Artifact from 1884 Arctic expedition rescued at Conn. museum

The steamer Proteus in a harbor during the Lady Franklin Bay Expedition. Image courtesy Wikimedia Commons.
The steamer Proteus in a harbor during the Lady Franklin Bay Expedition. Image courtesy Wikimedia Commons.
The steamer Proteus in a harbor during the Lady Franklin Bay Expedition. Image courtesy Wikimedia Commons.

BRIDGEPORT, Conn. (AP) – A reindeer-skin sleeping bag from a 19th century polar rescue expedition, an artifact from an era in which men – toiling through starvation, frostbite and other tribulations – pushed the boundaries of the known Earth ever-farther north, has been rediscovered and displayed at the Barnum Museum.

The bag was given to what was then the Bridgeport Scientific Society by William Barrymore, of Stratford, who served in the Navy during the Civil War.

“Apparently, it was someone in the crew of the USS Bear who gave the bag to Barrymore,” said curator Adrienne Saint-Pierre, who said the bag had been part of the Barnum Museum collections since Barrymore’s widow gave it to the society, the precursor to the museum.

“It’s been in storage for a very long time,” she said. “But it’s in pretty good shape even though it was rolled into a ball and not properly stored.”

It’s fitting that the sleeping bag has found a home in the Barnum Museum. The second half of the 19th century, the time when P.T. Barnum achieved rock-star status worldwide, was also an era when people everywhere were captivated by the exploits of the polar explorers.

It provided a link to “The Greely Expedition: A Tale of Triumph and Tragedy in the Arctic,” that was presented Sunday at the museum by the University of Hartford’s Professor Michael Robinson, an expert on 19th century scientific expeditions.

Dozens of Arctic expeditions were launched in the 1800s; no fewer than 19 left England or the U.S. just to search for survivors of the 1845 Franklin Expedition.

But Adolphus Greely, a Civil War army veteran, wasn’t looking for Franklin. His expedition, also known as the Lady Franklin Bay Expedition, was part of the First International Polar Year.

It could be argued that Greely wasn’t the best man for the assignment. According to Pierre Berton’s The Arctic Grail, the humorless Greely, 38, was a stickler for regimen, and his men grew increasingly resentful of his endless orders. To make matters worse, his 25 men didn’t get along, either.

Saint-Pierre also noted the Greely expedition was poorly equipped.

“We have good records of what they took with them, and we know that their sleeping bags were made of buffalo hides. Caribou – or reindeer – is a lot better when you’re in the Arctic,” she said.

Greely’s party was dropped off by a sturdy 467-ton sealer, the USS Proteus, on the northern shore of Lady Franklin Bay on far northeastern Ellesmere Island in the summer of 1881. They were just 60 miles from the North Pole and a thousand miles north of the Arctic Circle.

Greely and his men were housed in a wooden hut they built, not much larger than the typical living room, called Fort Conger. Aside from taking the required measurements of the Earth’s magnetism and other scientific observations, there was little to do but play Parcheesi and stare at one another.

Revolvers were drawn on more than one occasion.

The men were hoping that a supply ship would arrive the following summer, but August 1882 came and went with no sign of a mast.

Little did they know that the USS Neptune was 200 miles to the south, beset by ice, despite open water around the fort. The Neptune was forced to return.

In the summer of 1883, Greely had supplies to easily last another year, but was under orders to retreat south to Cape Sabine with his men, sailing in a few small boats. Greely always followed orders; if he had stayed at Fort Conger, all of his men might have survived.

Meanwhile, the Proteus was sent north in a second relief expedition. It was crushed by pack ice, and nearly all of the stores intended for Greely’s men sank to the bottom. The men of the Proteus were rescued by a whaling ship, and left some supplies at Cape Sabine.

As Greely and his men pushed south, there was talk of mutiny. Ice conditions went from bad to worse, and the men had to abandon their launches and take refuge on an ice floe, which broke into smaller and smaller chunks. In a stroke of luck, the floe ran aground 20 miles south of Cape Sabine.

Taking one of their whaleboats, they made the grueling trek to Cape Sabine, arriving in late October 1883. But the food stores there were much more meager than Greely expected, and they were faced with another Arctic winter with five months of darkness. Not only was food running out, but the party was also dying of thirst. There wasn’t enough fuel to melt the snow and ice.

The sun returned in mid-March 1884, but by now Greely’s men were dying one by one of cold, starvation, frostbite and disease; others were insane.

All of this occurred with the knowledge that had they stayed at Fort Conger, the musk ox would have been plentiful. At Cape Sabine, there was almost no game to be had.

On April 24, at the urging of Greely’s wife, Henrietta, a third relief expedition was mounted, departing from New York in the USS Bear.

Schley found Greely’s party on June 22, 1884. The survivors were living in a single, collapsed and flapping tent. Most were too weak to move, and some appeared to have died just days earlier.

