Aesthetic Chairs Bring $320,000 at Rago

tiffanyStored in a boiler room for 40 years, a pair of American Aesthetic Movement chairs with missing panels and parts sold for $390,400 (hammer price of $320,000 + 22% buyer premium) on December 5 at Rago Auctions in Lambertville, NJ.

The chairs, lot 133 in the sale, were part of a larger consignment of property collected by a Philadelphia area couple whose hobby was weekend antiquing, inherited by their son and sold by his 70-year-old widow.

Having catalogued the chairs quickly for inclusion, Rago’s turned to Dr. Roberta Mayer, a visual historian and an expert in turn-of-the twentieth-century decorative arts, with a particular emphasis on the work of Lockwood de Forest and Louis Comfort Tiffany, for authentication. While Dr. Mayer could not definitely identify them as from the workshop of L.C. Tiffany or any other leading furniture maker of the period, her report stated:

tiffany2“These massive armchairs, dating to the American Aesthetic Movement of the 1880s and early 1890s, are almost certainly custom-made pieces crafted for an elite patron…. several aspects of these chairs, including the glass inlay, are similar to furniture associated with or executed by Louis Comfort Tiffany (1848-1933)….They represent a unique and important design.”

The approximately 15 house and phone bidders came from throughout the Northeast, as well as California and Florida and were joined by more bidders online. A number were established clients at Rago’s, as it ranks in the top five of auction houses selling late 19th C./20th C. design in the U.S. Others had been contacted directly by Rago’s or found the sale online. Many bidders were still active in the $200,000 range, bested at the close by Mr. Eric Streiner, a New York collector.

“I joked before the auction that the chairs would definitely sell for between $20,000 and $200,000,” said Tom Martin, who found the chairs. “Now David Rago will be making jokes about how low I estimated these for years to come.”

About Art After X

With the death of President Kennedy in 1963, America changed. As hard as it is to minimize that sentiment, the effect of Dallas was even greater. The same year saw the merging of the Dallas Museum for Contemporary Arts, which had been central to the art scene, and the Dallas Museum of Fine Arts. Douglas MacAgy, then the director of DMCA, not only opposed the merger, but also declined to directorship of the combined museum. The regionalist movement which had been strong for decades, was giving way to more of an interest in what was going on nationally, and internationally. Like it or not, Dallas was on the national stage. When the Kennedy’s arrived in Fort Worth, local collectors had decorated a hotel room with internationally-renowned works. While the president and his wife learned a great deal about the ability of Texans to collect major art, there was little they could glean about the local scene in this era-defining city. With this in mind, we have begun a project to look not back at the art scene in Dallas, but foreword from 1963. We are interviewing gallery owners, curators and others involved in the art scene then, but this will be a story told mostly through interviews with artists active in the city from that point into the 1980s. The result will be a book with a video component. We hope you will join us in our journey. The hashtag for the project is #artafterx and the url will point to the latest updates on this weblog.


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