Special Report: Sculpture by the Sea in Perth, Western Australia

Prominent Chinese artist Chen Wenling’s painted bronze ‘Games’ – popular with kids with cameras at Cottesloe’s Sculpture by the Sea exhibition. Photo courtesy Sculpture by the Sea.
Prominent Chinese artist Chen Wenling’s painted bronze ‘Games’ – popular with kids with cameras at Cottesloe’s Sculpture by the Sea exhibition. Photo courtesy Sculpture by the Sea.
Prominent Chinese artist Chen Wenling’s painted bronze ‘Games’ – popular with kids with cameras at Cottesloe’s Sculpture by the Sea exhibition. Photo courtesy Sculpture by the Sea.

PERTH, Australia – Sun, sand, sea, swimming … and, OK, the occasional shark. It’s a quintessentially Australian combination. Add a little sculpture to that cocktail and it’s easy to see how, over the past 16 years, the biannual Sculpture by the Sea festival has become a mainstay of the Australian cultural calendar.

For three weeks every March, Cottesloe, a laid-back beachfront suburb of Perth, hosts around 70 sculptures by contemporary artists from around the world, attracting an estimated 250,000 visitors. In October, almost twice that number head to Sydney to see 100 works displayed along the coastal walk from Bondi to Tamarama Beach. When former lawyer David Handley conceived the idea of Sculpture by the Sea back in the mid-1980s, he had no idea of the extent to which his modest community-orientated project would eventually alter the landscape of Australian contemporary art. Not only does it bring international sculpture into the lives of Australians and thousands of visitors from abroad, it also provides precious opportunities for artists to show their work, and in some cases to sell it.

The Cottesloe display, now in its ninth year, is still proving that when executed with wit and style and a certain curatorial generosity open-air sculpture exhibitions have the capacity to build a sense of community and enhance the quality of life of a whole region. It helps, of course, that Perth – the remotest city on the planet – is blessed, like most of Australia, with glorious weather almost all year round. When this year’s exhibition opened on a lovely Friday morning at the beginning of what Australians quaintly call autumn, the temperature was in the low 30s (Celsius) and the skies a ridiculously intense, cloudless blue. As most anaemic Brits will testify, when you’ve been starved of natural light for 12 months even mediocre sculpture can make a reasonably convincing case for itself.

Apart from its beautiful locations in Perth and Sydney, what makes Sculpture by the Sea such a breath of fresh air is its breezy determination not to take itself too seriously. This is sculpture as entertainment, sculpture for kids and families, sculpture to climb on (in a few cases), to go ‘Wow!’ at, or ‘Huh?’, or ‘Hey! How did she do that?’ The wow factor is one of the festival’s main strengths: a reminder that art doesn’t always need to be high-minded and impenetrably oblique. Sometimes it’s enough to create a pause in the daily routine, to interrupt conventional channels of thought. It’s a pleasure to see a crowd of weekenders clustered around a work, pointing at it and exchanging ideas about how it was constructed, what material it is made from, how it got here, where the idea might have come from, what it means.

Unsurprisingly, for most visitors Sculpture by the Sea is photo-heaven, seaside snap-candy. Some artists respond accordingly. Big open forms are popular, screaming out for the cheesy portrait or moody landscape shot. But mixed in with the wry and the whimsical, the visual gags and the easy one-liners, are more challenging things, works that hold you up for a moment and invite you to linger, look and think a little more deeply.

Paradoxically, the beachfront location might be considered one of the project’s drawbacks. Few serious sculptures look good sinking into soft white sand and not everything wants to be plonked against a horizon where sky meets sea, however picturesque it may be as the sun sets over the Indian Ocean. Most abstract sculpture needs the counterpoint of a level surface to emphasize its volume, weight and mass, for angles to sharpen, curves to visually swing and roll. Undulating sand often undermines those qualities, but there are exceptions. Akira Kamada’s woven organic form titled Sky, land and sat comfortably on the beach as if blown into shape by the Freemantle breeze, while Maia Anthea Marinelli’s Wind Playground, a huge tent-like structure sewn from recycled windsurf sailcloth, added a dazzling splash of Fauvist color down on the beach where it flapped and billowed dramatically on windy days.

The beach is a second home to most Australians so even those pieces that might have looked better on solid ground such as Hilde Danielsen’s Upside Down Again at least enjoyed as significant a footfall as the works situated up on the lawns overlooking the beach.

Ken Unsworth’s Look This Way – an oversize skeleton perched atop a ladder sunk into the sand, intended as a tribute to the artist’s late wife – was among the most popular works this year, perfectly pitched to amuse and engage while throwing a dramatic silhouette against the evening sky.

The promenade’s surrounding lawns are clearly the prime real estate at the Cottesloe exhibition, enjoyed this year by, among others, illustrious participants such as leading Chinese artists Chen Wenling and Sui Jianguo, British heavyweight Sir Anthony Caro and American artist Richard Rhodes.

Chen Wenling is one of China’s most celebrated sculptors. Critics and collectors have taken with enthusiasm to his massive phantasmagorical creations and signature grinning boys, much of it churned out by an army of assistants in Xiamen and Beijing. His red-painted bronze Games, a gurning adolescent perched on the feet of another figure performing a handstand was going down well with the kids with cameras (Fig. 6). British sculptor Sir Anthony Caro’s orange-painted and welded steel piece, Eastern, enjoyed its own patch of ground and yet seemed slightly out of place in this context. A characteristically thoughtful meditation on concavity, it was hard to find an angle from which to appreciate it without the sea or the tourist attractions distracting. Other works held their own more successfully. Seattle-based sculptor and designer Richard Rhodes’ Embrace: Sentinel series, comprising two chunky interlocking forms in carved granite, was among the few truly standout works, beautifully executed and open to multiple readings. It seemed perfectly at home overlooking the ocean. Brancusi would have liked it.

Sculpture by the Sea also features an indoor exhibition of affordable small-scale works and maquettes, many of which were finding buyers at Cottesloe. Meanwhile the Tactile Tours – offering interactive access to the sculptures for visitors with disabilities – was encouragingly well-subscribed. These aspects of the project underscore why the biannual free festival continues to thrive. The public enjoys it. Artists love it. Quite why more members of Western Australia’s booming business community don’t get behind it with some generous top-line sponsorship remains the biggest mystery.

If you’re visiting Australia later this year, be sure to put the Bondi Beach installment of Sculpture by the Sea on your agenda. It’s got sun, sea and sand, and for a few weeks in October it will have some remarkable sculpture too.


