Bell telephones from the 1870s answered the call at White’s Auctions

Bell Telephone Wooden Transmitters, which sold for $36,000 ($45,720 with buyer’s premium) at White's Auctions.

MIDDLEBORO, MA – Relics from the dawn of the electromagnetic telephone created a sensation when they appeared for sale in Plymouth County, Massachusetts earlier this week. The collection of telephone apparatus dating from the pioneering years of the late 1870s was offered at White’s Auctions on April 14 from the estate of a collector. Complete results of the sale can be found at LiveAuctioneers.

The story of the development of the electric telephone is famously complicated. Antonio Meucci, Charles Bourseul, and Elisha Gray, among others, have all been credited with its invention. However, putting all the claims and counterclaims aside, it was the Scottish-born engineer Alexander Graham Bell (1847-1922) who had the ideas, the finance, and the business plan that proved commercially decisive.

Bell was granted his US patent for a device using a liquid transmitter and an electromagnetic receiver in March 1876. What he unveiled in June the same year at the Philadelphia Centennial Exposition was the prototype for the very first commercial units — the pair of Bell Telephone Company ‘coffin-form’ transmitters offered by White’s with an estimate of $500-$1,000. They were hammered down to an online bidder using LiveAuctioneers for $36,000 ($45,720 with buyer’s premium).

Stamped to the 10in walnut cases with patent dates for March 1876 and January 1877, these wall-mounted instruments predate the invention of the switchboard by about a year (the first was installed in New Haven, Connecticut in January 1878). Instead, they operated in pairs, united by a single wire for the sending and receiving of audio. Notably, they have just one opening for sound – the user listened and spoke into the same camera-like hole – and signaling a call required a blast of a whistle into the transmitter.

The solution to ensuring the user at the other end picked up was to install a second wire and a bell. Sold at $35,000 ($44,450 with buyer’s premium) against the same estimate of $500-$1,000 was an 1879 wall-mounted brass and walnut bell stamped for both the Bell Telephone Company and the maker, Charles Williams Jr. He is an important figure in this narrative. A manufacturer of electrical telegraph instruments, it was in the attic of Williams’ shop at 109 Court Street in Boston on June 2, 1875 that Bell and his assistant Thomas Augustus Watson had first successfully transmitted sound via electromagnetism. When in 1877 Williams connected his home to his workplace using Bell’s device, he enjoyed the world’s first permanent residential telephone service.

From 1877 to the spring of 1879, the Bell Company relied exclusively on Williams to make the apparatus it leased to its customers. By 1880, the factory was producing 1,000 telephones per week (which was still not enough to cope with demand) and Williams had registered a series of patents of his own as the competition and pace of development quickened.

Offered at White’s was a deluxe Williams instrument in an Eastlake-style case that incorporates into a single wall-mounted unit a bell, a hand-cranked magneto (for generating a ringing voltage in a distant instrument), a hand receiver, a switch hook, and a transmitter. Dating to circa 1880, it, too, sold to a LiveAuctioneers bidder at $35,000 ($44,450 with buyer’s premium).

Remarkably from these small beginnings, only a decade later more than 150,000 people in the US owned telephones. Standard commercial apparatus from the 1880s survives in much greater numbers, although the search for better ways of transmitting the voice fired the development of increasingly sophisticated devices. In 1886 Bell patented an elegant 14in wood and brass phone that used a platinum diaphragm for better long-distance transmission. These are extremely rare, and the example offered at White’s, numbered 11319 for circa 1887, was in good condition. Estimated at $500-$1,000, it became the highest-priced lot in the sale when it hammered for $43,000 ($54,610 with buyer’s premium).

Raquel Welch film premiere- and photo shoot-worn squash blossom necklace blows out estimates at $195K at Julien’s

Raquel Welch film premiere- and photo shoot-worn squash blossom necklace, which sold for $150,000 ($195,000 with buyer's premium) at Julien's.

