statue stands atop the monument on Columbus Circle in New York City. This file is licensed under the Creative Commons Attribution-Share Alike 3,0 Unported license.

Japanese artist discovers new vision for Columbus statue

The Christopher Columbus statue stands atop the monument on Columbus Circle in New York City. This file is licensed under the Creative Commons Attribution-Share Alike 3,0 Unported license.

The Christopher Columbus statue stands atop the monument on Columbus Circle in New York City. This file is licensed under the Creative Commons Attribution-Share Alike 3,0 Unported license.

NEW YORK (AP) – A Japanese artist is inviting the public to have an intimate view of Christopher Columbus high above a hectic intersection in midtown Manhattan.

Tatzu Nishi is constructing a contemporary living room on top of the Columbus Monument in Columbus Circle, where a 13-foot statue of Columbus is perched on a six-story column in the middle of a plaza where five busy streets intersect by an entrance to Central Park.

Some Italian-Americans say the art project makes a mockery of the great explorer and trivializes history.

Discovering Columbus, commissioned by the nonprofit Public Art Fund, is a free exhibition that will run from Sept. 20 to Nov. 18.

Nishi has encased the 70-foot-tall column in scaffolding and is in the process of erecting the living room – complete with couch, coffee table and lamps – around the figure of Columbus.

Visitors will climb stairs to reach the living room, where they will have a bird’s-eye view of the city and Central Park. An elevator will be available for those who can’t climb the stairs.

“Encasing this majestic statue in a cocoon of conceptual art demeans the community and trivializes history,” said Rosario Iaconis, chairman of the Italic Institute of America, an education think tank that represents about 1,000 Italians nationwide.

The fund said it received no objections to the art installation from other Italian groups, including the Columbus Citizens Foundation, a 600-member organization that sponsors the annual New York City Columbus Day Parade; the 50,000-member National Italian American Foundation in Washington, D.C.; and the Italian counsel general in New York.

But John Mancini, executive director of the Italic Institute, said those groups “didn’t look very carefully at the fine print, which is it makes a mockery of ‘The Admiral of the Ocean Sea.’”

“If the artist had attempted to stage a living room set around the Lincoln Memorial or the Martin Luther King memorial … sensitivities would have been aroused,” he added. “It’s buffoonery masquerading as art.”

Nicholas Baume, director and chief curator of the Public Art Fund, said he believed people’s response to the piece will be different once they see it.

“What Nishi’s work is all about is drawing attention and giving access to the public to urban monuments, statues and architectural details that they wouldn’t normally have access to and to present it in a new way that gives it a contemporary relevance and opens our eyes to something that is perhaps overlooked,” he said.

“So I think far from disrespecting the Columbus Monument, it will eventually raise the awareness of the monument in leaps and bounds,” while giving the public an up-close view of “this quite majestic, carved, marble 19th-century sculpture,” Baume added.

In response to criticism that the installation lacked any educational component, he said: “This is not a history project. It’s important to understand that it’s a contemporary art project, this artist’s vision.”

The city is providing $1 million for the conservation of the monument – a restoration project that will make use of the scaffolding around the privately funded installation.

Discovering Columbus will give people from all over the world the opportunity to come face-to-face with a majestic work of art normally seen from afar while allowing for the restoration of the Columbus Monument,” said Frank Fusaro, president of the Columbus Citizens Foundation, which in 1987 raised $400,000 toward the renovation of the monument.

Said John Calvelli, secretary of the National Italian American Foundation, “It opens up an opportunity to have a dialogue about the role of Christopher Columbus.”

Discovering Columbus is Nishi’s first public art project in the United States. He’s internationally known for transforming historical monuments by surrounding them with domestic spaces. His other works include Villa Victoria, a temporary functioning hotel around a statue of Queen Victoria for the 2002 Liverpool Biennial.

Visitors will be required to reserve passes in advance to climb to the living room.

Copyright 2012 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-08-22-12 1345GMT


ADDITIONAL IMAGE OF NOTE


The Christopher Columbus statue stands atop the monument on Columbus Circle in New York City. This file is licensed under the Creative Commons Attribution-Share Alike 3,0 Unported license.

The Christopher Columbus statue stands atop the monument on Columbus Circle in New York City. This file is licensed under the Creative Commons Attribution-Share Alike 3,0 Unported license.

Andy Warhol, 'Nine Jackies,' 1964, acrylic and silkscreen on canvas. The Metropolitan Museum of Art, Gift of Halston, 1983 (1983.606.14-22). Copyright 2012 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.

Met announces ‘Regarding Warhol: Sixty Artists, Fifty Years’

Andy Warhol, 'Nine Jackies,' 1964, acrylic and silkscreen on canvas. The Metropolitan Museum of Art, Gift of Halston, 1983 (1983.606.14-22). Copyright 2012 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.

