Warming to the Classics

38 — Antiques and The Arts Weekly — November 13, 2015 A Mayan royal male pottery figure, center, from the Jaina Island region, late Classic “Les Chaumieres (Breton Landscape) (Field Period, circa 600–900. AANW, Inc, New 27)” by Paul Gauguin, 1894, watercolor York City monotype. Schillay Fine Art, New York City Warming To The Classics The International Show Returns To New York NEW YORK CITY — With British table and putting a Mod- much of the art world consumed ern picture over it. We’ve with the trendy and evanescent, responded, adding more Modern In a nod to the kunstkammern of the baroque era, Brian the classics, paradoxically, seem and contemporary material. It Haughton featured a wall of contemporary porcelain by more timely than ever. The trick gives the show a freer, less Swedish artist Gunilla Maria Akesson, who created her is to make the old look new or, restrictive feel.” “Translucent” series expressly for the 2015 International more precisely, to show histori- Never truly encyclopedic, the Show. cal works of art in a Zeitgeist- fair is more than ever a collec- friendly way. Anna Haughton, tion of arresting vignettes co-director of the International orchestrated by auteur special- Show, puts it more elegantly: ists. Where Haughton and her “Everything has to be fresh- husband, Brian, now joined in ened. The challenge is to make business by their adult children, the International Show look Giles and Emma Jane, have subtly different.” excelled is in creating a polished Chicly rebranded the Interna- showcase but not dictating its tional Show: Art, Antiques, contents. Flexibility has allowed Design, this 27-year-old favorite the International Show to returned to the Park Avenue evolve with changing tastes Armory October 23–29 looking while maintaining its clear and all the better for its age. Busi- distinctive identity. ness has changed over the past The 65-dealer show opened Rare Nymphenburg food three decades, Haughton with a benefit preview for the warmer with phoenix finial, admits, noting, “The market is Society of Memorial Sloan Ket- modeled by Johann B. much more fluid. People collect tering Cancer Center on Thurs- Rountree Tryon Galleries, London Haringer, circa 1765. Brian in a more eclectic way. They are day, October 29. In a play for Haughton Gallery, London not afraid of buying an antique younger buyers, the Haughtons organized the International Cir- cle Young Patrons Party on October 27, patterning the gala after Truman Capote’s Black and White Ball. “We had over 700 extremely well-dressed young people enjoying the party and commu- nicating their enjoyment to their friends through social media. When they are ready to buy art, they will have already begun looking,” noted Anna Haughton. A tally of early sales at the show included roughly a dozen Works on paper, left and right, by Pablo Picasso and George pieces at London dealer Peter L.K. Morris. Rosenberg & Co, New York City Finer, who parted with a set of This circa 1550 South German shield was on hold at Peter Finer, London. Review and Photos by Antiques and The Arts Weekly Laura Beach, Managing Editor John Howard, Woodstock, UK “Vue de parc de Saint-Cloud, prise de Sevres” by Alexan- dre-Hyacinthe Dunouy, circa 1820. W.M. Brady & Co. Axel Vervoordt, Belgium November 13, 2015 — Antiques and The Arts Weekly — 39 Henri Le Sidaner painting, Jacques Lipchitz cast terra- cotta sculpture and Marc Chagall ink and gray wash on paper at Schillay Fine Art, New York City. Hicham Aboutaam of Phoenix Ancient Art, New York City and Geneva, featured this early Second Century BCE marble sculpture depicting the young Dionysus trouncing a panther. The circa 550–500 BCE black-figure neck amphorae, left and right, are also decorated with Dionysian scenes. German equestrian jousting armor attributed to the work- shop of Ernst Schmidt, Munich, circa 1900, and a gilt Spanish- style morion, or helmet, from Milan, circa 1580–90. Lost City Arts sold a 1960s bush-form bronze by Harry Bertoia. Among H.M. Luther’s transac- tions were a circa 1946 Italian rosewood cabinet with patinat- ed bronze mounts by Lucio Fontana and Osvaldo Borsani and a pair of Murano glass “Two Male Figures from No. 385 Flying with Clouds” by lamps for Venini. Specializing in Paul Manship, circa 1940. Bernard Goldberg Fine Arts, New Mughal and Deccan Indian arti- York City facts, the London dealer Samina sold a set of four Eighteenth Century marble carpet weights. Galerie Ary Jan of Paris, Seat- tle-area dealer Kagedo Japan- ese Art, Holden Luntz of Palm Beach and Manhattan dealers Hollis Taggart and Rosenberg & Co. were new to the show. Returning exhibitor Leslie “Promenade en Barque” by Pierre Bonnard, 1905, oil on Kehoe, an Australian gallerist canvas. Rosenberg & Co, New York City best known for contemporary Japanese screens, was another welcome addition. With a nod to the floor-to-ceil- ing porcelain