THE ART OF ARNESON

Yin and Yang (1992-2002), Robert Arneson, Bronze with white patina, edition 2/3, The blogger's husband posing with the statue. The artist had a keen sense of humor and probably would have like the correlation between the real and the fake heads.

Robert Arneson was born in Benicia California in 1930. After a stint teaching in a California highschool, he became interested in ceramics. In 1958 Arneson received an MFA from Mills College and in 1962 he became a professor at the University of California Davis.

Looking at Arneson's work today one might suspect the artist had a keen sense of humor. What one might not suspect is that the way he used ceramics was, for the time, ground-breaking. Until that time, most ceramics artists created pieces which were purely functional (think teapots, bowls, and tiles). Arneson broke away from that tradition and started creating non-utilitarian pieces. Soon, he became associated with a group of California "Pop" artists who created what was known as "Funk art".

Arneson also became known for creating a series of self-portraits in a wide variety of mediums. Each work depicted the artist with a different identity. In this way, he associated himself with larger issues such as suffereing, life, and death. This is not to suggest that the artist was not controversial. Arneson created many works which challenged authority, poked fun at public figures, and questioned the art world itself.

Robert Arneson, Portrait of George (Moscone), 1981 (7'-10" x 29")

The most famous of these works is a depiction of the San Francisco mayor George Moscone. Arneson was commissioned to create the sculpture in 1981 for the Moscone Convention Center just a few short years after the popular politician's 1978 assassination. When the bust was revealed, much of the public was shocked by the five bloody bullet holes on the pedestal, the words "bang, bang, bang" and "Harvey Milk Too!" Eventually, the Arts Council decided not to use the bust and a private collector purchased it.

The Egghead series (photo at top of page) were among some of the artist's last works before he died. They were originally commissioned for the UC Davis campus. Today the Eggheads are an important part of life on the campus. In fact, the artist specifically requested that the University never limit or inhibit the student's playful interaction with his sculptures. Because the estate of the artist owns the originals, 'editions' of the same works can be seen in other public locations. Recently, when I was in San Francisco, I saw Yin and Yang on the Embarcadero. Pictured above with my husband posing next to them, these pieces are bronze with a white patina are number 2 in an edition of 3.

Today, Robert Arneson's pieces continually sell privately and at auction. Some recent auction figures can be found below. The pieces that demand the most money are those that are more representative of the artist's point of view. Generally, this means they are political or funny. The first piece listed below was completed in a more traditional style and sold for just $3,585. The other pieces have sold or are estimated to sell for higher values because they better represent what collectors are looking for when buying an Arneson piece.

Robert Arneson
Title
Self-portrait
Medium
bronze with blue green patina
Year of Work
1990
Size
Height 7.2 in.; Width 4.2 in.; Depth 3 in. / Height 18.3 cm.; Width 10.7 cm.; Depth 7.6 cm.
Found./Pub.
Walla Walla ed.
Misc.
Inscribed, Stamped
Sale of
Bonhams & Butterfields: Monday, November 19, 2007 [Lot 01604]Made in California
Estimate
5,000 - 7,000 US$
Sold For
3,585 US$

(UPCOMING SALE)
Robert Arneson
Title
W.T.W. witness - William T. Wiley
Description
Robert Arneson (American, 1930-1992)W.T.W. Witness (William T. Wiley), 1980signed and dated 'Arneson 1980' (lower right)conte crayon, oil crayon, oil paste and oil stick on Reeves paper51 x 30in
Medium
conté crayon, oil crayon, oil paste and oil stick on Reeves paper
Year of Work
1980
Size
Height 51 in.; Width 30 in. / Height 129.5 cm.; Width 76.2 cm.
Misc.
Signed
Sale of
Bonhams & Butterfields Los Angeles: Tuesday, November 17, 2009 [Lot 02082]Made in California
Estimate
20,000 - 30,000 US$
Provenance
Morgan Gallery, Shawnee Mission, Kansas (label on the reverse)Hansen Fuller Goldeen Gallery, San Francisco, California (label on the reverse)Property of a Southern California Collection

Robert Arneson
Title
A nuclear warhead
Medium
ceramic
Year of Work
1983
Size
Height 16.9 in.; Width 18.5 in.; Depth 9.1 in. / Height 42.9 cm.; Width 47 cm.; Depth 23.1 cm.
Misc.
Signed
Sale of
Bonhams & Butterfields: Tuesday, November 18, 2008 [Lot 01119]Made in California
Estimate
12,000 - 18,000 US$
Sold For
32,400 US$

'AGE' DOES NOT EQUAL 'VALUE'

Circa 1895, Household Sewing Machine Company, in the collection of the Henry Ford Museum

As an appraiser of old things, I can say with authority that there are many misconceptions about how or why some items are valuable and some are not. Recently, I appraised an item for $3000 and the client swore to me he knew it was worth more. Even after I showed him the most recent sales figures for the same item (with photographs) he was not convinced. It is hard for most people to separate their emotions from their possessions. Common objections are “my mother left this to me and she told it me it was very valuable", “someone once offered me a lot of money for this item”, or “I saw the very same item in a museum and they wouldn’t own something that was not valuable.”

