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antiqueestatebuyers · 2 years ago

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Vintage and Antique Jewelry Buyers in NY | D & J Antique Buyers

We’re Antique Jewelry Buyers Near MeAt D & J Antique Buyers! We assess the value of your antique jewelry, and make you an offer, and have cash in your account in 24 hours or as soon as possible. Our team of experts will guide you through the process and provide you with a price based on the international market for your items. Do you have a piece of antique jewelry or a collection you would like to sell, we’re just one call away to offer you cash. https://antiqueestatebuyers.com/antique-jewelry/

#Antique Jewelry Buyers in NY #vintage antique buyers #vintage jewelry buyer #Antique Jewelry Buyers Great Neck NY #antique jewelry buyers New York #vintage jewelry buyer ny #Antique gold Buyers NY #Antique Silver Buyers ny #Diamond buyers in NY

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allthedecor · 3 years ago

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All The Decor

All The Decor is dedicated to offering great items and even greater service. Our buyers and sellers are happy and satisfied with the experience they receive from us. Our aim is for customers to trust that we will offer them safe and secure transactions, and we strive to deliver on all counts. We have been an online retail destination for thousands of satisfied customers since 2018. We offer a large selection of new and vintage items, antiques, collectibles, imports, jewelry, artwork, decorative accessories, home decorating ideas, and more! We're always adding new items to our collection so check back often!

If you are looking for an antique, collectible, or vintage item for your home or office, All The Decor will be able to meet your needs. We have thousands of items to choose from in our online store, and if you don't find what you are looking for, use our search function to find a unique piece that matches your taste. With a large assortment of products from all over the world, you can find beautiful hand-painted antique cabinets from China, a rare jewelry box from the 17th century in Italy, a silver bowl from Pakistan, or a signed print from India. All of these exquisite pieces can be found on All The Decor.’

All The Decor

Address: 80 MAIDEN LANE, New York, NY 10038, USA

Phone: 1 (800) 646-9726

Email: [email protected]

Website: https://www.allthedecor.com/

External Links:

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myf4shionfolder · 5 years ago

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Helmut Lang 1998 Vintage Sanded Denim Painter Jeans

In 1996, Helmut Lang was offered the job of head designer at Balenciaga. 'It’s about America. It’s not about couture', he famously stated after rejecting the maison's proposal. Indeed, Lang had an enduring fascination with American workwear and particularly its most iconic identifier, denim. And of course, few garments are more representative of denim than the classic 5-pocket blue jeans. Their archetypal design was a strong source of inspiration for the designer, who transformed classic denim staples to highly conceptual garments. In turn, his jeans were not only praised for their sophisticated fabrications but also for their distinctive and precisely-fitting silhouette. Renown NY fashion buyer Gene Pressman stated in 2006:

'Lang has mastered the old-fashioned fit of just being tight and narrow. The [fabrics] are worn in the way I like them. [...] And if Helmut Lang goes out of business? Look for vintage Helmut Lang jeans.'

Lang's iconic 'Painter Jean' was introduced for S/S 1998 and is certainly one of his most celebrated denim creations. Besides dominating the runway show (pictured), the jeans were worn by actress Nicolette Krebitz on the cover of New Order's 2001 album 'Get Ready', directed by Peter Saville and photographed by Juergen Teller. Nearly two decades after their release, they have become one of Lang's most coveted garments.

The jeans' detailing is inspired by Levi's 1947 501XX model, featuring a traditional five-pocket design reinforced with metal rivets. The fabric is heavyweight denim that has been washed, stained, sanded and distressed, resulting in a light indigo colour with a pronounced vintage patina and a slightly beige tint. The coloured splashes found throughout the piece (the hallmark of the 'painter' model) have been screen printed using thick white, black and peach ink. This colour combination was used only in the Jeans' original S/S 1998 release and is by far the rarest.

The jeans have Lang's typical 'Classic' cut which consists of a medium rise, fitted seat, fitted thigh and a narrow straight leg. The reward of this carefully considered pattern is a flattering silhouette that looks simultaneously effortless and sharp. Like all Helmut Lang denim, the finishing is of a very high standard. The hardware has an antique silver finish and is engraved with the Helmut Lang logo, while the interior is flawlessly constructed with mainly flat fell seams that ensure the jeans will be worn for years without fraying.

#Helmut Lang

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goldnearse-blog · 6 years ago

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Contact

Address: 55 W 47th St suite 203Y, New York, NY 10036

Phone: 212-378-9505

Website http://www.sell-jewelry-ny.com/

About US

We have gained trust of thousands of people who did business with us during our 20 year reign on 47 th Street in the New York City’s Diamond District. We are located in the heart of a gold buying and selling mecca. People come here to sell gold, sell diamonds, and sell watches. And we at Honest Jewelry Buyers are happy to oblige. Our belief is that customer satisfaction comes first. It is good business to do good business. We are fair and generous to people who decide to sell jewelry to us. And we meet and exceed their expectations on a daily basis when they come to us to sell diamonds and other gems in their possession. We watch the market and we pay top dollar for your jewelry.

What we buy at Honest Jewelry Buyers are different types of gems, stones, metals, and other

valuable possessions. Among those are gold, silver, platinum, precious stones which can be in the form of jewelry pieces or dishes or statuettes. If you have jewelry either made of gold or encrusted with diamonds or other precious stones, we will buy it from you. Rings, earrings, bracelets, pendants, pins, or memorabilia items – we accept it all. We also buy watches and antiques. Vintage items are also welcome in our store.

The amount of cash that you get for your gold will be determined by two criteria. The first one is the weight of your gold. Generally, gold is measured in Troy ounces. A Troy ounce is approximately 31 grams. We will measure your gold correctly to get an accurate number of grams. Our licensed appraisers use only the most accurate scales available. The second criteria, is the amount of karats in your gold. Usually you will find golden pieces are not pure because pure gold is much too soft to be used for jewelry and other gold products, so jewelry makers mostly combine gold with other metals for strength. So that you know, a karat measures the amount of pure gold in a golden item. The more karats in your gold – the higher the value of your jewelry item is.

