Twirling in the Wind: Folk Art Whirligigs

“A little wooden warrior who, armed with a sword in each hand, was most valiantly fighting the wind on the pinnacle of the barn,” wrote American author Washington Irving in his famous short story The Legend of Sleepy Hollow, published in 1820. The writer was describing perfectly the workings of a simple whirligig, sometimes called a wind toy.

In the construction of the figure Irving describes, a shaft runs through the shoulders. When the wind blows, the arms carved in the form of broad paddles spin like propellers.

Folk art, polychrome painted, tin, metal and wood whirligig. Features cyclist that races on high wheel around track. 33″ D., 20″ H. Good condition. Comes with base. Provenance: Richard Roy Estate. Sold to a LiveAuctioneers bidder for $1,800 on April 16, 2016.

When mounted on a free-moving shaft, a whirligig can serve as a weather vane, but most often the whirligig is mounted on a post and serves no other purpose than to amuse those who view it. Having at least one part that spins or whirls, a whirligig is a decorative whimsy that holds great appeal with today’s collectors of Americana.

Flying mallard whirligig by upstate New York maker, early 20th century, 29 inches long, carved and painted wood. From the Linda and Gene Kangas Collection, it sold for more than $1,500 at a Slotin folk art auction in November 2015.

Mentioned in Colonial American times, the wind-driven whirligig probably originated with the immigrant population. “Traditionally, the first American examples were models of Hessian solders and were supposedly made by Pennsylvania settlers of German origin in mockery of the German mercenaries employed by the British during the Revolutionary War,” writes William C. Ketchum Jr., in The New and Revised Catalog of American Antiques (1980: Rutledge Books Inc.).

Ketchum acknowledges there is little support for the Hessian-soldiers story. However, folk artists did take delight in spoofing military officers and lawmen. “Their serious expressions and upright poses are undermined by arms that flail uncontrollably in the wind,” writes Beatrix T. Rumford and Carolyn J. Weekley in the book Treasures of American Folk Art: From the Abby Aldrich Rockefeller Folk Art Center (1989: Little Brown & Co.).

Pennsylvania carved and painted pine whirligig, circa 1860-1870, in the form of a policeman, original polychrome decorated surface, 22 inches high. It sold for more than $18,000 at Pook & Pook Inc., in 2012.

Because whirligigs were invariably made of wood – usually pine – and placed outdoors, few early examples have survived the elements of harsh weather over time.

As compared to later productions, whirligigs made in the late 19th and early 20th centuries have more moving parts and exhibit more complex movements, e.g., a rooster pecking at an ear of corn, a man sawing a log, or a woman washing clothes.

Whirligig in painted tin and wood depicting a washerwoman bending over her tub, 28 inches long by 21 inches high. It sold for more than $600 at Thomaston Place Auction Galleries on Feb. 11, 2017.

Most whirligigs currently available to collectors date to the 20th century and are considered folk art. Unlike antique weather vanes, which can sell for many thousands of dollars, whirligigs are affordable to the great majority of American buyers.

Found at country auctions, barn sales, and online, whirligigs can sometimes be picked up for bargain prices. However, be aware that whirligigs are easily copied. There are fakes in circulation that are being passed off as old to unsuspecting buyers. If the paint appears to be fresh and there is little sign of weathering, it is possible the object is fairly new. Bottom line: buy from a knowledgable trustworthy source.

Find folk art and whirligig treasures in Jasper52’s weekly Americana sales.

Swatch: Watches That Add ‘Pop’ To Fashion

Back in the 1980s, at a time when “pop” was king, timepieces got in on the act, as well. For some watchmakers, the opportunity to innovate couldn’t have come at a better time.

Near the end of the 1970s, there was a switch in the approach to watchmaking, with Asian-based companies bringing forth mass-produced models, wrote Stephanie Potter. Because of this sea change in watch manufacturing, there was a steep decline in the export of Swiss watches, leaving tens of thousands of people unemployed.

Shown here is a selection of Swatch prototype watches from the extensive Dunkel collection that commanded $6 million at auction in April 2015. Image courtesy of www.watchpaper.com

From the ashes of this challenging time for Swiss watchmakers rose a company designed to retain business lost to manufacturers of less-expensive watches – some of decidedly inferior quality. The company Société Suisse de Microélectronique et d’Horlogerie found its way into the public eye as the Swatch Group, Potter explained. The company adhered to the goal of creating quality timepieces, using an automated production process, and pricing them affordably. The company’s recipe for success included teaming up with popular artists to create watches with unique and modern “pop art” designs, and employing effective marketing techniques, Potter said. Artists Keith Haring, Alfred Hofkunst, and Akira Kurosawa; director Spike Lee, and musician Moby, are among the creative minds who lent their vision to Swatch watch creations.

One of the thousands of Swatch watches and items from the Schmid and Mueller collection, which sold through Sotheby’s for $1.33 million. Image courtesy of Sotheby’s.

Swatch in the Spotlight

It’s been 34 years since the first Swatch collection came to market, with the first model being Swatch’s GB101. Paul Dunkel owned what was possibly the ultimate Swatch watch collection. It contained 5,800 Swatch & Art models and sold for $6 million during an April 2015 auction at Sotheby’s. Then in November of 2015 – again at Sotheby’s – there was an auction of almost 1,000 original watches and 380 prototypes and original design sheets and related art and memorabilia. The 4,000-piece collection belonged to Swatch designers Marlyse Schmid and Bernard Mueller, and sold as a single lot for $1.33 million.

