Aphrodite, Tif­fany lamps and more can be yours for the tak­ing


those on the Em­pire State Build­ing. Cre­ated in glazed plas­ter, it’s in re­mark­able con­di­tion and was de­signed by Shreve Lam & Har­mon Ar­chi­tects. It sold for $60,000.

“I mean, that is what I got into the busi­ness for,” he said. “To res­cue art, and to come with this to the show ... well, it was amaz­ing.”

But for size, a seven-tonne, three-me­tre­high, solid mar­ble urn de­signed by Paul Man­ship, the sculp­tor who cre­ated Rock­e­feller Cen­ter’s “Prometheus,” was hard to beat. The urn was a pri­vate com­mis­sion by a wealthy in­dus­tri­al­ist who in­stalled it in his es­tate in a Cleve­land sub­urb.

It was made by Man­ship’s crew in the Bronx, and looks as if it should be from an­cient Greece, ex­cept the im­ages on the urn are those of Na­tive Amer­i­cans chas­ing bi­son. And it ro­tates on its pedestal.

“Made in the South Bronx, you couldn’t have more Amer­i­can if you tried,” said Alice Dun­can, di­rec­tor of Man­hat­tan’s Ger­ald Peters Gallery, of­fer­ing the urn for $6 mil­lion.

A statue of Aphrodite, though, re­ally was an­cient: from the first cen­tury, in fact. The statue, be­ing sold by Ru­pert Wace An­cient Art Lim­ited of Lon­don, de­picts the god­dess of love stand­ing on her right leg, left bent at the knee, with her drap­ery fall­ing in el­e­gant folds around her hips. Her arms and head are miss­ing. The ask­ing price is $650,000.

“ We’ve seen frag­ments be­fore, but noth­ing this com­plete,” said Wace, who trav­els the world looking for an­cient works of art. “ You won’t find an­other one like it on the mar­ket.”

Among the first pho­to­graphs ever made are also on sale. When Jac­ques Da­guerre was cre­at­ing his da­guerreo­types in France, William Henry Fox Tal­bot was do­ing the same in Eng­land. And Hans P. Kraus Jr. Fine Pho­tog­ra­phers has sev­eral Tal­bots, in­clud­ing one of the first neg­a­tives, known as the “Roofline of La­cock Abbey,” from 1839. It’s $400,000 for the im­age, which mea­sures 9.3by-11.6 cen­time­tres.

Tal­bot worked with pa­per, while Da­guerre worked on a metal plate. The re­sult is a sim­i­larly eerie-looking im­age of in­tense clar­ity. The La­cock Abbey neg­a­tive has a creepy sort of hor­ror-film look to it, like some­thing out of The Ex­or­cist.

“Th­ese are in the finest con­di­tion for sale,” Kraus said. “And it’s the largest as­sem­blage I’ve ever dis­played.”

Newspapers in English

Newspapers from Canada

© PressReader. All rights reserved.