Fine antique Persian rugs entered in online auction March 28

More than three dozen antique rugs and another 25 vintage rugs will be offered in an online auction to be conducted by Jasper52 on Wednesday, March 28. These handmade carpets, many in excellent condition, carry as much utilitarian as artistic value, accentuating any home with their rich tradition.

Mahajeran Sarouk rug, 13 ft. 11 in. x 10 ft. 5 in, circa 1900, northern Persia, wool on cotton. Estimate: $12,000-$15,000. Jasper52 image

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Van Cleef & Arpels butterfly could soar at Jasper52 sale March 27

Designers’ interpretations of flora and fauna are featured in a premium jewelry auction that will be conducted by Jasper52 on Tuesday, March 27. This highly curated fine jewelry auction showcases exceptional pieces Van Cleef & Arpels, Cartier, Boucheron, Tiffany and David Webb.

Van Cleef & Arpels 18K white gold and diamond Flying Beauties ring, 3.11 carats, 4.5 ring size. Estimate: $38,000-$46,000. Jasper52 image

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The Allure of Crystals & Geological Specimens

Double-terminated tourmaline crystal, obtained in Pech Valley, Afghanistan. Minerals Paradise image

The Allure of Crystals & Geological Specimens

Crystals and natural specimens are some of the most stunning and scientifically fascinating non-living objects in the universe. There is often remarkable symmetry within the way their atoms responded to time, pressure, and heat during the “growth” process of these beautiful objects of nature.

Crystals are comprised of a pattern of ions, atoms, and molecules that evolve within various states. Jeffrey Post, Ph.D., is curator of the Smithsonian’s National Museum of Natural History. He states in an article about the Smithsonian Gem and Mineral Collection, for the Gemological Institute of America, one of the goals in maintaining such a collection is to provide a way in which people can “…think about the earth in a different way.”

A matrix of opaque and soft translucent gray quartz crystals, offset by rod-like inclusions of rich black manganese, with a spray of aquamarine crystal rods three inches long, 6 x 5 x 3½ inches overall. Sold for $45,000 during a 2014 auction. I.M. Chait Gallery and Auctioneers and LiveAuctioneers image.

At this current time in history, when information about nearly anything can be gathered quickly and easily, the discovery of crystals and other non-living mineral specimens in the field requires time, focus and dedication. There’s a lot of ground to cover, as it were, when it comes to “rockhounding.” People who “rockround,” or dig for, discover and collect crystals, rocks and mineral specimens, are part of a lineage that dates back centuries. Rockhounds have varied goals. For some it’s about creating a collection; for others, it’s to study the scientific aspects of specimens. Still others incorporate geological specimens into lapidary art, or turn to crystals and other natural specimens for their reputed healing properties. Thanks to rock, gem and mineral shows; as well as various retail outlets, collectors don’t necessarily have to dig to acquire the objects they desire.

To gain a better understanding of this collecting interest, we turned to self-confessed rockhound and dealer Muhammad Majid, of Minerals Paradise (, to share some insight. Majid’s father, a pioneer of the gem and mineral market, started the family business in Namak Mandi Peshawar, a city in Khyber Pakhtunkhwa, Pakistan. It is one of the world’s largest markets for mineral specimens. The Majid family specializes in tourmalines, morganites, aquamarine, topaz, and many lesser-known stones including tantalite, microlites and herderites.

An etched Heliodore crystal specimen from Wolodarski-Wolynski, in the Ukraine, a gem beryl “floater” crystal of saturated, slightly greenish yellow hue and excellent transparency, natural surface etching with complex crystal faces, 12.70 x 5.10 x 3.80 cm, sold for $19,000 during a 2014 auction. Leslie Hindman Auctioneers and LiveAuctioneers image

How would you describe today’s collecting market for crystals and geological specimens? How has it changed in the past few years?

Majid: The market has changed drastically. We had buyers who were buying rare minerals in the past, but now most collectors prefer the common minerals such as tourmalines, morganites, and aquamarines, among others. Prices have also gone sky high in recent years.

What advice would you give someone who is just discovering an interest in collecting crystals and specimens?

