Dreweatts & Bloomsbury to sell early long case clock March 11

Dreweatts & Bloomsbury Auctions sold this rare architectural eight-day longcase clock by Joseph Knibb for £542,000 ($899,341). Dreweatts & Bloomsbury image.

Joseph Knibb long case clock. Estimate: £80,000-£120,000 ($133,455-$200,182). Dreweatts & Bloomsbury image.

Joseph Knibb long case clock. Estimate: £80,000-£120,000 ($133,455-$200,182). Dreweatts & Bloomsbury image.

LONDON – One of the most important early English long case clocks to come on to the market in the last 10 years will be sold at Dreweatts & Bloomsbury Auctions’ sale of fine clocks, barometers and scientific instruments on Tuesday, March 11.

LiveAuctioneers.com will provide Internet live bidding.

Bought by the existing owners great grandfather from Evesham, Worcestershire in around 1894, and the clock appears to have survived relatively untouched, and is offered for the first time on the open market.

The clock is possibly the earliest long case clock made by Joseph Knibb, one of the most well-known English clockmakers of the Restoration period, Knibb. It belongs to a group of less than half a dozen surviving examples made before he moved to London in 1670. As the clock was made in Oxford it is could also be the earliest long case clock made anywhere outside of London.

Knibb is famous for the ingenuity of his approach, as well as for the high quality of his work. This particularly early example displays an architecturally perfect and elegant case and an exquisitely engraved dial, with decoration directly comparable to that seen on another clock by Joseph Knibb, created while he was in Oxford.

The movement is closely related to others by the famous contemporary clock makers Ahasuerus Fromanteel and Edward East, who were both living and working in London, prior to 1670. This supports the theory that Knibb spent time in London before he moved in 1670, and was greatly influenced by his peers. This exceptional example (Lot 143) is estimated to sell for £80,000-£120,000 ($133,455-$200,182).

A second piece by the brother of Joseph Knibb, John Knibb, is also certain to attract some attention from collectors. Circa 1685, the rare and possibly unique diamond-shaped wall timepiece is signed by Knibb, who also resided in Oxford and took over Joseph’s Oxford workshops when he moved to London in 1670. Only a handful of these small diamond-shaped clocks by various makers are known, all of which were made between 1670 and 1740. The clock (Lot 144) is estimated at £8,000-£12,000 ($13,348-$20,022).

Among a good selection of carriage clocks is a fine example of a Victorian gilt brass mounted ebonized giant carriage clock with push-button hour repeat. A particularly fashionable form of clock it was made by Dent of London, the makers of the clock for St. Stephens’s tower which houses Big Ben. In 1852 Edward Dent successfully tendered to make the “great clock” for the New Palace of Westminster. The clock was completed by 1859, apparently at a financial loss to the firm, however, it ensured that Dent became a household name synonymous with fine clockmaking. Unfortunately, Dent did not live to see the installation of the clock as he died in 1853. Made in 1857-58 this carriage clock has survived in fine original condition and is estimated to sell for £8,000-£12,000 (Lot 78).

Elsewhere in the sale is a Renaissance timepiece of a type that is rarely seen for sale by auction in the UK. The German gilt copper and brass crucifix clock is attributed to German-born Hans Schlottheim, who is known for producing numerous important clocks and complex automata including, in 1577, the first public quarter-striking clock to be installed in his place of residence, Augsburg. In 1582 he made an impressive architectural musical trumpeter automaton for Duke Wilhelm V of Bavaria, which is now housed in the Kunsthistoricshes Museum, Vienna. He is best known in the UK for his creation of the famous “nef” or galleon automaton clock, which now resides in the collection of the British Museum, having been donated by Octavius Morgan in 1866. The crucifix clock (lot 136) is estimated to sell for £800-£1,200 ($1,335-$2,000).

A selection of more than 50 horological books at the beginning of the sale includes a group of rare works relating to “dialing,” the science of laying out and making of sundials. This section is highlighted by a first edition, two-volume work dated 1609 and titled Bladgrave, John The Art of Dyalling. One of the earliest books in English on dialing, it is estimated to realize £600-800 (Lot 8).

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


Joseph Knibb long case clock. Estimate: £80,000-£120,000 ($133,455-$200,182). Dreweatts & Bloomsbury image.

Joseph Knibb long case clock. Estimate: £80,000-£120,000 ($133,455-$200,182). Dreweatts & Bloomsbury image.