It was the third objection that the $3000 man used as his objection. In our consumer-driven society we often forget that museums do not collect just what is valuable. They also collect items that relate to their collection and to the mission of the museum. Just because an item has historical significance does not mean it has great monetary value. Supply and demand are still applicable in the art and antiques world.

A good example of this is the late 19th century sewing machine. The sewing machine was one of the first machines found in many American homes in the 19th century. At the time, the machines were made by the hundreds of thousands and the technology used to make them was state-of-the art. The sewing machine pictured above was made around 1895 by the Household Sewing Machine Company of Providence Rhode Island. I took a picture of it last month when I visited the Henry Ford Museum. The Ford Museum's mission is to showcase the "genius of the American people" as well as "to bring to life the stories of ordinary people."Thus, the sewing machine was chosen because it is an example of an innovation that helped spur the American economy and average American households forward. The machine was a revolution in technology for its time. Today, however, the market does not financially reflect the historical importance of the item. Sewing machines were made in such large quantities that there are still many that exist today and there are not a lot of modern uses for them. Thus, the prices remain relatively low. Below are some examples of recent auction figures.


FROM LEFT TO RIGHT

1. Household Sewing machine with trunk and cabinet sold at Skinner Auctions on Jan. 24, 2008 for $50

2. Singer Sewing Machine sold at Homestead Auctions, Feb 17, 2008 for $30
3. Singer Sewing Machine sold California Auctioneers, March 16, 2008 for $70

BEING HUMAN ON LABOR DAY

Made In China, Julie McNair

For the last eight weeks, I have been traveling more than usual to complete appraisal work throughout the country. In every city I visit, I try to carve out time at the end of the day or between flights to see an art exhibit or to experience a new museum. One of my favorite places in recent memorry has been Telluride, Colorado. Located in the southwest portion of the state, Telluride is an amazingly beautiful town with a rich history and a lovely art scene.

One day, during an early morning walk, I came face to face with the sculpture above and it immediately captured my attention. The sculpture entitled Made In America is one of the works featured in artist Julie McNair's latest exhibited, Being Human. The title, Being Human, suggests that the artist's intent is to capture what it is like to be human. But more than that, the artist is concerned with what it is like to be human in today's world. For instance Made in America is a depiction of a woman wearing the stars of the American Flag on her dress as she hides American Flag behind her back. Her facial expression is both proud and sad. Is this a comment on the decline in American manufacturing and its proud heritage or is it a comment about the American worker? Is the woman proud or ashamed of her country?

The answers are left to the viewer but the method of creation are readily apparent.
And thoses methods are both interesting and fully successful. Each sculpture has a different texture which is acheived throught the use of press molds, detailed by hand-painting, and then sealed with a post-fired patina. The texture and color help create a mood and personality for each figure. Today's viewer is more accustomed to viewing physically beautiful models as the subject. But McNair's subjects are not traditionally beautiful. Instead, they are interesting and flawed and this forces the viewer to focus on the artist's message or the particular issue she is exploring without wasting time on the beauty of the face or the body. McNair has said, “I start a piece with a specific idea, whether it’s a personal concern or more of a big picture dilemma. From that starting point I jump into the creative flow. The finished piece ends up embodying that energy.”

Julie McNair is a long time resident of Telluride, Colorado but she was not educated in the state. She received her undergraduate degree in sculpture from North Texas University and her M.F.A. in fine arts from the University of Wyoming. During her long arts career she has had varying jobs including grants writer, executive director of the Art League of Houston, Assistant Professor, and art gallery owner.

Being Human will be on display at the Ah Haa Gallery in Telluride, Colorado until September 24, 2009.

A GRAND DISPLAY

In recent years I have begun to notice commercial fixtures showing up in my client's homes. Most people are familiar with the commerical grade stoves and refrigerators in high end homes but recently I have noticed commercial display cases showcasing everything from jewelry to vintage toys to a man's tie collection.

The case above is an Arts and Crafts jewlry case with a trestle base. It is described as having 'key and tenon' contruction and a shoefoot base with brass caps. The finish is original. It sold at Treadway Gallery in Cincinnati in March of 2007 for $600.

The case below is a Lavico Men's Jewelry Display case. it is made of clear glass and oak with three inner shelves and a lower storage drawer. It will be sold on July 29, 2009 at Tom Harris Auctions in Marshalltown, IA. The estimate on this case is $200-$300. To bid on this auction click here.