Majid: In my opinion, one should not just start collecting crystals and minerals; they should study them, their characteristics, and also their pricing, because minerals have no fixed value.

Physical properties minerals to consider:


    Luster (assists with determining if a mineral has a metallic or non-metallic luster and is light-reflective or dull)


    Hardness (for comparison of density from one mineral to another)


Rose quartz, “La Madona Rosa” specimen, discovered in the Lavra Berilo Branco mine in Brazil in the late 1950s, given the name for its resemblance to the artistic depictions of the Virgin Mary, measuring 15½ x 8 inches. Sold for $662,500 during a June 2013 auction. Heritage Auctions image.

What are some of the most helpful tools for collectors of crystals and natural specimens?

Majid: Having an idea about the pricing of a mineral is the most important thing. As I said, minerals and crystals have no fixed value. For this purpose, I think the Internet is the best available source.

In recent years, which two crystals or specimens that you’ve sold were most memorable and why?

Majid: I sold one 4 kilogram double-terminated and undamaged aquamarine specimen to one of my regular buyers. It was a significant deal and I had to go to the Nagar mines twice in one week to acquire the specimen. It’s a 22-hour drive from our city to the Nagar mine.

Also, in February of this year, I sold a morganite specimen. I made a deal with my buyer, but then the miner refused to give the specimen to me, even though I had paid half in advance. I wanted to get that specimen for my buyer at any cost because it would destroy my reputation if I were unable to do so. The buyer had paid $15,000 for that specimen, and I had to pay $17,000 to the miner to get it for the buyer.


Tourmaline with albite crystal specimen. Minerals Paradise image

Crystals and geological specimens may be enjoyed in public exhibitions around the world. Among the places within the United States where sizable collections of crystals, minerals, and other geological specimens are displayed include:

• Smithsonian’s National Museum of Natural History, Washington, D.C.:
• Rice Northwest Museum of Rocks and Minerals, Hillsboro, Ore.:
• Natural History Museum, Los Angeles, Calif.:
• American Museum of Natural History, New York, N.Y.: (Renovation is currently under way at the new Allison and Roberto Mignone Halls of Gems and Minerals. The halls will open in the fall of 2019.
• Santa Barbara Museum of Natural History, Santa Barbara, Calif.:

War of 1812 map on front line of March 20 auction

A scarce view of the United States showing important places during the War of 1812 is one of many fascinating antique maps offered in a Jasper52 online auction on Tuesday, March 20. The 180-lot auction focuses on maps of North and South America.

Walker/Baines folding map of the War of 1812, printed in 1816, hand-colored, approximately 10.75 in. x 16.5 in. Estimate: $500-$600. Jasper52 image

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Jasper52 to hold no-reserve auction of gemstones March 20

All colors of the spectrum are present in a loose gemstones auction to be conducted by Jasper52 on Tuesday, March 20. This exclusive loose gemstones auction showcases a variety of cuts, stones and colors, from glowing green emeralds to deep purple amethysts. This is a no reserve auction; each lot will sell to the highest bidder. Bidding on each lot starts at $1.

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The Meaders family: Southern stoneware innovators

The Meaders family may not have been the first to produce Southern stoneware, but its members were, and still are, among the most influential and imaginative contributors to the genre.

Theirs is a pottery-making story of happenstance. Before the commercial availability of containers made of tin and glass, or the luxurious invention of refrigeration, 19th- and 20th-century potters created valuable vessels for carrying and containing perishables and goods.

Anytime a region’s soil was found to be dense with clay, the area would soon become the site of pottery operations. White County, Georgia, was just such a place. It’s reported that at one point during the 20th century, Mossy Creek, located in southern White County, boasted nearly 100 potters among its residents. Included within those numbers was John Milton Meaders, who founded Meaders Pottery in 1892-93.

