international view autumn 2014

autumn/winter 2014

Muirhead BoneA Master Draughtsman

Eyes Wide Open: American Impressionism in Europe

The Coslov Collectionof English Majolica

Exceptional Engineering: A Collection of Fine Watches

Supporters De’LonghiFine Art SocietyHosali FoundationJD Fergusson Art Foundation

Lyon & TurnbullPF Charitable TrustPortland Gallery

THE SCOTTISH COLOURIST JD FERGUSSON

J.D. Fergusson, Grace McColl (detail), 1930, Oil on canvas, Private collection, courtesy of the Richard Green Gallery, London © The Fergusson Gallery, Perth & Kinross Council, Scotland

This exhibition is a partnership between the National Galleries of Scotland, Edinburgh and The Fergusson Gallery, Perth & Kinross Council

Gallery SupportersHeadline Sponsor of

the Gallery 2014Until 19 Oct 2014 Pallant House Gallery, 9 North Pallant, Chichester, West Sussex, PO19 1TJ, UK www.pallant.org.uk

Generous support fromFriends of Pallant House Gallery JD Fergusson Exhibition Supporters’ Circle

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AUTUMN/WINTER 2014 ISSUE

PERSPECTIVES

American Friends of the Louvre

Eyes Wide Open:American Impressionism in Europe

Ming: The Golden Empire

The Mackintosh Appeal

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DEPARTMENTS

Noteworthy

Meet the New Specialists

Happening Near You

Estate Finance

News from the Regions

Auction Calendar

International Staff Directory

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PROFILE FEATURE

David Lynch:Inspired by Philadelphia

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AUCTION PREVIEW

Rare Books, Manuscripts, Maps &Photographs | September 10, 2014

Asian Arts | September 13, 2014

Fine Furniture & Works of ArtSeptember 24, 2014

English & Continental Furniture &Decorative Arts | October 07, 2014

Books, Maps & ManuscriptsOctober 16, 2014

Decorative Arts: Design from 1860October 29, 2014

Modern & Contemporary ArtNovember 02, 2014

Jewelry & WatchesNovember 03, 2014

Modern & Contemporary ArtNovember 02, 2014

The Pennsylvania SaleNovember 12, 2014

British & European Paintings November 27, 2014

Fine Asian Works of ArtDecember 02, 2014

American Art & PennsylvaniaImpressionists | December 07, 2014

Select Jewellery & WatchesDecember 11, 2014

Scottish Paintings & SculptureDecember 12, 2014

Silver & Objets de VertuDecember 16, 2014

The Jacobite SaleSpring, 2015

The Contents of Bantry HouseForthcoming

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REVIEW

Letter from the Editors

Spring/Summer 2014 Highlights

Affairs to Remember

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Editors Alex Dove, Tara Theune Davis Assistant Editor Thomas B. McCabe IV, Frances Nicosia Graphic Design Olive Tree Design, Matt McKenzieContributors Katherine Bourguignon, Sue Devine, Elspeth Lodge, Kevin McLoughlin, James McNaught, Patrica Mock

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Winterthur is nestled in Delaware’s beautiful Brandywine Valley, midway between New York City and Washington, D.C. Take I-95 to Exit 7 in Delaware.

View exquisite costumes and accessories worn upstairs and downstairs on the perioddrama television series. To reserve tickets to the exhibition, please call 800.448.3883or visit winterthur.org/downtonabbey.

Timed tickets required for nonmembers. Included with general admission. Members free.

Photograph © Nick Briggs, Carnival Film & Television Limited, 2010. All Rights Reserved.

The exhibition is presented by

Downton Abbey ® is seen on and is a Carnival Films/Masterpiece Co-Production.on

With support from the Glenmede Trust Company

COSTUMES OF DOWNTON ABBEYMarch 1, 2014–January 4, 2015 • Winterthur Museum


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PLEASE NOTE:The currency exchangerate at the time of going topress was US$1.60=GBP1.

The ‘sold for’ prices shownfor both Freeman’s andLyon & Turnbull includethe buyers’ premium.

Tara Theune Davis

Alex Dove

With the completion of every auction and the anticipation of those yet tocome, the one constant over the years for Freeman's and Lyon & Turnbullhas been the enduring connection to treasures including those

reflecting the military and political chronicles of America, Scotland and the world atlarge.

In the always noteworthy Pennsylvania Sale in November, Freeman's is pleased tooffer documents from two of America's most distinguished military leaders.First is a copy of The Pennsylvania Evening Post from 1775 with a report ofGeorge Washington’s resolution of January 17, 1775, setting in motion theformation of an armed militia to resist the British - likely his earliestcall to arms. Also coming to auction will be General Robert E. Lee’s“General Order No. 9,” written and issued on April 10, 1865,ordering the surrender of the Confederate army. Conservativelyestimated at $50,000-80,000 (£30,000-50,000) this rarepiece from the American Civil War will surely attract attentionfrom passionate collectors.

As the 300th anniversary of the 1715 Rebellion approaches,Lyon & Turnbull announces in this issue The Jacobite Sale.An auction designed to celebrate this decisive momentin Scotland’s history, through the rich decorative artsof the time. The sale already boasts personal propertyfrom "Bonnie" Prince Charlie himself, as well as othereminent figures.

The influence of war continues well beyond the sound ofgunfire and past the signing of treaties. Lyon & Turnbull'sDecember auction of Select Jewellery & Watches provides anexample of just that. Wristwatches for men first became popularwith servicemen during World War I and rapidly became de rigueur

for gentlemen in peace time. Attracted by their exceptionalengineering and craftsmanship, Baron Cleghorn built up a fine collectionof wrist watches throughout his life, including pieces from Rolex, IWC andBlancpain, amongst others.

We invite you to join us as we explore the influences of war and peace from bothhome and abroad in this issue of the International View.

Letter from the Editors


January

March

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LYON & TURNBULLRARE BOOKS, MANUSCRIPTS,MAPS & PHOTOGRAPHSJanuary 15, 2014

T.E. LAWRENCESeven pillars of wisdom, a triumph.[Privately Printed, 1926].Sold for £42,050 ($71,485)

LYON & TURNBULLFINE ANTIQUES March 5, 2014

FINE LOUIS XIV BOULLEMARQUETRY AND EBONY

BUREAU MAZARIN,ATTRIBUTED TO

NICOLAS SAGEOT CIRCA 1700

Sold for £37,250 ($63,325)

ENGLISH HUMPBACKCARRIAGE TIMEPIECE BY DENT

CIRCA 1835

Sold for £16,875 ($28,690)

LYON & TURNBULLCONTEMPORARY &POST-WAR ART March 19, 2014

CALLUM INNES(SCOTTISH B.1962)

UNTITLED, 2009, NO. 60Sold for £12,500 ($21,250)

ERIC HOLT(BRITISH B. 1944)

OEDIPUS AND THE FATESSold for £8,125 ($13,815)

WILLIAM GEAR(SCOTTISH 1915-1997)

STRUCTURE WITH YELLOW Sold for £6,250 ($10,625)

Winter 2014 Highlights


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CHINESE FRAMED TUNICAND WOOD PRAYER BEADS,

QING DYNASTYSold for $62,500 (£36,765)

CHINESE CLOISONNE ENAMELGILT BRONZE STUPA

QIANLONG PERIODSold for $242,500 (£142,650)

CHINESE FAMILLE ROSEPORCELAIN BOYS VASE,DAOGUANG MARK AND OFTHE PERIODSold for $194,500 (£114,410)

FREEMAN’SFINE ASIAN ARTSMarch 15, 2014

LARGE CHINESE CINNABAR LACQUERCHUN BOX AND COVER, QING DYNASTYSold for $53,125 (£31,250)


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Spring 2014 Highlights

EUGÈNE LOUIS BOUDIN(FRENCH 1824-1898)

"ESTUARY WITH SAILBOATS ANDLIGHTHOUSES"Sold for $170,500 (£100,295)

EMIL CARLSEN(AMERICAN 1853-1932)

"COPPER AND PORCELAIN"Sold for $386,500 (£277,350)

AUCTION RECORD

EDWARD WILLIS REDFIELD(AMERICAN 1869-1965)

"WINTER SUNLIGHT"Sold for $710,500 (£417,950)

FRANK WESTON BENSON(AMERICAN 1862-1951)

"MARSHES OF LONG POINT"Sold for $662,500 (£389,705)

FREEMAN’STHE GEORGE D. HORSTCOLLECTION OF FINE ARTMarch 30, 2014


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CHARLES DICKENS A Christmas Carol. London:Chapman & Hall, 1843. firstedition, second issue.Sold for $21,250 (£12,500)

FREEMAN’SRARE BOOKS & MANUSCRIPTSApril 10, 2014

LYON & TURNBULLDECORATIVE ARTS & DESIGN April 16, 2014

LYON & TURNBULLBRITISH & EUROPEAN PAINTINGSApril 20, 2014

ARCHIBALD KNOX (1864-1933)FOR LIBERTY & CO., LONDON

FINE CYMRIC SILVER ANDENAMEL VASE

Sold for £18,125 ($30,815)

GEORGE ROMNEY(BRITISH 1734-1802)

LADY HAMILTON AS THE COMIC MUSESold for £115,250 ($195,925)

SIR WILLIAM RUSSELL FLINT(SCOTTISH 1880-1969)

THE DANCE OF THETHOUSAND FLOUNCESSold for £64,850 ($110,245)


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Summer 2014 Highlights

May

FREEMAN’SAMERICAN FURNITURE, FOLK & DECORATIVE ARTSMay 2, 2014

FREEMAN’SJEWELRY & WATCHESMay 3, 2014

ATTRIBUTED TO MARY WAY(1769-1833)DRESSED MINIATURE OF ALITTLE GIRL STANDING ON APATTERNED RUGSold for $37,500 (£22,060)

FEDERAL INLAID MAHOGANY TALL CASE CLOCK

Aaron Willard (1757-1844), Boston, MA,last quarter of the 18th century

Sold for $27,500 (£16,175)

AN IMPRESSIVE DIAMONDAND PLATINUM RINGSold for $290,500 (£170,880)

A PAIR OF COLOMBIAN EMERALD,DIAMOND, PLATINUM AND EIGHTEENKARAT GOLD PENDANT EARCLIPSHAMMERMAN BROTHERSSold for $74,500 (£43,825)

A COLOMBIAN EMERALD, DIAMOND,EIGHTEEN KARAT GOLD ANDPLATINUM RING, TIFFANY & CO.Sold for $206,500 (£121,470)


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FREEMAN’SMODERN &CONTEMPORARY ARTMay 04, 2014

BERNARD BUFFET(FRENCH, 1928-1999)

“BOUQUET AU VASE CHINOIS I“Sold for $158,500 (£95,362)

MARIANO RODRÍGUEZ(CUBAN, 1912-1990)

"PAREJA CON BUEYES (BUEYES)"Sold for $146,500 (£91,500)

HENRI MATISSE(FRENCH, 1869-1954)

“ODALISQUE ÉTENDUE”Sold for $140,500 (£88,000)



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LYON & TURNBULLRARE BOOKS,MANUSCRIPTS, MAPS,& PHOTOGRAPHSMay 07, 2014

LYON & TURNBULLSELECTED JEWELLERY &WATCHESMay 20, 2014

CHARLES EDWARD STUART,“BONNIE PRINCE CHARLIE,”OR “THE YOUNGPRETENDER,” 1720-88 Autograph letter signed toLouis XV, the King of FranceSold for £31,250 ($53,125)

JANE AUSTENEmma: a novel. London: John

Murray, 1816. First editionSold for £48,050 ($81,685)

AUCTION RECORD

A CONTEMPORARY FANCY YELLOWDIAMOND SET NECKLACESold for £18,750 ($31,875)

A PAIR OF LATEVICTORIAN DIAMONDSET EAR PENDANTSSold for £5,000 ($8,500)


FRANCIS CAMPBELLBOILEAU CADELL(SCOTTISH 1883-1937)

IONA NORTH END ANDBEN MORE, MULLSold for £66,050 ($112,285) JOHN BELLANY

(SCOTTISH 1942-2013)

THE OLD ASTRONOMERSold for £49,250 ($83,725)

SIR JOHN LAVERY(IRISH 1856-1941)

THE BEACHSold for £45,650 ($77,605)

JOHN DUNCAN FERGUSSON(SCOTTISH 1874-1961)

EASTRE (HYMN TO THE SUN)Sold for £49,250 ($83,725)

LYON & TURNBULLSCOTTISH PAINTINGS& SCULPTUREMay 21, 2014

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June


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LYON & TURNBULLTHE RANKINE TAYLOR COLLECTION June 24, 2014

LYON & TURNBULLFINE ANTIQUES & WORKS OF ART June 25, 2014

FREEMAN’SENGLISH & CONTINENTALFURNITURE & DECORATIVE ARTSMay 20, 2014

FREEMAN’SSILVER & OBJETSDE VERTUMay 22, 2014

FINN JUHL CHIEFTAIN ARMCHAIR

Niels Vodder, Denmark, circa 1949Sold for $55,000 (£32,350)

A FINE GEORGE III SILVERCENTERPIECEJohn Bridge for Rundell, Bridge,and Rundell, London, 1809-10Sold for $53,125 (£31,250)

EXCEPTIONALLY FINEVIENNA DECORATED KPMSTYLE HAND- AND GILT-PAINTED PORCELAIN URNSold for $50,000 (£29,410)

MAHOGANY CASEDREGULATOR LONGCASE CLOCK

NO. 2104 BY BROCKBANK AND

ATKINS, LONDON, CIRCA 1820

Sold for £18,750 ($31,875)

THE HOLMS HEPBURN CORONATION CARPETSAFAVID, PROBABLY ISFAHAN, 17TH CENTURY

Sold for £79,250 ($134,725)

SCOTTISH CHARLES II OAKCAQUETEUSE17TH CENTURY

Sold for £10,625 ($18,065)


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LYON & TURNBULLFINE ASIAN WORKS OF ART June 04, 2014

LARGE BLUE AND WHITEDRAGON CHARGERFROM A PRIVATE SCOTTISH COLLECTION

Sold for £427,250 ($726,325)

RARE DOWAGER EMPRESS CIXIIMPERIAL TWELVE-SYMBOLFESTIVE SUMMER DRAGON ROBE(LONG PAO) LATE QING DYNASTYSold for £73,250 ($117,200)

FINE AND LARGE CINNABARLACQUER AND HARDSTONEFIGURE OF A HORSESold for £15,625 ($25,000)


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DANIEL GARBER(AMERICAN 1880-1958)

“WILD CHERRY”Sold for $230,500 (£135,590)

MONTAGUE DAWSON(BRITISH 1890-1973)

"WHITE SQUALL - CLIPPER SHIPANN MCKIM"Sold for $68,500 (£40,300)

ÉDOUARD LEON CORTÈS(FRENCH 1882-1969)

“PLACE ST. MICHEL”Sold for $43,750 (£25,735)

MARTHA WALTER(AMERICAN 1875-1976)

“BEACH SCENE”Sold for $104,500 (£61,470)

FREEMAN’SAMERICAN ART & PENNSYLVANIA IMPRESSIONISTSJune 08, 2014

FREEMAN’SEUROPEAN ART & OLD MASTERSJune 17, 2014


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Affairs to RememberGSA Students’ Association & MFA Auction 2014March 08, 2014

Lyon & Turnbull assisted the Glasgow School of Art Master of Fine Art course team and the GSA Students’ Association to raise just over £15,000 in theirannual fundraising auction. The auction not only contained pieces from some of the most influential artists in Britain, including Turner Prize winnersMartin Boyce and Jeremy Deller, Turner nominees Christine Borland, Karla Black, David Shrigley and Jim Lambie, but also work produced by teaching staffand MFA students. The money raised will go to support various student led initiatives throughout the next year.

One of the top lots of the night, Jeremy Deller’s Sacrilege, 2012 GSA Students’ Association President, Sam De Santis,watches the bidding

Auctioneer, Alex Dove, taking bids from across the roomfor a piece by David Shrigley

The Boston Conservatory of Music Annual GalaMarch 09, 2014

Kelly Wright, Freeman’s New England Representative, presided over a packed room for the Boston Conservatory of Music’s Annual Gala at the Harvard Club inBoston. During the lively benefit auction, well over $100,000 was raised toward the school’s ongoing and highly successful scholarship campaign.

New England Representative Kelly Wright conducting thecharity auction

Guests enjoyed the evening and bidding on exciting auction itemsGregory Bulger, Conservatory President, with Richard Ortner andRichard Dix

The Launch of the International Collections InitiativeFebruary 20 (london) & March 25, 2014 (philadelphia)

Freeman’s and Lyon & Turnbull celebrated the launch of their new international Collections department. Collections sell better as collections. That beliefis at the heart of both companies joint approach to auctioneering. Over the course of our long histories we have seen this borne out time and time again;as artworks sold within the context of a unique collection achieve prices far in excess of what might have been expected if they were offered individuallyor anonymously. ! Featured here are our UK and US launch events which took place in London and Philadelphia, featuring testimonials from some of ourmost prominent collectors and supporters.

John Smith, President of The Reading Museumtalking to Freeman’s David Weiss

The Collections launch event at The Royal Opera Arcade, Pall Mall, London

Paul Roberts introducing the benefits of the newinternational Collections initiative

Keith Baker & Annabel Thomas talk with Lyon & Turnbull’s Lee Young


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Affairs to RememberAn evening with Sir William Russell FlintApril 10, 2014

Lyon & Turnbull invited guests to London’s Royal Opera Arcade this April to view a private collection of works by the celebrated British watercolourist, SirWilliam Russell Flint. The collection consisted of over 30 works, including one of the artist’s most famous The Dance of a Thousand Flounces. Chris RussellFlint, grandson of the artist, and paintings specialist, Karen Taylor, spoke on both the life and work of Flint at the event.

Karen Taylor of Pall Mall Art Advisors opens the evening London paintings specialist, Emily Johnston, talks to ChrisRussell Flint

A guest reads about the work of Sir William Russell Flint

The Philadelphia Antiques ShowApril 25, 2014

One of the oldest shows of its kind in the country, the Philadelphia Antiques Show realized its 53rd year in 2014. The event took place at the PennsylvaniaConvention Center and benefitted the Penn Center for Human Performance, a part of Penn Medicine, the University of Pennsylvania Health System.Freeman’s was a proud sponsor of the show’s preview party, where guests enjoyed a first look at the exhibits and shared refreshments.

Marie Kenkelen, 2015 Philadelphia Antiques Show Chair, joinedthis year's Chair, Nancy Kneeland, and committee member AnnConlin

Addie Johnston, Ralph Muller and Beth Johnston enjoyed thepreview with Noel Williams and Kelly Heid

Craig Nannos chatted with Melissa Geller, Tara Theune Davis and Alasdair Nichol of Freeman's during the event

Floors Castle Horse TrialsMay 16–18, 2014

Lyon & Turnbull were delighted to support the 2014 Floors Castle Horse Trials, run over the glorious parkland of Floors Castle in the Scottish Borders.Three days of exciting competition, organised by an enthusiastic team including the Duchess of Roxburghe and Ian Stark. Event manager, Jamie Innes,commented “we wanted Floors Castle Horse Trials to be a shining light for eventing in the North. The introduction of Ian Stark as designer of ourInternational Classes was a massive coup - as was the introduction of International classes full stop. This really put Floors on the map.”

Lyon & Turnbull’s banner in place on the cross-country course Floors Castle, a stunning backdrop to the international horsetrials

A rider tackles the cross-country course at Floors

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Affairs to RememberFirst Night at The Devon Horse ShowMay 21, 2014

Helping to launch the 118th Devon Horse Show & Country Fair, Freeman’s sponsored First Night at Devon, for the fourth consecutive year, an annual eventthat marks the opening of the Art Gallery at Devon. After Mrs. J. Maxwell Moran received the Devon Country Fair’s Champion of the Year title,auctioneers from Freeman’s held a live auction at the event for the first time, selling three special pieces of art.

Steven and Elizabeth Kania and Sally and Joe Layden join SamFreeman (center) who served as auctioneer during the event

Al and Debbie Martin chatted with Wendy McDevitt (center) inthe Art Gallery

Tom and Wendy Coleman, George Connell Jr, Eileen Chambers,Samantha Cerminaro and Rich Sparks paused for a photo with theF-Type Coupe Jaguar on display during First Night

The Wonder of Birds Exhibition Launch – Norwich CastleMay 23, 2014

Lyon & Turnbull were delighted to support their friends in East Anglia by sponsoring the opening of the Wonder of Birds exhibition at Norwich Castle. The showexplores the cultural impact of birds upon mankind and features a dazzling range of works of art, natural history, fashion and archaeology. Dafila Scott - worldfamous naturalist, daughter of Peter Scott and granddaughter of Captain Scott of the Antarctic and celebrated Scottish sculptress Kathleen Scott - opened theshow with an enthralling talk.

