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.

___

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

Follow Jeff Karoub on Twitter: http://twitter.com/jeffkaroub

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.”

___

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.

___

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

Preservation puts Cardinal Ritter birthplace back to use

Historic Landmarks of Indiana was instrumental in rehabilitating the birthplace of Cardinal Joeeph Ritter. Historic Landmarks of Indiana image.
Historic Landmarks of Indiana was instrumental in rehabilitating the birthplace of Cardinal Joeeph Ritter. Historic Landmarks of Indiana image.
Historic Landmarks of Indiana was instrumental in rehabilitating the birthplace of Cardinal Joeeph Ritter. Historic Landmarks of Indiana image.

NEW ALBANY, Ind. (AP) – One of the first projects Greg Sekula took on as director of the Historic Landmarks of Indiana Southern Office was to purchase and help save Cardinal Joseph Ritter’s birthplace at 1218 E. Oak St. in New Albany.

It was a tall order indeed.

The house, which was bought for $25,000 by Historic Landmarks, was unstable and in shambles. But thanks to Sekula, David Hock and others dedicated to preserving the home and turning it into a place where those in need could receive services or gather as a community, the journey is nearly complete. Like Ritter, this group didn’t let a few bumps in the road deter their mission.

“It’s been a very rewarding endeavor,” Sekula told the News and Tribune “It’s been a long road and exceeded my own expectations.”

The front section of the house is occupied by four nonprofits – Home of the Innocents, New Directions, Elder Serve Home Care and Information Link of Southern Indiana – and the community room in the rear of the structure is used for meetings or special events. The only incomplete portion is the middle area, which is being turned into a museum and will soon have photos and artifacts to help tell the story of Ritter, the only Indiana native to ever be elevated to a cardinal in the Catholic Church.

“It’s kind of like a dream come true in slow motion,” said Hock, president of the Ritter Birthplace Foundation, who has been instrumental in the house’s rebirth. “People have been so committed to this project. We’re just now starting to talk about how any of us can get off the board. This group has been determined to see this through.”

While buying the shell of the house cost only $25,000 in 2002, Hock estimates that to date, $750,000 has been spent through cash donations and in-kind services to rehabilitate the structure. It will take a few more thousand to finish the museum, although the walls and floor have been rehabilitated in the area and are awaiting photos and other memorabilia. A lot of the museum work will be done in-house.

Ritter, who was born in the house in 1892, attended St. Mary’s Catholic Church and School in New Albany and was ordained a priest in 1917. He became the first Archbishop of Indianapolis and later became Archbishop of St. Louis, where he integrated parochial schools in 1947, just as he had done in Indianapolis. He was elevated to cardinal in 1961 and died in 1967.

The Cardinal Ritter Birthplace Foundation was founded in 2004. Hock said the house has become everything the board had envisioned it would become and more. The community center has hosted gatherings, like the one held recently commemorating the 50th anniversary of the Second Vatican Council. Timothy P. O’Malley, director of the Notre Dame Center for Liturgy, spoke about the important role Ritter played in the Second Vatican Council at the event.

Hock said the house has truly become a community project with donations of both funds and labor coming from all over. The Horseshoe Foundation of Floyd County gave the project a major boost with grants early in the process.

“The bricks and mortar are done. Now it’s how are we going to set up the displays and tell his story,” Hock said.

The board received some input on putting the museum together from Troy McCormick, and now Sekula, Ray Day and the Rev. Troy Overton will help organize and plan the museum area.

“We are trying to get the biggest bang for the buck,” Sekula said. “The shell of the area is done, we just need to add exhibits.”

Sekula hopes the museum area can open July 20, which is Ritter’s 121st birthday.

“He would probably be humbled by the attention,” Sekula said of Ritter. “He is certainly someone who should be looked up to as a model.”

Hock said the recent attention given to a new pope being elected has also drawn more attention to Ritter’s birthplace. He said he has heard people of all faiths talk about the process and the excitement of the election of Pope Francis.