GARDENA, Calif. – Raquel Welch’s Myra Breckenridge (1970) film premiere- and photo shoot-worn turquoise and silver squash blossom necklace skyrocketed past its modest $1,000-$2,000 estimate to hammer for $150,000 ($195,000 with buyer’s premium) at Julien’s Auctions’ April 12 ‘Bombshell’ event dispersing items from the late actress and model’s estate. Complete sale results are now available at LiveAuctioneers.

Designed in the style developed by the Navajo and adopted by other Southwestern tribes including the Zuni and Hopi, the sterling silver hollow bead necklace features a large horseshoe-shaped naja pendant of similar design. It measures 23.75 inches, weighs 134.50 grams, and is marked Sadie Ortiz.

Market demand continues to climb for squash blossom necklaces, with the documented Welch example likely setting a new record, though unconfirmed.

Julien’s reports the 464-lot sale had 100% sellthrough with the sale exceeding $1 million. In addition, as expected, all of Welch’s (1940-2023) film- and stage-worn costumes sold well above their estimates.

Babe Ruth rookie card exclusive to Gimbels scored $762K at Bonhams

Gimbels Department Store version of the M101-4 1916 Babe Ruth rookie card, $600,000 ($762,500 with buyer’s premium) at Bonhams April 10.

NEW YORK — On April 10, a Gimbels Department Store version of the M101-4 1916 Babe Ruth Rookie Card surpassed its estimate when it sold for $600,000 ($762,500 with buyer’s premium) in BonhamsFine Books and Manuscripts sale. Complete sale results are available at LiveAuctioneers.

One of the of most sought-after trading cards in existence, the consignor’s grandfather —a 10-year-old Milwaukeean at the time — acquired the card more than a century ago during a 1916 promotional giveaway of baseball cards featuring the elite players of the day, put on by Gimbels Department Store.

The card led the 195-lot sale, which overall achieved $1.7 million with 80% sold by lot and 99% sold by value.

Grace Hartigan abstract painting commands $682K at Revere

‘Dublin’ by Grace Hartigan, which sold for $525,000 ($682,500 with buyer’s premium) at Revere Auctions on March 20.

ST. PAUL, Minn.– This large abstract expressionist painting titled Dublin, by Grace Hartigan (1922-2008) was created between 1958 and 1959 as part of the artist’s European Place painting series, which followed her travels to eight European cities. The pictures were not literal views of where she visited, but rather ‘evocations of place.’

Hartigan had become associated with the New York School of avant-garde artists in the early 1950s, and was notably close to Willem de Kooning, Jackson Pollock, Helen Frankenthaler, Alfred Leslie, and Franz Kline.

Dublin, rendered in muted colors with splashes of bright blue and purple, is very similar to a work in the collection of the Guggenheim titled Ireland, which is the largest work in this series. Hartigan felt a special affinity for her “dear, dirty Dublin,” which reminded her of New York as well as her Irish heritage. The white linear patterns to the lower edge of this picture are, she later revealed, a reference to her relationship with Franz Kline. She has described them as “a love letter to Franz.”

The 6ft 10in square canvas was exhibited in 1960 as part of the Contemporary American Painting exhibition at the Columbus Gallery of Fine Arts in Ohio and later sold by the Tibor de Nagy Gallery of New York. It was offered in the March 20 Fine Art Evening Sale at Revere Auctions from a private collection in Minnesota. Estimated at $150,000-$200,000, it hammered for $525,000 ($682,500 with buyer’s premium).

Oscar Edmund Berninghaus’ ‘Scout of the Caravan’ leads our five auction highlights

‘Scout of the Caravan’ by Oscar Edmund Berninghaus, which hammered for $42,000 and sold for $53,760 with buyer’s premium at Brunk Auctions.

Oscar Edmund Berninghaus, ‘Scout of the Caravan’, $53,760

ASHEVILLE, N.C. – An estimate of $5,000-$7,000 on an original oil by Oscar Edmund Berninghaus (1874-1952) was left in the dust at Brunk Auctions on March 8. Titled on the verso Scout of the Caravan and additionally inscribed OE Berninghaus, Taos, NM, this 2ft 1in by 2ft 6in canvas hammered for $42,000 and sold for $53,760 with buyer’s premium.

