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Artwork from the Collection of Artist James D. Smillie

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Lot 290 in Swann's April 29 auction is Smillie's The Rocky Mountains (Lander's Peak), set of 12 engravings after Albert Bierstadt, progressive proofs, 1865-66. Estimate $20,000 to $30,000.
This Spring, Swann is pleased to offer a selection of works from the collection of American painter/printmaker James D. Smillie.

Smillie (1833-1909), a New York artist known for his engravings and landscape paintings, owned these works in the late 19th century and then the pieces descended through his family to the current owners.  

Swann's April 29 auction of Old Master Through Modern Prints features a very scarce set of 12 proofs of Smillie's most celebrated engraving, The Rocky Mountains (Lander's Peak), 1865-66, after the painting by Albert Bierstadt.  

Significant works from Smillie's collection are also offered in our June 12 American Art auction. These include a recently discovered pen and ink drawing by Winslow Homer--a study for his watercolor Fresh Air, 1878, now in the Brooklyn Museum of Art--as well as a pen and ink still life by John LaFarge and several Hudson River School oils by Smillie himself.

Study for "Fresh Air"
Winslow Homer's Study for Fresh Air, pen and ink, circa 1878, is documented in literature dating back to 1879. Estimate $40,000 to $60,000. At auction June 12.

Sunset Over a Lake
Smillie's Sunset Over a Lake, oil on board is featured in our June 12 auction of American Art. Estimate $3,000 to $5,000.
Chinese Vase with Roses
John LaFarge's Chinese Vase with Roses, pen and ink, is also featured in the June 12 American Art auction. Estimate $3,000 to $5,000.

 
Lot 291:Smillie's Rough Sport in Yosemite, etching with a group of six additional proofs, 1886, is featured in our April 29 Prints auction.

More information and images at: http://www.swanngalleries.com/smillie-collection


Collectors on Collecting: Peter J. Cohen on "other people's photographs"

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Peter J. Cohen Discusses his Snapshot Collection | April 8, 2014 from Swann Galleries on Vimeo.
On April 8, Swann Galleries hosted a talk by photography collector and author Peter J. Cohen. An art enthusiast since the age of 10, Cohen began collecting contemporary drawings and photographs before amassing a collection of “other people's photographs,” aka snapshots. He groups these images according to themes, such as Dangerous Women, People in Trees, Groups of People on Poles & Towers, Motion & Blurs and Double Exposures. 

Cohen has donated and loaned significant portions of his collection to museums including the Metropolitan Museum of Art, the Morgan Library, Art Institute of Chicago, Museum of Fine Arts Houston and Museum of Fine Arts, Boston. 

His publications include The Three Graces (Yale University Press), Girls Standing on Lawns (MoMA Publications) and The Sports Show (Minneapolis Institute of Art).

Material from Cohen's collection is offered in Swann's upcoming auction of Vernacular Photography:

Lot 97: A select group of 15 charming, abstracted, strange and beautiful snapshots, including three double exposures, 1920s-50s. From the Collection of Peter J. Cohen.

Lot 98: The Ends, group of 34 delightful snapshots featuring men and women bending over, mugging, mooning, and otherwise facing away from the camera, 1920s-50s. From the Collection of Peter J. Cohen.


A Subject Comes to Light: Avery Willard Model Visits Swann

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New discoveries are often made during our auction previews. Sometimes a guest will identify a place depicted in a work of art, or recognize a name in an inscription. One wonderful example took place this past Saturday at the exhibition of our upcoming auction of Vernacular Photography.



One of our favorite lots, a collection of photographs relating to gay life in New York in the 1970s, contained several glamorous shots of a dark haired crossdresser modeling couture for photographer Avery Willard. We were thrilled when the model himself showed up at our preview--with one of the beautiful outfits shown in the photos!

It turns out that Adrian, who at one time performed in New York's drag clubs, made the costume himself, embellishing it with hundreds of hand-sewn sequins. He also worked in the wardrobe departments of Broadway shows and the City Opera. We were lucky to get some photos of this joyful and kind person with our Photograph Department staff--and with his amazing fashion creation.

The Story Behind Dorothea Lange's Migrant Mother

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It's an image we all know: The stalwart mother gazing ahead, brows furrowed, while her children huddle close. It is as iconic an image of the Great Depression as it is of motherhood. And yet, for decades no one knew what had become of the woman and children in Dorothea Lange's Migrant Mother. A recent article by Ben Phalen on the Antiques Roadshow webpage tells her fascinating story.

Back in August 2013, Swann's Photographs specialist Daile Kaplan appeared on an episode of the Roadshow to discuss Lange's most famous image during a visit to the Nelson-Atkins Museum of Art in Kansas City. See the video here

At the time Daile commented that, "the grit and determination that she conveys in this picture was authentic," and she went on the explain that modern prints of the image can sell for anywhere from $40,000 to $200,000 at public auction. 

Indeed, a 2005 sale at Swann saw Migrant Mother bring $33,350. And, a later printing, by Jon Goodman, in conjunction with Aperture, in up for auction at Swann on Thursday.