The instantly recognizable art style of artist and philanthropist Keith Haring graced the face of a Swatch watch in the mid-1980s. This model and original drawing were among the items that sold as a single lot for $1.33 million at Sotheby’s in November of 2015. Image courtesy of Sotheby’s.

The appeal of Swatch timepieces continues to resonate with people of various walks of life. Those seeking to enjoy the nostalgia and camaraderie associated with Swatch watches look to the popular Swatch Club, which includes regular gatherings, a new Club Swatch watch each year, and four different membership options.

Another example of Swatch’s continued popularity is its presence on the wrists of some world leaders, as reported in 2014 by Anne VanderMey for Fortune. The CEO and chair of Goldman Sachs, Lloyd Blankfein; former British Prime Minister Tony Blair, and former President of France Francois Hollande all own and sport Swatch watches from time to time.

Original drawings and illustrations accompanied vintage Swatch watches in the Schmid and Mueller collection. Image courtesy Sotheby’s.

The popularity of these watches, then and now, is a sign of evolution, in engineering, affordability and fashion, says Ariel Adams, founder and editor of aBlogtoWatch. He commented on the cultural impact of Swatch and similar watches.

“What made these watches important is that they signaled the age of watches as fashion statements versus purely as functional items for much of society,” Adams said. “It isn’t that artists didn’t have fun with watches before, but it is the notion that mainstream timepiece consumption habits changed … people purchase multiple lower-cost fashion watches to go with their mood or look, as opposed to getting a single watch to wear all the time.”

Outdoor Americana: Garden and Architectural Antiques

With the month of May now upon us, it won’t be long until we’re spending summer days in the garden and evenings out on the patio. If do-it-yourself programs and Pinterest postings are any indication, there’s no shortage of ideas for incorporating personal style and decorating flair into your outdoor space.

Antique and vintage garden accessories and repurposed goods to use and enjoy in outdoor settings are not a new concept. Although the roots of this practice may run deep, the rules of application today seem to afford greater flexibility.

Simply put, if classic planters, urns, birdbaths and patio furniture are top of mind, there are plenty of options. Or, if the idea of transforming traditional with a personal touch is appealing, there are ideas and options for that, as well.

This also means the patriotic look is sometimes, often viewed only in association with Memorial Day and Independence Day festivities, need not be confined to a long weekend. It can be a central theme or a spectacular accent to an outdoor entertainment space, all summer long.

Stars with a decidedly folk-art flair, like the 19th-century iron star windmill weight offered by Urban Country, will give a star-filled sky competition for your attention. Whether star-shape items serve the purpose of holding items in place on a patio table, or simply adorn a shed, fence, or garage, the versatility adds an exciting extra dimension.

Halladay H37 cast iron windmill weight, U.S. Wind Engine and Pump Company, circa 1880-1916. Offered by Urban Country, $3,000

Figural accessories have appeared as garden ornaments for generations, with the earliest ones probably being those of a religious nature. Other popular themes for garden antiques have included cultural icons, military heroes, and other familiar figures of their day.

An example of a military design is this circa-1940 sailor whirligig. It is made of carved, painted wood and has a brimmed hat made of tin. Positioned on a metal stand, it measures 18 inches high by 9½ inches wide.

Sailor whirligig, circa 1940, Andrew Anderson, New Jersey. Available at Aileen Minor Garden Antiques & Decorative Arts, $450

If any outdoor piece is considered folk-art royalty, it’s the weathervane. Although in most cases this welcome backyard resident is no longer seen serving its original purpose, it remains highly sought after. Surface indications of what such coveted examples of once-practical folk art have “weathered” does not seem to lessen their appeal. If anything, it adds to their character and charm.

For example, a circa-1880 weathervane of a horse in running stride, made of cast zinc and molded copper by J.W. Fiske Ironworks, New York, was a highlight of Jasper52’s May 7 auction and quickly attracted bids. The weathervane displays original verdigris patina – which can only come from the natural aging process – with traces of attractive gilt.

J.W. Fiske Ironworks horse weathervane, circa 1880. Image courtesy Jasper52

Another utilitarian type of garden antique is a sundial, like this one decorated with the Latin phrase “Tempus Fugit,” or “Time Flies.”

American sundial. Photo taken at the New Hampshire Antiques Show by Catherine Saunders-Watson

Antique and vintage garden ornaments add special distinctive charm to any yard and patio scene, but it should be kept in mind that not every object can withstand the elements without some preventative measures being taken. In an article penned by Dennis Gaffney for Antiques Roadshow, the author of “Antique Garden Ornament, Two Centuries of American Taste,” Barbara Israel shares a few words of advice. Four points paraphrasing Israel’s advice include:

  1. Take steps to prevent damage from occurring. It’s easier and more affordable than fixing damage that has already occurred.
  2. Keep statues off the ground during winter months and wrap them in a breathable, weatherproof material.
  3. Avoid placing iron ornaments on marble to prevent rusty imprints.
  4. In the case of all garden ornaments, display and enjoy them in season but store them safely, away from the effects of winter weather during the off-season.

 

Tracing the History of Chinese Porcelain

Porcelain is often recognized and celebrated for its translucence, but it is far from delicate. In fact, by its very nature, formed and forged by fire, porcelain is like a beautiful phoenix rising out of the flames.

Pinpointing the period when porcelain was first developed is a bit tricky. According to some resources, it was at least two millennia ago. There are reported discoveries of “near porcelain” in regions active with civilization during the Shang Dynasty (1600-1046 BC), as well as examples dating to China’s Eastern Han Dynasty (221-206 BC). Other resources point to the Tang Dynasty era (618-970 AD) as the period in history when porcelain became widely known.