Related Searches:

Nearby Locations: Jersey City | Newark | Philadelphia | Baltimore | Boston

07087 | 14513 | 19093 | 12124 | 02152

Additional Details

Mon – Sun 9am-6pm

Payment Methods:Cash

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mfmagazine · 6 years ago

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Taxidermy Couture

Article by Lauren Weigle

Photo by Rebecca Schmidt

Taxidermy Couture was definitely a must-have for me once I came across it. Its art mixed with Goth mixed with glamour mixed with vintage mixed with...well, everything! The point is that the collections are hot and almost entirely made up of one-of-a-kind pieces. So, if you see something you like you better snatch it up fast as it may be gone tomorrow. On the other hand, no one else will have the same gorgeous and unique accessory as you will, which makes each piece even more special.

Let’s talk about the Latin phrase “memento mori” and what it means in terms of Taxidermy Couture.

Memento mori means "Remember you must one day die". It names a genre of artistic creations that vary widely from one another, but which all share the same purpose, to remind people of their own mortality and the punishment they will receive if they transgress the rules of their religion. A phrase that has had a tradition in art that dates back to antiquity. I always say my work is "Memento mori inspired" because I personally am not trying to remind people or their punishment when they die. In fact, I'm not one for religion at all. I was raised Catholic and was forced to go to church every Sunday until I left home at 17, but the silver lining was being able to spend an hour every week staring at beautiful art, art that still inspires me to this day… obviously. As far as the connection between memento mori and Taxidermy Couture... well, my use of animal skulls, teeth, and bones would make anyone think about death.

Pretty intense, just like the name of your label. How did you come up with the brand’s name?

Originally I called my line "Morbid beauty", but it just didn't feel right; it felt very "Goth" to me. Yes, a large amount of my work has a Gothic feel, and I love that. However, I don't want to pigeon-hole myself into a set aesthetic. Some days I'm super vamp, some days I'm a modern hippie, and other days I'm something I don't have a term for. I am, however, extremely into high fashion and art so I felt "Taxidermy Couture" simply described the work much more, and will continue to do so no matter what direction I go in the future.

Tell me about the woman behind the company, Marya.

That's a hard one! As of [December] I am now Marya, the wife. I am happier than I have ever been before in my entire life! We went to Vegas with 10 friends and had the best time! Other than that it changes all the time. I try to dip my toe in anything and everything that interests me.

Speaking of interests, I want to hear all about your musical alter ego! Spill it!

Valium Valentine, my pop culture alter ego! She was born a year ago and sadly we only got 3 songs done. You can find them on Myspace. We (my husband and I) LOVE all kinds of music and wanted to just play. However, once it got started I kind of took over and so we decided it was my baby. I want to make a few more songs before she dies... But, we have another secret band we have been working on, so it can be hard to put your mind in two completely different creative places at the same time. My husband and I will always make music, no matter who hears it. Its funny talking about "my music" when I have some close friends in legit bands, they actually make a living making music and touring. If I ever had the chance to go on tour as a performer I'd jump on it.

Do you think your love of music ever inspires some of your pieces for Taxidermy Couture?

How could it not!? I name pieces after songs or bands all the time. I do a series of multi-chain necklaces with my signature mink tooth lockets and other "vampire inspired" charms, no two are the same, but they all share the name "Vampire Weekend". Aside from that, I think the music world has a huge part to play in fashion. I can't help but be influenced by music; it sets a mood. Bands I loved growing up are probably why I started getting tattoos and wore chucks, so yes, music inspires many a Taxidermy Couture piece.

You also style and cut hair. Is there anything you don’t do?!

Well, when I was really young I want to be a fashion designer. I'd draw pictures of clothes all day. My mom was a super punk rock chic, purple and green hair, made all her clothes, made jewelry out of scrap metal she'd find on the street, etc. Since the age of 11 she'd ask me to cut her hair. I won't lie. I had a natural knack for it. By age 14 I could do a perfect bob. So, when I turned 18 and had been living on my own for almost a year, I decided I needed to figure out what career path to go in. Hair just made the most sense, and I loved it. Not to mention, Cosmetology school was a hell of a lot less money than college, and I grew up really poor so the thought of debt was scary. I've worked in so many salons over the past ten years. My favorite was Ultra Salon in Manhattan, NY. I worked there for four years before calling it quits and crossing over to freelance. I did the hair for two Rapture music videos a few years back. As of now I turned our dining room into a mini-salon. I really love working for myself from home, I'm not a conventional person.

Conventional is way overrated. So, Marya, why is it exactly that you are drawn to things like teeth and animal skulls?

I am very drawn to teeth. They are just so cool and creepy. I have a tooth wearing a crown tattooed on my left arm. I use a lot of bone vertebrae from various animals; they have the most amazing shapes! It seems wrong not making jewelry out of them. But my original inspiration really comes from a necklace I own. Long story short, my long lost father who I met when I was 23; we were both living in NYC and this amazing thing happened and suddenly I had the coolest father ever! Well, for my birthday he gave me this to-die-for Pade Vavra Diamond and shark tooth necklace. He knew I loved shark teeth and diamonds so, boom! Two years ago I made my first rabbit foot/shark tooth necklace for my husband. We had just started dating and he flipped out over it. That's really why I started making jewelry to sell to the public. He's an independent buyer for a clothing store in our neighborhood, so he convinced me I was talented enough to sell my work. A few months later, my Etsy store was up and running. But, I suppose I have a soft spot for things not the norm because of my mother and her friends, a bunch of young artists from Boston. I even got to be in a small independent film called "black hearts bleed red" directed by Jeri Cane Rossi. The bazaar and “oh so talented” artist Joe Coleman was also in this movie. If you aren't familiar with his work you really should Google him. I wish I had the talent this man has! All the little "weird" things about my childhood just stuck I suppose.

