Furniture Specific: The first question

A West Indies carved mahogany and caned rocking chair, 19th century. Reference: Conners, Michael. 'Caribbean Elegance,' 2002. p. 46, fig. 34. A pair of these rockers sold at auction in New Orleans last year for $4,305. Image courtesy of Neal Auction Co.
A West Indies carved mahogany and caned rocking chair, 19th century. Reference: Conners, Michael. 'Caribbean Elegance,' 2002. p. 46, fig. 34. A pair of these rockers sold at auction in New Orleans last year for $4,305. Image courtesy of Neal Auction Co.
A West Indies carved mahogany and caned rocking chair, 19th century. Reference: Conners, Michael. ‘Caribbean Elegance,’ 2002. p. 46, fig. 34. A pair of these rockers sold at auction in New Orleans last year for $4,305. Image courtesy of Neal Auction Co.

CRYSTAL RIVER, Fla. – In the past I wrote a column concerning the second most frequently asked question about older and antique furniture. That question has to do with retaining, enhancing or destroying the value of a piece if it is repaired, refinished etc. The column conveniently sidestepped the first question, the one that everyone REALLY wants to know: What’s it worth?

Sometimes it seems a shame that in most cases today the overriding emphasis placed on an antique is the market value. Too often antiques are regarded as just trade goods. There was a time when antiques were prized for their historical value – their link to the past and what that past stood for. This was the underlying motivation for the Colonial Revival – at least in the beginning. Antiques also have been highly prized for their workmanship or artistry – you know the old saw “A thing of beauty is ….”

But, alas, in today’s environment when someone inherits great-great-grandma’s chair, more often than not the first thing they do is write to someone like me to ask what it’s worth. Not how it was made or what it was made from. Not how to care for it or how to use it. Not how to research its history or appreciate its heritage. Just “How many dollars is it worth and what do I do to get the best price for it?” Whatever.

While idle curiosity or simple greed seems to motivate most inquiries about value there are more legitimate and justifiable reasons for needing to determine the value of an antique. Those reasons frequently have to do with acquiring and maintaining proper levels of insurance, establishing a value for claims purposes or for use in tax preparation or defense.

So how do you find out what something is worth? The ultimate answer appears only after you sell it and the check clears the bank. THAT is what that piece was worth on THAT day, in THAT place to THAT buyer. Anything else is just guesswork. Granted some guesses will be better than others but until the actual sale they are still just guesses.

There are people who represent themselves as professional guessers. They are called appraisers and most have some degree of knowledge greater than the average bear about given subjects and have a pool of resources from which to gather facts to support their guesses.

One place to find appraisers is on the vicarious television shows that offer on-the-spot price information. Granted these appraisers often have a lifetime of experience and do have reference material at their beckoning. However, they often tend to quote prices based on the part of the country or the market with which they are most familiar and that may not always play well in Poughkeepsie. What a chair sells for in New York or Boston may be a far cry from what it brings at auction in LA (Lower Alabama). So celebrity or event appraisals should be taken with a grain of salt and enjoyed for the entertainment value they provide.

When you get serious about wanting to know what something is worth you must then decide what kind of appraisal you need. “What’s it worth?” is not enough for a good appraiser to go on. They need to know for what purpose the appraisal will be used. There are two basic types of appraisals, the “fair market value,” also known as a “selling” appraisal and a “replacement value” appraisal.

A fair market value appraisal is the amount you would expect to realize from the sale of an item to a reputable dealer in the field or what you could reasonably expect to receive, before seller costs and premiums, through an auction service that deals in that particular type of item. For example, you wouldn’t expect to do well selling 20th century art pottery at a service that specializes in Federal furniture. The market is more specific than that. This fair market value approach is the one used by the IRS in assigning value to items donated to charitable causes and is often used in establishing the value of an estate. This is essentially a “wholesale” appraisal. Unless specifically otherwise noted, most insurance companies will also use this type of valuation method in settling claims.

The “otherwise noted” reference is to the other kind of appraisal known as the replacement value method. A value assigned by this type of appraisal is what you would expect to pay for the item if you purchased it on a retail basis from a dealer or gallery in an arm’s length transaction. This is also the amount for which you would insure a specific piece, the replacement cost.

The most important thing to know about these two kinds of appraisals is the fact that they will produce markedly different values for the same item at the same time in the same place. A fair market value appraisal value will generally be 40 to 60 percent below a replacement cost value. When you read that a major dealer has purchased a period American antique at Sotheby’s for $1million, you may rest assured that when you visit their showroom in New York or Philadelphia, the current retail price will greatly exceed the auction price (wholesale). Fair market is what they paid at auction. Replacement is what you will pay them for it (retail).