Cleater & Billie Meaders Grape and Snake jug, signed on bottom and dated Nov. 18, 1992, applied grape clusters, grape leaves and handles, with curved, open-mouthed snake coiled around the vessel, tobacco-spit glaze, 18½ in. tall by 11 in. wide. Sold for $500. Image courtesy of John Coker, Ltd., and LiveAuctioneers

Various historical accounts indicate the Meaders family turned to potting to augment the income they generated as farmers. The elder Meaders viewed the new pursuit as a way for his six sons to learn a trade that could serve them for years. Apparently, that idea was well received, as five of his sons became potters, including Cheever Meaders. Between 1920 and 1967, Cheever ran Meaders Pottery. Following suit and learning the trade were Cheever’s sons Edwin, Cleater – who ran separate potteries – and Lanier, who carried on the operation of Meaders Pottery. If Lanier’s name sounds familiar, it may be due to the popularity of his unique face jugs.

To learn more about this family of potters, their influence and insights about collecting Meaders stoneware, we turn to John Coker, the principal of John Coker Ltd., an auction house located in eastern Tennessee that has been in operation since 1971. Coker has auctioned fine examples of Southern stoneware on numerous occasions.

Are there pottery-making techniques in the Meaders family lineage that stand out for their unique, efficient or progressive characteristics?

While the Meaderses’ pieces are unique, other makers produce close replicas of face jugs and other creations that originated with the extended Meaders family. Keep in mind that like any business, the customer usually gets what he or she wants. If the need was for a churn, large jug, butter crock or canning crock, the Meaderses, like any other potters, made what was salable. Usually, such utilitarian pots were plain, but the glaze usually tells a collector it is a Meaders piece. After Cheever passed away, some modern methods of turning were employed, as in replacing a mule with a small turning motor for the wheel, but basically, not much changed from the creative standpoint.

Large pottery jug, 17 1/2 in. tall by 9 in. wide, applied handles, signed on the base ‘Lanier Meaders,’ tobacco-spit glaze, sold for $425. Image courtesy John Coker, Ltd. and LiveAuctioneers image

It seems early examples of work by the Meaders family were at the forefront of studies of American folk art and life. How do you think the Meaderses’ contributions helped shape Southern folk art and 20th-century pottery?

Many of the regional potters from western North Carolina, northern Georgia, and eastern Tennessee studied and purchased Meaders family face jugs to see how they were made – what colors were used for glazes, how the eyes were formed, the way broken porcelain ‘teeth’ were inserted, the ways that cigars or tobacco products were used, and the methods by which warts and facial deformities were represented. Also, it was about seeing how the jugs or pots were formed, and from what angle they were made to be viewed. I have seen collections that began with pots made by Lanier’s parents (Cheever and Arie) with a progression through the cousins, as well as other regional makers who were adept at copying the style and adding quirks of their own. Having seen numerous collections where the owners personally met Lanier and his mother, it seems many felt a connection to the Meaders family. Over the years they’d choose to stay in touch with them, as well as acquiring different pots when they found something different enough from what was already in their collection.

A graduated set of lidded canister jars by Arie Meaders featuring a grape-and leaf-motif on bulbous-form bodies, ranging in size from 10¼ in. high by 7½ in. wide to 11½ in. high by 8 in. wide. The set sold for $5,600. Case Antiques Inc. and LiveAuctioneers image

Are face jugs the most desirable Meaders’ items?

The Meaderses were adaptable craftsmen, but the face jugs were probably the best-known and most collected pieces they made. Part of their creations were face jug mugs or big cups with handles, as well as whimsical pieces. These creations include the only [example] of a human head made as a bust but not a jug. It had a large open mouth with broken teeth, a cut on the face sewn up with stitches, bulging eyes, grotesque ears and a glaze that almost looked like something that had crawled out of a grave. The Meader potters were capable of making utilitarian objects, and this specifically included candle holders with a large drip area and a loop handle. Mrs. Meaders also made jelly, jam or sugar bowls, most with lids, that collectors both use and love. The glazed surfaces of these containers are unusual and arresting in appearance. Many have a grainy or slightly rough exterior. They are by no means pretty. Some of the Meaderses’ large pots, crocks or urns are knee-high and above, but these are not normal or usual by any means. They also made milk or beverage pitchers that were somewhere between one-quarter and one-half-gallon capacity. The palette of the glaze on these was close to, if not the same as, the surfaces of the face jugs, but not necessarily made as a match.


