Furniture Specific: Thrill of the chase

This is one of the set of four chairs I bought for $400.
This is one of the set of four chairs I bought for $400.
This is one of the set of four chairs I bought for $400.

CRYSTAL RIVER, Fla. It is impossible to be around older and antique furniture for very long before you are inundated with the inevitable stories about certain pieces. Some of these “stories” can be a very important part of the history of an important piece. I have written about this category of story title “Hers, His or Whose? Provenance.” Another category of story is the “family story” that explains, usually with lots of embellishments and literary license with little or no regard for the facts, the history of a piece according to old family legend. I debunked a lot of old family history in “The Family Story.” (I will be happy to email free copies of either article to anyone who requests them by email.)

But there is another category of stories about furniture. That is the category of the tale of acquisition by a first generation owner even though the piece itself may be hundreds of years old. In some cases the chase and capture is more interesting than the piece.

I know that nothing I own is of consequence in the upper end of the antique furniture trade. I even have a letter to that effect from Leslie Keno when I sent photos of a piece to Sotheby’s. He politely and correctly, as it turned out, informed me that my Philadelphia Empire breakfast table was not of the quality the auction house would be interested in handling. That’s fair and forthright.

But I still like the table and it has good story. In my years in the furniture restoration business I frequently had owners of local “junk” shops ask me to take a look at some new treasure that wandered in. In most cases it was really was just another piece of junk. On one occasion that turned out to be the case on the reason for the call but on my way out something caught my eye. It was the heavily carved pedestal, legs and feet on a drop leaf table. The shop owner said it was an Asian import but I didn’t think so. I turned it over to examine it from below, with permission of course, and removed a screw from the brass wheel. It was handmade! I gave the owner $100 for the table. Then I showed it to a local dealer who knew the real thing when he saw it and he identified it as from Philadelphia circa 1825-1830 by the style of carving, the square inlaid brass and ebony patterns on the pilasters and the diamond checkerboard pattern on the skirt. It won’t make my children rich but it is a nice table and its worth a lot more than $100.

A good customer called me one day to take a look at some articles of furniture that were to be included in the sale of a family estate. They wanted to know restoration costs on various pieces in case a family member wanted to buy them. A local appraiser had already cruised the inventory and identified each piece and assigned it a fair market value. In the detached garage was a nice mahogany dining table with pedestal bases. I inquired what the appraiser had written about the table. Turns out she had just walked by it and never gotten down on her hands and knees to take a close look. I did. It was two separate halves of a tilt-top table, joined in the center by brass forks. Each 32-inch-wide tilting top section contained a single mahogany board. The brass hardware was hand- hammered, and the top had satinwood inlay on the edges. There was a 20-inch wide leaf that fit the table and came with its own forks. I asked the appraiser’s description and value. It was appraised as a 1940s mahogany veneer table with a value of $400. I shared my view that it was a late 18th century Georgian table probably worth a great deal more than $400 but since the family was willing to take that, given the appraisal figure, would they sell it to me for that? Sure – with the provision that it was for my personal use and not for resale. Worked for me.

Upon further review, it turns out the table is a marriage of an 18th century top with a nice pair of mid 19th century pedestals but it has served me well for many years as my dining table and I actually own at least a piece of something from the 18th century.

I was doing some touch-ups one day for a wealthy customer. He was the third-generation first-born male whose sole job it was to manage the family fortune. He had a magnificent 16-foot-long multi-section dining table with Sheraton-style columnar bases, circa 1815. He described the set of 12 period Chippendale chairs that had accompanied the table in his youth before his mother tired of them and replaced them with modern fully upholstered seating. He wondered if I knew where he could find a decent set of chairs. I referred him to someone who might know. He called me some months later to thank me for the referral. He had acquired a set of 10 Regency chairs about the same age as his table for a mere $1,500 per chair. Must be nice, and I had to admit the chairs were handsomely done with nice brass stringing in the crest rails and the English chairs fit nicely with the American table.

Two months later the dealer who facilitated the chair purchase called me to say he had just acquired a very similar, though not quite so fancy, set of chairs. They could be mine for only $400. While that seemed like a great price considering the other set had cost my customer $1,500 each, I just couldn’t shell out $1,600 for a set of chairs with two kids, etc. I called to graciously decline his generous offer but he said I had misunderstood. The entire set was mine for $400 which was his cost. It was my reward for the original referral. I was happy to oblige. Now my 18th century English tabletop had a set of chairs from “Jolly Olde” and they weren’t that much younger.

I later acquired an early Empire sideboard for the dining room but that story and the five- year restoration process is too long for this space.

When Gail and I bought our first house we also bought a Depression-era four-piece bedroom suite that served us well for many years. But we had the hots for something else and we were starting to like some of the Late Classicism pieces. Of course, we didn’t know they were called that. We thought, like everybody else we knew at the time, that the big stuff with the sweeping curves was “Empire.” So we went to auctions. But we never bid.

Then one night in a preview we saw exactly the bed we wanted. It was an Empire sleigh bed with scalloped side rails and original bolts, in very good condition. We decided we would bid up to $500 but not a cent more. Most of the auction was oak, acquired by dealers in the summer during their tours of the Midwest. And most of the bidders were “snowbirds” down to Florida for the winter from the Midwest. They were busily buying up the oak to take back home. When the bed came up nobody opened at $100. I waited for $50 and tentatively held up my bid card. It was my first ever bid. I didn’t hear what the caller said next but I thought he said he had $75. So I raised my card again. Turns out that he did not have another bid and I had outbid myself at $75 for the bed! It was OK. I would have paid more.

None of these stories have anything to do with the history or value of any of my furniture but each piece does have its own story and if my grandkids are interested someday maybe I will regale them with the action.

Send comments, questions and pictures to Fred Taylor at P.O. Box 215, Crystal River, FL 34423 or email them to him at info@furnituredetective.com.

Visit Fred’s website at www.furnituredetective.com. His book How To Be a Furniture Detective is available for $18.95 plus $3 shipping. Send check or money order for $21.95 to Fred Taylor, P.O. Box 215, Crystal River, FL, 34423.

Fred and Gail Taylor’s DVD, Identification of Older & Antique Furniture ($17 + $3 S&H) is also available at the same address. For more information call 800-387-6377, fax 352-563-2916, or info@furnituredetective.com. All items are also available directly from his website.