A founding member of the Taos Society of Artists in 1915, Berninghaus lived year-round in New Mexico for 27 years, painting hundreds of pictures of the mountains, forests, and people of the area. Typically, he made small pencil and crayon sketches that he later worked up in the studio.

This relatively late canvas was formerly part of the famed John and Margaret Hill collection of American Western art assembled from circa 1930 through 1990 and later given to the Cheekwood Botanical Garden & Museum of Art in Nashville, Tennessee. It was being offered as ‘Property of a Southern Museum sold to benefit the acquisition fund.’

Vintage Mercedes-Benz 300SL Tool Roll, $10,240

Vintage Mercedes 300 SL tool roll, which hammered for $8,000 and sold for $10,240 with buyer’s premium at Uniques and Antiques.
Vintage Mercedes 300 SL tool roll, which hammered for $8,000 and sold for $10,240 with buyer’s premium at Uniques and Antiques.

ASTON, Penn. – As an original Mercedes-Benz 300SL now costs something north of $1 million, it’s perhaps no surprise to learn that original accessories associated with the Flügeltürer are eagerly sought. Necessary to complete a car for a concours is the tool roll, a series of Mercedes-Benz branded steel tools that allowed owners to perform routine maintenance.

These are often reassembled from elements and reproduction parts, but the example offered at Uniques and Antiques on March 12 was seemingly all-original. Not only did it retain its leatherette roll, it came with the purchase receipt of the car itself from Bryn Mawr Mercedes-Studebaker of Bryn Mawr, Pennsylvania in March 1961. At the time, the three-year-old 1958 300SL Roadster was priced at $6,000 plus sales tax (roughly $62,275 in modern dollars).

Sixty-three years later, the tool roll, estimated at $400-$600, hammered for $8,000 and sold for $10,240 with buyer’s premium.

Early 15th-century Stained and Painted Glass Panel, $38,400

Early 15th-century stained and painted panel depicting The Annunciate Angel, which hammered for $30,000 and sold for $38,400 with buyer’s premium at Willow Auction House.
Early 15th-century stained and painted panel depicting The Annunciate Angel, which hammered for $30,000 and sold for $38,400 with buyer’s premium at Willow Auction House.

LINCOLN PARK, N.J. – The March 14 sale at Willow Auction House included a New York City private collection of leaded and stained glass panels. Featuring glass dating from the medieval period to the early 20th century, very much the front runner was this early 15th-century 2ft by 14in stained and painted panel depicting The Annunciate Angel. As countless similar gothic panels were destroyed during the iconoclasm of the Restoration, survivors outside Catholic Europe’s gothic churches are scarce. Acquired from London specialist dealership Sam Fogg in 2004, it was estimated at just $2,000-$3,000 but hammered for $30,000 and sold for $38,400 with buyer’s premium.

Red Grange Memorabilia Collection, $5,160

Group of vintage football materials, including a silent-movie premiere poster for ‘One Minute to Play’ starring Red Grange, which hammered for $4,300 and sold for $5,160 with buyer’s premium at Lot 14.
Group of vintage football materials, including a silent-movie premiere poster for ‘One Minute to Play’ starring Red Grange, which hammered for $4,300 and sold for $5,160 with buyer’s premium at Lot 14.

NILES, Ill. – Today’s world of professional American football owes an unpayable debt to Red Grange (1903-1991). Born in Forksville, Pennsylvania as Harold Edward Grange, his mother passed away when he was only five, and his father, a lumber man, floated until the family settled in Wheaton, Illinois. Grange would attend Wheaton Community High School, where his innate skill at football came to light. He went on to lead the Fighting Illini at the University of Illinois and became the first-ever All American to win the prestigious award by unanimous vote. Sports historians consider Grange’s signing with the Chicago Bears in 1925 as the singular event to validate the nascent National Football League.

Auction house Lot 14 recently uncovered a trove of vintage football material from a local collection and brought it to market on March 7. It included a 1916 matted presentation of football player photographs from Wheaton Community High School that predated Grange’s time there, and a group photo of the 1916 football team for Carter H. Harrison Technical High School in the South Lawndale area of Chicago.