ADDITIONAL IMAGES OF NOTE


Sculpture by the Sea, Cottesloe, Perth, with Carmel Wallace’s ‘Beached Colony’ in the foreground. Image courtesy Sculpture by the Sea.
Sculpture by the Sea, Cottesloe, Perth, with Carmel Wallace’s ‘Beached Colony’ in the foreground. Image courtesy Sculpture by the Sea.
Akira Kamada’s ‘Sky, Land and at the March’ instalment of Sculpture by the Sea in Cottesloe, Perth, Western Australia. Photo courtesy Sculpture by the Sea.
Akira Kamada’s ‘Sky, Land and at the March’ instalment of Sculpture by the Sea in Cottesloe, Perth, Western Australia. Photo courtesy Sculpture by the Sea.
Maia Anthea Marinelli’s ‘Wind Playground’ at Sculpture by the Sea in Cottesloe, Perth. Photo courtesy Sculpture by the Sea.
Maia Anthea Marinelli’s ‘Wind Playground’ at Sculpture by the Sea in Cottesloe, Perth. Photo courtesy Sculpture by the Sea.
Hilde Danielsen’s ‘Upside Down Again’ on the beach at Cottesloe in the March 2013 edition of Sculpture by the Sea. Photo courtesy Sculpture by the Sea.
Hilde Danielsen’s ‘Upside Down Again’ on the beach at Cottesloe in the March 2013 edition of Sculpture by the Sea. Photo courtesy Sculpture by the Sea.
Australian artist Ken Unsworth’s ‘Look This Way’ was among the most popular works at this year’s Sculpture by the Sea in Cottesloe where it cast dramatic silhouette against the evening sky. Image Auction Central News.
Australian artist Ken Unsworth’s ‘Look This Way’ was among the most popular works at this year’s Sculpture by the Sea in Cottesloe where it cast dramatic silhouette against the evening sky. Image Auction Central News.
Prominent Chinese artist Chen Wenling’s painted bronze ‘Games’ – popular with kids with cameras at Cottesloe’s Sculpture by the Sea exhibition. Photo courtesy Sculpture by the Sea.
Prominent Chinese artist Chen Wenling’s painted bronze ‘Games’ – popular with kids with cameras at Cottesloe’s Sculpture by the Sea exhibition. Photo courtesy Sculpture by the Sea.
British sculptor Sir Anthony Caro’s 'Eastern' – among the more prestigious inclusions at this year’s Sculpture by the Sea festival. Photo courtesy Sculpture by the Sea.
British sculptor Sir Anthony Caro’s ‘Eastern’ – among the more prestigious inclusions at this year’s Sculpture by the Sea festival. Photo courtesy Sculpture by the Sea.
Seattle-based sculptor Richard Rhodes’ ‘Embrace,’ from his Sentinel series, drawing enthusiastic admirers at the Cottesloe edition of Sculpture by the Sea. Photo courtesy Sculpture by the Sea.
Seattle-based sculptor Richard Rhodes’ ‘Embrace,’ from his Sentinel series, drawing enthusiastic admirers at the Cottesloe edition of Sculpture by the Sea. Photo courtesy Sculpture by the Sea.

Il mercato dell’arte in Italia: L’asta di design di Della Rocca

Massimo Vignelli, Lampada a sospensione a tre pendenti in ottone e vetro colorato, Venini, 1956 circa, h cm 170, diffusore cm 26, stima €1.800-2.200, courtesy Della Rocca Torino
Massimo Vignelli, Lampada a sospensione a tre pendenti in ottone e vetro colorato, Venini, 1956 circa, h cm 170, diffusore cm 26, stima €1.800-2.200, courtesy Della Rocca Torino
Massimo Vignelli, Lampada a sospensione a tre pendenti in ottone e vetro colorato, Venini, 1956 circa, h cm 170, diffusore cm 26, stima €1.800-2.200, courtesy Della Rocca Torino

Dopo la pausa forzata dovuta alla Seconda guerra mondiale, l’architetto e designer Carlo Mollino (1905-1973) ricomincia la sua attività nel 1944 con la progettazione di due appartamenti in Via Perrone a Torino per le famiglie di Guglielmo e Franca Minola e Cesare e Ada Minola.

La sospensione dell’attività ha raffinato il suo stile, che ora è meno surrealistico e più maturo. Lo spazio è progettato con geometrico rigore e la composizione è controllata. I mobili all’interno dello spazio, invece, assumono forme organiche e naturali.

Un lampadario proveniente da uno di questi due famosi appartamenti, quello di Franca e Guglielmo Minola, andrà ora all’asta presso la casa torinese Della Rocca, il 16 aprile alle ore 16.

Il lampadario viene dalla sala da pranzo dell’appartamento e mostra la tendenza alle pure proporzioni che caratterizza anche il termosifone e gli specchi dello stesso ambiente. L’intenzione di Mollino era di creare una sorta di grondaia luminosa che diffonde la luce orizzontalmente, in modo indiretto e omogeneo lungo tutto il tavolo. La stima del lotto è 100mila-120mila euro (lotto 181).

È il lotto con la stima più alta nell’asta di Della Rocca. Le stime più basse partono da 200 euro. In tutto il catalogo include circa 350 lotti. L’asta – che si svolge durante il famoso Salone del Mobile di Milano, una delle più importanti fiere per il design a livello globale – è stata messa insieme a partire dallo scorso novembre. Raccoglie pezzi provenienti sia da collezioni private che da mercanti. Uno degli scopi della casa d’asta era di riproporre oggetti che sono stati trascurati o dimenticati. Inoltre ci sono lotti che non sono pensati esclusivamente per collezionisti specializzati, ma anche per decoratori, oppure lotto che sono sul mercato per la prima volta.

Com’è frequente per un’asta italiana di design, largo spazio è stato dato all’illuminazione. Tra i lotti più interessanti ci sono due lampadari di Fontana Arte (uno dei due è il lotto 159) che sono particolarmente rari perché usano lampade al neon e sono insolitamente scarni, radicali ed eleganti (stima 2.000-2.500 euro). Il lotto 183, invece, è una rara lampada da tavolo “Mod 573” di Gino Sarfatti (1912-1985).

C’è anche un’ampia selezione di lampadari Venini, che sono i più forti e i più richiesti sul mercato. La Venini è nata nel 1921 a Murano e da allora ha fatto storia. La sua importanza deriva non solo dalla padronanza delle tecniche tradizionali del vetro, ma anche dalla capacità di uscire dagli schemi, dall’apertura nei confronti dell’avanguardia e dalla collaborazione con i migliori designer e artisti. Per esempio il lotto 165 è un raro lampadario del 1940 disegnato da Tomaso Buzzi (1900-1981). La stima è di 9mila-11mila euro. Il lotto 171 è una lampada da terra disegnata da Fulvio Bianconi (1915-1996) nel 1950. La stima è di 5mila-7mila euro, che è piuttosto bassa. Il lotto 212 è un lampadario del 1956 di Massimo Vignelli (nato nel 1931) in ottone con tre pendenti in vetro colorati. La stima è 1.800-2.200 euro.