“A lot of people don’t know who Cardinal Ritter was because he moved out of the area after eighth grade,” he said. “A lot of people want to know, ‘Who was this guy?’ They are asking a lot of questions.”

He said the process to complete the house has taken several years because none of the board members were “fund raisers.” Hock also said Ritter would be pleased with the final product.

“He wouldn’t care about the museum. He was all about outreach … his home has nonprofits who are reaching out to help people,” Hock said. “He would be proud of that.”

___

Information from: News and Tribune, Jeffersonville, Ind., http://www.newsandtribune.com

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

AP-WF-03-28-13 1504GMT


ADDITIONAL IMAGE OF NOTE


Historic Landmarks of Indiana was instrumental in rehabilitating the birthplace of Cardinal Joeeph Ritter. Historic Landmarks of Indiana image.
Historic Landmarks of Indiana was instrumental in rehabilitating the birthplace of Cardinal Joeeph Ritter. Historic Landmarks of Indiana image.

Ancient Resource Apr. 6 auction ventures from Babylon to Rome

Egyptian bicolor faience ushabti, 3rd Intermediate Period, 21st Dynasty, c. 1075 - 945 BC. Ex English private collection. Ancient Resource image.
Egyptian bicolor faience ushabti, 3rd Intermediate Period, 21st Dynasty, c. 1075 - 945 BC. Ex English private collection. Ancient Resource image.

Egyptian bicolor faience ushabti, 3rd Intermediate Period, 21st Dynasty, c. 1075 – 945 BC. Ex English private collection. Ancient Resource image.

LOS ANGELES – Ancient Resource, LLC will present an exciting array of ancient art in its April 6th auction, with Internet live bidding through LiveAuctioneers.com. The auction contains more than 360 lots of well-provenanced goods representing a range of cultures, from the exceptionally rare Babylonian through Egyptian Greek and Roman, to all of the diverse peoples of the New World.

The market for antiquities continues to soar as better pieces enter the realm of tangible assets. Many view antiquities as a viable hedge against inflation and the declining dollar. Provenance is important in this category, and the bulk of Ancient Resource’s selections come from select US estates and European collections assembled during the late 19th and early 20th century.

The 21st Dynasty marked the height of the Egyptian development of blue glazed faience. Glazed in this deep rich color, faience was perceived as substitute for blue-green materials such as turquoise, found in the Sinai peninsula, and lapis lazuli, from Afghanistan. The symbolism embedded in blue glazing could recall both the Nile, the waters of heaven and the home of the gods. A prized Egyptian bicolor faience ushabti, entered as Lot 59, epitomizes the quality of the Third Intermediate Period, 21st Dynasty, circa 1075 – 945 BC. A mummiform wearing a tripartite wig with seshed head-band, its arms are folded over its chest, each hand holding a hoe, with a bag on the back and a column of text down front. It has a 19th century label on verso and was formerly in an English private collection.

The vast majority of canopic jars were produced in limestone or pottery. In the Third Intermediate Period and later, dummy canopic jars were introduced. Improved embalming techniques allowed the viscera to remain in the body. The traditional jars remained a feature of tombs but were no longer hollowed out for storage of the organs. This change allowed for the production of magnificent jars in faience. A highly unusual example is Lot 108. A choice bi-color faience canopic lid in the form of Qebehsenuef, Third Intermediate Period, c. 1075 – 665 BC, it represents a falcon-headed deity that is one of the “Four Sons of Horus.” The jar lid is beautiful detailed with dark blue lines in the striated wig and has black cosmetic details all over the bright turquoise base. It was formerly in a New York City private collection.

The first of January was dedicated by the Romans to their God of Gates and Doors, Janus. He is commonly depicted with two faces…one regarding what is behind and the other looking toward what lies ahead. Thus, Janus symbolizes contemplation of the happenings of an old year while looking forward to the new. Some sources claim that Janus was characterized in such a peculiar fashion due to the notion that doors and gates look in two directions. Therefore, the God could look both backward and forward at the same time. Originally, Janus was portrayed with one bearded face and the other clean-shaven, which may have symbolized the moon and the sun, or age and youth. Lot 124 continues that theme but uses Dionysos as a subject.