German gilt copper and brass crucifix clock is attributed to Hans Schlottheim. Estimate: £800-£1,200 ($1,335-$2,000). Dreweatts & Bloomsbury image.

German gilt copper and brass crucifix clock is attributed to Hans Schlottheim. Estimate: £800-£1,200 ($1,335-$2,000). Dreweatts & Bloomsbury image.

Elite Decorative Arts to sell paintings, Asian works March 15

Oil on paper work by Willem de Kooning (1904-1997) titled ‘Abstraction.’ Estimate: $50,000-$70,000. Elite Decorative Arts image.
Oil on paper work by Willem de Kooning (1904-1997) titled ‘Abstraction.’ Estimate: $50,000-$70,000. Elite Decorative Arts image.

Oil on paper work by Willem de Kooning (1904-1997) titled ‘Abstraction.’ Estimate: $50,000-$70,000. Elite Decorative Arts image.

BOYNTON BEACH, Fla. – Original works by major listed artists such as Willem de Kooning, Chaim Soutine and Angel Botello, plus Chinese objects and other Asian antiques, will headline an estates auction slated for Saturday, March 15, by Elite Decorative Arts.

The auction will contain more than 350 lots and feature fine Chinese carvings and works of art, fine decorative arts and Asian works. Start time will be 1 p.m. Eastern. Internet live bidding will be facilitated by LiveAuctioneers.com.

An original oil painting on cardstock board by the Russian-born French painter Chaim Soutine (1893-1943), titled Road to the Village, is expected to hit $60,000-$80,000. The signed painting, depicting a village scene, measures 24 inches by 18 inches and is mounted in a wood frame. Soutine made major contributions to the Expressionist movement while living in Paris.

Certain to challenge the Soutine work for top lot of the sale is an oil on paper painting by the Dutch-American artist Willem de Kooning (1904-1997). The diminutive abstract oil, fittingly titled Abstraction, is 9 3/4 inches by 12 3/4 inches. It is signed and framed and should sell for $50,000-$70,000. De Kooning was an Abstract Expressionist and New York School painter.

A bronze sculpture of a seated girl by the Spanish-born Puerto Rican artist Angel Botello (1913-1986), titled Nina Peinandose, has an estimate of $15,000-$25,000. The sculpture, numbered 3/6 and signed to verso, is mounted on a white marble base and stands 30 1/4 inches tall. Botello led an active and prolific life, working in Spain, France, Puerto Rico and Haiti.

One of the rare and unusual items in the sale is Chinese but it’s definitely not an antique. It is a space-flown HN-3 stamped Duralumin strut from a Chinese rocket ship, weighing about 8 pounds (est. $10,000-$15,000).

A star of the jewelry category is a 14K white gold ring with a natural oval cabochon cut jadeite stone, about 4.82 carats, GIA-certified (est. $8,000-$12,000).

A pair of Meiji period (1886-1912) finely crafted Japanese silver Wisteria vases depicting raised enamel birds and flowers, 4 3/4 inches tall, should command $5,500-$6,500, while a large Chinese porcelain antique famille rose fish bowl, circa Guangxu period (1875-1908), with painted orange fish, is expected to breeze to $3,000-$5,000.

One lot that will no doubt have heads scratching – and paddles waving – is a 19th century American oil on panel painting depicting a woman in a light green dress with a hat, seated on the floor and looking at a glass vase (est. $8,000-$12,000). It bears the signature of Mary Cassatt, but there is no way to know for sure if Cassat rendered it.

Other anticipated top achievers include a beautiful platinum bracelet featuring a dazzling center deep blue sapphire weighing approximately 2 carats and set with numerous diamonds (est. $2,000-$3,000); and a Stephen Nelson & Daniel Gaumer art glass vase dated 1988 and having a free form ruffle design, 14 1/4 inches in height (est. $1,500-$2,000).

For details or to inquire about consigning items to an Elite Decoratieve Arts auction, call 561-200-0893 or send an e-mail inquiry to info@eliteauction.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


Oil on paper work by Willem de Kooning (1904-1997) titled ‘Abstraction.’ Estimate: $50,000-$70,000. Elite Decorative Arts image.

Oil on paper work by Willem de Kooning (1904-1997) titled ‘Abstraction.’ Estimate: $50,000-$70,000. Elite Decorative Arts image.

Beautiful Chinese carved lavender jadeite Guanyin group. Elite Decorative Arts image.