Battle of the Nile Sketch: The French Fleet on the Eve of Its Destruction

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The watercolor battle scene is done from the perspective of Admiral Nelson's squadron as it approached Napoleon's fleet in Abu Qir Bay.
Swann Galleries' June 3 auction of Maps & Atlases, Natural History & Color Plate Books--the first catalogued by our newest specialist, Alex Clausen--offers an unparalleled sketch from life of the Battle of the Nile attributed to Captain James Weir.

The watercolor The French line as they appear'd at an Anchor on the 1st of August 1798. in the Wn. branch of the Nile is a battle scene from the perspective of Admiral Nelson's squadron as it approached Napoleon's fleet in Abu Qir Bay on the afternoon of 1 August 1798. On the back are manuscript notes relating the French and British orders of battle and the fates of the French ships of the line. 

In the middle of back of the sheet is a list of the French line as they appeared, names of admirals, and the status of the ships at the conclusion. One line relates the fate of the most important French ship involved in the battle: "Vice Admiral Brueys 126 L'Orient .... Burnt".

During the summer of 1798 Nelson chased Napoleon's marauding fleet across the Mediterranean and finally caught the French just outside Alexandria. As the sun set on the first of August, Nelson attacked them in Abu Qir Bay. His decisiveness proved a stroke of genius as the French were caught in a punishing pincer formation. At 10 o'clock, "L'Orient," flagship of the French commander Admiral Brueys, was utterly destroyed in a munitions explosion. The rest of the line fell around her, and in the end all but two of the French ships were taken or destroyed. Nelson's victory launched him to the pinnacle of fame and likewise made a name for his Band of Brothers. 

James Weir was a captain in the Royal Marines and was stationed aboard HMS Audacious at the Nile. Weir is thought to be the only artist to sketch from life at the Nile and some of his sketches served as templates for a series of engravings of the battle.

This piece has an interesting provenance: it went from Admiral Sir Frederick Dalrymple-Hamilton (commander of HMS Rodney at the sinking of the Bismark) to his daughter and then to the current owner.


Photographs at Play: Bill Hunt on the Morgan's Photography Exhibition

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Celebrated photography collector and author--and Swann friend--Bill Hunt has written a wonderful review of the Morgan Library's A Collective Invention: Photographs at Play show--the first mounted by their newly appointed Curator of Photographs, Joel Smith--which remains up through May 18. 

Back in September of 2012, Swann hosted Smith for a standing-room-only talk about Edward S. Curtis's The North American Indian, the role of bibliophile J.P. Morgan, and the confluence of documentary and artistic expression.

Also in 2012, we partnered with the Aperture Foundation on an event around Bill Hunt's book The Unseen Eye--click here to see the video.
  
Here is Hunt's review of the Morgan show: 

A Collective Invention: Photographs at Play at the Morgan Library & Museum is full in so many ways. It is playful, thoughtful, and chockfull of discoveries. Ken Johnson's enthusiastic reaction to it in The New York Times only begins to do it full justice.   

Joel Smith, the new Morgan's newly appointed Richard L. Menschel Curator of photographs has made an auspicious debut with a survey show encompassing high and low: from classic well considered portraiture (Julia Margaret Cameron) to less familiar mid-century Europeans like José-María Sert to American contemporaries like Marco Breuer and Sara VanDerBeck.  The show plays out like the surrealist game of “exquisite corpse”, each image or object links uniquely to its neighboring image or work.  It is mad fun with connections ranging from subject matter to compositional elements. Trees give way to maps which yield to …, like that, unfolding like a dream.


Smith is looking beyond the usual exclusive groupings and considering the whole of photography.  It is an eclectic and memorable collection. 

One treasure here is the list of collectors who have made loans to the exhibition. It would appear that Mr. Smith has done a lot of field work. Loans have come from artists like Vik Muniz with two photographic studies for sculptural works that transcend their documentary beginnings. Similarly TIm Davis' collection of signs, all variations on "No Photography" is unexpected and delightful. It is wacky and complete with more variations on a theme you can imagine, a great homage to Walker Evans and his affection for road signs.  The list of collectors ranges from the younger like John McMahon to the formidable but not well-known Elaine Goldman and Alan Paris, to vernacular specialists, like snapshot king Peter J. Cohen and "Pop Photographica's Daile Kaplan (her objects like an ivory lighthouse sewing kit with daguerreotype and Cabinet card in a bottle are the highlights of the show), to sharp eyed dealer/collectors, like Charles Isaacs and Carol Nigro and Jill Quasa (contributing a great Louis Stettner), to other artist/collectors like Christine Burgin and William Wegman to the well-established David Raymond and the afore mentioned Menschels, Richard and Ronay.

This is a masterful show, and it bodes wonderfully for the Morgan as a platform for photographs in New York. Go now because you will want to go again.

Top Lots: Turn-of-the-Century Cyanotypes and Jimmy De Sana's Submission

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Last week Swann Galleries held an auction devoted to Vernacular Photography, which was the first sale of its kind.

Two items led the auction--bringing $22,500 each--and they could not have been more different from each other. One was a group of 63 cyanotypes documenting the construction of a vast trestle bridge in the southern French countryside near Carmaux with views of the day-by-day building of the foundations, trestles and spans, through the various seasons, 1899-1902.