David Waterhouse and Dr Francesca Vanke, co-curators of theexhibition; Stephen Miller, Head of Norfolk's Museum Service;Nick Curnow; Charlotte Crawley, Chief Executive of the EastAnglian Art Fund and Ian Peter MacDonald

Dafila Scott, Vice President of the Wildfowl and Wetlands Trustand celebrated wildlife artist, showing a piece to Nick Curnow andIan Peter MacDonald of Lyon & Turnbull

Stephen Miller, Head of Norfolk's Museum Service, welcomingguests and introducing Dafila Scott

The Newport Antiques ShowJuly 24, 2014

Freeman’s was a proud sponsor of the gala preview party that kicked off the 2014 Newport Antiques Show in July. The show featured over forty carefullychosen dealers who displayed fine art, furniture, jewelry, and more, at Middletown, Rhode Island’s St. George’s School. The event, founded in 2007, hasdonated over $1.6 million to The Newport Historical Society and the Boys & Girls Club of Newport County.

Jessica Hagen and Kelly Wright join show managerDiana Bittel in her booth

Mr. and Mrs. Kahanes with Andrea van Beuren (right)enjoying the evening

Liz Draton and Show Chair, Anne Hamilton,are all smiles at the success of the evening

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CABRINI COLLEGE610 King of Prussia Road, Radnor, Pennsylvania 19087

For more information call 484 580 9609

MainLineAntiquesShow.com

NOV EMBER 15 & 16 2014S AT U R DAY 10 am – 6 pm | S U N DAY 11 am – 5 pm

OPE N I NG N IGH T PA RT Y NOV E M BER 14

THE MAIN LINEANTIQUES SHOWa benefit for surrey services for seniors


LOOKING AHEAD

Auction Preview

Noteworthy

Perspectives

Happening Near You

Estate Finance

News from the Regions

Auction Calendar

International Staff Directory

Profile

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KELMSCOTT PRESS — CHAUCER, GEOFFREY THE WORKS OF GEOFFREY CHAUCER.Kelmscott Press, 1896. One of 425 copies£20,000–25,000 ($32,000-40,000)


William Morris’s The Works of Geoffrey

Chaucer is a superb example of artsand crafts illustration and printing.

Produced by Morris in 1896, it is widelyacknowledged as the “…crowning achievement ofthe Kelmscott Press.” Lyon & Turnbull will beoffering a copy of this exemplary work in theirupcoming Rare Books auction on September 10,2014.

In November 1888, William Morris attended acourse of lectures held at the Arts and CraftsExhibition. Two of the talks, given by Emery Walkeron the book arts, are widely accepted to be thetrigger which prompted Morris to found theKelmscott Press in 1891, named after the house inOxfordshire where Morris had lived for some time.In the course of the lectures, Walker comparedslides showing what he, and evidently most of thecompany, considered to be elegant 16th centurytypography, alongside the far blander contemporaryVictorian typefaces. These visual comparisons seemto have cemented Morris’s interest in typography,soon developing into a wider interest in printing.

The famous Kelmscott Chaucer came into being inJune 1896. The book was, justifiably, highly praised- Edward Burne-Jones, Morris’s fellow Chaucerenthusiast from their Oxford University days,provided the work with 87 woodcut illustrations.Morris himself created the woodcut title, 14 largeand intricate page borders, 18 different frames forBurne-Jones’s illustrations, and 26 designs for initialwords. Morris spent three years creating thesedesigns and by the end of the process, he wasvisibly ailing. William S. Peterson writes that Burne-Jones was fearful Morris might die beforecompleting the engraved title-page. In fact, Morrisdid die in the October following publication, makingthe Kelmscott Chaucer his last great work.

After having being announced in a list of Kelmscotttitles in preparation in 1892, printing began in 1894.This soon proved to be such a mammoth task thatone press could not produce the book quicklyenough, and another press was installed in a nearbybuilding. Finally, 425 copies of the book wereprinted on paper, costing £20 each (a handsomesum in 1896), and 13 copies of the work wereprinted on vellum, with a price tag of 120 guineas

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each. The finest copies come in an elaborate pigskinbinding, also designed by William Morris and one ofthese books printed on vellum weighs 13lb.

Peterson writes that the Kelmscott Press itself canbe regarded as being, “…the quintessential exampleof an arts-and- crafts longing for the pre-industrialage.” This is represented in both the text and theartwork in the book. Morris and Burne-Jones werepassionate about discovering the ‘real Chaucer’ –the poet’s work as it was originally conceived,without the ‘gloss’ of later Renaissance and Neo-Classical influences. Burne-Jones’s illustrations,whilst having little basis in the woodblockdepictions found in early editions of Chaucer’sworks, can trace their inspiration back to illuminatedmanuscripts found in the Bodleian Library and earlyminiatures. Morris considered Chaucer to be aliterary mentor and the book pays homage to the14th century poet.

However, some caution should be exercised whenexamining the Kelmscott Chaucer in terms of itsfidelity to Morris’s reputation for eschewing themodern era and technology. In keeping with hisinterest in typography, Morris designed three types:‘Golden’, ‘Troy’ and ‘Chaucer’, each named after thebook they were produced for. Morris utilised hislibrary of incunabula and early printed books to findmodels for these types. However, in order to get atrue picture of the original fonts, Morris would havethe text photographed and enlarged. Petersonargues that, despite the pre-industrial principles ofthe Kelmscott Press, it was, “…paradoxically builtupon a foundation of photography, one of the mostsophisticated forms of technology in late-VictorianEngland.” This adds yet another dimension to theKelmscott Chaucer, but does not detract from thebook itself being a complete work of art and design,embodying both text and illustration.

A Crowning AchievementWilliam Morris’s Kelmscott Chaucer

BIBLIOGRAPHYPeterson, William S. A bibliography of the

Kelmscott Press. Oxford: Clarendon Press, 1984Peterson, William S. The Kelmscott Press…

Oxford: Clarendon Press, 1991Sparling, H. Halliday. The Kelmscott Press and

William Morris… London: MacMillan & Co., 1924

RARE BOOKS, MANUSCRIPTS, MAPS & PHOTOGRAPHS September 10, 2014 Edinburgh

Simon Vickers+44 (0)131 557 8844 [email protected]

David Bloom+1 [email protected]


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FROM THE COLLECTION OF

HENRY C. GIBSON

Treasures


ASIAN ARTS September 13, 2014 Philadelphia

Richard Cervantes+1 267.414.1219 [email protected]

Lee Young+44 (0)131 557 8844 [email protected]

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The most enduring legacy of Henry C. Gibson (1830-1891) to the city of Philadelphia was his philanthropyand patronage of the arts. His collection of art at his

Walnut Street townhouse—designed in 1870 by FrankFurness and George Hewitt and commissioned with thiscollection in mind—was one of the greatest assembled inAmerica. It included Imperial Chinese porcelain andcloisonné enamel, superb European paintings and Americansculpture, as well significant holdings of European furnitureand works of art.

The son of John Gibson, a bank accountant and founder of asuccessful Pennsylvania distillery, Henry C. Gibsondiversified the family’s holdings while remaining a partner ofthe distillery for nearly thirty years. As a financier andbanker, he was a founder and life Director of the FidelityInsurance, Trust & Safe Deposit Company (later FidelityBank), a Director at the First National Bank of Philadelphia, aboard member of the Philadelphia & Reading Railway Co.,and partner in various other enterprises in Philadelphia. Hisfather’s sizable real estate holdings throughout the city andbeyond were managed, developed, and periodically sold byGibson as Philadelphia expanded.

His philanthropy supported many Pennsylvania cultural andpublic institutions that remain important today. Gibson was along-standing Director, and later Vice President, of thePennsylvania Academy of the Fine Arts, and bequeathed hiscollection of paintings and sculpture to the Academy upon hisdeath in December, 1891. He was a founding member of thePark Art Association, started in 1872 and America’s first non-profit organization dedicated to the preservation andbetterment of public art and urban planning. Along withdonations secured for various academic departments at theUniversity of Pennsylvania, Gibson is also remembered for hisdedication to public health, and contributed to the University’sHospital that still has a wing bearing his name. He was both adonor and trustee of Jefferson Hospital, as well.

One of the highlights of the Gibson Collection andFreeman’s September Asian Arts Sale is a large and veryrare Imperial Ge-type moon flask from the YongzhengEmperor’s reign. This monumental flask embodies therefinement in ceramic craftsmanship of Qing imperialpotters under the supervision of Tang Ying at Jingdezhenkiln during the early 18th-century. Its smooth, greenish-grayglaze and jinsi tiexian (gold thread and iron wire) craquelurehighlights the finest imitation of the definitive Song dynasty

Ge wares. The moon flask form, assimilated from “pilgrimbottles,” originates from the ancient Near East during theIron Age, and ceramic replicas can be found in China datingback to the Han and Tang dynasties. The molded design ofthe Eight Trigrams testifies to Emperor Yongzheng’spersonal fondness of the Daoism traditions. Flasks of thisshape and size are extremely rare, and only a few exampleswith this glaze have appeared in auctions. It will beaccompanied by twenty-two other fine and rare artworksfrom China, Japan and Tibet.

Henry C. Gibson was described by friends and relatives as anoble man of “uncommon tenderness and strength” andwith an abundant “love of home and family.” He taught hisgranddaughter, Mary K. Gibson Henry, how to pollinateorchids as a young child and further nurtured her botanicalinterests by presenting her with a copy of WilliamRobinson’s 1870 book, The Wild Garden. Her lifelong project,a unique wilderness garden inspired by her grandfather’sgift, became the Henry Foundation for Botanical Research inGladwyne, Pennsylvania, in 1949. It will be supported byproceeds from this auction so that Henry Gibson’s enduringlegacy of enriching the world with beautiful things maycontinue.

Giving with aGenerous Heart and a Great Eye

LARGE AND VERY RARE IMPERIAL GE-TYPEMOON FLASK FROM THE YONGZHENGEMPEROR’S REIGN $200,000-400,000 (£125,000-250,000)


FINE FURNITURE & WORKS OF ART September 24, 2014 Edinburgh

Douglas Girton+44 (0)131 557 [email protected]

David Walker+1 [email protected]

Settled in the broad open countryside ofWest Suffolk, Denston Hall is a fine Grade IIlisted house built in the early 18th century

incorporating parts of an earlier house dating backto the 16th century, with mature gardens andmoat.

The Hall has! an interesting history. In 1564, HenryCheyney made over the manor of Denston toWilliam Burd without licence to alienate from thecrown. William Burd died in 1591, and by 1602 theestate had passed to his son, but was seized bythe crown, for debt and leased to Sir JohnRobinson. In 1617 it was bought by WilliamRobinson, in whose family it stayed until the earlypart of the 19th century. The front part of the Hallis early 18th century red brick while the 16thcentury earlier parts of the house to the rear haveTudor arch windows and doorways. The interiorhas a circular hall with public rooms to the left andright of it, circa 1770, with plaster ceilings withAdam style ornamentation.

The current owners have furnished the house in anelegant but relaxed, traditional country house stylewith period furniture, paintings and works of art,keeping with the nature of the Hall and its history.They have now decided to move to smallerpremises, with selected contents to be offered inLyon & Turnbull’s Fine Furniture & Works of Artauction on September 24 in Edinburgh.

The Contents of

DENSTON HALL

24


James Roland Ward was a prestigious taxidermist and a student ofnatural history at the end of the 19th century. His eponymouscompany, founded in 1872 and situated in London’s fashionable

Piccadilly, became the leading destination for huntsmen, naturalists andanyone with an interest in taxidermy, and traded for a century. Called The

Jungle, the shop contained over one hundred specimens arranged innaturalistic settings, and was highly influential for the development ofmuseum dioramas showing animals in their natural habitat. Hedeveloped new techniques and innovations in the field of taxidermy withmany of these still standard practice today.

The son of a naturalist and taxidermist, Ward saw himself as a sculptorand went to great lengths to understand the anatomy of his subjects sohe could produce specimens with the highest level of accuracy, withmany of his pieces destined for museums as well as private collections.His approach was scientific as well as artistic and he frequently workedwith naturalists to improve his knowledge. His work was held in suchhigh regard by the scientific community that several new species ofanimals and birds were named after him. Ward also published a popularseries of highly collectable sporting books, as well as an autobiography, ANaturalist’s Life Study in the Art of Taxidermy.

After Ward’s death in 1912, the business continued to flourish andexpanded its reach internationally, particularly in America. This was theheyday of big game hunting and Rowland Ward was instrumental in thecollection and mounting of specimens sent back from all over the world.Despite a long history and list of famous clients, the company’s successeventually came to an end. Shifting attitudes towards the display of

animal specimens, a focus on conservation rather than collection, anddeclining interest in big game hunting saw a decline in the company’srevenue and it ceased operations in the 1970s.

Rowland Ward and the Art of Taxidermy

TO THEWelcome

25

FINE FURNITURE & WORKS OF ART September 24, 2014 Edinburgh


Theodora Burrell+44 (0)131 557 [email protected]

EUROPEAN WILD BOAR HEADBY ROWLAND WARD CIRCA 1915

CASED DIORAMA OF PLOVERSCIRCA 1900


26

AN IMPORTANT PAIROF FRENCH EMPIREGILT AND PATINATEDBRONZE CANDELABRA CIRCA 1800,ATTRIBUTED TOCLAUDE GALLE$10,000-15,000(£6,250-9,500)


27

ENGLISH & CONTINENTAL FURNITURE & DECORATIVE ARTS October 07, 2014 Philadelphia



Apair of attention-grabbing candelabra,metaphors for the artistic, political andeconomic link between a prosperous

post-Colonial Philadelphia and France’s fadingancien régime, will be offered by Freeman’s attheir English & Continental Furniture andDecorative Arts auction this October. They arebeing sold on behalf of Saint Peter’s Church inSociety Hill, and were gifted to it in the late 19thcentury by an important Philadelphia family.

The Provincial and Revolutionary History of St.

Peter’s Church, Philadelphia, 1753-1783 by C.P.B.Jefferys (1924), mentions the candelabra in situin the vestry room at the church: “On thewindow-sill stand two ornate candlesticksreputed to have come from the country home ofJoseph Bonaparte, near Bordentown, NJ.” It ispossible that they were owned at some point byboth General Thomas Cadwalader (1779-1841),and by members of the notable PhiladelphiaBurd-Shippen-Sims families. According to theBurd family papers in the University of Delawarelibrary, Thomas Cadwalader did work onagreements pertaining to the estate of Eliza SimsBurd. According to The Church Standard,Philadelphia, volume 80, no. 1 (November 3rd1900) the candelabra were presented by JosephBonaparte to Mr. and Mrs. Joseph Sims, and thenbequeathed to the church by the widow of theirgrandson.

Their creator, Claude Galle (1759-1815), was oneof the most celebrated Parisian bronziers of thelate Louis XVI and Empire periods. He served hisapprenticeship under his father-in-law, PierreFoy, became a maître-fondeur in 1786, takingover Foy’s workshop in 1788 when he died. Gallewas a major supplier to the Garde-Meuble de laCouronne under Louis XVI, as well asNapoleon’s Garde-meuble Impérial, producing

chandeliers, wall lights, clock cases, and otherbronzes d’ameublement for the Fontainebleau,Saint-Cloud, and Tuileries palaces. He is knownto have collaborated with Pierre-PhilippeThomire (1751-1843), his main rival andprincipal bronzier to the Napoleonic court.

The winged griffins and the triangular bases ofthese candelabra are characteristic of Galle’swork and similar to those on a pair which hedelivered for the Salon d’Impératrice atFontainebleau in 1807. Also, the standard andbase are identical to a pair of candelabraattributed to Galle offered at Christie’s in 2002.That pair had a different arrangement of candlearms, which on this pair are easily unscrewed atthe top, showing that the owner could have theupper arrangement of the candlesticks alteredto suit his or her taste. The fantastical seamonsters that form the candle arms are typicalof Empire ornament—the nod to antiquity andthe exotic as key elements of the style.

Claude Galle was known to have lived quite alavish and generous lifestyle. Though verysuccessful, it is believed he often experiencedfinancial difficulty, due in part to the failure ofsome of his most important clients (such as thePrince Joseph Bonaparte) to pay what theyowed.

Galle’s candelabra were exhibited at thePhiladelphia Museum of Art in 1996-1997. Inthat exhibition, Cadwalader Family: Art and Style

in Early Philadelphia, the accompanying book byJack L. Lindsey and Darrell Sewell explains therelationship between General ThomasCadwalader and Joseph Bonaparte. Cadwaladerwas “a man of great intellect and style” whosePhiladelphia home became a center for scholarlydebate and entertainment for many ofPhiladelphia’s intellectual and influential leaders.

There is no doubt that through these contactsthat he met Joseph Bonaparte, who came toAmerica after Napoleon was defeated by theBritish and exiled in 1815. Bonaparte’s PointBreeze villa was a riverside mansion replete withexquisite collections of European paintings andfurniture, which no doubt influencedPhiladelphia society’s taste for Frenchdecoration. They had a close relationship andcorresponded often. Bonaparte gave him a rareand valuable ancient Greek vase in 1833 and afine painting, The Rape of Europa, by Nöel-Nicolas Coypel (1690-1734) that was his partinggift to Cadwalader in October 1839. Thepainting is now in the Philadelphia Museum ofArt, given to them in 1978 by John Cadwalader,the great-great-grandson of General Thomas.

Several other important institutions in theUnited States— including the MetropolitanMuseum of Art in New York, and Henry FrancisduPont’s Winterthur Museum in Delaware—contain noteworthy holdings of furniture anddecorative arts formerly belonging to theCadwalader family, considered one of the mostimportant families in the history of furniture anddecorative arts in America, and Philadelphia inparticular.

It is not known exactly when the Gallecandelabra were presented to Saint Peter’sChurch. They were illustrated in a 1924 eveningedition of The Prescott Courier, where it is said“they came from Joseph’s house into thepossession of the Sims family and later weregiven to the Church”. Whether or not ThomasCadwalader acted as an intermediary is notentirely clear, but we do know that Jefferys, alsoin 1924, considered them to have been in thevestry room for a very long time, evoking afeeling of “reverence and awe” that “breathesthe atmosphere of a venerable past.”

The

CandelabraBonaparte

Joseph


28

DEBRA & M

COSLFROM THE COLLECTION OF

Exceptional English Majolica

RARE MINTON MAJOLICA HARE &MALLARD GAME-PIE COVERED TUREENModel no. 1980$20,000-30,000 (£12,500-18,750)


ENGLISH & CONTINENTAL FURNITURE & DECORATIVE ARTS October 07, 2014 Philadelphia



& MICHAEL

SLOV

29

The history of majolica can be traced toHispano-Moresque lusterware chargersand vessels from the 13th-century that

were made by Moors in southern Spain andMalaga. The term “maiolica” is reputed to comefrom the medieval Italian word for Mallorca(Majorca), the island between Valencia and Italy,and from where many of these wares weretransported. During the 15th and 16th-centuries,Italian potters and painters produced numerouscolorfully decorated tin-glazed chargers and othervessels as well, and together with lusterware,became bracketed under the term “maiolica.”

English majolica takes its name from theseSpanish and Italian antecedents. Displayed byMinton to much acclaim at London’s 1851 CrystalPalace Exhibition and the 1855 Paris Exposition,the technique, which used a thick tin-glaze—often in deep blues and greens, and brightyellows and turquoise—was later adopted byseveral English and American factories. Majolicabecame one of the most popular ceramic formsthroughout the second half of the 19th-century,but production had all but died out by 1900,allowing us to see this decorative art form aswonderfully and quintessentially Victorian.

Many of the forms reflect the Victorian interestin the culinary, such as game tureens designed

with hares, venison, and partridge; lobster andsardine boxes, and oyster plates. Other pieces aremore humorous—punch bowls supported byfigures of Punch, and the rare Minton tortoise-form or “spiky-fish” teapots. Some are inspired bythe Orient and depict monkeys or Chinese men;while others are classical or Renaissance indesign, such as the Copeland reproductions ofthe Warwick Vase. These often bright, whimsicaland naturalistic designs reflected their use in ornear the English garden, where exotic plantscould be grown and kept in an orangery inmajolica cache pots, or tea poured from leaf-decorated teapots, or water stored in largemajolica cisterns, all while protected from theoutdoor elements by a thick, colorful glaze.

The Debra & Michael Coslov Collectionencapsulates the genre perfectly. It includesalmost all of the rarest and most desirableexamples by Minton, Holdcroft, George Jones,Copeland, and others, nearly all in exceptionalcondition. When they are offered at Freeman’s onOctober 7, it will surely be considered a landmarksale in the category.

HIGHLIGHT EXHIBITIONS

London | Royal Opera Arcade, Pall MallSeptember 11-12, 2014 | 10am-4pm

Main Line | Eagle Village, WayneSeptember 16-20, 2014 | 10am-4pm

September 16, 2014 | Gallery Talk! 6pm

RARE MINTONTORTOISE TEAPOTCIRCA 1878Model no. 629$25,000-35,000(£15,750-22,000)


30

General Robert E. Lee’s order of surrenderto the Army of Northern Virginia waswritten and issued on April 10, 1865,

the day after his meeting at Wilmer McLean’shouse in Appomattox Court House, Virginia, withGeneral Ulysses S. Grant. It was where the termsof surrender had been agreed upon to effectivelyend the American Civil War. In this brief andeloquent farewell, Lee addressed the men whofought under his command and wrote, “I neednot tell the survivors of so many hard foughtbattles, who have remained steadfast to the last,that I have consented to this result from nodistrust of them. But feeling that valor anddevotion could accomplish nothing that wouldcompensate for the loss that must have attendedthe continuation of the contest, I determined toavoid the useless sacrifice.”

served as a brigadier general in the ConfederateArmy. Anderson was also the owner of theTredegar Iron Works—the largest supplier ofiron goods to the Confederate government—which provided the armor plating andmachinery for the ironclad warship, C.S.S.Virginia, also known as the Merrimack, ofMonitor and Merrimack fame.