How are you able to take these things that, to some, can be considered dark or dismal, but create such beautiful jewelry from them?

It's all your frame of mind, to some it’s creepy and they will never be into it, no matter how pretty it is. But, to me there is nothing dark or dismal about letting these animals live on through art. I don't think any part of the animal should be wasted. Animals give us the gift of food and warmth. To me the bones and teeth are just as precious and should be respected and admired. No animals are killed for the sake of my art. All parts are from animals that have died from natural causes, or have been killed for the meat. I do eat meat, so I can't be a hypocrite. I only use vintage fur (usually from damaged fur coats from the 1980's or older) because once I found out how they actually skin the animals alive, I couldn't morally buy new fur. I have very high standards for the materials I use, which is a HUGE part of the work that goes into these pieces. How do I make them beautiful? I don't really know... I just play with it until it becomes what it should be.

Tell me more about some of your one-of-a-kind pieces.

The majority of what I make is one-of-a-kind. And, even the pieces I can replicate aren't identical. To me, teeth and bones are like snowflakes. Because of my high standards of how the animal has died I can't place an order for X amount of jawbones at a time, so I work with what I have, when I have it. I do however do a series of animal skull necklaces that are all OOAK. No two are identical because if you are going to spend over $100 on a necklace, you don't want your best friend to buy the exact same one, right? These are special pieces to keep forever and cherish. Chains like Forever 21 make me sad, mass-produced crap that everyone has and falls apart. Not to mention, the poor children working over 8 hours a day for next to no money just so we Americans can be cheap and selfish, but that's another topic for another interview at another time.

Well then let’s stick to things like some of your vintage-inspired pieces. Can you tell me a little about those as well?

Well, I use a lot of vintage pieces and up-cycle them. That's another reason why most of my work is one-of-a-kind. I use a mix of new and old charms and chains. Because of my background growing up with my mother I have always thrift-shopped and had fun finding little hidden treasures at flea markets and vintage shops. It may even be in my blood. After meeting my father, I found out he originally started his long career of owning retail stores with a vintage store. I must admit that lately I've been VERY focused on my Taxidermy Couture, but now that my wedding is over I have more free time and I am planning on coming out with new vintage-inspired, non-taxidermy work soon. It all depends on my inspiration. I can't force my work or it will show, and not in a good way. Any art I make is an organic experience.

Ooh, I can’t wait for more vintage pieces! My absolute favorites are the Vintage up-cycled Chanel earrings and the Mortality charm necklace, but it’s out of stock. Any come-backs on the horizon for those items on your site that have already sold out?

I've had a soft spot for Chanel since I was about 20. I have enjoyed collecting Chanel earrings since then. I hate clip-on earrings so any vintage pair I can up-cycle into posts, I will. It’s funny you mention the Mortality charm necklace because one of my best friends Katy aka Kickball bought it a few months back, so I got to see her wearing it again at our wedding. She fell in love (her words) with it when we did a La Sera for Taxidermy Couture photo shoot. Luckily for me she used them as her press release photos. La Sera is her solo project. She's more known for her band "Vivian Girls". And again, that is a one-of-a-kind. Ninety percent of the materials used for that necklace were vintage parts.

I’m so jealous! Any new ideas in the works for more killer necklaces or earrings?

I won't know until I make them, sorry. However, I am lucky that a collector in the mid-west (they are retired and go for nature excursions constantly) has decided they want to "clean out there closet" so to speak, so I have a large number of vertebrae, skulls, and wolf teeth coming in any day now!

I noticed you don’t have any bracelets or watches yet. Ever think about including some pieces along those lines in future collections?

I've actually done a few pocket watch necklaces, all OOAK and all sold before I could even get them up on my site. I do gallery and trade shows and other events where I sell my work. I also sell my jewelry at Shotwell in Union Square, San Francisco (my current home) and at Modern Eden gallery in North Beach, SF. So, not everything makes it in my own online store. As far as bracelets, it’s funny. I've made a few, but I never really think to make more because I'm not much of a bracelet person myself. I have this thin gold wire I wear every day. Come to think of it, I might be on my third year of wearing it without ever taking it off. How funny! I never really thought about it.

So, if you weren’t doing what you’re doing, what do you think you would be? A taxidermist?

Definitely not. I am actually squeamish. I don't think I could do any of the dirty work. If there is something I want to do, I'll try it out. However, I do love decorating. I could see myself in interior design. My husband and I love doing theme rooms in our house! We can't wait to own our own home one day and go crazy! Right now I'm starting some business classes. We want to move back to NYC and open our own small Brooklyn boutique. I'll continue to make jewelry of course, but we will fill the store up with any awesome artists’ work we can get our hands on. We're hoping this will happen within the next two years. More than half my online sales are from NYC, so that's a good sign.

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caveartfair · 6 years ago

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The 18 Best Booths at Frieze London and Frieze Masters

The 16th edition of Frieze London opens to the public on Thursday, with some 160 galleries participating. If you leave the main tent hungry for more art, a 15-minute walk through Regent’s Park brings you to the seventh edition of Frieze Masters, where more than 130 galleries are showing older work (here, “older” simply meaning pre–21st century). As part of the main fair, there’s also live performance programming from artists like Camille Henrot and Liz Glynn, and Frieze Sculpture, which places outdoor installations by Virginia Overton, Tim Etchells, and others throughout the park. Art fairs, as usual, can get exhausting. If your time (or attention span) is limited, here are 18 presentations across both Frieze London and Frieze Masters that you shouldn’t miss.

kamel mennour

Frieze London, Main Section, Booth A2

With works by Tatiana Trouvé

Installation view of Tatiana Trouvé, The Shaman, 2018, at kamel mennour’s booth at Frieze London, 2018. © ADAGP Tatiana Trouvé. Courtesy the artist and kamel mennour, Paris/London.

