April 29, 2009 | Executed in a variety of mediums—pen and ink, graphite, chalk, crayon, ink wash—many drawings are preliminary studies for finished paintings or other works, including sculpture, architecture, decorative objects, and stage design. As such, they often convey the excitement of a work in progress, and this is even more palpable when the finished work is known and extant. Moreover, unlike an artist's paintings, drawings are usually much more affordable, although big names still carry big price tags. It pays to scout the byways of the drawings market for more affordable treasures by lesser known artists.
That is exactly what one knowledgeable collector did. Julius Held (1905-2003), a revered art historian at Barnard College, was an authority on sixteenth- and seventeenth-century Dutch and Flemish art, and the author of important books on Rembrandt and Rubens. Collecting on a professor's salary made him resourceful; he had to judge drawings on their artistic merits, relying on his aesthetic instincts and his vast knowledge to acquire satisfying works.
Let us look at two fine drawings from the Held collection that sold at Christie's New York on January 27 and January 30, respectively. Both were priced with auction estimates well under $5,000 because their artists, though famous in their lifetimes, are not household names today: Latona Turning the Lycian Peasants into Frogs by the Bolognese painter Marcantonio Franceschini (Fig. 1), and a stage design reputedly for Vincenzo Bellini's opera La Straniera attributed to the nineteenth-century Italian stage designer Alessandro Sanquirico (Fig. 2).
April 23, 2009 | Old silver is a classic collecting field, one that combines the aesthetic pleasures of imaginative design, fine workmanship, and history. In the often hotly competitive field of American silver, the latest area to fire the acquisitive imagination seems to be the arts and crafts style.
Origins and style
The idealized image of medieval craftsmen lovingly, indeed religiously, producing works of art by hand greatly influenced the production values in the arts and crafts movement workshops of the late nineteenth century. Whether these shops were producing silver, furniture, ceramics, textiles, or jewelry, handcraftsmanship was held up as a healthy antidote to mass production. But while the designs themselves frequently had visual ties to medieval ideas—stylized floral motifs inspired by illuminated manuscripts and intricate patterns adapted from Celtic artifacts—by the heyday of the arts and crafts movement, from the 1890s through the 1920s, motifs derived from American Indian, Hispanic American, and American colonial design were also being filtered through a contemporary lens.
Indeed, one reason that arts and crafts silver is so appealing is that its combination of historical and modern sensibilities gives the pieces enormous versatility as decorative objects.
Collecting arts and crafts silver
Because the influence of the arts and crafts movement absorbed so many American and English influences and lasted for at least four decades, collectors can follow several routes toward assembling a collection. You can focus on a particular genre or form—flatware, hollowware, candlesticks, for instance; or you can collect purely decorative pieces; or you might seek out desk and library furnishings such as inkstands, picture frames, and paper knives. You could also focus on a particular decade of the movement—the 1890s or 1900s, for instance—or on particular makers or designers, such as the group that worked for Chicago's Kalo Shop, established in 1900. Instead of specializing, you can, of course, become a generalist and let destiny guide your hunt.
The best pieces of arts and crafts silver by the best-known craftsmen now command prices upward of $10,000. An excellent example is a pair of American silver condiment dishes offered by the silver dealers Spencer Marks of Southampton, Massachusetts (Fig. 1). Based on a design of about 1900 by Charles Robert Ashbee, the British architect, designer, silversmith, jeweler, and founder (in 1888) of the Guild of Handicraft, they were produced around 1905 by Marcus and Company, the prestigious New York jeweler and retailer whose mark they bear.
by Émile Jacques Ruhlmann (1879-1933), 1926. Macassar ebony, amaranth, and ivory. Metropolitan Museum of Art. By Cynthia Drayton» View All