Only seven were alive, and one of those, Cpl. Joseph Ellison, died on the way back to Portsmouth, N.H., The warmth of his berth in the Bear caused his gangrene to fester, killing him.

___

Information from: Connecticut Post, http://www.connpost.com

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

AP-WF-02-22-14 1609GMT


ADDITIONAL IMAGE OF NOTE


The steamer Proteus in a harbor during the Lady Franklin Bay Expedition. Image courtesy Wikimedia Commons.
The steamer Proteus in a harbor during the Lady Franklin Bay Expedition. Image courtesy Wikimedia Commons.

Babe Ruth 1923 World Series watch auctioned for $717,000

Babe Ruth's 1923 World Series champion New York Yankees pocket watch. Heritage Auctions image.

Babe Ruth's 1923 World Series champion New York Yankees pocket watch. Heritage Auctions image.
Babe Ruth’s 1923 World Series champion New York Yankees pocket watch. Heritage Auctions image.
NEW YORK (AP) – Babe Ruth’s pocket watch from the 1923 World Series sold for $717,000 Saturday at auction in New York City.

The pentagonal 14K gold watch was bought by a telephone bidder who is remaining anonymous, Heritage Auctions said.

The timepiece was part of a set given to Ruth and his Yankees teammates after they beat their rivals, the New York Giants, in the 1923 World Series.

Ruth batted .368 and hit three home runs in the series, the first of the Yankees’ 27 world championships.

The watch is engraved with a picture of a pitcher, hitter and catcher and a ball in flight.

It is inscribed, “Presented by Baseball Commissioner to George H. Ruth.”

Ruth gave the watch to a friend, Charlie Schwefel. The seller Saturday was a collector who acquired it from a member of Schwefel’s family, Heritage Auctions said.

Another highlight of the auction was a 1911 game-used bat from “Shoeless” Joe Jackson. It sold for $956,000.

Jackson was banned from baseball after he and his Chicago White Sox teammates were accused of fixing the 1919 World Series.

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

AP-WF-02-23-14 0622GMT


ADDITIONAL IMAGE OF NOTE


Babe Ruth's 1923 World Series champion New York Yankees pocket watch. Heritage Auctions image.
Babe Ruth’s 1923 World Series champion New York Yankees pocket watch. Heritage Auctions image.

Lawsuit claims Keith Haring Foundation banning real art

Keith Haring's 'Tuttomondo' mural on the side of a church in Pisa, Italy. Photo by CutieKatie. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

Keith Haring's 'Tuttomondo' mural on the side of a church in Pisa, Italy. Photo by CutieKatie. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
Keith Haring’s ‘Tuttomondo’ mural on the side of a church in Pisa, Italy. Photo by CutieKatie. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
NEW YORK (AP) – Art collectors sued Keith Haring’s foundation Friday, saying it has cost them at least $40 million by publicly labeling about 90 paintings by the late artist as “counterfeit” and “fake” as it refuses to fully evaluate them.

The lawsuit in U.S. District Court in Manhattan portrayed the Keith Haring Foundation Inc.’s approach to authentication as irrational and irresponsible, saying its authentication committee operated for many years “in secret, with little or no explanation, and often without ever physically inspecting the works.”

It said the foundation Haring started shortly before he died of AIDS in 1990 disbanded the committee in 2012 to shield itself from litigation over its decisions but continued to obstruct the emergence of new Haring works through “malicious and wrongful tactics,” including shutting down the display of Haring art at a Miami show in March.

The foundation last year sued organizers of the “Haring Miami” show, saying it was intended to defraud the public by exhibiting 200 purported works of art by Haring that were mostly fakes. The foundation said the paintings, mostly acrylic on canvas, would be worth about $40 million if they were authentic.

“Putting all these cheap Haring fakes into the market will depress the market and irreparably destroy the value of the authentic art and the reputation of the artist and the artwork,” foundation lawyers wrote. In legal papers, they said a foundation director who visited the Miami show was “shocked at the blatant fraud involved” and saw only about eight authentic Haring works there.

Attorneys for the Haring foundation did not immediately comment on the New York lawsuit.

Nine art collectors maintained in their lawsuit Friday that the foundation was motivated to restrict the discovery of new Haring art in part to boost the value of paintings already on the market, including some pieces that the foundation itself sold between 2008 and 2011 for $4.6 million, the lawsuit said.

The lawsuit said a certificate of authenticity greatly increases the value of a piece of art, making it available for sale through major auction houses as well as through private buyers.

The lawsuit was brought by collectors who it said began buying works in 2007 from two of Haring’s friends. One of them was Haring’s former lover, a DJ who was introduced to Haring in 1982 and says the prolific artist gave him numerous pieces in the 1980s. The others were obtained from a graffiti artist, Delta Cortez.

Pictures of the artwork, attached to the lawsuit as an exhibit, had titles such as Blue Baby, Baseball Mitt, Angel Winged TV and Green Man Holding Red Baby and were in Haring’s cartoonish sketching style.

