Bejeweled and Bedazzled is opening this January 26th at the Albany Institute of History and Art. Mark Lawson Antiques is a proud sponsor of the exhibit. This exhibit, lasting until July 28th of 2019, will feature jewelry from the museum’s collection. There will be more than a hundred pieces of jewelry from four centuries worth of craftsmanship. The Institute will use the pieces in the exhibit to tell stories of why and where they were purchased, who owned them, and when they were worn. The materials range broadly, from ceramic to mother of pearl, from gold to hair.
Bejeweled and Bedazzled will be divided into three separate sections. First is jewelry acquired from Europe. This section spans Italian micromosaic brooches with vignettes from Roman ruins and carved shells with goddesses. The next section is filled with jewelry that references ancient times. Brightly colored scarab beetles call back to Egyptian decoration. Gilded filigree brooches emulate the opulence of Byzantium. The final section is comprised of memorial jewelry. This includes Victorian hair jewelry, a type of jewelry woven from the hair of loved ones. Also included are brooches and lockets with hand-painted miniature portraits of family members.
This is the Institute’s first exhibit focusing on their incredible jewelry collection. We at Mark Lawson Antiques are proud to be sponsors of Bejeweled and Bedazzled, which will run from January 26th through July 28th, 2019. For museum hours, please click here. We will be hosting an appraisal day at the Institute on March 30th from 10:30AM to 2PM. This post will be updated with more information regarding the appraisal day.
Filigree jewelry has long been popular, with found samples in southern Asia dating to a few thousand years old and gold filigree flourishing in the Fatimid era of Egypt. Originally, filigree was made with delicate threads of precious metals being hand-manipulated by jewelers into intricate designs. This process took a lot of time and required expert craftsman. This made filigree jewelry very expensive. With the growth of industrialization in the late 19th and early 20th centuries, the production of filigree jewelry became faster and more inexpensive than ever. This led to an explosion in the manufacturing of In the 1920s, filigree jewelry was used to show off. The 1920s were a time of opulence; flagrant displays of wealth were not only common but encouraged.
Factory Filigree Jewelry
In the early twentieth century, many pieces of filigree were made through the use of die-cut stamps. Automation allowed intricate designs to be punched from solid sheets of metal. This decreased both the time and expertise needed to create astounding pieces of filigree jewelry. Stamped filigree jewelry is distinguishable from handcrafted pieces because the edges of the open spaces are sharper. They are closer to 90 degree corners, unlike the rounded edges of hand crafted filigree. The automation of the creation of filigree led to a huge number of filigree jewelry pieces being created. This increase in production was also due in part to the onset of the Art Deco movement. The geometric designs of filigree mirrored the abstract geometry of popular Art Deco design like that seen in the Chrysler building.
The most common metal used to create filigree jewelry in the 1920s was 18k white gold. It was soft enough to stamp with intricate designs but strong enough to hold the delicate designs. Additionally, the white gold color complemented the diamonds that were frequently added to the jewelry. Filigree was common in everything from rings to panel bracelets to necklaces. Filigree pieces retain their value not just because of the charming aesthetic appeal but also due to the continued fascination with the Art Deco designs and rising gold prices.
Value for pieces can vary based on age, condition, maker, karat level, and the intricacy of the design. We at Mark Lawson Antiques love well-made filigree jewelry. If you have a piece you’d like to sell, call us at (528)-587-8787 or send an e-mail to firstname.lastname@example.org to make an appointment at either our Saratoga or Colonie locations!
Fatimid Jewelry, Metropolitan Museum of Art. A history of jewelry, especially filigree jewelry, in Fatimid Egypt.
The Metropolitan Museum of Art is opening a new exhibit featuring exquisitely crafted firearms, highlighting the abilities of British gunmakers. The exhibit, entitled ‘The Art of London Firearms’, features seventeen separate firearms, each made in London. Instead of rifles and long guns, the focus will be on pistols dating from the mid-eighteenth century into the early nineteenth century. Included is a pistol made for the Prince of Wales, King George IV of England. The pieces are pulled from the Metropolitan’s permanent collection and many of them have never been on display.
