Take a trip back to the psychedelic era via Aug. 5 concert poster auction

Vintage rock concert posters provide an artful form of proof. If you saw the show, it reinforces the fact that you were there; if you weren’t, it delivers artful evidence that it happened (or, in some cases, that it was supposed to happen).

On August 5, starting at 8 pm Eastern time, Jasper52 will conduct a 311-lot sale of Vintage Psychedelic Rock ‘n’ Roll Posters.

Big Brother and the Holding Company November 1967 concert poster, est. $50-$100

View the auction here.

Learn more about the auction on Auction Central News.

Jasper52 presents Americana, folk and outsider art, Aug. 5

Many spectacular objects and items go unsigned or unmarked by their makers. Too often, these artisans didn’t regard their masterpieces as art; they saw them as a hobby, or an amusement, or something that helped pass the time. We may not always know who made a given piece, but we do recognize its beauty and its craftsmanship.

On August 5, starting at 6 pm Eastern time, Jasper52 will stage an auction of Americana, Folk Art, and Outsider Art. As always, the sale is curated by Clifford Wallach, an expert in tramp art, folk art, and Americana.

19th-century buckskin vest, est. $3,000-$5,000

View the auction here.

Learn more about the auction on Auction Central News.

Emile Gruppe, Artist-King of Gloucester

An undated Emile Gruppe canvas titled ‘Old Dartmouth’ sold for $1,270 in March 2021 at DuMouchelles Fine Art Auctioneers & Appraisers in Detroit, Michigan.

Mention the name Emile Gruppe to just about anyone in Massachusetts art circles and their eyes instantly brighten. Gruppe (1896-1978) was born in Rochester, New York, raised in the Netherlands, and in the early 1930s made his way to the picturesque fishing village of Gloucester, Massachusetts. There, he embarked on a long and prolific career, first as a tonalist painter and later as a Monet-inspired impressionist, a hallmark style for which he became famous. Gruppe’s vivid depictions of life on the water, especially fishing boat scenes, earned him a nice living.

A signed, untitled Emile Gruppe painting from the estate of Diana H. Douglas of Southern Pines, N.C., sold for $24,200 in September 2014 at Leland Little Auction Gallery in Hillsborough, North Carolina.

You could say Emile Gruppe had a head start in life. His father, Charles P. Gruppe, painted with the Hague School of art in Holland and served as a dealer for Dutch painters in the United States. He actively encouraged Emile’s artistic interests (as well as those of siblings Karl, a sculptor; Virginia, a watercolorist; and Paul, a cellist). Emile would watch his father create Barbizon-inspired landscapes and in so doing learn the rudiments of painting and drawing.

The family moved to the United States permanently in 1913 because of growing tensions in Europe. Young Emile’s formal training, such as it was, began in Rochester, where his parents apprenticed him to a sign painter. But he had larger ambitions for himself. He enrolled at the National Academy in New York City and later the Grande Chaumiere in Paris. He also attended classes at the Art Students League. In Provincetown, Massachusetts, he learned from the landscape painter Charles Hawthorne at the Cape Cod School of Art. But his most influential teacher was John Carlson, whom he met at the Art Student League’s summer school in Woodstock, New York.

This Emile Gruppe painting Early Morning Gloucester sold for $13,310 in May 2016 at the Rockport Art Association in Rockport, Mass.

“John Carlson turned me into a painter,” Gruppe once said. “He taught me to see all the pictorial possibilities of a subject.” By the time he arrived in Gloucester, his style had been pretty well cemented. He was a bold, robust Impressionist, one who earned places in gallery shows and exhibitions throughout the United States. While based in Gloucester, Gruppe also maintained a studio in Carnegie Hall in New York and had vacation retreats in Jeffersonville, Vermont and Naples, Florida. He painted every day, completing around 200 paintings a year for 60 years.

An oil-on-canvas winter harbor scene by Emile Gruppe sold for $14,400 in March 2013 at Cottone Auctions in Geneseo, New York.

Mary Westcott of Kaminski Auctions in Beverly, Massachusetts, said Emile Gruppe is revered in the New England area for his outstanding contribution as a local artist who taught and mentored many other artists. “Whenever one of his paintings comes to auction, it is given prominent advertising and always photographed,” she said. “Although he painted other subjects and locations, he is best known for his ‘Ships in Harbor’ scenes.  He’s often compared to William Lester Stevens, Aldro Hibbard and Anthony Thieme, and his work is most easily recognized. He is a giant among giants and continues to be sought by collectors and museums.”