Written as “General Order No.9,” thismanuscript passed through several generationsof Brigadier Anderson’s descendants and todayspeaks to us of more than mere flags in thedust, but also of the profound depth ofconnection found in friendship, as well as thephysical and moral courage of a soldier’scompassion.

Lee dictated the order to his aide-de-camp,Colonel Charles Marshall, who later recounted,“I sat in the ambulance until I had written theorder . . . (in pencil). . . . He made one or twoverbal changes, and then I made a copy of theorder as corrected, and gave it to one of theclerks . . . to write in ink. I took the copy . . . to[Lee], who signed it, and other copies were thenmade for transmission to the corps commandersand the staff of the army. All these copies weresigned by the general, and a good many personssent other copies, which they had made orprocured, and obtained his signature.”

The document offered in Freeman’s October16th Books and Manuscript sale was signed byLee in April of 1865 for his close friend, JosephReid Anderson of Richmond, Virginia, who

BOOKS, MAPS & MANUSCRIPTS October 16, 2014 Philadelphia

Simon Vickers+44 (0)131 557 8844 [email protected]


ROBERT E. LEE.MANUSCRIPT SIGNED. “GENERAL ORDER NO. 9,”[VIRGINIA, APRIL, 1865].$50,000-80,000(£31,250-50,000)

SURRENDER Robert E. Lee’s “General Order No. 9”

FAREWELL


31

John Mackie+44 (0)131 557 8844 [email protected]

Tim Andreadis+1 [email protected]

CHRISTOPHER DRESSER (1834-1904)FOR JAMES DIXON & SONS, SHEFFIELD

SILVER PLATED COFFEE POT, CIRCA 1881£20,000-30,000 ($32,000-48,000)

BoldUnique& The designs of Christopher Dresser

This rare, and possibly unique, coffee pot,designed by Christopher Dresser (1834-1904) and made by James Dixon & Sons

in Sheffield, is a highlight in Lyon & Turnbull’sDecorative Arts: Design from 1860 auction thisOctober.

A series of costings books held in the archivesat Sheffield and dating from 1879 to 1883 revealthat Dresser produced approximately 80designs for Dixon’s, not all of which are thoughtto have gone into full production. This waspossibly due to comparative expense ofmanufacture, but also because of the radicalnature of the designs. What the books alsoshow us is how much each itemproduced cost to make in detail,how they were made and inmost cases which were designedby Dresser. Scholarly study of thebooks has tended to concentrate onthe costings for 1879, which containsthe famous designs for teapots,however, the costings for this coffee potturn up two years later in the book dated1881, where a further concentration of hisdesigns are held, including variations in size ofprevious works.

Looking through the books, the majority of thedesigns are not illustrated, with the exception ofthose by Dresser, which usually appear as athumbnail sketch or photograph. This may be anindication that these more expensive andunusual vessels did not appear in their tradecatalogues and were perhaps generally made toorder.

Certainly, it is widely accepted that at this pointin his remarkable career Dresser was at theheight of his powers, about to embark on whatwould be his bold, but ill-fated, retail project -The Art Furnishers Alliance. His designs forDixons demonstrate his close understandingand interest in the process of manufacture andthe use of material. The extraordinary forms andstripping away of ornament in hismetalwork designs of this period,credited to the influence of his tripto Japan in 1876, is very much inevidence, and in the finalanalysis, mark himout as one of thegreats of 19thcentury

design.

LITERATURE

Rudoe, J. 2008 'Design and Manufacture: Evidence fromthe Dixon & Sons Calculation Books', The Decorative Arts

Society 1850 to the Present: Christopher Dresser in Context,Journal 29: 66-83.

Sheffield Archives, Accession B496, Dixon costings book1881, p. 106.

DECORATIVE ARTS: DESIGN FROM 1860 October 29, 2014 Edinburgh


32

A Distinctive Jewelry & Contemporary Art Collection

ExceptionalEYEACQUIRINGwith

an

This November, Freeman’s will offeroutstanding items from the estate of adiscerning collector whose sense of

style, sophisticated taste, and remarkable eyebecame tools in acquiring both an impressivegroup of jewelry and an array of art by some ofthe most important American artists of the latetwentieth-century.

The jewelry of this collection is not limited toone style, but rather includes pieces coveringmany categories, ranging from classicgemstones to uniquely fashionable jewelry, aswell as some period pieces—an eclectic array tobe certain. The “carats” or weight of these gemsare well-represented by the “traditional” andinclude all of “the usual suspects.” A couple ofshow-stopping diamonds of notable size top thelist, including an 8.60 carat oval-shape diamond,as well as a 7.50 carat marquise-shape.

crystal in jewelry, especially in suite, but one willbe offered in this particular sale, and with anecklace, bracelet, earrings and ring, this groupprovides a bold and beautiful look withoutoverpowering. Crystal gives an alluring andmysterious beauty which captures the eye, butdoesn’t distract from its wearer.

For a more eye-catching look, there is a carvedemerald and diamond necklace with a matchingbrooch, certain to garner attention with theirdynamic appeal, highlighted by the subtlebeauty of the carved emeralds. In this collection,the Italian beauties are represented by adiamond and 18-karat gold collar, as well as adiamond, black onyx, and 18-karat goldnecklace. Both are made with the impeccablestyle and craftsmanship that can be expectedfrom Italian makers and easily confused withrenowned designers like David Webb or Bulgari.

Freeman’s is also offering a lovely selection offine quality sapphires in a variety of pieces,including an impressive star sapphire ring.These sapphires all have the coveted intense,blue color with subtle violet overtones, which ismost desirable in the finer stones. A beautifulemerald cannot be overlooked and exemplifiesthe collector’s eye for quality. Infused with therich blue-green color that one would expect in afine emerald, this example is unusually free ofinclusions, which is extremely rare. As if to“venture off the beaten path,” there is a cat’s eyechrysoberyl which displays not only wonderfulchatoyancy (cat’s eye), but the desirable milkand honey coloration that a fine specimen suchas this one possesses.

As remarkable as these jewels are, the uniqueand fashionable jewelry pieces of this collectionare equally desirable. It is unusual to find carved


33

The instincts and approach tocollecting contemporary artwas just as informed as thiscollector’s jewelry collecting,and includes several works bytwo artists who have enjoyedmuch local, national, andinternational success. HarryBertoia and Alex Katz wererepresented by Philadelphia’svenerable Makler and MangelGalleries respectively, andmost of Philadelphia’s topcollections of contemporary artinclude works by either or bothof these artists. Harry Bertoia,who came to Pennsylvania in the1950’s to work for Knoll, is an artistwho was first recognized as a designerof quintessential mid-century chairs forthe venerable design firm. His successallowed him to redirect his artistic inclinationstoward sculpture, and he was soon creating thetype of works represented in this collection. Tonalsculptures creating the auditory environment,Sonambient, are represented here, along withseveral of Bertoia’s Bush, Willow, and Wedge

sculptures. Presented as a group, they covermuch of the span of the artist’s mid-century,design-influenced sculptures and willpresent as a special section of theModern & Contemporary artauction catalogue.

Alex Katz, one of the bestknown Pop artists of the20th-century, wasshown consistently atthe Mangel Gallery inthe 1980’s and 90’s.Freeman’s has offeredmany steel cutouts andprints purchased thereby other local collectorswith great success. In 2011,Freeman’s achieved a worldrecord price for Orange Hat, whichsold for $22,500 against a $4,000-6,000estimate. Fittingly, items from this distinguishedcollection will be displayed concurrently in thejoint jewelry and fine art auction exhibitionsbeginning October 29th at Freeman's downtownPhiladelphia location.

This extraordinary jewelryand contemporary art, acquired and enjoyed byone collector for many years, was undoubtedly a

labor of love—a collection of exquisiteand significant pieces, all amassed

with care and an exceptional eye.ALEX KATZ(AMERICAN, B. 1927)

“ANNE”1990, color screenprint on laser-cut aluminum68 x 24 1/4 in. $12,000-18,000(£7,500-11,250)

A PAIR OF SAPPHIRE,DIAMOND AND 18 KARATGOLD EARRINGS WITHOVAL SAPPHIRESoval sapphires weighing over 4.0 carats each and anestimated total diamond weight of 8.30 carats$12,000-14,000(£7,500-8,750)

MODERN & CONTEMPORARY ART November 02, 2014 JEWELRY & WATCHES November 03, 2014 Philadelphia

Anne Henry+1 267.414.1220 [email protected]

Michael Larsen+1 818.205.3608 [email protected]

A DIAMOND, BLACK ONYX AND18 KARAT GOLD NECKLACE

with an estimated total diamondweight of 20.30 carats

$20,000-30,000(£12,500-18,750)


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One of India’s most internationallycelebrated artists, Maqbool FidaHusain’s (1915-2011) career began in

1947—the same year that country won itsindependence from Great Britain.! He was afounding and lifelong member of the BombayProgressive Artists' Group, comprised of sixyoung artists who wanted to “look at the worldfrom an Indian way, not a British way,” accordingto fellow member, Sayed Haider Raza. Theartists shared a collective desire to forge amodern Indian art for a new country.

The untitled painting offered by Freeman’s is arepresentation of one of Husain’s most vibrantand creative periods, and is marked by his use ofquasi-Cubist faceting and thick, textured layersof impasto on the canvas. Its figural elementsare represented in bright blue jewel tones andstrong lines set against fields of earthy brown,creating a contrast that evokes the palette ofdaily life in rural India. As is characteristic ofworks from this period and into the mid-1960s,an abstract field of white and gray surrounds theborderless central subject, consistentlyseparating figure from ground, cutting offelements like the blue hand at right, andbleeding over the green and brown paint in the

upper left section. The artist’s decision tointegrate figure and ground in this way creates abalanced composition that is quite distinct fromhis treatment of iconic subjects like the Indianepic, Mahabharata, that appear later in the1960s. Across the canvas, paint is applied inoverlapping layers; lines are thick andexpressive, as seen in his early and mid-careerwork. Husain in this period was surrounded byleading modernist peers, including Tyeb Mehtaand V.S. Gaitonde, who were beginning toexplore elements of gesture and abstraction.! Itappears from this work that Husain absorbedcertain aspects of their concerns, if only aroundthis moment.!

This painting was acquired in 1959 at theDhoomimal Gallery in New Delhi by Americansliving there who worked for the United StatesAgency for International Development (USAID).

Established in 1937, the gallery was a leadingart center in India in the years around itsindependence, as no true commercial gallerieswere established in that country’s main artisticcenters of Bombay and Delhi until the early1960s. Dhoomimal’s importance in these yearswas noted as much for its presence as a livelycenter where artists could meet, as for its

critical or commercial ambitions. This aspectwas key for artists like Husain, who was knownfor his sociability in India’s developing art sceneof the 1940s and 50s. Freeman’s is particularlypleased to offer this striking work from a pivotaltime in India’s history by one of its modern, mid-century masters.

MODERN & CONTEMPORARY ART November 02, 2014 Philadelphia

Anne Henry+1 267.414.1220 [email protected]

Charlotte Riordan+44 (0)131 557 8844 [email protected]

masterMaqbool FidaHusain

India’s Modernist

MAQBOOL FIDA HUSAIN (INDIAN, 1915-2011)! !

UNTITLEDOil on canvas, signed in upper right.40 x 30 in. (101.5 x 76.2cm)$40,000–60,000(£25,000-37,500)


35

THE PENNSYLVANIA SALE November 12, 2014 Philadelphia

Lynda Cain+1 267.414.1237 [email protected]


By the time Freeman’s opened for businessin 1805, Philadelphia already had alengthy history in a youthful United

States. It witnessed the establishment of aprogressive and enlightened community byWilliam Penn, a revolution that created a newworld order, and as it prospered, saw the influxof new citizens whose talent and art wouldmake a lasting imprint on the city andsurrounding communities. Freeman’s November12th Pennsylvania Sale will offer an array ofitems that reflect these artistic and politicalsensibilities of the Commonwealth’s history.

A needlework piece, known by the Flower familyof Philadelphia simply as their “chest cover” andtoday prized as an extremely rare 18th-centurytextile, will be one of the notable lots of thisauction. Treasured for nearly 250 years by theFlower descendants, it is part of a well-known,unrivaled and varied group of 18th-centuryPhiladelphia needlework by Mary Flower andher two sisters, Ann (1743-1778) and Elizabeth(1742-1781). They were the children of EnochFlower, a prosperous Philadelphia cutler (amaker of iron tools for commercial, domestic

and medical uses) and grandson of anotherEnoch Flower (1635-1684) - the firstschoolmaster appointed by William Penn andthe Provincial Council of Pennsylvania - andAnne Jones Flower, the daughter of aPhiladelphia merchant and brewer. Enoch wasactive in the Philadelphia Colony in Schuylkill,The Library Company, and Benjamin Franklin’sJunto, a mutual improvement discussion group.

This Irish-stitched textile cover, worked with abouquet of flowers tied by a pink ribbon inbrightly colored worsted wool yarns, wascreated by Mary Flower (1744-1778). It bearsMary’s initials “MF” at one end and the date“1767” on the other. It may be the singularlyunique example of its form to survive in Colonialperiod needlework, created to enliven thesurface of a chest of drawers or dressing table.The floral bouquet, as noted by the lateAmerican needlework scholar Betty Ring,reflects Philadelphia’s “preference for depictingflowers,” as well as the asymmetrical depictionof nature and the twisting leafage and flowers ofthe Rococo period.

The Flower sisters produced elaborate pieces forboth utilitarian and display purposes. Marycreated two silk needlework pictures, consideredto be among the finest of American 18th-century silk embroideries. The first, depicting afox hunt entitled the Chace, and the second, apastoral scene, are illustrated and discussed inBetty Ring’s Girlhood Embroidery: American

Samplers & Pictorial Needlework 1650-1850 (NewYork, 1993). Other needlework attributed toMary Flower include a canvas work pocketbook,and possibly a flame-stitched Bible cover, bothnow part of the collection of the PhiladelphiaMuseum of Art. Ann and Elizabeth Flowercreated the only known Philadelphia examplesof embroidered coats of arms; one is in a privatecollection, the other in the collection ofWinterthur Museum. A sketchbook created byAnn Flower in the 1760’s is part of the collectionof Winterthur as well, and the sisters’needlework has been the subject of Amanda

YEARS OF300

in the CommonwealthDesign & Politics

RARE CANVAS WORK CHEST COVER MARY FLOWER (1744–1778)

Philadelphia, PA, initialed “MF” and dated “1767” $30,000–50,000 (£18,750-31,250)

Tim Andreadis+1 [email protected]


36

Isaacs’s 2004 Master’s thesis at the WinterthurProgram in Early American Culture, University ofDelaware, and an article in Winterthur Portfolio,Summer/Autumn 2007.

Another offering of this auction is a copy of The

Pennsylvania Evening Post from Thursday,February14, 1775 that includes a report ofGeorge Washington’s resolution of January 17,1775, which set in motion the formation ofarmed militia to resist the British, and likely hisearliest call to arms. The Post—published by

Benjamin Towne from 1775 to 1784—is famous

for printing the Declaration of Independenceand numerous other historical documents of theday. Towne published the first issue of the dailyon May 30, 1783, but it had existed as a semi-regular publication since 1775. After the Britishevacuated Philadelphia, he became the soleprinter left in the city and secured contractsfrom the Continental Congress and the stategovernment. According to Robin Shields,Reference Librarian at the Library of Congress,“Towne was an opportunist and a turncoat. Heswitched sides several times during the war,

depending on whether the British or theAmericans were occupying Philadelphia at thetime. By the end of the war, he was viewed as atraitor. He lost most of his subscribers andadvertisers. He started printing The Pennsylvania

Evening Post every day, making it the first dailynewspaper in the United States.” One can’t helpwondering if the Flower family’s talenteddaughters were readers of the Post and his otherpublications during the years prior to theirrelatively early deaths.

As the decades passed from the 18th to the20th-century, Philadelphia’s fortunes rose andfell along with its population. The city and itssurrounding communities continued to be amagnet for the artistically gifted. In nearby NewHope, Pennsylvania, the designer and architect,

George Nakashima, one ofPennsylvania’s most celebratedcraftsmen of the last century, found

inspiration, and Freeman’s is pleasedto present several distinguished

collections of his outstandingfurniture.

Born to Japanese immigrants in 1905,he grew up in Spokane, attended the

University of Washington, changing hiscourse of study from forestry to

architecture, and later pursued ascholarship to M.I.T. Work and travel took

Nakashima from Paris to Tokyo where hewas eventually employed with the architect,

Antonin Raymond, a protégé of Frank LloydWright.

THE PENNSYLVANIA EVENING POST.[PHILADELPHIA], THURSDAY, FEB 14, 1775. 4 PP.Includes a report of George Washington’sresolution of January 17, 1775, which set in motionthe formation of armed militia to resist the British.Likely his earliest call to arms.$1,000-1,500 (£600-1,000)


37

Nakashima worked in Raymond’s office onGolconde, a dormitory for the Sri AurobindoAshram in Pondicherry, India. In 1940, hereturned to the United States, settling in Seattle,and with the outbreak of World War II, wasforced to relocate with his family to aninternment camp in Idaho. It was there he meta Japanese woodworker, Gentaro Hikogawa,who taught him more about traditional Japanesecarpentry methods. Raymond sponsored hisrelease from the camp in 1943 and invitedNakashima to work on his New Hope farm.After a year, Nakashima moved to a small stonecottage there on Aquetong Road. Over theyears, the Nakashima compound grew toinclude lumber sheds, a pool house, showroom,workshop, finishing room, chair department, andthe Conoid Studio—all designed and built in partby Nakashima himself. Today, the family legacyis maintained by his daughter, Mira, whooversees the design and production of hercompany, George Nakashima Woodworker, andthe Foundation for Peace.

Among the works from the studio of GeorgeNakashima will be examples from the collectionof the late Peter Engelmann of Charlottesville,Virginia. Born in Germany, Engelmann studied atRobert College in Istanbul, and later received hisMaster’s degree in Civil Engineering from M.I.T.He spent the majority of his professional careeremployed by the World Bank as a civil engineerengaged in the planning and design of urban andtransportation projects. Engelmann’s extensive

travels took him to Latin America, Africa, andthe Middle East, exposing him to art and designthat would later inform his own foray into theart world. His paintings reflect an engineer’sviewpoint, rendering geometric forms on canvasin a manner reminiscent of the surveying andmapping in which he was engaged during hiscareer.

The Engelmanns began purchasing furniturefrom George Nakashima in 1967 with acommission for an extraordinary coffee table.Featuring a large walnut slab and a singlebutterfly joint in rosewood, the natural outline ofthe top is reminiscent of the jagged angles ofEngelmann’s own paintings, perhaps reflectinghis influence on the commission. At seventy-five by thirty-two inches, the table is among thelarger examples of this form executed byNakashima. Among the later works theEnglemanns ordered from the NakashimaStudios - and also included in the PennsylvaniaSale - are a rocker and lounge chair withNakashima’s signature, “free-edge” arm, and anunusual Conoid cushion chair with arms, one ofonly a dozen or so made; this example executedunder the direction of Mira Nakashima in 2004.

Additional pieces of furniture by NakashimaStudios offered, include a Minguren I coffeetable from the collection of an original BucksCounty owner, and a hanging wall cabinetpurchased from George Nakashima, circa 1956,from the Rittenhouse Square home of theoriginal owner.

Speaking about her father, Mira Nakashima haswritten, “What he did embodied a message toall modern societies that we must constantlyremember the eternal in all that we do.” Toward that end, George Nakashima’s furniturewas not merely the convergence of form andfunction, but embodied the spiritual tenants ofthe Mingei Movement, founded by SoetsuYanagi. The movement was to Japan what theArts and Crafts Movement represented to theWest: an attempt to restore craft traditions andman’s place in the natural world in contrast tothe growing specter of an impersonal anddehumanizing machine world.

These specific works in the Pennsylvania Saleare all part of the fabric of our rich history. Thebeauty and technique of the needlework createdby Mary Flower and her sisters endures andoffers a glimpse into the quiet, domestic side ofthe lives of women and of a family withextensive ties to Philadelphia, a city on the vergeof profoundly changing the political direction ofthe world - observed and recorded by BenjaminTowne in The Pennsylvania Evening Post.

The turmoil of their times led to freedom ofexpression and possibilities for millions in thefollowing centuries and can be glimpsed in thecraftsmanship and flowing, organic componentsin much of George Nakashima’s furniture.Fortunately, each of these Pennsylvanianspossessed a unique vision that flourished in anenvironment where artistic or entrepreneurialopportunity was encouraged and valued.