The other was the 1979 maquette for Jimmy De Sana's book Submission, containing 31 erotic silver prints, many sadomasochistic. De Sana collaborated with William S. Burroughs on the self-published cult classic, and this maquette was from the collection of a gallerist who represented De Sana. 

Also generating interest were a group of 19 photographs--most taken by Orville Wright--of the Wright Bros. No. 2 glider flying at Sims Field with and close-ups of machinery, and with handwritten notations, 1901-1928. It brought $20,000.


An album containing 250 photographs of the store windows at Buffalo's Kleinhans Co., a men's clothing store, 1919-1926. The pictures include sartorial displays devoted to seasonal trouser suits, neckwear, fashion knits, headware, luggage, overcoats, and shoes and slippers. It sold for $15,000.

Witness the Shape of Things to Come: Art From the Civil Rights Era

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The Brooklyn Museum's Witness: Art and Civil Rights in the Sixties
offers a focused look at painting, sculpture, graphics and photography
from a decade defined by social protest and American race relations.
Swann is putting the final touches on our catalogue for the June 10 auction of African-American Fine Art we have titled The Shape of Things to Come, which focuses on work from the 1960s and 70s. There is growing interest in this long over-looked period of art by black artists, which is also the subject of the Brooklyn Museum's popular show, Witness: Art and Civil Rights in the Sixties, on view through July 6.

Elizabeth Catlett's Homage to My Young Black Sisters,
a life-size red cedar sculpture with painted carved details, 1968. Sold at Swann in 2009.
This exhibition--organized by Teresa A. Carbone, Andrew W. Mellon Curator of American Art, Brooklyn Museum and Kellie Jones, Associate Professor, Department of Art History and Archaeology, Columbia University--showcases the work of many artists who have regularly appeared in Swann auctions of African-American Fine Art. In fact, one scupture in the show was acquired through Swann: Elizabeth Catlett's Homage to My Young Black Sisters, in an October 2009 auction.
Two views of Noah Purifoy's Untitled (Standing Figure), Assemblage construction, including wood, wood veneer, leather and found objects, circa 1968-70. At auction June 10.

Also featured in the Witness show is LA artist and master of assemblage, Noah Purifoy. Swann is proud to be offering the first Purifoy sculpture to appear at auction in our June sale.



Collectors on Collecting: Sam Speigel on Collecting Edward Gorey

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On May 7, Swann will auction The Edward Gorey Collection of Samuel Speigel, and the catalogue for that sale opens with this charming recollection from Speigel himself:
Lot 241:The Raging Tide: or, The Black Doll's Imbroglio, with a black cloth stuffed Figbash doll, 1987

Collecting Edward Gorey reminds me of those iconic mystery images of dark and secretive Victorian characters searching with flashlights, but for what? A fleeting glimpse of some. . . thing, a half-seen tail or claw while the creature itself remains immutably unknowable. 
Lot 195:The Doubtful Guest, first edition, 1957.

As with most Gorey collectors, my experience began at Gotham Book Mart on West 47th street in NYC, with the purchase of a simple book, likely The Doubtful Guest or The Gashlycrumb Tinies, but before I could say "Figbash," I was drawn into the magically never-ending array of Edward Gorey books, prints, etchings, creatures, posters, ephemera and original art.
Lot 214:The Gashlycrumb Tinies, postcard set, 1979

My search led me from New York City to San Francisco; from the unlikely plains of North Dakota to the resting place of Athelstan in England; from bookstores both proper and seedy to clandestine meetings with sellers in dimly lit bars and, once, to a bus stop in Hyannis where I furtively exchanged cash for a Figbash doll with a mysterious veiled lady. Sometimes I groaned in the agony of eBay defeat: more often, like Indiana Jones discovering the Ark of the Covenant, I rejoiced in triumph as I discovered one of the rarest of the rare, a hand-sewn silver salamander. Whenever I had a difficult purchase decision, I followed the good advice of Messrs. Shawn and Gorey. 
Lot 302:Elephantômas, set of nine monoprints in Arches paper, 1986.

Now if anyone takes this seriously, one hasn’t been reading, enjoying and understanding Gorey. Eventually my collection became so overwhelming that I decided to share some (not all) with those collectors who have desire and ready cash. My thanks to those that helped me along the way.
Lot 306:Bibliophile with Cats, color lithograph produced by Gotham Book Mart, 1996.
More material from the Speigel Collection will be offered in our October 1 auction of Art, Press & Illustrated Books.

Dreaming Youths: Oskar Kokoschka's Transition to Expressionism

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Among the highlights of our April 29 auction of Old Master Through Modern Prints is Oskar Kokoschka's Die Träumenden Knaben, with text and eight color lithographs, 1906-08. 