Alexa Malvino of Clars Auction Gallery in Oakland, California, said Emile Gruppe benefited from being able to create art alongside a collection of other talented American artists, adapting and experimenting with impressionistic plein air painting. “The California artist Armin Hansen comes to mind first,” Malvino said. “Not only is their subject matter very similar, but even the color palettes of their works align. Small details like the execution of the hats on their fishermen make you wonder how familiar they were with each other’s work, despite working on separate sides of the country.”

The Emile Gruppe work titled ‘Morning Light at East Gloucester’ sold for $10,240 in August 2020 at Clars Auction Galley in Oakland, California.

The American Impressionist landscape was a subject often seen coming out of California from painters such as the Society of Six, Mary DeNeale Morgan and William Ritschel, the latter of whom spent much time in New York but created many of his great works after his move to Carmel in 1918. “Gruppe’s work also had a similar feel to the paintings coming out of Canada during that time,” Malvino observed. “The Group of Seven included artists like A.Y. Jackson and Tom Thomson – who passed before the creation of the group but whose work greatly influenced it – were also capturing the fantastic fall landscapes of the East Coast.”

As for the current demand for paintings by Gruppe, Alexa Malvino said the painter’s auction market has been fairly consistent for the past 10 to f15 years, with works selling for a few thousand to tens of thousands of dollars, contingent on the provenance, subject matter and condition of the works. “Despite the current demand for contemporary and Pop Art,” she added, “I don’t see his market softening in the coming years. His themes and beautiful execution of the Impressionist style seem to be timeless. The Impressionist era was such an important part of American art history and given his talent and many contributions to the movement, it’s likely the demand for his works will remain steady.”

Emile Gruppe’s ‘The Old Timer’ sold for $42,500 in November 2018 at Kaminski Auctions in Beverly, Massachusetts.

Mary Westcott said there continues to be a demand for Gruppe’s work. “The prices realized are on a broad spectrum and depend mostly on subject matter, early or late work and quality. Rarely are any of his paintings not sold. The demand for his work is still here and likely to continue.” Matt Cottone of Cottone Auctions in Geneseo, New York, concurred, remarking, “There has been a recent resurgence in the Gruppe market, with new interest on a national level.”

Emile Gruppe was as much a teacher as he was a painter. He founded the Gloucester School of Painting in 1942, operating it until his death, with a faculty that not only included himself but many of his own teachers, including Carlson. He wrote books for artists on brushwork, color and technique. His paintings can be found in major auction galleries, such as Sotheby’s, Christie’s and Skinner. His son, Robert Gruppe, a painter, maintains the Gruppe Gallery at Rocky Neck in Gloucester, while his daughter, Emilie, maintains the Emile A. Gruppe Gallery in Jericho, Vermont.

Crystals, minerals and semiprecious stones add luster to July 27 sale

It’s not just gold that lies in them thar hills. A startling number of treasures lurk beneath the surface of the Earth, including crystals, minerals, and semiprecious stones, and to be frank, you might like them more than gold. Some of these beauties have tough, rugged surfaces that challenge carving tools, while others yield to the merest brush of a fingernail. They take every shape you can imagine and some you can’t, and a select number boast colors that would make a rainbow look dull and uninspired. You can see it for yourself on July 27, as Jasper52 presents a 686-lot Natural Crystals, Minerals & Specimens sale.

View the auction here.

Learn more about the auction on Auction Central News.

Jasper52 showcases Viking, ancient & medieval jewelry, July 28

Jewelry that was created generations before your great-grandparents appeared on the scene isn’t just alluring or beautiful. Nor are these pieces mere baubles. See them with the right mindset, and they become vehicles for time travel. Jewelry from Roman, Viking, and medieval times show us how styles endure and change, and how the drive to adorn the body with art made from precious metal links us to people we can never otherwise know.

On July 28, kicking off at 2 pm Eastern time, Jasper52 will stage an 135-lot auction of Viking, Ancient, & Medieval Jewelry.

Silver Viking pendant, estimated at $275-$350

View the auction here.

Learn more about the auction on Auction Central News.