Beautiful Chinese carved lavender jadeite Guanyin group. Elite Decorative Arts image.

Bronze sculpture by Angel Botello (1913-1986) of a seated girl, 29 inches tall. Estimate: $15,000-$25,000. Elite Decorative Arts image.

Bronze sculpture by Angel Botello (1913-1986) of a seated girl, 29 inches tall. Estimate: $15,000-$25,000. Elite Decorative Arts image.

Large Guangxu famille rose porcelain fish bowl with painted orange fish. Estimate: $3,000-$5,000. Elite Decorative Arts image.

Large Guangxu famille rose porcelain fish bowl with painted orange fish. Estimate: $3,000-$5,000. Elite Decorative Arts image.

Stunning 14kt white gold ring with 4.82-carat jadeite stone and diamonds. Estimate: $8,000-$12,000. Elite Decorative Arts image.

Stunning 14kt white gold ring with 4.82-carat jadeite stone and diamonds. Estimate: $8,000-$12,000. Elite Decorative Arts image.

Rare and important Chinese space-flown HN-3 stamped Duralumin strut. Estimate: $10,000-$15,000. Elite Decorative Arts image.

Rare and important Chinese space-flown HN-3 stamped Duralumin strut. Estimate: $10,000-$15,000. Elite Decorative Arts image.

WWI centenary exhibition recalls German occupation of Belgium

Royal Museum of the Armed Forces and of Military History in Brussels. Image by Marc Ryckaert. This file is licensed under the Creative Commons Attribution 3.0 Unported license.
Royal Museum of the Armed Forces and of Military History in Brussels. Image by Marc Ryckaert. This file is licensed under the Creative Commons Attribution 3.0 Unported license.
Royal Museum of the Armed Forces and of Military History in Brussels. Image by Marc Ryckaert. This file is licensed under the Creative Commons Attribution 3.0 Unported license.

BRUSSELS, Belgium (AFP) – An ambitious government-funded exhibition that opened in Brussels on Tuesday is designed to raise awareness to the living conditions faced by Belgians during the country’s often brutal occupation by Germany in World War I.

Curators of the exhibition at Belgium’s Royal Museum of the Armed Forces and Military History say they have deliberately attempted to move the focus away from the bloody legacy of World War I battlefields in Flanders.

“Our intention was not so much to deal with the war itself, but to see the war as the cradle of the 20th century,” said Israeli historian Elie Barnavi, one of the consultants who worked on the exhibition.

While the appalling conditions of trench warfare do feature in the exhibition, there is also a section dedicated to the letters of Belgians who lived through both the war and Germany’s invasion and occupation of Belgium between 1914 and 1918.

“You encounter words like ‘homeland,’ ‘honor,’ ‘faith’ and ‘hope,'” said Henri Dupuis, another of the exhibition’s curators.

“A lot of (Belgians) went on to die with these words on their lips and today we have to ask the question: why?” Dupuis said.

Germany’s 1914 invasion of Belgium, which had been a neutral country, is estimated to have led directly to the death of more than 6,000 Belgian civilians, compared with just over 40,000 troops in the trenches.

The exhibition, called “14-18: It’s Our History,” is part of Belgium’s World War I Centenary commemorations and has received funding from Belgium’s federal and regional governments.

Belgium’s defence minister, Pieter De Crem, said the main goal of the exhibition was to keep alive the memory of civilian suffering in time of war.

“(Our) citizens were the victims of chemical weapons and hunger and hardship constituted a part of everyday life,” De Crem said.

Among the exhibits are everyday items used by Belgians to survive under occupation, as well as a replica of an “American shop,” which sold products obtained from U.S. aid packages sent to Belgium.

The exhibition – www.expo14-18.be – runs at the imposing Royal Museum of the Armed Forces and of Military History until April 2015.


ADDITIONAL IMAGE OF NOTE


Royal Museum of the Armed Forces and of Military History in Brussels. Image by Marc Ryckaert. This file is licensed under the Creative Commons Attribution 3.0 Unported license.
Royal Museum of the Armed Forces and of Military History in Brussels. Image by Marc Ryckaert. This file is licensed under the Creative Commons Attribution 3.0 Unported license.