Andy Warhol, ‘Nine Jackies,’ 1964, acrylic and silkscreen on canvas. The Metropolitan Museum of Art, Gift of Halston, 1983 (1983.606.14-22). Copyright 2012 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.

NEW YORK – For decades, critics have observed that Andy Warhol’s influence is dominant in contemporary art, but as of yet no exhibition has explored its full nature or extent. Regarding Warhol: Sixty Artists, Fifty Years at The Metropolitan Museum of Art is the first major exhibition to do so through approximately 45 works by Warhol alongside 100 works by some 60 other artists. This innovative presentation, structured in five thematic sections, juxtaposes prime examples of Warhol’s paintings, sculpture, and films with those by other artists who in key ways reinterpret, respond, or react to his groundbreaking work. The exhibition shows the dialogue and conversation between works of art and artists across generations.

The exhibition is made possible by Morgan Stanley. Additional support is provided by the Gail and Parker Gilbert Fund and The Daniel and Estrellita Brodsky Foundation. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Regarding Warhol opens with Warhol’s fascination and engagement with the imagery of everyday life in the section “Daily News: From Banality to Disaster.” His interest in commonplace or banal subject matter found in newspapers and magazines led him to create his early depictions of tabloid advertisements and press coverage of disasters. These works were clearly influential for other artists working at the time, such as Sigmar Polke and Hans Haacke, who took on similar subject matter. Key examples by younger contemporary artists such as Vik Muniz and Sarah Lucas are indicative of artists’ continued engagement with the news of the day. Also explored in this section is Warhol’s interest in items of American consumer culture of the 1960s (Brillo Soap Pads Box, 1964) and its connection to later artists who appropriate objects from the supermarket or the department store, including Jeff Koons, Robert Gober, and Damien Hirst.

Just like his interest in the packaging of consumer goods, Warhol was fascinated by the “packaging” of celebrities, which for him evolved into an engagement with portrait-making that is explored in the second section of the exhibition, “Portraiture: Celebrity and Power.” The best of Warhol’s notable portraits of celebrities, such as Red Jackie (1964) and Turquoise Marilyn (1964), are paired with contemporary examples by Elizabeth Peyton, Karen Kilimnik, and Cindy Sherman. Warhol’s portrayals of artists, poets, and musicians of his day are installed alongside similar examples by leading artists including Alex Katz and Chuck Close. Links between Warhol’s practice of society portraiture of the 1970s, as well as his artistic engagement with political figures (particularly Mao [1973]) and the work of later artists, are also explored here.

The exhibition’s third section, “Queer Studies: Camouflage and Shifting Identities,” outlines Warhol’s importance as an artist who broke new ground in representing issues of sexuality and gender in the post-war period. Warhol’s enigmatic persona developed over the course of his career is well represented by his last Self-Portrait (1986). In this work, made the year before his untimely death, his visage is concealed by a veil of camouflage. This iconic work opens a section devoted to frank representations of the male body that share their subject and composition with Warhol’s Torso from Behind (1977)—as in David Hockney’s Boy about to Take a Shower (1964) or Robert Gober’s Untitled (1990). This section also strives to represent a new openness toward different varieties of queer identity that Warhol’s oeuvre ushered in, largely through work by photographers such as Catherine Opie, Richard Avedon, Peter Hujar, or Robert Mapplethorpe.

The last two sections of the exhibition deal in diverse ways with the proliferation of images so inherent to Warhol’s projects. In “Consuming Images: Appropriation, Abstraction, and Seriality,” Warhol’s groundbreaking use of preexisting photographic sources, often endlessly repeated (Baseball, 1962), his appropriation of art history (Mona Lisa, 1963), and his interest in abstraction (Oxidation Painting, 1978), for example, are grouped with work by Pictures Generation artists such as Richard Prince and Cindy Sherman for their uses of appropriation, or with contemporary painters like Christopher Wool, whose patterned painting Untitled plays with all-over abstraction and seriality in Warholian ways.

For the final section of the show, “No Boundaries: Business, Collaboration, and Spectacle,” Warhol’s interest in artistic partnership through filmmaking, magazine publishing, and design is highlighted. Also foregrounded is his fascination with creating environments that envelop the viewer entirely—the Gesamtkunstwerk of his all-over Flowers installations and his wallpapered gallery walls inspired other artists to extend their practice beyond the traditional spaces of the rectangular canvas into the world beyond. The works in this section range from Polly Apfelbaum’s floor-installed fabric piece, Pink Crush (2007), to a selection of Ryan Trecartin’s collaboratively created videos.

Regarding Warhol: Sixty Artists, Fifty Years is organized by Mark Rosenthal, guest curator, with Marla Prather, Curator, Ian Alteveer, Assistant Curator, and Rebecca Lowery, Research Assistant, in the Department of Modern and Contemporary Art at The Metropolitan Museum of Art.