Die Träumenden Knaben (The Dreaming Youths) was Kokoschka's (1886-1980) first--and perhaps best remembered--illustrated work. It represents a turning point for Kokoschka from the Viennese Secessionist style to Expressionism. Commissioned by the Wiener Werkstätte and dedicated to fellow-Secessionist Gustav Klimt, the poem and color lithographs reflect Kokoschka's roots in fin-de-siècle Vienna. Kokoschka's training at the Kunstgewerbeschule, Vienna's progressive, highly-selective School of Arts and Crafts, from 1904 to 1909 centered mainly on graphic art and printmaking. While he became a standout student at the Kunstgewerbeschule, his teachers Carl Otto Czeschka and Berthold Löffler connected him with the Werkstätte and the Secessionist movement. The bold lines, stylized forms and flat colors in these lithographs are indicative of the collective's ornamental style. However, Kokoschka's choice of subject and grotesque figural representations depart from the Secessionist aesthetic. 

With Die Träumenden Knaben, Kokoschka began experimenting with a more expressionistic style that drew heavily from emotion. Kokoschka's poem and illustrations confront his personal struggles with sexuality and desire for a fellow classmate, Lilith Lang. This early, seminal work--which was conceived by the artist as a children's book--set the tone for Kokoschka's subsequent artistic endeavors. Similar personal themes manifest themselves in Kokoschka's later plays, paintings and prints. 


Perhaps because of its avant-garde representations, or the young artist's scant reputation, Die Träumenden Knaben received lukewarm reception when it was shown at the famous Kunstschau exhibition in 1908, where Kokoschka's work was exhibited for the first time. From the edition of 500 copies planned, only a handful of the books sold. Subsequently, 275 copies of the work were issued by Leipzig publisher Kurt Wolff in 1917, once Expressionism had become more prevalent and Kokoschka's work more commercially viable. 


By the 1910s, Kokoschka and his contemporary Egon Schiele had become recognized as the leading figures of Austrian Expressionism, confronting sexuality and psychology through their depiction of the human form. Kokoschka's talents for expressionistic illustration were recognized by Herwarth Walden and utilized in his Berlin publication Der Sturm. Kokoschka divided his time between Berlin and Vienna from 1910-15. He had his first one-man exhibition at the Galerie Paul Cassirer, and rubbed shoulders with important leaders of the German Expressionist movement and others central to European avant-garde artistic thought.

Top Lots: Wiener Werkstätte, Taller Grafica Popular, Andy Warhol Posters Set Records

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The three top lots in Swann Galleries' April 24 auction each set new auction records in a sale marked by incredible results for esoteric images. 

Lot 1 was Bertold Löffler's Kunstschau WienIn 1908, Löffler participated in the art exhibition Kunstschau, organized under the leadership of Gustav Klimt. The large exhibition combined the work of Vienna's Decorative Arts School, the Art School for Women and Girls and the Wiener Werkstätte. It was held in a building built specifically for the show by Josef Hoffmann and there was a room dedicated to Löffler's poster art. He designed this poster advertising the exhibition--Oskar Kokoshka designed a different one--which is a masterful stepping stone between the heavy, often abstract ornamentation of the Vienna Secession and the cleaner, more linear designs of the Wiener Werkstätte. It sold for $52,500.


Lot 109 was a group of 10 Mexican anti-Nazi posters by various artists. In 1938, the Mexican print collective, Taller Grafica Popular (TGP) began working with Liga Pro-Cultura Aleman, formed by German exiles who fled the Nazi regime and were committed to fighting the spread of fascism and Nazism in Mexico. They organized lectures on German culture, art, music, literature and philosophy. In the fall of 1938, they held a series of weekly lectures at Mexico City's Palacio de Bellas Artes to explain negative aspects of the Nazi regime. Artists of the TGP, such as Leopoldo Mendez, Jesus Escobedo, Pablo O'Higgins, Alfredo Zalce, Angel Bracho, Raul Anguiano and Francisco Dosamantes designed posters for each of the 18 lectures and, in a few instances, more than one for the same evening's program. They are among the best and most powerful early anti-Nazi propaganda and are printed on very thin paper, so very few of have survived. The group sold for $45,000.


Lot 196 was from a run of elusive Warholiana--and a rare piece of American film history--a poster for Andy Warhol's film My Hustler, which took on themes of homosexual obsession and aspects of gay life that were then new to the canon of American film, and was shot over an LSD-fueled Labor Day weekend on Fire Island. It is the story of an older man and his Dial-a-Hustler companion visiting the vacation destination outside of New York City. The film premiered in December 1965 at the Filmmakers' Cinematheque, and this poster advertises a screening in the spring of the following year. It sold for $31,250.

Where He Crosses Over: Edward Gorey Posters & Postcards

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Lot 268: Edward Gorey's poster for New York City Ballet is a classic image--
and not necessarily one that brings to mind Gorey.
"I didn't know GOREY did that poster!"

That was the excited reaction of a Swann employee as she spotted the six-foot high poster of a ballerina's feet in five positions that Edward Gorey created for The New York City Ballet in the early 1970s which currently hangs on the exhibition wall for Wednesday's sale of Art, Press & Illustrated Books and The Edward Gorey Collection of Samuel Speigel. She remembered her grandmother giving her a treasured beach towel with the image when she was a child because she loved dance but had never known the creator of the beloved and ubiquitous ballet feet to be the same as that of The Doubtful Guest.
Lot 269: Gorey's poster for the first season of the PBS show Mystery!