GEORGE NAKASHIMA (AMERICAN 1905-1990)

Exceptional Slab Coffee Table, 1967$20,000-30,000 (£12,500-18,750)


The

COLLECTION

WESTERNClub


39

Nick Curnow+44 (0)131 557 8844 [email protected]

David Weiss+1 [email protected]

BRITISH & EUROPEAN PAINTINGS November 27, 2014 Edinburgh

39

institutions around the city. The fantastic paintingWinter Sunrise by Sir William McTaggart wasbequeathed by Gow to The Western Club in1936. Several generations of the Gow family havebeen members including Brigadier Gow, the latefather of current member Alexander Gow.

The McTaggart, which dates from 1894, is a rareexample by the artist of a snow scene on thisscale and will be offered along with otherpaintings from the club’s collection in Lyon &Turnbull’s British & European Paintings auction onNovember 27, 2014. The funds raised by the saleof the paintings will support the ongoingredevelopment of the Club as it approaches itsbicentenary.

The Western Club remains at the Royal ExchangeSquare premises and is host to many eventsthroughout the year. For more information pleasecontact Douglas Gifford, Club Secretary, or visitwww.thewesternclub.co.uk

In the 1800s, there were many informal privatemembers’ clubs in Glasgow for gentlemen tomeet and discuss the daily news from around

the city. In 1825 a group of prominentbusinessmen and MPs met to discuss the creationof a club much like the ones they had visited inLondon or the recently established New Club inEdinburgh. The Western Club was founded as theBadger Club in 1825 by Major Monteith, toprovide good, cheap food and wine. It welcomed130 new members to its premises on the corner ofBuchanan Street and St Vincent Street. There weremany amalgamations with The Western Club.Over the years it merged with the Junior Club, theNew Club, and the Kelvin Club, and became theadopted home of the RNVR Club (Scotland).

As membership grew so did the need for morespace. The Western Club acquired 147 BuchananStreet and moved in 1842 and again to its currentpremises, 32 Royal Exchange Square, in 1965. Theclub underwent an extensive renovation whichconcluded in 1998, again leading to an increase inmembership. Not long after the club celebratedits 175th anniversary with a gala dinner in January2000, and two months later it had the honour ofhosting a lunch for HRH the Princess Royal.

Among many notable members of The WesternClub was Leonard Gow (1859-1936), a successfulship owner who was a strong patron to the arts inGlasgow. He left legacies to the HunterianMuseum, Glasgow University and many other

LEFT

SIR WILLIAM MCTAGGART(SCOTTISH 1903-1981)

WINTER SUNRISEPresented by:! The Late Leonard Gow Esq, LLD, DL£60,000-80,000 ($96,000-128,000)

TOP

JOHANN SCHERREWITZ(DUTCH 1868-1951)

UNLOADING ON THE SHORE, SCHEVENINGENPresented by: A T Reid Esq, 1925£7,000-10,000 ($11,200-16,000)


4040

FINE AND LARGE JAPANESECARVED IVORY OKIMONO OF A MOTHER AND CHILD SIGNED KIKUCHI GOTO, MEIJI PERIOD £6,000-8,000 ($9,600-12,800)


41

Ornamental Objectsof the Meiji PeriodOKIMONO

Japanese

In 1853 American Naval Commodore Perryarrived in Edo (now Tokyo) bay with sixheavily armed black-hulled steamships

demanding the opening of Japanese ports totrade and diplomatic relations with the UnitedStates. For 260 years Japan, under the feudalrule of the Tokugawa Shoguns, had imposed anational seclusion known as sakuko, or ‘lockedcountry’, which only allowed limited and highlyregulated trade to the Dutch and Chinesethrough the southern port of Nagasaki. Perry’smission was successful and in 1859 three portswere opened to foreign trade. This accessbrought about a huge change in Japanesesociety, culture and government, and within 10years the end of the feudal reign of the Shogunsand the beginning of a constitutional monarchyunder the Meiji Emperor Mutsuhito.

As the trade of goods began to flow, theJapanese were quick to realise there was agrowing European demand for Japanese artsand crafts and established training workshopsand studios to support production. A series ofinternational exhibitions, beginning with theInternational Exhibition of South Kensington,London in 1862, which attracted six millionvisitors over the course of six months,introduced the West to the arts and crafts of thethis previously closed and mysterious country.This started a craze of collecting and designinfluenced by the Japanese.

Of particular interest were the decorativesculptural objects known as okimono, or‘ornamental object’, made out of variousprecious materials including ivory, mother-of-pearl, lacquer, bronze and other metals. Underthe studio system, apprentices worked under

the tutelage of a master learning the craft,gradually working on bigger and more intricateworks.

A large carved ivory figure of a mother and childto be offered in Lyon & Turnbull’s Asian Worksof Art auction December 02, demonstrates allthe fine detail, delicacy and subtle observationfound in the finest works produced during theMeiji period. Carved from a single tusk and54cm high, the mother’s soft expression andplayful look on her infant son’s face as he ridesin a woven basket on her back and plays with aturtle suspended from a rope, exhibits the skillof a master craftsman whose name appearsinscribed in a red lacquer panel inserted on theunderside. It has an auction estimate of£6,000-8,000. While now the sale of modernivory is illegal and that of antique ivory acontinuing point of debate, historically it wasconsidered a luxury material celebrated for itsability to hold fine detail, its creamy colour andexotic origins.

Equally impressive is a large standing bronzefigure of an elephant, also dating from the Meijiperiod. With the abolition of the wearing ofswords in 1876, the role of the Samurai, thehistoric warrior class, was greatly reduced, andcraftsmen who had previously worked to supplythe swords and other military accoutrementshad to adapt to other markets in order tosurvive. This led to a rise in the production ofdecorative bronzes of high quality. Exotic

animals like elephants and tigers wereparticularly popular, as well as birds, crabs andcrayfish which were realistically modeled fromlife. The elephant, standing 64cm high, is fittedwith ivory tusks and signed by the artist, is castwith fine detail to the surface with folds andhairs minutely executed. Estimated at £2,000-3,000, it comes from the Symington GrieveCollection of Japanese Works of Art. One of thehighlights from the previous collection sold inJune was a small bronze, lacquer and ivoryfigure group of a fisherman standing on the backof a tortoise which sold for £3,000. This piece,with its mixed use of various materials, showsall the finesse and attention to detail, combinedwith a hint of whimsy, the Japanese craftsmenwere so skilled at delivering.

These pieces epitomize a superlative quality ofcraftsmanship whilst illustrating elements of theWestern-influenced intricate and realistic styleof sculpture that emerged in the mid-Meiji era.While they represent a modernisation ofJapanese sculpture as sculptural fine art, theyrely on a decidedly Japanese aesthetic, andcollectors today still marvel at their quality.

414141

FINE ASIAN WORKS OF ART December 02, 2014 Crosshall Manor, Cambridgeshire

Lee Young+44 (0)131 557 [email protected]

Richard Cervantes+1 267.414.1219 [email protected]

LARGE JAPANESE BRONZE ANDIVORY FIGURE OF AN ELEPHANT GENRYUSAI SEIYA MARK, MEIJI PERIOD £2,000-3,000 ($3,200-4,800)

Please note that the US Government iscontinually revising its policy on theimport of property containing ivory, as itstands there are currently extensiverestrictions in place.


42

NEW HOPEGarber’s

THE LURE OF THE LANDSCAPE


434343

For American Impressionist Daniel Garber, the ruralIndiana landscape of his youth proved anything but amuse. He perservered however, making a studio out

of an outbuilding as a youth. After art school in Cincinnati,Garber moved to Philadelphia just before the turn of thecentury, enrolling at the Pennsylvania Academy of the FineArts (PAFA) and would eventually teach there for over fortyyears.

Garber settled north of Philadelphia in the New Hope, BucksCounty area of Pennsylvania. It was this verdant and variedlandscape that would remain his inspiration and subject for therest of his career. He used a broad spectrum of color for hislandscapes and quiet interiors, and the appealing depictions ofBucks County earned him national attention, a teachingposition at PAFA, and a seat at the head of New Hope’s colonyof Pennsylvania Impressionists.

While his vibrant palette was rightly celebrated, Garber’sgreatest success as an artist was perhaps the interweaving oftwo seemingly opposite and distinct directions in American art.At the time of New York’s Armory Show in 1913, Garber andthe New Hope School had been awarded numerous medals inmainstream circles, including the National Academy. Theartist and critic Guy Pène du Bois cites Garber’s work in hisdiscussion of the first “truly national” art emerging in that era.Though located outside New York and painting landscapes,Garber defensively referred to his work as modern. New Yorkmodernism, however, was suspicious of the popular and

beautiful, most certainly words to describe Garber’s paintings.Modern elements found in his paintings include the flatteningof the picture plane and his bending of the landscape to meethis intended color and composition.

Freeman’s is pleased to offer two fine examples that illustrateGarber’s ability to produce modern work firmly entrenched inthe national taste. Consigned from a Princeton estate andpainted in 1930, Up Jericho represents the culmination of hiswork in the 1920's where he let his horizon line creep upwarduntil just a bit of sky remained, creating a “stackedcomposition,” a stylistic theme of his with roots dating back asearly as 1908, but maturing in the 1920’s. The painting is anillustration of Garber’s stylistic distance from 19th centuryAmerican landscapes - his were informed by ideas of thetwentieth-century, with broad swathes of color and a stitchingof diffuse elements into a cohesive whole.

The River Road was painted around 1940, the beginning of adecade that might be described as Garber’s “victory lap.” Hehad two retrospectives of his work and several solo exhibitionsover the course of the decade. His art had been neatly settledinto the public taste for decades at this time. The River Road

was found so inviting that it was used as an advertisement forthe Pennsylvania Department of Commerce. Thus Garber’smuse, the Bucks County landscape, had come full circle. Hisrenderings of the hills, valleys and roads of the area intended toinspire viewers to experience the land for themselves.

AMERICAN ART & PENNSYLVANIA IMPRESSIONISTS December 07, 2014 Philadelphia

Alasdair Nichol+1 267.414.1211 [email protected]

Andrew Huber+1 [email protected]


“THE RIVER ROAD”Signed ‘Daniel Garber’ bottom left, oil on canvas30 x 28 in. (76.2 x 71.1cm)$150,000-250,000(£94,000-156,000)


“UP JERICHO”Signed ‘Daniel Garber’ lower right, oil on canvas22 x 18 in. (55.9 x 45.7cm)$150,000-250,000(£94,000-156,000)


A Collection of

WRIST WATCHESFine

ENGINEERINGExceptional


45

Gentlemen's jewellery is wide ranging,from the subtle glint of a cufflink or asignet ring to a more dramatic gold

bracelet or ingot pendant. However, there is oneitem that has always been a feature – the watch.From the 18th to early 20th centuries, the pocketwatch and Albert was de rigueur for men; gold forgentlemen of standing, silver for the middle classand base metal or plate for the lower class.However, Cartier was to set a new trend in 1911with the issuing of their first wrist watch – an itemthat quickly became popular with servicemenduring WWI and soon after the population atlarge.

We are all familiar with the major makes such asRolex, IWC, Breitling, Patek Philippe and manyothers, often through sporting events and heavysponsorship. These established names haveseen a number of competing newcomers to themarket that are also producing watches ofexceptional quality. They all have a strongfollowing and what determines popularity issometimes difficult to define.

In December, Lyon & Turnbull will be offering acollection of fine watches in a broad spectrumof styles as part of their Select Jewellery &Watches auction. A collection formed over 15years, from the mid-1990’s to 2010, by AndrewMcMillian, Baron of Cleghorn—a man renownedfor his appreciation of precision engineering.

Baron Cleghorn had four passions in life:photography; rifles and shooting; orders and

work from initial concept to final production areobvious: not just a simple watch, the GrandeComplication features a perpetual calendar withmoon phase; it automatically takes care of thediffering lengths of months and also leap years;full chronograph, day, date, month and yearindicators; a minute repeater; and an internalhammer that delicately sounds the hours,quarters and then the minutes. This latter partalone took many months to design, bearing inmind the watch had to be acoustically viable yetentirely waterproof.

These stunning pieces of craftsmanship by IWCare limited to a production of only fifty in anyone year, this example from Baron Cleghorn’scollection was the eleventh to be released in1992 and is estimated at £60,000–80,000.

The calendar only needs to be“corrected” once–on March 1, 2100.In that year, the normally expected

leap year is skipped, and thecalendar needs a watchmaker’s

adjustment.

SELECT JEWELLERY & WATCHES December 11, 2014 Edinburgh

Trevor Kyle+44 (0)131 557 8844 [email protected]

Michael Larsen+1 818.205.3608 [email protected]

decorations; and finally wrist watches—thecommon theme being exceptional engineeringand craftsmanship. This theme was the drivingforce behind his collection from the simple Rolexhe wore on a daily basis to the pièce de

résistance, the IWC Grande Complication.

The simplest watch, and the one worn daily byBaron Cleghorn is one of the more basic piecesproduced by Rolex, a clean design simply fortelling the time with no additional functionality(estimated at £1,000-1,500). Another simplepiece is the Blancpain, a gold-cased examplewith a good clear white dial, bold blacknumerals and a date indicator (estimated at£2,500-3,500).

The majority of the watches on offer arechronographs - watches that can act as stopwatches and time recorders. Several key makersare represented including Omega, JaegerLeCoultre, Zenith, Breguet, Arnold & Son andUlysse Nardin. However, it is those by IWC thatlead the parade. The International WatchCompany was established in Schaffhausenaround 1868 by Florentine Ariosto Jones, anAmerican looking to combine Swiss watchmaking skills with American engineering andinnovation, a company that have gone toproduce some of the world’s finest and mostsought after watches.

The main watch in the collection, the IWCGrande Complication, has for a number of yearsbeen a 'Holy Grail' for collectors. The years of

“

”IWC- INTERNATIONAL WATCH CO. LTD. SCHAFFHAUSENLE GRANDE COMPLICATION C.1992, EDITION NO. 11/50

£60,000-80,000 ($96,000-128,000)

BLANCPAINLEMAN DATE 2100£2,500-3,500 ($4,000-5,600)

LEFT PAGE FROM BOTTOM

IWCDOPPELCHRONOGRAPH AUTOMATIC£3,500-5,500 ($5,600-8,800)

ROLEXOYSTER PERPETUAL DATEJUST GMT-MASTER£3,000-5,000 ($4,800-8,000)

ARNOLD & SONNAVIGATORS LONGITUDE II£1,000-1,500 ($1,600-2,400)

ROLEXOYSTER PERPETUAL£1,000-1,500 ($1,600-2,400)


46

Muirhead

Bonea Master

Draughtsman


47

History is full of exceptional artistswith incongruously low profiles.What, for example, is widely

known about Muirhead Bone—one of themost commercially successful artists of hisgeneration? Certainly that he was foremostan etcher of uncommon talent and amaster of the topographical view, perhapsalso that he was a Glaswegian by birth andan architect by training. Most famous of all,is the fact that Bone was the first officialwar artist, a position he assumed duringboth World Wars.

Research a little further however and onequickly finds this description omits much;his remarkable technical ability as an artistpossibly distracting from the achievementsof the man on a personal level. By allaccounts a gentle, intellectual sort of soul,Bone had an extraordinary social ability andwas the trusted friend and counsel of many—indeed most—of the key figures in theBritish art establishment at the time, fromD. S. MacColl, Keeper of the Tate, to‘Bloomsbury set’ critic Roger Fry and evenauthor D. H. Lawrence. Beyond his art andthe illustrious company he kept, hisgreatest legacy must surely be hisenthusiastic championing of the youngModernists of the day including JacobEpstein, C. R. W. Nevinson and PercyWyndam Lewis, whose work – though sodifferent from his own - Bonecommissioned, collected and soughttirelessly to promote.

Bone escaped the “mildness” of the turn-of-the-century Scottish art scene, strikingout for London in 1902. By 1910, he wasalready considered a success withrepresentation by some of London's mostprestigious galleries, his work hangingalongside the likes of Orpen, Sickert, Rodin,Beardsley and Beerbohm. He began takingon "daunting subjects and viewpoints,"consistently favoring the depiction offamous historical buildings and views; re-capturing them amidst the bustling realismof the modern day.

Early in his career Bone had developed thetheory that to be a great etcher, an artistmust be temperamentally suited to themedium. The facilities called upon to drawwere, he felt, quite different, and he praisedWhistler's masterful etchings over his"uncertain" drawings. Bone himself wasextremely adept in both mediums, as theworks offered here for sale attest. Thoughhis prints ran in relatively large numbers ofreproductions, his drawings - particularlyon the large scale shown in two of theexamples here - remain fairly scarce.

The drawings he made on his frequenttravels to Europe and beyond are widelyregarded as the best he produced. Italy washis first stop, where he admitted to firstbeing daunted by the celebrity of thearchitecture, feeling that “too many otherartists had licked the platter clean.” Hesoon found his voice however, and thescene shown here of Venice is certainly a

fresh take on the subject matter: the lagoonby night from the deck of a vast cruise liner.

Spain was of particular importance to Boneand it was here that he produced some ofhis most extraordinary and criticallyregarded drawings. Visiting for wholesummers between 1924 and ‘28, hecollaborated with his wife, Gertrude, on atext called Old Spain for which she providedthe prose and he the illustrations. The RockTomb of Pelayo Covadonga was one of hisfinest studies for the project—the artist’simagination clearly stimulated by his wife’srepresentation of Pelayo as a kind ofSpanish Robert the Bruce, fighting tooverthrow Ottoman rule.

A trip to New York for three months in 1923was also fruitful and Bone’s sketches of thetowering skyline and teeming street life ofManhattan have a palpable vivacity thatdemonstrates an energised engagementwith his subject. Each time, the sketcheswere sent home and exhibited. The reviewsrolled in with the critic for The Morning Postremarking that, “…thought stops. Onemerely stands in front of (his) drawingswith dumb amazement.”

Whether you were familiar with Bone’swork before opening this magazine or not,it must surely be agreed that his sketcheshave lost little of their effect on the viewer.In addition, we hope to have painted a fullerpicture, or indeed etched a clearer account,of the career of one of the Britain’s finestdraughtsmen.

LEFT

SIR MUIRHEAD BONE (SCOTTISH 1876 1953)

MIDNIGHT IN VENICE!Coloured chalks52cm x 32cm (20.5in x 12.5in)

RIGHT

SIR MUIRHEAD BONE (SCOTTISH 1876 1953)

GALATA BRIDGE, CONSTANTINOPLESigned, inscribed and dated 1922, pen and ink and wash33cm x 52cm (13in x 20.5in)

SCOTTISH PAINTINGS & SCULPTURE December 12, 2014 Edinburgh

Nick Curnow+44 (0)131 557 [email protected]

Emily Johnston+44 (0)207 930 [email protected]

IV Fall 2014_Pages 47-80 MkX_Layout 1 22/09/2014 12:24 Page 47

48

December 16th was likely designed by Jean-Baptiste Gustave Odiot, Claude’s grandson, whoworked for the firm from 1856 through 1906. ! Itcomprises a finely chased bowl supported byfour seated human couples, each representativeof the four continents. The allegory of the fourcontinents as female figures has been depictedsymbolically in works of art for over 400 years.In the late 16th century, at a time when excitinggeographical discoveries greatly increased, anew iconographic genre began to emerge whichpersonified these colonial expansionistdiscoveries. Such features, including the four

continents, seasons, cardinal directions, winds,and classical elements, became commonplaceon maps and atlases in particular. Variations ofthese themes have been reinterpreted and seenthroughout the past few centuries, and areindicative of power, influence and education.

This exquisite French silver centerpiece is a 19th-century example of an artist’s depiction andinterpretation of the four continents. On top ofthe domed base rests four couplesrepresentative of Europe, America, Africa, andAsia. Each figural group is depicted in whatwould have been considered typical dress, nodoubt adapted from contemporary engravings orcolor plate books published in the 19th century.Each bears elements symbolic of the continentthey depict, with each woman holding a differentitem. For example, the American women holds anative bird in hand, the African woman a sheaf ofwheat, the European woman with a wreath, andthe Asian woman holding a fan. Each figuralgroup is separated by shield and crown-formappliqués with central medallions incorporatingheraldic devices - a displayed eagle, a rampantlion, arrows, and a shield, further accentuatingthe symbolism of power.!

Established in 1690, the firm of MaisonOdiot grew to prominence under the reignof Louis XV through the talents of the

silversmith Jean-Baptiste Gaspard Odiot. MaisonOdiot became one of France’s mostly highlyregarded silver manufacturers, and served assilversmith to several French monarchs as well asNapoleon. ! Jean-Baptiste Claude Odiot, Gaspard’sgrandson, was awarded a gold medal in the thirdExposition de l’Industrie in Paris in 1802.