So how do you obtain an appraisal, either fair market or replacement? As it turns out, appraisals are like so many other things – you get what you pay for.

You can get a free or nominal cost verbal “appraisal” at many antiques shows or fairs. They are generally worth what they cost if you are just curious. You can also visit a dealer and ask what the item is worth. But there may be a conflict here because the dealer may want to buy your piece and pay less than fair market value for it. Not always but it does happen.

There is a new electronic version of the appraisal being done on the Internet. Many of these sites are legitimate and will in fact give you a fairly decent “educated guess” of the market value of your property for a reasonable fee, $10 to $50 generally. But be aware that each individual appraiser for these services is limited by your description of the article and by your skill or lack thereof as a photographer. They will never be able to physically see or touch your item. While many of the online appraisers are certified by one or more of the major associations, their cut of the already fairly low fee is so small that they probably can’t devote too much time to researching your particular item and to writing a comprehensive valuation. Like the verbal version, this type of valuation is more for curiosity’s sake than for legal or insurance purposes.

There are several main accrediting bodies for personal property appraisers in the U.S. including the Appraisers Association of America, the International Society of Appraisers, American Society of Appraisers and National Appraisal Consultants. Each has a website and a searchable database of certified members listed by area of specialization. These people are prepared to work for you in person with no other agenda and will often provide a written statement that they are a disinterested third party.

But be prepared to pay for their research. A thorough written appraisal of personal property will contain such items as the type of valuation method used, identification of the market for which the item is valued, a general market analysis of similar items or categories with possible projections of the direction of that market, an accurate physical description of the object including measurements and photos where applicable, sales results of similar items in that market, provenance if available and a firm statement of value based on the research. There are other items that may be included for your particular need based on what you and the appraiser agree upon.

In short, what you get from a licensed, accredited, knowledgeable appraiser is their best professional estimate of the value of your item. That signed written estimate is backed up by their experience, education and research and in most cases is acceptable for insurance and legal purposes. That’s where you go if you REALLY want to know what its worth.

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 newly redesigned website at www.furnituredetective.com and check out the new downloadable “Common Sense Antiques” columns in .pdf format. 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 (9 a.m.-4 p.m. Eastern, M-F only), fax 352-563-2916, or info@furnituredetective.com. All items are also available directly from his website.


ADDITIONAL IMAGE OF NOTE


A West Indies carved mahogany and caned rocking chair, 19th century. Reference: Conners, Michael. 'Caribbean Elegance,' 2002. p. 46, fig. 34. A pair of these rockers sold at auction in New Orleans last year for $4,305. Image courtesy of Neal Auction Co.
A West Indies carved mahogany and caned rocking chair, 19th century. Reference: Conners, Michael. ‘Caribbean Elegance,’ 2002. p. 46, fig. 34. A pair of these rockers sold at auction in New Orleans last year for $4,305. Image courtesy of Neal Auction Co.

Electronic pioneers Kraftwerk bring 3D show to Paris

Electropop band Kraftwerk's 8-night program at the Museum of Modern Art in New York was an easy sell-out. Their current run at Berlin's Neue Nationalgalerie is expected to be just as popular. Image courtesy of Sprueth Magers, Berlin and London. © Kraftwerk
Image courtesy of Sprueth Magers, Berlin and London. © Kraftwerk
Image courtesy of Sprueth Magers, Berlin and London. © Kraftwerk

PARIS (AFP) – Electronic pioneers Kraftwerk will play their complete works to sell-out crowds at the ultra-modern Louis Vuitton Foundation building in Paris beginning Thursday.

The German group which spearheaded synthesizer music in the 1970s will play eight nights – each featuring one album – against a background of 3D effects to around 1,000 people. Shows sold out in hours.

The concerts follow similar events at the MoMA in New York, the Tate Modern in London and the Sydney Opera House.

Founded by Ralf Huetter and Florian Schneider in the western German city of Duesseldorf in 1970, Kraftwerk went on to have a profound influence on the likes of David Bowie, Joy Division and Depeche Mode with their instantly recognizable electronic beat.

Schneider left the band in 2008 leaving only Huetter as an original band member, who has since been joined by Henning Schmitz and Fritz Hilpert.

The band has not produced a new album since the 2003 effort Tour de France soundtracks inspired by a joint love of cycling, but plans to bring out a ninth album next year titled Music non-stop.