Per quanto riguarda i mobili, l’asta di Della Rocca offre, tra gli altri lotti, una collezione di pezzi disegnati da BBPR per Olivetti. Los studio BBPR è nato nel 1932 ed è immediatamente diventato un importante punto di riferimento per la cultura italiana. Era formato da Gian Luigi Banfi (1910-1945), Lodovico Belgioioso (1909-2004), Enrico Peressutti (1908-1976) ed Ernesto Nathan Rogers (1909-1969). I quattro architetti sono stati prima promotori del movimento razionalista, ma poi lo hanno messo in discussione. Erano capaci di lavorare sia insieme che individualmente. Hanno saputo mettersi al servizio della comunità e sono stati attivi anhe nella vita politica italiana. Durante la guerra sono stati chiamati alle armi, ma poi sono stati arrestati come anti-fascisti. Uno di loro, Banfi, è stato ucciso in un campo di concentramento.

Il loro lavoro è molto eterogeneo. Negli anni 50 hanno lavorato per l’industria ma anche in collaborazione con gli artisti. Negli anni 60 hanno progettato una serie di arredi da ufficio per Olivetti per i quali sono stati premiati con il “Compasso d’Oro” nel 1962.

“Dal punto di vista del mercato, questi arredi sono ancora sottovalutati”, dice Giacomo Abate, esperto di design di Della Rocca. “Mobili simili degli stessi anni del francese Jean Prouvé ottengono prezzi molto più alti”.

Un altro lotto importante dell’asta è la cosiddetta “Sitzmachine” del secessionista viennese Joseph Hoffmann (1870-1956), una poltrona in legno di faggio del 1906 stimata 3mila-5mila euro. Era da tempo che non appariva sul mercato.

Un’attenzione particolare nel mettere insieme la vendita è stata attribuita all’autencità degli oggetti poiché sul mercato internazionale circolano molte copie. “La maggior parte dei nostri clienti viene dall’estero”, dice Giacomo Abate. “La nostra casa d’aste ha un’ottima reputazione ed è nota a livello internazionale. Il settore più forte è quello dell’antico, ma il buon nome si riflette anche sul settore moderno”.

 


ADDITIONAL IMAGES OF NOTE


Massimo Vignelli, Lampada a sospensione a tre pendenti in ottone e vetro colorato, Venini, 1956 circa, h cm 170, diffusore cm 26, stima €1.800-2.200, courtesy Della Rocca Torino
Massimo Vignelli, Lampada a sospensione a tre pendenti in ottone e vetro colorato, Venini, 1956 circa, h cm 170, diffusore cm 26, stima €1.800-2.200, courtesy Della Rocca Torino
Carlo Mollino, Lampadario per Casa Guglielmo e Franca Minola, Torino, courtesy Della Rocca Torino
Carlo Mollino, Lampadario per Casa Guglielmo e Franca Minola, Torino, courtesy Della Rocca Torino
Fontana Arte, Due Lampadari ad illuminazione fluorescente, Milano 1950 circa, cm 70x65x40, stima €2.200-2.500, courtesy Della Rocca Torino
Fontana Arte, Due Lampadari ad illuminazione fluorescente, Milano 1950 circa, cm 70x65x40, stima €2.200-2.500, courtesy Della Rocca Torino
Gino Sarfatti, lampada da tavolo mod. 573, courtesy Della Rocca Torino
Gino Sarfatti, lampada da tavolo mod. 573, courtesy Della Rocca Torino
Tomaso Buzzi, Lampada a sospensione mod. 5265, Venini, 1936 circa, cm 100x70, stima €9.000-11.000, courtesy Della Rocca Torino
Tomaso Buzzi, Lampada a sospensione mod. 5265, Venini, 1936 circa, cm 100×70, stima €9.000-11.000, courtesy Della Rocca Torino
Fulvio Bianconi, Lampada da terra, Venini, 1950 circa, h cm 177, stima €5.000-7.000, courtesy Della Rocca Torino
Fulvio Bianconi, Lampada da terra, Venini, 1950 circa, h cm 177, stima €5.000-7.000, courtesy Della Rocca Torino
BBPR, Mobili da ufficio per Olivetti, courtesy Della Rocca Torino
BBPR, Mobili da ufficio per Olivetti, courtesy Della Rocca Torino
Josef Hoffmann, Sitzmachine, Prod. Jacob & Josef Kohn, Vienna 1906, cm 110x120x60, stima €3.000-5.000, courtesy Della Rocca Torino
Josef Hoffmann, Sitzmachine, Prod. Jacob & Josef Kohn, Vienna 1906, cm 110x120x60, stima €3.000-5.000, courtesy Della Rocca Torino

Art Market Italy: Design auction at Della Rocca in Turin

Massimo Vignelli, Lampada a sospensione a tre pendenti in ottone e vetro colorato, Venini, 1956 circa, h cm 170, diffusore cm 26, stima €1.800-2.200, courtesy Della Rocca Torino
Massimo Vignelli, chandelier in brass with three glass hanging lamps, Venini, 1956 circa, cm 170 x cm 26, estimate €1,800-2,200. Courtesy Della Rocca, Turin.
Massimo Vignelli, chandelier in brass with three glass hanging lamps, Venini, 1956 circa, cm 170 x cm 26, estimate €1,800-2,200. Courtesy Della Rocca, Turin.

After the forced break during World War II, architect and designer Carlo Mollino (1905-1973) resumed work in 1944 with the planning of two apartments in Via Perrone in Turin for the related families of Guglielmo and Franca Minola and Cesare and Ada Minola.

The break in activity refined his style, which became less surrealistic and more mature. The space is planned with rigorous geometry and controlled composition, while the furniture inside it takes organic and natural shapes.

A chandelier from one of these two famous apartments, the one of Franca and Guglielmo Minola, is now coming up for sale at Turin-based auction house Della Rocca on April 16, 4 p.m. Italian time.

The chandelier comes from the apartment’s dining room and shows the striving for pure proportions that characterizes also the radiator and the mirrors in the same room. Mollino’s intention was to create a sort of luminous drain pipe which spreads the light horizontally, indirectly and homogenously on the table. The estimate of the lot is €100,000 to €120,000 (lot 181).

It is the lot with the highest estimate in Della Rocca’s design sale. The lowest estimates start at €200. Overall the catalog includes about 350 lots. The auction – which takes place during the internationally renowned Salone del Mobile in Milan, one of the most important fairs for design at global level – was put together from November 2012 until now. It collects pieces both coming from private collections and from dealers. One of the aims of the auction house was to again purpose pieces that have been disregarded or forgotten objects. Furthermore there are lots that are thought not only for specialized collectors, but for interior designers, as well, or lots that are on the marketfor the first time.

As is frequently the case for an Italian design sale, large space is given to lighting. Among the most interesting lots are two chandeliers by Fontana Arte (one of them is lot 159) that are particularly rare because they use neon lights and they are unusually spare, radical and elegant (estimate €2,000-2,500). While lot 183 is a rare table lamp “Mod 573” by Gino Sarfatti (1912-1985).