Bidders focused on the rough-condition 1926 poster for One Minute to Play, the silent action picture that starred Grange and was produced by Joseph P. Kennedy, the patriarch of the American political dynasty. The film premiered at the Rialto Theater in Joliet, Illinois on October 4, 1926; the poster lists the run as October 4 through November 1. The ensemble lot was estimated at only $40-$75, but a war between the floor and a LiveAuctioneers bidder ensued, sending the final hammer to $4,300, or $5,160 with buyer’s premium.

Gustave Vertunni Figure of Jeanne d’Arc on Horseback, $1,024

Gustave Vertunni Jeanne d'Arc figure mounted on a horse, which hammered for $800 and sold for $1,024 with buyer’s premium at Old Toy Soldier Auctions.
Gustave Vertunni Jeanne d'Arc figure mounted on a horse, which hammered for $800 and sold for $1,024 with buyer’s premium at Old Toy Soldier Auctions.

PITTSBURGH – A LiveAuctioneers bidder triumphed in the online battle to become the next owner of a Gustave Vertunni hollow-cast figure of Joan of Arc. It took only one bid to silence the competition, with $800 being the number ($1,024 with buyer’s premium). The figure had been estimated at $350-$600 by Old Toy Soldier Auctions, as part of its OTSA 92 Luck of the Soldier sale on March 15.

Vertunni was Italian, but he moved to Paris after the end of World War II, where he would go on to create a huge variety of French historical figurines. He modeled kings, queens, and other notables with stunning accuracy, making his works highly sought after by contemporary collectors. Vertunni modeled figures from the Middle Ages through the Napoleonic era.

Heritage realizes new world record for Action Comics No. 1 with $6m sale

Action Comics No. 1, which sold for $5 million ($6 million with buyer's premium) at Heritage.

DALLAS — Priced at 10 cents when it appeared in 1938, a copy of Action Comics No. 1, which introduced the world to Superman, has become the world’s most valuable comic book. It sold for a hammer price of $5 million as part of the April 4-7 Comics & Comic Art auction at Heritage Auctions.

The price was $6 million including buyer’s premium. According to (grading service) CGC’s list of the most expensive comic books ever reported sold, a copy of Superman No. 1 was bought privately for $5.3 million in 2022.

The previous auction record was held by the CGC Near Mint+ 9.6 copy of Amazing Fantasy No. 15, featuring the debut of Spider-Man, which sold for a premium-inclusive $3.6 million at Heritage in September 2021.

Graded CGC Very Fine+ 8.5, the Heritage Action Comics No. 1 came from the Kansas City Pedigree — the earliest so-called ‘pedigreed’ collection ever discovered, which turned up in Kansas City in the late 1960s and featured a large group of nearly 250 high-grade No. 1 issues that ran from 1937 to the 1940s.

It was “one of the world’s finest copies,” said the auction house. “Only two other unrestored issues featuring Superman’s first flight — or, at least, his first leap over a tall building — have ever graded higher.”

There are just 78 copies of Action Comics No. 1 in CGC’s population report, with the grading service estimating there are a scant 100 survivors of the comic book that launched superheroes into popular culture. Around 200,000 copies were originally printed by DC Comics’ predecessor National Allied Publications.

Action Comics No. 1 is hailed as “the most important comic ever published,” said Heritage, and the Superman who first appeared in the spring of 1938 remains “remarkably like the version still filling comic-shop shelves every week or awaiting yet another big-screen turn in writer-director James Gunn’s retelling of the tale”.

Second tranche of the Flower majolica collection delivered stunning results at Strawser

Copeland Majolica 1876 Memorial Vase, which sold for $15,000 ($18,600 with buyer's premium) at Strawser.

KULPSVILLE, Penn. – A Copeland vase produced to mark 100 years of American Independence was among the highlights of the second tranche of the Flower collection of majolica. This model, first shown at the Centennial Exhibition in Philadelphia and then exclusively distributed by the New York retailers J.M. Shaw & Co., took $15,000 ($18,600 with buyer’s premium) at Strawser Auction Group on March 16.