In the period encapsulated by the show, a group of gunmakers with workshops on the outskirts of London and became fierce competitors. This competition led to rapid design growth, paring down Baroque design elements for simple, elegant, and efficient design. These gunsmiths include Durs Egg, John Manton, and Samuel Brunn.
When: The exhibition opens January 29, 2019 and lasts until January 29, 2020. For more information visit the exhibition website.
Where: It will be in Gallery 380 of the Metropolitan Museum of Art, located at 1000 5th Avenue in New York City and is open Sunday through Thursday from 10AM to 5:30PM, Friday and Saturday from 10AM to 9PM.
Admission is $25 for adults, $17 for seniors, $12 for students, and free for children under 12. New York State residents have the ability to choose what to pay. This exhibit and all others are included in museum admission. There are also multiple membership options available.
Well-made firearms have always had collectible value and can be sold for a tidy sum. When not in museum exhibits, guns like these are often in personal collections. Collectors can find more information on the sale of these and other types of firearms here.
When viewing a work of sand art by Andrew Clemens it is almost impossible to imagine how someone could create such a thing. To perfectly manipulate individual grains of sand in a bottle to illustrate words and images is unheard of. However, Andrew Clemens, a 19th century artist, mastered a technique to do just that, creating remarkable objects that are highly sought after today.
Born in Iowa in 1857, Andrew Clemens suffered from encephalitis at the age of 5 resulting in permanent deafness. From 1870 to 1877 he spent his time at the State School for Deaf and Dumb only returning to his family during the summers. It was then that Clemens began developing his unique talent of creating intricate worlds in colored sand. He would collect various colors of sand from Pictured Rocks, a National Lakeshore on the coast of Lake Superior in the Upper Peninsula of Michigan best known for it’s colorful sandstone cliffs. Clemens would use a self-engineered stick with a small scoop at the end to pour sand into the jar and then a pointed stick to move the grains into place. In the July 29, 1875 issue the North Iowa Times wrote of his craft:
“On Saturday we had the pleasure of viewing the handiwork of Andrew Clemens, who is engaged in bottling the various colors of sand from Pictured Rocks. One jar of this sand, representing the forty odd colors, weighing twenty pounds, we particularly admired as displaying the skill and ingenuity of the young artist who has arranged the various colors in an attractive, artistic and skillful manner. […] The young artist was just fourteen days engaged upon this one jar […]”
Upon completion, Clemens would seal the bottle and adhere a label to the bottom detailing the origin of the sand, his name and location. Few of these magnificent creations exist today due their fragility. However, those that have come up to auction have sold for high amounts.
The pictured work of sand art by Clemens c. 1890 sold at Skinner in 2016 for $81,180. On one side is a carefully crafted eagle holding an American flag surrounded by geometric patterns, while on the other is a dove above a floral motif with a continuation of the colorful all over design. The object far exceeded the estimate of $8,000-12,000 proving that collectors vie to have one of his works in their collection. The wonderful sand art has also been featured in two episodes of the PBS series Antiques Roadshow. Discovered at the 2002 Hot Springs, AK event, a man brought “colored sand in a jar” that had been presented to his Great Grandfather from two of his friends. Wes Cowan appraised the object by Clemens for an auction estimate of $4,000-$6,000. The clip can be watched here. More recently, an Andrew Clemens work of art was featured on a Harrisburg, PA episode that took place in the summer of 2017. Appraiser Allan Katz informed the owner that the one-of-a-kind jar would retail for $30,000-$50,000. The clip can be watched here.
Sadly, Andrew Clemens died of tuberculosis in 1894 at the age of 37. His sand art is remarkable. It took patience, precision, and perfect technique to craft such objects that have yet to be recreated today.