Because many buyers wanted paperwork certifying the art as authentic, Cortez sometime after 1999 contacted the foundation, the lawsuit said. A representative initially expressed strong interest and asked for pictures and descriptions of the art, but the foundation eventually told him it would authenticate one or two of the pieces if he gave the foundation 10 pieces, according to the lawsuit.

Cortez again contacted the foundation in 2006 but was told that the foundation was not certifying artworks like the ones he wished to submit at that time and further conversations and inquiries “proved fruitless,” the lawsuit said.

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

AP-WF-02-21-14 2030GMT


ADDITIONAL IMAGE OF NOTE


Keith Haring's 'Tuttomondo' mural on the side of a church in Pisa, Italy. Photo by CutieKatie. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
Keith Haring’s ‘Tuttomondo’ mural on the side of a church in Pisa, Italy. Photo by CutieKatie. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

Detroit museum chairman pleased with bankruptcy plan

Under the proposed bankruptcy plan the Detroit Institute of Arts would take control of thousands of pieces of art owned by the city. Deroit Institute of Arts image.
Under the proposed bankruptcy plan the Detroit Institute of Arts would take control of thousands of pieces of art owned by the city. Deroit Institute of Arts image.
Under the proposed bankruptcy plan the Detroit Institute of Arts would take control of thousands of pieces of art owned by the city. Deroit Institute of Arts image.

DETROIT (AP) – A museum at the center of Detroit’s bankruptcy case is praising a plan that would end the city’s role in owning art.

The Detroit Institute of Arts says it would take control of thousands of pieces of art already at the museum but owned by Detroit. The DIA, as it is known, has pledged to raise $100 million for city pensions.

DIA Chairman Eugene Gargaro Jr. says it’s a “historic day.”

Art has been a controversial piece of the bankruptcy case because many creditors believe pieces could be sold to pay debts. Art has been valued at $450 million to $870 million.

Detroit’s plan for the museum is part of a broader bankruptcy strategy released Friday. It must be approved by a judge.

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

AP-WF-02-21-14 1822GMT


ADDITIONAL IMAGE OF NOTE


Under the proposed bankruptcy plan the Detroit Institute of Arts would take control of thousands of pieces of art owned by the city. Deroit Institute of Arts image.
Under the proposed bankruptcy plan the Detroit Institute of Arts would take control of thousands of pieces of art owned by the city. Deroit Institute of Arts image.

Dreweatts & Bloomsbury March 6 auction has Russian accent

Issue No. 3 of 'The USSR in Construction,' a photographic propaganda magazine published in the Soviet Union for foreign distribution. Dreweatts & Bloomsbury Auctions image.

Issue No. 3 of 'The USSR in Construction,' a photographic propaganda magazine published in the Soviet Union for foreign distribution. Dreweatts & Bloomsbury Auctions image.

Issue No. 3 of ‘The USSR in Construction,’ a photographic propaganda magazine published in the Soviet Union for foreign distribution. Dreweatts & Bloomsbury Auctions image.

LONDON – As the Sochi Winter Olympic Games focuses world attention on the future of Russia, Dreweatts & Bloomsbury Auctions offer the opportunity to explore the country’s vivid history with a 19th century French book on Russian customs in their sale of Printed Books and Manuscripts on Thursday, March 6.

Les Peuples de la Russie is a celebrated work on the customs and costumes of the peoples of the Russian empire including Tartars, Caucasians and Mongols. This first edition, by Charles Rechberg and George Bernhard Deppin, was printed in Paris in 1813 and beautifully illustrated with 47 hand-colored plates as well as nine original illustrations. It is estimated to sell for £6,000-£8,000 [Lot 191] .

Internet live bidding will be facilitated by LiveAuctioneers.com.

A run of important illustrated magazines, The USSR in Construction, provides a focus on Russia’s modern history. Positively promoting the industrialization and collectivization of Stalinist Russia, they feature electric power plants, regional capitals, metals, agriculture and copper mining. Printed in Moscow in 1930 at the beginning of Joseph Stalin’s tyrannical leadership of the Soviet Union, the magazines are estimated at £300-£400.

The USSR in Construction was a photographic propaganda magazine published in the Soviet Union for foreign distribution that proclaimed to “reflect in photography the whole scope and variety of the construction work now going on in the USSR.” Employing the top writers, playwrights, photographers and graphic designers of the day, it was predominately designed as a foreign relations tool to promote the Soviet Union [Lot 139].

The most expensive work in the sale is Histoire Générale des Insects de Surinam et de Toute l’Europe by Maria Sibylla Merian, estimated to achieve £25,000-£35,000. This third edition was printed in Paris in 1771.

Merian, a German botanical artist, arrived in Surinam, South America, in 1699 and stayed until 1701 recording the plants and insects of the Dutch colony. The results of her research can be found in the Metamorphosis insectorum Surinamensium, published in 1705 with 60 plates. Later editions included 23 additional plates by Merian’s daughter Johanna in the first volume, while the second volume recorded her later studies of European plants and insects.