The French gallery’s booth, located right by the entrance to the fair, is entirely given over to one massive, 30-ton sculpture by Tatiana Trouvé. The Shaman (2018) has as its centerpiece a patinated bronze tree, felled on its side, showing as much meticulous attention to detail as Charles Ray’s equally elaborate arboreal sculpture Hinoki (2007). A platform of crooked, partially broken concrete surrounds the tree, which is submerged in a small, burbling pool of water. Nearby, marble facsimiles of moving blankets and a pillow, plus some erratic strands of metal, complete the enigmatic scene. For all its apocalyptic undertones, the epic work is oddly contemplative. Cash-rich institutions, take note: The dramatic showpiece is on offer for €650,000.

The Modern Institute

Frieze London, Main Section, Booth D5

With works by Martin Boyce, Anne Collier, Jeremy Deller, Duggie Fields, Urs Fischer, Kim Fisher, Mark Handforth, Nicolas Party, Eva Rothschild, Hayley Tompkins, Michael Wilkinson, and more.

Installation view of The Modern Institute’s booth at Frieze London, 2018. Courtesy of the gallery.

With works hung on eccentrically angled walls—plus a recreation of an entire bedroom tucked around a corner—the Glasgow-based gallery squeezes a lot into its space. The always-impressive Nicolas Party has a lush pastel portrait of a woman holding flowers, plus a bronze sculpture, Black Cat’s Head, which plays fast and loose with its interpretation of feline features.

A large textile banner by Jeremy Deller shouts its message, adapted from the opening line of a poem by John Betjeman: “Come, Friendly Bombs, and Fall on Eton.” Light Year 6035 (2017) by 2011 Turner Prize winner Martin Boyce is a standout: a painted triptych of perforated steel sheets, ornamented with a dangling industrial chandelier. And toward the back of the booth, don’t miss the faux “bedroom” by Duggie Fields, which is densely decorated with 1980s-chic paintings and ephemera.

Gagosian

Frieze Masters, Main Section, Booth C2

With works by Man Ray

Installation view of work by Man Ray in Gagosian’s booth at Frieze Masters, 2018. © Man Ray Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2018. Photo by Lucy Dawkins. Courtesy of the

Demagogue, 1966. Man Ray Gagosian

A l'heure de l'observatoire: les amoureux, 1970. Man Ray Gagosian

Permanent Attraction, c. 1970. Man Ray Gagosian

Self Portrait, 1924. Man Ray Gagosian

Man Ray Playing Chess, 1922. Man Ray Gagosian

Gagosian, with its booth devoted to a Man Ray survey, has brought a miniature museum exhibition to Frieze Masters. Small sculptures made from odds and ends—twine, metronomes, chessboards, springs, baguettes painted blue—are joined by photographs, paintings, and assemblages. A 1966 collage, entitled Demagogue, looks shockingly fresh, combining images of a parrot, a smiling blonde woman, and a silver wheel rim. A mixed-media work finds Man Ray mounting a toilet seat atop a photograph of an egg, and in Anal Sunrise (1956), he puts an anatomical spin on the landscape tradition. Not everything here is a masterpiece, certainly, but the pieces combine to form a picture of an artist who wasn’t afraid to follow his quirkiest inclinations.

Simon Lee Gallery

Frieze London, Main Section, Booth E6

With works by Jim Shaw

Installation view of work by Jim Shaw in Simon Lee Gallery’s booth at Frieze London, 2018. Photo by Sebastiano Pellion. Courtesy of the artist and Simon Lee Gallery, London.

Ah, Jim Shaw—what a welcome salve for our desperate times! The artist—a peer of Mike Kelley and a like-minded aficionado of pop-cultural weirdness—has one of Frieze’s most cohesive, must-see solo presentations. First, there’s the wallpaper, whose patterns resemble Rorschach patterns of smeared gold. Look more closely and you’ll find that the pattern is made up of many contorted, cartoon faces of Donald Trump.

I've Got Your Back, 2018. Jim Shaw Simon Lee Gallery

Official Portrait #1 (Polyphemus), 2018. Jim Shaw Simon Lee Gallery

Tragedy Display, 2018. Jim Shaw Simon Lee Gallery

The works hanging atop this fitting homage to the U.S. president are what look like history paintings, if they were based on Tim and Eric Awesome Show, Great Job! sketches.One of them presents a scene of Aztec sacrifice, with cameos from Richard Nixon, Paul Manafort, and Roger Stone (the latter holds a knife and someone’s bloody heart). A smaller piece appropriates Francisco de Goya’s Saturn Devouring His Son (1820–23), superimposed with Uncle Sam’s “I Want You For U.S. Army” recruitment poster. In an even stranger painting, reclusive right-wing funder Robert Mercer smiles proudly in front of an alien abduction scene unfolding in the parking lot of a restaurant called “Ass Burgers.” The world might be going to hell, but at least we have Shaw to chronicle the dramatic end as we flame out.

Galerie Chenel

Frieze Masters, Main Section, Booth C11

With works by Marc Held and various sculptural works from antiquity

Installation view of Chenel Gallery’s booth at Frieze Masters, 2018. Courtesy of the gallery.

One of the appeals of Frieze Masters is the way it forces wildly different eras to coexist; Artemisia Gentileschi, Giorgio Morandi, Steven Parrino, and Dutch still lifes all have to share the same big tent. This Parisian gallery exemplifies the appeal of that transhistorical approach in something so simple as its choice of furniture: a set of sleek Marc Held chairs from 1967, from which prospective buyers can admire precious fragments of ancient Greek, Roman, and Egyptian sculptures.

The Approach

Frieze London, Main Section, Booth C16

With works by Heidi Bucher, Sara Cwynar, Allison Katz, Caitlin Keogh, Jack Lavender, Patrick Procktor, Magali Reus, John Stezaker, and Evren Tekinoktay

Installation view of The Approach Gallery’s booth at Frieze London, 2018. Courtesy of the gallery.