ADDITIONAL IMAGE OF NOTE


Image courtesy of Sprueth Magers, Berlin and London. © Kraftwerk
Image courtesy of Sprueth Magers, Berlin and London. © Kraftwerk

Spanish gallery showcases Chinese dissident Ai Weiwei’s works

'Illumination' 2009, © Ai Weiwei
'Illumination' 2009, © Ai Weiwei
‘Illumination’ 2009, © Ai Weiwei

BARCELONA, Spain (AFP) – A Spanish gallery on Tuesday inaugurated a retrospective of works from the past three decades of dissident artist Ai Weiwei, who has been banned from leaving China since 2011.

The “On the Table” show at Barcelona’s La Virreina gallery spans photos, videos, sculptures, installations and architecture models from Ai’s stint in New York in the 1980s to recent works.

“There are over 40 objects with a selection of items from the beginning of his career as well as works that are now iconic and well known and works made especially for this exhibition,” the show’s curator Rosa Pera said.

The goal of the exhibition is to show how China’s best-known contemporary artist uses images to explore “the tension between truth and lies, evidence and ambiguity, control and freedom,” she said.

A sculptor, designer and documentary-maker, Ai has irked Beijing by using his art and online profile to draw attention to injustices in China and the need for greater transparency and rule of law in the world’s most populous country.

Despite his fame, Ai has been banned from leaving China since being secretly detained for 81 days three years ago by China’s authoritarian communist government for reasons that were never specified.

After his release in June 2011, Ai’s design firm was slapped with a hefty tax bill, which he fought unsuccessfully in Chinese courts.

The centerpiece of the exhibition is a table and 10 chairs normally installed in Ai’s studio in Beijing where he meets to discuss his projects. He sent it as a symbol of his inability to attend the show in person.

The public is invited to sit in the chairs, take pictures and then upload them on social media sites, a preferred medium of the artist.

“When you put something on the table … you do not keep any cards up your sleeve and you show everything you are capable of doing,” said Pera, explaining the title of the exhibition, which will run until February 2015.

One of the works made specially for the show is an installation consisting of pieces of marble that simulate grass sprouts emerging from the ground.

The walls of the room where the installation is displayed are decorated with stamped images of an extended middle finger.

Among the items on display is his “Study in Perspective” photo series, where the artist’s middle finger is positioned in front of global landmarks, such as the White House, the British parliament and the Sydney opera house.

The show also includes some of his most famous works, including an ancient ceramic jug decorated with a Coca-Cola logo, a map of China made out of wood from ancient Chinese temples and a small sample from the 10 tonnes of porcelain sunflower seeds which covered the floor at London’s Tate Modern as part of his 2010 installation Sunflower Seeds.


ADDITIONAL IMAGES OF NOTE


'Illumination' 2009, © Ai Weiwei
‘Illumination’ 2009, © Ai Weiwei
'Cao,' 2014 © Ai Weiwei
‘Cao,’ 2014 © Ai Weiwei
 'Map of China' 2004, a sculpture made out of ironwood salvaged from Qing dynasty (1644–1911) temples destroyed to make way for modern developments. © Copyright Ai Weiwei
‘Map of China’ 2004, a sculpture made out of ironwood salvaged from Qing dynasty (1644–1911) temples destroyed to make way for modern developments. © Copyright Ai Weiwei

Buzz Aldrin starring in Heritage Auctions’ space sale Nov. 12

Signed plaster casting of a boot worn by Buzz Aldrin. Heritage Auctions image

Signed plaster casting of a boot worn by Buzz Aldrin. Heritage Auctions image
Signed plaster casting of a boot worn by Buzz Aldrin. Heritage Auctions image
DALLAS – A plaster casting of a boot worn by Buzz Aldrin on Earth and similar to that which he wore when he first set foot on the moon during the historic Apollo 11 mission will cross the block on Nov. 12 in Dallas, as part of Heritage Auctions’ more than 375-lot Space Exploration Signature® Auction. It is estimated to sell for $10,000 or more.

“This is one of the most evocative pieces of space memorabilia we’ve seen,” said Michael Riley, senior historian at Heritage Auctions. “Seeing this, it’s not hard to picture exactly what Buzz Aldrin himself saw after he took his first historic step on the lunar surface following Neil Armstrong.”

The cast is one of just three taken by artist Josephine Mead on Nov. 7, 1969. Meade made the castings when Aldrin brought his moon boot to the dedication of a new addition to the Illinois Masonic Medical Center.

“One is in the Smithsonian, one is at that Medical Center and the one from the artist’s personal collection is being offered here,” added Riley. “The artist painted in shades of brown and green to give it the look of a bronze. To say this is a rare piece is a broad understatement.”