The present work was produced by Desnos after he discovered the printing plates in a Paris auction. The plates display remarkable accuracy and include several species of plants and fruit new to Europeans. A third volume Des plantes bulbeueses, liliacées, caryophyllées with 69 plates was also published, but this is often found separately to those on insects [Lot 215].

A second edition of Johann Jacob Scheuchzer’s Herbarium Deluvianum Collectum, shares a preoccupation with the natural world. An important early work of paleobotany and the study of fossilized plants, it includes four additional plates not present in the first edition. It is estimated at £600-£800 [Lot 210].

The oldest work in the sale, Elementa, by the Greek mathematician and “Father of Geometry,” Euclid, is described by politian Sir Charles Thomas-Stanford as “possibly the most remarkable of all printed editions of Euclid.” The famous work is one of the most influential books on modern geology and mathematics and this first edition of the Arabic translation is ascribed to Nasir al-Din al-Tusi.

Euclid was a Greek mathematician active in Alexandria, Northern Egypt, during the reign of Ptolemy I (323-283 B.C.) his influential work remains in use by students today.

This Arabic edition of the book has an extra chapter, The Privilege of Sultan Murad III, which was added for its release in the Ottoman Empire. The work was printed at the press founded by Ferdinando de’ Medici under Pope Gregory XIII to disseminate works in Oriental languages [Lot 18].

A copy of Salvador Dalí’s Biblia Sacra, 1967-69, in five volumes, number 394 of 1499 “luxus” copies, includes 105 color lithographs by Dalí which form a magnificent set, in fine condition. The illustrated book was conceived by Dali’s friend and patron Dr. Giuseppe Albaretto as a new and entirely illustrated edition of the Bible. It is estimated to sell for £6,000-£8,000 [Lot 141].

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


Issue No. 3 of 'The USSR in Construction,' a photographic propaganda magazine published in the Soviet Union for foreign distribution. Dreweatts & Bloomsbury Auctions image.

Issue No. 3 of ‘The USSR in Construction,’ a photographic propaganda magazine published in the Soviet Union for foreign distribution. Dreweatts & Bloomsbury Auctions image.

Printed in Paris in 1813, 'Les Peuples de la Russie' by Charles Rechberg and George Bernhard Deppin, is beautifully illustrated with 47 hand-colored plates nine original illustrations. Dreweatts & Bloomsbury Auctions image.

Printed in Paris in 1813, ‘Les Peuples de la Russie’ by Charles Rechberg and George Bernhard Deppin, is beautifully illustrated with 47 hand-colored plates nine original illustrations. Dreweatts & Bloomsbury Auctions image.

The most expensive work in the sale is 'Histoire Générale des Insects de Surinam et de Toute l’Europe' by Maria Sibylla Merian, estimated to achieve £25,000-£35,000. Dreweatts & Bloomsbury Auctions image.

The most expensive work in the sale is ‘Histoire Générale des Insects de Surinam et de Toute l’Europe’ by Maria Sibylla Merian, estimated to achieve £25,000-£35,000. Dreweatts & Bloomsbury Auctions image.

Met picks Dan Graham to create rooftop garden installation

Pavilion by Dan Graham in Berlin. Copyright BILD-BY, courtesy of Wikimedia Commons.
Pavilion by Dan Graham in Berlin. Copyright BILD-BY, courtesy of Wikimedia Commons.
Pavilion by Dan Graham in Berlin. Copyright BILD-BY, courtesy of Wikimedia Commons.

NEW YORK – American artist Dan Graham (born 1942, Urbana, Ill.) will create a site-specific installation atop the Metropolitan Museum of Art’s Iris and B. Gerald Cantor Roof Garden – the second in a new series of commissions for the outdoor site. The installation will comprise one of Graham’s unique steel and glass pavilions – structures for which he has been renowned since the early 1980s – set within a specially engineered landscape designed in collaboration with Swiss landscape architect Günther Vogt (born 1957, Balzers, Liechtenstein). Constructed of hedgerows and curves of two-way mirrored glass, the pavilion will be both transparent and reflective, creating a changing and visually complex environment for visitors. “The Roof Garden Commission: Dan Graham” will be on view from April 29 through Nov. 2, 2014 (weather permitting)

“For decades, Dan Graham has created work that challenges viewers to think in new and thought-provoking ways about the streets and cities they traverse every day. In his reimagining of the Met’s roof, visitors will discover a picturesque landscape that is at once unexpected and familiar,” said Thomas P. Campbell, director and CEO of the Metropolitan Museum.

“What Dan creates is a new form of quixotic landscape architecture that combines maker and community within a city environment,” said Sheena Wagstaff, the museum’s Leonard A. Lauder Chairman of Modern and Contemporary Art. “It is work that draws paradoxically on formal 18th-century Northern European gardens, while also referencing the glossy sleekness of corporate skyscrapers and the American suburban vernacular.”