ADDITIONAL IMAGES OF NOTE


This is one of the set of four chairs I bought for $400.
This is one of the set of four chairs I bought for $400.
I outbid myself at $75 for this sleigh bed.
I outbid myself at $75 for this sleigh bed.
This is the 18th century tabletop with 19th century pedestals.
This is the 18th century tabletop with 19th century pedestals.
This sideboard had a severe sag in the middle. It sat in my shop for over five years with a small jack under the front edge. It took that much time for it to straighten out.
This sideboard had a severe sag in the middle. It sat in my shop for over five years with a small jack under the front edge. It took that much time for it to straighten out.

World’s largest orange diamond sells in Swiss auction for $31.5M

'The Orange,' a pear-shaped, fancy vivid orange, VS1 diamond of 14.82 carats. Estimate: SFr.16,000,000-19,000,000 / US$17,000,000-20,000,000 / €14,000,000-16,000,000. Price realized: SFr.32,645,000 / US$35,540,611 (US$2,398,151 per carat). World record price per carat for any colored diamond sold at auction, world auction record for a fancy vivid orange diamond. Photo: Denis Hayoun Diode SA Geneva.

'The Orange,' a pear-shaped, fancy vivid orange, VS1 diamond of 14.82 carats. Estimate: SFr.16,000,000-19,000,000 / US$17,000,000-20,000,000 / €14,000,000-16,000,000. Price realized: SFr.32,645,000 / US$35,540,611 (US$2,398,151 per carat). World record price per carat for any colored diamond sold at auction, world auction record for a fancy vivid orange diamond. Photo: Denis Hayoun Diode SA Geneva.
‘The Orange,’ a pear-shaped, fancy vivid orange, VS1 diamond of 14.82 carats. Estimate: SFr.16,000,000-19,000,000 / US$17,000,000-20,000,000 / €14,000,000-16,000,000. Price realized: SFr.32,645,000 / US$35,540,611 (US$2,398,151 per carat). World record price per carat for any colored diamond sold at auction, world auction record for a fancy vivid orange diamond. Photo: Denis Hayoun Diode SA Geneva.
GENEVA (AFP) – A spectacular and rare orange diamond, the largest known gem of its kind, was auctioned today for a record $31.5 million in Geneva.

“At the back of the hall, 29 million francs ($31.5 million, 23 million euros). Sold!” the Christie’s auctioneer called out, as the fiery almond-shaped gem was snapped up in a room of about 200 people at Geneva’s Four Seasons Hotel des Bergues.

The price excluded another $4.04 million in taxes and commission.

The man who made the purchase swiftly got up and left the room to a round of applause. Christie’s did not reveal his identity.

The deep orange gemstone, which was found in South Africa, weighs a whopping 14.82 carats. The Gemological Institute of America (GIA) has handed it the top rating for colored diamonds: “fancy vivid.”

Pure orange diamonds, also known as “fire diamonds,” are extremely uncommon and very few have been auctioned, with the largest never more than six carats.

“To have one that’s over 14 carats is exceptional,” Christie’s international jewellery director David Warren told AFP. He said “The Orange” was “the largest recorded vivid orange diamond in the world.”

In 1990 the 4.77-carat yellow-orange Graff Orange diamond was sold for $3.92 million dollars and in 1997 the vivid orange Pumpkin diamond of 5.54 carats was sold for $1.32 million. Christie’s had estimated “The Orange” would rake in $17 million to $20 million.

Francois Curiel, international head of Christie’s Jewellery department, commented after the sale: “Time and again, a stone will appear on the market that is truly a miracle of nature. The 14.82ct orange diamond is one such a stone, a rare gem, which will perhaps only be seen once in a lifetime. In the sale on Tuesday, it soared far above all previous records for any orange diamond ever sold at auction, placing ‘The Orange’ amongst the greatest pinks and blues, which are traditionally the most appreciated colored diamonds.”

#   #   #



ADDITIONAL IMAGE OF NOTE


'The Orange,' a pear-shaped, fancy vivid orange, VS1 diamond of 14.82 carats. Estimate: SFr.16,000,000-19,000,000 / US$17,000,000-20,000,000 / €14,000,000-16,000,000. Price realized: SFr.32,645,000 / US$35,540,611 (US$2,398,151 per carat). World record price per carat for any colored diamond sold at auction, world auction record for a fancy vivid orange diamond. Photo: Denis Hayoun Diode SA Geneva.
‘The Orange,’ a pear-shaped, fancy vivid orange, VS1 diamond of 14.82 carats. Estimate: SFr.16,000,000-19,000,000 / US$17,000,000-20,000,000 / €14,000,000-16,000,000. Price realized: SFr.32,645,000 / US$35,540,611 (US$2,398,151 per carat). World record price per carat for any colored diamond sold at auction, world auction record for a fancy vivid orange diamond. Photo: Denis Hayoun Diode SA Geneva.

Il mercato dell’arte in Italia: Collezione Angelini

Mario Tozzi, ‘L’Apparizione,’ 1966, olio su tela, 81,5 x 65 cm. Courtesy Gioielli di Carta.
Mario Tozzi, ‘L’Apparizione,’ 1966, olio su tela, 81,5 x 65 cm. Courtesy Gioielli di Carta.

Mario Tozzi, ‘L’Apparizione,’ 1966, olio su tela, 81,5 x 65 cm. Courtesy Gioielli di Carta.

ROMA – In questi mesi si tiene presso la casa d’asta romana Gioielli di Carta la più importante asta fallimentare degli ultimi 40 anni: la dispersione della collezione dell’imprenditore Vincenzo Maria Angelini, coinvolto nell’inchiesta sulle tangenti nella sanità in Abruzzo. La vendita offre un patrimonio eccezionale a prezzi moderati e spazia dal Seicento napoletano a Lucio Fontana, dalle incisioni di Rembrandt e Dürer agli arredi Ancien Régime e Impero, fino ad un raro sarcofago romano.

L’asta è strutturata in modo diverso rispetto alle aste tradizionali: i collezionisti interessati ai lotti presentati dalla casa d’asta possono fare le loro offerte in qualsiasi momento sul sito della casa d’asta o su LiveAuctioneers.com fino ad una determinata scadenza, come su eBay. I lotti su cui è stato raggiunto il 100% della stima minima nella prima metà del mese vengono battuti l’ultimo giorno del mese; i lotti che hanno raggiunto tale soglia nella seconda metà del mese vengono battuti il 15 del mese successivo. Alla mezzanotte della scadenza il lotto viene aggiudicato se non ci sono state offerte per i 30 minuti precedenti alla scadenza, altrimenti il tempo per fare le offerte si prolunga di altri 30 minuti, e questo ad oltranza fino a che una offerta non resta vincente per almeno mezz’ora. Questa modalità rende la gara molto avvincente, e dà, inoltre, ai clienti la possibilità di portarsi a casa alcuni lotti anticipatamente rispetto alla data finale dell’asta (18 dicembre).