Using textiles, latex, and mother-of-pearl, the late Swiss artist Heidi Bucher applied her materials to the insides of rooms or to discrete interior details, peeling them off to create what she dubbed “skinnings.” (The process-based results have something in common with rubber works by American artist Robert Overby from the early 1970s.) The gallery is showing Wassertor (“Water Gate,” 1986), which is on offer for 250,000 Swiss francs. It’s a large, wall-mounted piece that is uncommon for Bucher, in that the form mimics nature, rather than architecture—in this case, a cascading flume of water.

Other standout works on view include Jack Lavender’s Remember me to them (2018), a totem-like sculpture pairing skulls with scratch-off lotto tickets, and three figurative paintings by Allison Katz, whose surfaces are enlivened by the inclusion of sand or rice.

Salon 94

Frieze London, Main Section, Booth C5

With works by Marina Adams, Lyle Ashton Harris, Takuro Kuwata, Max Lamb, Marilyn Minter, Jayson Musson, and Laurie Simmons

Installation view of Salon 94’s booth at Frieze London, 2018. Courtesy of the gallery.

The gallery’s aim here is to unite the design and fine art aspects of its programming, and the results are winning. A mob of chairs by Max Lamb cluster in the center of the booth; priced between $18,000 and $40,000, they’re composed of carved Styrofoam covered with thermal spray aluminum. Contorted ceramics by Takuro Kuwata—including one that is dotted with awkward gold protuberances—have a similarly raw energy. Looming behind it all is Marilyn Minter’s three-panel Big Bang (2012)—a photorealistic depiction of a spidering bullet hole in a sheet of water-streaked glass—which is going for $550,000.

Galería Elvira González

Frieze Masters, Main Section, Booth E9

With works by Carl Andre and Donald Judd

Installation view of Galería Elvira González’s booth at Frieze Masters, 2018. Photo © Sebastiano Pellion. Courtesy of the gallery.

The Madrid-based gallery is showing these two giants of American Minimalism together, with a focus on their work in wood. Carl Andre’s Pyramus and Thisbe (1990), composed of 20 blocks of Western red cedar, is installed on either side of one of the booth’s walls. It jibes nicely with a four-part series of wall-mounted Donald Judd sculptures from the 1980s and ’90s, made of unadorned Douglas fir plywood.

Galerie Greta Meert

Frieze London, Main Section, Booth B14

With works by Edith Dekyndt, Jean-Luc Moulène, Anne Neukamp, Thomas Struth, and Pieter Vermeersch

Installation view of work by Edith Dekyndt, Jean-Luc Moulène, and Thomas Struth at Galerie Greta Meert’s booth at Frieze London, 2018. Courtesy of the gallery.

This smartly curated presentation unfurls around ideas of abstraction and the effects of light. The works include Pieter Vermeersch’s Untitled (2018), a composition of pure color, with a pinkish-salmon hue that subtly fades into white at the top of the canvas. It’s priced at €35,000, perhaps a savvy buy in advance of the artist’s upcoming survey at Museum Leuven.

Os vert (Paris, 2018), 2018. Jean-Luc Moulène Galerie Greta Meert

GRACE-Follow-On Bottom view, IABG, Ottobrunn, 2017, 2017. Thomas Struth Galerie Greta Meert

S.T. 005, 2018. Jean-Luc Moulène Galerie Greta Meert

Void (Paris, 2017), 2017. Jean-Luc Moulène Galerie Greta Meert

Hanging across from the Vermeersch is Edith Dekyndt’s Havbro (2016), an IKEA rug that the artist has covered in silver leaf; the material slowly oxidizes, meaning it’ll require a collector who isn’t afraid of change. (The Dekyndt is on offer for €45,000.) Jean-Luc Moulène, meanwhile, contributes a simple abstract work—a bisected rectangle, with one side done in silver leaf and the other in heavy graphite scrawl—as well as a bronze sculpture of a hat. Altogether, the Brussels-based gallery sets an elegant yet inventive mood.

Modern Art

Frieze London, Main Section, Booth A5

With works by Yngve Holen, Sanya Kantarovsky, Josh Kline, Phillip Lai, and Steven Shearer

Installation view of Modern Art’s booth at Frieze London, 2018. Photo by Robert Glowacki. Courtesy of Stuart Shave/Modern Art, London.

Rose Painting, 2018. Yngve Holen Modern Art

Boy on Horse, 2016. Steven Shearer Modern Art

, . Sanya Kantarovsky Modern Art

TBC frieze, 2018. Sanya Kantarovsky Modern Art

The London-based gallery uses its booth’s significant footprint sparingly, with each work given ample breathing room—pun intended in the case of a Josh Kline sculpture of a businessman curled into a fetal position, wrapped suffocatingly in a plastic bag. No matter how often one sees this series, it doesn’t get any less jarring. Looming across from two monotypes by Sanya Kantarovsky are a pair of 2-meter-wide wood sculptures by Yngve Holen. They’re modeled on Range Rover rims, but are meant to resemble the design of certain Catholic church windows.

Sprüth Magers

Frieze Masters, Main Section, Booth F12

With works by Bernd & Hilla Becher, Andreas Gursky, and Thomas Ruff

Installation view of work by Andreas Gursky in Sprüth Magers’ booth at Frieze Masters, 2018. Photo © Kris Emmerson. Courtesy of the gallery.

The Dusseldorf School of Photography is the focus of this Berlin-, London-, and Los Angeles–based gallery’s booth, bringing together classic works by Bernd & Hilla Becher with that of their former students Thomas Ruff and Andreas Gursky. Of special note are the selections from Ruff’s first formal photo series, made in the early 1980s: understated, small-scale images of the interiors of German homes. Gursky’s Bochum University (1988) is captivating in a different way: an ordinary scene of students congregating on a campus patio made sublime, thanks to the grandeur of the surrounding landscape.

W&K - Wienerroither & Kohlbacher

Frieze Masters, Main Section, Booth G24

With works by Günter Brus, George Grosz, Gustav Klimt, Elke Krystufek, Elizabeth Peyton, Egon Schiele, and Franz West

Installation view of Wienerroither Kohlbacher Galerie’s booth at Frieze Masters, 2018. Courtesy of the gallery.