The fine centerpiece being offered at Freeman’sin the Silver & Objets de Vertu auction on

A Fine French Silver Centerpiece

CelebratingFOURthe

Continents

SILVER & OBJETS DE VERTU December 16, 2014 Philadelphia

Sarah Blattner+1 267.414.1225 [email protected]

Colin Fraser+44 (0)131 557 [email protected]

A FINE FRENCH SILVER CENTERPIECE Maison Odiot, Paris, circa 1870$10,000–15,000 (£6,250-9,400)


A Celebration of Jacobite Applied Arts

RISEThe

Bonnieof the

Princeimportant role within the movement; from portraits,miniatures, silver, antique arms and rare manuscripts, tothe more romantic and provoking relics of the rebellionand people within.

Already consigned are a selected group of Jacobiterelics from a private collection, includingpersonal property of both Prince CharlesEdward Stuart and his brother HenryBenedict Stuart, Cardinal Duke of York, andfinely mounted locks of hair gifted toCharles’ supporters.

With interest coming from bothhome and abroad, both fromcollectors and institutions, it ishoped this auction will providean exciting and unique placeto showcase such pieces.Further entries are invited.For more information, onboth the auction andnationwide valuations,please contact ColinFraser (detailsbelow).

2014 has certainly made a mark for itself in theScottish history books, from the huge success ofthe Commonwealth Games in Glasgow and the

battle for the Ryder Cup at Gleneagles to the great debateof the Scottish Independence referendum, very few willforget this year. Significant events of the past have alsobeen celebrated this year with the 700th anniversary ofThe Battle of Bannockburn making us remember the placeScotland holds in the history in the United Kingdom.

Our reflections on the past will continue into 2015 as wesee the 300th anniversary of what could be considered thebeginning of one of the most important periods in Scottishhistory, an event that brought the Stuart claim to the Britishthrone to the forefront. The claim of James Stuart (whoconsidered himself the rightful heir to the British throne asKing James III), his son Charles (the Bonnie Prince) andtheir Jacobite supporters, stemmed from the overthrow ofKing James II, in the glorious revolution of 1688. Althoughthe Jacobite uprisings begun as early as 1689 it was theevents of 1715 that really cemented the belief and hope ofthe Jacobite supporters, clans and, of course, the Stuart’sthat their claim was true, just and achievable.!

The defeat of James Stuart at the Battle of Cromdale in1690, furthered by that to King William at the Battle of theBoyne, began to damage the Jacobite followers faith in theirking. The various appearances of the King James III, as amelancholy, timid stature of a man - who went on to set upcourt in Scone Palace - did not bolster their hopes andopinions either.! ! ! However, it was the failure of the 1715uprising that really lead to change in the movement – achange that would see the rising in spirit and vision of hisson Charles Edward Stuart, the famous Bonnie PrinceCharlie.! A figure who would drive the mantle of hope andthe rights of his father’s claim forward to the final rebellionof 1745 and onwards to the famous Battle of Culloden.

To celebrate the 300th anniversary of this significant eventand the rise of one of Scotland’s most famous historicalfigures Lyon & Turnbull are pleased to announce ‘TheJacobite Sale’! - a specialist auction that will showcase across section of the arts of the period that played such an

THE JACOBITE SALE Spring, 2015 Edinburgh

Colin Fraser+44 (0)131 557 [email protected]

Nick Curnow+44 (0)131 557 [email protected]

A GOLD FRAMED PORTRAITMINIATURE, A LOCK OF CHARLESEDWARD STUART’S HAIR AND AJACOBITE SUPPORTS RINGFrom a private collection of Jacobite relics


50

House:An extraordinary

HistoryAn extraordinary


51

THE CONTENTS OF BANTRY HOUSE Forthcoming County Cork, Ireland

Gavin Strang+44 (0)131 557 [email protected]


Bantry House, County Cork, is one of thefinest historic houses in the Republic ofIreland. Lyon & Turnbull are proud to

have been selected to sell the contents of thisextraordinary house.

The history of the house begins in the mid-18thcentury, when a recently built five bay, threestorey house, then called ‘Blackrock’, along withsurrounding lands, was purchased by CounsellorRichard White from the Earl of Anglesey. Thefirst alterations to the house were being madeby White in the 1760s. Richard White and hisson both died in 1776, leaving the latter’s nineyear old eldest son, also Richard, to inherit. InDecember 1796 he was to play a part in Irishhistory when, as a captain of the Bantry cavalry,he organized the local defences and turned hishouse over to the army when a large Frencharmada was sighted in the bay, having sailed tohelp Wolf Tone and the United Irishmen. In theend it was the weather that saw the invasionthreat fail, but “in consideration of the zeal andloyalty he displayed” Richard White was createdBaron Bantry in 1797, later becoming Viscount in1801 and the First Earl of Bantry in 1816.

It was his son, also Richard (1800-1868) andSecond Earl from 1852, who amassed the greatart collection at Bantry which at one point wastermed “the Wallace Collection of Ireland”. AsViscount Berehaven, he travelled extensively

throughout Europe from the 1820s to 1840s,bringing back works of art, furniture andtapestries which he had bought for Bantry. Hewas also responsible for a further enlargementof the house, probably in the 1840s, when thesouthern Library wing was added and theoutstanding Italianate garden beyond, with itshundred steps to a commanding view of the bay.

Although much of his collection has beendispersed over the course of the last century,the house still contains outstanding examples ofthe Second Earl’s good taste: these includeseveral French tapestries with Royalconnections, such as a suite of Aubussons saidto have been commissioned by Louis XV forMarie Antoinette on her engagement to theDauphin. There is also a significant Russianshrine cabinet containing numerous icons,alongside Hispano-Moresque and majolicapottery, Chinese porcelain, Spanish and Germanmetalwares and painted models of fruit fromIndia.

Little changed in the house after the death ofthe Second Earl, childless, in 1868. His brotherWilliam (1801-1884) became the Third Earl,followed by his son, also William (1854-1891).The Fourth Earl again died without children andthe title became extinct. The estate passedthrough his eldest sister, Elizabeth (1847-1880),to her son, Edward Leigh (1876-1920). He

assumed the additional name of White in 1897.It then passed to his eldest daughter, Clodagh(1905-1978), who married Geoffrey Shelswell(1897-1962) in 1926 and they also incorporatedWhite into their name. Their son Egerton (1933-2012) inherited from them, and his daughterSophie now manages the estate.

In 1946, Clodagh made the bold decision toopen the house and its treasures to the public tohelp secure its future and was the first countryhouse owner in the Republic to do so. Now herheirs are making the equally bold move ofselling the contents in order to continue thefuture of the house in the 21st century: "It is awonderful house with an extraordinary history"says Mrs. Shelswell-White. "It has been a verydifficult decision, but also an exciting andstimulating one. The funds from the sale willinject a new energy into the house and also intous, as a family.”

LONDON EXHIBITION

London | Royal Opera Arcade, Pall MallHighlights ExhibitionSeptember 10–12, 2014 | 10am–4pm

The Contents of Bantry House, Ireland


5252

Noteworthy: Auction & Department News

Specialist Talks: The Furniture & Ceramics Collection

at Mertoun HouseFriends of the National Galleries of Scotland were invited to listen to Lyon

& Turnbull’s Fine Furniture & Works of Art specialist, Douglas Girton,speak on the private collection of the Duke and Duchess of Sutherland atMertoun House this July. Douglas led the Friends on an exclusive tour of

property, focusing on Mertoun’s fabulous furniture and ceramic.

A key opportunity for those in attendance to develop a much deeperunderstanding of the collection and its remarkable history.

For further information on becoming a Friend of the NGS [email protected] or +44 (0)131 624 6459

A Rare Silver Charles II PorringerA classic piece of English silver found in the mid to late 17th century, it is unusual tofind porringers such as this still surviving with covers. While not all were originallymade with covers, surviving examples are rare. Made from as early as 1655, theycontinued to be made until 1720. A high-status piece of silver, the decoration of roses,tulips and daffodils were not just a fashion statement but one of social standing, a raredisplay of exotic flowers not common to Britain at the time. This example, made inLondon in 1660 by an unrecorded silversmith only known by his maker’s mark of HNwith a dove holding an olive branch, is in fine condition with the bold decoration lookingas impressive today as it did in the reign of King Charles II. This piece will be offered byLyon & Turnbull in their upcoming Jewellery & Silver auction on October 08, 2014.

SPECIALISTColin Fraser+44 (0) 131 557 [email protected]

William Wilson: Scotland’s Finest Stained Glass ArtistTwo fine stained glass windows by William Wilson RSA (1905–1972), one ofScotland's finest stained glass artists, are to be offered for sale at Lyon & Turnbullon October 29. Wilson started his career as a map maker before serving anapprenticeship with James Ballantine & Son in Edinburgh in 1920 and opened hisown stained glass studio in 1937. During his career, he produced over 300windows for churches, cathedrals and secular buildings all over Scotland,including these examples, installed at the chapel of Convent of St. MaryReparatrice, Elie, in 1959 (now demolished).

SPECIALISTJohn Mackie+44 (0) 131 557 [email protected]

RARE SILVER CHARLES II PORRINGER & COVERLONDON, 1660£2,000-3,000 ($3,200-4,800)To be offered for auction October 08, 2014

WILLIAM WILSON (1905-1972)‘PHOENIX’ AND ‘LOAVES & FISHES’ STAINED GLASS PANEL, CIRCA 1959EACH £3,000-5,000 ($4,800-8,000)


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Photographs & PhotobooksFreeman’s will present their annual Photographs & Photobooks auction onSeptember 16th, including Irving Penn photographs, Sculptor’s Model andCamel Pack, Diane Arbus prints, featuring Masked Woman in Wheelchair, andSally Mann’s Untitled (from Southern Landscapes). Photographs in a range ofprice points and from the entirety of photographic history can also befound, with the earliest period of photography represented with works byWilliam Henry Jackson, Church of San Miguel, Santa Fe, N.M., Francis Frith’s,The Statues of Memnon, Plain of Thebes, thirty prints by early Philadelphiaphotographer Frederick Gutekunst, and cased images of several lots ofdaguerreotypes and ambrotypes. Those interested in mid-centuryphotographers will find lots by Aaron Siskind, Nathan Lerner, Wynn Bullock,Minor White and Paul Caponigro, while the! contemporary portion of theauction features photographs by Joel-Peter Witkin, Sebastiao Salgado, NanGoldin, and a nearly six-foot tall collage by Mike and Doug Starn.

SPECIALISTAimee Pflieger+1 [email protected]

Old Master PaintingsJan Anton Garemyn’s depictions of picturesque landscapes and townscapes made the18th-century Flemish artist highly sought after for public and private commissionsalike. Garemyn’s career coincided with the stylistic shift from Late Baroque classicismto Rococo frivolity. The pair of allegorical paintings, Allegory of Summer and Allegory of

Fall are clearly presented in the light-hearted style of the Rococo—pastoral landscapespopulated by lively putti and rendered in a delicate palette. The iconography for theFall canvas is quite clear, as representations of autumn were invariably associated withthe vine from the 15th-century well into the 18th-century. Summer features puttiplaying the lute and the flute, while yet another records the verse. Representations ofthe seasons were very popular subjects with French and Low Country artists in the18th-century. We are pleased to offer this fine pair of Jan Anton Garemyn paintings inFreeman’s January 27, 2015 auction of European Art & Old Masters.

SPECIALISTDavid Weiss+1 [email protected]

American Furniture, Folk & Decorative ArtsAn inviting and varied array of offerings in Freeman’s November 13thAmerican Furniture, Folk & Decorative Arts sale will span the centuries andshould be difficult for collectors to resist. Highlights will include a pair ofportraits attributed to Zedekiah Belknap (1781-1858), along with an importantWar of 1812 Presentation Sword awarded to “Midshipman John Tayloe of theUSS Frigate CONSTITUTION in action and capture of the British FrigateGUERRIERE.” Highly desirable pottery pieces by the “Mad Potter of Biloxi,”George Ohr, Tiffany glassware and table lamps, Gorham Martelé silver, andother 20th-century design items will be included in the sale as well, and arecertain to receive considerable interest.

SPECIALISTLynda Cain+1 [email protected]

JAN ANTON GAREMYN(FLEMISH 1712-1799)

ALLEGORY OF SUMMER; ALLEGORY OF FALL (1 of 2 shown)$40,000-60,000 (£25,000-37,500)

A RARE SHIRRED RUGWORKED BY MRS. STEPHENSON, EDENTON, VERMONT, CIRCA 1850

$5,000-8,000 (£3,000-5,000)

FRANCIS FRITH(BRITISH 1822-1898)

THE STATUES OF THE PLAIN, THEBES!$8,000-12,000 (£5,000-7,500)


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Noteworthy: Auction & Department News

The Shelanski CollectionBeginning with the September 13th Asian Art auction, Freeman’s is offering propertyfrom the collection of Philadelphia-area doctor and entrepreneur, Morris V.Shelanski. Initially inspired by his wife’s love of classical art and design, Dr. Shelanskibegan acquiring fine paintings, works of decorative art and antique furniture in the1950s. The eclectic assemblage of artworks has been housed in the family’s largeMain Line home and will continue to be presented as a collection this fall indesignated sections of the aforementioned Asian Art sale and subsequent English &Continental Furniture & Decorative Arts auction on October 7th. Select works ofChinese art from the Shelanski Collection date from as early as the 13th-century, butthe family’s Guangxu mark and period vase, which represents the twilight of China’sdynastic era (Lot 60 in the September 13th auction), may take top honors.

SPECIALISTRichard Cervantes+1 [email protected]

Innovative Technology and Deep Sea Time KeepingIn the early to mid-1960’s, a need arose to provide deep sea diving expeditions with areliable timepiece. Although the technology of waterproof watches had improved from theearly days of wristwatch production, there were still additional functions necessary toaccommodate the pressures experienced when diving at greater depths. Many watchmanufacturers tackled this problem and over time, increased the depths that one couldreliably be assured and the ability of a watch to remain waterproof. One of the mostrecognizable of these watches was the Rolex Sea Dweller, commissioned by the Frenchcompany, COMEX. These early watches were made of stainless steel and commonly had ahelium release valve. The logo on the dial came in different varieties with the morecollectible versions using red lettering for the first and/or second lines, and came to beknown as the “single red” or “double red” logo, very desirable amongst collectors inaddition to the rarity of the watch itself.

SPECIALISTMichael Larsen+1 818.205.3608 [email protected]

International SaleFreeman’s forthcoming International Sale in January will include fine traditionalEuropean furniture and decorative arts, as well as works from the Middle East,Turkey, India, Ancient Egypt, and beyond. Objects from the 9th to the 19th-centuryare to be offered, and include Iznik and Kashan pottery, gold and silver inlaidmetalwork, arms and armor, antiquities, miniature paintings and glassware.

SPECIALISTDavid Walker+1 [email protected]

CHINESE GILT DECORATED POWDER BLUE VASE Guangxu six character mark and of the period$5,000-8,000 (£3,000-5,000)

SPECIALISTDavid Walker+1 [email protected]

ROLEXSEA DWELLER,

SINGLE RED$15,000-25,000 (£9,500-15,500)


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Steven Moore | Lyon & TurnbullNorth-East England Representative and British Ceramics & Decorative Arts Specialist

Lyon & Turnbull are delighted to welcome Steven Moore to the team. Steven, well-known from his appearances on the BBC’s Antiques Roadshow, has a wealth of

experience in the art and antiques world. It is this experience, and his specialist knowledge from alifelong interest in British ceramics and decorative arts, that Steven will be bringing to both Lyon &

Turnbull’s Business Development and Specialist teams from his base in Northeast England.

CONTACT+44(0) 7467 953 462

[email protected]

Virginia Salem | Freeman’sVice President and International Jewelry Specialist

Freeman’s welcomes Virginia Salem, GG to the Jewelry & Watches department. As Vice President andinternational jewelry specialist, Virginia will be representing Freeman’s in New York, Boston,Philadelphia, London, and Edinburgh. She has been working with precious stones for decades - fromthe start of her career with luxury retailers Neiman Marcus and E.B. Horn Co. to the auctionmarketplace and her most recent role as director of fine jewelry at Bonhams New York for nine years.She will be traveling internationally to procure jewelry for auction. Virginia is a recognized jewelryauthority and well-known personality, appearing as an appraiser on the PBS television programAntiques Roadshow for more than 15 years. She is a member in good standing of the AmericanAssociation of Appraisers and is USPAP certified.

CONTACT+1 [email protected]

Veronica Renton | Freeman’sAssociate Specialist, English & Continental Furniture & Decorative Arts

Freeman’s is delighted to announce Veronica Renton as our new Associate Specialist in English &Continental Furniture & Decorative Arts department. She also specializes in Russian works of art,Middle Eastern and Islamic works of art. Prior to joining Freeman’s in the summer of 2014, Veronicabegan her career as the gallery manager of a New York city antique showroom specializing in 18th-20th century English and French furniture and lighting. Over the course of four years, she oversawparticipation in antique fairs and showhouses and completed buying trips to France. Following hertenure in New York, Veronica spent six months in Edinburgh evaluating antiques as a volunteer withOxfam. In September 2012 she returned to the Philadelphia area and took a position as the firstspecialist for a new auction house in New Jersey with a focus on Chinese and Asian works of art.Veronica is a wonderful addition to Freeman’s.

CONTACT+1 [email protected]

Noteworthy: Meet the New Specialists


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MAIN LINE – Freeman’s Main Line Evaluation DaysSEPTEMBER TO NOVEMBER - FREEMAN’S MAIN LINE OFFICE

Our goal is to make consigning and buying more convenient for ourclients. With this in mind, Freeman’s Eagle Village location offers clientsrotating exhibitions of upcoming auction highlights, registration forauctions and property pick up for small items; allowing you to stay withinthe comfort and convenience of suburban Philadelphia. Kicking off thisautumn, our specialists are available monthly for complimentaryevaluations and discussions about the consignment process.

Wednesday, September 10 ! |! Fine ArtWednesday, October 8! |! ! Asian Arts! |! Photographs & PhotobooksWednesday, November 12! |! Jewelry & Watches! |! Furniture &Decorative Arts

To make an appointment, please contact Gabrielle Dominique Aruta at +1 610.254.9700 or [email protected]

ABERDEEN – National Trust for Scotland - Haddo House Valuation DaySUNDAY, 14 SEPTEMBER - HADDO HOUSE

Designed by Scottish architect William Adam in 1732, Haddo House nearAberdeen is a magnificent example of an historic Scottish stately home.Originally Palladian in style, the house now has late Victorian interiorsafter a 19th-century refurbishment and is renowned for its stunningdecorated ceilings.

The event will be held in the historic! Canadian Hall,! located in thegrounds of! Haddo Hall, between the hours of 10.30am to 4pm, and allare welcome. The cost will be £5, which will cover two valuations. Allfunds raised will be! go to support the work of the National Trust forScotland.

MASSACHUSETTS - "What's It Worth?" Appraisal at Castle HillTUESDAY, SEPTEMBER 30 - CASTLE HILL, IPSWICH, MA

They say “a picture is worth a thousand words,” but is it worth $1,000 or$10,000? Freeman’s has the answer, whether it is fine art, antiques orjewelry. On September 30th, Freeman’s New England representative,Kelly Wright, is delighted to once again host an onsite appraisal andlecture event at Castle Hill, the Crane Estate in Ipswich, Massachusetts.Purchased in 1910 by Richard T. Crane, Jr., in the following decades itcame to exemplify the “American Country Place Era” with its farm andestate buildings, designed grounds and gardens, and diverse naturalareas. The Trustees of the Reservation partners with the experts ofAmerica’s oldest auction house for this free appraisal day from 1pm to5pm.

For more information visit www.thetrustees.org or email Kelly Wright [email protected]

ABERDEEN – Asian Art, Silver, Jewellery & Coins Valuation DaySUNDAY, 21 SEPTEMBER – ABERDEEN HILTON TREE TOPS HOTEL

INVERNESS – Asian Art, Silver, Jewellery & Coins Valuation DaySUNDAY, 12 OCTOBER - GLEN MHOR HOTEL, INVERNESS

Lyon & Turnbull specialists in Asian Art, Silver, Jewellery in conjunctionwith Dix Noonan Webb leading coin, medal and banknote auctioneers willbe on hand to offer complimentary valuations between 10am (11amInverness) and 4pm.!

For more information please call +44 (0)131 557 8844 or [email protected]

EDINBURGH – Asian Art Events with the National Museums of ScotlandSUNDAY, 28 SEPTEMBER - LYON & TURNBULL, EDINBURGH

To celebrate the extraordinary Ming exhibition at National Museums ofScotland, Lyon & Turnbull are teaming up with the museum to host aday-long programme of talks on Asian art. The event is open to anyonewho has an interest in this area of collecting, and throughout the dayvaluations appointments are available for those looking for an appraisalof their own collections. For more information please call +44 (0)131 5578844 or email [email protected]

BIGGAR - Antiques Uncovered Valuation Day at Biggar Little Festival 2014SATURDAY, 18 OCTOBER - BIGGAR

Lyon & Turnbull will be hosting a valuation day at the Biggar Little Festivalon Saturday 18th October. Everyone is invited to hunt in the attic and bringalong their family heirlooms to see if they hold any hidden treasures!