The overall dimensions of the moon boot footprint measures 14 3/4 inches by 6 1/2 inches and it has a 14-inch-long “Buzz Aldrin” signature above, as placed by him in the original plaster.

The auction is particularly strong in items related to the 1969 Apollo missions 9 through 12, including the impressive offerings in the Fay Ann Aldrin Potter Estate Collection.

“Fay Ann was the older sister of Buzz Aldrin who, as a young girl, inadvertently gave him his legendary and world famous nickname, actually now his legal name,” said Riley. “She initially couldn’t say the word ‘brother,’ instead calling him ‘buzzer.’ It stuck and now follows him into history.”

Aldrin was generous with Fay Ann through the years, gifting her with amazing souvenirs of his career, a number of which are offered here, including an Apollo 11 flown American flag and a signed Beta cloth mission insignia that also flew to the moon on Apollo 11. Also included are a set of flown Robbins medals from Aldrin’s time at NASA, a five-lot selection of Space Food and a copy of Aldrin’s book Encounters with Tiber, which he signed uniquely for her: “To Fay Ann/My Name Giver/Enjoy A Space Encounter/Love/Buzzer/7-7-96.”

Both Space and Sports collectors will be impressed with a unique baseball signed by 29 early astronauts, bearing the autographs of all but one member (Theodore Freeman) of the first three groups of astronauts chosen by NASA, encompassing all the astronauts who flew in the Mercury and Gemini programs as well as eight of the 12 men who walked on the moon and 14 of the 24 who flew to the moon.


ADDITIONAL IMAGE OF NOTE


Signed plaster casting of a boot worn by Buzz Aldrin. Heritage Auctions image
Signed plaster casting of a boot worn by Buzz Aldrin. Heritage Auctions image

Iconic nude statue disappears from fountain in Tripoli

The bronze statue disappeared from the fountain in Gazelle Square in downtown Tripoli on Tuesday. Image courtesy of Wikimedia Commons.

The bronze statue disappeared from the fountain in Gazelle Square in downtown Tripoli on Tuesday. Image courtesy of Wikimedia Commons.
The bronze statue disappeared from the fountain in Gazelle Square in downtown Tripoli on Tuesday. Image courtesy of Wikimedia Commons.
TRIPOLI, Libya (AFP) – Libya’s internationally recognized government criticized on Wednesday the removal from a Tripoli roundabout of an iconic nude statue that dates back to the Italian colonial era.

The bronze statue, known locally as “the gazelle” for its depiction of a nude stroking the animal, disappeared on Tuesday “in mysterious circumstances,” according to Tripoli’s municipal council.

The sculpture was taken from one of the capital’s busiest intersections “at dawn on Tuesday by unidentified men who were probably offended by its nudity for religious reasons,” a witness told AFP.

The government of Prime Minister Abdullah al-Thani has taken refuge in the country’s east to escape a mainly Islamist militia coalition which seized control of Tripoli at the end of August.

It said in a statement that “reactionaries and terrorists” were able to steal the statue “because the state is absent and has no control over the capital.”

The culture ministry added: “This act indicates a backward mind, reactionary vision and a total absence of culture on the part of the assailants.”

The statue, sculpted by an Italian artist in the early 1930s when Libya was an Italian colony, was damaged last month after being struck by a rocket.

Armed militia had threated to destroy the sculpture, as well as the capital’s many cultural artifacts.

Witnesses also reported hearing a “big explosion” in Tripoli on Monday night at the site of a 700-year-old religious monument.

Libyan authorities have struggled to assert control across a country awash with weapons and powerful militias, which ousted longtime autocratic leader Moamer Kadhafi in a 2011 revolt.


ADDITIONAL IMAGE OF NOTE


The bronze statue disappeared from the fountain in Gazelle Square in downtown Tripoli on Tuesday. Image courtesy of Wikimedia Commons.
The bronze statue disappeared from the fountain in Gazelle Square in downtown Tripoli on Tuesday. Image courtesy of Wikimedia Commons.

Film mogul from China buys van Gogh masterpiece for $62M

Van Gogh's 'Still Life, Vase with Daisies and Poppies.' Image courtesy of Wikimedia Commons.

Van Gogh's 'Still Life, Vase with Daisies and Poppies.' Image courtesy of Wikimedia Commons.
Van Gogh’s ‘Still Life, Vase with Daisies and Poppies.’ Image courtesy of Wikimedia Commons.
BEIJING (AFP) – One of China’s richest men has bought a Vincent van Gogh masterpiece for nearly $62 million, reports said Wednesday, becoming the latest tycoon to make an eyebrow-raising art purchase.