The 1876 exhibition was an important one in the story of the medium of majolica. Many British ceramics factories exhibited at the event, with majolica proving a big hit with the North American public. This 10in vase has become arguably the most coveted of Copeland’s majolica output. It is modeled as three back-to-back gray eagles guarding the American flag with spears, and includes three cobalt blue shields with the words 1876 Centennial Memorial and also Washington the Father of Our Country. Examples only very occasionally appear at auction, although the (restored) vase in the Joan Stacke Graham collection sold by Doyle New York in April 2023 made $9,500.

This was the second of three auctions dedicated to the remarkable collection of Edward Flower (1929-2022) and his wife Marilyn (1930-2017). The Flowers began collecting majolica in the late 1990s, relatively late in their lives, but the bug bit them hard. Across a trio of sales (the first held last August, and the last taking place later this year) more than 600 pieces will be offered. London specialist dealer Nicolaus Boston has cataloged the collection for Strawser.

Of the 185 lots offered on March 16, two were expected to vie for top honors, with estimates of $25,000-$30,000 each. The first was a George Jones teapot, one of only a few known formed as a Chinese junk filled with cargo, with the cover modeled as a figure in Chinese costume. “In my 30 years of selling majolica this is the first one I’ve ever offered,” said Michael Strawser. It sold just short of expectations at $24,000 ($29,760 with buyer’s premium).

The second was a version of the Minton ‘Hare and Duck’ head game pie dish and cover, affectionately known among collectors as The Bunny Tureen. The model is one of several by the French émigré animalia sculptor Paul Comolera, who worked at the Minton factory from 1873 to 1877. Prices for these have soared above $50,000 in the past, but with several major collections sold in recent years, the market is now relatively soft. It hammered for $20,000 ($24,800 with buyer’s premium).

Another Comelera design for Minton is the 2ft 9in high umbrella stand modeled as a fawn nibbling oak leaves on a tree stump – a model based on sketches Comolera made of the fallow deer herd at the Duke of Sutherland’s residence near Trentham Hall in Staffordshire, England. With some restoration, it hammered at $3,750 ($4,650 with buyer’s premium).

Several pieces in the Flower collection were recently part of the renowned Majolica Mania exhibition that was launched in New York City in the fall of 2021, traveled to the Walters Museum in Baltimore in early 2022, and finished at Stoke-on-Trent in the UK in fall 2022. These include a circa-1875 Minton tete-a-tete in the chinoiserie taste  that is one of just three complete sets known. The individual elements are a teapot formed as a lychee, a gourd-shaped sugar bowl and cover, a thistle cream jug, and two cups and saucers shaped as yellow fruit on leaves. All sit neatly on a quatrefoil tray with a pierced trellis border. In remarkably good condition, with its only imperfection being a small nick to the teapot lid, it took a solid $25,000 ($31,000 with buyer’s premium) — the top price of the sale.

Also shown at Majolica Mania were a circa-1875 pair of rustic vases modeled with peacocks by William Brownfield, and a vase of around the same date formed as a pair of herons by Brown Westhead Moore & Co., possibly designed by Mark V. Marshall of Doulton Lambeth fame. They were estimated at $1,500-$2,000 and $1,500-$2,000 respectively, and sold at $3,500 ($4,340 with buyer’s premium) and $2,500 ($3,100 with buyer’s premium).

Another rarity, best known from the collecting literature, is a Minton ink well and cover, modeled as a bird atop an upright pinecone. It’s one of only three recorded, with another pictured in Victoria Cecil’s influential 1982 catalog Minton Majolica. The hammer price for the example in the March 16 auction was $5,000 ($6,200 with buyer’s premium) against an estimate of $1,500-$2,000.

One of two known, a Wardle & Co. garden seat modeled as an ivy-clad tree trunk draped with a tablecloth sold at $4,500 ($5,580 with buyer’s premium), despite some wear and restoration. The circa-1881 design, with the crisply modeled woodpecker clinging to the side, is among the best pieces from the factory that produced large quantities of majolica in the budget-friendly price range.