Copper-red dragon and phoenix vase, Qianlong seal mark and of the period, sold at auction for $259,708 (inclusive of buyer’s premium) in February 2017. Image courtesy Rob Michiels Auctions

One thing that seems to be apparent is that each dynasty in the history of porcelain helped to hone its production and presentation. Be it techniques used to make porcelain, methods of exporting, development of regions rich with firing kilns, or variation in design and decoration, it’s evident that porcelain’s history is one of multigenerational influence and evolution.

Not unlike most antiquities today, porcelain rose out of necessity. Creating utilitarian vessels to serve people’s day-to-day needs led to the creation of the remarkably durable, yet luminous medium that could be molded, dried, and fired. During the Tang Dynasty, when some of the earliest formal kilns for porcelain production were established in Chinese provinces, new specialities were produced: celadon in the Zheijiang province, and white porcelain in the Hebei province.

Porcelain Point: The city of Jingdezhen in China’s Jiangxi Province is one of the most prolific and longest tenured porcelain-producing regions, dating back more than 1,700 years. Today many traditional porcelain-making techniques are being passed on to artisans attending classes at the Pottery Workshop in Jingdezhen.

Celadon green vase with floral motif, Qing Period/19th century, Qianlong mark, 14” h. x 9-1/2” w. Estimate: $600-$800. Image courtesy Jasper52

In the beginning, export of porcelain for monetary gain wasn’t a consideration. However, that changed as visitors became more prevalent in China. With porcelain finding favor among the elite of Chinese society, it was not uncommon for leaders to bestow gifts of porcelain to visitors from abroad. After a trip to China around 850 AD, Muslim explorer Suleiman wrote that he had viewed porcelain for the first time, a revelation that attracted widespread interest. Paraphrased, and based on various reports of the translation of his writings, Suleiman reported that Chinese artisans used a fine clay to make vases that were both transparent and strong. Curiosity in the Western world led to a demand that turned porcelain into a product for export.

Porcelain Point: For centuries porcelain ranked #2 among China’s leading exports, just behind silk. This included years when Chinese emperors banned the export of all goods, including porcelain.

Porcelain Chinese punch bowl, 18th century, offered by Cohen & Cohen, during the 63rd Annual Winter Antiques Show in New York. Image courtesy Christie’s

Even with its deep and diverse history, the popularity of porcelain is far from a thing of the past. Today it takes pride of place in museum exhibitions, is a popular attraction at antique shows around the world, is the subject of study by academics, and is the focus of bidding battles at auction. Reporting on the 63rd Annual Winter Antiques Show held in New York earlier this year, former New York Times columnist Wendy Moonan selected not one, but two items from the porcelain family to include in her compilation of 10 stand-out items from the show. The highlights included an 18th-century punch bowl featuring a scene taken from a theatrical presentation, and a circa-1990 celadon platter made by Kawase Shinob – yet another example of porcelain’s appeal, whether it is of ancient past or contemporary times.

Sources:
A History and Description of Chinese Porcelain by William Cosmo Monkhouse
UNESCO
Gotheborg.com
Encyclopedia Brittanica
Independent
China Museums

 

KPM Berlin Porcelain Boasts Royal Lineage

Just as the secret formula for making porcelain eluded Western ceramics manufacturers for centuries, understanding its many facets can be confounding for today’s novice collectors. Take, for example, KPM porcelain. KPM factory marks yield few clues as to the actual origin or age of a piece because “KPM” was not an actual company name.

KPM Berlin is known for its useful wares, especially dinner services. KPM Berlin coffee set, Kurland pattern, 20th century, porcelain, polychrome painting with flowers and butterflies: coffee pot, six cups with saucers, cups, sugar bowl, creamer, six dessert plates, cake plate. Henry’s Auktionshaus AG image

The KPM mark was applied to porcelain made over a period of 250+ years by various owners, including European royalty. Collectors now use the term KPM to refer to porcelain produced in Berlin in the 18th and 19th centuries.

Porcelain, the translucent white material made from kaolin (a fine white granite clay) fired at a high temperature, was developed in China nearly 2,000 years ago. Porcelain is also commonly referred to as “china” because its first appearance in the Western world was in the form of wares imported from China.

Chinese porcelain was once so highly regarded in Europe that monarchs competed to acquire the finest pieces. They also attempted to unravel the secrets of its manufacture in hopes of producing elegant wares in their own royal pottery works.

Porcelain plaques were often decorated by independent artists. KPM hand-painted portrait plaque, signed on the back with impressed KPM and scepter mark, plaque measures 12.5in high x 10 in. Fontaine’s Auction Gallery image

Prussian King Frederick II (Frederick the Great) had a passion for the commodity known as “white gold,” and in 1751 gave permission for Berlin merchant Wilhelm Caspar Wegely to establish a porcelain factory. Most surviving examples of his wares are white figures, which are marked with a “W” and a combination of numerals. Plagued by the economic hardships brought on by war, the factory closed in 1757.

Purchasing Wegely’s tools and raw materials, and enlisting his top modeler and decorator, Berlin entrepreneur Johann Ernst Gotzkowsky resumed porcelain production in Berlin in 1761.

With the Seven Years’ War at an end, Frederick II bought the struggling company in 1763 and named in Königliche Porellan-Manufaktur Berlin (Royal Porcelain Manufactory of Berlin). The king allowed the Royal Berlin factory to use his emblem, a cobalt-blue scepter mark, in combination with KPM, an acronym for Königliche Porellan-Manufaktur.