The Roman marble janiform herm, 1st-2nd century AD, depicts on one side Dionysos with a curled beard and moustache, wearing a foliate wreath with vines to either side of his head. The opposite side depicts a youthful satyr with short curly hair, his eyes wide and his mouth slightly open. Mounted on a custom base, it comes to auction with provenance from Charles Ede Ltd, London 1988; a German private collection, and subsequent prchase from Christie’s on Oct. 18, 2005.

Terra-cotta figures of women bearing gifts were quite popular in Ancient Greece. The great majority of the figurines simply represent a woman upright, without attribute. These latter figurines were offered in all sanctuaries, independently of the divinity. The terracotta figurines were often purchased at the entry of the sanctuary and placed on temple benches or next to the cult god. They were used to replace offerings in kind, like animals or food. Lot 172 is a beautiful example of a female offering this type of gift.

The Greek terra-cotta figure of a woman, circa 5th century BC, wears chiton and himation, her necklace featuring large diamond-shape pendant beads. In her arms she clutches what appear to be apples. Her facial expression is calm and serene, and her hair is styled back in ridges. There are some losses to the figure’s feet, but it is an attractive piece mounted on a custom metal base. Ex English private collection, acquired prior to 1980.

The Inca made beautiful objects of gold, silver, copper, bronze and tumbago. But precious metals were in shorter supply than in earlier Peruvian cultures so surviving works in silver are quite rare. The Inca metalworking style draws much of its inspiration from Chimu art and in fact the best metal workers of Chan Chan were transferred to Cusco when the Kingdom of Chimor was incorporated into the empire. The metalworks of the Incas were perhaps the most advanced in America. When the Spanish encountered the Inca people, most of their silver and gold goods were melted down for bullion. Ancient Resource is particularly proud to offer Lot 352, a late Inca heavy pure silver mirror, Peru, circa 1000-1450 AD. Of solid construction, its handle has a rectangular profile and rounded base, the rounded end is pounded flat and polished, and there is a central hole, perhaps for suspension or for a decorative applique. Ex Collection of Marjorie and Charles Benton, Evanston, Illinois.

The Chimu people were master metalsmiths. Although copper is found naturally on the coast, it was mostly attained from the highlands in an area about three days away. Since most of the copper was imported, it is likely that most of the metal objects that were made were very small. The pieces, such as wires, needles, digging stick points, tweezers, and personal ornaments, are consistently utilitarian objects of copper or copper bronze. That said, Lot 346 in the sale is quite unusual for a Chimu bronze piece.

A choice Chimu incised bronze disk from Peru, circa 1100-1450 AD, it depicts a stylized reptile with sharp teeth and a long, curving tail. The incising is accentuated with triangular and rectangular cut-outs, with a suspension hole at the top. Mounted on a custom base, it comes from the Collection of Marjorie and Charles Benton, Evanston, Illinois.

For additional information on any item in Ancient Resource’s April 6 auction, call 818-425-9633 or e-mail gabriel@ancientresource.com.

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

#   #   #

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


Egyptian bicolor faience ushabti, 3rd Intermediate Period, 21st Dynasty, c. 1075 - 945 BC. Ex English private collection. Ancient Resource image.

Egyptian bicolor faience ushabti, 3rd Intermediate Period, 21st Dynasty, c. 1075 – 945 BC. Ex English private collection. Ancient Resource image.

Bi-color faience canopic lid in the form of Qebehsenuef, 3rd Intermediate Period, c. 1075 - 665 BC. Ex New York City private collection. Ancient Resource image.

Bi-color faience canopic lid in the form of Qebehsenuef, 3rd Intermediate Period, c. 1075 – 665 BC. Ex New York City private collection. Ancient Resource image.