Since the publication of his landmark photo-essay “Homes for America” in 1966, Graham’s work has engaged with issues of urbanity, public space, and the viewer’s own experience within it through a multidisciplinary practice that includes writing, photography, video, performance, and the creation of sculptural environments of mirrored glass and metal. His 1976 entry for the Venice Biennale, Public Space/Two Audiences, disrupted the gallery space with a room split in two by a wall of mirrored glass. This transformed observers of the work into performers within it, and, through the sight of their own reflections, made them acutely aware of their own viewership. Graham’s site-specific pavilions of the years that followed built on the artist’s interest in engaging the public with the space and structures that surround them. With its spectacular views of the city skyline and Central Park, the museum’s Roof Garden presents a unique environment for Graham to further engage with notions of the city, its landscape and manufacture, and the role of the public within its spaces.

Born in 1942 in Urbana, Ill., and raised in Winfield Township, N.J., Dan Graham lives and works in New York City. Graham has been investigating the relationship between architectural environments and those who inhabit them since the late 1960s. His multifarious practice, which encompasses writing, photography, video, performance and the creation of sculptural environments, has influenced generations of artists. Graham’s glass pavilions have been realized in sites worldwide, particularly in Europe. The Roof Garden Commission: Dan Graham is the artist’s first major site-specific commission in New York City since his 1991 installation, Dan Graham: Rooftop Urban Park Project at Dia Center for the Arts. Graham has had retrospective exhibitions at the Museum of Contemporary Art, Los Angeles, Whitney Museum of American Art, and Walker Art Center (2009-10); Castello di Rivoli Museo d’Arte Contemporanea, Turin (2006); Museu Serralves, Porto (2001); Museum of Modern Art, Oxford (1997); Van Abbemuseum, Eindhoven (1993); Kunsthalle Berne (1983); and the Renaissance Society, University of Chicago (1981). He has participated in Documenta 5, 6, 7, 9 and 10 (1972, 1977, 1982, 1992, and 1997). Among the numerous awards he has received are the Coutts Contemporary Art Foundation Award, Zurich (1992) and the French Vermeil Medal, Paris (2001). He also was honored by the American Academy of Arts and Letters, New York, in 2010.


ADDITIONAL IMAGE OF NOTE


Pavilion by Dan Graham in Berlin. Copyright BILD-BY, courtesy of Wikimedia Commons.
Pavilion by Dan Graham in Berlin. Copyright BILD-BY, courtesy of Wikimedia Commons.

Museum exhibit examines fates of Confederate veterans

Please use the attached logo to go with the article about the Museum of the Confederacy, which is in Top News / Museums.

Please use the attached logo to go with the article about the Museum of the Confederacy, which is in Top News / Museums.
Please use the attached logo to go with the article about the Museum of the Confederacy, which is in Top News / Museums.
RICHMOND, Va. – The Museum of the Confederacy-Appomattox will host the opening of a new temporary exhibit titled: “When Johnny Comes Marching Home: Veterans in the Post-War South.”

Approximately 30 percent of the estimated 900,000 men who served in the Confederate army died in service; the other 70 percent returned home to their families, their jobs, their farms, and the rest of their lives. The years that Civil War soldiers spent in uniform shaped them. But the “Boys in Gray” returned to become the gray old men who rebuilt the South, dominated Southern society, business and politics for the ensuing half-century and commemorated their fallen comrades and heroes and the cause for which they fought.

Just as in wars of our own time, Civil War veterans who reentered society yet remained, as historian Bruce Catton described them, “men set apart.” Only other veterans could understand what they had endured.

This exhibit examines the lives of Confederate and Southern veterans as veterans, as citizens and as humans.

The Museum of the Confederacy-Appomattox is open 10 a.m. until 5 p.m., Sunday through Saturday. The museum is located at 159 Horseshoe Road, Appomattox, VA 24522.


ADDITIONAL IMAGE OF NOTE


Please use the attached logo to go with the article about the Museum of the Confederacy, which is in Top News / Museums.
Please use the attached logo to go with the article about the Museum of the Confederacy, which is in Top News / Museums.

Il mercato dell’arte in Italia: Aste di Dipinti antichi

Lotto 59: ‘Bona Dea,’ II-III secolo D.C., Courtesy Wannenes Genova.
Lotto 59: ‘Bona Dea,’ II-III secolo D.C., Courtesy Wannenes Genova.
Lotto 59: ‘Bona Dea,’ II-III secolo D.C., Courtesy Wannenes Genova.

GENOVA, Italia – Le prossime aste di Wannenes, il 4 e il 5 marzo a Genova, raccolgono arredi, oggetti d’arte e dipinti di due galleristi italiani conosciuti: Claudio Zanettin, fondatore de “La Ruota” a Cortina d’Ampezzo e Gennaro Berger, antiquario di Roma.