There is a large selection of Venini chandeliers, as well, which are the strongest and most requested on the market. Venini was born in 1921 in Murano. Its importance comes not only from the mastery of the traditional glass techniques, but also from the capacity of getting out of the schemes, from the openness toward the avant-garde, and from the collaborations with the best designers and artists. For example, lot 165 is a rare chandelier from 1940 designed by Tomaso Buzzi (1900-1981). It carries an estimate between €9,000-11,000. Lot 171 is a floor lamp designed by Fulvio Bianconi (1915-1996) in 1950. The estimate is €5,000-7,000, which quite conservative. Lot 212 is a chandelier from 1956 by Massimo Vignelli (born in 1931) in brass with three colored hanging lamps. The estimate is €1,800-2,200.

As for furniture, Della Rocca’s sale offers among others a collection of lots designed by BBPR for Olivetti. The BBPR office was born in 1932 and immediately became an important point of reference in the Italian culture. It was formed by Gian Luigi Banfi (1910-1945), Lodovico Belgioioso (1909-2004), Enrico Peressutti (1908-1976), and Ernesto Nathan Rogers (1909-1969). The four architects were first promoters of the Rationalist movement, but then brought it into question. They were able to work together and individually. They put themselves to use of the community and were active in the political life of Italy. During the war they were called to the army, but were arrested as anti-fascists. One of them, Banfi, was killed in a concentration camp.

Their body of work is very heterogeneous. In the 1950s they worked for the industry but they also collaborated with artists. In the 1960s they designed a series of metal furniture for the office for Olivetti, which was awarded with “Compasso d’Oro” in 1962.

“From the point of view of the market, these furniture pieces are still undervalued,” said Della Rocca’s design expert Giacomo Abate. “Similar office furniture from the same years by French Jean Prouvé achieve much higher prices.”

Another important lot in the sale is the so-called “Sitzmachine” by Vienna Secessionist Joseph Hoffmann (1870-1956), an armchair in beechwood from 1906 estimated between €3,000-5,000. It has been some time since it has appeared on the market.

A particular attention in assembling the sale was paid to the authenticity of the objects as many copies circulate on the international market.

“Most of our clients are from abroad,” says Giacomo Abate. “Our auction house has an excellent reputation and is well known also at international level. The strongest sector is the one for Old Masters, but the good repute reflects itself in the modern sector, as well.”


ADDITIONAL IMAGES OF NOTE


Massimo Vignelli, chandelier in brass with three glass hanging lamps, Venini, 1956 circa, cm 170 x cm 26, estimate €1,800-2,200. Courtesy Della Rocca, Turin.
Massimo Vignelli, chandelier in brass with three glass hanging lamps, Venini, 1956 circa, cm 170 x cm 26, estimate €1,800-2,200. Courtesy Della Rocca, Turin.
Carlo Mollino, chandelier for Casa Minola, Turin. Courtesy Della Rocca, Turin.
Carlo Mollino, chandelier for Casa Minola, Turin. Courtesy Della Rocca, Turin.
Fontana Arte, two chandeliers, Milan 1950 circa, cm 70x65x40, estimate €2,200-2,500. Courtesy Della Rocca, Turin.
Fontana Arte, two chandeliers, Milan 1950 circa, cm 70x65x40, estimate €2,200-2,500. Courtesy Della Rocca, Turin.
Gino Sarfatti, table lamp mod. 573. Courtesy Della Rocca, Turin.
Gino Sarfatti, table lamp mod. 573. Courtesy Della Rocca, Turin.
Tomaso Buzzi, chandelier mod. 5265, Venini, 1936 circa, cm 100x70, estimate €9,000-11,000. Courtesy Della Rocca, Turin.
Tomaso Buzzi, chandelier mod. 5265, Venini, 1936 circa, cm 100×70, estimate €9,000-11,000. Courtesy Della Rocca, Turin.
Fulvio Bianconi, floor lamp, Venini, 1950 circa, cm 177, estimate €5,000-7,000. Courtesy Della Rocca, Turin.
Fulvio Bianconi, floor lamp, Venini, 1950 circa, cm 177, estimate €5,000-7,000. Courtesy Della Rocca, Turin.
BBPR, office furniture for Olivetti. Courtesy Della Rocca, Turin.
BBPR, office furniture for Olivetti. Courtesy Della Rocca, Turin.
Josef Hoffmann, Sitzmachine, produced by Jacob & Josef Kohn, Vienna 1906, cm 110x120x60, estimate €3,000-5,000. Courtesy Della Rocca, Turin.
Josef Hoffmann, Sitzmachine, produced by Jacob & Josef Kohn, Vienna 1906, cm 110x120x60, estimate €3,000-5,000. Courtesy Della Rocca, Turin.

 

Metropolitan Museum, India to cooperate in long-term project

An exhibition on the art of India's Deccan plateau will be coming to the Metropolitan Museum of Art in 2015. Metropolitan Museum of Art image.
An exhibition on the art of India's Deccan plateau will be coming to the Metropolitan Museum of Art in 2015. Metropolitan Museum of Art image.
An exhibition on the art of India’s Deccan plateau will be coming to the Metropolitan Museum of Art in 2015. Metropolitan Museum of Art image.

NEW YORK – The Metropolitan Museum of Art and the Union Ministry of Culture of the government of India have signed a memorandum of agreement expressing mutual willingness to establish a long-term relationship of cooperation.

Thomas P. Campbell, the Metropolitan Museum’s director and CEO announced the agreement Friday.

Through the agreement, the Ministry of Culture and the Metropolitan Museum will cooperate in the areas of conservation, exhibition, academic research, sharing of information and published resources, public education, promotion, publications, museum management, and short- and long-term loans.

The first major initiative to launch under the auspices of this new agreement is the Indian Conservation Fellowship Pilot Program, in collaboration with the Ministry of Culture and the Stichtung Restauratie Atelier Limburg in the Netherlands. The program provides a new and important avenue for Indian art conservators to pursue advanced training opportunities in North America and Europe, and to develop broader ties with their colleagues abroad.

Another early initiative is the organization of the first major art exhibition to focus on India’s Deccan region. The exhibition is scheduled to open at the Metropolitan Museum in spring 2015.

“This agreement is an important opportunity to collaborate with a group of international colleagues who are dedicated to studying and preserving Indian artistic heritage, a heritage that is so strongly represented in our collections,” said. Campbell in making the announcement. “The Met has been collecting Indian art since the late 19th century, and our conservators and curators look forward to continuing our work in this field together with their Indian counterparts. Indeed, this partnership speaks to our larger commitment to engaging with a worldwide community as a truly global museum.”

He continued, “The conservation pilot program, launching immediately as a result of this agreement, is an innovative model of collaboration with the Ministry of Culture that will provide fellowships for younger Indian conservators to pursue professional development at the Met alongside the Museum’s renowned staff of nearly 100 conservators and scientists. This program would not be possible without the foresight and generous support of the Mellon Foundation, demonstrating once again the foundation’s strong commitment to improving the educational opportunities available to museum professionals internationally.”