Lanier Meaders face jug, eyes with bluish-gray dripping glaze, tobacco-spit glaze on vessel, applied ears, open mouth. Sold for $1,800. Image courtesy of John Coker, Ltd., and LiveAuctioneers

How would you describe today’s market for Southern art pottery? Specifically Meaders-made?

This is a market that seems to be consistently going up, with the more unusual pieces bringing larger amounts of money. Lanier is, of course, the choice of most collectors but his father, Cheever, and mother, Arie, as well as his grandfather, John, are collected; with John being the originator of the face jugs in the family. Some of the Dorsey and Craven families of White County, Georgia, made similar pieces that are on occasion confused with Meaders pieces but are older. In addition, the older Brown and J.B. Owens Pottery pieces from North Carolina are close to the Meaders pieces. At auction today, you can expect that the Lanier pieces will generally do better than any of the other makers, but there is an adage among collectors that “odd or weird will always trump good any day.” The pieces that collectors love and are most attracted to are the highly unusual pieces that they have never seen and know they are likely never to see again. Hence, one of the reasons for their strong prices in today’s market.

Folk pottery rooster, cobalt glazed, features pronounced comb and waddles, seven-feather tail, incised signature and ‘5-26-1990’ date under the base, Edwin ‘Nub’ Meaders, 16½ in. tall by 7½ in. long, sold for $275. Jeffrey S. Evans & Associates and LiveAuctioneers image

What advice do you have for people interested in acquiring Meaders pottery? What insights do you have for helping people authenticate Meaders pottery?

The Smithsonian produced a film, “The Meaders Family: North Georgia Potters,” as the inaugural film in its Smithsonian Folklife Study. A DVD of the film is available through the Smithsonian. Plus, there is a collection of Meaders Pottery displayed at the Folk Pottery Museum of Northeast Georgia.

Finally, as Coker stated, time spent studying and becoming familiar with Meaders pottery by attending auctions are helpful would be most helpful in learning more about the South’s most celebrated family of stoneware artisans.

Time-honored tribal art offered in online auction March 14

Carved tribal art from Africa and around the globe is the focus of a Jasper52 online auction on Wednesday, March 14. A collection of nearly 100 vintage masks, sculptures and similar articles will be sold. The objects in this auction are imbued with stylized detail and tremendous depth of meaning.

Ci wara Bambara Bamana mask, Mali, pre-1920. Estimate: $6,500-$7,000. Jasper52 image

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Jasper52 devotes online auction to Murano glass March 14

All the colors of magnificent Venice in the form of Murano glass artworks are presented in a Jasper52 online auction on Wednesday, March 14. Elegant vases, centerpieces, sculptures and jewelry are among the unique treasures in this sale.

Mosaic vase series created by Amedeo Rossetto for Eugenio Ferro glassworks, 2015, 44.5 cm high, 17.8 in. Estimate: $3,400-$3,800. Jasper52 image

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Weegee: Gritty photos of urban life

Heralded and criticized for revealing the darker side of society through the lens of cameras, pioneering photojournalist Weegee captured the reality of a world he knew only too well.

Born in 1899 in what was Lemberg, Austria, Usher Fellig, who would later adopt the professional name “Weegee,” emigrated from his homeland to the United States with his family in 1909. The 11-year-old’s given name was changed to Arthur during immigration processing at Ellis Island. Just two years later he would run away from home, joining the throngs of children living on the streets of New York, the very streets on which he would later photograph the subjects and scenes that made him widely known.

‘Mother and Child, Harlem,’ 1939, gelatin silver, printed later, annotated ‘printed by Weegee from the original negative, Louis Stettner’ in pencil with the photographer’s stamp on verso, 13 1/8 in. x 10 5/8 in. Sold for $1,900 at an April 2016 auction. Heritage Auctions and LiveAuctioneers image.

His early years living in the belly of the concrete jungle prepared him for his career as a crime photographer, a job that kept him busy, given the upheaval present in New York City during the Great Depression. As reported by The Art Story, Weegee made use of his familiarity of the city, its more colorful spaces and characters, and his ability to get in good with the local police to get the jump on other photographers as crime stories were breaking. His connections and street savvy may have put him in the prime position, but it was his eye and photography skills that secured his place in American photojournalism history.