It is an indication of collecting fashion that a large Palissy-style ‘art of the earth’ basin, inscribed and dated Avisseau, Tours, 1856 for French ceramicist Charles-Jean Avisseau (1795-1861), had shared the top price of the first sale at $40,000. The March 16 event included a similar teapot by the Avisseau, modeled as a snake climbing an ivy-clad tree trunk. After buying this piece in 2014, Ed Flower commissioned the contemporary ceramics sculptor Jonathan Court and the decorator Nicola Rose to recreate a missing frog cover. Both artists signed their names on the underside. It came to auction with an estimate of $3,000-$4,000 and hammered at $3,750 ($4,650 with buyer’s premium).

Continental European wares, once the slightly poorer relation to pieces by the best Staffordshire, England factories, were a strength of the first sale. Particularly well-received was a menagerie of large naturalistic models by the Massier Brothers, Choisy Le Roi, and Hugo Lonitz factories. All had lived together cheek-by-jowl in the Flowers’ Bay Shore, New York residence. Highlights in Part II included a monumental 18in model of a jay perched on a tree stump by Hugo Lonitz, estimated at $4,000-$6,000. One of only two known examples, it brought $7,000 ($8,680 with buyer’s premium).

Brooklyn Museum deaccession sale at Brunk yielded surprising results

Circa 1790-1810 set of brass andirons, which sold for $32,000 ($40,960 with buyer’s premium) at Brunk.

ASHEVILLE, N.C. — The deaccession sale of antiques from the vast holdings of the Brooklyn Museum in New York yielded some unexpected results from active bidders at Brunk Auctions March 20. Complete results are available at LiveAuctioneers.

While many items did well and landed generally within their range, it was a set of brass andirons that produced the most stunning outcome. Dating to circa 1790-1810, with urn finials, engraved floral decoration, and ball and claw feet, the set had a humble $400-$600 estimate going into the event. Bidding began with a $700 offer from a LiveAuctioneers user, only to see the price rise dozens of times to an incredible hammer of $32,000 ($40,960 with buyer’s premium).

Also turning in surprising results were the architectural salvage elements from demolished historic New York, New Jersey, and South Carolina mansions, stored in the museum’s warehouse in Newark, New Jersey. Topping the architectural lots at $60,000 ($76,800 with buyer’s premium) were circa-1820 elements from the Abraham Harrison home formerly located at 1109 Stuyvesant Avenue, Irvington, New Jersey. The lot had been estimated at just $2,000-$3,000.

Dining room woodwork elements from the Cane Acres Plantation House of Summerville, South Carolina, dating to circa 1789-1806, also wildly overperformed. The grand, two-story structure rested on a high brick foundation to avoid the swampy surroundings. Estimated at $2,000-$4,000, the lot sold for $55,000 ($70,400 with buyer’s premium).

The final architectural lot consisted of the elements of the entrance foyer and stairwell of 455 Madison Avenue, New York City, which was part of the Villard Houses at 451-457 Madison Avenue. The elements dated to circa 1882-1884 and hammered for $48,000 ($61,440 with buyer’s premium).

A top-anticipated lot, the Virginia Chippandale walnut fitted cellaret with a Luke Vincent Lockwood provenance, hammered for $95,000 ($121,600 with buyer’s premium), more than doubling its $40,000 high estimate. The other Lockwood provenance item, a Virginia Queen Anne scalloped walnut dressing table, beat its $40,000 high estimate at $50,000 ($64,000 with buyer’s premium).

Tamara de Lempicka and Dorothy Hood were big winners at Simpson Galleries

Tamara De Lempicka, 'The Marquis Sommi,' which sold for $67,500 ($85,725 with buyer’s premium) at Simpson Galleries.

HOUSTON, Texas — Estimated at only $800-$1,200, a 1925 graphite and pastel on paper by Tamara de Lempicka emerged as the surprise top lot of the sale at Simpson Galleries March 23. Complete results are available at LiveAuctioneers.

De Lempicka’s (1898-1980) The Marquis Sommi was an innocuous inclusion in the Simpson lineup, slotted in the first third of the 582-lot sale. But two bidders, one in house and one using LiveAuctioneers, saw differently, trading competing bids until the floor won out at an astounding $67,500 ($85,725 with buyer’s premium). De Lempicka is known for her Art Deco portraits of aristocrats and other luminaries of the Jazz Age.