displays of baroque-era Europe, Brian Haughton, best known for Eigh- teenth and Nineteenth Century English and Continental ceram- Ivan Olinsky’s portrait “The Book,” far right, circa 1912–14, ics, installed a wall of porcelain joined early Modernist works by Werner Drewes, Joseph by the contemporary Swedish Stella, Preston Dickenson, Emil Nolde and Charles Burch- ceramist Gunilla Maria field. Thomas Colville Fine Art, Guilford, Conn. Akesson. Richard Schillay, a dealer in American and European art, took two booths, one for fine arts, the other for contemporary porcelain by the Chinese Ameri- N & I Franklin, London Center, one of a pair of George III mahogany and boxwood New York dealer Daphne Alazraki’s catalog piece was, second from left, “Les Tentes breakfront library bookcases in the manner of John Lin- Bleues” by Jean-Pierre Cassigneul. nell, circa 1790. Ronald Phillips Ltd, London. In the foreground, a plaster maquette for an early version of “Liberty Enlightening the World (Statue of Liberty)” by Frederic Auguste Bartholdi, circa 1876. Martin Du Louvre, Paris Gallery Lefebvre, Paris 40 — Antiques and The Arts Weekly — November 13, 2015 On the French writing table by Jacques Quinet, circa 1940s, is a duck decoy attributed to the American carver Shang Wheeler. The circa 1910 French vases are by Metenier. Carolle Thibaut-Pomer- Finch & Co., London antz, New York, and Jean David Botella, Paris. can ceramist Cliff Lee. Japanese portrait of a woman in a bath, a Sam and the American Eagle” The International Show art expert Erik Thomsen also portrait by Mary Cassatt from by Duane Hanson, better mixed old and new, showing her Spanish years and a John known for his hyper-realistic contemporary porcelain by Singer Sargent painting of the sculptures of people. Fukami Sueharu alongside a Villa Torlonia garden in Fras- Sounding a uniformly Ameri- Showa-era screen by Iketani cati, Italy. In a nod to Charles H. can note, Bernard Goldberg Hiroko. Davis, the Mystic art colony mounted the special exhibition, Transatlantic exchange painter feted in a current Bruce “New York…As They Saw It, remains a foundational princi- Museum retrospective, Colville 1900–1950,” featuring outstand- ple of the International Show, featured a moody Tonalist land- ing work by Reginald Marsh exemplified by Rosenberg & scape inspired by Davis’s and his Modernist contempo- Co., offering provocative pair- sojourn in France. raries Storrs, Davis, Glackens, ings of Modern and contempo- To his mostly European offer- Sawyer, Shahn, Lewis, Joseph rary American and European ings, Paris dealer Martin du Stella, Kuniyoshi and Manship. art. Louvre added a rare plaster “The gourd is so crazy mod- The tug between European maquette for an early version of ern,” Lillian Nassau LLC man- influence and American inde- “Liberty Enlightening the aging director Arlie Sulka said pendence is constant at Thomas World (Statue of Liberty)” by of the pebble-enclosed plant Colville Fine Art, whose high- Frederic Auguste Bartholdi, form decorating the circa 1885- lights included a Degas-influ- circa 1876, and the 1950 semi- 90 Tiffany window transparen- enced James Carroll Beckwith abstract oil on board “Uncle cy in her booth. Sulka said the Marcy Burns Schillay of Schillay Asian, New York City, with contemporary porcelain by Cliff Lee, an American English Regency parrot composed of Venet- ceramist of Chinese descent. Lychee nuts dangle from the ian glass beads at Finch & Co., London. handles of the large vessels shown. Guilford, Conn., dealer Thomas Colville’s favorite painting was Mary Cassatt’s circa 1872 “Head of a Spanish Girl.” Below is “Shepherd with Flock at Twilight” by Charles Harold Davis. Imperial Oriental Arts, New York City S.J. Shrubsole president Tim Martin with a signed Elking- ton silver plaque embossed with the trial scene from the Merchant of Venice.The New York City firm recently acquired this souvenir claret jug and goblet commemorat- ing Lyceum Theatre’s 100th performance of the produc- tion starring Henry Irving as Shylock and Ellen Terry as Portia in 1880. N & I Franklin, London November 13, 2015 — Antiques and The Arts Weekly — 41 Lillian Nassau, LLC New York dealer Bernard Goldberg mounted the special exhibition “New York…As They Saw It, 1900–1950.” One highlight was the oil on board “Tunnel of Love” by Regi- nald Marsh, 1943. “The gourd is so crazy modern,” Arlie Sulka of Lillian Nas- sau, LLC said of the central motif of the circa 1885–90 Tiffany window, or “transparency,” set in a pebble frame. Axel Vervoordt, Belgium early, experimental masterpiece relates to important Tiffany commissions from the same period, notably the entrance doors of the Henry O. Havemey- One of a pair of two-panel Japanese screens painted with er home. tigers, late Taisho-early Showa era, circa 1924–34, each “There is nothing like its screen signed Suiseki.

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