To gain a better understanding of the impact and influence of Weegee, we spoke with Christopher George, the imaging technician at the International Center for Photography, an institution dedicated to photography and visual culture. Through exhibitions, school, public programs and community outreach, ICP provides an open forum for dialogue about the role that photographs, videos and news media play in society today.

For the past 15-plus years, George has managed the scanning of more than 20,000 photos by Weegee. The archive of photos originally came to the organization in 1993. Some 16,000 photographs and 7,000 negatives by Weegee were bequeathed to ICP by Weegee’s longtime companion, Wilma Wilcox. The New York Times has called the ICP ‘Weegee Central.” During his years at ICP, George has also gathered materials such as newspapers and magazines, continuing to build on the work set in motion by Miles Barth and his team to research and best represent Weegee’s work.

Rare example of a photograph of Weegee; inscribed ‘To Joe;’ dated 1949, mounted on photo board, previously belonged to Joe Jasger, a fellow photographer, 11¾ in. x 9 1/8 in. Sold for $1,400 during a May 2013 auction. Kaminski Auctions and LiveAuctioneers image.

What photography techniques and processes used by Weegee are most influential?

His ingenious techniques were ahead of their time. Early in his career, he was processing film in a repurposed ambulance and in a subway, when speed and getting a photo published first was crucial. Late in his career, he used kaleidoscopes and other techniques – both on camera and in the darkroom – to produce “distortions.” These were prescient and not unlike Photoshop and app filters of today, except it was in the 1950s and early ’60s. Plus, he was known for his use of flash photography and his instinct for self-promotion.

Gelatin silver print, circa 1960, stamped studio mark to verso ‘Credit Photo by Weegee the famous,’ and inscribed to lower margin, 10 in. x 8 in. Sold for $300 during a June 2016 auction. Wright and LiveAuctioneers image.

FUN FACT: Legend has it the name “Weegee” came about in response to Fellig’s uncanny ability to be the first on the scene of an accident, sometimes even before authorities. Word spread that it was because he turned to a Ouija board for information. Hence his choice to change his name to the phonetic spelling of the popular board game. Weegee was the first citizen in New York to be granted a police radio, and would tune into the police frequency for leads to chase up.

In your estimation, how did Weegee help shape the practice of crime photojournalism?

In the words of Ralph Steiner: “… I can say something about why he is a great photographer, which he certainly is. His greatness as a crime photographer grows out of three things: First his willingness to live entirely for his work. Second, his ingenuity in carrying it out. Third, his very intelligent approach to a kind of material which other photographers treat in a routine manner. And there is the all-important fact that Weegee, unlike the majority of photographers I have met, is a rich personality. You can’t squeeze blood from a stone; nor can you an editor squeeze good pictures out of a stony photographer. Weegee moves in a world of violence, brutality, bloodshed and horror, but the pictures he brings up out of it do not depend entirely on the drama of the event. They are good because Weegee adds a little of himself – a little of Weegee is really something.” This commentary appears in an article that appeared in the March 9, 1941, issue of PM Daily.

Also, George went on to say:

He pioneered the use of a police radio, both in his car and apartment/studio. Often when he photographed an “event” or “crime,” he made sure to include the people affected by the crime, an “audience” or spectators. For example, the photo Their First Murder shows people who were affected, and also not affected or oblivious to, a crime, a death, a dead person in their proximity and field of vision. Weegee also photographed that dead body, but it’s the people’s reaction to the crime that is remembered today… .

After concluding that most fires and people who were no longer living look pretty much alike, he would often look for a “human element,” things that were ironic or funny.   

His use of “found” language and signs is unparalleled. In the photo Joy of Living there’s a dead body – a traffic accident victim – covered in newspapers, a crowd of people (an audience), and above it all is a movie marquee that reads, in part: “Joy of Living.”