Claudio Zanettin ha avuto un ruolo fondamentale a Cortina nell’arredare le case dell’alta borghesia. Dagli anni 50, infatti, quando la città ha ospitato le Olimpiadi invernali del 1956, Cortina ha accolto generazioni di imprenditori, nobili e star del jetset internazionale che hanno scelto questo posto come luogo favorito di ritiro, ed è stata inoltre set di film come la “Pantera rosa” con David Niven e Peter Seller, e “Solo per i tuoi occhi” con Roger Moore nei panni dell’agente 007 James Bond.

In questo contesto dorato, Zanettin, antiquario e interior designer, ha aperto la sua galleria nel 1975. Il suo gusto si è distinto per il carattere eclettico, effervescente e imprevedibile, capace di mischiare oggetti tra loro disparati e di contaminare i generi, esaltando comunque la peculiarità di ogni singolo manufatto. Ha creato numerose collezioni selezionando oggetti che non sono solo autentici, ma anche estrosi, originali, eccezionali, pieni di carattere, che hanno forza emblematica e metaforica.

Tra i suoi clienti ci sono stati nomi come Gianni Versace, Luca di Montezemolo, Pietro Barilla, Gianni e Nicole Bulgari, Elton John e Joan Collins.

Gli oggetti in vendita da Wannenes includono una consolle in legno intagliato e dorato del XVIII secolo (lotto 824, stima €2.000-3.000), una collezione di calamai in argento (lotti 783-798), tre figure di un presepe napoletano del Settecento raffiguranti i Re Magi (lotto 799, stima €1.000-€1.500), una coppia di tempere neoclassiche del XVIII secolo (lotto 708, stima €1.500-€2.000).

Gennaro Berger, invece, ha iniziato la sua carriera a metà degli anni 80 con l’apertura di un laboratorio di restauro ligneo che, nel giro di qualche anno, è diventato una galleria commerciale. Matematico mancato, si è distinto per la sobrietà del suo gusto. Le sue due gallerie a Roma, una in via Margutta e l’altra in Via dei Coronari, gestite insieme all’esperto di dipinti antichi Antonio Fratangeli e al conoscitore di oggetti d’arte e archeologici Nicola Marletta, hanno raccolto oggetti che spaziavano dalla pittura alla scultura, dall’archeologia agli oggetti da Wunderkammer.

Tra i pezzi interessanti dell’asta ci sono la “Bona Dea” romana in marmo (lotto 59, stima €15.000-€20.000), il frammento di sarcofago (lotto 65, stima €18.000-€22.000), il ritratto in miniatura ottocentesco di un giovane con occhiali di Jean Paulin Lassouquere (lotto 275, stima €150-€300), la coppia di torciere in legno intagliato e dorato del XVIII secolo (lotto 71, stima €2.000-€3.000) e la figura neoclassica di Andromeda in avorio (lotto 270, stima €800-€1.200).

Le due aste anticipano la vendita di Dipinti antichi e del XIX secolo di varie provenienze, il 6 marzo. Anche a quest’asta ci saranno opere interessanti come due tavole bolognesi del XVI secolo provenienti dalla collezione di Federico Mason Perkins, storico dell’arte statunitense, raffiguranti un episodio di profanazione (lotti 1110 e 1111, stima per entrambi di €15.000-€25.000).

Le due tavole rimandano ad un peculiare capitolo dell’iconografia poco studiato: erano immagini destinate ad essere esposte in luoghi di culto cristiano per indottrinare i fedeli e affermare il trionfo della chiesa sulla sinagoga. Erano temi diffusi particolarmente in Italia Centrale, nell’ambito dello Stato Pontificio, soprattutto tra il XV e il XVI secolo. Inoltre, queste opere furono studiate dal famoso storico dell’arte Federico Zeri che ha specificato l’origine bolognese-ferrarese dell’autore.

Altri tre dipinti testimoniano, invece, l’evoluzione della pittura nel primo Settecento, dal Barocco al Neoclassicismo. Si tratta di “Nascita della Vergine” di Francesco Solimena (lotto 1080, stima €15.000-€18.000), un’opera caratterizzata da una composizione narrativa e coreografica che risente della cultura teatrale dell’epoca; “Madonna col Bambino e Santi” di Carlo Innocenzo Carloni (lotto 1102, stima €2.400-€2.800), verosimilmente un bozzetto preparatorio per una pala d’altare che presenta un’estrema leggerezza pittorica; e infine una “Scena mitologica” da riferirsi alla Bologna settecentesca (lotto 1103, stima €6.000-€8.000).

Negli stessi giorni anche Babuino a Roma terrà una serie di aste di Arredi e dipinti antichi, del XIX secolo, antiquariato, argenteria e varia. Tra i maestri italiani ci saranno opere di Gian Paolo Pannini e Francesco Monti, ma anche nomi dell’Ottocento, un secolo che sta recuperando terreno sul mercato dell’arte.