Rolex: How a revered luxury brand evolved

This 1969 18K gold Rolex Cosmograph Daytona sold for $450,000 plus buyer’s premium in 2018. It is similar to the watch worn by actor Paul Newman that sold for $15.5 million plus buyer’s premium in 2017. Image courtesy: Dan Morphy Auctions and LiveAuctioneers

For more than a century, Rolex has been a pioneer of excellence, distinction, elegance and accuracy in timepieces. Its products are worthy of being worn in any setting, even the most extreme. A Rolex has been carried to the top of Mount Everest, traveled to the depths of the Marianas Trench while strapped to the outside of a submarine, and flew to the International Space Station – all without losing even a second of time. Such heroic accomplishments spring from humble origins.

According to the accepted lore, in 1905, two brothers-in-law opened a shop in London called Wilsdorf & Davis, which specialized in accurate and affordable timepieces. Hans Wilsdorf had some experience with timepieces, particularly watches, thanks to his previous work in 1900 as a stem-winder with the Cuno Korten watchmaking company. Alfred Davis was the London company’s main investor and handled the business side of the new partnership.

One of the earliest wristwatches from Wilsdorf & Davis still without the Rolex brand name, but with the initials W&D etched inside the sterling silver case cover that sold for $1,500 plus buyer’s premium in 2015. Image courtesy: Auctionata U.S. and LiveAuctioneers

In the late 19th century, pocket watches were the dominant style of timepiece. They were usually worn in a vest and attached to a chain. Smaller so-called “wristlets,” worn on the arm, were the province of women. It was said that gentlemen “…would sooner wear a skirt as wear a wristwatch.” But war changed everything.

More precisely, the Boer War started the cultural shift that made wrist-worn watches acceptable to men. The local Boers, or farmers, fought the controlling British for independence in what is now South Africa from 1899 to 1902. Wilsdorf learned that soldiers had found themselves fumbling for pocket watches during battle and, faced with the grim risk of losing precious seconds while under fire, began strapping watches to their wrists. This practice inspired Wilsdorf to create a wristwatch for men. He chose the name “Rolex,” a word that had no particular meaning. It is believed to have popped into Wilsdorf’s head during a bus ride in London.

A simple Rolex original watch from 1908 using Jean Aegler watch movements in an exterior case possibly by Denninger, the main supplier of early Wilsdorf & Davis watches, sold for $800 plus buyer’s premium in 2013. Image courtesy: Don Presley Auction and LiveAuctioneers

Initially, Wilsdorf worried that his Rolex wristwatch would not achieve the same level of accuracy asa pocket watch. To his delight, his invention was recognized by the Society of Horology in 1910 for its highly accurate chronometer. In 1914, it received a coveted “Class A Certificate of Precision” from the King’s Observatory, becoming the first wristwatch ever to earn this honor from the prestigious Royal Astronomical Society. After these triumphs, Wilsdorf was quoted as saying that “…pocket watches will almost completely disappear and wrist watches will replace them definitively!” In 1915, the London company officially changed its name to Rolex Watch Co. Ltd. It switched to “Rolex SA” about five years after that.

Improvements in precision were the hallmark of Rolex throughout the early period, yet Wilsdorf was never satisfied. He strived to make Rolex watches more useful, accurate and stylish, for every setting.

By 1908 the new name of Rolex started to appear on watches such as this ladies 9K gold trench-style bracelet watch that sold for about $417 plus buyer’s premium in 2012. Image courtesy: Fellows and LiveAuctioneers

In 1926, Rolex introduced the Oyster, the first watch that was completely waterproof. The Oyster Perpetual, introduced in 1931, was not only waterproof but also the first self-winding watch. The Tudor, a more affordable watch, debuted in 1952. The Submariner, a watch certified to be waterproof to 200 meters, arrived in 1959.

While a new authentic Rolex starts at about $6,500, Hans Wilsdorf insisted on a more affordable, but no less accurate watch, in his Tudor line introduced in 1952 such as this 1960s era military grade men’s watch that recently sold for $750 (without buyer’s premium). Image courtesy: Rare Treasures and LiveAuctioneers

Along the way, Rolex unveiled vast improvements such as the “Just in Time” automatic date/time movement in 1945, and the Cyclops view window over the date function in 1954, created in part to accommodate Wilsdorf’s nearsighted wife.

Since the beginning, Hans Wilsdorf was obsessed with attention to detail, and his wristwatches reaped the benefits of his toil. He insisted that the name Rolex be the definition of perfection itself. Because he aimed high and hit his target, Rolex resultedly became a target for counterfeiters.

The first clue to authenticity, according to Rolex experts, is the weight of the watch itself. Rolex watches are forged from 904L stainless steel, which has a higher concentration of nickel, copper and chromium to provide higher resistance to corrosion and wear. Most Rolex watches that are not factory-made will use a lower-grade 316L steel and will feel much lighter, like the Tudor model that was intended as a more affordable option.