The Indian Conservation Fellowship Pilot Program is designed to broaden the experience of emerging conservators and to establish a larger and stronger conservation community in India with international links to professionals in the field. A total of 16 fellowships of approximately 3-6 months each will be sponsored by the Metropolitan Museum, SRAL, and the Ministry of Culture over the two-year period 2013-2015. Both the Met and SRAL have longstanding fellowship programs.

Seminars in India will allow fellows to convey their experiences to a wider audience and provide a forum for discussion of the pilot program and for the exchange of ideas on common conservation issues. Follow-up initiatives at museums in India will continue relationships developed at the Metropolitan Museum and SRAL, and will apply knowledge gained during the fellowship period to specific conservation needs and challenges at the fellows’ home institutions.

The artistic heritage of the important and highly cultured kingdoms of India’s Deccan plateau will be the focus of a landmark exhibition organized by The Metropolitan Museum of Art with the working title The Art of India’s Deccan Sultans, ca. 1500-1700. Scheduled to open in spring 2015, the exhibition will bring together around 150 works from the courts of Ahmadnagar, Bijapur, Golconda, Bidar, and Berar, illustrating the great classical Deccani traditions in painting, metalwork, and textiles. The exhibition will also highlight the region’s rich multicultural legacy, revealing influences from the neighboring Indian states as well as Iran, Turkey, Europe and Africa.


ADDITIONAL IMAGE OF NOTE


An exhibition on the art of India's Deccan plateau will be coming to the Metropolitan Museum of Art in 2015. Metropolitan Museum of Art image.
An exhibition on the art of India’s Deccan plateau will be coming to the Metropolitan Museum of Art in 2015. Metropolitan Museum of Art image.

Reading the Streets: No fallout from this big bird

'The Bird,' New York. Photo by Ilana Novick
'The Bird,' New York. Photo by Ilana Novick
‘The Bird,’ New York. Photo by Ilana Novick

NEW YORK – A bird has landed in front of the Flatiron Building, though this one does not include feathers or colorful wings. It’s 12 feet high and 12 feet wide, made out of nearly 5,000 real and fabricated nails, and called, simply, The Bird.

Artist Will Ryman was commissioned by the Flatiron Partnership, the neighborhood’s Business Improvement District to create his striking sculpture. The Flatiron Partnership collaborated with the Department of Transportation’s Urban Art Program, which helped the organization secure the location and funding. It’s a brave move putting such a large sculpture directly across from such an iconic building, but it ends up being a great collaboration, the nails, usually hard and utilitarian given new life by being shaped into a bird, contrasting nicely against the triangular point of the building

Most of the nails retain their usual shiny silver shape, though some are dyed red and green to create the rose that hangs from its beak, a bit of color that softens the sharpness of the nails. The materials may be seem a bit sharp and dangerous, but there’s something almost sweet about how they’ve been transformed, even if like me, you believe birds are both beautiful and scary.

Whether you’re an avid member of the Audobon Society, or if your view of birds was shaped by the Alfred Hitchcock movie of the same name, the sculpture is well worth a visit. Aside from occasional sculptures at Madison Square Park, this neighborhood does not usually get much public art. The Flatiron Partnership has also never commissioned a work of this scale, but the location has brought countless interested gawkers and picture-takers. It’s not a place where one expects to find a sculpture, right in the middle of a busy street, but it creates a much-needed invitation to harried New Yorkers and tourists alike to take a much needed pause to marvel at the giant bird.

 


ADDITIONAL IMAGES OF NOTE


'The Bird,' New York. Photo by Ilana Novick.
‘The Bird,’ New York. Photo by Ilana Novick.
'The Bird,' New York. Photo by Ilana Novick.
‘The Bird,’ New York. Photo by Ilana Novick.
'The Bird.' New York. Photo by Benjamin Sutton via Artinfo.com.
‘The Bird.’ New York. Photo by Benjamin Sutton via Artinfo.com.
'The Bird,' New York. Photo by Ilana Novick.
‘The Bird,’ New York. Photo by Ilana Novick.

Marble festival rolls into Cairo, W.Va., May 4

Colorful marbles of all types will be available at the 18th annual West Virginia Marble Festival. Image courtesy Jeffrey S. Evans & Associates Inc..
Colorful marbles of all types will be available at the 18th annual West Virginia Marble Festival. Image courtesy Jeffrey S. Evans & Associates Inc..
Colorful marbles of all types will be available at the 18th annual West Virginia Marble Festival. Image courtesy Jeffrey S. Evans & Associates Inc..

WESTON, W.Va. – The 18th annual West Virginia Marble Festival will be Saturday, May 4, at the Community Building in Cairo, W.Va. The location is adjacent to the town square in the town that is the historic home of three marble manufacturers.

The festival is open to the public from 10 a.m. to 3 p.m. Activities include the sale of antique and contemporary marbles, exhibits, marble identification, books and more. Food is available on site and both admission and parking are free.

For those interested in selling or just displaying, setup is free and begins at 8 a.m. For those arriving Friday evening, the Community Building will be open from 6 to 8 p.m. for marble chatting, networking and mixing.

The town of Cairo is interesting to explore and an added attraction is the historic old Bank of Cairo exhibits.

The festival is part of “A Program of Saturdays on the Square” co-sponsored by the Museum of American Glass in West Virginia. For further information contact Ann Fissel at 304-628-3445.

The Museum of American Glass in West Virginia is open daily Memorial Day through Labor Day noon to 4 p.m. The balance of the year the museum is open daily noon to 4 p.m. and closed on Wednesday and Sunday. Admission is free. It is easily accessible off I-79 exit 99. Begun in 1992, the museum occupies 12,000 square feet with over 12,000 pieces of glass on permanent display. The museum is home to the National Marble Museum and the American Flint Glass Workers Union Archives. The museum holds an annual marble festival and numerous special exhibits throughout the year. More information can be found at http://magwv.com/. Questions about programs or the museum can be directed to 304-269-5006.


ADDITIONAL IMAGES OF NOTE


Colorful marbles of all types will be available at the 18th annual West Virginia Marble Festival. Image courtesy Jeffrey S. Evans & Associates Inc..
Colorful marbles of all types will be available at the 18th annual West Virginia Marble Festival. Image courtesy Jeffrey S. Evans & Associates Inc..
Image courtesy Jeffrey S. Evans & Associates Inc..
Image courtesy Jeffrey S. Evans & Associates Inc..
Image courtesy Jeffrey S. Evans & Associates Inc..
Image courtesy Jeffrey S. Evans & Associates Inc..

Historic Motown Steinway piano back in Detroit

'Hitsville USA,' the Motown Museum in Detroit.
'Hitsville USA,' the Motown Museum in Detroit.
‘Hitsville USA,’ the Motown Museum in Detroit.

DETROIT (AP) – An 1877 Steinway grand piano used by Motown greats during the label’s 1960s heyday, and restored thanks to Paul McCartney, is back home in Detroit, officials announced Monday.