Another wild overperformer was this Cartier mid-century gold, natural lapis lazuli, and diamond cuff bracelet. Clearly a nice piece with an important brand name, it carried a presale estimate of $2,000-$3,000. Once again, a floor bidder vied with a LiveAuctioneers user, with the floor again winning out at $35,000 ($44,450 with buyer’s premium).

Dorothy Hood (1918-2000) was a Texas Modernist whose childhood talent earned her a National Scholastic scholarship to the Rhode Island School of Design. She spent 20 years living as an expatriate in Mexico, which shaped her vision and her output.

Simpson had seven of her works in the sale, with three selling above estimate. Brazil dates to the late 1960s and is an oil on canvas. Estimated $20,000-$30,000, it hammered for $32,500 ($41,275 with buyer’s premium). Mid-1950s Bud is an oil, grit, and mixed media on canvas that was estimated at $4,000-$6,000 and sold for $12,000 ($15,240 with buyer’s premium). The final champion was Queen Planta pen and ink on wove paper that hammered at $8,000 ($10,160 with buyer’s premium). It had been estimated at $3,000-$5,000.

Tiffany & Co. Aesthetic Movement Pitcher leads our five auction highlights

Circa-1885 Tiffany & Co. Aesthetic Movement pitcher, which hammered for $32,000 and sold for $41,920 with buyer’s premium at Toomey & Co.

Tiffany & Co. Aesthetic Movement Pitcher, $41,920

CHICAGO – The Aesthetic Movement lived by the phrase ‘art for art’s sake.’ Its adherents rebelled against the more functional thinking of the Victorian era, instead opting to make everyday things as beautiful as possible. The trend flourished in the 1870s and 1880s, and its influences were felt everywhere, including in the products emerging from the New York studios of Tiffany & Co.

This Tiffany pitcher is dated to around 1885 and features all the hallmarks of the Aesthetic Movement. Made from handwrought sterling silver with gold and copper plating, it includes Japonesque natural motifs including a cricket, a beetle, and a broadleaf plantain. On the underside it is marked Tiffany & Co 6463 Makers 5027 Sterling Silver 925-1000 M 2090 4 1/4 Pts, with the engraved initial M. Its gross weight is 29.8 troy ounces.

Estimated by Toomey & Co. at $6,000-$8,000, the pitcher would go on to hammer for $32,000 and sell for a shiny $41,920 at its February 29 Great Estates sale.

Antique Bovet Pocket Watch Made for the Chinese Market, $38,400

ROSEMEAD, Calif. – Just as rich Europeans coveted Chinese porcelain and lacquer in the 18th and 19th century, so the Chinese were fascinated by Western horology. Many English and Swiss clocks and pocket watches were made specifically for the Far Eastern market. The colorful gem-set and enameled pocket watches made in the town of Fleurier in Switzerland by two companies, Bovet and Juvet, played a dominant role in the export trade to China after the 1820s. Edouard Bovet even went as far as naming his company Bo Wei, the Cantonese word for watch.

The example offered by Legend Artworks on March 8 was typical. The 56mm 18K gold case, pendant and bail set with half pearls, has a white enamel dial on one side and a polychrome enamel scene of a tiger hunt on the other. It opens to reveal a typical Fleurier ‘Chinese market’ duplex escapement, with all the components of the movement heavily engraved.

Although the auction house speculated that the watch may be more than 200 years old, it was probably made in the second half of the 19th century. It is signed both Bovet and with the Chinese characters for Bovet Fleurier.

The estimate was a broad $200-$10,000 but, as prices for these watches have risen sharply in the past two decades with renewed Chinese interest, there were a number of interested parties willing to push the price well above the top estimate. The hammer price was $30,000, and with buyer’s premium, it sold for $38,400.

Arturo Noci, ‘Man at Window,’ $32,000

Arturo Noci, ‘Man at Window,’ which hammered for $25,000 and sold for $32,000 with buyer’s premium at Roland NY.
Arturo Noci, ‘Man at Window,’ which hammered for $25,000 and sold for $32,000 with buyer’s premium at Roland NY.