Factory-made Rolex watches have markedly smooth sweep motions of the second-hand dial; they don’t stutter or shake with each movement (the Oyster quartz watch is an exception). The crystal lens of the Cyclops will be magnified no less than 2.5 times, completely filling the lens itself, and it is made as one piece, not two. Genuine Rolex products should have no imperfections of any kind, in any detail. The etchings, stems, fasteners, lettering, watchbands, caseback, crystal bezel and even the raised edgings around the watch face should be flawless. The manufacture of every component should be crisp, clear and precise.

Rolex watches also have a model number, which is placed behind the 12 o’clock clasp, as well as a serial number, typically located behind the 6 o’clock clasp. The engraving “Original Rolex Design” should appear above the model number. Watches dating from 2002 or later feature a small coronet, hardly visible, that is laser-etched under the “6” on the dial.

If you aren’t sure whether a Rolex watch is factory-made, and it isn’t possible to place it next to a confirmed authentic example prior to completing a purchase, the next best thing is to heed the expert advice to “buy the seller first and then the watch.”

Hans Wilsdorf died in 1960 at the age of 79 and gave 100% ownership of Rolex to the Hans Wilsdorf Foundation. This nonprofit operates the company, using all proceeds strictly for humanitarian, philanthropic and educational purposes in and around Geneva to include “…food banks, elderly charities, scholarships, [and] school prizes with a special emphasis on the reduction of individual excessive debt,” according to its website.

NHADA dealers offer choice Americana in Jasper52 auction

Few can match the quality and the reputation of the members of the New Hampshire Antiques Dealers Association (NHADA). Once again, Jasper52 will devote a sale to wares from these dealers. The 299-lot auction kicks off at 6 pm Eastern time on July 22. As always, it is curated by Clifford Wallach, an expert in tramp art, folk art, and Americana.

Hand-pieced sampler quilt top commemorating the 1876 Centennial, estimated at $1,200-$1,500

View the auction here.

Learn more about the auction on Auction Central News.

Centuries-old maps unfurl different views of our world

Maps represent the ultimate marriage of art and science. Yes, they must be reasonably accurate – if they’re not, they’re useless – but given a choice between a map that is perfectly correct and one that’s correct but also has mermaids and monsters and fancy old ships swimming in its seas and an area marked “Here Be Dragons,” most people would take the second option.

Circa 1635 map of the Amazon region, showing the fictional Lake Parime, estimated at $400-$500

View the auction here.

Learn more about the auction on Auction Central News.

RUBY GLASS: A RHAPSODY IN RED

Circa-1700 gold ruby glass perfume bottle, French or German, with 14K gold stopper. Sold for $650 plus the buyer’s premium in 2015. Image courtesy of Brunk Auctions and LiveAuctioneers

According to legend, ruby-red glass was discovered when a noble tossed a gold coin into a batch of molten glass. In reality, it probably happened when glassworkers unintentionally contaminated batches with traces of gold residue or gold nanoparticles that were components of silver additives.

The earliest known ruby glass vessels date from the late Roman Empire and rival the beauty of intricately carved gems. Yet their appeal – along with the secret of their creation – faded within a century.

More than a millennium passed before the quest for ruby glass was taken up anew. Antonio Neri, a 16th-century Florentine glassmaker, experimented with magnesium oxide and copper, a red pigment used for cathedral windows. Further investigation revealed that when clear molten glass is imbued with gold salts (known as chlorides) and re-heated, it assumes a range of jewel-like pink-to-red hues. Better still, the amount of gold needed for even the darkest, deepest red is infinitestimal.

Ruby glass perfume bottle with gold painted highlights. Sold for $4,500 plus the buyer’s premium in 2020. Image courtesy of Dan Morphy Auctions and Live Auctioneers

The first European to produce large, evenly-colored, deep red vessels was Johann Kunckel, a 17th-century glassmaker, chemist, and “alchymist,” which is an archaic spelling for “alchemist.” Alchymists had long sought the fabled Philosopher’s Stone, a transparent, glossy red substance deemed essential for transmuting base metals into gold. For hunters of the Philosopher’s Stone, discovering how to create gold ruby glass was not only highly significant, it was wondrous.