Roman marble janiform herm, 1st - 2nd Century AD, one side depicting Dionysos and the other depicting a youthful satyr. Ex Charles Ede Ltd, London 1988; ex German private collection, acquired from Christie's, 18 Oct. 2005. Ancient Resource image.

Roman marble janiform herm, 1st – 2nd Century AD, one side depicting Dionysos and the other depicting a youthful satyr. Ex Charles Ede Ltd, London 1988; ex German private collection, acquired from Christie’s, 18 Oct. 2005. Ancient Resource image.

Greek terra-cotta figure of a woman, circa 5th Century BC, wearing chiton and himation; necklace with large diamond-shaped pendant beads. Ex English private collection, acquired prior to 1980. Ancient Resource image.

Greek terra-cotta figure of a woman, circa 5th Century BC, wearing chiton and himation; necklace with large diamond-shaped pendant beads. Ex English private collection, acquired prior to 1980. Ancient Resource image.

Late Inca heavy pure silver mirror, Peru, c. AD 1000 - 1450, heavy and of solid construction. From the collection of Marjorie and Charles Benton, Evanston, Illinois. Ancient Resource image.

Late Inca heavy pure silver mirror, Peru, c. AD 1000 – 1450, heavy and of solid construction. From the collection of Marjorie and Charles Benton, Evanston, Illinois. Ancient Resource image.

Chimu incised bronze disk, Peru, c. AD 1100 - 1450, depicting a stylized reptile with sharp teeth and a long, curving tail. From the collection of Marjorie and Charles Benton, Evanston, Illinois. Ancient Resource image.

Chimu incised bronze disk, Peru, c. AD 1100 – 1450, depicting a stylized reptile with sharp teeth and a long, curving tail. From the collection of Marjorie and Charles Benton, Evanston, Illinois. Ancient Resource image.

 

Kovels Antiques & Collecting: Week of April 1, 2013

This German doll is sometimes called a carved 'peg wooden' doll because of her jointed arms and legs. Her original clothing and peddler's tray attracted buyers at a Theriault's auction in New Orleans. She sold for $2,912.
This German doll is sometimes called a carved 'peg wooden' doll because of her jointed arms and legs. Her original clothing and peddler's tray attracted buyers at a Theriault's auction in New Orleans. She sold for $2,912.
This German doll is sometimes called a carved ‘peg wooden’ doll because of her jointed arms and legs. Her original clothing and peddler’s tray attracted buyers at a Theriault’s auction in New Orleans. She sold for $2,912.

Wooden dolls date back centuries. The earliest were crude carved pieces of wood shaped like a human figure. But today it’s rare to find a doll made before the 1600s, when English and German draftsmen skillfully carved wooden lifelike dolls. Most collectors today look for later carved “peg wooden” dolls like those made in Grodnertal, Germany. The dolls, which date from about 1820 to 1840, were created with arms and legs that could bend because of their pegged joints at the knees and hips, elbows and shoulders. The early ones have heart-shaped faces, long necks and elongated bodies. Their extra-long legs showed off their high-waisted Empire-style dresses. After the 1840s, doll carvers took shortcuts and the dolls had round faces and chunky bodies.

A 2012 Theriault’s auction offered a Grodnertal peddler doll. The 13-inch doll had her original painted face, human hair wig and jointed arms and legs. Her value increased because she wore her original clothes, from dress to cap, cape and undergarments. She was holding a peddler’s tray filled with lace, sewing materials, household goods and a tiny miniature Grodnertal wooden doll. Because she was old, attractive and in good original condition, a collector paid more than $2,900 to take her home.

Q: I have a pasteboard dollhouse designed and made by Transogram Co. of New York. It’s in reasonable shape. I think it’s from the 1920s or ’30s. It’s a two-story house with a front that opens up and a removable roof. The lower level is red brick and the second floor has yellow siding. The furniture inside is wooden and is definitely ’20s and ’30s vintage. Does the furnished dollhouse have any value, or should I just pitch it?