EVERYTHING OLD IS NEW AGAIN

Monk on the Seashore, Caspar David Friedrich, c. 1809, Oil on Canvas, 3' 7.25" X 5' 7.25", National Galerie, Staatliche Museen, Berlin
Casper David Friedrich was admitted into the Prussian Royal Academy in 1811 based on the strength of this painting. At the time, the juxtaposition of the small monk against the vast expanse of sky was an unusual composition. Many believe that this painting is a self portrait of the artist and represents man's preoccupation with death and the vastness and endurance of nature.

Badwater Lake, Death Valley, CA, Easter Sunday, Joel Sternfeld, 2005, Chromogenic Print, 48" X 38.5", available at Rose Gallery (310) 264-8440
Joel Sternfeld is a contemporary photographer. He was born in 1944 in New York and is known for his large format, color photographs. Sternfeld often works with a tripod mounted view camera which allows him to explore his subjects from a distance. Although the artist's works are often said to continue the photographer Walker Evan's tradition of capturing "roadside America" the compositional similarity to the work of Friedrich is at once apparent. Further, the artist's objective also seems to be similar. Photographed at a distance, the figures in this painting appear small and insignificant compared to the large landscape.

Works of this size by this artist have recently sold at auction for around $17,000-$18,000.

THE EPERGNE

English silver plated epergne with cut crystal bowls, 19" wide, 19" high, sold at Northgate Gallery on Dec. 3, 2005 for $1200

An epergne is a table centerpiece with a central bowl and arms which extend from the center. The arms also terminate in bowls or holders for fruit or flowers. The epergne's history has ties to the seventeenth century when foods that had been eaten from a common bowl began being served on individual plates.

Although records indicate that the first epergne appeared in England around 1720, there are no known examples from that period. However, the earliest known examples are very large with cast feet and hanging baskets. They were often used to save space on the table and provided a convenient way for guests to serve themselves smaller items such as nuts and fruit. Silver epergnes with glass bowls first began to appear around 1770. From the late 19th-early 20th centuries the form of the Epergne was briefly revived but mainly for decorative purposes. In America during that perioed, Gorham was one of the best makers of the Epergne. Today, Epergnes are regularly offered in the marketplace. Often they are glass, silver, or a combination of both. Below is an Epergne which will be sold in July at Brunk Auctions in Asheville, North Carolina.

four arms, scroll and floral decoration, cut glass bowls, unmarked, no monogram, British, early 19th century, 16-3/4 x 23 x 21-1/2 in. Repairs, post and arms bent., Brunk Auctions, July 11, 2009, starting bid $150, Estimate $300-$600

WHO IS J.R. SHOOTING?

"There is nothing ugly in art except that which is without character, that is to say, that which offers no outer or inner truth"-Auguste Rodin

Character and truth are at the heart of the photographs of the French artist known as "J.R". His work is inspired by those that often have no voice. He travels to violent places and interviews people who have been the victims of rape, abuse, discrimination, and poverty. Once he has an idea of who his subjects are, he photographs them, blows up the portraits to larger-than-life size, and plasters them on walls, buildings, and landmarks around the area. In this way, J.R. has much more in common with the graffiti artists who question the way public space is used. Most recently, J.R. has traveled to Africa and Brazil to focus on the women who have suffered through civil war.
The exhibition of the photographs in public spaces has given a voice to those who would otherwise be overlooked. While a photograph in a small frame has to be sought out and examined, J.R.'s images are just the opposite. A photograph which takes up the entire facade of a building confronts every person who is walking down the street.

It would be difficult to valuate the large scale pieces. Like a lot of large scale art, not many people would have a place to hang these works. Secondly, it is unlikely that they could be removed from the buildings without being torn to shreds. Recently, there have been some small scale pieces by the artist which have sold at auction. The prices for those works can be seen below.

1

J.R.
Title: Favela
Description: signed, titled, dated 2008 and numbered 2/3 on a label affixed to the
Medium: chromogenic print on metallic paper, mntd on aluminum
Year of Work: 2008
Size: Height 31.5 in.; Width 56.3 in.
Edition : 2/3
Sale of : Sotheby's New York: Wednesday, May 13, 2009 [Lot 00305]Contemporary Art Day Sale
Estimate: $10,000 - $12,000

Sold For: $25,000
2

J.R.
Title:Ladj ly-Braquage
Description: signed, dated 2008 and stamped on a label affixed to the
Medium: photographic print on paper mntd on wood
Year of Work: 2008
Size: Height 27.4 in.; Width 41.5 in.
Sale of : Sotheby's London: Friday, February 06, 2009 [Lot 00173]Contemporary Art Day Sale
Estimate: 10,000 - 15,000 BP ($14,615 -$ 21,923)
Sold For: 26,250 BP ($38,220 )