La prossima data di aggiudicazione è il 15 novembre, giorno in cui saranno venduti i lotti qui sotto riportati. C’è ancora qualche giorno, quindi, per aggiudicarsi dei lotti importanti a prezzi convenienti. In particolare sono da notare due opere del catalogo 1 di due dei più amati e noti artisti italiani a livello internazionale: Lucio Fontana e Giorgio Morandi. Altri dipinti che verranno aggiudicati lo stesso giorno sono di Franco Gentilini, Ottone Rosai e Mario Tozzi.

Nel caso del Fontana, si tratta di un teatrino giallo del 1965 stimato €100.000. L’opera è registrata nel catalogo ragionale dell’artista ed è esportabile all’estero. I teatrini appartengono all’ultima produzione di Fontana. L’artista li inventa tra il 1964 e il 1966. Sono cornici in legno sagomato e laccato che racchiudono tele monocrome forate e ricordano una scena teatrale con le quinte. Il riferimento al teatro enfatizza l’atto del guardare, mentre sulla tela forme e figure gettano la propria ombra come se si trattasse di uno spettacolo in movimento.

Il dipinto di Morandi, invece, è una delle classiche nature morte dell’artista bolognese. Anch’esso è registrato nel catalogo generale dell’artista. Per tutta la sua vita Morandi, artista isolato ma non per questo non consapevole delle avanguardie a lui contemporanee, ha ripetuto instancabilmente gli stessi soggetti: nature morte con bottiglie e vasi di casa sua o del suo studio in cui l’artista ricerca un ordine universale. L’opera è stimata €360.000.

L’opera di Ottone Rosai è un dipinto della metà degli anni ’30 rappresentante un uomo dei campi, un soggetto tipico del pittore che spesso di dedicò al ritratto di persone umili del popolo, colti in atteggiamenti quotidiani. La stima è €17.000.

Di Gentilini c’è un dipinto del 1957 rappresentante un motivo tipico dell’artista, una cattedrale, con la tecnica caratteristica che mischia pittura e sabbia. Lo stile è quello che l’artista sviluppa negli anni 50, cioè composizioni che si distinguono per l’essenzialità geometrica, quasi bidimensionali, piena di effetti cromatici. La stima è €10.500.

Infine l’altro dipinto che va in aggiudicazione il 15 novembre è un’opera dell’ultimo periodo produttivo di Mario Tozzi, “L’apparizione” del 1967, realizzata quando l’artista tornò a dipingere dopo un lungo periodo di inattività per malattia durante gli anni 40 e 50. Rappresenta uno dei motivi preferiti dell’artista, un volto femminile. La stima è di €25.000.

 

Catalogo 1, dipinti:

Catalogo 1, lotto 68 Lucio Fontana (€100.000) https://www.liveauctioneers.com/item/18722264_lucio-fontana

Catalogo 1, lotto 51 Franco Gentilini (€10.500) https://www.liveauctioneers.com/item/18722230_franco-gentilini

Catalogo 1, lotto 53 Ottone Rosai (€17.000) https://www.liveauctioneers.com/item/18722234_ottone-rosai

Catalogo 1, lotto 56 Giorgio Morandi (€360.000) https://www.liveauctioneers.com/item/18722240_giorgio-morandi

Catalogo 1, lotto 57 Mario Tozzi (€25.000) https://www.liveauctioneers.com/item/18722242_mario-tozzi

 

Catalogo 1:

Catalogo 1, lotto 14 Sebastiano Ricci, Cerchia di (€10.000) https://www.liveauctioneers.com/item/18722156_sebastiano-ricci

Catalogo 1, lotto 15 Sebastiano Ricci, Cerchia di (€10.000) https://www.liveauctioneers.com/item/18722158_sebastiano-ricci

Catalogo 1, lotto 75 Mario Schifano https://www.liveauctioneers.com/item/18722278_mario-schifano

Catalogo 1, lotto 89 Giuseppe Alesiani (€300) https://www.liveauctioneers.com/item/18722306_giuseppe-alesiani

Catalogo 1, lotto 108 Joan Mirò (€1.000) https://www.liveauctioneers.com/item/18722344_joan-mir

 

Catalogo 2:

Catalogo 2, lotto 11 Importante cornice barocca da specchiera (€7.500) https://www.liveauctioneers.com/item/18722914_cornice-sormontata-da-corona-produzione-italiana-o

Catalogo 2, lotto 30 Sei poltrone Luigi XVI (€1.800) www.liveauctioneers.com/item/18722952_sei-poltroncine-in-stile-luigi-xv-produzione-francese

Catalogo 2, lotto 62 Dormeuse (€2.000) https://www.liveauctioneers.com/item/18723016_dormeuse-francia-o-piemonte-xix-secolo-noce-massello-e

Catalogo 2, lotto 78 Coppia di mantovane (€2.000) https://www.liveauctioneers.com/item/18723048_coppia-di-mantovane-con-putti-musicanti-fine-800-legno

Catalogo 2, lotto 97 Arredo per stanza libreria (€1.500) https://www.liveauctioneers.com/item/18723086_arredo-per-stanza-libreria-i-basi-e-specchiera

Catalogo 2, lotto 108 Fontana monumentale (€1.000) https://www.liveauctioneers.com/item/18723108_fontana-monumentale-da-giardino-prodotta-dallazienda


ADDITIONAL IMAGES OF NOTE


Mario Tozzi, ‘L’Apparizione,’ 1966, olio su tela, 81,5 x 65 cm. Courtesy Gioielli di Carta.
 

Mario Tozzi, ‘L’Apparizione,’ 1966, olio su tela, 81,5 x 65 cm. Courtesy Gioielli di Carta.

Giorgio Morandi, ‘Matura morta,’ olio su tela, 25,5 x 40,4 cm, Courtesy Gioielli di Carta.
 

Giorgio Morandi, ‘Matura morta,’ olio su tela, 25,5 x 40,4 cm, Courtesy Gioielli di Carta.

Lucio Fontana, ‘Concetto Spaziale Teatrino,’ 1965, olio su tela forata e legno laccato, 72,6 x 56 cm. Courtesy Gioielli di Carta.

Lucio Fontana, ‘Concetto Spaziale Teatrino,’ 1965, olio su tela forata e legno laccato, 72,6 x 56 cm. Courtesy Gioielli di Carta.

Ottone Rosai, ‘Uomo dei campi,’ 1934, olio su tavola, 59 x 85,5 cm. Courtesy Gioielli di Carta.