Part of the Biggar Little Festival 2014, October 16 to 26 www.biggar-little-festival.com

GLASGOW - National Trust for Scotland: Valuing the Past at Pollok HouseSUNDAY, 19 OCTOBER - POLLOK HOUSE, GLASGOW

Dust off that hidden treasure in the attic, or family heirloom and bring italong for a professional appraisal as experts from Lyon & Turnbull, centralScotland’s premiere auction house, will be on hand throughout the day tovalue your collections, curiosities and antiques. All money raised from theday will go towards supporting the Trust’s educational work at Pollok House.

For more information visit! www.nts.org.uk/Site/Fundraising-events/valuingthepast

STIRLING – Friends of the Smith Museum Fundraising Valuation DaySATURDAY, 25 OCTOBER – SMITH ART GALLERY & MUSEUM, STIRLING

The latest in a series of popular and enjoyable Valuation Days, kindlyheld on behalf of the Friends of the Smith Art Gallery by Lyon & Turnbull,will take place at The Smith Art Gallery & Museum, Dumbarton Road,Stirling, FK8 2RQ, from! 11am until! 3pm. The Smith opens at 10.30, socome along then and purchase your ticket (£3 per item to a maximum of3 items). Tickets will be numbered and bearers seen in rotation.

ELGIN – Valuation Day for Elgin Museum SATURDAY, 01 NOVEMBER, ELGIN MUSEUM, ELGIN

Scotland’s oldest independent museum will be hosting a Valuation Dayto raise funds for the museum’s continuing work and development.Specialists will be on hand to value all a range of art and antiques.

For further info visit - www.elginmuseum.co.uk

FLORIDA – Freeman’s Winter TourFEBRUARY 10-20, 2015 - PALM BEACH COUNTY

A region with a rich architectural and cultural heritage, Palm Beachbecomes an international art and antiques marketplace in the wintermonths. Freeman’s will be on the social calendar when our team ofspecialists make their annual pilgrimage to the Gold Coast on February10-20, 2015. Whether you are seeking advice on growing your collectionor values for a single object, our fine art, antiques and jewelry specialistsare at your service. To make a complimentary and confidentialappointment, please contact Samuel H. Cooper at +1 267.414.1217 [email protected].

Consignment/Valuation Events Near You


LouvreAmerican Friends

of the

Historically andculturally, the tiesthat have allied the

United State and France overthe centuries remain to this dayin ways large and small. Fromthe Marquis de Lafayette’sincalculable assistance toGeorge Washington during ourRevolutionary War, to theLouvre’s loan of the Mona Lisa

at the behest of JacquelineBouvier Kennedy in early 1963,and to Freeman’s offering thisfall of candelabra attributed toClaude Galle—a gift by JosephBonaparte to a prominentPhiladelphia family— the bondendures.

The iconic sculpture Winged Victory of Samothrace during conservation with Anne Maigret ©Valérie Coudin


Today, the Louvre has strengthened its ties withour country through the American Friends of theLouvre, founded in 2002. With the appointmentof Christopher Forbes as Chairman, it opened itsNew York City headquarters in 2004. Recently,Tara Theune Davis, Freeman’s Senior VicePresident, discussed with Executive Director, SueDevine, the AFL’s activities and triumphs on thetenth anniversary of the opening of its office.

Tara Theune Davis: What is the mission of theAmerican Friends of the Louvre?

Sue Devine: The mission of AFL is to promotethe Louvre and its incredible artistic and historictreasures in the U.S. and beyond, and to raisefunds to help it further its mission as a globalmuseum.

Of the many accomplishments achieved by theAFL, which one are you most proud?

I am proud that we have secured importantfunding for projects in each of the Louvre’s eightcuratorial departments, for its contemporary artprogram, its education programs, and itsAuditorium.

The AFL recently completed its $4 millionpledge to help restore the Louvre’s 18th -century decorative arts galleries. Describe thesignificance of this project and the efforts takento restore it.

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Last October, AFL members had the opportunityto learn more about the Tuileries Garden at alecture by Paula Deitz. Why was this topicselected?

Many people may not be aware that the Louvrehas been responsible for the management of theTuileries Gardens since 2005. André le Nôtredesigned the garden for Louis the XIV in the17th-century and it is recognized today as one ofthe most iconic masterpieces of garden design inexistence. The Louvre organized the travellingexhibition, The Art of the Louvre’s Tuileries Gardens,which began its U.S. tour at the High Museum ofArt in Atlanta last fall, continuing on to theToledo Museum of Art, and Portland ArtMuseum. Garden expert Paula Deitz contributedto the catalogue and presented a moving tributein words and images illustrating her personalpassion for the Tuileries.

Does the AFL have initiatives that encourageyoung people to participate in its conservationand preservation efforts?

In 2007 the AFL organized the Young Patron’sCircle. This membership group targets peoplefrom ages 25-40 who support the mission andgoals of AFL. During the year, members areinvited to intimate programs ranging from visitsto private collections and artists’ studios. Theyalso have the opportunity to participate in arttrips to destinations such as Philadelphia, wherethey were hosted by Freeman’s, and also to Paris.Each year the group holds a fundraising galabenefiting AFL attended by 150 youngprofessionals to raise funds and awareness of theorganization. This year’s event celebrated therestoration of the Louvre’s iconic WingedVictory.

The Louvre holds arguably the best collection ofFrench 18th-century decorative art and furniturein the world. Its galleries for the decorative artswere closed in 2005 for extensive updating andrenovations and just re-opened to the public onJune 6th to much critical acclaim. AFL was proudto be one of the major sponsors of this project.Our fundraising efforts supported the restorationof the salon from the Hôtel de Villmaré-Dangé,one of the period rooms featured in the galleries,the restoration of a cupola by Antoine-FrançoisCallet, and the English edition of the collectioncatalogue.

The AFL has also been instrumental in securingfunding to protect the Louvre’s collection ofpastel drawings. What other conservation andpreservation campaigns are the AFL currentlysupporting?

We are continuing to raise funds for theconservation of the pastel collection and havefound that individuals find it very fulfilling to“adopt a pastel” through a contribution of$3,000. One donor adopted a pastel for each ofher grandchildren. Donors’ names will bepermanently linked to the individual drawings.We have also made a commitment of $1.2million toward the restoration of the Louvre’sEtruscan and Roman galleries. This will involveconservation work and stabilization of manyartifacts and works of art.

Where did AFL hold its annual gala this yearand why was that city selected?

AFL held its annual fundraising dinner in PalmBeach last February at a private residence. Thisis the second time we have held a fundraiserthere. Not only do some of our members havewinter homes in Palm Beach, but the communityitself has many art lovers, Francophiles andphilanthropists. We also drew people from theMiami area where two of our board membersreside. AFL has organized fundraising dinners inHouston, New York, and Los Angeles, as well asthree highly successful Liaisons au Louvre galasat the Louvre in Paris, the brainchild of our ViceChairman, Becca Cason Thrash. Liaisons au Louvre guests Becca Cason Thrash, Ambassador

Charles V Rivkin and Susan M. Tolson

Exterior of the Louvre at night © S. Olivier

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Tom Quick, Sue Devine and Michel Witmerwith Michael Donnell and Gigi Benson at

the AFL Palm Beach Gala!

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While I am confident in my guess of yourfavorite museum in France, can you indulge uswith your favorite museum in America?

The Neue Galerie in New York is a personalfavorite of mine because of the historical periodin European art upon which its collection andexhibitions are focused, the high quality of itsexhibition program, the ambience of its setting,and its wonderful restaurant and shop.

What do you like most about your job?

The opportunity of working closely withcommitted board members and donors fromaround the U.S. and the world who haveexpanded my horizons and enriched my life.

For more information on American Friends of the Louvre, please visit www.aflouvre.org

Historic photo of the Hôtel de Villemaré-Dangépanels before restoration

View of the newly restored Hôtel de Villemaré-Dangé panels ©

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American Impressionism in Europe

The concept of self-determination and! the! freedom! to choose one’s! own path in life have! been vital components! of Americanidentity.! Immigrants arrived in! the United States,! often! devised! or fashioned new lives for themselves,! prospered, and frequentlycontributed to! the creation of! meaningful! and lasting cultural legacies.! With the exhibition,! American Impressionism: A New

Vision,! at! Edinburgh’s Scottish National Gallery! of Modern Art, the evolution! of! European! Impressionism! and the generosity and legacy! of! oneAmerican! with! the! single-minded objective! of! bringing! American art to the world! and the world to American art,! come together! beautifully. ! Acollaborative effort between! the Terra Foundation for American Art,! and the Musée des Impressionnismes Giverny,! it! is! an exhibition that, formany, will be a revelation.

Mary Cassatt | Summertime | 1894 [Detail] | Oil on canvas, 100.6 x 81.3 cmTerra Foundation for American Art, Chicago, Daniel J. Terra Collection, 1988.25

© Terra Foundation for American Art


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Philadelphia-born! and first generation Italian-American Daniel J. Terra (1911-1996) believedthat the art of the United States was a vibrantand powerful expression of our nation’s historyand identity.! A! businessman, ambassador-at-large during the Reagan administration,! and artcollector,! Terra! also believed thatengagement! with original works of art could bea! transformative experience.He! worked! throughout his! lifetime! to share! hiscollection of American art! through the TerraMuseum of American Art,! and later through theMusée d´Art Américain Giverny, bothoperating! under the auspices of the TerraFoundation.

The Terra Museum! of American Art opened in1980 in Evanston, Illinois, with a! collection of 50paintings which soon grew to encompasshundreds of works. Moving to downtownChicago in 1987,! and expanding its reach toEurope in 1992! with the! opening of the Muséed’Art Américain Giverny! in France, themuseum! showcased the collection’s AmericanImpressionist works and a range of Americanartists and topics with a transatlantic focus.! By

the mid-1990s,! the Terra Foundation decided touse its resources to support exhibitions andprograms beyond those at the museums itoperated, closing the Terra Museum ofAmerican Art in 2004 and transitioning! theMusée d´Art Américain Giverny in 2009.

The! Foundation inaugurated an expanded grantprogram in 2005, supporting American artexhibitions, scholarship, and educationprograms worldwide. A fully-staffed resourcecenter and research library opened in 2009,dedicated to serving scholars,! curators, and thegeneral public.

American Impressionism: A New Vision! explores

American art.! It will also feature the work of anumber of significant artists who are probablybetter known to American! audiences,such! as! Theodore! Robinson, Childe Hassam,William Merritt Chase, Edmund Tarbell,! andJohn Twachtman. Paintings by! major Frenchartists Claude Monet, Berthe Morisot, and EdgarDegas will demonstrate how closely theImpressionists worked with their Americancolleagues.

According to Bourguignon, “This exhibition isthe result of an extraordinary collaborationamong institutions and individuals in fourcountries on both sides of the Atlantic. We

the impact of French Impressionism onAmerican artists in the late nineteenth centuryand brings! together nearly 80 paintings by someof America’s most celebrated artists, such asJames McNeill Whistler, John Singer Sargentand Mary Cassatt. Co-curated! by the ScottishNational Gallery! Senior Curator Frances Fowleand Terra Foundation Curator KatherineBourguignon ,! the exhibition imbues a freshperspective on a sometimes! overlooked! genre of

curated the exhibition with European audiencesin mind and set a goal of presenting Americanart of the highest quality. I knew that audiencesin France, the United Kingdom and Spain wouldbe unfamiliar with most of the artists selectedand that it would take truly great paintings toattract attention and garner appreciation. Sunnylandscapes by Chase and mystical snow scenesby Twachtman, for example, have been a realrevelation for visitors.

Edmund C. Tarbell | Three Sisters – A Study in June Sunlight | 1890 [Detail] | Oil on canvas, 89.2 x 101.9 cm | Milwaukee Art Museum, Milwaukee, Wisconsin, Gift of Mrs. Montgomery Sears, M1925.1

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By! the 1900s, word got out that this radical newgeneration of French artists and other Paris-based painters were on to something,! and amini-school of American artists took note. “TheFrench are very resistant to the idea of therebeing any kind of Impressionism but French,”says Fowle, but this exhibition provesotherwise.! Some of the artists, such as Cassatt,Sargent, and Whistler! lived in Paris andbefriended their counterparts including Degas,Morisot,! and Monet. Others trained in Franceand followed in Monet’s footsteps to the artists’colony in Giverny. The influence spread to otherartists who absorbed the movement’s newtechniques and gave them more of an! Americanflavor. Back in the United States,! however, thecritics were suspicious of this new Europeanwave. They accused the new generation ofbeing! “too French”! and instructed them tochoose more American subjects.

This exhibition! covers the two formativedecades from 1880. Along with a few examplesof French Impressionist paintings, such asMonet’s! Haystacks: Snow Effect,! it issurprisingly! unfamiliar.! It! is divided into twosections: the first looks at the American artistswho came to Europe, in particular Cassatt, whoexhibited alongside the Impressionists and wasconsidered as a bona fide Impressionist in herown right. The second section looks at artists

who brought the ideas back home, such asSargent, who is best known as a portrait painterand sometimes overlooked as a landscape artist,and Childe Hassam, who is known more for hisAmerican work than his French.

Fowle says the Americans were sometimesmore conservative than their French colleaguesbut, in their own terms, they were redefiningAmerican art. “The subjects they address aresimilar to Impressionist subjects, but theyare,! for example, of a Brooklyn park,! or the greenspaces and boulevards that were being createdas the cities were built for the! rising middle-class population.! The pictures are actuallytopical. Art historians have revisited FrenchImpressionism and given it this politicalunderpinning and no one’s really done it for theAmericans yet, but it is possible to do. Theirwork doesn’t seem as radical to us, but in theAmerican context it was.”

The bond! between the United States andScotland is long-standing,! with Scots! settlinghere! since the earliest Colonial days.! Thenumber of! Americans! who share! some! ofthis! heritage is enormous; at least! elevenpresidents were of Scottish! ancestry.! So, it isespecially significant that! Scotsman, AlasdairNichol, Freeman’s Vice Chairman and Headof! Fine Arts, will give a special! lecture! this

fall! at! Lyon & Turnbull in Edinburgh onPennsylvania’s Impressionists such as EdwardRedfield, Daniel Garber, Walter Baum and JohnFulton Follinsbee, among others. Centered inand! around New Hope, Bucks County,! nearPhiladelphia! earlier in the last century, theywere! prominent! artists of the genre.!

Mr. Nichol shared, "The United States producedmany exceptional painters in the late 19th andearly 20th-century and yet, unfortunately, theyremain relatively unknown on the world stage.This is largely attributable to the fact that themarket for American art remains very muchwithin its own borders—a similar situationexists in Scotland, albeit on a substantiallydifferent scale. Of course, artists from bothcountries were heavily indebted to theoriginators of Impressionism in France, but thebest of them succeeded in capturing within theirwork the unique character of their respectivenations making it at once distinctive andsignificant.! As a Scot now living in the States, Iam delighted that my home city of Edinburgh ishosting an exhibition that I hope will do much toraise awareness of those American artistswhose work, I believe, is deserving of greaterrecognition." During its first venue at the Muséedes Impressionnismes Giverny this past spring,the exhibition welcomed more than 100,000visitors in three months. It will travel to theMuseo Thyssen-Bornemisza in Madrid afterclosing in Edinburgh on October 19.

Also noteworthy is the! fact that! interestand! exploration of American art by Europeanmuseums is growing. Recently,! London’sNational Gallery acquired its first Americanpainting,! the 1912! Men of the Docks by GeorgeBellows,! for over $25 million.

From Europe to America and back again, withphilanthropy helping to create! newopportunities to! re-examine! preconceived ideasof! art and its interpretation, the TerraFoundation! and the Scottish National Gallery ofModern Art! are! joining hands to take a! freshlook at American Impressionism throughEuropean eyes.! The art! and artists of the OldWorld and the New are connected! once again.

For more information about the exhibition, visitwww.nationalgalleries.org

Mary CassattChildren Playing on the Beach

1884 [Detail] | Oil on canvas, 97.4 x 74.2 cmNational Gallery of Art, Washington D.C., Ailsa Mellon Bruce Collection, 1970.17.19

© National Gallery of Art

A visitor to The Scottish National Gallery of Modern Art contemplating Cassatt


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Freeman’s is pleased to beshowcasing highlights from theupcoming American Art &Pennsylvania Impressionists salein Scotland at Lyon & Turnbull.The exhibition includes a speciallecture by Alasdair Nichol.

Lyon & Turnbull, Edinburgh Highlights ExhibitionSeptember 20-23, 2014Lecture & ReceptionSeptember 22, 2014Lindsey Michie +44 (0)131 557 [email protected]

Freeman’s, Philadelphia ExhibitionDecember 04-06, 2014AuctionDecember 07, 2014Alasdair Nichol +1 [email protected]


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The Ming dynasty (1368-1644) proved to be aremarkably stable and prosperous period inChinese history in which both culture and the

economy flourished dramatically, and society changedsignificantly. Paper money, the meritocratic examinationsystem, bureaucratic administration, urbanisation,extensive use of printing, and market basedcommercialisation are just a few of the aspects of the Mingwhich combine to create an impression of Ming life asbeing curiously modern. The current exhibition at theNational Museum of Scotland, Ming: The Golden Empire

(open until 19 October), a loan exhibition from the NanjingMuseum, allows visitors to explore some of these definingaspects of the Ming.

Ming: The Golden Empire features 120 objects from theNanjing Museum and an additional 25 objects which havebeen added from National Museums Scotland’s collection.Included among the Nanjing objects are 22 NationalTreasures, objects which have been judged to be ofexceptional cultural value or uniqueness. Among theseNational Treasures is the wonderful Buddhist reliquaryexcavated in 1966 from a stone chamber below theHongjue Temple south of Nanjing, which was built in themid-15th century. The reclining Buddha at the frontrepresents the Mahaparinirvana or Great Death of BuddhaShakyamuni, the historical Buddha. Inscriptions on thestupa identify it as having been a gift from the influentialimperial eunuch Li Tong (d. 1453) who served with theYongle (r. 1403-1424) and Xuande (r. 1426-1435) emperorson military campaigns, and was later appointed Director ofImperial Accoutrements (Yuyongjian taijian). Theinscription names him as Li Fushan, which was his Buddhistname. The stupa illustrates the influence of TibetanBuddhism on early Ming Buddhist art. Tibetan Buddhismhad been the state religion of China under the Mongolrulers of the Yuan dynasty (1279-1368), and TibetanBuddhism had continued to be patronized by a number ofMing emperors, most notably the Yongle emperor (r. 1403-1424).

The 276 years of the Ming paralleled the EuropeanRenaissance of the 14th to 17th centuries, and in a similarmanner to that of the Renaissance, which was marked bycultural and intellectual engagement with classicalantiquity and tradition, the Ming was a period of significantengagement with China's own past. We encounter this insome of the fine examples of literati painting in theexhibition, most notably in several works by leadingpainters of the mid-Ming Wu school, so named after theancient name for the region surrounding Suzhou fromwhich its painters came. The Wu school, which became thestandard for 16th-century literati painting, was a revival ofYuan dynasty literati painting. Shen Zhou (1427-1509) isconsidered the founder of the Wu school which mightloosely be characterised as featuring monochrome inklandscapes inspired by poetry, painted with calligraphicbrushstrokes. A 1491 painting by Shen Zhou which featuresin the exhibition entitled Idly Fishing on an Autumn Riverexemplifies much that is characteristic of Wu schoolpainting. The subject, boating in the riverine landscape ofthe Jiangnan region around the Yangzi delta, evoked theliterati ideal of retreat from a busy and onerous political orofficial life to natural or mountainous settings.

The preceding dynasty, the Yuan, had been foreign Mongolruled, and Mongol culture had been privileged over that ofnative Chinese culture. The Ming, which was to be the lastnatively ruled Han Chinese dynasty, was a period ofreassertion and restoration of Chinese culture, and oflooking back to the Song (960-1279) and Tang (618-907)dynasties, though the Ming also inherited much from theMongol Yuan. Significant changes occurred in Ming societyover the 276 years of the dynasty, and some of thesechanges are described in the exhibition. Among them waseconomic change which saw the largely agrarian 14thcentury Ming economy having become both moremercantile, and much more heavily monetised by the 16thcentury. Greater affluence and fast expanding urbanpopulations in the 16th century created a culture ofconspicuous consumption. In combination with this newaffluent consumerism, discrimination and taste became

MINGGolden

The EMPIRE

Ming: The Golden Empire is on at the National Museum of Scotland in Chambers Street, Edinburgh, until 19October 2014. For more information and bookings, call 0300 123 6789 or visit www.nms.ac.uk/ming. Theexhibition has been produced by Nomad Exhibitions in association with Nanjing Museum. The exhibition issponsored by Baillie Gifford Investment Managers.


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type of blue and white ware produced mainlyfor export at privately-owned kilns inJingdezhen between 1550 and 1650.Characteristic features of Kraak ware includeradiating panels with naturalistic motifs, busydecoration, plentiful use of underglaze blue,and thin bodies with rims prone to chipping.Kraak became the first Chinese exportporcelain to reach Europe in quantity, where itproved enormously popular. An interestingexample of Kraak which features in theexhibition is a plate salvaged from a wreckfound in 2005 off the coast of Malaysia knownas the "Wanli Shipwreck." The ship wasEuropean, probably Portuguese, and sankaround 1625 with a cargo of 37,000 Mingceramics on board, after being attacked by aDutch ship.