The Vienna- and New York–based gallery brings a smart mix of early and late 20th-century work, mingling Franz West collages and sculptures with a tiny tondo portrait of Marie Antoinette by Elizabeth Peyton, as well as drawings by George Grosz, Egon Schiele, and Gustav Klimt. The latter two artists command a cozy back room built into the booth, a sedated setting to take in their effortlessly evocative lines. And while both Schiele and Klimt are known for the eroticism in their work, they’re no match for Viennese Actionism co-founder Günter Brus. His 1970 drawing Freizeitgestaltung (“Leisure Activities”) is not for the squeamish.

Garth Greenan Gallery

Frieze Masters, Spotlight Section, Booth H12

With works by Rosalyn Drexler

Installation view of Garth Greenan Gallery’s booth at Frieze Masters, 2018. Courtesy of the gallery.

In these works from the early 1960s, Rosalyn Drexler evidences an omnivorous appetite for subject matter, pulling from nudie magazines, books about the mob, promotional photos of the Beatles, and news images. As part of the Pop art scene, Drexler followed a simple but generative process: gluing down images appropriated from various sources, and then painting directly atop them. Because of that, her paintings have a “craftiness” that isn’t present in the work of someone like Roy Lichtenstein, according to gallerist Garth Greenan.

Luxembourg & Dayan

Frieze Masters, Main Section, Booth H1

With works by Rodolfo Aricò, Stefano Arienti, Jean (Hans) Arp, Erico Baj, Alighiero Boetti, Alberto Burri, Alexander Calder, César, Gino De Dominicis, Gisetta Fioroni, Lucio Fontana, Alberto Giacometti, Fausto Melotti, Claes Oldenburg, Steven Parrino, Mimmo Rotella, Ed Ruscha, Mario Schifano, Andy Warhol, and Franz West

Installation view of Luxembourg & Dayan’s booth at Frieze Masters, 2018. Courtesy of the gallery.

Let’s face it: Booths get boring, fast. In trying to break free of the constraints of the form, galleries can easily misstep. (I’m looking at you, White Cube, and your confounding decision to install various paintings and sculptures on and around purpose-built metal partitions.) Luxembourg & Dayan’s solution is smart—the gallery has constructed an intricate, light-green shelving unit with cubbies to hold dozens of small-scale paintings, drawings, and sculptures.

“Minimonuments,” as the selection is called, includes plenty of Alighiero Boetti pieces, along with modest works by Claes Oldenburg, Mimmo Rotella, Ed Ruscha, and Alexander Calder. My only qualm is the exceedingly male-heavy roster, with Gisetta Fioroni being the only woman artist featured in this handsome space.

Galerie EIGEN + ART

Frieze London, Main Section, Booth A11

With works by Martin Eder, Stella Hamberg, Ricarda Roggan, and Bosco Sodi

Installation view of Galerie EIGEN + ART’s booth at Frieze London, 2018. Courtesy of the gallery.

I sold my devil to the soul, 2018. Martin Eder Galerie EIGEN + ART

Ricarda Roggan, Apokryphen (Johann Gottfried Seume, Briefbeschwerer), 2014. Courtesy of Galerie EIGEN + ART.

Ricarda Roggan, Apokryphen (Albert Dulk, Zwei Löffel), 2014. Courtesy of Galerie EIGEN + ART.

Ricarda Roggan, Apokryphen (Claire Goll, Becher), 2014. Courtesy of Galerie EIGEN + ART.

The highlight of this eclectic booth is I Sold My Devil to the Soul (2018), a large-scale, ironically sentimental painting of a kitten by Martin Eder, who has a concurrent solo show on view in London at Damien Hirst’s Newport Street Gallery. The work has an asking price of €110,000. It’s joined by two other Eder canvases, as well as a few earthy, crackled abstract paintings by Bosco Sodi and a series of black-and-white photographs by Leipzig-based artist Ricarda Roggan (€6,000 each, in an edition of three). The latter are sober studies of simple objects—utensils, small sculptures—sourced from museums, which once belonged to German authors, philosophers, and other notables. Roggan travels to these institutions with a sort of “mobile suitcase studio,” as senior director Astrid Hamm put it, shooting each item against the same backdrop using a Hasselblad camera.

Casey Kaplan

Frieze London, Main Section, Booth D8

With works by Kevin Beasley, Jordan Casteel, Sarah Crowner, N. Dash, Judith Eisler, Haris Epaminonda, Jonathan Gardner, Giorgio Griffa, Mateo López, Matthew Ronay, and Garth Weiser

Installation view of Casey Kaplan’s booth at Frieze London, 2018. Courtesy of the gallery.

Blue Womb Rupture with Stipe, 2018. Matthew Ronay Casey Kaplan

Repository, 2017. Matthew Ronay Casey Kaplan

4, 2018. Garth Weiser Casey Kaplan

Untitled, 2018. N. Dash Casey Kaplan

Untitled #09 g/i, 2017. Haris Epaminonda Casey Kaplan

Two Tone, 2018. Jonathan Gardner Casey Kaplan

Tilda, 2017. Judith Eisler Casey Kaplan

The New York gallery’s eclectic tastes are on full display here. From Kevin Beasley’s painting-shaped mass of compacted CDs, clothing, jewelry, and other materials ($75,000) to the figurative paintings of Jordan Casteel; the cool minimalism of N. Dash ($52,000); and the carved-wood whimsy of Matthew Ronay ($32,000), there’s something for every aesthetic sensibility. Garth Weiser’s glinting silver abstract painting is also a stunner, leaning heavily on the influence of the late Jack Whitten.

Waddington Custot

Frieze Masters, Main Section, Booth G2

With works by Patrick Caulfield, Allan D’Arcangelo, and John Wesley

Installation view of Waddington Custot’s booth at Frieze Masters, 2018. Photo by Mark Blower. Courtesy of the gallery.