A: Don’t pitch it. Transogram Co. was founded by Charles S. Raizen in 1915. It made toys, play sets, games, craft sets and juvenile and playroom furniture. Raizen died in 1967, and the company was run by his family until it was sold in 1969. It closed shortly afterward. Old dollhouses, even cardboard houses, sell to collectors. A little wear is OK.

Q: I have a dining-room chair that’s blond wood with a green plastic seat. It has a lattice-like back. The back legs are one piece going from the floor to the top of the back. The bottom is marked “Daystrom Furniture, Model 455-175.” The words “Made in Occupied Japan” are written in a small circle. It’s not in perfect shape. Can you tell me what it’s worth?

A: Daystrom was founded in Olean, N.Y., in 1934. At first the company made metal ashtrays. By 1938 it was producing chromium kitchen furniture and upholstered stools and chairs. Daystrom moved to South Boston in 1962 and began using the name “Daystrom Furniture.” Daystrom’s low-end dinette sets sold well during the 1960s, but foreign competition began affecting the furniture market by the 1970s. The company was sold several times and closed in 1996. Since your chair is marked “Made in Occupied Japan,” Daystrom must have been making furniture in a Japanese factory or importing pieces between 1947 and 1952, years when the Allies occupied Japan after World War II. Chairs like yours were inexpensive when made. Value today: about $100 to $150.

Q: In going through some old family papers, I ran across a souvenir program from a concert by Tommy Dorsey and his Orchestra at the Grand Ballroom in Pleasure Beach Park in Bridgeport, Conn., on June 1, 1941. The program includes autographed photos of Dorsey, Frank Sinatra and Buddy Rich. My father was at the concert and saw them sign their pictures. Is there any value to the program and the autographs?

A: Frank Sinatra (1915-1998) signed with Tommy Dorsey in 1939 and appeared as a singer with the band from 1940 until late 1942. Souvenir programs don’t ordinarily sell for more than a few dollars, but because yours includes an early Frank Sinatra autograph, it’s worth more. You should contact an auction house that specializes in autographs if you’re interested in selling. It could be worth more than $200.

Q: I have a complete collection of small metal license plates. They’re all about 3 by 5 1/2 inches. I think they came from Wheaties cereal boxes. They are about 60 years old. Can you tell me if there is a demand for these and if they have any value? A: Wheaties first offered miniature auto license plates from all 48 states and the District of Columbia in 1953. Four different sets of 12 plates each could be ordered by sending in 25 cents and a Wheaties box top. The District of Columbia plate was available in random boxes of Wheaties. It was a very successful promotion and increased Wheaties sales. Many boys and girls sent for the license plates and attached them to their bicycles. Post Cereals issued plate sets in 1968 and 1982. Single plates sell for about $5 today. A set of 49 plates issued in 1953-54, with original mailers, sold several years ago for more than $600.

Tip: To remove a sticky price label from a piece of silver, heat it with a hair dryer to soften the adhesive. Then peel off the label. If there is sticky glue left, remove it with isopropyl alcohol.

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

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

Adams platter, Empress pattern, white, oval, 8 sides, 11 3/4 x 8 5/8 inches, $15. Pepsi-Cola straws, “Have a Pepsi,” stripes, bottle cap, full box, 1950s, 10 3/4 x 3 7/8 inches, $100.

Weller Pottery bowl, molded, flowers, birds, nest, eggs, green leaf ground, stamped, c. 1910, 3 1/2 x 15 3/4 inches, $235.

Carving set, sterling silver, Rheims pattern, knife with steel blade, fork, Wallace, 1919 patent, $240.

Bamboo stand, lacquer, domed back, cupboard, shelves, stretcher, splay feet, c. 1900, 44 x 18 inches, $245.

Opaline glass vase, Napoleon III, trumpet top, inverted foot, Greek key border, gilt swags, c. 1865, 15 1/2 inches, $370.