Many people remember Gorey's imagery weaving its way into their lives, whether as the opening scenes for the PBS Mystery! series (arguably his most reproduced and that launched his worldwide fame), bits from Amphigorey and The Gashleycrumb Tinies (the poor children who befell various indecent fates) or the Broadway production of Dracula with Gorey's Gothic set designs. These iconic scenes and characters have been reproduced on book covers, posters and, even recently, music videos. Wednesday's sale features several examples of the works that introduced these images, and their crossover appeal into other collecting areas is apparent--dance, theater, television, mystery and detective fiction, to name a few. Postcard aficionados will also have a abundance of lots to choose from as Gorey, himself a collector of postcards, loved creating them as well. They allowed him to invent little humorous or absurd scenarios, often based on themes with such droll titles as "Neglected Murderesses" or "Scènes de Ballet."
Lot 176: Gorey's most well-known book, Amphigorey.

In addition to the crossover subjects, the great thing about having a varied and inclusive sale of art and illustrated works is the immediate recognition of stylistic influences between artists. One exhibition attendee pointed to lot 163, a Surrealist work by Heinrich Heisler with a visionary black-and-white line drawing by Toyen on the cover and asked if it was a work by Gorey. This was a perfect observation as it was purposely displayed along with items of Salvador Dali next to other works by Gorey, who appreciated, referenced and often borrowed from the Surrealists, most notably Max Ernst, whose play with clip art and dreamlike imagery appealed greatly to him. A rare set of broadsides called The Thoughtful Alphabet with their randomly patterned words from A-Z and Victorian-inspired graphics immediately call to mind the connection between the two artists.
Gorey was influenced by the work of Surrealists, such as this illustration by Toyen for Heisler's Nur die Turmfalken brunzen ruhig auf die 10 Gebote. Gedichte, lot 163.


It is the curating and exhibiting of these items together that truly brings a sale to life and what makes auctions a place for discovery for new and seasoned collectors alike. 
 Lot 246 and 247: two editions of the Thoughtful Alphabet, both reminiscent of Max Ernst.
Thanks to Christine von der Linn, Senior Books Specialist, for this post.

Today in History: Pulitzer Prize Winning Photo at Swann

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On this date in 1969, Moneta Sleet, Jr. won the Pulitzer Prize for Feature Photography for this image of a mourning Coretta Scott King, with daughter Bernice, at the funeral of Dr. Martin Luther King, Jr., making him the first African-American photographer to win the highest honor for journalism.

For 13 years, as a photographer for Ebony magazine, Sleet chronicled pivotal moments in Dr. King’s life. He was there in 1955 when King organized the Montgomery bus boycott; in 1964 when King won the Nobel Peace Prize; and was there on April 9, 1968, when King was mourned at Atlanta's Ebenezer Baptist Church. 

When Coretta Scott King discovered that the press pool covering her husband’s funeral included no black photographers, she alerted everyone that if Moneta Sleet was not allowed into the church and given a choice vantage point, there would be no photographers at all. The iconic photograph Sleet took of Mrs. King and her daughter was such a powerful image that it was transmitted nationwide by the Associated Press. A fine print of this photograph, signed and dated by Sleet, will appear in Swann’s June 10 auction of African-American Fine Art.

The Shape of Things to Come

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On June 10, Swann will hold our third African-American Fine Art sale of the 2013-14 auction season. The Shape of Things to Come focuses on art made in the 1960s and 70s by artists whose work is being re-examined and prized today by institutions and collectors. 
Barkley L. Hendricks, Sergio, oil on canvas, 1972.
Estimate $80,000 to $120,000. At auction June 10, 2014.
The catalogue will be available in print and online soon, but if you can't wait, we've posted some of the highlights on our website. The preview opens Thursday, June 5, and the full exhibition schedule can be found here.

In October, Swann held a curated auction of postwar African-American fine art entitled Point of Departure, which focused on the evolution of African-American art in the mid-20th century and the growing internationalism of the art world. The sale resulted in a new artist record for Norman Lewis at auction, when an untitled blue painting by the abstract expressionist sold for $581,000. 

Our February sale, Shadows Uplifted: The Rise of African-American Fine Art, concentrated on works by artists who emerged from the shadows of academic and genre painting and defined a new visual culture during the Harlem Renaissance and WPA eras. The auction saw record prices for paintings by Joseph Delaney and Dox Thrash, as well as for a print by William H. Johnson.

Catch Open Orange: May 9 Through June 8

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Girl with Black Hair by James Long
This Friday, more than 100 works of art by 36 artists from New Jersey and New York will go on view at the ValleyArts Firehouse Gallery in Orange, NJ as part of the inaugural Open Orange exhibition.

Swann's own Nigel Freeman helped to organize this impressive show, which was juried by prominent figures in the art world: Antonio Sergio Bessa, Director of Curatorial and Educational Programs, The Bronx Museum of teh Arts; Diedra Harris-Kelley, Co-director, Romare Bearden Foundation; and Naima J. Keith, Assistant Curator, The Studio Museum in Harlem.  
  
Tormented Dragon by Ann Vollum

Open Orange artworks were submitted online and include paintings, photographs, prints, mixed-media works and works on paper. A top prize of Best in Show will be announced at the Opening reception on May 9, and provides that artist the opportunity for a one-person exhibition in the Firehouse Galley's 2014-15 season. 