The focus of this booth is the interplay between Americans John Wesley and Allan D’Arcangelo and British artist Patrick Caulfield. All three possess a graphic style that hews close to illustration or sign-painting techniques, and each subjects familiar imagery to an off-kilter dream logic. Wesley’s canvases can often seem like jokes without punchlines, relying on simple imagery and repetition: two bulls floating over a bed, a row of moustached men. Caulfield mixes clean, rigid outlines with areas that are much more worked over; in Still Life: Father’s Day (1975), the roses at the bottom left provide a pop of unexpected verisimilitude. D’Arcangelo, in works from the 1960s, applies a punchy, pared-down approach to road markings and highway vistas.

Gió Marconi

Frieze Masters, Main Section, Booth G14

With works by Valerio Adami

Valerio Adami, L’uovo rotto/The Broken Egg, 1964. Courtesy of Gió Marconi

Italian painter Valerio Adami, now 83, was making explosive work in the 1960s, which now looks like it paved the way for artists like Elizabeth Murray and, later, Carroll Dunham or Sue Williams. Drawings (priced at €7,000) and a few smaller canvases (between €35,000 and €50,000) show Adami’s ease with a loose, cartoon-inspired figuration—many of the works resemble a human body that has been exploded and then roughly reassembled into a sculpture.

The showstopper here—and the biggest painting in the booth—is not for sale: L’uovo rotto (“The Broken Egg,” 1964) is a dizzying jumble of spurting yolk, foliage, fingers, and the front end of an automobile. Despite having been painted over a half-century ago, it’s almost frighteningly contemporary; it could hang between a KAWS and a Chris Hood without anyone batting an eye.

from Artsy News

#Artsy News

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mysmithwatson-blog · 6 years ago

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Antique Jewelry Buyers NJ

Antique jewelry buyers NJ knows the worth of antique jewelry.They are also the estate liquidators located in Northern New Jersey who buy single items to full estates.We actively buy antiques everyday.We are here to help whether you are planning a full estate sale or small, we are here to help. People will be able to buy all types of antique products from us, including fine arts & collectibles. We ensure the antique pieces to be sold no lower than its appraised value.

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fontainesauction · 7 years ago

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Antiques, Clocks & Fine Art Auction featuring items from the collection of Dr. David Livingston

Saturday, November 11, 2017, at 11 A.M. Previews: Friday 10 A.M. – 5 P.M. Saturday 8 A.M. – 11 A.M. Previews are also available on Fontaine’s extensive website https://FontainesAuction.com

This auction will feature 300 quality Antiques & Fine Art items, including an extensive clock collection by E. Howard & Co., Seth Thomas, Walter Durfee, Ansonia, E.N. Welch, U.S. Clock Co., Elmer O. Stennes, Chelsea, Ingraham, S. B. Terry, French mystery clocks, French Industrial, Animated, Annular & Laterndluhr, fine watches by Patek Phillipe, Ulysse Nardin & Breguet, 19th & 20th century lighting by Tiffany Studios, Duffner & Kimberly, Handel, Wilkinson, Pairpoint, etc. American oak & Victorian furniture by R.J. Horner, Pottier & Stymus, J.H. Belter, Herter Bros. etc., fine art paintings, bronze & marble statuary, Asian Items, Royal Vienna, art glass, gold & diamond jewelry, fine silver, automatons, music boxes, porcelains, KPM plaques, Russian Silver, Black Forest items, plus related accessories.

An expected star of the furniture category is a 12 Pc. R.J. Horner Carved Oak Man Of The Mountain Dining Room Set. The 60 in. mountain man dining room table has a filigree carved apron with winged horses and mythical faces should hit $50,000 - $75,000 In the mountain man theme, lot 34 a Signed "R. J. Horner" carved mahogany mountain man 3 Door Bookcase with Carved frieze with mythical face, floral baskets, and swirling filigree is expected to bring $12,000 - $15,000.

When you talk about Fontaine’s you know you will always find great lighting, this auction is no exception featuring lighting by Tiffany Studios, Duffner & Kimberly, Handel, Wilkinson, Pairpoint, etc. The expected top lot of the 19th & 20th-century lighting category would be a signed "Tiffany Studios, New York, 1063" Tiffany Studios Dore 12 Light Lily Lamp $20,000 - $30,000. Lot 100 a 22 in. Duffner & Kimberly Leaded Poppy Border Table Lamp should make $15,000 - $25,000.

Numismatists and Jewelry buyers will be interested in the chance to bid on a collection of custom made jewelry featuring a 14K yellow gold money clip with 1911 U.S. $10 Indian head coin. This collection expected to earn $4,000 - $6,000. Lot 90, a German 18th Century Silver Trophy Urn signed on the bowl, top of base and on the rim, each with 3 hallmarks including a scripted number "13 Lot" silver purity mark (13/16 Lot is .812 fineness), this mark is consistent with early German silver hallmarks of the 19th century and earlier. In overall very good condition is expected to hammer at $15,000 - $25,000.

Yet at this auction clocks are expected to be the main attraction, including an extensive collection of clocks by E. Howard & Co., a Complete set of Howard No. 70 wall clocks including the extremely rare “Kosmic” model from the Collection of Dr. David Livingston, Seth Thomas, Walter Durfee, Ansonia, E.N. Welch, U.S. Clock Co., Elmer O. Stennes, Chelsea, Ingraham, S. B. Terry, French mystery clocks, French Industrial, Animated, Annular & Laterndluhr, fine watches by Patek Phillipe, Ulysse Nardin & Breguet.

Top of the clock lots is a Rare E. Howard No. 38 Wall Regulator Clock. Original 14 in. painted metal dial signed in shadowed block letters "E. Howard & Co., Boston" with original finish, the case is in excellent condition with no losses or repairs; has original setup label inside of the case and is expected to gavel for $40,000 - $60,000.