Berry bucket, wooden, green paint, c. 1855, 5 3/4 x 7 inches, $425.

Hall lantern, gilt bronze, Gothic Revival, trefoil piercings, fretwork, crenellated edge, chains, c. 1885, 31 inches, $920.

Stickley Bros. drink stand, copper top, arched apron, splayed legs, 18 x 28 inches, $2,625.

Billiards sign, leaded glass, red and green, white ground, 82 3/4 x 15 1/2 inches, $3,630.

The Kovels.com Premium website is up and running. In addition to 750,000 free prices for antiques and collectibles, many with photographs, premium subscribers will find a dictionary of marks for silver and another for ceramics, with pictured marks and company histories. Premium membership also includes a subscription to the digital edition of our newsletter, Kovels on Antiques and Collectibles, and its archives, where you’ll find articles about almost anything you might collect. Up-to-date information for the savvy collector. Go to Kovels.com and click on “Subscriptions” for more information.

© 2013 by Cowles Syndicate Inc.

 


ADDITIONAL IMAGE OF NOTE


This German doll is sometimes called a carved 'peg wooden' doll because of her jointed arms and legs. Her original clothing and peddler's tray attracted buyers at a Theriault's auction in New Orleans. She sold for $2,912.
This German doll is sometimes called a carved ‘peg wooden’ doll because of her jointed arms and legs. Her original clothing and peddler’s tray attracted buyers at a Theriault’s auction in New Orleans. She sold for $2,912.

4-decade-old art heist reinvestigated in Florida

One of Ben Stahl's 'Stations of the Cross' paintings stolen 44 years ago. FBI image.
One of Ben Stahl's 'Stations of the Cross' paintings stolen 44 years ago. FBI image.
One of Ben Stahl’s ‘Stations of the Cross’ paintings stolen 44 years ago. FBI image.

SARASOTA, Florida (AP) – On an April evening nearly 44 years ago, just days after Easter Sunday, someone slipped into a museum in this central Florida town and stole 15 paintings, one portraying the resurrected Jesus and 14 depicting the Stations of the Cross.

Now, a Sarasota County Sheriff’s detective is reinvestigating the decades-old disappearance of the art.

“Those paintings could be anywhere in the world,” said Detective Kim McGath.

All of the paintings were done by artist, illustrator and author Ben Stahl, who died in 1987. He was well known in the 1950s and ’60s for being a prolific and well-compensated illustrator for the Saturday Evening Post and for creating movie posters and book covers. Ben Hur and the 25th anniversary edition of Gone With The Wind were among the movie posters; Madame Bovary was one of his limited-edition book illustrations. He also one of the first professors at the Famous Artists School, a correspondence course in art once advertised on the back of matchbooks.

Stahl, who was from Chicago, wrote and illustrated Blackbeard’s Ghost, which was made into a 1968 Walt Disney film.

Commissioned to illustrate a Bible for the Catholic Press in the mid-1950s, Stahl painted the 14 Stations of the Cross. Later, he decided to paint larger versions, along with a 15th painting titled The Resurrection, because he wanted his work to end on a positive note. All 15 paintings were 6 feet by 9 feet and painted in oil.

In 1965, Stahl and his wife moved to Sarasota and decided to open a museum for the large-scale paintings. Called the Museum of the Cross, it was one of the main tourist attractions in the area at the time. He also displayed other works that he had done, some on loan from museums. Even his fellow artists were impressed.

“Those Museum of the Cross pictures are absolutely fabulous,” wrote Norman Rockwell in a letter dated June 3, 1968. “The rest of us are just illustrators but you are among the masters and I am filled with admiration.”

Whoever stole the paintings and other pieces of art in the predawn hours of April 16, 1969 must have known what they were doing, said McGath, because they carefully removed each of the tacks that attached the canvases to the frames.

Stahl told The Associated Press at the time that the heist was “one of the craziest art robberies of this century.”

More than 50 artworks in all were stolen, including gold rosaries that Stahl and his wife had on display and had collected from their world travels.