Wang Zhongjun, chairman of the high-powered Huayi Brothers film studio, bought van Gogh’s 1890 painting Still Life, Vase with Daisies and Poppies Tuesday for $61.8 million, according to Shanghai-based news site The Paper.

The painting, which was auctioned by Sotheby’s in New York, had been valued at $30 to $50 million, the report said.

A Huayi Brothers representative did not immediately respond to a request for comment from AFP.

The purchase makes Wang the latest wealthy Chinese businessman to make a splash on the international art scene.

Last year, tycoon Wang Jianlin’s Wanda Group bought the 1950 Pablo Picasso painting “Claude and Paloma for $28 million, more than double the high estimate of $12 million.

At the time, the company came under fire for the extravagant purchase, with some Chinese Internet users questioning Wang’s patriotism and the painting’s value.

Wang Zhongjun came under similar criticism on Wednesday.

“One madman buying a painting by another madman,” one user wrote on Sina Weibo, a Chinese equivalent of Twitter.

“This is how he spends all the investors’ money? What a waste,” wrote another.


ADDITIONAL IMAGE OF NOTE


Van Gogh's 'Still Life, Vase with Daisies and Poppies.' Image courtesy of Wikimedia Commons.
Van Gogh’s ‘Still Life, Vase with Daisies and Poppies.’ Image courtesy of Wikimedia Commons.

Hyde Collection to exhibit Warhol drawings next summer

GLENS FALLS, N.Y. (AP) – A museum in upstate New York plans to mount an exhibit of works from pop artist Andy Warhol’s later years.

The Post-Star of Glens Falls reports that The Hyde Collection announced Monday that its 2015 season will include an exhibit of Warhol drawings from 1973 to 1987, the year he died. The exhibit opens June 21 and runs through Sept. 27.

The Warhol show at the Glens Falls museum will feature 50 pieces, including many that have never been displayed before. They’ll include drawings of rock musicians Mick Jagger and John Lennon.

The artwork comes from the Warhol Museum, one of the four Carnegie museums of Pittsburgh.

The Warhol exhibit will follow recent popular Hyde Collection exhibits of early works by artist Georgia O’Keeffe and photographer Ansel Adams.

___

Information from: The Post-Star, http://www.poststar.com

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

AP-WF-11-04-14 1225GMT

 

 

 

Fine art by Camille Pissarro and descendants offered in Nov. 22 auction

Ludovic-Rodo Pissarro (1878-1952), ‘Colour,’ mixed media: watercolor, gouache, charcoal and egg tempera on paper, 28 ¾ x 18 ¾ inches (73 x 47.7 cm), framed 35 ⅞ x 25 ¾ inches (91 x 65.3 cm). Inscribed on the palette 'The most fascinating in the world.' Signed with artist's initials lower right. Image courtesy Stern Pissarro Gallery

Ludovic-Rodo Pissarro (1878-1952), ‘Colour,’ mixed media: watercolor, gouache, charcoal and egg tempera on paper, 28 ¾ x 18 ¾ inches (73 x 47.7 cm), framed 35 ⅞ x 25 ¾ inches (91 x 65.3 cm). Inscribed on the palette 'The most fascinating in the world.' Signed with artist's initials lower right. Image courtesy Stern Pissarro Gallery
Ludovic-Rodo Pissarro (1878-1952), ‘Colour,’ mixed media: watercolor, gouache, charcoal and egg tempera on paper, 28 ¾ x 18 ¾ inches (73 x 47.7 cm), framed 35 ⅞ x 25 ¾ inches (91 x 65.3 cm). Inscribed on the palette ‘The most fascinating in the world.’ Signed with artist’s initials lower right. Image courtesy Stern Pissarro Gallery
LONDON – For the first time in its 50-year history, London’s exclusive Stern Pissarro Gallery is planning a fine art auction. Collectors will be able to participate in this important event from anywhere in the world, online through LiveAuctioneers. Slated for November 22, the auction will feature a collection of works on paper by four generations of the Pissarro family, one of the art world’s most important dynasties. Many of the drawings being auctioned are completely fresh to the art market and have come directly from estates within the family.

Highlights of the collection include early double-sided drawings executed by Camille Pissarro in Venezuela, an extremely rare drawing by Félix Pissarro (Camille’s third son, who died at the age of 23), and a group of works, which have been framed for the first time, that were executed by Georges Manzana Pissarro in Morocco, where he took refuge during the Second World War.

Lot 38, a black lead and ink on paper drawing titled A Horse Drinking From a Bucket, with Figures, also contains other drawings by the artist on verso. Executed circa 1852-1854, the graceful sketch showcasing Pissarro’s ability to draw in plein air is expected to make $12,800-$16,000 at auction.