An E. Howard Astronomical No. 74 Gravity Escapement Regulator Clock. Inside of the maintaining power wheel is inscribed "LPE 1874, Cleaned 3-1884 LPE, Put up in Supt's (Superintendent's) Office 3-1892 LPE, CLD 1-1900 LPE"; Based on the inscriptions this clock hung in the Howard; LPE continued to maintain the clock over the years. "LPE" are the initials for L.P. Emerson who worked in the precision department at E. Howard & Co. from c.1850-1900. It is most likely this clock was an early prototype for the eight clocks ordered by the Naval Observatory for the 1874 Transit of Venus Expedition. This clock has very rare jeweled lifting faces that are not found in Howard gravity escapements, is expected to sell for $35,000 - $50,000

One of only six known examples, a very rare E. Howard No. 70 “Kosmic” Wall Regulator Clock. Original 12 in. painted metal dial signed "Kosmic, E. Howard & Co., Boston - Pat. June 9th, 85" In excellent condition and accompanied by a copy of the Kosmic Patent of 1885 should bring $25,000 - $35,000.

A Patek Phillipe Model 3880 Skeletonized 18K Wrist Watch Purchased At Tiffany & Co., New York accompanied by original Patek leather bound case & original Tiffany blue box. is expected to hammer at $30,000 - $45,000. Lot 9 a French Bronze Mantle Clock - An Allegory of Industry, an excellent large bronze sculpture with a figure of "Industry" seated on a locomotive titled "Progress" is estimated at $12,000 - $15,000. United States Clock Co., NY Walnut Floor Standing Astronomical Regulator should chime in at $15,000 - $25,000.

The action will begin at 11 a.m. eastern time at Fontaine’s Auction Gallery, 1485 West Housatonic Street, Pittsfield Massachusetts. This auction features 300 items, with live, internet, phone and absentee bidding. Internet bidding will be facilitated by four platforms: LiveAuctioneers, Invaluable, eBay Live & http://FontainesLive.com Previews will be held on Friday 10 A.M. - 5 P.M. and Saturday 8 A.M. – 11 A.M.

Fontanne’s Auction Gallery is the oldest operating auction gallery in Western Massachusetts. It has earned the trust of collectors, investors and gallery owners worldwide. All cataloged lots receive nationwide exposure to the firm's database of more than 19,000 select buyers. Seven times Fontanne’s Auction Gallery has been voted Best Antique Auction Gallery by the public for over 7 years in a row.

Fontaine’s Auction Gallery is actively seeking quality items, to include furniture, lighting, clocks and watches, paintings, porcelains, bronze and marble statuary, Asian items, art glass and cameo glass, Russian objects, silver, musical, coin-op, advertising, toys, banks, gaming and carousel items for future sales. Consignments are currently being accepted for all the upcoming auctions.

The firm will buy outright or accept on consignment fine antiques, collections or entire estates. Call (413) 448-8922 and ask to speak with John Fontaine, or you can send Mr. Fontaine an e-mail to [email protected]. For more information about the company and the upcoming Saturday, November 11th auction, please visit https://FontainesAuction.com. Updates are posted often.

Fontanne’s Auction Gallery 1485 West Housatonic Street Pittsfield, MA 01201 USA Telephone: 1 (413) 448-8922 Fax: 1 (413) 442 1550 Email: [email protected] Website: https://FontainesAuction.com

#antique #auction #clock #pittsfield #berkshires

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sellwatches-blog · 7 years ago

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Sell Watches for Cash

Full address:

100-25 queens blvd, # 7N,

Forest-hills, ny 11375

Phone:

(718) 569-8610

URL:

www.Sellyourwatch.org

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Mon- Fri 9 a.m – 5 p.m

Payment:

Cash, all cc, checks

Description:

It seems like there is a pawn shop or jewelry store that is willing to buy your gold or other valuable items on every corner these days. This is because of the fact that precious metals have gone up in value so much over the past several years, so many companies wanted to get in on making money from this spike.

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The fact is, most of the businesses don’t really know the business of buying and selling watches, precious metals, antiques or jewelry. They can make money by simply buying these items at low prices, and then turning around and selling them to companies that melt the metals down for other uses.

Here at sellyourwatch.org, however, we have been helping people with this type of thing for many years, and we know how to determine the actual value of things, well beyond just what type of metals they are made with.

While we are certainly looking to make money when doing business, and we’re not ashamed of that, we also want to be able to help our customers. We know that if we put our customers first, they will come back to us again when they want to sell something else, and possibly even recommend our shop to their friends and family. Over the years, we have found that this way of doing business not only helps our customers, but ends up allowing us to make more money as well.

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vincentbnaughton · 7 years ago

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Enter If You Dare: Inside a Real-Life Haunted House

With no city lights for miles, The Pillars Estate stands alone in the darkest of nights.

Inside, guests are greeted by dim candlelight, a windy staircase and a gentleman from Scotland.

Tony McMurtrie purchased the Civil War-era estate in Albion, NY when it was ready to be torn down. Restoring it to its former glory over the past decade, he’s carefully curated every detail – from the grandfather clocks to the silver.

“I don’t know where it comes from,” he explains. “I just like that time and that era.”

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His love of antiques and a refined way of life hasn’t gone unnoticed. Cora Goyette moved to Albion from England and bonded with McMurtrie over their shared appreciation of European culture.

Today, she takes care of the 13,286-square-foot house as if it were her own, hosting tea parties and events in the grand ballroom.

But unlike McMurtrie, Goyette won’t stay at The Pillars alone. In fact, most of McMurtrie’s friends refuse to spend the night.

“A spirit really is within the house,” Goyette says without blinking an eye. “It’s quite serious.”

From mysterious footsteps to children’s voices and a piano that plays itself, strange happenings have been reported since McMurtrie started restoring the house.

Some believe he’s unlocked a haunted past, while others remain skeptical.

The home at 13800 W Country House Rd is on the market, waiting for a buyer to set the record straight once and for all. In the meantime, we’d love to hear what you think.

Note: There is a poll embedded within this post, please visit the site to participate in this post’s poll.

Originally published October 22, 2015.

Video and photos by Awen Films.

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For Sale: A ‘Slightly’ Haunted Home

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