The show remains up through June 8 at 580 Forest Street in Orange, NJ, with gallery hours: Thursdays, 5 pm to 7:30 pm; Saturdays, 10 am to 4 pm; Sundays, 12:30 pm to 4 pm; or by appointment.


On Saturday, May 24 at 3 pm, Nigel Freeman will lead a lively discussion with and about the artists.
Our Lady of the Valley by Eric Richards

Here is the complete list of Open Orange artists:

Peter Alessandria, Dover NJ
Daphne Arthur, Arverne NY
Aliza Augustine, West New York, NJ
Amy Becker, Madison NJ
Kerrie Bellisario, Morristown NJ
Michael Benevenia, Montclair NJ
Randolph Black, West Orange NJ
Sarah Canfield, West Orange NJ
Kathy Cantwell, Maplewood NJ
Amy Charmatz, Springfield NJ
Erin Kyle Danna, Brooklyn NY
Emilyann Gachko, Cranford NJ
Adam Gustavson, West Orange NJ
Richard Koch, West Orange NJ
George Kopp, West Orange NJ
John Kuczala, Maplewood NJ
James Long, New York NY
Paul Lurrie, Belle Harbor NY
Michael Maier, South Orange NJ
Amelia Panico, West Orange NJ
Gregory Pepe, New York NY
Laura Petrovich-Cheney, Asbury Park NJ
Isabella Pizzano, Denville NJ
Irene Pomianowski, East Orange NJ
Mike Reilly, South Orange NJ
Eric Richards, Orange NJ
Jennie Schaeffer, West Orange NJ
Monique Schubert, Brooklyn NY
Leona Strassberg Steiner, Jersey City NJ
Heidi Sussman, West Orange NJ
Amy Swartele, Potsdam NY
Stacy Swiderski, Fords NJ
Daniel Valentin, Brooklyn NY
Ann Vollum, South Orange NJ
Jaclyn Woudenberg, Hawthorne NJ
Andrea Zinn, Brooklyn NY

More information on Open Orange is available at: http://www.valleyartsnj.com/openorange

Snippets of History

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Marco Tomaschett, Swann Galleries' Autographs specialist, wrote this piece about clipped autographs, which appeared in Antiques & Auction News last week. Here is his piece in its entirety:

Since there are few alive today who have witnessed the burning of the ancient library at Alexandria, it can be stated with some confidence that one of the most horrifying things witnessed by a serious collector of autographs is a desirable signature that has been clipped out of its document.

Lot 155: George Washington Autograph Manuscript, unsigned, 28-word fragment from the discarded draft of his first inaugural address. Inscribed in right margin by Jared Sparks.
Autographs are vestiges of history that tell their stories to the attentive listener more completely the more they remain a part of their original context. Thus, complete documents are preferable to fragments and archives of related items are more desirable than individual documents. Although one might point to auction houses and dealers in autographs as the primary culprits in the crime of rending history into incoherent fragments, one could also argue that the same actors are equally responsible for the preservation of items that would have been destroyed, had they not been redistributed to collectors with the will and means to preserve those snippets of history.

Perhaps the earliest practitioners of snatching bits of history were collectors themselves. Some German speakers of the 15th century maintained an alba amicorum, an album containing the inscriptions of classmates and academic associates. The practice evolved and spread throughout Europe, and by the 17th century, “friendship books” had become common. The owner of such a book would invite friends or visitors to write or draw something, so that they might be more vividly remembered. Albums were often brought on trips to record encounters with remarkable figures, places, or events. In the 18th century, an influential hobby emerged of supplementing the printed pages of a copy of James Granger’s Biographical History of England by inserting related autographs, printed portraits, and other matter. This “Grangerising” did much to generate interest in the collecting of autographs and other items in albums and scrapbooks. Beginning in the 19th century, many Americans developed an interest in collecting autographs of early American heroes, especially the signers of the Declaration of Independence. The demand for autographs generated sufficient pressure to tempt some owners to put scissors to their whole documents and some collectors to accept the clipped results.
Lot 135: Autograph Manuscript Signed, "Lincoln," in the third person within the text, five lines of notes from the Lincoln-Douglas debate at Galesburg, IL.
One such scissor-wielder, Jared Sparks, likely gained no advantage from distributing the autographs in his charge, except the satisfaction of having pleased another collector. Sparks, before becoming president of Harvard in 1849, was given the papers of George Washington, so that he might publish them in his Life and Writings of George Washington, 1834-37. When his work was completed, Sparks complied with the growing number of requests for samples of Washington’s writing, and when he had sent nearly all the “trifling” items, he began cutting into strips the remaining “trifles,” so as to please as many collectors as possible. Today, it is not difficult to recognize the historical importance of many of the items Sparks seemed to view as being sufficiently insignificant to send to collectors. It would surprise many to find that Washington’s first draft of his first inaugural address was among the victims of Sparks’s scissors, even after taking into account the fact that the first draft was not the speech Washington actually delivered. A fragment of that early draft is being offered as lot 155 in Swann’s May 22 autographs auction. The incomplete phrases that can be read in the Washington fragment do not seem especially important in themselves, but with some scholarship and imagination, the humility, duty, struggle, and optimism expressed by the young country’s first president can be reconstructed. If no collectors had pestered Sparks for autographs, one might wonder whether Washington’s first inaugural draft would have been neglected and lost altogether, like countless other items whose value was not recognized by their early protectors.
Lot 126: Thomas Jefferson Clipped Signature, "Th:Jefferson," as Secretary of State, on a slip of paper removed from an act of Congress.
Another snippet in the May auction whose value is not evident on its face is lot 135: a single sentence, evidently from a longer manuscript, by Abraham Lincoln. The sentence is very similar to words Lincoln spoke during the Lincoln-Douglas debate at Galesburg in 1858. We know what Lincoln said during the debates, not from prepared speeches whose manuscript drafts have been preserved—since the response portions were extemporaneous—but from local newspaper accounts. After the debates, Lincoln clipped the newspaper articles that recorded his words and assembled them in a scrapbook, making corrections where necessary, ultimately having the result published as Political Debates Between Hon. Abraham Lincoln and Hon. Stephan A Douglas, Columbus, 1860. The undated fragment in lot 135 was likely written contemporaneous with the debates, as the handwriting is very similar to that of Lincoln during the debates. With the likely exception of this fragment, Lincoln’s notes from the debates were lost, possibly consigned to the waste bin, since the book Lincoln had edited was the most authoritative account of what was spoken during the debates.