While the exhibition can only touch briefly on afew aspects of the rich and complex world ofthe Ming, I hope it will leave visitors intriguedand curious about a fascinating andexceptional period in China's long history, onewhich has left a rich legacy on both China andthe world.

Kevin McLoughlinPrincipal Curator, East & Central AsiaNational Museums Scotland

much more evident in several ways. Numerousbooks and guides on taste, connoisseurship,and etiquette were published for those unsureof or new to such matters. By the late Mingperiod, specialist craftsman also began to signtheir works, in order to distinguish their works,in effect creating brand names. We see this ina type of bronze flower vase in the exhibitionsigned by a famous late Ming bronzecraftsman named Hu Wenming (late 16thcentury). The flower vase takes the same formas a zun, an ancient Chinese bronze ritualvessel used for serving wine. It features gildedrelief decoration of mask designs found onearly Chinese bronzes in a consciously archaicstyle.

By the 16th and 17th centuries, Ming China hadbecome the wealthiest and most populousnation on earth with huge demand in Europe,Southeast Asia, the Middle East and elsewherefor its goods and products. When Portuguese,then Spanish, and Dutch traders began tradingin East Asia in the late 16th and 17th centuries,they sought Chinese luxury goods such aslacquerware, textiles and silk, and in particularporcelain. This was the first period of

prolonged contact betweenEurope and China, and it

was to leave a deepimpression on

both. Porcelain is ofcourse a Chinese

invention andporcelain production during the

Ming reached new heights oftechnical perfection. Evidence of

this can be seen in some of thefine imperial wares on displayin the exhibition. However, itwas a relatively poor qualityblue and white ceramic, latertermed Kraak, a cheap, massexport ware, which first made abig impact in early 17thcentury Europe. Kraak isthe Dutch term for this

Images © Nanjing Museum / Nomad Exhibitions

IDLY FISHING ON AN AUTUMN RIVERBy Shen Zhou (1427-1509) Hanging scroll, ink on paperHongzhi reign (1488-1505), 1491

BUDDHIST RELIQUARY FROM THE HONGJUE TEMPLEGilt bronze, stone and porcelain with underglaze blue decorationZhengtong reign (1436-1449)

KRAAK WARE PLATE WITH UNDERGLAZE BLUE DECORATIONPorcelain with underglaze blue decoration of deer and floral motifsWanli reign (1573-1620)


We are however a creative and resilient community. As such we aredetermined to ensure that although the clocks may have stopped on23rd! May, our ambitious vision for the School will not, and we willapproach the task of raising the £20m that we anticipate will be required

with dynamism and innovation.The Mackintosh Appeal will helpus recover from this catastrophicevent, and allow us to continueour internationally significantcontribution to education andresearch in Art, Design andArchitecture.

We recognise and are grateful tohave the support and goodwishes of many individuals andorganisations at home andaround the world who are willingto play their part, and all donorswill be permanently recognisedon a Mackintosh Appeal DonorBoard located within the

Mackintosh building. For more information on the Appeal and other waysto help the School, please visit our website at! www.gsa.ac.uk/support-gsa/the-mackintosh-appeal

Alan Horn Director of Development, The Glasgow School of Art Development Trust

At 3.50pm on Friday 23rd! May 2014, the clocks in the studios ofthe Mackintosh Building at The Glasgow School of Art stopped.A potentially catastrophic fire engulfed the east of the building

and although everyone was safe, our staff, students and well-wishersaround the world watched inshock and sorrow at theprospect of losing the buildingthat is the heart of ourcampus.

Thanks to the decisive andintelligent actions of the fireservice, this iconic buildingwas defended with skill andextraordinary bravery, and asthe smoke cleared, it becameapparent that all was not lost.

Damage however is extensiveand we have lost somearchitectural treasures – inparticular the world-famousMackintosh Library, in additionto numerous artworks and pieces of Mackintosh furniture. Not all of ourlosses are physical. Our grief at the loss of these architectural and artisticgems is compounded by the extensive loss of student and staff works,and by the inevitable disruption that will impact on the whole GSAcommunity for years to come.

It is not in our nature to submit tomisfortune and adversity – instead

we choose to overcome them withcreativity, passion and strength

MACKINTOSHThe

Appeal

GLASGOW SCHOOL OF ARTTHE MACKINTOSH BUILDING

©mcateer photograph


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Happening Near YouHorst: Photographer of Style UNTIL JANUARY 04, 2015, VICTORIA & ALBERT MUSEUM, LONDON

This autumn, the V&A will present the definitive retrospective exhibition of the work of master photographerHorst P. Horst (1906-1999)—one of the leading photographers of the 20th century. In his illustrious 60-yearcareer, German-born Horst worked predominantly in Paris and New York, and creatively traversed the worldsof photography, art, fashion, design, theatre and high society. Horst: Photographer of Style will display 250photographs, alongside haute couture garments, magazines, film footage and ephemera. www.vam.ac

Victoria Morton, Dirty Burning (1997)

Goya: Order and DisorderOCTOBER 12, 2014 - JANUARY 19, 2015, MUSEUM OF FINE ARTS, BOSTON MA

With loans from New York, Washington, DC, Spain and all over Europe, this fall TheMuseum of Fine Arts, Boston, will exhibit a large body of work from Spanish master,Francisco Goya. Displaying paintings, drawings and prints that represent the prolificartist’s full career, Goya: Order and Disorder, will run from October 2014, through January, 2015. The museum will present over 160 of Goya’s works, according to the MFA’s website, making it the largestretrospective of his art in twenty-five years. In addition, works will not be in chronological order, but ratherarranged into “eight categories highlighting the significant themes that captured Goya’s attention andimagination.” The museum will suggest new approaches to viewing his works via a publication that will bepresented along with the exhibit. www.mfa.org

GENERATION: 25 Years of Contemporary Art in Scotland UNTIL MARCH 2015, ACROSS SCOTLAND

GENERATION is a major, nation-wide exhibition programme showcasing some of thebest and most significant artists to have emerged from Scotland over the last 25 years.The programme traces the developments in art in Scotland since 1989. It shows the generation ofideas, of experiences, and of world-class art on an unparalleled scale by over 100 artists in morethan 60 venues. GENERATION is delivered as a partnership between the National Galleries of Scotland,Glasgow Life and Creative Scotland and is part of Culture 2014, the Glasgow 2014 Cultural Programme.www.generationartscotland.org

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Madresfield, Staircase Hall Court

The Royal Oak Foundation LecturesSEPTEMBER - NOVEMBER, 2014, PHILADELPHIA, BOSTON, WASHINGTON DC, LA JOLLA, LOS ANGELES

The United States and Britain share a rich cultural heritage that Freeman’s is proud to recognize through itssponsorship of the Royal Oak Foundation, which frequently presents educational lectures across manymajor U.S. cities. This fall, enjoy interesting lectures such as At Home with Jane Austen; The Drawing Room:

English Country House Decoration; The Lost World of Bletchley Park; Westminster Abbey-For Ever New, andothers. We hope you will join us for another exciting season. www.royal-oak.org


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Happening Near You

Postcards 2014: Small Art for Big ProjectsNOVEMBER 06-08, 2014, LYON & TURNBULL, EDINBURGH

Once again, Lyon & Turnbull will kindly play host to the Sick Kids Friends Foundation’s biennial artexhibition, Postcards 2014: Small Art for Big Projects. This prestigious event, sponsored by Lindsays,will encompass around 150 specially commissioned artworks, generously donated by distinguishedartists from across Scotland and further afield.! Each original piece or ‘Postcard’ will be displayedanonymously and will go on sale at a fixed price—with the identity of the artist only being revealedupon purchase. Postcards 2012 raised almost £50,000 and assisted the Sick Kids Friends Foundationwith funding their ongoing Artists in Residence programme.! www.edinburghsickkids.org

Forbidden City: Imperial Treasures from the Palace Museum, BeijingOCTOBER 18, 2014- JANUARY 11, 2015, VIRGINIA MUSEUM OF FINE ARTS, RICHMOND, VA

Explore diverse aspects of imperial life within the walls of a Beijing palace that functioned through the Mingand Qing Dynasties (1368-1911) by viewing a range of fine and decorative arts objects that come to theVirginia Museum of Fine Arts this fall directly from the Palace Museum in Beijing. Entitled Forbidden City:

Imperial Treasures from the Palace Museum, Beijing, the exhibit was orchestrated by VMFA East Asian ArtCurator, Li Jian, and promoted through an ongoing partnership between the VMFA and the Palace Museum inChina, and will continue through 2016. Highlights of Forbidden City will include: large portraits, costumes,furniture, court paintings, religious sculptures, and fine decorative arts such as bronzes, lacquer ware, and jade.www.vmfa.museum

Forbidden Games: Surrealist and Modernist PhotographyOCTOBER 19, 2014 - JANUARY 11, 2015, THE CLEVELAND MUSEUM OF ART, CLEVELAND, OHIO

Displaying a compilation of 167 Surrealist photographs from the 1920s to 1940s, The Cleveland Museumof Art presents the exhibition, Forbidden Games: Surrealist and Modernist Photography. The collection,bought by the Cleveland Museum in 2007, is one of the most important 20th-century collections ofSurrealist photography to come from private hands. The range of content spans many different nationsand represents both barely-known artists and famous and notable photographers, such as French artistPablo Picasso’s lover, Dora Maar. Collected by New Yorker David Raymond, the photographs featurevarious artistic approaches, and, according to Cleveland’s website, are all “true to the spirit of AndréBreton,” who championed Surrealism. www.clevelandart.org

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Photo Eye (Foto-Auge) [Detail] 1927

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Emperor’s seal with dragon icon

PAFA Benefit AuctionOCTOBER 18, 2014 PENNSYLVANIA ACADEMY OF THE FINE ARTS, PHILADELPHIA

PAFA is hosting its Second Annual Benefit Auction to raise funds to support the School andMuseum, and to celebrate the work of its outstanding faculty and alumni. David Weiss,Freeman’s Senior Vice President, will preside over the auction. The works will be on viewOctober 17 & 18 in the Annenberg Gallery. Admission to the auction is free. Admission topreview the work is included in museum admission. For more details about the event and toregister, please visit www.pafa.org/benefitauction


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Happening Near You

Scottish Ballet: Peter Darrell’s The NutcrackerDECEMBER 13, 2014 TO FEBRUARY 14, 2015, THEATRES ACROSS SCOTLAND

Lovingly recreated for audiences, Scottish Ballet proudly presents Peter Darrell’s The Nutcracker,touring winter 2014/15. The magical world of The Nutcracker has been reimagined by Olivier Awardwinning designer Lez Brotherston, adding sumptuous layers of plush Victoriana and traditional festivefare to the original 1973 production. Scottish Ballet will be touring the show across Scotland fromDecember, ending in Newcastle in February. Lyon & Turnbull are proud to host a private preview ofthe production in late November. Highlights of the upcoming Select Jewellery & Watches auctionwill be modelled by the dancers—it is set to be a truly sparkling event! www.scottishballet.co.uk

Enchanted Castles and Noble KnightsNOVEMBER 28, 2014 TO JANUARY 4, 2015, BRANDYWINE RIVER MUSEUM OF ART, PENNSYLVANIA

Spark your imagination with Enchanted Castles and Noble Knights this fall and winter at the Brandywine RiverMuseum of Art. The exhibit of drawings and paintings from America’s Golden Age of Illustration (1880-1930)

reflects a time when stories of knightly chivalry and romance, adventures and dangerous quests, such as thoseof King Arthur, inspired artists like Howard Pyle and N.C. Wyeth to create their well-known works. Visitors willexperience content from both private collections and from the Brandywine’s owncollection, and view works by additional artists and book illustrators of the time, such asWalter Crane, Louis Rhead, and Elizabeth Shippen Green, among others.www.brandywinemuseum.org

Glasgow Art Club: Gallery Reopening & Exhibition NOVEMBER 23 TO DECEMBER 20, 2014, GLASGOW

This November the magnificent Glasgow Art Club Gallery, once described by the late art historian Sir KennethClark as, "one of the most perfect small galleries in Europe" will throw open its doors to the public following anextensive programme of refurbishment and restoration. The Gallery will be opened by Lord Macfarlane ofBearsden on the November 22, 2014. To coincide with the reopening Glasgow Art Club will mount a majorexhibition featuring the work of Glasgow Art Club members, past and present. www.glasgowartclub.com

RSA Sir William Gillies Bequest Lecture 2014 : ‘The Fleming Collection’NOVEMBER 20, 2014, NATIONAL GALLERIES COMPLEX, EDINBURGH

Selina Skipwith, Director of The Fleming Collection, will give an illustrated history of the Collection which is widelyregarded as one of the finest of Scottish art in private hands and today plays a pivotal ambassadorial role inpromoting Scottish Art to London and beyond.! Inviting prominent UK and international figures to discuss a rangeof cultural topics, this series of annual lectures was initiated by the Academy in 1978 and is supported by the RSASir William Gillies Bequest.

Complimentary Tickets:! [email protected] www.royalscottishacademy.org

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It is quite unusual for art and tax to bedirectly linked, so the recent tax caseinvolving the tax implications of the sale by

the estate of Lord Howard of the Reynold’spainting of Omai is a must for this column.

By way of background the painting, the Portrait

of Omai by Sir Joshua Reynolds hung in thestately home Castle Howard for over 200 years.The full length portrait is of a young Tahitiancalled Omai, who was only the second PacificIslander to visit Europe when he travelled toEngland in October 1774 after being discoveredduring Captain James Cook’s second voyage ofdiscovery to the Pacific. Omai spent two years inEngland, during which time the portrait waspainted, and became admired in London highsociety. He returned to Tahiti with Captain Cookduring his third voyage of discovery, acting asinterpreter.

The painting of Omai is often referred to asReynolds’ greatest portrait and a masterpiece. Itwas sold by the executors of Lord Howard ofHenderskelfe in 2001 for approximately £9million after costs – a then record price for aReynold’s portrait.

Whilst a capital gain arose on the sale theexecutors claimed Capital Gains Tax (‘CGT’)was not payable as the painting was exemptfrom the tax charge. This was on the basis thepainting was ‘plant’ because it was used in thetrade which was being carried on of opening thehouse to the public. ‘Plant’ specifically qualifiesas a ‘wasting asset’ under tax legislation, and awasting asset is exempt from CGT.

This position might be one that is difficult tounderstand when looking at this from a non-taxbackground. How can such a masterpiece of thismagnitude be a wasting asset? especially whena wasting asset is usually one with a deemedpredictable life of less than 50 years. The fact ofthe matter is the painting itself is almost 240years old, and as such its life has already vastlyexceeded the wasting asset predictable life by anumber of years. By looking at this fact inisolation the painting could surely not becategorised as a wasting asset, and it is true, itcould not. However it is the classification of thepainting as plant that is vital to the analysisbecause assets deemed to be plant areautomatically treated as wasting, thereforeexempt from CGT when sold, even if theirpredictable life is over 50 years.

So what is plant? Well there is no set definitionin tax legislation but it can be generallydescribed as an asset used in a business’ trade,for example machinery in a factory. The

executors claimed the painting was plantbecause the painting hung in CastleHoward, thus helping attract visitors, andas such was used in the trade ofoperating the house as a visitorattraction, which was carried on by acompany, Castle Howard Estate Limited.

HM Revenue & Customs (‘HMRC’) didnot agree with the executors’ analysisand so the case came to the First TierTribunal in 2011, and appeals have nowbeen heard in the Upper Tax Tribunal andthe Court of Appeal.

The First Tier Tribunal dismissed theexecutor’s appeal and ruled in HMRC’sfavour, basing their ruling on the fact thepainting had been loaned to CastleHoward on an informal basis whichmeant, in their view, that thearrangement did not have the necessarydegree of permanence to argue that thepainting was used in the company’strade. Furthermore as the executors didnot carry on a trade themselves thepainting could not have been plant intheir hands. The ruling of the tribunal

meant the sale of the painting was not exemptfrom CGT.

The executors disagreed with the ruling andappealed to the Upper Tribunal who ruled in theirfavour, overturning the First Tier Tribunal. TheUpper Tribunal concluded the painting could betreated as plant because it satisfied a functionaltest, in the business of operating the house as avisitor attraction, and a permanence test, in thatit had hung in Castle Howard for over 200 years.In their view the fact that the trade was beingcarried on by a different entity to the owner ofthe panting was immaterial when determiningwhether or not the painting qualified as plant.

In turn, HMRC took the case further andappealed to the Court of Appeal. The Court ofAppeal unanimously rejected HMRC’s appealand agreed with the decision of the UpperTribunal, upholding the painting was plant.

Lord Justice Rimer said in his judgement ‘‘…whatis 'plant' is not identified by the predictable lifeof a chattel …Once an item qualifies as 'plant', itis 'in every case' deemed …to be a wastingasset; and for HMRC to argue that an item ofplant enjoying unusual longevity is not plant atall is to advance an argument that the section(of the tax legislation) expressly excludes andwhich amounts to no more than a pointlessbeating of the air. On the facts of this case,section 44 (‘wasting assets’ legislation) mayhave proved inconvenient to HMRC. They must,however, take the rough with the smooth; andthis case may be an example of the rough”.

We understand that HMRC have requested toappeal to the Supreme Court. Whether or notthe appeal is allowed, and goes ahead, it will bethe final ruling in this interesting case and set aprecedent for other cases with the same, orsimilar, facts.

Patrica MockDeloitte LLP, July 2014

Please note this information

is specific to the United Kingdom.

OmaiPortrait of

A Wasting Asset?


72

Tangible assets in the form of collectionsof fine art, antiques, rare books,watches, or wine, make up a significant

part of the wealth of 94% of families with a networth of $10 million and up. Such assets, if theyare even known to a client’s financial advisors,cannot be managed in the same way as moreliquid, traditional investments, nor do ownerstypically want them to be. Emotionally attachedto their collections, the end-game for ownersmay be a collecting legacy for their children, amajor donation to a museum, or an envisionedsingle-owner sale at auction.

A collection should be:

• Appraised periodically by unbiased professionals

• Authenticated by the recognized experts

• Financially recorded and reported for any relevant tax events

• Insured properly against loss, damage or theft

Failing to exercise these best practices can havemajor negative repercussions. Without properplanning, critical information about the objectsin a collection, and the wishes of the owner, cango with the collector to the grave.

Before that eventuality, collections - like anyother asset - need to be managed actively.Collectors are often shocked to learn that themuseum, to which they wish to donate, mayonly want one or two items, or will only acceptthe collection as an asset to be sold to raisecapital. A donor who desires to maintain theintegrity of his collection should investigatewhich institution would best honor his or herwishes, and plan the gift together.

Similarly, heirs to a collection, due to differencesin taste, logistics, or lifestyle, may not want, orbe prepared to take on, the custodial duties thattheir families’ collections demand. For both

Rarity. Rarity can be a complex factor. Themarket favors the expected. A Picasso in theCubist style is the commodity most desired. Aportrait by Picasso executed in a traditionalacademic style, although rare, would not fetchas much.

Alternatively, the few surviving Honus Wagnerbaseball cards appeal expressly because of theirrarity. The one-of-a-kind object, the rarest bydefinition, can often confound experts andcollectors due to a lack of diagnosticcomparables. Objects that are rare, but known,would be a wise collector’s goal.

Quality. Not every work produced by a masterartist is a masterpiece. Workmanship,excellence in design, composition, color, subjectmatter, etc., can impact quality. In today’smarket, across all collecting fields, top quality isthe surest factor in sustained desirability andvalue. All of the other factors discussed above:condition, provenance and rarity are factors ofquality from an investment point of view and thebest items out there tend to exhibit excellencein all factors.

Please note this information is specific to the United

States of America. For more articles like this,

request to receive the Freeman’s Trusts & Estates

Newletter.

FREEMAN’S TRUSTS & ESTATES

Samuel T. Freeman III +1 [email protected]

Matthew S. Wilcox +1 [email protected]

Amy Parenti +1 [email protected]

museums and heirs, often the problem is simplevolume; museums tend to make room for onlythe most superlative pieces within their missionscope, and adult children have only so muchspace in their homes.

Learning if a collector’s goal is feasible as thecollection stands should impact any ongoingacquisition practices and disposition strategies.The passion that began the collection may needto be tempered with practicality. Inheritedminor pieces or early acquisitions, made whenmoney was tight, might hold the most emotionalvalue to the collector, but in the colder view ofmuseums, heirs and auction houses, fail toimpress. For any long-time, serious collector,routine culling of lesser items to focus on thebetter ones is always a good practice. Thefollowing factors impact the quality of acollection.

Condition. Problems with the physical state ofan object are often tolerated and evendisregarded by the emotional collector, but theless tolerant market place, museum and artworld, see condition as a critical factor in thedesirability of an object. Both poor condition andpoor restoration can negatively impact value, soauction house professionals and experts shouldbe consulted to determine what action, if any,should be taken regarding the state of an object.