Vintage gelatin silver print dated Feb. 24, 1942, 11¼ in. x 14 in. Sold for $6,000 during a Nov. 2013 auction. Santa Monica Auctions and LiveAuctioneers image

How did society of the day and the culture Weegee was part of present itself in his work?

Something that is perhaps lesser-known, or underappreciated, or underrecognized (about his work) is the influence of World War II. Like most people alive in the early ’40s, the war was ever-present. Even in one of his most famous photos, The Critic, World War II plays an important role.

What noted photographers and artists appear to be influenced by Weegee’s work?

Diane Arbus was greatly influenced. Perhaps Louis Faurer was as well, in addition to Leon Levinstein. wwwzBeginning in the early 1930s and continuing throughout his life, Weegee took many self-portraits (or had friends take his photo). Sometimes he would wear different clothes and play different roles: the reporter, the curious passerby, an arrested criminal, an ice cream seller, a protester, a best-selling author, etc. One time he dressed up as a circus clown and photographed the circus and circus audience as a camera-holding clown. I don’t know if Cindy Sherman was influenced by these photos, they aren’t well-known, but Weegee and Cindy have made similar photos.

Gelatin silver print of a human cannon ball (a woman being fired from a cannon), circa 1943, Weegee Collection stamp on lower left, and written in pencil on verso, 25 in. x 21 in. Sold for $2,000 during a November 2016 auction. Clars Auction Gallery and LiveAuctioneers image.

What makes Weegee’s work appealing to photographers and collectors more than 90 years after his professional photography career began?

Because the photos are so great! There’s a lot of “depth” to his best photos. They can be funny, and sad. Most of his well-known photos were made from about 1937 to 1945 — a relatively short amount of time). Perhaps all were “commercial” — made to be sold to newspapers and magazines, but it was about more than that. Weegee began his life in poverty, as an immigrant from Eastern Europe; lived and struggled through the depression; was financially comfortable for a few years; and then lived with very little money and in not-great health, for about 20 years.

What do you believe today’s photographers and photo artists can learn from Weegee’s work?

He was an individualist and a humanist. Perhaps one thing that is not always acknowledged is how hard and how much he worked. He was incredibly prolific. Like most geniuses, he was born at the right time and place. He grew up in poverty, dropped out of school early, found his “calling,” worked extremely hard, became successful — when he was around 45 — and then lived another 25 hardscrabble years — with not a lot of success.

Gelatin silver print, ‘Girls at the Bar,’ circa 1946, artist’s representative’s credit stamp on verso, 13 3/8 in. x 10½ in. Sold for $6,000 during an April 2006 auction. Phillips and LiveAuctioneers image.

Weegee’s own words answer the question with first-person examples.

“Most photographers always use the same old methods. We’ll assume that a horse-drawn wagon is going over the Williamsburg Bridge. A car hits it, and the driver is tossed into the water and gets killed. The other photographers will take a picture of the bridge and then have an artist draw a diagram showing how the guy fell into the water. What I do is go and see what happened to the poor old horse.”

“When I take a picture of a fire, I forget all about the burning building, and I go out to the human element. If I see a woman standing by a fire engine and crying, it’s much better than a picture of the building. The building is just a spectacle.”

“A photographer should have confidence in himself, and if he gets a good idea, he should go take it, even if everybody laughs at him.” PM Daily, March 9, 1941

George offers one final gem of insight about Weegee: In June of this year, the first extensive biography about Weegee will be released: FLASH: The Making of Weegee The Famous, by Christopher Bonanos. It will be published by Henry Holt & Co., a division of Macmillan Publishers.

To view the book, visit

Books published by Weegee that contain his photographs include Naked City (1945), and Weegee’s People (1946) and Naked Hollywood (1953).

Choice antiquities surface in Jasper52 online auction March 6

Relics from past millennia are being offered in a Jasper52 online auction of antiquities on Tuesday, March 6. The auction presents bidders with a great opportunity to acquire authentic artifacts ranging from the Bronze Age to the Middle Ages.

Indus Valley terra-cotta bowl painted with an ibex motif, 3300-2000 B.C., 4.6 in. x 3.3 in. Estimate: $150-$250. Jasper52 image

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