Moderne Gallery, Philadelphia, had a very good show, said owner Robert Aibel, who featured furniture by George Nakashima and ceramics by Toshiko Takaezu. The “Greenrock” American black walnut side table by George Nakashima (left), 1983, 26" high x 49" wide x 35" deep, was $35,000. The salt-glazed stoneware Tea Stack (back left) by Don Reitz, 1985, is 42" high x 19" deep. The David Roth wall hanging of acrylic and cotton string, 74" x 74", was $48,000.
Black Hole, a carbon fiber, tungsten, and lead sculpture by Israeli artists Gal Goldner and Iftah Geva was a big hit with everyone who came into the booth, especially the very young art patrons; priced at $65,000, it sold. Also shown in the booth were Stools by Geva and Goldner; made from Israeli cypress and carbon fiber, they measure 13½" high x 35½" wide x 27½" deep and cost $30,000 each. The artists, who grew up together on a kibbutz and flew to New York City for the show, also design bracelets made from olive wood, priced between $5000 and $8000 each.
Evsa Model (1899-1976), husband of the photographer Lisette Model, painted these acrylics on canvas in 1960. Untitled(left) is 47¼" x 31½", Painting 61 (right) is 49¼" x 33½", and Keitelman Gallery, Brussels, asked $70,000 for each.
Cristina Grajales Gallery, New York City, asked $70,000 for this Bilbao Tree Shelf by Sebastian Errazuriz. Displayed on the shelf are two ceramic owls by James Salaiz ($5000 each), a silver bowl by Alexandra Agudelo ($10,000), a ceramic bullet by Salaiz ($750), and a collage by Mark Welsh ($3500). Grajales shuttled between her booth at The Salon and her booth at PINTA, the modern and contemporary Latin American art show in downtown Manhattan taking place that weekend.
Bernard Goldberg Fine Arts, New York City, sold this pair of 1920 hand-wrought andirons by Samuel Yellin (1885-1940), who resided in Philadelphia and designed for J.P. Morgan, among others. Yellin’s ironwork can be seen in the National Cathedral in Washington, D.C.
Vivian Horan Fine Art, New York City, artfully displayed these 18 artworks on the wall. They are by Sonia Delaunay-Terk (3), Andy Warhol, Ken Price (2), Mel Bochner, Richard Pettibone, Alighiero e Boetti (2), Sol LeWitt, Joe Goode, Walead Beshty, Sigmar Polke (2), Yayoi Kusama, Carl Andre, and Rudolf Stingel.
Galerie Alain Marcelpoil, Paris, featured works by André Sornay (1902-2000). Born in Lyon, Sornay was 17 when his father died and he took over the family’s furniture manufacturing business. From left: the pair of bedside tables of “nailed” walnut with a log base and integrated lighting, circa 1935, approximatley 22" x 15" diameter, was $190,000; the one-drawer column of Oregon pinewood veneer with brass nails and a base in solid beech, circa 1936, approximately 38" high x 9" wide x 9" deep, was $41,000; and the bedside table of “nailed” Oregon pine with a base in solid beech, circa 1936, approximately 20" high x 12" wide x 10" deep, cost $25,000.
New York City
It felt like April in Paris at The Salon: Art + Design show held at the Park Avenue Armory in New York City, November 15-18, 2013. A majority of the exhibitors were French, and opening night attendees—all 2200 of them—were serenaded by the pop-pop-pop of Pommery champagne bottles being opened throughout the evening of November 14.
“How do I know there were twenty-two hundred people here?” asked Sandy Smith, longtime impresario of art, design, and antiques shows. “Because the armory has a counter in the lobby,” he answered with a grin.
The Salon show is managed by Sanford L. Smith & Associates, which partnered with the Syndicat National des Antiquaires (SNA) for the second year in a row. There were 38 returning dealers and 15 new ones. The SNA sponsors the Biennale des Antiquaires, the ten-day show held in Paris at the Grand Palais.
Mix in objects and works by Ruhlmann, Dunand, Sornay, Lalique, Perriand, Moule, Lalanne, Vautrin, Picasso, Matisse, and Chagall with those of Grooms, Thiebaud, Rauschenberg, Moore, Castle, Warhol, and Stallone (yes, that Stallone), and pepper it with Nordic and Italian designs, Japanese and English ceramics, antiquities, South American and African sculptures and masks, and works by emerging contemporary designers, and, voila!, you have the recipe for The Salon show—one that was brought about by necessity.