Porcelain plaques from Berlin tend to fetch higher prices than comparable examples from other manufacturers. Fine Berlin KPM plaque of the five senses, impressed monogram and scepter marks, measures 16in x 10in. Fine Arts Auctions image

Until the abdication of Emperor William II in 1918, the company was owned by a succession of seven kings and emperors. It is still in operation today.

Through the years, competitors also used the KPM mark, muddying the waters for collectors.

The original KPM Berlin factory is famous for its dinner services, three of which were introduced in 1767.

Because Frederick II was the owner of the company, he often gave KPM porcelain as diplomatic presents. He personally strived to maintain and promote the porcelain’s quality, and to ensure factory employees worked in a satisfactory environment.

Hand-painted porcelain plaques are a popular collecting category. Monumental Berlin KPM porcelain plaque, 19in x11.25in, signed J. Wagner Wien, ‘Triumph of Ariadne,’ circa 1890, 11.25in x 19in. Royal Antiques image

The company flourished under Frederick the Great’s successor, his nephew Frederick William II, who came to power in 1786. The factory utilized the latest technology, installing efficient kilns.

Napoleon’s troops occupied Berlin in 1807-1808. They seized KPM’s cash and auctioned off the factory’s inventory for the benefit of French authorities. During this period KPM ran up huge losses.

The chemist Hermann Seger joined the company in 1878 and began to develop new glazes. Among his inventions were oxblood (sang-de-boeuf), celadon, crystal and running glazes. They were inspired by ancient Chinese ceramics.

KPM Portrait floor vase, signed Wagner, circa 1900, 50in high x 15in diameter, white glazed porcelain, polychrome overglaze painting. Auctionata image

Theodor Schmuz-Baudiss was appointed artistic director in 1908 and began to make greater use of the glazes developed by Seger. KPM porcelain of the Jugendstil era such as the Ceres dinner service made in 1912 is generally considered to be a paragon of perfection.

After the demise of the monarchy in 1918, KPM became the Staatliche Porzellan-Manufaktur. However, the KPM and scepter marks were retained.

On the night of November 22, 1943, an Allied air raid destroyed the KPM Tiergarten buildings in Berlin. The factory moved into temporary quarters in Selb.

After World War II, the company became the property of the state of Berlin. In 1957, manufacturing returned to the rebuilt KPM buildings in Berlin-Tiergarten.

In 1988 KPM became a limited company known as KPM Königliche Porzellan-Manufaktur Berlin GmbH. No longer a state-owned enterprise, KPM was placed in the hands of Gewerbesiedlugnsgesellschaft, a subsidiary of state-owned Investitionsbank Berlin.

Berlin banker Jörg Woltmann took over the Königliche Porzellan-Manufaktur Berlin in 2006 and became the sole shareholder. KPM celebrated its 250th anniversary in 2013 and continues to be a leading manufacturer of fine porcelain that is sold worldwide.

The Enduring Value of Baccarat Crystal

Baccarat calls itself the world’s most renowned crystal manufacturer, and after two and a half centuries in operation, few would argue that claim.

The company’s chandeliers have illuminated the grandest palaces, halls and restaurants around the world. Its crystal stemware has graced the tables of monarchs, presidents and popes. Its bottles have held the most expensive fragrances.

An assortment of Baccarat Harcourt glassware. Image courtesy of LiveAuctioneers archive and Main Auction Gallery

The company now known as Baccarat began modestly in 1764 in the town of Baccarat in the Lorraine region of France, which has a tradition of glassmaking. The glasshouse’s early output consisted mainly of utilitarian soda glass. A change in ownership in 1817 led to the production of lead-crystal glass.

Awarded a gold medal at the National Exhibition of Industrial Products in 1823 for its crystal, Baccarat’s first royal commission was a table service for King Louis XVIII and the Tuileries Palace in Paris.

This Baccarat Louis XV-style dore bronze chandelier from the turn of the 20th century sold for more than $50,000 at Dallas Auction Gallery in 2009. Image courtesy of LiveAuctioneers Archive and Dallas Auction Gallery

On a visit by King Charles X in 1828, Baccarat honored the French monarch with a cut crystal pitcher bearing the arms of France and Navarre in gold.

In 1832 Baccarat opened its first shop in Paris at 30 rue de Paradis. Festooned with chandeliers, it is billed as a temple dedicated to crystal.

The company was awarded a second gold medal at the 1839 National Exhibition of Industrial Products, this time for its colored crystal. Eight years later, the company introduced its now-famous Baccarat Red, using 24K gold powder as the key ingredient in the formula.

Based on a commission by French sovereign Louis-Philippe, Baccarat introduced its iconic Harcourt crystal tableware line in 1841. Baccarat describes the design thusly: “The purity of its crystal exemplifies the Baccarat signature, with its generous base perched on a wide, hexagonal foot and its gently curved facets catching and enhancing the light.”

Antique Baccarat paperweight, 1848, complex cane and millefiori with a rare choufleur carpet ground. Image courtesy of LiveAuctioneers Archive and S.B. & Company.

Baccarat also produced fine paperweights decorated with colorful millefiori and glass cane elements from 1845 to the 1880s.

World’s fairs held in Paris in 1855, 1867 and 1878 helped to spread Baccarat’s appeal worldwide. The company was awarded the grand prize in 1867 for a 7-meter-tall chandelier and a monumental pair of cut-crystal vases. Baccarat won the grand prize again in 1870 with a rotunda-shaped crystal temple as large as a Victorian gazebo.