Steinway technicians were to deliver the 9-foot, Victorian rosewood to the “Hitsville, U.S.A,” building Monday, Motown Historical Museum board chair Robin Terry said in a news release first obtained by The Associated Press.

McCartney told museum officials after a 2011 concert in Detroit that he wanted to help with the piano’s refurbishment after learning the historic instrument no longer could be played.

Work on the piano was completed last August, and the ex-Beatle and Motown founder Berry Gordy played it together during a September charitable event at Steinway Hall in New York City.

The piano now will go back on display at the Motown museum’s famed Studio A in the “Hitsville, U.S.A.,” building. The instrument first made its way to Motown when the label acquired Golden World Records in 1967, a facility redubbed Motown Studio B and used by musicians and songwriters to create songs by Stevie Wonder, Marvin Gaye and other Motown greats.

To celebrate the piano’s return, museum officials are inviting the public to visit Hitsville with free admission during Esther Gordy Edwards Community Day on April 25.

“This piano is part of our treasured collection of historical artifacts that tell the Motown story,” Terry said. “We are thrilled to welcome it back home to Detroit, where it will be used to educate local students about the legendary history created in their hometown and share the Motown story for generations to come.”

The piano was brought back to professional recording quality, Terry said, with all of its internal components – soundboard, keys, hammers, pins and strings – restored. The piano’s case was left as is to preserve its authenticity, while the legs, which were not original, were replaced. While the original strings and hammers were worn beyond repair, they were retained and are being returned to the museum for exhibit.

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Follow Mike Householder on Twitter: http://twitter.com/mikehouseholder

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Copyright 2013 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-04-01-13 1335GMT

 

 

 

Former department store tea room getting makeover

The former Younkers department store in downtown Des Moines, where the Tea Room will reopen soon. Image by Iowahywman at en.wikipedia. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
The former Younkers department store in downtown Des Moines, where the Tea Room will reopen soon. Image by Iowahywman at en.wikipedia. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
The former Younkers department store in downtown Des Moines, where the Tea Room will reopen soon. Image by Iowahywman at en.wikipedia. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

DES MOINES, Iowa (AP) – It’s been eight years since the scent of cheese sauce wafted off a rarebit burger in the old Younkers Tea Room in Des Moines.

It’s been three decades since models clad in Geoffrey Beene dresses strolled a catwalk in the iconic space.

And it’s been even longer since the Tea Room hosted a who’s who of Des Moines inside an anchor of a vibrant downtown shopping scene.

But if the plaster faces peering down from the columns here could talk, they no longer would be confined to discussing the Tea Room’s storied past. They could speak of its future.

The Des Moines Register reports that as part of a plan to convert most of the old Younkers building to apartments and retail space, the project developer, the Alexander Co., has decided to restore the once-glitzy dining space to the way it felt nearly 80 years ago. It will reopen as a full restaurant or an events space for weddings and other special occasions when the overall building renovation is completed in late 2014, the company says.

In an exclusive tour with The Des Moines Register, the developer highlighted which features in the Tea Room will stay, which will be updated and how researchers are delving into the building’s history to make those decisions.

Longtime Iowans frequently wax nostalgic about the Tea Room.

“I think when it was first really popular in the ’50s, people older than we would say they had their first elegant lunch with their grandmother – white gloves and chicken salad was the tradition,” said James Spizale, a visual merchandiser who worked at the store in the ’80s. “I have a lot of memories there.”

Some of them interviewed by the Register voiced excitement about its planned reopening.

“It was part of Des Moines’ culture and history,” said Connie Boesen, a former Younkers employee who spent 34 years with the company. “I’m very excited that they’re revitalizing the building. Hopefully it will be the catalyst to even more downtown renovation.”

The Alexander Co., based in Madison, Wis., specializes in historic preservation. David Vos, a project manager with the company, says its goal is for the space to feel just as Iowans remember it.

“We’d be strung up on a noose if we changed it,” he said, standing inside a Tea Room that today is empty, dirty and dark.

For the company, preserving the Tea Room is part of cobbling together the $36 million required to renovate the building. The company will receive $15 million in state and federal historic tax credits for preserving historically important parts of the building.

The Tea Room is one of those historically important parts, Vos said.

But when restoring and preserving a century-old space, just which version does a developer preserve? Does the Tea Room get restored as it was on its opening day in 1913, with oak tables and chintz draperies?

Or should it be restored as it was in the 1970s and ’80s, when reflective mirror windows replaced French-style ones to give the building an updated, more modern look?

The answer is a little bit of both, Vos said, because of complex standards required in the tax credits process. How closely the Tea Room matches memories will depend on just when the visitor experienced it.

The Younkers building’s restoration will be informed largely by the work of James Jacobsen, a preservation consultant who helped prepare the building’s applications both for historical tax credits and its place on the National Register of Historic Places.

The effort involved extensive research into the Tea Room’s past, piecing together what it looked like through a patchwork visual history of old postcards, photographs and building permits – whatever documentation could be had.

Unlike the rest of the Younkers building, the Tea Room remained relatively untouched for decades.

The original finishes are all still here. Most of the walls and the ornate decorations on them remain original to the building and will be touched up and preserved, Vos said.

Some updates that aren’t original or significant to the building will be nixed, Vos said, including mirrors on some walls and ventilation panels covering a radiator.

The walls’ cream and red paint job and the worn carpet – easily changeable features – aren’t restricted by preservation rules and can be changed. Large chandeliers sold at an auction in 2005 will be replaced either with reproductions or with similar but more modernized versions.

The most dramatic change will come with restoration of the room’s original windows with French doors, and the addition of balconies outside each door, all features from the space’s earliest decades, Vos said.

All in all, the blend of original and restored elements should create the visual feel reminiscent of the Tea Room’s heyday in the 1930s, Vos said, a period at the peak of what researchers had to justify as the Younkers building’s “period of significance.”

So what will residents notice when they visit the new Tea Room in 2014? Vos’ hope: What they remember from decades past and nothing more.

But can a restored Tea Room be a viable enterprise?

After all, the Younkers building, its Tea Room and downtown retail suffered a gradual decline over the past quarter century or more as malls lured shoppers to the suburbs.

“A lot of people will tell you it really faded in its last five years,” said Wini Moranville, an expert on central Iowa’s dining scene and previously a food writer for the Register. “In fact, I never reviewed it because it was so heartbreaking compared to what it had once been.”

Moranville suggests the best bet for the Tea Room’s future will be as an events space rather than a restaurant.

The current zeitgeist of Des Moines dining yearns for a clean-cut, modern experience, Moranville said, not exactly the old-time opulence the Tea Room evokes.

Even venerable establishments like the Savery Hotel are updating their bars to look more 2013 than 1913, she noted. But as an events space, the revamped Tea Room could tie visitors to a key time in Des Moines’ cultural history, she said.