Every little stitch of history that has been left to us can be a blessing for the collector, even those bits that have little more to them than a signature. Sometimes, close attention can unlock some of the story behind such a scrap. For instance, on the verso of the clipped signature by Thomas Jefferson (little more than 2 inches long) in lot 126 of the May auction, a few printed words reveal that the signature was once part of an act of Congress establishing in 1793 the first Federal maritime infrastructure including lighthouses, beacons, buoys and piers. 

Lot 2: Autograph Letter Signed, "A Hamilton / A[ide]D[e]C[amp]," to Major-General Lord Stirling, signature clipped out of letter and later replaced.
In rare cases, a collector can reunite a clipped signature with its complementary document, such as can be seen in the Alexander Hamilton letter in lot 2 of the May auction. In this letter, in which Hamilton writes from Morristown in 1777 as George Washington’s aide-de-camp, the signature in the closing had clearly been clipped out and later restored. One can only speculate whether the restoration was done by a remorseful scissor-wielder or an attentive collector who owned one part and happened upon the other.

Although it is easy to see why the collector might prefer whole documents and undisturbed archives, the historical importance of an artifact is not always so obvious. For historians and collectors of the future, there will always be gratitude for the quiet heroism of today’s collector who harbors an appreciation for the snippets of history.

Top Lots: Lynn Chadwick Figures, Roy Lichtenstein's Crying Girl, Francis Bacon's Man at a Washbasin

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Lot 267: Lynn Chadwick's Two Winged Figures was the top lot on May 13 at $43,750.
Tuesday's auction of Contemporary Art at Swann saw strong results and an usually high percentage of online bidders--in fact, 25 percent of successful bidders were bidding live online.
Lot 167: Roy Lichtenstein's lithograph Crying Girl sold for $37,500.

Choice works by the big names in contemporary art—from Abstract Expressionist painters to Pop Artists—were eagerly sought after, including Roy Lichtenstein's Crying Girl, an offset color lithograph from 1963 that was published by Leo Castelli Gallery, New York, which brought $37,500 and Francis Bacon's Man at a Washbasin, color aquatint and etching on Arches, 1977-78, a trial/working proof with variant colors, aside from the edition of 146, which was based on a same-titled painting, at $26,250. 



Lot 261: Francis Bacon's Man at a Washbasin, color aquatint and etching, sold for $26,250.
Soaring past pre-sale estimates was the sale's top lot, English sculptor Lynn Chadwick's Two Winged Figuresbronze sculptures with brown patina and gold faces, which sold for $43,750--reflecting the artist's continued rise since the Tate London retrospective of his work in 2003-2004; and outstanding examples of Robert Longo’s life-size lithographic images of contorted figures, James, 1999, $16,250 and Tillman2000, $13,750.
Lots 253 and 254: Robert Longo's lithographs James and Tillman sold for $16,250 and $13,750 respectively.


Sense of Play: Will Barnet's Nude with Cats

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Lot 232, Barnet's watercolor and oil, Play, differs from the later print.
Among the highlights of our June 12 auction of American Art--and the image that graces the catalogue cover--is Will Barnet's Play, a watercolor and oil on paper from 1975. 

Barnet (1911-2012) was born in Massachusetts and studied at the School of the Museum of Fine Arts, Boston before coming to New York in 1931. He started out in a Social Realist style and worked for the graphic arts division of the WPA's Federal Art Project in New York, producing lithographs and etchings of factory workers, farm laborers and urban dwellers. By the mid 1940s, Barnet developed an abstract style, which reached its zenith in the mid 1950s. He was the key artist in the Indian Space Painting movement, which traced its sources to semi-abstract Native American art and paralleled the work of New York Abstract Expressionist artists such as Jackson Pollock, Willem de Kooning and Robert Motherwell. 
Lot 230: Barnet's Father and Parrot, oil on canvas, 1948, is an example of his abstract work.