The international exposure prompted commissions from the Ottoman Empire and Nicholas II of Russia. In 1909, Japan’s imperial house ordered the Beauvais tableware service from Baccarat, a masterpiece of simplicity, embellished by the imperial emblem: a stylized chrysanthemum flower, wheel engraved with a matte finish.

A close-up shows the detail of the engraving on one of a pair of vases created for the International Exposition of 1867. Baccarat’s Jean Baptiste Simon worked for two years on the twin vases titled ‘The Allegory of Water’ and ‘The Allegory of Earth.’ Image by Nitot. File licensed under the Creative Commons Attribution-Share Alike 3.0 Unported, 2.5 Generic, 2.0 Generic and 1.0 Generic license

The 1925 International Exposition of Modern Industrial and Decorative Arts in Paris ushered in Art Déco, or Art Moderne, and Baccarat’s young designer Georges Chevalier propelled the company’s product lines into modernity “thanks to luminous transparency of the crystal and the lightness of the decoration.”

Surviving the global Great Depression and World War II, Baccarat opened its first boutique in New York City in 1948. Celebrity customers included playwright Arthur Miller, who purchased a Baccarat Soleil clock for the Manhattan apartment he shared with his wife, Marilyn Monroe.

In 1971 Baccarat turned to Italian designer Roberto Sambonnet, who created blown crystal in perfectly controlled organic forms. The company also updated its palette with pop-art colors.

Large vase at the Baccarat exhibition at Petit Palais of Paris in 2014-2015. Image by Yann Caradec. This file is licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license.

The Louvre Museum marked the glassmaker’s 200th anniversary with a retrospective in 1964. Baccarat celebrated its 250th anniversary in 2014-2015 with a retrospective exhibition of more than 500 pieces at the Petit Palais Museum of Beaux-Arts in Paris.

Collectors and connoisseurs appreciate all things Baccarat, no matter the vintage: glasses, plates, centerpieces, animal sculptures, perfume bottles, lighting and even jewelry. Baccarat’s objects of desire are evocative of all forms of elegance.

A Brief History of Coin Collecting

It is said that during the Great Depression, following the devastating Wall Street crash of 1929, the only investments of interest to skittish speculators were fine art, rare cars, and old coins. That rule of thumb seemed to have prevailed during every subsequent period of financial market instability since the 1930s, since the three categories have tended to prove their merits over and over again.

Scarce gold and silver coins are unique in the collectibles realm because they have both intrinsic worth based on their precious metal content and value as historical items. Gold and silver bullion has a melt value dictated by global financial markets, but bars of precious metal are not acquired primarily for their beauty or rarity. They are commodities.

An example of a collector favorite, this 1799 US $10 ‘Capped Bust’ Gold Eagle with Lady Liberty on obverse and American Eagle with US Shield on reverse was purchased for $7,500 plus buyer’s premium on April 20, 2013. Image courtesy of LiveAuctioneers Archive and Early American History Auctions

People have hoarded coins for their bullion value for as long as coins have been minted. However, the collection of coins for their artistic value was a later development. Evidence from the archaeological and historical records of Ancient Rome and medieval Mesopotamia indicates that coins were collected and catalogued by scholars and state treasuries.

It also seems probable that individual citizens collected old, exotic or commemorative coins as an affordable, portable form of art. According to Suetonius in his De vita Caesarum (The Lives of the Twelve Caesars), written in the 1st century CE, the emperor Augustus sometimes presented old and exotic coins to friends and courtiers during festivals and other special occasions.

An 1899 Chinese Kwangtung Empire specimen pattern dollar coin sold for $150,000 in Heritage Auctions’ June 22-24, 2016 auction held in Hong Kong. Image courtesy of Heritage Auctions

Contemporary coin collecting and appreciation began during the Renaissance, around the 14th century. Because only the very wealthy could afford the pursuit, coin collecting became known as the “hobby of kings.” The Italian scholar and poet Petrarch is credited with being the pursuit’s first and most famous aficionado. Following his lead, many European kings, princes and other nobility kept collections of ancient coins. Some of the notable collectors were Pope Boniface VIII, Emperor Maximilian I of the Holy Roman Empire, Louis XIV of France, Ferdinand I, Henry IV of France and Elector Joachim II of Brandenburg, who started the Berlin Coin Cabinet (Münzkabinett Berlin).

The first US gold coin ever minted, the ‘Brasher Doubloon,’ was struck in 1787 by a neighbor of George Washington. Heritage Auctions sold the coin for $4,584,500 in 2014. Image courtesy of Heritage Auctions

During the 17th and 18th centuries coin collecting remained a patrician pursuit. But during the so-called Age of Enlightenment that swept Europe during the 18th century, a more systematic approach to the accumulation and study of old coins was adopted. At the same time, coin collecting was becoming a leisure pursuit of the growing middle class, eager to prove their wealth and sophistication.

During the 19th and 20th centuries, the market for coins expanded to include not only antique coins, but also foreign and exotic currency. Coin shows, trade associations, and regulatory bodies emerged during these decades and in 1962, the first international convention for coin collectors was jointly hosted in Detroit, Michigan, by the American Numismatic Association and the Royal Canadian Numismatic Association. An estimated 40,000 people attended – a testament to the popularity of a pastime once reserved for only the wealthiest and most aristocratic individuals.

The US Mint’s State Quarters Program provided an inexpensive way for youngsters to enter the coin-collecting hobby. This example is the proof for the 2001 North Carolina quarter, which depicts the Wright Brothers’ first flight at Kitty Hawk.