Lot 79, a pastel-on-cardboard impressionist painting by H. Claude Pissarro (b. 1935-) is titled La Barque de L’Ile au Lac du Bois. A peaceful boating scene with adults and children in 19th-century attire, and lush foliage in the background, it is estimated at $8,000-$9,600.

Lot 61, a colorful mixed media work by Ludovic-Rodo Pissarro (1878-1952) depicts a woman holding a paintbrush in one hand and an artist’s palette in the other, and resembles early French poster art. It is emblazoned with the single word “Colour” across the top and the words “the Most Fascinating In The World” on the palette. It is entered in the sale with a $5,600-$6,400 estimate.

As the founding father of Impressionism, Camille Pissarro’s influence on artists such as Gauguin, Cézanne and van Gogh, amongst others, is profound. Camille similarly inspired his own family, with all five sons, followed by descendants of third and fourth generations, becoming talented artists.

Run by David Stern and Lélia Pissarro, the great-granddaughter of Camille, Stern Pissarro Gallery is the only gallery in the world to specialise in works of the Pissarro family.

About Stern Pissarro Gallery:

Stern Pissarro Gallery (originally Stern Art Dealers) was established in 1964 by Meir Stern, dealing in 19th-century paintings.

In 1984, Meir’s son David took over the running of the gallery. In 1988, following David’s marriage to Lélia Pissarro, great grand-daughter of Camille Pissarro, a separate department was set up dedicated to four generations of the Pissarro family.

In 2009, after 45 years in Notting Hill Gate, Stern Pissarro Gallery moved to St. James’s in the heart of London’s art district. Now jointly owned by David Stern and Lelia Pissarro, the Stern Pissarro Gallery is unique in the art world, specializing in work by Camille Pissarro and his five sons, followed by the third, fourth and fifth generations of the family.

The gallery collection later expanded to include other Impressionist and modern artists, and today contains a vast holding of 19th- and 20th-century art. Works range from French Impressionists to Post-Impressionists and School of Paris, with works by Renoir, Degas, Gauguin, Sisley, Chagall and Utrillo. Among the contemporary artists represented are Botero, Leger, Chagall and Damien Hirst.

Lélia Pissarro, having been given the droit moral, is currently working on the catalogue raisonné of Paulémile Pissarro. Along with Pissarro Stern Publications Ltd and her committee, Lélia is currently compiling a collection of research materials by Manzana and Ludovic-Rodo Pissarro. The archives will also now be responding to queries on those artists.

For additional information on any artwork in Stern Pissarro’s 50th Anniversary Fine Art Auction, call London 011 44 207 629 6662 or email stern@pissarro.com.

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

# # #

View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.