Per esempio, ci sarà il “Ritratto di Matilde Tolomei” di Giovanni Boldini, amatissimo ritrattista della Parigi della Belle Epoque, che risale però agli anni precedenti al periodo parigino (lotto 332, stima €6.000-€9.000). Di Francesco Paolo Michetti viene offerto un piccolo dipinto con “Spiaggia” (lotto 345, €3.000-€4.000).


ADDITIONAL IMAGES OF NOTE


Lotto 59: ‘Bona Dea,’ II-III secolo D.C., Courtesy Wannenes Genova.
Lotto 59: ‘Bona Dea,’ II-III secolo D.C., Courtesy Wannenes Genova.
Lotto 1080: Francesco Solimena, (1657-1747), ‘Nascita della Vergine,’ olio su tela, cm 103 X 108. Stima: €15.000-€18.000. Courtesy Wannenes Genova.
Lotto 1080: Francesco Solimena, (1657-1747), ‘Nascita della Vergine,’ olio su tela, cm 103 X 108. Stima: €15.000-€18.000. Courtesy Wannenes Genova.
Lotto 1110: Pittore bolognese del XVI secolo, ‘Episodio della leggenda del Crocifisso di Berytus,’ tempera su tavola, cm 25 X 39,5. Stima €15.000-€25.000. Courtesy Wannenes Genova.
Lotto 1110: Pittore bolognese del XVI secolo, ‘Episodio della leggenda del Crocifisso di Berytus,’ tempera su tavola, cm 25 X 39,5. Stima €15.000-€25.000. Courtesy Wannenes Genova.
Lotto 824: console in legno intagliato e dorato, XVIII secolo, con piano in marmo bianco ed inserti policromi, altezza cm 90, larghezza cm 113, profondità cm 51. Stima €2.000-€3.000. Courtesy Wannenes Genova.
Lotto 824: console in legno intagliato e dorato, XVIII secolo, con piano in marmo bianco ed inserti policromi, altezza cm 90, larghezza cm 113, profondità cm 51. Stima €2.000-€3.000. Courtesy Wannenes Genova.

Art Market Italy: Old Masters auctions

Lotto 59: ‘Bona Dea,’ II-III secolo D.C., Courtesy Wannenes Genova.
Lot 59: Bona Dea, second-third century. Courtesy Wannenes Genoa.
Lot 59: Bona Dea, second-third century. Courtesy Wannenes Genoa.

GENOA, Italy – The next sales at Genoa-based auction house Wannenes, on March 4-5, include furniture, objects and paintings coming from the collections of two noted Italian gallery owners: Claudio Zanettin, founder of La Ruota in Cortina d’Ampezzo, and Gennaro Berger, an antiquarian in Rome.

Claudio Zanettin has played a key role in furnishing the homes of the upper class in Cortina. In fact, since the 1950s, when the town hosted the 1956 Winter Olympics, Cortina has welcomed generations of entrepreneurs, nobles and stars of the international jet set who have chosen this place as their favorite place of retreat. It was also the set of movies such as The Pink Panther with David Niven and Peter Sellers, and For Your Eyes Only with Roger Moore as agent 007 James Bond.

In this golden context, antiques dealer and interior designer Zanettin opened his gallery in 1975. His taste is distinguished for its eclectic, vibrant and unpredictable character. He is capable of mixing disparate objects and contaminate genres, nonetheless exalting the particularities of each artifact. He has created numerous collections by selecting objects that are not only authentic, but also whimsical, original, exceptional, full of character, with a symbolic and metaphorical strength.

Among his clients are names like Gianni Versace, Luca di Montezemolo, Pietro Barilla, Gianni and Nicole Bulgari, Elton John and Joan Collins.

Items on sale at Wannenes include a console in carved and gilded wood from the 18th century (lot 824, estimate €2,000-€3,000), a collection of silver inkwells (lots 783-798), three figures of an 18th-century Neapolitan nativity scene depicting the Three Kings (lot 799, estimate €1,000-€1,500) and a pair of neoclassical tempera from the 18th century (lot 708, estimate €1,500-€2,000).

Gennaro Berger, instead, began his career in the mid-1980s with the opening of a workshop for wood restoration that within a few years became a commercial gallery. A mathematician manqué, Berger has distinguished himself for the sobriety of his taste. In his two galleries in Rome – one in Via Margutta and the other in Via dei Coronari, managed together with Old Masters specialist Antonio Fratangeli and art and archaeological connoisseur Nicola Marletta – he collected items ranging from painting to sculpture, from archaeology to Wunderkammer objects.

Among the interesting pieces at auction are the Roman Bona Dea in marble (lot 59, estimate €15,000-€20,000), a fragment of a sarcophagus (lot 65, estimate €18,000-€22,000), the miniature portrait of a 19th-century young man with glasses by Jean Paulin Lassouquere (lot 275, estimate €150-€300), a pair of carved and gilded candelabra from the 18th century (lot 71, estimate €2,000-€3,000) and a neoclassical figure of Andromeda in ivory (lot 270, estimate €800-€1,200).