On January 30th the exhibition Thomas Cole’s Journey Atlantic Crossings opened at The Metropolitan Museum of Art. The exhibition celebrates one of America’s leading landscape painters, Thomas Cole (1801-1848), who first immigrated to the United States 200 years ago. He continued to cross the Atlantic multiple times, including a return journey to England in 1829-1831, a trip to Italy in 1831-1832, and another trip to America, specifically New York, from 1832-1837. Designed to highlight these travels the exhibition is arranged in six sections including, Industrial England, American Wilderness, London: Imperial Metropolis, Italy: The Grand Tour, Consummation, and Cole’s Legacy.
The first gallery, Industrial England, contains works that give insight into the world in which Cole grew up. He lived in England at the height of the Industrial Revolution as the factory system and machine processing were on the rise. Urban life was booming and this can be seen in the art of those before him. Included in this gallery is Dudley, Worcestershire by Joseph Mallord William Turner (1775-1851) which depicts the new industrialized city. From the point of view of a busy canal port, we can see smoke stacks in the background and pollution entering the atmosphere. In viewing landscapes such as this we can see the harsh juxtaposition between the place that Cole grew up and the tranquil nature scenes that he later painted.
In 1818, Cole and his family immigrated from Liverpool to Philadelphia and later, in 1825, relocated to New York. Already yearning to be a painter, Cole took lessons and studied historical greats. During his first summer in New York he took a steamboat up the Hudson River where he began his exploration of the American landscape through painting. The great 1827 oil painting View of Round-Top in the Catskill Mountains is a prime example of the style that Cole has become so well known for. Devoid of all human interaction his landscapes were the opposite of the England in which he was raised. Cole’s relationship with the American wilderness would influence generations of artists to come.
Cole arrived in London in the summer of 1829 to study the artists of Europe and paint the land of his birth. There he created works of art that boldly contrast his quiet landscapes of America. Effect for Newstead Abbey, Nottinghamshire, England, an 1830 work, completely lacks color. The clouds in the sky are dark and dangerous, the figures in the foreground appear as silhouettes. The work greatly contrasts View of Round-Top in the Catskill Mountains but echoes paintings by his predecessors, such as the earlier discussed Dudley, Worcestershire by J. M. W. Turner.
In the summer of 1831 Cole traveled to Italy where he resided in Florence, the Tuscan countryside, and Rome. It was in these places that he expanded his skills by focusing on the human figure and sketching while visiting important classical and Renaissance landmarks. In Interior of the Colosseum, Rome the viewer enters the great Colosseum, desolate and overrun with green flora. It is in this painting that Cole combines his interest in England and America as the man made structure of the Colosseum is reclaimed by nature.
In 1832, Cole returned to New York and worked heavily in the Catskills to produce some of his most iconic works that would continue to influence generations of future artists. He took on students and established a tradition of landscape painting later know as the Hudson River School. The pictured oil on canvas by Asher Brown Durand painted in 1853 shows Cole’s legacy. Progress (The Advance of Civilization) speaks directly to the environmental issues tackled in his works — the left side is peaceful wilderness juxtaposed by the figures on the right and enhanced by the title. Cole painted to illustrate the beauty of the wild Earth and as manifest destiny, the expansion of the United States throughout America, increased in popularity the importance of his works grew.
Cole died at the age of 47 leaving a great legacy to be remembered and studied by painters and scholars for decades to come.
The exhibition will run until May 13, 2018. For more information visit the exhibition website here.
A catalog was produced in conjunction with the exhibition and can be purchased through the Met store.
This Eugene Iverd painting was the hidden treasure of the appraisal booth at the Niskayuna Reformed Church’s Antique Show on Friday, January 19th. The show had a wonderful selection of vendors and attendees brought a great variety of antiques for Mark to appraise.
