MARLBOROUGH, MASS. — The top lot in Bonhams Skinner’s European Décor and Design sale on December 1 was a monumental carved Carrara marble library table, which sold for $17,850. Actually, three Massachusetts consignments sold at high values. Joining the table and drawn from the same North Shore mansion was a carved Carrara marble bench from the consignor’s garden, which sold for $10,838. An Antonio Rossetti white marble statue of a veiled cupid coming from a private South Shore estate took $14,025. All prices quoted include the buyer’s premium. A further review of this sale will follow.
Antiques in Manchester owner and director Karen DiSaia and Fritz Anlyan. The Pennsylvania Amish wool quilt in arresting pinks and plums was offered for sale by Jane Langol, Medina, Ohio. Review & Photos by Laura Beach MANCHESTER, N.H. – Whither the Americana market? The 2022 edition of Antiques in Manchester, the dynamo of a show owned and directed by Karen DiSaia of DiSaia Management, provided clues. Handsomely installed at the Sullivan Arena at S. Anselm College on August 10 and 11, it featured just the right balance of antique and vintage treasures offered by 61 exhibitors across a range of collecting specialties, from early Eighteenth Century American furniture to Twentieth Century studio pottery and Scandinavian design. “From the first moment on Wednesday we had two busy days,” said DiSaia. The rush of buyers at the opening gate, a celebrated feature of New Hampshire’s Antiques Week shows, was slowed by Antiques in Manchester’s controlled opening. “So there wasn’t craziness,” as DiSaia put it, ticket holders queued on the stadium’s second floor – a move necessitated by the college’s reclamation of space on the first floor – then, as a safety matter, descended the stairs in groups of 20 and in the elevator by groups of about ten. Like all else in the antiques business, Antiques in Manchester is evolving. It is more varied in content than it once was, and more broadly promoted. DiSaia explained, “Exhibitors brought a really nice mix of material. I don’t dictate that. My true belief is that good design is timeless. As for marketing, we have good people helping us with social media and digital advertising. We have refined our target audience and are posting more. Exhibitors are also developing their digital outreach, and that is a big part
MAMARONECK, N.Y. — “Bridge at Moret-sur-Loing,” painted by Francis Picabia (French, 1879-1953) in 1902 more than spanned its $60/80,000 estimate when it sold for $91,000 in Shapiro Auctions’ May 14 Important Fine Art Auction. It was one of the top lots of 408 offered, which featured American, European, Latin American and Asian Art. The 18¼-by-29½-inch oil on canvas had been acquired directly from the artist by the seller’s great-grandfather and it had never left the family; it was accompanied by a letter from Picabia to the original owner. After extensive competition, a buyer in Europe prevailed. Prices quoted include the buyer’s premium as reported by the auction house. Watch for a future sale recap in an upcoming issue.
“Umine Dance” by Oscar Howe (Yanktonai Dakota, 1915-1983), 1958. Casein and gouache on paper, mounted to board, 18 by 22 inches. Garth Greenan Gallery, New York City. By James D. Balestrieri NEW YORK CITY – In his oft-cited essay, “Tradition and the Individual Talent,” poet T.S. Eliot wrote that “the difference between the present and the past is an awareness of the past in a way and to an extent which the past’s awareness of itself cannot show.” In this way, the artist has a responsibility not merely to understand the artistic and historical past but to absorb those parts of the past that are – or have become -inherent and alive in the present in order to build on and transcend them. For Eliot, personal expression was not enough. And yet, even when an artist understands and absorbs the past, transcending it does not automatically lead to acceptance. A certain level of translucence, where the tradition is recognized in the artwork, is required. Native American modernism offers a case study. Ojibwe painter George Morrison (1919-2000), for example – whose works feature on a new series of United States Postal Service stamps – was an abstract expressionist who was often judged not “Indian enough” for juried exhibitions, even though his vibrant work has firm roots in Indigenous spirituality. Yanktonai Dakota artist Oscar Howe (1915-1983), the subject of a new exhibition, “Dakota Modern: The Art of Oscar Howe,” on view at the Smithsonian’s National Museum of the American Indian in New York City is another painter who was perceived in his lifetime as not authentically Native. “Dakota Modern” is a crucial piece of the reappraisal of Indigenous modernism, a reappraisal compelled by the success of contemporary Native artists who are enjoying an explosion of
Bidding at auction can be a complex, emotional, and fast-paced happening with many moving parts and often a few distractions. As such, it is more like an art than a science. Auctioneers usually welcome various ways of bidding in their sales. These range from low to high tech, with a few options in the middle. Auction Daily takes a look at four common bidding scenarios, plus the pros and cons of each format.In-person bidding. Image from Search Engine Land.1. In-Person BiddingBidding at auction on-site, and in person, is the most traditional way of bidding at auction. Usually, bidders are given numbered paddles to identify their interest in the items on offer. Bidders then raise their paddle or gesture in some way to place a bid. For some bidders, live auctions are fun, social, and a great way to stay in touch with like-minded enthusiasts.Pros of in-person bidding:Bidders have a first-hand, real-time, and in-person view of the auctioneer, the pace of bidding, and bidding increments. They can use that information to inform their bidding strategy from lot to lot.Bidders can see who else in the gallery is bidding (or not!) to determine their competitive landscape and rivals.Bidders can pay for, and take home, won items… saving time, packing, shipping, and handling charges.Many auctioneers give the “tie” bid to an in-house bidder.Live bidding does not usually incur additional bidding fees sometimes seen in other methods. Some auctioneers even offer a discount on items paid on-site via cash or checks rather than credit cards to known, registered bidders.Cons of in-person bidding:There are often travel and logistical costs associated with attending a live sale.Bidding in person is not private, and confidentiality is important to some collectors.In person bidding is the most time-consuming way of bidding at auction and can result in a very long