ADDITIONAL LOTS OF NOTE


Ludovic-Rodo Pissarro (1878-1952), ‘Colour,’ mixed media: watercolor, gouache, charcoal and egg tempera on paper, 28 ¾ x 18 ¾ inches (73 x 47.7 cm), framed 35 ⅞ x 25 ¾ inches (91 x 65.3 cm). Inscribed on the palette 'The most fascinating in the world.' Signed with artist's initials lower right. Image courtesy Stern Pissarro Gallery
Ludovic-Rodo Pissarro (1878-1952), ‘Colour,’ mixed media: watercolor, gouache, charcoal and egg tempera on paper, 28 ¾ x 18 ¾ inches (73 x 47.7 cm), framed 35 ⅞ x 25 ¾ inches (91 x 65.3 cm). Inscribed on the palette ‘The most fascinating in the world.’ Signed with artist’s initials lower right. Image courtesy Stern Pissarro Gallery
Ludovic-Rodo Pissarro (1878-1952), 'Les Élégantes au Bal.' Inkwash on paper, 12 ½ x 9 ⅜ inches (31.6 x 23.7 cm), framed 21 ½ x 18 ⅝ inches (54.7 x 47.4 cm). Signed with estate stamped monogram lower left. Executed circa 1905. Image courtesy Stern Pissarro Gallery
Ludovic-Rodo Pissarro (1878-1952), ‘Les Élégantes au Bal.’ Inkwash on paper, 12 ½ x 9 ⅜ inches (31.6 x 23.7 cm), framed 21 ½ x 18 ⅝ inches (54.7 x 47.4 cm). Signed with estate stamped monogram lower left. Executed circa 1905. Image courtesy Stern Pissarro Gallery
Orovida Pissarro (1893-1968), 'Horses in a Field.' Watercolor, tempera, charcoal and pencil on paper, 5 ½ x 7 ⅞ inches (14 x 20 cm), framed 13 ⅜ x 15 ½ inches (34 x 39.5 cm). Signed with monogram lower right. Dated 09 lower right. Image courtesy Stern Pissarro Gallery
Orovida Pissarro (1893-1968), ‘Horses in a Field.’ Watercolor, tempera, charcoal and pencil on paper, 5 ½ x 7 ⅞ inches (14 x 20 cm), framed 13 ⅜ x 15 ½ inches (34 x 39.5 cm). Signed with monogram lower right. Dated 09 lower right. Image courtesy Stern Pissarro Gallery
Camille Pissarro (1830-1903), 'A Horse Drinking From a Bucket with Figures in the Background.' Black lead and ink on paper, 7 ⅞ x 10 ⅜ inches (20 x 26.5 cm), framed 15 ⅛ x 17 ¾ inches (38.5 x 45.1 cm). Executed in Venezuela circa 1852-1854. Image courtesy Stern Pissarro Gallery
Camille Pissarro (1830-1903), ‘A Horse Drinking From a Bucket with Figures in the Background.’ Black lead and ink on paper, 7 ⅞ x 10 ⅜ inches (20 x 26.5 cm), framed 15 ⅛ x 17 ¾ inches (38.5 x 45.1 cm). Executed in Venezuela circa 1852-1854. Image courtesy Stern Pissarro Gallery
H. Claude Pissarro (b. 1935-), 'Rio Grande,' pastel on cardboard, 14 ⅝ x 20 inches (37 x 50.8 cm), framed 26 x 31 ½ inches (66.1 x 79.9 cm). Signed H.Claude Pissarro lower left. Image courtesy Stern Pissarro Gallery
H. Claude Pissarro (b. 1935-), ‘Rio Grande,’ pastel on cardboard, 14 ⅝ x 20 inches (37 x 50.8 cm), framed 26 x 31 ½ inches (66.1 x 79.9 cm). Signed H.Claude Pissarro lower left. Image courtesy Stern Pissarro Gallery
Ludovic-Rodo Pissarro (1878-1952), 'Au Café,' brown and black pastels, with white highlights, on paper, 19 ⅛ x 20 inches (49.6 x 50.9 cm). Stamped lower right, Ludovic Rodo. Executed circa 1907. Image courtesy Stern Pissarro Gallery
Ludovic-Rodo Pissarro (1878-1952), ‘Au Café,’ brown and black pastels, with white highlights, on paper, 19 ⅛ x 20 inches (49.6 x 50.9 cm). Stamped lower right, Ludovic Rodo. Executed circa 1907. Image courtesy Stern Pissarro Gallery
Yvon Vey-Pissarro (b. 1937-), 'Farmhands,' Pierre noire on paper, 29 ¼ x 42 ⅜ inches (74.3 x 107.7 cm), framed 33 ⅞ x 46 ⅞ inches (86 x 119 cm). Signed Yvon Vey between the handle and the trousers of the lower right man. Executed 1982. Image courtesy Stern Pissarro Gallery
Yvon Vey-Pissarro (b. 1937-), ‘Farmhands,’ Pierre noire on paper, 29 ¼ x 42 ⅜ inches (74.3 x 107.7 cm), framed 33 ⅞ x 46 ⅞ inches (86 x 119 cm). Signed Yvon Vey between the handle and the trousers of the lower right man. Executed 1982. Image courtesy Stern Pissarro Gallery
H. Claude Pissarro (b. 1935-), 'La Barque de L'Ile au Lac du Bois,' pastel on cardboard, 14 ⅝ x 20 inches (37 x 50.8 cm), framed 28 ½ x 34 inches (72.3 x 86.2 cm). Signed H.Claude Pissarro lower left. Image courtesy Stern Pissarro Gallery
H. Claude Pissarro (b. 1935-), ‘La Barque de L’Ile au Lac du Bois,’ pastel on cardboard, 14 ⅝ x 20 inches (37 x 50.8 cm), framed 28 ½ x 34 inches (72.3 x 86.2 cm). Signed H.Claude Pissarro lower left. Image courtesy Stern Pissarro Gallery

Picasso exhibition to open at Salvador Dali Museum

Compoteir/Frutero (Fruit Dish), 1917, Pablo Picasso © 2014 Estate of Pablo Picasso / ARS, NY. This exhibition was organized by the Dalí Museum and the Museu Picasso, Barcelona, with the collaboration of the Fundació Gala-Salvador Dalí and is supported by an indemnity from the U.S. Federal Council on the Arts and the Humanities.