Left behind by the burglars was The Moment of Silent Prayer, a “miracle picture” because it also survived a fire that destroyed Chicago’s convention center in 1968, Stahl said at the time.

The fact that The Moment of Silent Prayer and one other painting were left untouched was interesting: They were the only two paintings on loan from another museum and the only ones that were insured.

“He couldn’t understand how anyone could steal from his museum, because it was like church,” said his daughter, 78-year-old Gail Stahl. “I couldn’t understand why he wouldn’t understand why they shouldn’t have been uninsured.”

McGath said that no evidence points to an insurance scam or Ben Stahl’s involvement. In fact, she said, he ended up in deep financial trouble following the heist.

“He put everything into that museum,” McGath said. “He mortgaged his home on the museum. He lost everything.”

At the time, officials said they had no clues. One officer theorized the works might be held for ransom. One witness remembered seeing a white van near the museum that night, while Stahl recalled two visitors from South America who asked odd questions in the days prior to the theft.

The trail eventually went cold, and Stahl and his family didn’t think investigators were trying as hard as they could.

“It was devastating,” said Regina Briskey, Ben Stahl’s daughter, who was working at the museum at the time. “It was incomprehensible, because at that that time in Sarasota, there was hardly any crime.”

Stahl’s son, David Stahl, wrote on a website that he even contacted witnesses and possible informants around Florida, but claimed authorities didn’t pay attention. David Stahl could not be reached for comment for this story.

McGath – who is also investigating the cold case of a quadruple murder in 1959 in Sarasota and its possible link to the In Cold Blood killers in Kansas – said she’s poring over records and wants to talk to anyone who might have information about the Stahl art heist.

The INTERPOL Washington office is also involved. Spokeswoman Nicole Navas said this week that officials recently sent out a message to all 190 INTERPOL member countries in an attempt to renew interest in the case, which she said is one of 500 open art heist cases being investigated by the agency.

The latest investigative efforts are welcome news to Gail Stahl, an artist herself who has a gallery in Laguna Beach, Calif.

“I certainly hope that something will be accomplished,” she said. “It’s really quite sad that someone can go and take someone’s work like that and disappear.”

___

Online:

The Museum of the Cross: http://www.freelaunch.com/museum/index.html

INTERPOL: http://www.interpol.int/Forms/WorksOfArt

___

Follow Tamara Lush on Twitter at http://twitter.com/tamaralush

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

AP-WF-03-29-13 2015GMT


ADDITIONAL IMAGE OF NOTE


One of Ben Stahl's 'Stations of the Cross' paintings stolen 44 years ago. FBI image.
One of Ben Stahl’s ‘Stations of the Cross’ paintings stolen 44 years ago. FBI image.

Palm Beach Show Group names Laurette Lutiger director

Laurette Lutiger. Palm Beach Show Group image

Laurette Lutiger. Palm Beach Show Group image
Laurette Lutiger. Palm Beach Show Group image
PALM BEACH, Fla. – The Palm Beach Show Group has hired Laurette Lutiger as show director. Launching the Chicago office, Lutiger will establish dealer participation, assist with production of the six Palm Beach Show Group shows throughout the U.S, as well as manage show acquisition and development.

Lutiger comes to the Palm Beach Show Group with over 20 years of show production experience. She spent the last 10 years as the vice president of the Merchandise Mart International Antiques Fair, producing a high-end antique and design fair. Her role of recruiting an international dealer base that brought diversity and appeal to that show will lead to an easy transition into her new role as show director for the Palm Beach Jewelry, Art & Antique Show, the Naples Art, Antique & Jewelry Show, the Los Angeles Jewelry & Antique Show, the LA Art Show, the Dallas International Art, Antique & Jewelry Show and the Baltimore Summer Antiques Show.

“Laurette is a valuable addition to the team,” said president and CEO, Scott Diament. “Her unique perspectives, experience and comprehensive background will propel the continued growth of the Palm Beach Show Group.