“I think it might be kind of hard to get people up to the Tea Room (as a restaurant), but that’s not to say they shouldn’t try,” she said. “I would be first in line.”

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Information from: The Des Moines Register, http://www.desmoinesregister.com

Copyright 2013 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-03-30-13 1404GMT

 


ADDITIONAL IMAGE OF NOTE


The former Younkers department store in downtown Des Moines, where the Tea Room will reopen soon. Image by Iowahywman at en.wikipedia. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
The former Younkers department store in downtown Des Moines, where the Tea Room will reopen soon. Image by Iowahywman at en.wikipedia. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

 

Claim of hidden chest draws treasure hunters to N.M.

A treasure chest may be hidden in the mountains outside Santa Fe. Image courtesy of LiveAuctioneers.com Archive and Homestead Auctions.
A treasure chest may be hidden in the mountains outside Santa Fe. Image courtesy of LiveAuctioneers.com Archive and Homestead Auctions.
A treasure chest may be hidden in the mountains outside Santa Fe. Image courtesy of LiveAuctioneers.com Archive and Homestead Auctions.

SANTA FE, N.M. – For more than a decade, he packed and repacked his treasure chest, sprinkling in gold dust and adding hundreds of rare gold coins and gold nuggets. Pre-Columbian animal figures went in, along with prehistoric “mirrors” of hammered gold, ancient Chinese faces carved from jade and antique jewelry with rubies and emeralds.

Forrest Fenn was creating a bounty, and the art and antiquities dealer says his goal was to make sure it was “valuable enough to entice searchers and desirable enough visibly to strike awe.”

Occasionally, he would test that premise, pulling out the chest and asking his friends to open the lid.

“Mostly, when they took the first look,” he says, “they started laughing,” hardly able the grasp his amazing plan.

Was Fenn really going to give this glistening treasure trove away?

Three years ago, he lay two of his most beloved pieces of jewelry in the chest: a turquoise bracelet and a Tairona and Sinu Indian necklace adorned with exotic jewels. At the bottom of the chest, in an olive jar, he placed a detailed autobiography, printed so small a reader will need a magnifying glass. After that, he says, he carted the chest of loot, now weighing more than 40 pounds, into the mountains somewhere north of Santa Fe and left it there.

Next, Fenn self-published a memoir, The Thrill of the Chase, distilling the autobiography and, intriguingly, including a poem that he says offers clues to lead some clever – or lucky – treasure hunter to the bounty.

It wasn’t long before word of the hidden trove got out, and the publicity has caused a mini-gold rush in northern New Mexico.

But it has also set off a debate: Has Fenn truly hidden the treasure chest or was this, for the idiosyncratic, publicity-loving 82-year-old who loves to tell tales, just another way to have fun, a great caper to bolster his legacy?

One friend, Michael McGarrity, an author and former Santa Fe County sheriff’s deputy, acknowledges it could be “a private joke,” though he believes “Forrest has certainly buried something.” If it was the treasure he saw, well, “it really is quite an astonishing sight to see.”

There certainly seems to be no shortage of believers, including Doug Preston, whose novel The Codex about a notorious treasure hunter and tomb robber who buries himself and his treasure as a final challenge to his three sons, is loosely based on Fenn’s story.

“I’ve seen the treasure. I’ve handled it. He has had it for almost as long as I’ve known him. It’s real. And I can tell you that it is no longer in his vault,” says Preston.

“I am 100 percent sure that he really did go out and hide this thing. I am actually surprised that anyone who knows him would think he was blowing hot air. It is just not his personality. He is not a tricky, conspiratorial, slick or dishonest person at all.”

Fenn says his main goal is to get people, particularly children, away from their texting devices and looking for adventure outdoors.

But probably few are having more fun with the whole adventure than Fenn himself, a self-described schmoozer and endless flirt who is reveling in what he says are 13,000 emails from treasure hunters – not to mention 18 marriage proposals.

“His net worth is much higher than what he put in the bounty,” says Preston, guessing the treasure’s value is in the million-dollar range. “He is having way more than $1 million worth of fun with this.”

It all began, Fenn says, more than 20 years ago, when he was diagnosed with cancer and given just a few years to live.

That’s when he decided to buy the treasure chest and fill it with some of his favorite things.

“Nobody knows where it was going to be but me,” he recalls thinking. He revised the clue-poem’s wording several times over the years, and made other changes in his plans. For a time, he thought of having his bones with the treasure chest, though how that might have been accomplished is unclear.

“But then,” Fenn says with a mischievous twinkle in his blue eyes, “I ruined the story by getting well.”

In The Thrill of the Chase, he lays out his unusual rags-to-riches story while sharing memories of his favorite adventures and mischief-making.

From the outset, the book tells readers the recollections “are as true to history as one man can average out that truth, considering the fact that one of my natural instincts is to embellish.”

Average out the truth? Instinct to embellish? Well, one thing is certain: He certainly knows how to tell a tale.

Fenn was raised in Temple, Texas, where his father was a school principal, according to the book. The family was poor, he says, only eating meat on Sundays if there was a chicken to kill. But, Fenn writes,

they spent every summer in Yellowstone National Park, where young Forrest and his brother Skippy launched many an adventure. He describes the brothers trying to fly a homemade plane and tells about being left on the side of the road after an argument during a road trip.

Fenn never went to college, although he did attend classes at Texas A&M University with his friends for a short time, before it was discovered he was not a registered student, the book says.

He married his high school sweetheart, Peggy Jean Proctor, and spent nearly two decades in the Air Force, including much-decorated service as a fighter pilot in Vietnam.

After returning to Texas, he, his wife and two daughters moved to Santa Fe, where, over time, he became one of this artistic enclave’s best known and most successful gallery owners.

Details on how a man with no art background made such a dramatic but successful transition are scarce in his book. When asked to elaborate, he says simply, “I never went to college. I never went to business school. I never learned the rules that make businesses fail.”

Those who know him credit his love of people. As an art dealer, he hosted a virtual who’s who of the rich and famous at his gallery and guest house, including Jackie Kennedy Onassis, Sam Shephard, Jessica Lange and Michael Douglas, to name a few. Even at 82, he still throws one hell of a party, friends say, mixing up the guest list with the many actors, artists, writers and political leaders who live in or frequent this artistic mountain hideaway.

Perhaps the biggest misconception about Fenn – whom some locals refer to as Santa Fe’s Indiana Jones – is that he was a treasure hunter himself.

“Forrest is a trader,” said Dan Nietzel, a professional treasure hunter who has searched for Fenn’s treasure. “He traded for these things. I think people think he went around digging all these things up.”

But there are some intangibles Fenn has spent his life searching out.

“I love mysteries. I love adventures,” he says.

As a teen, scouring Yellowstone every summer, he almost led friend Donnie Joe to an early demise when they got lost on horseback in Montana’s Gallatin National Forest trying to retrace the steps of Lewis and Clark, according to his memoir.