The two auctions precede a various-owner sale of Old Master and 19th century paintings on March 6. Also at this auction there will be some interesting works such as two panels from the Bolognese 16th century from the collection of American art historian Frederick Mason Perkins, depicting an episode of desecration (lots 1110 and 1111, estimate for both €15,000-€25,000).

The two panels refer to a particular, but little-studied section of the iconography: these images were intended for display in places of Christian worship to indoctrinate the faithful and affirm the triumph of the Church on the Synagogue. These themes were especially popular in Central Italy, in the Papal State, especially in the 15th and 16th centuries. Furthermore, these works were studied by the renowned art historian Federico Zeri, who stated the Bologna-Ferrara origin of the author.

Three other paintings testify, instead, the evolution of painting in the early 18th century, from Baroque to Neoclassicism. They are: Birth of the Virgin by Francesco Solimena (lot 1080, estimate €15,000-€18,000), a work characterized by a narrative and choreographic composition that reflects the theatrical culture of the time; Madonna and Child with Saints by Carlo Innocenzo Carloni (lot 1102, estimate. €2,400-€2,800), probably a preparatory sketch for an altarpiece painting that presents an extreme lightness, and finally a mythological scene to refer to the 18th-century Bologna (lot 1103, estimate €6,000-€8,000).

In the same days also Babuino in Rome will hold a series of auctions of furniture and Old Masters paintings, paintings from the 19th century, antiques, silverware and various items. Among the Italian masters there will be works by Gian Paolo Pannini and Francesco Monti, but also other names from the 19th century, a century that is growing on the art market.

For example, there will be the Portrait of Matilda Tolomei by Giovanni Boldini, the beloved portraitist of the Parisian Belle Epoque, however, dating back to years before the Parisian period (lot 332, estimate €6,000-€9,000). Francesco Paolo Michetti will be represented with a small painting depicting a beach (lot 345, €3,000-€4,000).


ADDITIONAL IMAGES OF NOTE


Lot 59: Bona Dea, second-third century. Courtesy Wannenes Genoa.
Lot 59: Bona Dea, second-third century. Courtesy Wannenes Genoa.
Lot 1080: Francesco Solimena (1657-1747), ‘The Birth of the Virgin,’ oil on canvas, 103 X 108 cm. Estimate: €15,000-€18,000. Courtesy Wannenes Genoa.
Lot 1080: Francesco Solimena (1657-1747), ‘The Birth of the Virgin,’ oil on canvas, 103 X 108 cm. Estimate: €15,000-€18,000. Courtesy Wannenes Genoa.
Lot 1110: Bolognese painter from the 16th century, ‘Episode of the Legend of the Crucifix of Berytus,’ tempera on panel, 25 X 39.5 cm. Estimate €15,000-€25,000. Courtesy Wannenes Genoa.
Lot 1110: Bolognese painter from the 16th century, ‘Episode of the Legend of the Crucifix of Berytus,’ tempera on panel, 25 X 39.5 cm. Estimate €15,000-€25,000. Courtesy Wannenes Genoa.
Lot 824; Console, carved and gilded wood from the 18th century, with white marble top and polychrome inserts, height 90 cm, width 113 cm, depth 51 cm. Estimate €2,000-€3,000. Courtesy Wannenes Genoa.
Lot 824; Console, carved and gilded wood from the 18th century, with white marble top and polychrome inserts, height 90 cm, width 113 cm, depth 51 cm. Estimate €2,000-€3,000. Courtesy Wannenes Genoa.

Gift nearly doubles Norman Rockwell Museum collection

The Norman Rockwell Museum in Stockbridge, Mass. Image by Melongrower. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
The Norman Rockwell Museum in Stockbridge, Mass. Image by Melongrower. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
The Norman Rockwell Museum in Stockbridge, Mass. Image by Melongrower. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

STOCKBRIDGE, Mass. (AP) – The Norman Rockwell Museum says it has nearly doubled its collection of American illustration art with a new gift from the Famous Artists School of Westport, Conn.

The donation includes more than 5,000 un-catalogued artworks, including several original works by Rockwell, along with other archives.

Rockwell is known for capturing everyday mid-20th century American culture, particularly in his illustrations for the cover of The Saturday Evening Post magazine. The Famous Artists School was the most popular art technique correspondence course of that period.

The Rockwell museum has the world’s largest collection of original Norman Rockwell art, and said the new gift allows it to better show the works’ cultural context.

Museum Director and CEO Laurie Norton Moffatt says it’s important to preserve American visual culture that millions of people experienced through published mass media.

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

AP-WF-02-20-14 0734GMT


ADDITIONAL IMAGE OF NOTE


The Norman Rockwell Museum in Stockbridge, Mass. Image by Melongrower. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
The Norman Rockwell Museum in Stockbridge, Mass. Image by Melongrower. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.