Ottone Rosai, ‘Uomo dei campi,’ 1934, olio su tavola, 59 x 85,5 cm. Courtesy Gioielli di Carta.

Franco Gentilini, ‘La Cattedrale,’ 1957, olio e sabbia su tela, 60,3 x 49,7 cm. Courtesy Gioielli di Carta.

Franco Gentilini, ‘La Cattedrale,’ 1957, olio e sabbia su tela, 60,3 x 49,7 cm. Courtesy Gioielli di Carta.

Art Market Italy: Angelini Collection

Mario Tozzi, ‘L’Apparizione,’ 1966, olio su tela, 81,5 x 65 cm. Courtesy Gioielli di Carta.
Mario Tozzi, ‘L’Apparizione, 1966,’ oil on canvas, 81.5 x 65 cm. Courtesy Gioielli di Carta.
Mario Tozzi, ‘L’Apparizione, 1966,’ oil on canvas, 81.5 x 65 cm. Courtesy Gioielli di Carta.

ROME – The Rome auction house Gioielli di Carta is holding the most important bankruptcy auction of the last 40 years: the sale of the collection of entrepreneur Vincenzo Maria Angelini, who was involved in a large investigation for bribery in the health sector in Abruzzo. The sale offers an exceptional property at moderate prices, ranging from the Neapolitan 17th century to Lucio Fontana, from Rembrandt and Dürer’s etchings to Ancien Régime and Empire furnishings, and even a rare Roman sarcophagus.

The auction is structured in a different way than traditional auctions: collectors who are interested in the lots presented by the auction house can make their bids at any time on the auction house’s website, or LiveAuctioneers.com up at a certain date, like on eBay. Lots that have reached 100percent of the lowest estimate in the first half of the month are hammered on the last day of the month; lots that have reached this threshold in the second half of the month are hammered on the 15th of the following month. At midnight on the expiration day, the lot is hammered if there have been no offers for the last 30 minutes before the deadline, otherwise the time for bidding is extended by another 30 minutes, and this continues until a bid is successful for at least half an hour. This modality makes the game compelling, and it also gives customers the opportunity to take home some lots in advance, without waiting until the end of the whole auction (Dec.18).

The next hammer date is Nov.15: on that day the lots listed below will be sold. That means, there are still some days to win the lots at affordable prices. In particular, it is worth noting two works in the catalog 1 by two of the most beloved and well-known Italian artists at the international level: Lucio Fontana and Giorgio Morandi. Other paintings that will be hammered on the same day are by Franco Gentilini, Ottone Rosai and Mario Tozzi.

The Fontana is a yellow “teatrino” (little theatre) from 1965 with an estimate of €100,000 ($134,337). The work is recorded in the catalogue raisonné of the artist and can be exported abroad. The “teatrini” belong to the Fontana’s last production. The artist invented them between 1964 and 1966. They present shaped and painted wooden frames that enclose monochrome perforated canvases. They are reminiscent of a theater stage with scenes. The reference to the theater emphasizes the act of looking, while the shapes and figures on the canvas cast their shadow as if it was a picture in motion.

The Morandi painting is one of the classic still life paintings of the Bolognese artist. It is recorded in the catalogue raisonné of the artist, as well. Throughout his life Morandi, who was an isolated figure, but always aware of the contemporary avant-garde movements, has tirelessly repeated the same subjects: still lifes with bottles and jars from his home or his studio, through which he searched for a universal order. The work carries an estimate of €360,000.

The work by Ottone Rosai is a painting from the mid-30s and represents a peasant. It is a typical subject of the painter, who often dedicated himself to portraying humble people caught in the daily attitudes. The estimate is €17,000.

By Gentilini there is a painting from 1957 representing a motif typical of the artist: a cathedral, depicted with his characteristic technique that mixes paint and sand. The style is the one developed by the artist in 1950s, meaning compositions distinguished by a geometric essentiality, almost two-dimensional, full of color effects. The estimate is €10,500.

Finally, the other painting that is going to be hammered on Nov.15 is a work of Mario Tozzi’s last production period, L’Apparizione from 1967. It was realized when the artist returned to painting after a long period of inactivity due to illness during the 1940s and 1950s. It depicts one of the artist’s favorite motifs, a woman’s profile. The estimate is €25,000.

Catalog 1, paintings:

Catalog 1, lot 68 Lucio Fontana (€100.000) https://www.liveauctioneers.com/item/18722264_lucio-fontana

Catalog 1, lot 51 Franco Gentilini (€10.500) https://www.liveauctioneers.com/item/18722230_franco-gentilini

Catalog 1, lot 53 Ottone Rosai (€17.000) https://www.liveauctioneers.com/item/18722234_ottone-rosai

Catalog 1, lot 56 Giorgio Morandi (€360.000) https://www.liveauctioneers.com/item/18722240_giorgio-morandi

Catalog 1, lot 57 Mario Tozzi (€25.000) https://www.liveauctioneers.com/item/18722242_mario-tozzi

Catalog 1:

Catalog 1, lot 14 Sebastiano Ricci, Cerchia di (€10.000) https://www.liveauctioneers.com/item/18722156_sebastiano-ricci

Catalog 1, lot 15 Sebastiano Ricci, Cerchia di (€10.000) https://www.liveauctioneers.com/item/18722158_sebastiano-ricci

Catalog 1, lot 75 Mario Schifano https://www.liveauctioneers.com/item/18722278_mario-schifano

Catalog 1, lot 89 Giuseppe Alesiani (€300) https://www.liveauctioneers.com/item/18722306_giuseppe-alesiani

Catalog 1, lot 108 Joan Mirò (€1.000) https://www.liveauctioneers.com/item/18722344_joan-mir

Catalog 2:

Catalog 2, lot 11 Importante cornice barocca da specchiera (€7.500) https://www.liveauctioneers.com/item/18722914_cornice-sormontata-da-corona-produzione-italiana-o

Catalog 2, lot 30 Sei poltrone Luigi XVI (€1.800) www.liveauctioneers.com/item/18722952_sei-poltroncine-in-stile-luigi-xv-produzione-francese

Catalog 2, lot 62 Dormeuse (€2.000) https://www.liveauctioneers.com/item/18723016_dormeuse-francia-o-piemonte-xix-secolo-noce-massello-e

 

Catalog 2, lot 78 Coppia di mantovane (€2.000) https://www.liveauctioneers.com/item/18723048_coppia-di-mantovane-con-putti-musicanti-fine-800-legno

 