The catalog accompanying the exhibition includes an essay by Mark Rosenthal, 13 artist interviews by Prather, and additional contributions by Alteveer and Lowery. It is published by The Metropolitan Museum of Art and distributed by Yale University Press. The catalog is made possible in part by the Mary and Louis S. Myers Foundation Endowment Fund.

In conjunction with the exhibition, a variety of education programs will be offered. Highlights include a Sunday at the Met program on October 21, at 3:00 p.m.; gallery talks on the permanent collection on the theme of “influence,” including talks by exhibition artists Deborah Kass and Kalup Linzy; and films.

An audio tour, part of the Metropolitan’s Audio Guide program, will be available for rental ($7, $6 for members, and $5 for children under 12). The Audio Guide program is sponsored by Bloomberg.

For the duration of the exhibition, two of Warhol’s Ten-Foot Flowers (1967) from The Met’s collection will be on view in the Great Hall.

The exhibition will be featured on the Metropolitan Museum of Art’s website at www.metmuseum.org.

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ADDITIONAL IMAGE OF NOTE


Andy Warhol, 'Nine Jackies,' 1964, acrylic and silkscreen on canvas. The Metropolitan Museum of Art, Gift of Halston, 1983 (1983.606.14-22). Copyright 2012 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.

Andy Warhol, ‘Nine Jackies,’ 1964, acrylic and silkscreen on canvas. The Metropolitan Museum of Art, Gift of Halston, 1983 (1983.606.14-22). Copyright 2012 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.

In Memoriam: French painter Andre Beaurepaire, 88

PARIS AFP) – French painter Andre Beaurepaire, a former collaborator of Jean Cocteau, has died at the age of 88, his partner, the photographer Raphael Remiatte, told AFP on Thursday.

Beaurepaire, who was born in Paris in 1924, started drawing at the age of 12. His breakthrough came in 1945 when Christian Berard and Cocteau invited him to contribute to an exhibition on haute couture.

He subsequently worked with artists including Roland Petit, Jean Genet, Frederick Ashton, Leonid Massine, Gian-Carlo Menotti, Jean Marais and the Japanese fashion designer Yohji Yamamoto.

Beaurepaire also worked on costume and stage design for the Opera de Paris, la Scala in Milan, the Royal Opera house in Covent Garden, London and the Royal Opera in Amsterdam. He died on Tuesday, his partner said.

 

 

Reaction widespread to ‘world’s worst’ art restoration

MADRID (AFP) – Ironic art fans have launched a petition to save a badly retouched, century-old church painting of Christ that has become an international joke.

Cecilia Gimenez, described as being in her 80s, has won global fame with her horribly botched impromptu attempt to restore an oil painting of Christ crowned with thorns, his sorrowful gaze raised to heaven.

The “restored” painting looks like a pale monkey’s face surrounded by fur, with misshaped eyes and nose, and a crooked smudge for a mouth, a style some wits have compared to Picasso’s.

Titled Ecce Homo (Behold the Man), the original was painted in oil in 1910 directly onto a column in the Iglesia del Santuario de Misericordia church in Borja, northeastern Spain.

It was showing its age as the paint deteriorated over the years.

But the “restored” version has provided grist for an explosion of jokes across the world this week.

Online commentators in Spain inserted the faces of King Juan Carlos or Prime Minister Mariano Rajoy into their own, digital versions of the restored painting.

More than 5,000 people have now signed an online petition to halt the town’s plan to return the painting to its prerestoration glory.

The restoration “reveals a subtle criticism of the Church’s creationist theories while questioning a resurgence of new idols,” says the petition launched by a user on http://www.change.org, comparing the retouched painting to the work of Goya, Munch and Modigliani.

Gimenez herself said she had been patching up the painting for years, with the church’s knowledge.

“The priest knew,” the elderly, neatly dressed lady in spectacles told public television TVE.

“Everyone who came in could see me painting.”

Despite the derisive coverage, with some media calling it worst restoration in history, Gimenez said she was an accomplished artist. “I had a four-room exhibition – I sold 40 paintings,” Gimenez said.

The church painting was no masterpiece, completed in two hours by a local man, Elias Garcia Martinez just over a century ago.

But the original artist’s granddaughter, Teresa Garcia, was unimpressed by the brushed-up version.

“Until now the only thing she had touched was the tunic,” Garcia told TVE.

“The problem is that now she has meddled with the head and, clearly, she has destroyed the painting.”

The town hall has not yet decided whether to sue over the botch job, which was performed a month ago. “It would be different if it was vandalism,” said the town councilor for culture, Juan Maria de Ojeda.

“She did it with the best faith in the world,” the restorer’s sister, Esperanza Gimenez Zueco, told daily newspaper El Mundo.

“She just wanted to give it a bit of color.”

 

Click here to view an image of the painting on Wikipedia:

http://en.wikipedia.org/wiki/File:Ecce_Homo,_de_Do%C3%B1a_Cecilia_Gim%C3%A9nez,_2012._%28Santuario_de_Misericordia_de_Borja,_Zaragoza%29..jpg