“Donnie got in a serious swivet and wouldn’t speak to me for a while, except to say that our unfortunate adventure was ill-conceived, dumb thought out, and I was over-rated like my horse,” he writes.

His book moves on to the Vietnam War, describing his Air Force service, his combat missions and even his survival after being shot down.

While it’s sometimes hard to know whether Fenn’s zest for “embellishment” adds to his stories, military records emphatically back this chapter. They confirm that as a fighter pilot he was awarded the Distinguished Flying Cross, the Air Medal, silver and bronze stars, a purple heart and other medals. In one engagement, enemy fire shattered the canopy of his jet, cutting his face, and yet he continued to attack, the records show. In another, he showed “outstanding heroism,” making repeated low strafing passes to draw fire until wounded forces on the ground could be rescued. He rose to the rank of major.

Fenn also describes himself as an amateur archaeologist. In the mid-1980s, he bought a ranch near Santa Fe that includes the 57-acre ancient pueblo of San Lazaro, where he has spent years digging up bones, pottery and other artifacts that he keeps in a room off his garage.

And while he says he made his fortune selling paintings, his love is clearly of antiquities. His personal study, which was designed to house a 17-by-28-foot Persian rug from the late 1800s, is filled from floor to ceiling with valuables, ranging from gilded fore-edge books to war memorabilia, a brandy bottle left in his guest house by Kennedy Onassis, and even what he says is Sitting Bull’s pipe.

The Federal Bureau of Investigation in 2006 raided his home as part of an antiquities theft probe, but Fenn was never charged.

“Begin it where warm waters halt

And take it in the canyon down,

Not far, but too far to walk.

Put in below the home of Brown.”

That’s part of the poem of clues to the treasure’s location, which Fenn published in his memoir three years ago. News reports have created a run on the book.

Based on the more than 9,000 emails Fenn says he has received just in the past few months, he estimates thousands of treasure hunters will descend on northern New Mexico this spring.

Dana Ortega, director of sales and marketing at Santa Fe’s Inn and Spa at Loretto, said the hotel, which offers a special package starting at $300 that includes a copy of Fenn’s now hard-to-find book, has seen a huge spike in interest.

“About 50 people came in on the package last year,” she said. “Now our phones are ringing off the hook. … So many people have the book so they are not all doing the package, but they call and want to stay here.”

The local Chamber of Commerce should “give Forrest an award for increasing tourism,” says McGarrity, his friend.

He talks of being stopped on the street by a man in a big truck with Texas plates, pulling an all-terrain vehicle and asking if he knew where Forrest Fenn lived.

“Are you hunting for treasure?” McGarrity asked.

“You betcha!” the Texan said.

But the publicity has also raised safety concerns.

A few weeks ago, a woman from Texas, drawn by a network report about the treasure, got lost searching the mountains near Los Alamos. She spent the night in the rugged terrain of Bandelier National Monument and was walking out the next day when rescuers found her. But the case prompted officials to warn searchers to be properly prepared for the outdoors. They also reminded the public it’s illegal to dig, bury an item or use a metal detector on federal lands.

Also a concern: Fenn says he has had people ringing the buzzer at his gate and trying to follow him when he leaves.

For the most part, though, he says people reaching out to him are just trying to convince or trick him into giving more clues.

So far, the best anyone seems to have gotten out of him is that the treasure is more than 300 miles west of Toledo, not in Nevada, and more than 5,000 feet above sea level “in the Rocky Mountains. (Santa Fe, whose Sangre de Cristo mountains mark the start of the Rockies, is 7,260 feet above sea level.)

But he emphasizes two things: He never said the treasure was buried, and he never said it was in Santa Fe, or even New Mexico for that matter.

Nietzel says the most common place the clues about “where warm waters halt” first lead people is to Eagle Nest Lake, about 100 miles north of Santa Fe, because it has a dam that holds back warm water and is known for its brown trout.

Others are sure it must be in Yellowstone, because of Fenn’s history there and his deep knowledge of the park.

Nietzel says he has made 29 searches for the treasure in six states, and he plans to resume his efforts when it gets a little warmer in the mountains.

Another friend of Fenn’s, Santa Fe jeweler Marc Howard, says he has made about 20 searches, and is “still trying to match my wits against a seemingly impossible poem.”

The scheme is similar to a treasure hunt launched in 1979 by the author of a British children’s book, Masquerade, which had clues to the location of an 18-carat jeweled golden hare hidden somewhere in Britain. That rabbit was found in 1982, although it was later revealed it was found with the help of the author’s former live-in girlfriend.

Fenn, who lives with his wife in a gated estate near the center of town, insists he is the only person who knows where his treasure is hidden. Asked what his two daughters, Kelly and Zoe, think of him hiding part of their and their seven kids’ inheritance, he replies only that “they’ve been saying for years that I am crazy.” He doubts they have any interest in finding it, but says he wouldn’t be surprised if one of two grandsons has gone looking for it.

And he is ambivalent about whether the chest is found soon, or even in his lifetime.

But “when a person finds that treasure chest, whether it’s tomorrow or 10,000 years from now and opens the lid, they are going to go into shock. It is such a sight.”

 

Read more: http://www.foxnews.com/us/2013/03/31/treasure-hunt-for-quirky-traders-gold-plays-on/#ixzz2PJbI68oJ

Copyright 2013 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


ADDITIONAL IMAGE OF NOTE


A treasure chest may be hidden in the mountains outside Santa Fe. Image courtesy of LiveAuctioneers.com Archive and Homestead Auctions.
A treasure chest may be hidden in the mountains outside Santa Fe. Image courtesy of LiveAuctioneers.com Archive and Homestead Auctions.

 

 

 

N.H. Historical Society creates digitized database

An Abel Hutchins clock similar to the one in the collection of the New Hampshire Historical Society collections. Image courtesy of LiveAuctioneers.com Archive and Wiederseim Associates Inc.
An Abel Hutchins clock similar to the one in the collection of the New Hampshire Historical Society collections. Image courtesy of LiveAuctioneers.com Archive and Wiederseim Associates Inc.
An Abel Hutchins clock similar to the one in the collection of the New Hampshire Historical Society collections. Image courtesy of LiveAuctioneers.com Archive and Wiederseim Associates Inc.

CONCORD, N.H. (AP) – The New Hampshire Historical Society has a new digitized database of 23,000 museum objects online.

The Concord Monitor reports each item has information about where it came from and how it was acquired.

For example, if you type in “football,” you will find a dark leather helmet made by the Draper-Maynard company in Plymouth between 1920 and 1940, and a sketch of the Civilian Conservation Corps tossing a pigskin from years ago.

The collection represents just a fraction of the society’s entire physical offerings, which include thousands of objects, photos and manuscripts.

The project is part of a $10 million campaign to create a more detailed web presence featuring virtual museum galleries, guided tours and lesson plans.

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Information from: Concord Monitor, http://www.cmonitor.com

Copyright 2013 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-04-01-13 1125GMT