“The European dealers are coming here because Americans are not going there,” said one exhibitor. “They depend on Americans, and buyers aren’t going there.”
Booths were filled on opening night, and there were many first-night sales. Collectors returned with their designers over the course of the show, which ran from Thursday evening’s opening through Monday. Many dealers were consistently busy, while some appeared to be noticeably quiet. As seems to happen at most shows, the busiest times were opening night and the last day.
For Barry Friedman of Barry Friedman Ltd., New York City, this was his swan song. “I’m retiring after this,” he announced on opening night. He’ll be writing a book, he said, and is planning other projects. “I started the business in 1967 with a three-hundred-dollar business loan and two people to guarantee it. It’s been almost fifty years.” He specializes in contemporary fine art, photography, design, sculpture, and decorative arts. His booth, situated immediately to the left of the entrance, was one that was consistently busy.
Stands with ceramics sold a lot. Joan B. Mirviss Ltd., New York City, had to restock its booth after so many of Koike Shoko’s sculptures kept selling. The artist was at the show on opening night and spoke through an interpreter. By show’s end, all 20 pieces, ranging from $5000 to $25,000, had been sold.
Also attending the show was English ceramicist Kate Malone, whose stoneware was displayed, and sold, by Adrian Sassoon, London. It was another busy booth.
Mary Ryan Gallery, New York City, featured original drawings and watercolors by Jean de Brunhoff and Laurent de Brunhoff. The published illustrations for the Babar books, from 1935 to 2011, filled the booth and ranged from $3500 to $48,000. Monsieur Laurent de Brunhoff was there on opening night. “He is eighty-eight years old and has a new book coming out next year,” said Ryan. “We had a very, very good fair,” she said, adding that the gallery sold to private collectors as well as to other dealers at the show.
Furniture and lighting sold as well. A Gio Ponti bar from the 1940’s sold at Bernd Goeckler Antiques, New York City. The Greenwich Village dealer, which filled its stand with red roses and red-wrapped candy, also sold a French table lamp, a pair of Italian wall lights from the 1960’s, and a “Sputnik-like” chandelier.
Hostler Burrows, New York City, sold a pair of sheepskin lounge chairs, an Otto Schulz red Zodiac cabinet, and a leather lounge chair. The gallery specializes in furniture, ceramics, and handwoven textiles by Nordic designers of the 20th century.
Galerie Marcilhac, Paris, sold a pair of rosewood cabinets by Eugène Printz and Jean Dunand that it had acquired a few weeks before the show. Parisian dealer Jean-David Botella sold a Lalanne stone turtle topiary, Jean Despres silver, and some mirrors.
Artsy.net was the show’s exclusive on-line partner. A computer was discreetly placed in a corner for showgoers to use, and Artsy employees were on hand to help download the company’s app for iPhone users.
Artsy previewed the show’s offerings on line several days before it began. A user could browse works from many of the galleries—by price, by medium, by artist—and could read about some of the picks from six interior designers and architects who were chosen to lead tours at the event. Previewing works allows collectors to live vicariously with a piece of art or design, and the app gives a user the ability to view the piece, share it, research it, and possibly buy it.
The opening night party was a benefit for Kips Bay Boys and Girls Club, and the following night was a fund-raiser for Planned Parenthood of New York City. Sandy Smith underwrote the second night’s event and raised $150,000 for the reproductive health care and counseling services.
Cole’s, a restaurant in Greenwich Village, created a pop-up café in the Tiffany Room in the front of the armory and served breakfast, lunch, and dinner. If a dealer couldn’t leave his or her booth, a waiter would arrange a meal on a cart and make a booth delivery—so New York. Cole’s bar and lounge, set up in the Silver Room, was open throughout the day for wine and espresso—so French.
For further information, contact Sanford L. Smith & Associates at (212) 777-5218; Web site (http://thesalonny.com).
Originally published in the March 2014 issue of Maine Antique Digest. © 2014 Maine Antique Digest