Compoteir/Frutero (Fruit Dish), 1917, Pablo Picasso © 2014 Estate of Pablo Picasso / ARS, NY. This exhibition was organized by the Dalí Museum and the Museu Picasso, Barcelona, with the collaboration of the Fundació Gala-Salvador Dalí and is supported by an indemnity from the U.S. Federal Council on the Arts and the Humanities.
Compoteir/Frutero (Fruit Dish), 1917, Pablo Picasso © 2014 Estate of Pablo Picasso / ARS, NY. This exhibition was organized by the Dalí Museum and the Museu Picasso, Barcelona, with the collaboration of the Fundació Gala-Salvador Dalí and is supported by an indemnity from the U.S. Federal Council on the Arts and the Humanities.
ST. PETERSBURG, Fla. (AP) – The Salvador Dali Museum in Florida is opening a Pablo Picasso exhibit that includes paintings, drawings, prints and sculpture.

It’s called “Picasso/Dali, Dali/Picasso” and it explores the rivalry and inspiration between the two famous Spanish artists. Dali was a young, adoring fan when he met Picasso in Paris in 1926, by which time the older artist had claimed his fame. The exhibit opens Saturday and runs through Feb. 15, 2015.

The exhibit then will travel to the Museu Picasso in Barcelona, Spain for exhibition March 19-June 28, 2015.

The Picasso works in the exhibition came from several museums around the world and individuals, including the Picasso family.

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

AP-WF-11-04-14 1501GMT


ADDITIONAL IMAGES OF NOTE


Compoteir/Frutero (Fruit Dish), 1917, Pablo Picasso © 2014 Estate of Pablo Picasso / ARS, NY. This exhibition was organized by the Dalí Museum and the Museu Picasso, Barcelona, with the collaboration of the Fundació Gala-Salvador Dalí and is supported by an indemnity from the U.S. Federal Council on the Arts and the Humanities.
Compoteir/Frutero (Fruit Dish), 1917, Pablo Picasso © 2014 Estate of Pablo Picasso / ARS, NY. This exhibition was organized by the Dalí Museum and the Museu Picasso, Barcelona, with the collaboration of the Fundació Gala-Salvador Dalí and is supported by an indemnity from the U.S. Federal Council on the Arts and the Humanities.
'Still Life: Sandia,' 1924, Salvador Dalí © Salvador Dalí. Fundació Gala-Salvador Dalí, [Artist Rights Society (ARS)], 2014. Collection of the Dalí Museum Inc., St. Petersburg, FL, 2014. This exhibition was organized by the Dalí Museum and the Museu Picasso, Barcelona, with the collaboration of the Fundació Gala-Salvador Dalí and is supported by an indemnity from the U.S. Federal Council on the Arts and the Humanities.
‘Still Life: Sandia,’ 1924, Salvador Dalí © Salvador Dalí. Fundació Gala-Salvador Dalí, [Artist Rights Society (ARS)], 2014. Collection of the Dalí Museum Inc., St. Petersburg, FL, 2014. This exhibition was organized by the Dalí Museum and the Museu Picasso, Barcelona, with the collaboration of the Fundació Gala-Salvador Dalí and is supported by an indemnity from the U.S. Federal Council on the Arts and the Humanities.

Expanded heritage center, museum open in North Dakota

The new North Dakota Heritage Center and State Museum. Photo credit: SHSND, Brian Austin.

The new North Dakota Heritage Center and State Museum. Photo credit: SHSND, Brian Austin.
The new North Dakota Heritage Center and State Museum. Photo credit: SHSND, Brian Austin.
BISMARCK, N.D. (AP) – A revamped North Dakota Heritage Center and State Museum opens to the public Sunday.

The opening coincides with the state’s 125th statehood anniversary. The revamped center includes a new theater, cafe and outdoor space. State lawmakers approved about $40 million for the 97,000-square-foot expansion in 2009. The historical society raised an additional $12 million.

Two of the museum’s galleries are slated to open Sunday.

The Governor’s Gallery features traveling and temporary exhibits. The gallery’s first display explores how the lives of rural North Dakota residents changed when they went from using kerosene lamps to having electricity.

The Inspirational Gallery shows the history of the state through six different themes. It includes interactive displays, a full-size grain silo and objects used at Native American boarding schools.

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

AP-WF-11-03-14 1430GMT


ADDITIONAL IMAGE OF NOTE


The new North Dakota Heritage Center and State Museum. Photo credit: SHSND, Brian Austin.
The new North Dakota Heritage Center and State Museum. Photo credit: SHSND, Brian Austin.