Catalog 2, lot 97 Arredo per stanza libreria (€1.500) https://www.liveauctioneers.com/item/18723086_arredo-per-stanza-libreria-i-basi-e-specchiera

Catalog 2, lot 108 Fontana monumentale (€1.000) https://www.liveauctioneers.com/item/18723108_fontana-monumentale-da-giardino-prodotta-dallazienda


ADDITIONAL IMAGES OF NOTE


Mario Tozzi, ‘L’Apparizione, 1966,’ oil on canvas, 81.5 x 65 cm. Courtesy Gioielli di Carta.
Mario Tozzi, ‘L’Apparizione, 1966,’ oil on canvas, 81.5 x 65 cm. Courtesy Gioielli di Carta.
Giorgio Morandi, Matura morta, oil on canvas, 25.5 x 40.4 cm. Courtesy Gioielli di Carta.
Giorgio Morandi, Matura morta, oil on canvas, 25.5 x 40.4 cm. Courtesy Gioielli di Carta.
Lucio Fontana, ‘Concetto Spaziale Teatrino,’ 1965, oil on perforated canvas with varnished wood, 72.6 x 56 cm. Courtesy Gioielli di Carta.
Lucio Fontana, ‘Concetto Spaziale Teatrino,’ 1965, oil on perforated canvas with varnished wood, 72.6 x 56 cm. Courtesy Gioielli di Carta.
Ottone Rosai, ‘Uomo dei campi,’ 1934, oil on board, 59 x 85.5 cm. Courtesy Gioielli di Carta.
Ottone Rosai, ‘Uomo dei campi,’ 1934, oil on board, 59 x 85.5 cm. Courtesy Gioielli di Carta.
Franco Gentilini, La Cattedrale, 1957, oil and sand on canvas, 60.3 x 49.7 cm. Courtesy Gioielli di Carta.
Franco Gentilini, La Cattedrale, 1957, oil and sand on canvas, 60.3 x 49.7 cm. Courtesy Gioielli di Carta.

William Jenack auction features fine and decorative arts Nov. 17

Vintage Cartier miniature travel clock. William Jenack Estate Appraisers and Auctioneers image.

Vintage Cartier miniature travel clock. William Jenack Estate Appraisers and Auctioneers image.

Vintage Cartier miniature travel clock. William Jenack Estate Appraisers and Auctioneers image.

CHESTER, N.Y. – William Jenack Estate Appraisers and Auctioneers will hold a fine art and antique auction to be held at the Jenack gallery, with Internet live bidding through LiveAuctioneers.com, on Sunday, Nov. 17. The auction will commence at 11 a.m. Eastern.

The sale is set to include a selection of period furniture, some grand tour bronzes, fine art, antique furniture, pottery, porcelain, carpets, silver, Chinese art and accessories.

Leading the sale will be a collection of artwork including a large oil on canvas by Mauritz Frederik Hendrick De Haas (1832-1895), who born in Holland and immigrated to the United States and adopted Long Island, N.Y., as his home. The large canvas measuring 40 by 66 inches is of a shipwreck on shore with a luminous sunset, for which the artist is most known for.

Of local interest is a painting by contemporary artist Alan Streets. The acrylic on canvas is a view of Elizabeth and Prince streets in New York City’s Little Italy. Another large canvas in the sale was painted by Martin Coulaud the subject being a flock of sheep and their shepherd. There will also be an Italian School painting of the Madonna and Child, unsigned, of the 18th century mounted in an exceptional carved and molded frame.

Decorative accessories will include a Federal Period girandole mirror with eagle crest and candle arms, Continental Baroque-style figural porcelain mantel clock, a vintage Rand McNally 8-inch globe on cast-iron base, a carved marble bust of a child, a bronze figure of a man playing a mandolin, an Emile Boyer pair of bronze figures, a Vienna bronze of a dancing woman, a bronze bull signed Barye a Grand Tour bronze bust of Menelaus.

In the area of furniture Jenack will be offering a South German burl inlaid walnut secretary of the 18th century, a Continental burl walnut center table with ormolu mounts, a Chippendale tilt- top tea table, an Empire mahogany secretary bookcase, a Louis XVI-style mahogany cylinder desk with marble top and brass gallery, a Federal-style mahogany gilt marble-top console table, a fine Federal inlaid mahogany tilt-top table attributed to the workshop of Duncan Phyffe, and a 1911 Empire Revival tiger-oak upright piano with player mechanism by Bush & Lane.

Several lots of Lladro figures and Chinese export porcelains will be crossing the auction block.

Sterling silver items will be offered including Tiffany Holly patterns teaspoons, Webster Silver picks, Alvin sterling violet plates, a Mexican sterling charger, a Gorham tea caddy, a Tiffany & Co. “Clover” bowl, a Tiffany leaf-form dish and a Gorham sterling basket.

A few lots of vintage electronics will also be sold including a Macintosh 60-watt tube amplifier, a Macintosh 30-watt tube amplifier, a Tandberg model 74 reel-to-reel tape player, a Macintosh C-20 stereo compensator, a Superior Instruments Model TV-12 trans-conductance vacuum tube tester, a Jackson Model 637 dynamic output vacuum tube tester and a Supreme Model 599-a vacuum tube tester.

There are hundreds of more lots in the sale.

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


Vintage Cartier miniature travel clock. William Jenack Estate Appraisers and Auctioneers image.

Vintage Cartier miniature travel clock. William Jenack Estate Appraisers and Auctioneers image.

M.F.H. De Haas (American 1832-1895), oil on canvas. William Jenack Estate Appraisers and Auctioneers image.

M.F.H. De Haas (American 1832-1895), oil on canvas. William Jenack Estate Appraisers and Auctioneers image.

Italian School (18th century) oil on canvas. William Jenack Estate Appraisers and Auctioneers image.

Italian School (18th century) oil on canvas. William Jenack Estate Appraisers and Auctioneers image.

Vintage Rand McNally 8-inch terrestrial globe. William Jenack Estate Appraisers and Auctioneers image.

Vintage Rand McNally 8-inch terrestrial globe. William Jenack Estate Appraisers and Auctioneers image.

Federal carved and gilt framed girandole mirror. William Jenack Estate Appraisers and Auctioneers image.

Federal carved and gilt framed girandole mirror. William Jenack Estate Appraisers and Auctioneers image.

Material Culture sale Nov. 17 has fine art from Prudential

271: David Burliuk (American/Ukrainian, 1882-1967), ‘Roses’ (Radio Style), circa 1950s, oil on canvas, 28 inches x 24 inches. Estimate: $65,000-$75,000. Material Culture image.