While it is difficult to know how many people collect coins, it is clear that nowadays coins attract enthusiasts of every age and standing. Want proof? The United States Mint has estimated that some 120 million Americans pursued the 50 States Quarters issued from 1999 through 2008. This statistic alone shows that in contrast to its upper-crust origins, coin collecting has become perhaps the most egalitarian of all hobbies, with entry-level price points that even youngsters can afford.

The History and Resurgence of Mexican Silver

Beginning in the 1930s, silver workshops clustered in the mining town of Taxco spearheaded a revival in this traditional craft in Mexico.

At the same time, the artists and artisans working there took a new direction in design that mixed age-old motifs from native cultures with 20th century Modernism. The objects and jewelry they produced have become extremely popular with discerning collectors. Each piece provides a hands-on aesthetic appeal when used or worn. In other words, this silver makes daily life a little more beautiful.

Mexican silver dinner bell, circa 1960, marked ‘William Spratling, Taxco Mexico.’ Heritage Auctions image

In a past auction, Cincinnati Art Galleries offered a large group of Mexican silver, much of it from a single collection. Karen Singleton, who, at the time, was the firm’s art glass expert, explained, “This was the first time we had a round of Mexican silver. I accepted the lots because I keep telling them that we could sell more than pottery and glass.” The pieces were signed by many important makers in this field, including Williams Spratling, Frederick Davis, Hector Aguilar, Los Castillo, and Margot de Taxco.

Part of the sale was devoted to hollowware of silver and mixed metals, including a teapot, coffee pot, and chocolate pot by Spratling. There was also a selection of jewelry, some set with Mexican amethyst, malachite, and onyx. Singleton said, “I appreciate the jewelry. I put some of the necklaces on and was amazed how comfortable and light they were… They contoured themselves to the body.”

Any story of modern Mexican silver begins with the biography of artist and author William Spratling (1900-1967), who served as a catalyst for the industry’s revival. Born in New York state, he was an associate professor of architecture during the 1920s at Tulane University in New Orleans, where he shared a French Quarter apartment with author William Faulkner. He first traveled to Mexico to study architecture, then became enchanted with Taxco, and moved there in 1929.

Drawn by the inspirational scenery and post-revolutionary spirit of the country, many artists and writers lived and worked south of the border. Spratling met American writer Hart Crane, who finished one of his last great poems in Taxco, and became friends with Mexican muralist Diego Rivera, for whom he organized an exhibition in New York. Looking for a way to support himself as an expatriate artist, Spratling noted the city’s silver-mining history and opened a workshop, the Taller de las Delicias (Factory of Delights). He would later write: “Nineteen-thirty-one was a notable year in modern Mexican silversmithing. A young silversmith from Iguala named Artemio Navarrete went to Taxco to work for a small silver shop, founded with the germ of an idea, where Artemio as a nucleus, began to form silversmiths. The present writer, encouraged by his friends Moises Saenz, Dwight Morrow and Diego Rivera, had set up that little shop called ‘Las Delicias.'”

Large silver bracelet with malachite stones, marked ‘Spratling Made in Mexico.’ Courtesy Treadway Gallery.

The major authority on Spratling’s work is Penny Chittim Morrill, Ph.D., who co-authored Mexican Silver: 20th Century Hand-wrought Jewelry & Silver with art dealer Carole Berk. Morrill served as Guest Curator for the 2002 traveling exhibition William Spratling and the Mexican Silver Renaissance: Maestros de Plata, organized by the San Diego Museum of Art.

In her catalog essay, Morrill wrote, “In establishing silver as an artistic medium, what Spratling achieved was a delicate balance, a synthesis of abstract tendencies in the existent folk art tradition and in contemporary fine art, resulting in a visualization of concepts and ideas. As importantly, the Taller de las Delicias became the paradigm for other silver designers to follow. Las Delicias was a community in which imagination and innovation were fostered and encouraged as the men learned the art of silversmithing while producing for profit. In the hierarchy of the workshop, these silversmiths advanced according to their ability, enthusiasm, and technical expertise.”

Many alumni of Spratling’s workshop eventually ‘graduated’ to set up shop on their own. Antonio Castillo, who became a master silversmith there, left in 1939 with his brothers to establish their own successful Taller and shop, Los Castillo, on the Plazuela Bernal. Hector Aguilar, who had managed Spratling’s shop, also left in 1939 taking a number of silversmiths with him to found the Taller Borda.

Not all Mexican silver was marked by the maker. This 4 3/8-inch-wide silver cuff bracelet with a traditional feathered-serpent pattern is stamped 950 for the silver content. Courtesy Cincinnati Art Galleries.

One of the most important silversmiths from an artistic standpoint, Taxco native Antonio Pineda began his career studying painting at the Open Air School of Taxco, established by Japanese artist Tamichi Kitagawa who lived with his family. After further studies in popular arts and sculpture, he worked as an assistant in Spratling’s workshop and opened his own studio in 1941. A 1944 exhibition in San Francisco led to an early commercial coup, when his entire presentation of 80 objects was purchased by a prestigious northern California store, Gump’s.

Although he was born into the artistic tradition of Mexico, some of his most successful works of hollowware and jewelry are modernist, even futurist in concept. Examine the sculptural shapes of the circa-1960 tea service design, illustrated here as a set which sold in a 2005 Sotheby’s Modernism auction for $39,000. Morrill and Berk commented on the design in Mexican Silver: “Antonio Pineda has molded and manipulated the material to effectively convey an aesthetic idea. The sugar and creamer and teapot are no longer simply utilitarian vessels, but have taken on the qualities of works of art.”

Mexican silversmiths produced tableware for all aesthetic tastes. This pair of sterling silver candelabra in traditional style (height 20 inches, weight 184 troy ounces). Courtesy Cincinnati Art Galleries.