Provenance. The history of an object, its pastownership, exhibition and travels, can have amajor impact on value. Many objects simply donot have a known past, so those withdocumented provenance are more desirable.Moreover, in today’s art market with billions ofdollars in trade of stolen and forged items, asolid, documented item is always a wiseinvestment over a similar one without knownprovenance. If an object was once owned by acelebrated historical figure, it may enter the so-called “glamour market,” where values can besignificantly higher.

FineCOLLECTIONS

Planning


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Main Line Events & PreviewsThis fall, Freeman’s Main Line office in Wayne, Pennsylvania, has an exciting program of events,including intimate gallery talks, monthly appraisal days, and educational lectures given by ourextraordinary specialists. Vice President Anne Henry, Head of Modern & Contemporary Art, willgive a gallery talk on select works from several private collections. Of particular note arecollections from the estates of two accomplished women who loved art and served theircommunities.

With Lakeland, Florida’s Center for the Visual and Performing Arts named after her, and as amember of the Cowles family, long associated with top-notch contemporary art, Lois CowlesHarrison had a keen and exceptional collector’s eye. Early on, she purchased all ten of the WarholSoup Cans from the artist at their first showing at Leo Castelli’s gallery, and they remained amongthe most prized works in her collection.! Lois Cowles Harrison also served the public in numerouscapacities, from president of her local League of Women Voters, to chairing the Equal RightsAmendment Committee, and many others. Another “modern woman,” Nell Day Surber was alawyer and served on Cincinnati’s City Council for years. She was also that city’s Director ofEconomic Development, as well as a member in, or an honoree, of many Cincinnati civicorganizations. She, too, was a great collector of contemporary art, with a special focus on worksby Jean Dubuffet and Roy Lichtenstein. Freeman’s is delighted to offer their collections at ourNovember 02 auction.

while bringing in important property from across the region.! From Asianto Americana – from Fine Jewelry to Fine Art – time and again, Freeman’sSoutheast office demonstrates its significance in the global art market. !

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Regional News: Charlottesville/Main Line

Southern Hospitality & TraditionsFreeman’s Southeast regional office continues to bring extensiveknowledge and experience to this area, resulting in impressiveconsignments and extraordinary results for clients. In addition to ourauction services, we were delighted to host and support numerousevents. Richard Cervantes, Head of Asian Art,! and David Walker, Head ofEnglish & Continental Decorative Arts, conducted a joint lecture at ourCharlottesville office over the summer and discussed trends in themarketplace with our clients. ! Entitled “From Ming to Meissen”, theyspoke to a standing-room-only crowd of clients about porcelain andceramic trends in the marketplace.!

Holen Lewis, Director Business Development, attended the prestigiousDouglas W. Connor Advanced Estate Planning Seminar at HomesteadResort for the fourth year in a row. ! She also led committees, organizedevents, volunteered for worthy causes, and found time for some charityauctioneering—to bolster local education at St. Anne’s Belfield Schooland to benefit the Charlottesville-based, non-profit Second StreetGallery. We were pleased to continue our relationship this year with boththe Keswick Horse Show and the Montpelier Hunt, and to add theVirginia Center for the Creative Arts to our list of sponsorships.! ColinClarke, Vice President, continues to build on his outstanding reputation

New EnglandKelly Wright+1 617.367.3400 [email protected]

Mid-WestWilliam A. Rudd+1 [email protected]

SoutheastColin Clarke+1 [email protected]

Please contact our regional representatives for assistance in consigning and buying or event information:

West CoastMichael Larsen+1 [email protected]

Mid-AtlanticMatthew S. Wilcox+1 [email protected]

ANDY WARHOL (AMERICAN, 1928-1987)

CAMPBELL’S SOUP I1968, each signed in ball-point pen and stamp numbered 34/250 verso.! Factory Additions, New York, publisher.Each sheet: 35 x 23 in. (88.9 x 58.4cm)

$250,000-400,000 (£155,000-250,000) (Showing one of ten)Provenance: The Estate of Lois Cowles Harrison

Clients at our Charlotteville Office enjoying cocktails after the From Ming to Meissen lecture

CONTACTGabrielle Dominique Aruta+1 [email protected]


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Regional News: New England/Glasgow

CHARLES RENNIEMACKINTOSH (1868-1928)

FOR MISS CRANSTON'SWILLOW TEAROOMS

PAIR OF EBONISED OAK'LADDER BACK' CHAIRS, c.1903

Mackintosh & HisContemporaries: An ExhibitionLyon & Turnbull Glasgow are delighted toannounce an exhibition of works by CharlesRennie Mackintosh (1868-1928) and hiscontemporaries in conjunction with theMackintosh Festival in October.

An intimate selection of furniture, paintings,drawings and objects by Mackintosh and hiscontemporaries will be on show from privatecollections, some of which will be coming upfor auction in our Decorative Arts: Design from1860 sale on the October 29, 2014

EXHIBITION September 23 to October 17, 2014Monday to Friday, 10am to 5pmGlasgow Office and Gallery, 182 Bath Street, G2 4HG

EXHIBITION VALUATION DAY EVENT We will be offering a free valuation day at ouroffices in Glasgow. Specialist John Mackie willbe there to give valuations on Design, includingthe Glasgow Style from 10am to 4pm. Pleasecall to make an appointment.

CONTACTJames McNaught+44 (0) 141 333 [email protected]

Heritage & HistoryOnce again, Freeman’s has planned an active schedule in our New England region. OnSeptember 30, Freeman’s New England representative, Kelly Wright, is pleased to host anonsite appraisal event at Castle Hill on the Crane Estate in Ipswich, Massachusetts. TheTrustees of the Reservation partners with the experts of America’s oldest auction house for thisfree appraisal day from 1pm to 5pm. For more information visit www.trustees.org.

The fun doesn’t stop there. Freeman’s is a reception sponsor for New England area Royal OakFoundation lectures. The New England season will kick-off with historian and author KimWilson’s lecture At Home with Jane Austen, an exploration of Austen’s world, her physicalsurroundings, and the journeys she took during her lifetime. On September 29 & 30, Ms. Wilsonwill bring to life the author’s stories by linking her novels to the homes and places she lived in,ending with her final months in Winchester, England. The first hosted at The College Club onBoston’s Commonwealth Avenue and the second at Castle Hill on the Crane Estate followingFreeman’s appraisal event. On Wednesday, October 15, Freeman’s will sponsor a third RoyalOak Foundation lecture at The College Club by journalist and historian, Sinclair McKay, on hisbook, The Lost World of Bletchley Park. Published this year, it is about the team of remarkableBritish code-breakers during World War II, and a subject on which Mr. McKay has publishedextensively. To make reservations for these lectures, please visit www.royal-oak.org.

Castle Hill on the Crane Estate is a wonderful site for two specialevents sponsored by Kelly Wright on September 30


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Regional News: London

Lyon & Turnbull Partner withHakkasan for Asian Art in LondonAfter a very successful debut last autumn, Lyon & Turnbull’sAsian department look forward to their second year as part ofthe prestigious Asian Art in London, an annual week-longcelebration of the world’s finest oriental artworks. This year itis our pleasure to be hosted by Michelin star award-winningHakkasan in the heart of Mayfair, widely regarded asLondon’s finest Chinese restaurant.

Our Asian art department will display select highlights fromtheir forthcoming auction on December 02 over the course oftwo days, with a late-night opening on Monday November 03with special guest speaker from Hong Kong, GlenfarclasWhisky and exquisite canapés from Hakkasan.

The Highlights Tour—Winter FineSales Viewing in LondonHighlights from Lyon & Turnbull Winter Fine Sales will beavailable to view on November 17 & 18 at The Royal OperaArcade. Selected pieces from the upcoming British & EuropeanPaintings, Fine Asian Art, Scottish Paintings & Sculpture andSelect Jewellery & Watches auctions, will be on view.

VIEWINGNovember 17, 2014 | 10am to 5pmNovember 18, 2014 | 10am to 4.30pm

The Royal Opera Arcade, Pall Mall, London +44 (0)207 930 9115 | [email protected]

London Scottish RFC Valuation DayA team of Lyon & Turnbull art and antiques specialists will be on hand togive auction valuations and advice alongside the next London Scottish v.Bedford fixture. Why not make a day of it and enjoy a superb hospitalitylunch whilst watching the game in the afternoon?

Visit www.londonscottish.com for more info or contact the club on +44 (0)20 3397 9551

EVENTSeptember 20, 2014, from 11.30amLondon Scottish FC, Richmond Athletic Ground, Kew Foot Road, TW9 2SS

EVENTNovember 03-04, 2014 Hakkasan, Mayfair, 17 Bruton Street, London W1J 6QB

November 08-09, 2014 Further highlights on view Crosshall Manor, St. Neot’s, Cambridgeshire, PE19 7GB

CONTACTGrace Browne +44 (0)207 930 [email protected]


Calendar

77

SEPTEMBER

10 Rare Books, ManuscriptsMaps & PhotographsLyon & Turnbull, Edinburgh

13 Asian ArtsFreeman’s, Philadelphia

16 Photographs & PhotobooksFreeman’s, Philadelphia

17 Estate JewelryFreeman’s, Philadelphia

24 Fine Furniture & Works of ArtLyon & Turnbull, Edinburgh

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NOVEMBER

2 Modern & ContemporaryWorks of ArtFreeman’s, Philadelphia

3 Jewelry & WatchesFreeman’s, Philadelphia

12 The Pennsylvania SaleFreeman’s, Philadelphia

13 American Furniture,Decorative & Folk ArtFreeman’s, Philadelphia

27 British & European PaintingsLyon & Turnbull, Edinburgh

Top to bottom:To be offered on November 03in Freeman’s Jewelry &Watches auction

To be offered on November 27in Lyon & Turnbull’s British &European Paintings auction(detail, 1 of 2)

OCTOBER

7 English & ContinentalFurniture and DecorativeArts Freeman’s, Philadelphia

8 Jewellery & SilverLyon & Turnbull, Edinburgh

16 Books, Maps & ManuscriptsFreeman’s, Philadelphia

29 Decorative Arts: Design from 1860Lyon & Turnbull, Edinburgh

DECEMBER

2 Fine Asian Works of ArtLyon & Turnbull, CrosshallManor

7 American Art &Pennsylvania ImpressionistsFreeman’s, Philadelphia

10 Select Jewellery & WatchesLyon & Turnbull, Edinburgh

11 Scottish Paintings &SculptureLyon & Turnbull, Edinburgh

15 Holiday Jewelry SaleFreeman’s, Philadelphia

16 Silver & Objets de VertuFreeman’s, Philadelphia

JANUARY

14 Fine Furniture & Works of ArtLyon & Turnbull, Edinburgh

27 European Art & Old MastersFreeman’s, Philadelphia

28 Rare Books, Manuscripts,Maps & PhotographsLyon & Turnbull, Edinburgh

28 The International SaleFreeman’s, Philadelphia


78

International STAFF DIRECTORY

PICTURES, WATERCOLOURS & PRINTS

Nick [email protected]

Charlotte [email protected]

Emily [email protected]

OLD MASTERS

Nick [email protected]

FURNITURE, CLOCKS & WORKS OF ART

Douglas [email protected]

John [email protected]

Theodora [email protected]

SILVER, COINS & MEDALS

Colin [email protected]

Trevor [email protected]

Ruth [email protected]

AMERICAN ART & PENNSYLVANIA IMPRESSIONISTS

Alasdair Nichol +1 [email protected]

Andrew Huber +1 [email protected]

EUROPEAN ART & OLD MASTERS

David Weiss +1 [email protected]

MODERN & CONTEMPORARY ART

Anne Henry +1 [email protected]

Aimee Pflieger +1 [email protected]

PHOTOGRAPHS & PHOTOBOOKS

Aimee Pflieger +1 [email protected]

JEWELRY & WATCHES

Michael Larsen +1 [email protected]

Virginia Salem +1 [email protected]

ASIAN ART

Richard Cervantes +1 [email protected]

Yue Xu +1 [email protected]

AMERICAN FURNITURE, FOLK & DECORATIVE ART

Lynda A Cain +1 [email protected]

Samuel M Freeman II +1 [email protected]

ENGLISH & CONTINENTAL FURNITURE& DECORATIVE ARTS

David Walker +1 [email protected]

Veronica Renton +1 [email protected]

SILVER & OBJETS DE VERTU

David Walker +1 [email protected]

Sarah Blattner +1 [email protected]

ASIAN WORKS OF ART

Lee [email protected]

Anna Westin (consultant)[email protected]

Sara [email protected]

RUGS & CARPETS

Gavin [email protected]

JEWELLERY

Trevor [email protected]

Ruth [email protected]

DECORATIVE ARTS & DESIGN

John [email protected]

Theodora [email protected]

EUROPEAN CERAMICS & GLASS

Douglas [email protected]

Campbell [email protected]

ARMS & ARMOUR

Colin [email protected]

John Batty (consultant)[email protected]

RARE BOOKS, MAPS, MANUSCRIPTS& PHOTOGRAPHS

Simon [email protected]

Cathy [email protected]

ENQUIRIES & COMMISSION BIDS

Tel. +44 (0)131 557 8844

Fax. +44 (0)131 557 8668

[email protected]

RARE BOOKS, MAPS & MANUSCRIPTS

David J Bloom +1 [email protected]

Christiana Scavuzzo +1 [email protected]

20TH CENTURY DESIGN

Tim Andreadis +1 [email protected]

ORIENTAL RUGS & CARPETS

Richard Cervantes +1 [email protected]

CLIENT SERVICES & BIDS

Mary Maguire Carroll +1 [email protected]

TRUSTS & ESTATES

Samuel T. Freeman III +1 [email protected]

Matthew S. Wilcox +1 [email protected]

APPRAISALS

Amy Parenti +1 [email protected]

Telephone: +44 (0)131 557 8844 www.lyonandturnbull.com

Switchboard +1 215.563.9275 www.freemansauction.com


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This will be the first major museum exhibition for David Lynch,featuring artwork from the late 1960s to the present.! The exhibitionincludes facets of David Lynch’s visual artwork that many people willnever have seen before.! What can visitors expect to see in theexhibition?

The show and its accompanying catalogue refocus attention on DavidLynch as an artist who happens to work in film as one of his means ofexpression. He has been frank that painting has been a through-line, theconstant in his practice, and is the thing from which nearly everythingelse has grown. PAFA’s exhibition David Lynch:The Unified Field featurespaintings and drawings since about 1966—when he started as a studenthere. The only film component of our exhibition will be restaging of Six

Men Getting Sick (1967), which was the multi-media piece he made atPAFA and incorporates a one-minute animation loop aimed at a sculpted6 x 8 foot screen. We’ll also include screens with a selection of shortPhiladelphia-based films made between 1967-70.

Much has been written about Lynch’s relationship with Philadelphia andthe impact that the city had on his early films, especially Eraserhead.Do you think that same influence can be found in his early paintings?

Lynch has said that the biggest inspiration of his life was the city ofPhiladelphia. It saturates Eraserhead but it can be traced in other placestoo—his film, music, photography, and other work. The paintings anddrawings of the time he was here—very late 1965 through 1970—have aclear sense of potential violence, ambiguously mutating anatomy, ananxious quality that can partially be attributed to the environment. Lynchwas also looking at contemporary art and it is exciting to finally integratewhat he was doing in that period with peers across the country as well asthose he knew personally in Philadelphia.

It seems from the very beginning, David Lynch was incorporatingchallenging elements in his artwork- characters or themes that werequite disturbing.! How do you think that the environment at PAFA wasnurturing to him as he began his career?!

Lynch has shared that he was inspired by the community of artists heencountered here—both at PAFA and in the city, including older artistswho were still around after finishing school. PAFA impressed him as ayoung man as a place where people were very serious, really workedhard, and it encouraged him to immerse himself in art fully. He reallycredits faculty member Hobson Pittman as having been important;Pittman was the instructor you worked with if you did non-traditional,experimental work. Pittman encouraged personal expression, risk taking,and brought that out in his students. Lynch still has fond memories ofPittman and his critiques.

In what way does PAFA continue to be an incubator for visual artists?

PAFA still has that quality of seriousness and healthy competitivenessamong the students; it is a mutually-supportive competitiveness thatchallenges students to push themselves. Because most of the studentbody has their own studios on the premises, there is a strong tendencyfor artists to put in the time required for self-discovery and thedevelopment of an individual voice. The critics and faculty who teachhere are working artists who bring a wide range of experience to theclassroom and one-on-one critiques. They also encourage their studentsto get out and see the city and make trips to New York and D.C.;essential for artists as they navigate the art world they’re becoming partof. The museum is itself a tremendous resource for curriculum andpersonal study. In general I think Philadelphia is a great city to be anartist; what it lacks in an extensive commercial gallery economy it makesup amply for in exhibition opportunities, the ability to find good post-school studio space, and the culture of collectives and DIY artist-runspaces that are here.

For more information about this exhibition visit www.pafa.org

David Lynch’s groundbreaking films such as Eraserhead,The Elephant Man, Blue Velvet, and the television serialdrama Twin Peaks have been broadly examined, but

curator Robert Cozzolino has organized a compelling exhibition atThe Pennsylvania Academy of the Fine Arts that will present thewider scope of Lynch’s as a visual artist, including paintings anddrawings he has made since the 1960’s.! Cozzolino’s goal is todraw attention to these works and to contextualize them withinLynch’s broader career.! Here, he speaks with Aimee Pflieger,Modern and Contemporary Art Senior Specialist, about puttingtogether this fascinating exhibition, opening September 13. Toread the full interview, please visit www.freemansauction.com.

Lynchdavid

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YOU RECOGNIZE A CLASSIC WHEN YOU SEE IT

OPENING NIGHT PARTY Thursday, November 6 • 5:00–9:00 pm

Opening Night Party made possible by

November 7–9, 2014Chase Center on the Riverfront

Wilmington, DelawareBenefits Educational Programming at Winterthur

For tickets to the show or party or for more information, please call 800.448.3883 or visit winterthur.org/das.

Exhibitors A Bird in Hand AntiquesMark and Marjorie AllenArtemis GalleryDiana H. Bittel AntiquesPhilip H. Bradley Co.Joan R. BrownsteinMarcy Burns American Indian Arts, LLCHL Chalfant Fine Art and AntiquesJohn Chaski AntiquesDixon-Hall Fine ArtColette DonovanPeter H. Eaton The Federalist Antiques, Inc.M. Finkel & DaughterGarthoeffner Gallery AntiquesGeorgian Manor Antiques

James & Nancy Glazer AntiquesSamuel Herrup AntiquesIta J. HoweStephen and Carol HuberBarbara Israel Garden AntiquesJewett-Berdan AntiquesJohanna AntiquesChristopher H. JonesArthur Guy KaplanJames M. Kilvington, Inc.Joe Kindig AntiquesKelly KinzleGreg K. Kramer & Co.William R. and Teresa F. KurauJames M. Labaugh AntiquesPolly Latham Asian Art

Leatherwood AntiquesBernard and S. Dean Levy, Inc.Nathan Liverant and Son AntiquesMalcolm MagruderMellin’s AntiquesNewsom & Berdan AntiquesOlde Hope Antiques, Inc.Oriental Rugs, Ltd.Janice PaullThe Philadelphia Print Shop, Ltd.James L. Price AntiquesSumpter Priddy III, Inc.Christopher T. Rebollo AntiquesStella RubinRussack & Loto Books, LLCSchoonover Studios, Ltd.

Schwarz GalleryStephen Score, Inc.Elle ShushanSomerville Manning GallerySpencer Marks, Ltd.Stephen-Douglas AntiquesSteven F. Still AntiquesGary R. Sullivan Antiques, Inc.Jeffrey Tillou AntiquesJonathan TraceMaria & Peter Warren AntiquesTaylor B. Williams AntiquesBette & Melvyn Wolf, Inc.RM Worth Antiques

Show managed by Diana Bittel

One of the nation’s most highly acclaimed antiques shows presents a spectacular showcase of art, antiques, and design! Featuring thefinest offerings from more than 60 distinguished dealers, the Delaware Antiques Show highlights the best of American antiques anddecorative arts. Join us for a full schedule of exciting show features sure to captivate the sophisticated and new collector alike.

Celebrate the opening of the show with cocktailsand exclusive early shopping!

Cover: SIR MUIRHEAD BONE (SCOTTISH 1876 1953) MIDNIGHT IN VENICE!(DETAIL)To be offered by Lyon & Turnbull on December 12

1808 Chestnut StreetPhiladelphia PA 19103+1 215.563.9275

126 Garrett StreetCharlottesville VA 22902+1 434.296.4096

45 School�StreetBoston MA 02108+1 617.367.3400

www.freemansauction.com email: [email protected]

503 W. Lancaster AvenueWayne PA 19087+1 610.254.9700

33 Broughton PlaceEdinburgh EH1 3RR+44 (0)131 557 8844

182 Bath StreetGlasgow G2 4HG+44 (0)141 333 1992

78 Pall MallLondon SW1Y 5ES+44 (0)20 7930 9115

www.lyonandturnbull.com email: [email protected]

international view autumn 2014

Documents

fergusson gallery

richard green gallery

american impressionism

asian arts

scotlandthis exhibition

north pallant

louvreeyes wide open

new specialistshappening