271: David Burliuk (American/Ukrainian, 1882-1967), ‘Roses’ (Radio Style), circa 1950s, oil on canvas, 28 inches x 24 inches. Estimate: $65,000-$75,000. Material Culture image.

271: David Burliuk (American/Ukrainian, 1882-1967), ‘Roses’ (Radio Style), circa 1950s, oil on canvas, 28 inches x 24 inches. Estimate: $65,000-$75,000. Material Culture image.

PHILADELPHIA – On Sunday, Nov. 17, Material Culture will bring to auction over 500 lots of paintings, works on paper, prints and sculpture. Its November Fine Art sale features an extensive list of important artists, chiefly from the 20th century. Of particular prominence are modern and contemporary artists from Russia, Nigeria, Haiti and the United States. Nearly 100 works by significant 20th century artists come to the auction from the art collection of the Prudential Insurance Co. of America. The auction commences at 11 a.m. Eastern, with live online bidding provided by LiveAuctioneers.

One of the leading artists in the auction, David Burliuk (1882-1967), is represented in 12 lots of oil painting, watercolor and drawing. Recognized around the world as the “Father of Futurism,” Burliuk was a formative figure in the Russian Futurist movement of his native Ukraine, and an influence on Modernism in the pivotal early decades of the 20th century. His most prominent piece at auction, an oil painting titled Roses from the 1950s, exhibits the “radio style” that was one of Burliuk’s signature forms, a depiction of the energy forces around an object. A watercolor by Russian artist Dmitry Krasnopevtsev (1925-1995), Composition with Shell, is an excellent example of the artist’s characteristic “metaphysical still life.” Krasnopevtsev’s subdued, ashen palette—interrupted in this painting by the red lining the shell—is typical of his shifting perspective and his penchant for overturned or broken objects that give his paintings a sense of surrealism. Krasnopevtsev is considered to be one of the most important Russian artists of the latter half of the 20th century. The watercolor at auction is additionally notable because it belonged to David Burliuk, gifted to him by the younger artist.

Haitian artist Hector Hyppolite (1894-1948) provides another highlight in his painting of circa 1945-1947, Still Life with a Bird. Hyppolite is regarded as one of Haiti’s foremost painters of the period; a third generation Vodou priest, he packed his paintings with scenes and symbols from his religion. The painting’s provenance includes the Haitian Art Gallery Arte del Pueblo, which specializes in the Centre d’Art paintings of which Hyppolite was a member.

The Prudential Insurance Co. of America brings to auction nearly 100 lots created by significant artists of the 20th century. Highlights of the collection include a lead intaglio relief by Russian-American artist Louise Nevelson (1899-1988) titled Sky Garden, and a work on paper with graphite and oil titled Amor und Psyche by Markus Lupertz, a Czech-German artist born in 1941. Aaron Siskind’s (American, 1903-1991) gelatin silver print titled Terra Cotta 13 and Karen Knorr’s (German, b. 1954) cibachrome The Libertine Manner of Reading are among this collection’s leading photographs. With four of his pop art lithographs in the auction, British artist Gerald Laing (1936-2011) is the most heavily represented in Prudential’s group of artworks, encompassing a large range of artists including Leroy Neiman, Michael Mazur, Mark Miloff, Keith Morrison and Bilge Friedlaender.

Nigerian artists appear prominently in the auction, beginning with a piece by Prince Twins Seven-Seven (1944-2011), one of Africa’s most famous contemporary artists. This large work, titled The Mother and Tattooed Body, is what Prince called a “sculptor’s painting”—two layers of carved wood nailed together to give the image tiers and depth. In this piece, dating to 1980, the color of the wood comes through, dominating the image with natural tans, in contrast to the bright acrylics of Prince’s other three other paintings in the sale. Also leading this category is a striking bronze sculpture by Ben Enwonwu (1921-1994), depicting the head of a beautiful but stern young woman. A plaque on the base below gives us her name, Remi, and the date of the piece, 1977. Known around the world as one of the premier African Modernists, Enwonwu strove to show that African art is the equal of its Western counterparts.

Eleven pieces by David H. Dale (b. 1947) exhibit the versatility of the artist’s work in foil, from traditional motifs of varying intricacy to two realistic figural etchings. One of these, Durbar, dating to 1989, shows five warriors on horseback riding headlong into the viewer’s perspective. Tony Enebeli also brings eight original metal foil etchings to the sale, his figures are a blend of traditional Nigerian art and his own distinctive style, forms altered with modernism’s panache and spiritual resonance. Among his pieces are those titled Sun Worshippers, Women Protesters and Motherhood.”

Another one of the most respected Nigerian artists of the 20th century, Gani Odutokun (1946-1995), is shown at auction in an abstract painting, titled Hurley Burley I. As adaptive in style as he was prolific, this blue-dominated painting dating to 1990 lives in the universe between his representational work and his liquidized paintings. Other Nigerian artists featured in the sale include Alao Dipo and Jimoh Buraimoh.

Other highlights include three pieces by Moses Soyer (Russian-American, 1899-1974), led by an oil painting titled Profile of Cynthia in Red, an artist’s proof lithograph by James Rosenquist (American, b. 1933) titled Paper Clip, dating to 1974, and three pop art portrait lithographs by Alex Katz (American, b. 1927). Twelve mixed media paintings by American self-taught artist Purvis Young (1943-2010) make him one of the more heavily represented artists in the sale. Contemporary Chinese painting is led by Guo Yicong (b. 1940) and Chang Ran (b. 1960). Artwork by many famous artists is featured, including four monoprints by Harry Bertoia (American, 1915-1978), four lithographs by Fernand Leger (French, 1881-1955), a lithograph and rare portfolio box by Alexander Calder (American, 1898-1976), a first-edition printing of Andy Warhol’s Index, numbered 53 of 365. Rounding out the sale include pieces by Henry Moore, Leonora Carrington, Donald Sultan, Leonid Purygin, Agnes Weinrich, Jacob Lawrence and Ellison Hoover.

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


271: David Burliuk (American/Ukrainian, 1882-1967), ‘Roses’ (Radio Style), circa 1950s, oil on canvas, 28 inches x 24 inches. Estimate: $65,000-$75,000. Material Culture image.
 

271: David Burliuk (American/Ukrainian, 1882-1967), ‘Roses’ (Radio Style), circa 1950s, oil on canvas, 28 inches x 24 inches. Estimate: $65,000-$75,000. Material Culture image.

Lot 172A: Hector Hyppolite (Haitian, 1894-1948) ‘Still Life with Bird,’ circa 1945-1947, painting on board, 30 1/2 x 24 3/4 inches. Estimate: $30,000-$35,000. Material Culture image.