Gold ruby glass masterpieces created under Brandenburg patronage feature an extensive amount of cut decoration, such as arches and pointed leaves carved into the glass or features that stand out, dramatically, in relief. The Corning Glass website states, “Seldom has cut decoration been so organically modeled, seemingly floating on the surface.” By the early 1700s, nearly every central European sovereign owned several costly, finely crafted ruby glass goblets, footed beakers, and tankards.

Steuben art glass dresser or vanity jar with Cerise Ruby design and butterfly lid. Sold for $220 plus the buyer’s premium in 2011. Image courtesy of Auctions Neapolitan and LiveAuctioneers

Around the same time, glassworkers in southern Germany were creating simpler, less masterly red-raspberry-hued vessels in forms such as bottles, boxes, and bowls. Many were assembled from gilded-metal mounts and glass components, and some served a dual purpose. For example, certain plates and saucers, when flipped, resembled covers. Beakers were made that looked like bowls, and knobs often formed finials or sections of glassware stems. While the provenance of Southern German ruby glass remains elusive, their uniform appearance suggests a single source.

Bohemian ruby glass epergne (centerpiece). Sold for $4,000 plus the buyer’s premium in 2015. Image courtesy of Austin Auction Gallery and LiveAuctioneers

Interest in gold ruby glassware waned by the early 1800s. However, decades later, Friedrich Egermann, a Bohemian glass decorator, discovered that copper additives would stain glass surfaces a deep red. Sales of ruby glass made with copper soared. Because these pieces were inexpensive enough for mass production but had the appearance of gold ruby glass, they eventually dominated the European market.

Victorian tea warmer with scenic dark ruby glass insert in metal frame. Sold for $400 plus the buyer’s premium in 2021. Image courtesy of Woody Auction LLC and LiveAuctioneers

This variety of ruby glass was most fashionable during the Victorian era. After wine-colored wine glasses, decanters, and chandeliers studded with tiny ruby glass drops were featured at London’s 1851 Crystal Palace Exhibition, scores of prosperous homeowners graced their parlors with ruby glass candy bowls, vases and table lamps. Collectors sought ruby glass ground jugs, hinged boxes and tea warmers featuring stylized white enamel paintings of children at play. Others focused on delicate gold-painted ruby glass jars, cologne bottles and vanity sets.

Cranberry-to-clear glass dinner bell attributed to Dorflinger. Sold for $3,000 plus buyer’s premium in 2014. Image courtesy of DuMouchelles and LiveAuctioneers

By the mid-1800s, ruby glass was becoming popular across America, where it was known as cranberry glass. Through 1915, the Dorflinger Glass Company, based in Brooklyn, New York, created popular pattern-cut dinner bells, punch cups, cigar jars and whiskey jugs. The Indiana Glass Company produced ruby-stained and cranberry-to-clear crystal pitchers, tumblers, sherbets, goblets, serving ware and glassware. Soon after, the Fenton Art Glass Company of West Virginia introduced eye-pleasing red wine coolers, decanters and candy dishes, as well as opulent opalescent bowls, compotes, table lamps and epergnes (centerpieces). Steuben Glass, located in Corning, New York, produced fanciful ruby glass ewers, “candy-caned” vanity jars, majestic vases, lamps and more.

Twenty-first century artisans rely on selenium and rare earth elements rather than gold for making ruby glass. But their beguiling hues, ranging from pale pink to blazing red, continue to fire the imagination.

Jasper52 opens cabinet of curiosities, with a French twist, July 13

When the last dessert course had been served, and the servants finished delivering digestifs and cigars, lucky male guests of centuries past might be invited to view their esteemed host’s cabinet of curiosity.

While it might be a literal single cabinet, the richer and high-ranking the host was, the more likely it was to be a room full of cabinets displaying wondrous objects and oddities from around the world. Marquee items might include religious relics; antiquities; meteorites, shells, tusks, skeletons, semi-precious stones, and other natural history items; automata; tribal artifacts and other ethnographic objects; automata; books; works of art; and taxidermy, some of it clearly dubious. Anything that inspired delight and envy could earn a place in a cabinet of curiosity, but if it was rare, expensive, and advertised the intellect and superiority of its owner, all the better.

On July 13, starting at 7 pm Eastern time, Jasper52 will host a French Cabinet de Curiosite sale, featuring 152 lots of things you didn’t know you wanted until they popped up on your screen.

1950 Jean Picart Le Doux silkscreened cotton tapestry, estimated at $1,000-$1,200

View the auction here.

Learn more about the auction on Auction Central News.