 

Museum flood gives students hands-on experience archiving

A water leak caused major damage at the Sullivan Brothers Iowa Veterans Museum, part of the Grout Museum District, in Waterloo last year. Image by RifeIdeas. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

A water leak caused major damage at the Sullivan Brothers Iowa Veterans Museum, part of the Grout Museum District, in Waterloo last year. Image by RifeIdeas. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
A water leak caused major damage at the Sullivan Brothers Iowa Veterans Museum, part of the Grout Museum District, in Waterloo last year. Image by RifeIdeas. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
WATERLOO, Iowa (AP) – Staff at the Grout Museum District almost saw a major portion of their collection literally wash down the drain nine months ago.

A water faucet line in a janitor closet broke inside the Grout and Sullivan Brothers Iowa Veterans museums last May 23. Water leaked down ductwork into storage areas. An alarm system minimized damage, but a significant number of artifacts were still affected.

Damage totaled about $90,000, District Curator Lorraine Ihnen told the Waterloo-Cedar Falls Courier.

About 100 collection pieces were lost and another 2,000 were affected in some way by the leak, including many clothing items. The museum district has about 186,000 pieces; the total collection is about 300,000 when paper archives are added.

But a silver lining behind that in-house raincloud came in the form of a dedicated corps of University of Northern Iowa students, working with Ihnen and Grout district archivist Catreva Manning.

Students in UNI’s public history program not only helped sort through water-damaged artifacts and documents – as required for the museums to retain professional accreditation – they’ve been categorizing and compiling a record of all items on computer – something the regular Grout staff could not have done by themselves.

“We don’t have a lot of stuff in our database,” Ihnen said – less than 4 percent of the museums’ total combined collection. “It’s a big process to do,” and time consuming with limited regular staff.

“We have to document everything we lost for museum purposes,” she said. “We have to have a track of it. We have to write it up, count it, photograph it. We’re an accredited museum. We have to track that stuff. And we had to have a list for the insurance company.

“The students now are getting all of those reports and the data and the photographs and the data into our database so we have a digital record of it.

“This was an amazing amount of work that had to be done because of the (flood) event,” Ihnen said, in addition to accepting and cataloging new donated items coming into the museums daily and doing programs for the public.

“It has made it possible for us to get work done that needed to be done,” Ihnen said. “In exchange for that, I hope we teach the students about working in museums.”

UNI professor Leisl Carr Childers is coordinator of the university’s public history academic program coordinator, new to that job this academic year. Her job includes finding work experience opportunities. The Grout, she said, is a long-standing and natural one.

Public history, she and Ihnen said, involves hands-on teaching and research in a non-academic venue such as a museum – and actually handling, storing, maintaining and preserving items for the general public to see and enjoy.

Childers said she’s grateful for her students can get have that experience at the Grout district.

“It takes a special set of employees – collections people in this case – to really work with students,” she said. “Not everybody is open to having interns. You really have to be good and focused on the students, good at articulating the work you want them to do, patience in answering questions. So this is a rare relationship.”

It’s one UNI and the Grout hope to deepen in the future, Grout executive director Billie Bailey said.

“It’s important real-life experience in determining whether a career in the museum field is for them,” Bailey said.

“It’s great to have their enthusiasm to help us wrap up this chapter,” Bailey said of the flood disaster. “Leisl and I are really excited about the possibility of this being a standing practicum every year. We’ll have them working in educational programming, marketing and publicity and they’ll also help do research for exhibits. It’s nice to have a fresh perspective.”

“I’ve been on the other side of that. I’ve been a student,” Ihnen said, herself a product of the UNI program. “I’m paying it forward and I hope half of these students end up in museums. Then they can teach the next generation.”

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Information from: Waterloo-Cedar Falls Courier, http://www.wcfcourier.com

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-02-23-14 1700GMT


ADDITIONAL IMAGE OF NOTE


A water leak caused major damage at the Sullivan Brothers Iowa Veterans Museum, part of the Grout Museum District, in Waterloo last year. Image by RifeIdeas. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
A water leak caused major damage at the Sullivan Brothers Iowa Veterans Museum, part of the Grout Museum District, in Waterloo last year. Image by RifeIdeas. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

Paparazzi elevated to artists in new exhibition in France

Actor Mickey Hargitay, the husband of actress Jayne Mansfield, scuffles with 'the king of paparazzi' Rino Barillari, while model Vatussa Vitta hits him with her purse, in a 1963 photo taken in Rome. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

Actor Mickey Hargitay, the husband of actress Jayne Mansfield, scuffles with 'the king of paparazzi' Rino Barillari, while model Vatussa Vitta hits him with her purse, in a 1963 photo taken in Rome. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
Actor Mickey Hargitay, the husband of actress Jayne Mansfield, scuffles with ‘the king of paparazzi’ Rino Barillari, while model Vatussa Vitta hits him with her purse, in a 1963 photo taken in Rome. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
METZ, France (AFP) – Normally relegated to the bottom of the artistic heap, paparazzi are getting their own French art exhibition, just weeks after one of them managed to wreck the president’s relationship.