Most of the silver sought by collectors today was produced during the 1940s, 1950s, and 1960s. Spratling continued designing jewelry and serving pieces until his death in a car accident near Taxco in 1967. Books, such as the references mentioned above, are extremely useful because success bred many imitators; popular designs were quickly copied by competitors.

The Taxco output ranges from the dramatic silver necklaces and cuff bracelets of great weight made by Spratling’s workshop, to the less interesting trinkets made for tourists. Many travelers stopped at the silversmithing town, just off the main road from Mexico City to Acapulco. Pieces they brought back with them turn up at auctions and antique shows throughout the United States. Evaluating the quality and value of vintage Mexican silver takes considerable study. Sterling – 925 parts silver in a thousand – is the standard, but pieces in higher grade silver were made and may be stamped “980” or even “990.”

Penny Morrill said at the time of the Spratling exhibition, “You have to envision this market that was created by Spratling; he created opportunity for thousands. At any one time, there were so many silversmiths working in Taxco itself and a number working in Guadalajara and Mexico City marking their pieces ‘Taxco.’ They were sending their stuff to Taxco because they knew that was where people were buying.”

Morrill noted that even works by unknown makers can have merit: “A lot of the material is in 980 silver, a lot of it is interesting, you put it on, and it makes this incredible statement. I tell people over and over again, if you like it, wear it. If it costs $150, go for it, if it makes you crazy. It may be that one stellar moment when this little silversmith had a wonderful idea.”

Kevin Tierney, silver consultant to Sotheby’s in New York, has a great admiration for the best Mexican designers and their creations. Tierney said of Spratling, “He woke them up, he combined American know-how with an appreciation of their cultural history. They had the silver, and he provided the employment for artisans who needed it. I love the mix – a bit of European style with the motifs of Mexico enhanced by their superb ability to handcraft the silver.”

Interested in seeing more beautiful Mexican silver? Take a look at this week’s Mexican silver auction here.

Adapted from original piece by Karla Klein Albertson in Auction Central News

Georg Jensen: Godfather of Danish Modern Silver

In the realm of silversmithing, the name Georg Jensen is the epitome of the craft. Longtime collectors seek out Art Nouveau-influenced Jensen hollowware – the large tableware that is both highly decorative and functional. Younger consumers, on the other hand, tend to favor the modernist flatware and jewelry – the more-affordable pieces that still reflect the uncompromising quality long associated with the Jensen marque.

“It’s like the names Tiffany and Cartier,” said Michael Millea, co-owner of Millea Bros. Ltd., the Madison, N.J.-based auction house. “Jensen is the kind of thing that is always popular.”

Georg Jensen Sterling Silver “Melon” Bowl, designed in 1911 by Georg Jensen. Estimate: $20,000-$30,000. Jasper52 image

 

The Georg Jensen name takes in more than just the creations of the artist himself. More than 90 craftsmen worked for the firm during the founder’s lifetime and beyond, covering some 95 years of production and an evolution of styles. Born in 1866 in Dyrehaven, Denmark, Jensen was trained as a goldsmith, sculptor and ceramicist.

His best-selling products in the early years, however, were silver rings, brooches, bracelets and hat pins, adorned with amber, malachite, moonstones and opals. They weren’t costly to make or purchase, and they appealed to middle-class shoppers. Jensen’s style reflected themes from nature, in tune with the Arts & Crafts movement in England and Art Nouveau in France. The pieces were all carefully, lovingly handmade, as if each were a work of art unto itself, as opposed to the machine-stamped, mass-produced lines of the Industrial Revolution.

Pyramid pattern flatware set, service of 12, designed by Georg Jensen. Sold for $1,800. Jasper52 image

 

The Jensen craftsmanship was then carried over to the production of flatware and hollowware. His teapot with a floral motif called Magnolia was expanded into a full tea or coffee service. His work in utilitarian pieces blossomed into bowls, boxes, pitchers, candelabra, chandeliers, clocks, dishes and trays.

Finding and being able to acquire those large pieces from the Jensen workshops has become increasingly difficult, according to Millea.

This sterling silver cake service, with stylized bud handle, was designed by Georg Jensen in 1945. Courtesy of Brunk Auctions

 

Robin Rice, silver specialist at Brunk Auctions in Asheville, N.C., said Jensen hollowware is still appearing on the market, often coming from the shelves of collectors who are downsizing. They tend to end up in the hands of
 other advanced collectors, though.

Younger customers tend to pay more attention to Jensen jewelry, such as brooches, cufflinks and tie clips, or to the flatware, said Michael Millea. His design-conscious peers are often more interested in the “clean-lined” designs. “The Pyramid-patterned flatware and the fluted patterns appeal to the modernist aesthetic that is so popular now.”

 

Georg Jensen Sterling Silver Large Meat Platter or Serving Tray No. 290B, Circa: 1930’s. Estimate: $20,000-$30,000. Jasper52 image

 

Rice said the most desirable, larger pieces are the trays, pitchers and bowls. Flatware designed by Georg Jensen himself, particularly in the Grapevine and Blossom patterns, are also highly sought after and remain among the more affordable Jensen products. While the Jensen artists intended their work to be beautiful objects that could and should be used, collectors of the hollowware and flatware don’t always concur. “Whether it’s Jensen or English silver or something else, there are certain collectors who like to surround themselves with antiques and feel that using them is part of owning them, and that they should be used,” Millea has found. “And there are certain people who feel just the opposite – that they should be looked at and admired but not used. That’s true in most collecting categories, whether it’s Jensen or other antiques.”