GLEN COVE, N.Y. – Roland NY’s March 2024 Estates Sale, which took place on March 9, was a classic mix of art and furnishings from homes being decommissioned after the passing of their owners. Among the 927 lots was a framed oil on canvas that the house titled Man at WindowSigned by Arturo Noci (1874-1953) and dated 1917, the work is strikingly evocative, with the viewer’s perspective as a voyeur of a man lost in thought as he scans what could be the French or Italian countryside.

Born in Rome, Noci was evidently an active painter who, from a review of his works sold at auction, specialized in portraiture. He would move to New York in 1923 and would spend his final 30 years there, often creating portraits of wealthy clients who he had befriended.

With a modest estimate of $4,000-$6,000, Noci’s canvas was noted to have some flaking issues and craquelure throughout. Bidders were not deterred; after 40 raises, the winner finished off the competition with a $25,000 purchase ($32,000 with buyer’s premium).

Circa-1500 French or Flemish Boxwood ‘Love Token’ Comb, $12,100

Circa-1500 French or Flemish boxwood ‘love token’ comb, which hammered for £7,000 and sold for £9,450 ($12,100) with buyer’s premium at Timeline Auctions.
Circa-1500 French or Flemish boxwood ‘love token’ comb, which hammered for £7,000 and sold for £9,450 ($12,100) with buyer’s premium at Timeline Auctions.Circa-1500 French or Flemish boxwood ‘love token’ comb, which hammered for £7,000 and sold for £9,450 ($12,100) with buyer’s premium at Timeline Auctions.

HARWICH, UK – The familiar heart-symbol – that today is ‘read’ as love – made its first appearance as a rebus in the late medieval era. This French or Flemish boxwood comb dating to circa 1490-1510 is meticulously carved with the inscription ‘de bon [coeur] donne’qui de bon [coeur] eyme’, translating to ‘He who loves from the heart, gives with a good heart’. It was probably given as a love token in much the same way as posy rings were gifts between lovers.

As they could touch the beloved directly, combs were considered intimate objects and were often included in bridal trousseaus. The tradition of using boxwood for combs is also an ancient one: the Latin word for boxwood, buxum, also signifies comb.

Such a well-preserved example is a rarity. A similar piece, dated circa 1500, is illustrated in Edward Pinto’s collecting bible Treen and Other Wooden Bygones, while another similarly inscribed front and back ‘A ma tres douce amie pour bie le done’ sold for $6,000 at Christie’s New York in June 2022.

This example, formerly in an American collection, was consigned by a Suffolk, England vendor to the Antiquities sale at Timeline Auctions. Offered on the first day of the March 5-9 sales series, it was estimated at £1,000-£1,400 ($1,280-$1,790) but hammered for £7,000 and sold for £9,450 ($12,100) with buyer’s premium.

Benny Carter, Tall Case Clock, $2,625

Benny Carter tall case clock with Statue of Liberty art, which hammered for $2,100 and sold for $2,625 with buyer’s premium at Ledbetter.
Benny Carter tall case clock with Statue of Liberty art, which hammered for $2,100 and sold for $2,625 with buyer’s premium at Ledbetter.

GIBSONVILLE, N.C. – Benny Carter (1943-2014) came to the world of folk art like so many of his kind – an upheaval in his life caused him to begin to express himself through art. In Carter’s case, it took the form of painting everyday objects with his bright color palette and his Baptist- and Americana-infused metaphors.

The lifelong North Carolinian had been a supervisor at a metal product fabricator near his home, but a business downturn compelled a layoff, resulting in Carter losing his only job of 29 years. He took to painting, and, as he would often tell his admirers, “Buy art.” And buy it they did, making Carter a leading member of the outsider art movement.

This tall case clock appeared at Ledbetter Folk Art Auction on March 1. A lengthy battle between LiveAuctioneers bidders sent the $200-$400 estimate into the trash and resulted in an astounding $2,100 ($2,625 with buyer’s premium). The clock’s door features Carter’s high attention to fine details, and includes one of his favorite themes, the Statue of Liberty. She carries the phrase “come up and see me some time” against a New York City skyline backdrop.