Lot 172A: Hector Hyppolite (Haitian, 1894-1948) ‘Still Life with Bird,’ circa 1945-1947, painting on board, 30 1/2 x 24 3/4 inches. Estimate: $30,000-$35,000. Material Culture image.

Lot 143: Markus Lupertz (Czech/German, b. 1941), ‘Amor und Psyche,’ 1978-79, work on paper, graphite and oil, 17 1/4 inches x 24 inches. Estimate: $2,000-$3,000. Material Culture image.

Lot 143: Markus Lupertz (Czech/German, b. 1941), ‘Amor und Psyche,’ 1978-79, work on paper, graphite and oil, 17 1/4 inches x 24 inches. Estimate: $2,000-$3,000. Material Culture image.

Lot 193: Harry Bertoia (American, 1915-1978) ‘Monoprint on Rice Paper,’ ink, 13 inches x 24 inches (sheet), 17 inches x 29 inches (frame). Estimate: $1,000-$1,500. Material Culture image.
 

Lot 193: Harry Bertoia (American, 1915-1978) ‘Monoprint on Rice Paper,’ ink, 13 inches x 24 inches (sheet), 17 inches x 29 inches (frame). Estimate: $1,000-$1,500. Material Culture image.

Lot 330: Guo Yicong (Chinese, 1940) contemporary scroll painting (Plum Blossom), signed, inscribed, 27 inches x 18 inches (image), 66 inches x 24 inches (overall). Estimate: $1,500-$2,500. Material Culture image.

Lot 330: Guo Yicong (Chinese, 1940) contemporary scroll painting (Plum Blossom), signed, inscribed, 27 inches x 18 inches (image), 66 inches x 24 inches (overall). Estimate: $1,500-$2,500. Material Culture image.

Lot 367: Ben Enwonwu (Nigerian, 1921-1994), ‘Remi,’ 1977, bronze, 7 inches (height of bronze), 10 inches x 3 1/4 inches x 3 1/2 inches (overall). Estimate: $8,000-$12,000. Material Culture image.
 

Lot 367: Ben Enwonwu (Nigerian, 1921-1994), ‘Remi,’ 1977, bronze, 7 inches (height of bronze), 10 inches x 3 1/4 inches x 3 1/2 inches (overall). Estimate: $8,000-$12,000. Material Culture image.

Experts to decide if One World Trade Center is tallest US building

One World Trade Center as seen from the Hudson River. Image by Joe Mabel. This file is licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license.

One World Trade Center as seen from the Hudson River. Image by Joe Mabel. This file is licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license.
One World Trade Center as seen from the Hudson River. Image by Joe Mabel. This file is licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license.
CHICAGO (AFP) – Which is the tallest skyscraper in the United States? Experts will decide Tuesday between New York’s One World Trade Center and the former Sears Tower in Chicago.

Architects at the Council on Tall Buildings and Urban Habitat will announce their decision at simultaneous press conferences in the two cities, the CTBUH said on its site.

The CTBUH’s Height Committee must decide whether the antenna on top of the new One World Trade Center counts in determining the building’s height.

Built on the site of the Sept. 11, 2001 attacks that toppled its predecessor, the new tower measures 1,776 feet (541.3 meters), including its 408-foot (124.4-meter) antenna.

Without the antenna, its 1,368-foot height would be topped by the former Sears Tower, now officially named the Willis Tower, which rises 1,450 feet from the ground.

Neither skyscraper comes close to the world record, which is held by the 2,723-foot-high (830-meter-high) Burj Khalifa in Dubai.

 

 

Discovery: Orig. 1963 Action Comics cover art with JFK as Clark Kent

Curt Swan original cover art for Action Comics #309 featuring Superman family and JFK disguised as Clark Kent. Probably the only remaining original art from this controversial issue, which came out the week after President Kennedy’s assassination. Estimated at $50,000-$75,000, it sold for $112,015. Photo: Hake’s Americana & Collectibles

Curt Swan original cover art for Action Comics #309 featuring Superman family and JFK disguised as Clark Kent. Probably the only remaining original art from this controversial issue, which came out the week after President Kennedy’s assassination. Conservatively estimated at $50,000-$75,000. Photo: Hake’s Americana & Collectibles.
Curt Swan original cover art for Action Comics #309 featuring Superman family and JFK disguised as Clark Kent. Probably the only remaining original art from this controversial issue, which came out the week after President Kennedy’s assassination. Conservatively estimated at $50,000-$75,000. Photo: Hake’s Americana & Collectibles.
YORK, Pa. – Those who are too young to remember November 22, 1963 – the day of President John F. Kennedy’s assassination – are probably learning many new details about that tragic event via 50th-anniversary news coverage. But there’s a little-known fact about the Kennedy assassination that’s locked in pop-culture history forever: During the week after the President’s death, JFK coincidentally was featured on the cover of Action Comics #309 – an issue that DC Comics quickly and responsibly attempted to withdraw from circulation.

Cover-dated February 1964, Action Comics #309 is known for its character-rich storyline that intertwines Superman’s colleagues and friends, several superheroes, and President Kennedy disguised as Clark Kent.

“Who is the Mystery Masquerader?” asks the cover text, with an arrow pointing to Clark Kent, engaged in a handshake with Superman. In a balloon above Superman’s head, the Man of Steel asks himself, ‘All my friends are here to congratulate me – but will anyone guess who is the man disguised as Clark Kent, my secret identity?’

Although cover-dated February 1964, the issue arrived on newsstands the week after Kennedy’s Nov. 22, 1963 assassination. Despite DC Comics’ best efforts to recall the issue, the distribution process was already too far along for it to be stopped.

Many in the comic-art collecting world believed the original art from Action Comics #309 no longer existed, but that’s not the case. What may be the only surviving piece of original art from the historically important issue – Curt Swan’s pen-and-ink cover – has been announced as a highlight of Hake’s Americana & Collectibles’ Nov. 19-21 auction.

Entered as Lot 2021, Curt Swan’s cover art is unique on several counts and may exceed by a wide margin its conservative pre-sale estimate of $50,000-$75,000. Learn more at www.hakes.com.

# # #


ADDITIONAL IMAGE OF NOTE


Curt Swan original cover art for Action Comics #309 featuring Superman family and JFK disguised as Clark Kent. Probably the only remaining original art from this controversial issue, which came out the week after President Kennedy’s assassination. Conservatively estimated at $50,000-$75,000. Photo: Hake’s Americana & Collectibles.
Curt Swan original cover art for Action Comics #309 featuring Superman family and JFK disguised as Clark Kent. Probably the only remaining original art from this controversial issue, which came out the week after President Kennedy’s assassination. Conservatively estimated at $50,000-$75,000. Photo: Hake’s Americana & Collectibles.