A 1945 sterling beaker by Georg Jensen. Courtesy of Brunk Auctions

 

Jensen Jewelry

Interest in jewelry produced by the Jensen workshops is stronger than ever, according to Gloria Lieberman, director of Fine Jewelry at the Boston headquarters of auction and appraisal company Skinner Inc.

Jensen sterling silver and green onyx necklace. Courtesy of Skinner Auctioneers & Appraisers

 

“I think the popularity is growing because there is a larger population looking at Jensen (through) the Internet,” Lieberman explained. And because Jensen pieces are easily identified by their name and number, the Internet is a reliable marketplace, she said. Web searchers are purchasing Jensen’s modernist styles, many of which were not as popular a mere 10 years ago. And the hottest trend in Jensen jewelry is the gold line. The name Jensen is primarily associated with silver, but at age 14 Georg Jensen apprenticed with a goldsmith in Copenhagen. So gold actually goes back to the designer’s roots, as well.

“It has been around for a while,” Lieberman said, “but nobody cared about it years ago…not until the last year or two.”

 

Georg Jensen Silver Moonstone Bracelet, made by Georg Jensen in Denmark circa 1926. Estimate: $3,500-$5,000. Jasper52 image

 

Collectors still chase after the larger silver pieces as well. “The bigger and drippier, the better,” Lieberman said. “But those pieces were not in large production, so they fetch a high price.” Past sales at Skinner have seen the sale of a large brooch and early necklace, each reaching the $10,000 range. “It is, of course, about rarity,” Lieberman added.
 Jensen’s jewelry was not always so dear in price. “He was part of the Art Nouveau movement, and that was not about using precious stones and precious materials. It was about handcrafted floral designs. It was about silver, and the look of jewelry forged by hand.” In Jensen pieces, the hammered work and markings are plainly visible, and the stones were not the principal concern.

“But customers loved his combination of amber and green stones. Collectors love the moonstones still.”

 

By Alan Jaffe

Adapted from original article appearing in Auction Central News

A Trip Around the World Through Historical Maps

Maps are snapshots of world history. They record the result of battles, migrations and the birth of new nations. Enthusiasts collect maps for various reasons. The mind, the eye, and the heart all play a role in making new acquisitions.

For serious scholars, maps are crucial documents that present reality on the ground at a particular date. They reveal the borderlines in a year of conflict or the growth of cities during and after a period of global exploration. Rarity is more important than condition; a single example may reveal information that was previously unknown to anyone.

Maps can be as ornamental as they are informative. Cartographers were not content with just the ground plan; artists added ornamental borders, stately personifications of a city or state, and even mythological monsters swimming in the oceans.

Maps hold extra visual appeal when displayed in groups of three or four. Maps can reveal details of the place and time when ancestors were born or record pleasant details of special events – a honeymoon in France, gap year in New Zealand, anniversary cruise to Alaska – a map that recalls a special memory will bring a smile every time you walk past it.

Cuba with Havana Inset

Cuba with Havana inset, 1902, 14½ x 22in. Image courtesy of LiveAuctioneers

Thanks to improved diplomatic relations, a new wave of American travelers is discovering the rich cultural heritage of the island-nation of Cuba. The date of the map shown above – 1902 – was a crucial year for the country; American occupation had ended and a free Republic of Cuba was born.

 

Map of North America

1850 Map of North America by Thomas Cowperthwait. Image courtesy of Jasper52

This 1850 Map of North America by Thomas Cowperthwait is a colorful lesson in global spheres of influence. Canada remained a British possession until 1867, and Russia ruled Alaska until Seward’s purchase of the territory that same year. The Southwestern United States were still in transition. Texas declared statehood in 1845 and California in 1850, but Arizona and New Mexico would remain Mexican territories until 1912.

 

Map of France

1829 Malte-Brun Map of France. Image courtesy of Jasper52

Maps approach their subjects with different objectives. This 1829 Malte-Brun Map of France indicates not only the region’s settlements and topography, but also its political divisions.

 

Map of the Low Countries

1753 Homann Map of the Low Countries. Image courtesy of Jasper52

Anyone with ancestry from Belgium, the Netherlands or Luxembourg can trace family history on this detailed Map of the Low Countries with counties carefully outlined in color. An elaborate cartouche depicts the heraldic shields of the 17 provinces, as well as Neptune and Hermes with a globe illustrating the Dutch East Indies. The 1753 map was printed by Homann, Nurnberg.

 

Map of Virginia

1855 map of Virginia printed by G.W. Colton shows the state before West Virginia became a state of its own. Image courtesy of Jasper52

This map from G.W. Colton was printed in 1855 and shows Virginia as it looked before West Virginia became a separate state and six years before the beginning of the Civil War. Its insets depict the cities of Richmond and Norfolk.

 

Map of Northern Russia

1792 de L’Isle Map of Russia. Image courtesy of Jasper52

This attractive 1792 de L’Isle map covers northern Russia, from the Arctic Ocean and Finland to just beyond the Petzora River. It highlights in detail the topography, along with numerous villages, towns and roads. Its colorful cartouche features putti and a variety of scientific instruments. This important map of the European portion of the Russian Empire of the late 16th century is a testament to how much change has occurred in the area that eventually became the Soviet Union.

If you’ve purchased a map that is not already framed, it is wise to choose a frame shop with experience in mounting fragile documents. Once preserved with acid-free materials and sun-resistant glass, your map becomes a handsome virtual time capsule of geographic history to adorn your home or office.

By Karla Klein Albertson