Eugene Iverd (1893-1936), born George Melvin Erickson, was a Minnesota artist well-known in the 1920s for his paintings and illustrations. He submitted his first picture to The Saturday Evening Post in 1926 with them publishing his first artwork on the March 13th cover of the same year. During his career, Iverd produced 55 magazine covers and approximately 60 advertisements for clients including Campbell’s Soup Company and Monarch Foods.
This beautiful painting, entitled ‘Lighting the Pumpkin,’ was published on the cover of the November 3, 1934 issue of The Saturday Evening Post. The framed painting, measuring approximately 26″ x 18″, wowed onlookers with its beauty. The young girl makes eye contact with the viewer, a bright smile on her face. Light spills from the jack-o-lantern as the young boy in costume, his face covered in glee, puts a match into it. Beyond the warm glow, pairs of spooky eyes emerge from the darkness.
The artworks of The Saturday Evening Post have always had a special place in the heart of America. There is a certain nostalgia for the jolly characters that graced the cover each week. ‘Lighting the Pumpkin’ is an exquisite example that is estimated at $10,000-$20,000.
To view more of Eugene Iverd’s covers of The Saturday Evening Post visit here.
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This past weekend The Hyde Collection opened the exhibition Alphonse Mucha: Master of Art Nouveau which is on view through March 18, 2018.
Alphonse Mucha (1860-1939) was a Czechoslovakian artist who worked in Paris and established himself as a leader of the Art Nouveau movement. Preceding Art Deco, Art Nouveau was a visual, architectural, and decorative style popular from the late 1880s until the First World War. It featured highly-stylized forms inspired by those found in nature, such as curving plants and flowers. Beautiful women with long hair and seductive looks are frequent central characters.
Mucha trademarked these characteristics throughout the work which varied from advertisements, posters, and paintings to jewelry and wallpaper designs. The women were reminiscent of those found in Neoclassical paintings with long dresses that appear to be robes; flowers often form a halo around their heads. Text frequently played an important role in his poster works, such as in the 1896 color lithograph for Job cigarette paper. Here, a woman with long, sweeping hair holds a cigarette in her hand as smoke rises in a natural, curving zig zag form. ‘JOB’ is partially hidden by the female figure’s hair which extends out of the central poster and into the border inspired by mosaic work.
Alphonse Mucha: Master of Art Nouveau includes lithographs, drawings, books, posters, portfolios, and ephemera selected from the Dhawan Collection. It is curated by Gabriel Weisberg, Professor of Art History, University of Minnesota, Twin Cities and organized by Landau Traveling Exhibitions. It has previously traveled to other venues, including the Carnegie Arts Center in Turlock, California and the Dayton Art Institute in Dayton, Ohio.
Located a half hour North of Saratoga Springs, The Hyde Collection was founded by Charlotte Pruyn Hyde in 1952 to exhibit “the permanent collection and to promote and cultivate the improvement of the fine arts.” The core collection acquired by Hyde and her husband includes works by artists such as Pablo Picasso, Sandro Botticelli,Rembrandt, and Peter Paul Rubens. There is also a modern and contemporary collection with works by artists including Sol LeWitt, Robert Rauschenberg, and Josef Albers. The Hyde Collection is a unique institution in the Capital District. They are open Sunday 12 PM – 5 PM and Tuesday-Saturday 10 AM – 5 PM. General admission is $12 and seniors are $10. It is free for members, students with ID, children under 12 and active military.
To learn more about Alphonse Mucha please visit the Mucha Foundation website.
To learn more about The Hyde Collection please visit their website.
Mark of Mark Lawson Antiques will be conducting appraisals Friday, January 19th from 10 AM to 2 PM at the Niskayuna Reformed Church’s Annual Antique Show. Each appraisal will be $5 with all proceeds benefiting the Niskayuna Reformed Church. The event is open to the public so come discuss your antiques, art, and other objects with a professional. You never know what you might have as unique treasures have been found at our past events! Additionally, the Antique Show will have a variety of vendors set up with antiques for sale.
Please call the church office at 518-785-5575 with questions.