By turns populist and subversive, the controversial exhibition at the Centre Pompidou-Metz opens on Wednesday, featuring the snaps of French President Francois Hollande leaving the home of actress Julie Gayet on a scooter.

The photos by Sebastien Valiela, published in Closer magazine in January, led to the president dumping his longtime partner Valerie Trierweiler.

The exhibition relives other notable scandals, including a snap from 1994 of former president Francois Mitterand with his secret daughter Mazarine Pingeot, who was born to a mistress.

Valiela joked to AFP that he had also offered his latest photos of Hollande with Gayet – who have not been seen together since “le scandale.”

“But the organizers said it would not be possible. Maybe they came under pressure?”

News is not the theme of the exhibition, the Centre Pompidou-Metz said in a sober statement.

It is the first time Valiela is displaying his work, let alone in a renowned gallery. He said it was “one in the eye” for all those who look down on the genre.

“It never occurred to me that this was possible,” he said. “I don’t consider myself an artist, just a journalist. I’m not looking to make something beautiful, I’m trying to provide information in my photos.”

Unlike many journalists and celebrities, “artists have never despised us,” he added.

But Pingeot charged that Valiela was “proud of causing hurt” with his work and described the exhibition as a “form of complicity.”

“I find it extremely disturbing that this is being considered art,” she told French television station RTL. “We are witnessing an inversion of values today that is very destabilizing.”

Another featured paparazzi, Pascal Rostain, said he was “just happy and astonished” to be considered for the exhibition.

“Art is about scandal, it is about provocation,” he said. Paparazzi photos are “perhaps the last domain of photography which has not had the honor of appearing in such institutions.”

He said the artistic value stems from the constraints put on the photographers that create a specific style.

“We are forced to use extreme exposures because we do not necessarily have the light conditions we want, or there is a lot of movement as we adapt to the situation, so that gives the pictures a certain texture,” Valiela said.

The exhibition also highlights the specific locales of the genre – the backseat of the car, the beachfront, the exit door of the club or tribunal.

There are also the familiar gestures – the threatening fist, the hand over the face or the middle finger – that come when the prey spots her predator.

The ambiguous relationship between stars and paps – feeding their fame but potentially ruining their lives – is explored by looking at several icons: Elizabeth Taylor, Jackie Kennedy-Onassis, Brigitte Bardot, Princess Diana, Paris Hilton and many more.

Of the 600 photos, half come from artists who have been inspired by paparazzi since the 1960s, from Andy Warhol to Gerhard Richter.

A great admirer of paparazzi, fashion photographer Helmut Newton once described the shots of Jackie Kennedy-Onassis naked on a Greek beach as “among the most troubling of the century.”

Some have made the leap from pap to respected artist, like the veteran Ron Galella.

Rostain and his assistant Bruno Mouron gained renown for their series “Trash” featuring the contents of celebrities’ rubbish bins.

The exhibition “Paparazzi! Photographes, Stars et Ertistes” runs to June 9.


ADDITIONAL IMAGE OF NOTE


Actor Mickey Hargitay, the husband of actress Jayne Mansfield, scuffles with 'the king of paparazzi' Rino Barillari, while model Vatussa Vitta hits him with her purse, in a 1963 photo taken in Rome. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
Actor Mickey Hargitay, the husband of actress Jayne Mansfield, scuffles with ‘the king of paparazzi’ Rino Barillari, while model Vatussa Vitta hits him with her purse, in a 1963 photo taken in Rome. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

Neb. quilt museum builds on Log Cabin exhibition

LINCOLN, Neb. – The International Quilt Study Center & Museum’s next exhibition will showcase the visually dynamic nature behind a well-known pattern. “Design Dynamics of Log Cabin Quilts” opens March 7 in the Lois Gottsch Gallery.

The basic design of log cabin quilt blocks relies on light and dark contrast. The exhibition will show how a quiltmaker’s imagination arranging these simple block units creates motion and depth and bold graphic effects. The perennially popular log cabin quilts – whether made with standard log cabin blocks or courthouse steps or pineapple variation blocks – still resonates with makers and collectors today.