Barnet's flirtation with abstract art waned by the early 1960s and he turned to the style for which he is best known today: colorful figurative work with poetic, symbolist and often enigmatic subjects such as women at rest, women with domesticated animals like cats, parrots, dogs and doves, and women posed in solitary, seemingly pensive and melancholic states of waiting. His mature style, seen in works like Play, displays the influence of Renaissance painting, traditional Japanese color woodcuts and American Pop Art. Barnet continued painting in a similar vein from the 1960s onward and was a longtime resident of The National Arts Club in New York's Gramercy Park. He died at age 101 after a prolific and successful career. 
Lot 231: Barnet's Abstract Landscape, watercolor, gouache and pencil on paper.

Barnet's works have entered virtually every major public collection in the United States, including, the National Gallery of Art, Washington, DC, the Metropolitan Museum of Art, New York, the Whitney Museum of American Art, New York, the Museum of Modern Art, New York, the Museum of Fine Arts, Boston, the Philadelphia Museum of Art and the Jewish Museum, New York. He has been the subject of more than 80 solo exhibitions throughout the country. 

Play was developed into a color lithograph by Barnet in 1975 and printed in an edition of 150. The color lithograph does differ from the current watercolor: In the print the figure of the woman in the tree is clothed and the background is a gradated, color rainbow pattern.

Kara Walker: The Talk of the Town

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Alaina McEachin of Swann's African-American Fine Art Department wrote this insightful piece on art-world sensation Kara Walker.
Worth the wait: Kara Walker's A Subtlety or the Marvelous Sugar Baby...
Kara Walker is one of the most well-known, respected and controversial artists of her generation. She’s been a star in the art world from very early on in her career, having won a MacArthur Foundation “Genius” grant in 1997, only three years after graduating from art school. Best known for her sleek and highly crafted black paper silhouettes, Walker’s work explores the intersection of race, gender, sexuality, violence and America’s troubled past. Using the Victorian medium of the silhouette, Walker draws the viewer in, only for them to be confronted with horrifying images.
Walker's no world is an excellent example of her printmaking.

Walker’s work has left the safety of gallery walls, and moved into the old Domino Sugar Factory in Brooklyn. In a public project commissioned by Creative Time, Walker has transformed the old Domino Factory into a conversation on the history of slavery and its relationship to the sugar industry. In the installation, entitled "A Subtlety or the Marvelous Sugar Baby an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant," the viewer is confronted by a 75-foot sculpture that is a hybrid of a sphinx and a “mammy” covered in 160,000 pounds of sugar. There are also 15 life-size sculptures of young boys made out of molasses colored candy. 
Sugar canisters? Lot 153 in our June African-American Fine Art auction

Being hailed as a must see, and already commanding a 35-minute wait in line to gain entry, we recommend heading over as early as possible to see the installation before it closes on July 6. Also on view in June are two works by Walker coming up in our June 10 auction, The Shape of Things to Come: African-American Fine Art. There is a set of glass canisters etched with Walker’s well-known silhouettes, and no world, a fine etching and aquatint from her An Unpeopled Land in Uncharted Waters series. Kara Walker's long interest in editions has allowed original art by this important artist to remain obtainable.

Let It Snow: Guy C. Wiggins's Views of New York City

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With Memorial Day approaching, all of us here in New York are hoping for warm weather. But, among the most charming images in our June 12 auction of American Art, is a NYC skyline by an artist celebrated for his views of the city in the snow: Guy C. Wiggins. In fact, his New York Skyline, from a Staten Island Ferry Boat, oil on canvashas the highest pre-sale estimate in the auction. 

Wiggins (1883-1962) was born in Brooklyn into an artistic family. His father, Carleton Wiggins (1848-1932) was an accomplished painter and gave his son his early training. Later, the junior Wiggins became the youngest member of the summertime Old Lyme Art Colony in Connecticut, painting alongside his father and Childe Hassam, among others. Wiggins also trained at the National Academy of Design in New York, where his teachers included William
Merritt Chase and Robert Henri.

Throughout his long and successful career, Wiggins painted in an Impressionist style and became especially well known for snowy New York cityscape canvases that captured the buildings and landmarks of Manhattan enveloped by wintry weather. Like Hassam, Wiggins blended the French traditions of Impressionism, from the likes of Claude Monet and Camille Pissarro, with an American style, influenced by his instructors Chase and Henri.

Wiggins was extremely popular in America throughout the first half of the 20th century due to his approachable style and strong artistic pedigree. At the age of 20 he was the youngest artist to have a work in the collection of the Metropolitan Museum of Art, New York. 

In 1920, Wiggins established an eponymous art school in Connecticut, teaching in New Haven during the “off-season” and in Old Lyme during the summer. He moved to Connecticut, purchasing a gentleman’s farm outside of Old Lyme, while still keeping a studio in New York for a couple more decades. In 1937, he relocated his art school year-round to Essex, Connecticut, and would invite important artists such as George Luks, Eugene Higgins and Bruce Crane as visiting instructors during the summers. Wiggins died at age 79, while on vacation in St. Augustine, Florida, and is buried in Old Lyme.

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