Cyprus welcomes home icons stolen after Turkish invasion

Petra tou Romiou in Cyprus, where according to Hesiod's 'Theogony' the goddess Aphrodite emerged from the sea. Image by Nono Verde. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
Petra tou Romiou in Cyprus, where according to Hesiod's 'Theogony' the goddess Aphrodite emerged from the sea. Image by Nono Verde. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
Petra tou Romiou in Cyprus, where according to Hesiod’s ‘Theogony’ the goddess Aphrodite emerged from the sea. Image by Nono Verde. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

NICOSIA, Cyprus (AFP) – Cyprus formally welcomed home from Germany on Tuesday scores of frescoes, mosaics and icons stolen from churches after the Turkish invasion in 1974 and returned after a long legal battle.

The 173 Byzantine and post-Byzantine antiquities, which still show the damage caused when they were removed from around 50 Greek Orthodox and Maronite churches, were on public display at the capital’s Byzantine Museum.

They constitute the “largest number of cultural objects ever repatriated” to Cyprus, following a long legal battle in the regional court of Munich, a government statement said

“They are unique examples of ecclesiastical art of Cyprus and will be temporarily exhibited in the Byzantine Museum until the day of their return to the places where they belong,” the statement added.

They were lost during pillaging that followed Turkey’s invasion after an Athens-engineered Greek Cypriot coup in Nicosia and its occupation of the island’s northern third, which continues until this day.

German authorities seized them in 1997 and the Munich court ruled in June that they could be returned after deciding on their ownership.

“These ancient treasures of ecclesiastical art form part of the Cypriot cultural heritage,” the German embassy in Nicosia said.

It welcomed the return of the icons “in what is probably the largest and most important case of repatriation of Cypriot artifacts in recent history.”


ADDITIONAL IMAGE OF NOTE


Petra tou Romiou in Cyprus, where according to Hesiod's 'Theogony' the goddess Aphrodite emerged from the sea. Image by Nono Verde. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
Petra tou Romiou in Cyprus, where according to Hesiod’s ‘Theogony’ the goddess Aphrodite emerged from the sea. Image by Nono Verde. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

Germany moves to calm uproar over Nazi art trove

A photo in the U.S. National Archives shows U.S. troops recovering looted paintings from Neuschwanstein Castle in Germany during World War II. Image courtesy of Wikimedia Commons.

A photo in the U.S. National Archives shows U.S. troops recovering looted paintings from Neuschwanstein Castle in Germany during World War II. Image courtesy of Wikimedia Commons.
A photo in the U.S. National Archives shows U.S. troops recovering looted paintings from Neuschwanstein Castle in Germany during World War II. Image courtesy of Wikimedia Commons.
BERLIN (AFP) – Germany sought Tuesday to calm a row over art looted during the Nazi era by posting images online of 25 paintings including long-lost works by Matisse, Delacroix and Rodin with the aim of finding their rightful owners.

After a week of uproar over the revelation that German customs police had more than a year and a half ago seized about 1,400 treasured works stashed for decades in a Munich apartment, the government took a few steps toward transparency.

Public prosecutors in the southern city of Augsburg had been in charge of the investigation against Cornelius Gurlitt, the elderly son of Hildebrand Gurlitt, a powerful Nazi-era art dealer and collector who acquired the paintings in the 1930s and 1940s.

They had commissioned a sole art historian to catalogue the works, and insisted on discretion for their ongoing probe into charges of tax evasion and misappropriation of assets.

But when the case was blown open in a magazine report last week, Jewish families who believe the haul may include paintings stolen or extorted from them under the Third Reich and museums whose holdings were raided demanded to see a full inventory in order to make possible claims.

Amid angry accusations of foot-dragging and obfuscation, the German government said Monday it and the state of Bavaria had assumed responsibility for the provenance research and commissioned a task force of at least six experts to speed up the process.

It chose as a first step to post images on its official online database www.lostart.de 25 paintings “for which there is strong suspicion that they were seized as part of Nazi persecution”.

The website, which crashed repeatedly Tuesday apparently due to massive demand, is to be updated “regularly.”

The works shown included an undated dream-like allegorical scene by Chagall, a Delacroix sketch, the iconic 1901 work Two Riders on the Beach by Max Liebermann, a sumptuous portrait of a seated woman by Henri Matisse from the mid-1920s, and an undated nude drawing by Auguste Rodin.

The German government said investigators now believe that of the hundreds of works found professionally stored in Gurlitt’s trash-strewn flat, around 590 may have been stolen from Jewish owners or bought from them under duress.

About 380 works are believed to have been seized from museums amid a crackdown under Adolf Hitler on avant-garde, or so-called “degenerate”, art.

German authorities had already lifted the veil on some of the works at a news conference last Tuesday, showing slides of priceless gems in the collection including unknown Chagall and Otto Dix canvases to reporters.

Foreign Minister Guido Westerwelle said Germany’s hard-won international reputation for facing up to its Nazi past was on the line with the extraordinary discovery of the paintings.

“We have to make sure that we don’t fritter away the trust built up over long decades. It’s the time for transparency now,” he said on a visit to India, according to press reports.

The Munich daily Sueddeutsche Zeitung said Tuesday in a front-page story that the outrage triggered by the case had embarrassed Chancellor Angela Merkel.

Her spokesman Steffen Seibert had attempted to contain the damage Monday, telling reporters that Berlin “can well understand why representatives of Jewish groups in particular are asking questions—they represent elderly people who were grievously wronged, or their families.”

Hildebrand Gurlitt, who died in a car crash in 1956, was one of a small group of art dealers tasked with selling looted and “degenerate” art for the Nazi brass in exchange for hard currency.

He was selected, despite the fact he had a Jewish grandmother, for his broad expertise and top-drawer connections in the art world.

After World War II, U.S. troops known as “Monuments Men” investigating looted art confiscated part of his collection, but returned it to him in 1950 after clearing him in a probe.


ADDITIONAL IMAGE OF NOTE


A photo in the U.S. National Archives shows U.S. troops recovering looted paintings from Neuschwanstein Castle in Germany during World War II. Image courtesy of Wikimedia Commons.
A photo in the U.S. National Archives shows U.S. troops recovering looted paintings from Neuschwanstein Castle in Germany during World War II. Image courtesy of Wikimedia Commons.