“Design Dynamics” was originally curated by Judy Schwender, while completing her graduate studies at the University of Nebraska-Lincoln. The exhibition debuted at the Robert Hillestad Textiles Gallery in 2004. For its Quilt House debut, the revived exhibition will showcase additional pieces alongside quilts from the original exhibition.

The exhibition draws from quilts in the Byron and Sara Rhodes Dillow Collection, the Jonathan Holstein Collection and the Ardis and Robert James Collection ranging from 1870-1920.

Visitors will also learn about various standard log cabin block settings through animation produced by The Vault, a student team under the supervision of Michael Burton, lecturer in the Department of Textiles, Merchandising and Fashion Design at UNL. Virtual visitors will be able to experience the exhibition online at http://www.quiltstudy.org/exhibitions/online_exhibitions/.

In addition to the main gallery, a community showcase of contemporary log cabin quilts by local quiltmakers will be on display in the Quilt House Reception Hall March 15-April 4. Other public programs will be available throughout the exhibitions nine-month run. The museum’s website has more information about these events.

This exhibition, publications and programming were made possible in part through funding from the Nebraska Arts Council, the Nebraska Cultural Endowment and the Friends of the IQSCM.

The International Quilt Study Center & Museum, the home of the world’s largest publicly held quilt collection, is open Tuesday-Saturday from 10 a.m.-4 p.m. Admission is $6 for adults, $3 for students and children 5-18 and free for UNL students, faculty and staff and children 4 and under. Visit www.quiltstudy.org for more information.


ADDITIONAL IMAGES OF NOTE


Log Cabin, Barn Raising setting, maker unknown, probably made in Pennsylvania, circa 1890-1910, 84 x 83 inches. Jonathan Holstein Collection. IQSCM 2003.003.0237. www.quiltstudy.org.
Log Cabin, Barn Raising setting, maker unknown, probably made in Pennsylvania, circa 1890-1910, 84 x 83 inches. Jonathan Holstein Collection. IQSCM 2003.003.0237. www.quiltstudy.org.
Log Cabin, Pineapple variation, maker unknown, made in United States, circa 1880-1900, 86 x 86 inches. Jonathan Holstein Collection. IQSCM 2003.003.0242. www.quiltstudy.org.
Log Cabin, Pineapple variation, maker unknown, made in United States, circa 1880-1900, 86 x 86 inches. Jonathan Holstein Collection. IQSCM 2003.003.0242. www.quiltstudy.org.

1975 Amherst College art heist investigation reopened

Stearns Steeple and Mead Art Building, Amherst College, Amherst Mass., the scene of the 1975 art heist. Image by John Phelan. This file is licensed under the Creative Commons Attribution 3.0 Unported license.

Stearns Steeple and Mead Art Building, Amherst College, Amherst Mass., the scene of the 1975 art heist. Image by John Phelan. This file is licensed under the Creative Commons Attribution 3.0 Unported license.
Stearns Steeple and Mead Art Building, Amherst College, Amherst Mass., the scene of the 1975 art heist. Image by John Phelan. This file is licensed under the Creative Commons Attribution 3.0 Unported license.
AMHERST, Mass. (AP) – Amherst College and the FBI are reopening the investigation into a theft from a campus art museum nearly 40 years ago.

Three centuries-old paintings valued at more than $400,000 were stolen from the college’s Mead Art Museum in February 1975.

Two of those paintings were recovered in 1989.

But the third, a piece by Dutch artist Jan Baptist Lambrechts titled Interior with Figures Smoking and Drinking, that is believed to date from the early 18th century, was never found.

Heath Cummings, who’s been Mead’s head of security since 2006, has been reinvestigating the case and has turned over what he found to the FBI.

An FBI spokesman tells The Daily Hampshire Gazette that the agency is looking to generate publicity for the case beyond Massachusetts.

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Information from: Daily Hampshire Gazette (Northampton, Mass.), http://www.gazettenet.com

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-02-24-14 1114GMT


ADDITIONAL IMAGE OF NOTE


Stearns Steeple and Mead Art Building, Amherst College, Amherst Mass., the scene of the 1975 art heist. Image by John Phelan. This file is licensed under the Creative Commons Attribution 3.0 Unported license.
Stearns Steeple and Mead Art Building, Amherst College, Amherst Mass., the scene of the 1975 art heist. Image by John Phelan. This file is licensed under the Creative Commons Attribution 3.0 Unported license.